19. Wedding expenditure
In Bastar it is said that the expenses of a wedding vary from Rs. 5 to Rs. 20 for the bride’s family and from Rs. 10 to Rs. 50 for the bridegroom’s, according to their means.61 In a fairly well-to-do family the expenditure of the bridegroom’s family is listed as follows: liquor Rs. 20, rice Rs. 12, salt Rs. 2, two goats Rs. 2, chillies Rs. 2, ghī Rs. 4, turmeric Rs. 2, oil Rs. 3, three cloths for the bride Rs. 8, two sheets and a loin-cloth for her relatives Rs. 5, payment to the Kumhār for earthen pots Rs. 5, the bride-price Rs. 10, present to the bride’s maternal uncle when she is not married to his son Rs. 2, and something for the drummers. The total of this is Rs. 76, and any expenditure on ornaments which the family can afford may be added. In wealthier localities the bride-price is Rs. 15 to 20 or more. Sometimes if the girl has been married and dies before the bride-price has been paid, her father will not allow her body to be buried until it is paid. The sum expended on a wedding probably represents the whole income of the family for at least six months, and often for a considerably longer period. In Chānda62 the bride’s party on arrival at the bridegroom’s village receive the Bara jawa or marriage greeting, every one present being served with a little rice-water, an onion and a piece of tobacco. At the wedding the bridegroom has a ring either of gold, silver or copper, lead not being permissible, and places this on the bride’s finger. Often the bride resists and the bridegroom has to force her fist open, or he plants his foot on hers in order to control her while he gets the ring on to her finger. Elsewhere the couple hold each other by the little fingers in walking round the marriage-post, and then each places an iron ring on the other’s little finger. The couple then tie strings, coloured yellow with turmeric, round each other’s right wrists. On the second day they are purified with water and put on new clothes. On the third day they go to worship the god, preceded by two men who carry a chicken in a basket. This chicken is called the Dhendha or associate of the bridal couple, and corresponds to the child which in Hindu marriages is appointed as the associate of the bridegroom. Just before their arrival at the temple the village jester snatches away the chicken, and pretends to eat it. At the temple they worship the god, and deposit before him the strings coloured with turmeric which had been tied on their wrists. In Chhindwāra the bride is taken on a bullock to the bridegroom’s house. At the wedding four people hold out a blanket in which juāri, lemons and eggs are placed, and the couple walk round this seven times, as in the Hindu bhānwar ceremony. They then go inside the house, where a chicken is torn asunder and the blood sprinkled on their heads. At the same time the bride crushes a chicken under her foot. In Mandla the bride on entering the marriage-shed kills a chicken by cutting off its head either with an axe or a knife. Then all the gods of her house enter into her and she is possessed by them, and for each one she kills a chicken, cutting off its head in the same manner. The chickens are eaten by all the members of the bride’s party who have come with her, but none belonging to the bridegroom’s party may partake of them. Here the marriage-post is made of the wood of the mahua tree, round which a toran or string of mango leaves is twisted, and the couple walk seven times round this. In Wardha the bride and bridegroom stand on the heap of refuse behind the house and their heads are knocked together. In Bhandāra two spears are placed on the heap of refuse and their ends are tied together at the top with the entrails of a fowl. The bride and bridegroom have to stand under the spears while water is poured over them, and then run out. Before the bride starts the bridegroom must give her a blow on the back, and if he can do this before she runs out from the spears it is thought that the marriage will be lucky. The women of the bride’s and bridegroom’s party also stand one at each end of a rope and have a competition in singing. They sing against each other and see which can go on the longest. Brāhmans are not employed at a Gond wedding. The man who officiates is known as Dosi, and is the bridegroom’s brother-in-law, father’s sister’s husband or some similar relative. A woman relative of the bride helps her to perform her part and is known as Sawāsin. To the Dosi and Sawāsin the bride and bridegroom’s parties present an earthen vessel full of kodon. The donors mark the pots, take them home and sow them in their own fields, and then give the crop to the Dosi and Sawāsin.
20. Special customs
Some years ago in Bālāghāt the bride and bridegroom sat and ate food together out of two leaf-plates. When they had finished the bride took the leaf-plates, ran with them to the marriage-shed, and fixed them in the woodwork so that they did not fall down. The bridegroom ran after her, and if she did not put the plates away quickly, gave her one or two blows with his fist. This apparently was a symbolical training of the bride to be diligent and careful in her household work. Among the Rāj-Gonds of Saugor, if the bridegroom could not come himself he was accustomed to send his sword to represent him. The Sawāsin carried the sword seven times round the marriage-post with the bride and placed a garland on her on its behalf, and the bride put a garland over the sword. This was held to be a valid marriage. In a rich Rāj-Gond or Khatola Gond family two or three girls would be given with the bride, and they would accompany her and become the concubines of the bridegroom. Among the Māria Gonds of Chānda the wedded pair retire after the ceremony to a house allotted to them and spend the night together. Their relatives and friends before leaving shout and make merry round the house for a time, and throw all kinds of rubbish and dirt on it. In the morning the couple have to get up early and clear all this off, and clean up the house. A curious ceremony is reported from one part of Mandla. When a Gond girl is leaving to be married, her father places inside her litter a necklace of many strings of blue and yellow beads, with a number of cowries at the end, and an iron ring attached to it. On her arrival at the bridegroom’s house his father takes out the necklace and ring. Sometimes it is said that he simply passes a stone through the ring, but often he hangs it up in the centre of a room, and the bridegroom’s relatives throw stones at it until one of them goes through the ring, or they throw long bamboo sticks or shoot arrows at it, or even fire bullets from a gun. In a recent case it is said that a man was trying to fire a bullet through the ring and killed a girl. Until a stone, stick, arrow or bullet has been sent through the ring the marriage cannot take place, nor can the bridegroom or his father touch the bride, and they go on doing this all night until somebody succeeds. When the feat has been done they pour a bottle of liquor over the necklace and ring, and the bride’s relatives catch the liquor as it falls, and drink it. The girl wears the necklace at her wedding, and thereafter so long as her husband lives, and when he dies she tears the string to pieces and throws it into the river. The iron ring must be made by a Gondi Lohār or blacksmith, and he will not accept money in payment for it, but must be given a cow, calf, or buffalo. The symbolical meaning of this rite does not appear to require explanation.63 In many places the bride and bridegroom go and bathe in a river or tank on the day after the wedding, and throw mud and dirt over each other, or each throws the other down and rolls him or her in the mud. This is called Chikhal-Mundi or playing in the mud. Afterwards the bride has to wash the bridegroom’s muddy clothes, roll them up in a blanket, and carry them on her head to the house. A see-saw is then placed in the marriage-shed, and the bridegroom’s father sits on it. The bride makes the see-saw move up and down, while her relations joke with her and say, ‘Your child is crying.’ Elsewhere the bridegroom’s father sits in a swing. The bride and bridegroom swing him, and the bystanders exclaim that the old man is the child of the new bride. It seems possible that both customs are meant to portray the rocking of a baby in a cradle or swinging it in a swing, and hence it is thought that through performing them the bride will soon rock or swing a real baby.
21. Taking omens
In Bastar an omen is taken before the wedding. The village elders