Note 84 — Chapter VI · Magic Rites as affecting the Life of Man

The bride’s hair is done up in a roll (sanggul) and this is surmounted with a head-dress of artificial flowers (called g’rak gĕmpa), cut out of p’rada kresek (“crackling tinsel”) and raised on fine wires; her forehead is bound with a band or fillet of tinsel—gold-leaf (p’rada Siam) being used by the rich—which is called tĕkan kundei, and is carried round by the fringe of the hair (gigi rambut) down to the top of each ear (pĕlipis)84; for the rest the bride is clad in a “wedding jacket” (baju pĕngantin), which has tight-fitting sleeves extending down to the wrist, or sleeves with gathers (simak) over the arm, and which is generally made of “flowered satin” (siten bĕrbunga) in the case of the rich, or of cloth dyed red with kasumba85 (kain kasumba) in the case of the poorer classes. This “wedding jacket” fits tightly round the neck, has a gold border (pĕndĕpun ’mas), is fastened with two or three gold buttons, and fits closely to the person; the wealthy add a necklace or crescent-shaped breast-ornament (rantei mĕrjan or dokoh) round the bride’s neck. She also wears bracelets (g’lang) and ear-rings (subang) and perhaps anklets, of five different metals (kĕronchong panchalogam). A silk sarong, which takes the place of a skirt, and is girt about the waist with a waist-cord (but not usually, in Southern Selangor, fastened with belt and buckle), and a pair of silk trousers, complete her attire.