whilst on the end of each twig is stuck one of the coloured eggs (tĕlor joran), an
artificial flower, and an ornamental streamer of red paper called layer,^87 which
is cut into all sorts of artistic and picturesque patterns.
The sĕtakona is erected in front of the pĕlamin, on which the bride takes her seat
at about 4 P.M. to await the coming of the bridegroom, the members of her own
bridal party, including the Muhammadan priest or Imām, continuing the zikir
maulud in the reception room at frequent intervals from 9 A.M. until the
bridegroom’s arrival. The arrangements are completed by placing ready for the
bridegroom the “Bridal Mat” (lapik nikah), which consists of a mat of screw-
palm leaves (or in the case of a Raja, a small quilt, embroidered in the manner
called jong sarat) five cubits of white cloth, which are rolled up and put on one
side, and a tray of betel.
Returning to the bridegroom, holy water (ayer sĕmbahyang) is now fetched in a
chĕrek (a kettle-shaped vessel) or bucket, for the bridegroom to wash his face
and hands, and he then proceeds to put on his wedding garments, as described
above, after which a scarf (salendang) is slung across his shoulder. The marriage
procession (pĕrarakan) then sets out, the women heading it (pĕnganjor) and the
men following, the bridegroom carried upon somebody’s shoulders (di-sompoh),
and right and left the musicians beating drums, tabors, etc., whilst those who
have any skill amuse the company with exhibitions of Malay fencing (main silat)
and dancing, etc., to the accompaniment of the zikir intoned by their
companions.
The arrival of the bridegroom at the bride’s house is the signal for a mimic
conflict for the person of the bride, which is called mĕlawa, and is strangely
reminiscent of similar customs which formerly obtained in Europe.