Lu-Hongba - Part 2
(Marriage Function)

By: N Mangi Devi *

The practice of child marriage is unknown in Manipur even though instances of early marriage at the age of 14/15 years of girls are prevalent. One would find an excellent grandeur and pomp at the marriage function of the Meitei society. The ceremony starts from the house of the bridegroom. The bridegroom has to wear new white dhoti and white full shirt (loose and long) with a white special made turban as the head wear and full two sided stitched white thick chadar (inaphi).

In the afternoon of the day after the bridegroom is fully dressed up he will be made seated on a new Kouna phak(chatai) coverd with a white cloth on right side of the corridor of the house facing the eastward it is a simple ceremony with eratphu or any lota of copper or steel with full half of water and a mirror with stand placed in front of the groom so that he can see himself in the mirror. The Priest or the Maiba will perform puja at the auspicious moment.

Then at least three elderly men will start from the house of the groom to that of the bride. After their arrival at the house of the bride the performance of sankirtana (song) will start. When the auspicious moment comes the groom has to pray to Lainingthou Sanamahi[2] and Laimarellma of the house, pay his respect to his mother and father and near elderly relatives of the family and move towards the house of the bride along with all his friends, relatives and invitees.

An umbrella, a nice chaisel (a broad mouthed utensil), a mirror (used at first ceremony) must be taken along with him by his friends. Besides there are certain things to be filled in the phiruks that are to be taken to the house of the bride. Those phiruks are known as
l. Chengluk-Nungshang phiruk (mainly filled with raw rice),
2. Apok- Asha phiruk (another different kinds of fruits),
3. Lam-Lai/Umanglai phiruk ( with fruits and sweets made of rice),
4. Sagei-Lai- phiruk deity of the family of the bride if any,
5. UshinNga Phiruk and
6. clothes and gold ornaments of the bride and
7. Athelpot Luk-mai (decoratedly arranged raw rice with different kinds of vegetables) .

These things are essential for the welfare and prosperity and long life with issues for the newly married couples. The carriers of these phiruks are arranged in serial manner leading first by the "chengluk nungshangpubi" and followed by others.

These ladies will all dress up with nice traditional clothes wearing all sorts of gold ornaments. Then, the mother of the groom will go ahead of the groom and other followed them either on foot if it is near or if far in vehicles. A band party porceeds in front of all of them.

When the groom with his party reaches the gate of the house of the bride he will be welcomed with beautifully arranged torch (specially prepared stick wrapped with cloth deep into ghee) lighted with fire, throwing flowers and Kabok aphaba (fried paddy) This process is repeated 3 times.

The significance of it is the driving off the evil spirits and purification of the groom with fire. Then when the groom reaches the entrance of the Mandop (courtyard) the mother of the bride along with other near relatives will welcome the groom with pan. This is known as maya-okpa (receiving the son-in-law).

After it the bor-senaba (guide of the groom) will guide the groom to pay obeisance to sankirtana party and after it he takes his seat with his friends on the north-east corner side (specially prepared place) arranged for the groom party and relatives and invitees. The mirror will be placed in front of him and the guide will always look after him waiting for the auspicious moment to enter into the middle of the Mandop for the performance of the marriage ceremony as. All other people coming from the groom side will be seated on the eastern and northern side of the Mandop.

The mother of the groom will sit over a white cloth specially arranged for her facing straight to the groom when the ceremony takes place. She stays fixed in her seat and is not allowed to welcome anyone who comes to see her. And the father of the groom will occupy the second place of the first row of the northern-side of the Mandop. He is allowed to speak and move.

The women folk of the bride will be seated on the varanda of house and other invitees will sit on the southern-side of the Mandop. The Mandop is made in a special manner by technical hands and beautifully decorated with canopies and lighted properly. The bride is treated inside the house by trained person for dressing up and ornamentation.

In early days the bride used to wear the specially embroidered nice phanek. She wears special ornaments round the neck, arms, wrist and fingers and headwear of kajenglei and feathers of langmei, nongningkhoi and lerekshep (feathers). After the adoption of Hinduism the bride starts wearing Potloi (dance costume) and other head wear of the modern time in addition to traditional ornaments marei, heibei-mapal, khuji pok-chaobi and modern ornaments from outside.

Likewise as done at the groom's house a simple rite is performed with iratphu and sakyeng mingsel (mirror) by the priest and she is waiting for the auspicious moment to come out from the house for the performance of ceremony, at the Mandop. The bride will also be led by her relatives up to the entrance of the Mandop and the lady or male hired for the purpose will guide the bride for the entire ceremony, then the next and most important part of the ceremony is the entrance of the groom in the middle of Mandop and starting of the main ceremony.

The luhongphal (the rectangular wooden elevated seat) for the groom will be placed on the west-middle of the Mandop and below the middle of the seat is engraved malem-paphal or Veidic symbol whichever may be by the Amaiba or the priest.

A red phirangji (woodlen cloth )will cover the wooden seat. When the time comes the guide will lead the groom and make him bow down to Lainingthou Santhong altar and the sankirtana and make him seated on the prepared seat and he will be purified and sanctified with raw-rice, flower and water and start the proper rituals either of the traditional Meitei or Hindu Vaishnavism for the long-life and happy family of the two and make change of yek-salai of the bride to that of the groom.

The same ritual will also be conducted in the front of the bride inside the house. At an auspicious moment the bride will be brought out by her mother or any relative to the entrance of the Mandop where she will bow down to her father by offering betel-nut (kwa) and cloth and seek his blessing.

She will be seated on a Montek on the eastern left-side of the groom facing her face to the groom. She will also be purified and sanctified with water, flower and raw-rice by the Amaiba/Priest. Her right hand will put on the right hand of the groom and the mother of the bride will tie the two hands together by combination of seven threads or a garland of white flower signifying the binding of the two souls together of two different yek-salais.

They are bounded for the rest of life from that moment of the day. Then the already prepared KUJAPOT on an earthern kambi or copper. Thali will be placed above the two bound hands (since it is heavy a support is prepared these days). Related ritual mantras are recited by the Amaiba or the priest with offerings of essential articles to the Iratphu or Ghot-Chaphu by the father of the bride.

Prayer to seven ancestors/forefathers of the bride and the groom of both yek-salais will be carried out for the welfare and happy family of the newly married couple. It shall be proper to add words about Kujapot as it is a typical and traditional convention of the Meitei society.

It includes things like
(i) fined raw-rice filled half of the kambi (container) good scented fruit (hiejang) one
(ii) seven or nine pairs counted banana,
(iii) one whole yubi (coconut)
(iv) one sprouted betal-nut
(v) langthrei mapop -3
(vi) One dhoti
(vii) one two-sided stiched Inaphi (chadar)
(viii) two pairs of sing (gingers)
(ix) two salt cakes
(x) sendai (money).

There are changes of articles now-a-days limiting to some few items. The articles of KUJAPOT will be arranged by the bride's party. The indication of it is that from the day the girl (bride) is introduced to the yek-salai and clan of the boy (groom) change her yek-salai they become wife and husband. And the fate of the bride is to be decided by that of the groom.

The groom has to take all the responsibility and look after the welfare of the bride (wife). Another speciality of the marriage of the Meitei society is the Ushil-Mitam-Thaba (to send off two fishes (ngamus) into the water) that has been brought from the house of the groom.

Bride and Bridegroom holding the Kujapot

That has to be performed while the two hands of the bride and the groom are tied together and holding the KUJAPOT by them. This will be done by three ladies two from the side of the groom and one from the side of the bride, and they will take the two ngamus and a lighted lantern to nearby pond or river to let go the fishes in the water.

The meaning of such thing is that the two ngamus representing the bride and the groom will take the responsibility of the well-being of their married life and will guard them from the harms and difficulties in their life. It is believed that if the two go together on one side into the water their life will be happy with love and understanding, that is why the lantern is being taken to see the movement of the two ngamus.

There is a convention of gifting money above the KUJAPOT[3] father or his representative who is performing the rite will be the first man to offer the money-gift and all others will follow one by one and when it is completed the KUJAPOT will be carried with much care by the Borsennaba and handed over to the mother of the groom who will receive it with care covering it with her chadar when the wedding ceremony ends it will put into a coverphiruk to be carried away to the home of the groom.

The mother of groom will think of well being of her son and daughter-in-law for their long life while she Is the holding the KUJAPOT on her lap.

An interesting episode is LEIKOIBA, the bride led by her guide will go round the groom starting from the right seven times. At the end of every round the bride will shower a handful of flowers over the head of the groom and at the last round she will nicely garland two beautiful white flowers garlands round the neck of the groom and will sit on the left side of the same "Luhongphal" of the groom.

The inquisitive eyes of the audience are on the unique pair the bride and the groom. The excellently decorated bride sitting with the most simple completely white dressed up groom on the same platform is very attractive and charming to everyone present at the function. Any sensible person will certainly appreciate and be pleased to witness the marriage ceremony of the Meitei society. Generally these garlands are made of special white flower known as "KUNDOs" .

It is know as witness flower of marriage. And then the groom will take out one garland with the help of his guide and will place gently round the neck of the bride. The significance of such garlanding to each other is that both are bound in both body and mind and soul and spirit for good. Man is all-in-all for the woman who in turn will never leave the man as the creeper does to a tree.

The last part of the ceremony is known as "Kangsubi Lannaba". Both the bride and the groom will come together led by the bride inside the house of the bride with the ends of their clothes tied into a knot indicating that the they are one and together. They will be seated on right and left with their friends and relatives.

When thus they are seated the mothers of the bride and the groom will first handover the sweet "Kangsubi" (a kind of sweet made of black seasame) and pan (betel-nut with leaf) to both of them, they can eat it if so desire and other relatives of both sides follow. This shows the love for each other.

When it is over the groom will come out of the house and he will bow down to the sankirtana party until that time the sankirtana cannot be closed. Then the next step is "Ngai -Shen Konnaba "- embracing and introducing to each other between the parents of the bride and the groom. Three persons from both sides including the father and the mother of the bride and the groom will exchange the pan (the betel-nut- with leaf) to each other with bowing. Thus the main ceremonial function ends.

The last part NUPI THINBA- (sending off of the bride) the bride along with her relatives and friends will proceed to the house of the groom. There had been some convention of giving essential articles to be used by the bride, like cot beds with accessories, cupboards, kitchen wares etc. for her daily use.

Besides, the weaving loom and other accessories to be utilized by her supposing she has to work for herself and the family. These things combined together known as "AUNPOT" (gift items) supplied by her parents for independent living not such as dowry as being done in other parts of the country. If the parents of the bride cannot afford such things the parents of the groom used to help them with money to the bride side before hand for arrangement and purchase of those essential things.

In early days the bride used to be carried on the palanquin by four persons up to the house of the groom or sometime riding on the back of the elephant. In these day decorated well lighted car with a big band party are being used. We find a great change of the items of "AUNPOT" adding all sorts of modern utilities even car etc.

The Bridegroom receiving with fire-puja at entrance of the bride's house

These things are to be accompanied with the bride. However in modern days they are taken before hand to arrange before the bride arrives at the groom's house. As welcoming the groom by the bride party the bride will also be welcomed at the gate of the groom's house. Instead of maya-okpa this time the mother of the groom with two other relatives will receive the bride at the centre of the courtyard she will be led with love and wrapped with her own cloth and made pay obeisance to Lainingthou Sana Mahi mdLeimaren Ima and make her sit in allotted room for changing her clothes.

After changing her clothes the father and the maternal uncle will come and meet her, bless her and give money to start her new life. The mother of the bride never accompanies her on this day but she will come on the next day to entrust all her belongings "Aunpot" to herself.

From the very early days feeding of relatives and friends at the residence of the groom has been used. This shows the recognition of the bride and inclusion of her in their clan and wishing the welfare and happiness of the newly married couple and the family. Now the bride become the wife or Mou of the family and she tries to adjust to the new family and acquaint herself with relatives and the neighbors of the new house.

In the morning hour of the fourth day after the marriage the mother of the groom with at least two other ladies will go to the house of the bride and will open the "chengluk" that has been brought and kept near the "phungalailu " (fire place) of the bride and see what are found with the raw-rice if there is any "kajappi" (a kind of insect) and "mirang" (spider) it is believed that it is a good sign for the married couple. This process is known as "Chengluk Nungshang Kaiba".

In the evening of the same day the mother along with at least two other ladies will again go to the house of the groom and meet the daughter and open the almirahs of clothes and others and will handover the keys to her. This is known as "Lubak chengbon hangba". The former is more important than the later.

Another interesting process of the follow-up action of the marriage function is the Mapam Chak-Kouba the grand feast hosted by the parents of the bride at their residence. This is some what similar to that of Reception held at other parts of the country at present times. On this grand feast day the relatives and friends of both sides will be invited and they will make known to each others and talk among themselves about how they are related and became friends by the marriage of the two persons.

This is a merry-making feast and all of them will dressed up nicely and everyone look graceful. After the feast is over the groom will be known to all elders (mother, father, sister and brother, cousins etc. of the bride) and he will show respect and regards by bowing each one of them. In this way the process of the great and important function of the marriage ceremony of the Meitei society ends.

FOOT NOTES:

(Foot Note - 2. Lainingthou and Leimarel are family deities. Lainingthou is the king of the house and Laimarel is looking after the welfare of the inma eo of the house. They are presiding deities of each and every family of the Meitei society, seperate areas are kept for the deities inside the house.)

(Foot Note :2. Underlying features of marriage function (Lu-Hongba) Evey term connotes meaning of creation say, Bor (bridgroom) stands for sun (Lainingthou) who always sits on the south west (Santhong) and the Keina (bride) represents the earth (Malem) who is always on the northeast direction/chingkhei. The bridegroom wears white turban and white clothes indicat the whit rays of the sun and the bride wears green blouse represent the greenness of the earth. The bride goes round the bridegroom seven times representing the revolving around the sun by the earth Lei-Chaiba connotes the formation of clouds due to the heat of sun and consequent falling of water as rain on the earth.

(Foot Note) 3. Kujapot means articles to offer to god for His grace Ku-Grace, Pot articles Mitam Nga-Thaba (Ngamu thaba ) nga (fish) ngamu is the first living thing created by god then created animal and last human being. Ngamu (fish) has to be purchased by giving its price and send them to the water requesting them to bless the married couple for their welfare in the drama of the Almighty God.

Chengluk Nungshang (whole rice in a container (phiruk) It is symbolic sign for the well being of the married couple because cheng (rice) is the life force to enjoy the wonderful drama of the Almighty god in this world.

---

* N Mangi Devi wrote this book entitled "Main Ceremonies of Meitei Society . This article was webcasted on February 05th 2010.