Vietnam Travel » Culture

Hue Conical hats: Layers of History

admin — Fri, 16 Oct 2009 19:19:10 +0000

A hat typically contains 34 to 50 leaf tips. The maker earns just VND2,000 or 3,000 profit per hat.

Early April is the loveliest time of year in the countryside around Hue . I could hear Hue music playing on the radio. The fields were at their most beautiful, with yellowish green rice plants quivering in the breeze. The aroma of young rice drifted over Tay Ho village, which lies on the banks of the Nhu Y River.

At the end of the road, I saw a woman carrying her baby in one arm, and wheeling a bicycle with the other. From the bike hung a few dozen conical hats. “Could you please show me the way to the house of Mrs. Tu Bon, the conical hat maker?” I asked.

Hue Conical hats

“Every family around here makes conical hats,” she replied. After some more conversation, she managed to point me in the right direction. The brick cottage was as poorly furnished as other houses in the village. Mrs. Tu Bon patched dried leaves onto a hat’s frame while she talked to Le Thi Dzien, a member of the local Women’s Association. Their conversation about sewing conical hats was occasionally interrupted by Mrs. Dzien’s loud laughter.

“You ask when people started to make Hue conical hats? Who knows?” Mrs. Dzien said that her 75-year-old dad had told her that her grandpa had also made conical hats.

In Tay Ho village, up to 80 percent of families still perform this traditional job. Today they produce three kinds of conical hats: la ke (ke leaf), three-layer hats and poem hats. Mrs. Tu Bon was making a la ke hat.

“A hat usually has 34 to 50 leaf tips, depending on whether the leaves are big or small,” explained Mrs. Tu Bon. “The hat must look shiny from afar, and looking out from under the hat in the sun, no needle holes should be visible. The thread seams should be regular, without bulges.”

Making conical hats is not easy. First, one must choose leaves of the same color so that the hat will have a uniform appearance. The most difficult stage is stringing the leaf tips together to fill the frame. “You must arrange the leaves cleverly so that the cone’s tip is small like this,” said Mrs. Tu Bon. She thrust a small steel wire into the hat’s tip to demonstrate its quality. “The thinner, the better and the more expensive, as dozens of stitches are exactly the same.”

Mrs. Dzien recalled how her mother had sewed conical hats. Her dad had bought bamboo and split it to form the brims and her mother had sewn the hats. Everybody in the family knew how to make conical hats. When she grew up and got married, her parents had given her nothing but a frame and a knife. Some girls might have gotten a pair of scissors in their humble dowry. The bride could choose her favorite frame to take with her.

At five in the morning we depart for the Dza Le Wholasale Market, which lies 5 km away from the village. The villagers receive VND 5,000 per hat, of which VND 2,000 to 3,000 is profit. A family earns about VND1 million for a month’s hard work.

Conical-hat-making is a long process. Cut leaves must be dried in the sun, then left out overnight to absorb dew. The leaves are ironed with a heated flat pan or a piece of iron. “It’s quite hard work, but we can still earn some money, and it is fun as the whole family works together,” said Mrs. Dzien. Recalling her late husband, who died recently, she smiled sadly. “I used to promise to buy candies for my children and cigarettes for my husband, and good food for the family each time I went to sell conical hats in Dza Le Market.”

In the past, this market used to open at three or four in the morning. A folk verse says: “Who goes to Thanh Toan roofed bridge, let me join you / Who visits Dza Le roofed bridge, take me along so that I can visit my husband’s home village.”

In those olden days, it was very common to see young Hue ladies in purple or green Ao Dai selling mussel rice or tofu in the street. Until the war was almost over, conical hat sellers often wore traditional dress too.

Poem hats demand even more skill than regular conical hats. This type of hat is usually made of xanh leaves, which are fan shaped. The big leaves are cut, tied up in bundles of ten, then trampled evenly, and heated over charcoal. After being dried on the coals, any unevenly dried leaves are removed. The dry leaves are aired overnight, then dipped in water before being opened, cut and ironed. The edges and veins are cut off before the pieces are strung together in layers, so that the rough side is unseen. Paper is inserted between the layers.

The maker cuts words and images into the outer layers so that, when the hat is held to the light, pictures and words are revealed. Popular decorations include an image of Trang Tien Bridge , the silhouette of a girl, or the poem: “Come to hue, (It) covers mens’ face after sunset, shelters women from rain”. Nowadays hardly anyone makes poem hats, as they take a huge amount of work and bring in only VND 15,000 each.

A famous song begins, “I send you a poem conical hat from Nghe An…” This song, said Mrs.Dzien, shows that conical hats were not originally made in Hue . As the capital city, Hue attracted fine wares from all over the country. Slender Hue girls modified their conical hats to be thinner and softer. They decorated them with poems, pictures and dried flowers.

Over time, conical hats became a symbol of the former capital city. Today, these hats are popular with tourists. Visitors buy these special hats as reminders of Hue ’s beauty and traditions.

Source: Vietnam Airlines Inflight Magazine.

The Textiles Of Sapa

admin — Fri, 16 Oct 2009 18:59:10 +0000

Originally from china, the Tay , Xa Pho, Dzay, Dzao and H’Mong are the five main ethnic groups found in the scenic highlands near Sapa, all with unique cultures tradition, and spectacular textiles.

Villagers often trek to Sapa to sell handicrafts to tourists. Brightly-garbed women carrying deep baskets woven or a baby swathed in cloth are a familiar sight on the winding mountainous roads. Although Sapa’s colorful market overflows with traditional garments and garish accessories, the best way to see local textile production is to trek to local villages.

The Textiles Of Sapa

Each ethnic minority is identifiable by their distinctive textiles and costume, central to each group’s cultural identity. The Black H’Mong (H’Mong Den in Vietnamese), named for their predominantly dark clothing, are the largest group, making up 50 percent of the minority people in the area. All H’mong clothing is made from locally-grown hemp, which has properties similar to linen. Huge hemp plants line the tracks that cut through the valley and villagers often cultivate a plant outside their homes for convenience. The entire process of hemp cloth production, from sewing the seeds to embroidery, is defined as a woman’s responsibility.

The first step of hemp production is to take lengths of hemp stalk from a male plant. The stalks must be tied into bundles and dried by a fire or against the walls or rafters of the houses. Then the women strip off the outer fibrous layer. The 30 cm-long fibers must be joined into a continuous thread for weaving. Weaving is usually done at home as the looms are fairly large, using a bamboo reed to create the width of the cloth. The women will usually weave several meters of cloth at a time which they then sell at the local market or dye to make clothing.

H’mong people have different techniques to dye garments. Using a tool which holds small amounts of beeswax, women mark out repetitive zig-zags, short crosses and other geometric shapes on long lengths of fabric, which are then dyed in a cold indigo vat. When the wax boils off, the batik material can be used to make pleated skirts, baby carriers, and jackets.

Often the cloth is dyed entirely and embroidered. The indigo plant used to make the pigment grows natively in Sapa. I was a little surprised when Chau Thi, a local H’mong, pointed the plant out. Rather than a rich cobalt, the low innocuous clumps of large leaves were very green. She assured me that when treated, the leaves produce a blue powder, insoluble in water and very easy to store.

The women make a liquid dye by mixing a number of ingredients their children’s urine is a common addition (particularly the boys’), and this is combined with lye, lime and rice wine in a large vat. Once the liquid is bubbling strongly the women know the dye is ready. They plunge the fabric inside, stirring for around half an hour before hanging it to allow the color to develop. Repetitive dipping and drying darkens the shade, and the

characteristic black of the H’mong clothing is achieved by repeating this process twice daily for a month.

To smooth the coarse cloth fibers, the women make a rolling press from a smoothed wooden log and a long, flat rock or piece of petrified wood treated with beeswax. The cloth is laid across the log and the rock placed on top. Then a woman climbs up, feet apart, using her weight to move the rock from side to side in a secsaw motion. The material is gradually moved across the log. The H’mong superstition is that the log represents the woman and the rock represents the man. If either break during the process, this symbolizes the break up of the woman’s marriage and her husband is free to choose a new wife.

Chau Tri entered the hut wearing a red shirt and plain black skirt, but when she emerged again from the make-shift bedroom she was dressed in a So (a long black jacket with brightly-coloured embroidery), an intricately detailed that lung (belt), and trau thi ko tied in place with blue and green laces (the black velour which H’mong women wrap around their calves).

H’mong women learn embroidery from a young age. They learn how to do basic cross and chain stitch, but then experiment to develop their own unique styles and designs as their skills improve. The women are very proud of the clothing they make – it is a part of who they are. As they can only practice their needlework after house and farm chores, each garment takes a very long time to complete. One girl told me that her jacket and skirt had taken over one year to make.

Like Chau Tri, most women wear everyday garments around the house, saving their best for going to the weekend markets. Men often opt for more typical Kinh style attire as they find the layers of hemp fabric cumbersome and uncomfortable, yet it’s still fairly common to see men in Sapa wearing a polished black hemp jacket with a discreetly embroidered panel on the back of the collar.

The arrival or tourists in the region has meant that many women now buy commercially made garments, producing natural textiles to sell rather than to wear themselves. Some people think this is going against traditional values, but the money generated can help households survive when their only other source of income is rice production.

Loc Yen Ancient Village

admin — Fri, 16 Oct 2009 18:18:32 +0000

In the past the ancient village of Loc Yen in Tien Phuoc District, Quang Nam province had hundreds of Ruong Houses (Ancient viet houses) facing the terraced fields. Today 20 of these houses remain, each with its painting like beauty.

A part from its typical fruit trees, Loc Yen ancient village has stone-paved lanes. In particular, each house has a stone-paved alley wich bears a specific feature suitable to the house. Mingling with old houses are newly-built houses, but their old stone alleys covered with moss are still well kept.

An ancient house in the village.

Loc Yen villagers have handed down from generation to generation many true stories full of legendary characters. Huynh Sao, an 80-year-old villager said: “In the past, tigers used to come to the village to catch people, pigs and chickens, so every house had to possess bamboo tocsins and drums. When the tiger arrived, the villagers brought the tocsins and drums to the stone alley and beat them to chase it away.” Now old Sao still keeps the screens, pictures and photographs that depict the tiger chases which he participated in.

We visited the house of 80-year-old Nguyen Nai who has been engaged in feeling the pulse and writing and filling prescriptions since he was young. Upon arriving at the alley of his house we smelt the medicinal herbs. Nguyen Nai showed us the nets, spears, broadswords, wooden tocsins and horns which had been used tochase off the tigers. He passionately told us the time when the whole village, led by his father, had tried to besiege and catch the tiger. Whenever a villager discovered the tiger’s tracks in the Duong Ro Mountains or the surrounding areas, he/she informed Nai’s father.
Immediately his family blew the horns and beat the wooden tocsins to spread the news and all villagers rushed to the forest to hunt the tiger. Sometimes, it took the villagers nearly a month to catch the tiger which hid inside mountain caves.

Old Nai also showed us the head of a wild boar he had caught several years before. It was the only boar caught having tusks with such a huge size. “I am sure that even a hungry tiger dare not come close to this boar,” he said.

Seeing us to the alley of his house he took with him a horn. Seemingly to remember the past he blew the horn for fun. The sound of the horn reached each alley in the ancient village.

Source: Vietnam Pictorial

Cultural Village In Vietnam

admin — Fri, 05 Jun 2009 18:30:34 +0000

The Vietnamese culture has always evolved on the basis of the wet rice civilization. Thus, the lifestyle of the Vietnamese population is closely related to its village and native lands.

In Vietnamese society, people gather together to form villages in rural areas, and guilds in urban areas. Villages and guilds have been forming since the dawn of the nation. These organizations have gradually developed for the population to be more stable and closer together. Each village and guild has its own regulations called conventions.

the old man in the village

First of all is the organization basing on bloodline comprising family and kin. Family is the basis unit including people who are of bloodline relationship. Such families form kin. In Vietnamese thought, kin is sometimes more important than family. Concepts involving to kin such as head of a clan, patriarch, genealogy, temple of fore father;, ancestral anniversary, birthday feast,… are respected much.

From past time till now, village people have liked to live in big families. The family that is of three or four generations living together, its leader feels proud of. Compassion and assistance among people are the representation of kin’s strength. In a kin, everybody is responsible for protecting and assisting each others both material and spirit, guiding each others to promote their position in society.

The basis of bloodline relationship is hierarchy. The direct hierarchy system of Vietnamese people consists of nine generations from forefather, great grandfather, grandfather, father, I, child grandchild, great grandchild, post child. This system is seldom met in the world. This creates the distinctiveness for Viet Nam culture one hand, the other hand it also forms few negative characters of rural persons. They are patriarchal behavior and private.

Second is the organization basing on resident areas to be hamlets and villages. This is originated from agricultural environment. Because the wet rice cultivation request a big labour force, Vietnamese peasants not only bear much but also assist to each others. In order to cope with the social environment such as robbing… it is necessary to cooperate to make effect. Vietnamese people cannot live without relatives as well as without neighbours. The organization basing on habitat creates democracy and equality between man and man. This is regarded to be primary democratic form - village democracy. However, its flip side is dependent character and jealousy.

Countryside is also organized into guilds according to interests and vocations. In order to link persons who have the same vocation, guilds are set up such as pottery guild making ceramics, fishing guild, cloth guild weaving cloths, plaster guild doing constructional guild…. As for persons of same hobbies or classes, there are associations such a association of scholars for civil mandarin in a village, literacy coterie links Confucian scholars in a village who are not mandarins martial coterie links persons who follow art of fighting, old men take part in gentlemen association, old women participate in lady guild, “To torn” guild (card game using a deck of 120 cards and played by five persons) chess guild, cock fighting guild….Although guild and association have some common points, the specializing character of guild is usually more deeply and its scale is often smaller. Democratic character is also a characteristic of guild and association. Thus, people in the same guild are usually responsible for help each other.

Another rural organization is according to the tradition of “Giap” - called male. The head of Giap is the overseer, next are persons called “lenh” assisting the overseer. Participants in Giap is only male. It is hereditary, the father belongs to a Giap, his son will belong to that Giap. There are three main ages in Giap. From small to 18 years old called “infant”, strong young men called “male individuals”, old men called “elders”. Reaching to “elder” is the supreme honour to any member in Giap. The age for reaching to “elder” is often 60 but some exceptions that regulate that this age- starts from 55 or 50 depending on each village. When a person gets “elder”, he will sit on the above mat and will be respected by the whole village. The rule forming this organization is “respecting old man” because elders are always rich of experiences which is extremely important and essential to works of farmers, Giap is an organization in which expresses both hierarchy and democratic character of Vietnamese people.

Beside patterns mentioned above, Viet Nam villages are as well held up to administrative unit to be hamlet and commune. Commune is another calling of village and hamlet is another name of subdivision of a village in terms of administration. One commune sometimes, may consist of few villages and a hamlet, may include some subdivisions.

In a commune, there is often of an existence of apparent discrimination between principal people and aliens. People whose origins are in village are called principal ones and people coming from other regions are called aliens. This discrimination is very sharp. While principal men are enjoyed all rights and interests, aliens are often treated without any respect,. This opposition is really of aim at restricting peasants to separate from their homes and also limiting aliens to come to live in village. Therefore, this discrimination is considered to be a means for maintaining the stability of villages.

Principal people are classified into five types. That are dignitaries (including persons who passed examinations or of grades); authorities (consisting of persons who are working for commune); elders (comprising men belonging to aged rank in Giap); male individuals (including strong boys in Giap) and infants (consisting of children). Dignitaries, authorities and the eldest in aged rank forming a section called village mandarins. This section manages three lower classes to be elder male individuals and infants. It may be said that, the administrative machinery of Viet Nam traditional villages in very orderly and formed gradually during the developing process of national culture as a historical product.

The rural organization according to many different rules at the same time has created two most basic characteristics of Viet Nam countryside to be community and autonomy.

The communal character is to unite all members in village, each person usually takes care other persons. This characteristic represents outward trend. This’ communal character bears the autonomy. Each village looks like a closing small nation with its own a law system (or customs) and a “mini court”. The isolation itself has made the habit of “imperial power bends to suit rural customs” and demonstrates the special democratic relation between feudal state and Vietnamese villages.

The ground of the communal house, shores, banyans trees, have been regarded as traditional symbol f community. Every village has it own communal house. This is the place at which every respects in village life focuses most. All important works of village take place here, so, the communal house is an administrative centre. It is as well the place where festivals, performances of “tuong cheo” (kinds of old art) are held…, so, it is a cultural centre. It is the place for worshipping the tutelary spirit the patron god of the whole village. The destiny of the village is determined by terrain, the communal house’s aspect, so the communal house is the centre of religion. And finally, it is also the sentimental center because both persons who are living and expatriates remember the communal house with all beloved sentiment each time thinking of their villages. If the communal house is the place where male gathers mainly, shores is principally for female. They do all their housework such as washing, cleaning rice and vegetables, etc, and talking here.

By the gate of the village, there is usually a century old banyan tree with a shrine below. The banyan is the place for saints and gods to gather and for peasants to stop on the way to their fields or for passers by…

Viet Nam village autonyms has its own traditional symbol. It is bamboo. The bamboo hedge covers around the village as a firm stronghold which is inviolable.

A series of Vietnamese people’s characters’ strong points and weak points, especially farmers, are generated from two rooted characteristics said above.

The communalism emphasizes on the identity. Due to this, Vietnamese people are always ready to unite and help to each others, regard everybody in the community as brothers, relatives. This also creates collectiveness and harmony of Vietnamese. However, the nagative aspect brought from the identity is that the individual consciousness is abolished. Vietnamese people usually depend on collectiveness with the notion of conciliation. Another serious shortcoming is envy. These defects makes the concept of “value” in Viet Nam relative. If there is only one good thing in a goodless collectiveness, that good thing will become the bad one. If the whole collectiveness is bad, that bad becomes usual, vice versa.

Different from the communalism, the autonyms emphasizes on the differentiation. Firstly is the differentiation between this community and that community. The strong point of this is to create communal independent spirit. Each village, each collectiveness has to settle and arrange its own issues by itself. Many traditional characters such as industriousness, self - sufficiency… are originated from this independent spirit.

However, when emphasizing too much on the differentiation, a series of other characters such as privativeness, selfishness, partial faction or patriarchal behaviour… are born from. These bad habits have become a frightening obstacle for the social development, thus, nowadays, they are criticized by Vietnamese themselves.

Character of a nation is determined by features of habitable environment and peculiarity of people’s thought in that nation. The water rice agricultural environment and the dialectical thought created lunar and solar principle and ambiguous behaviours of Vietnamese. Two rooted characteristics which are contrary to each other to be the communalism and the autonyms generated both good and bad habits. They combine to each other into pairs in Vietnamese people’s. In the case, the whole community has to face to big difficulties or challenges which even though threaten its existence the solidarity and the collectiveness will be highly called forth. But when that difficulties no longer exist, the privativeness and partial faction may rise.

All cultural characteristics mentioned above mainly appear in villages of the Northern plain. In the rule of Nguyen Kings, the Southern plain was exploited. This created more new traits for Viet Nam villages. The commonest characteristic of Northern villages is not the closing autonyms, it is open attitude vice versa. Without solid bamboo hedges surrounding their homes, instead, they are usually changeable. Thus, their characters become freer. These characteristics exist not by chance. The changeability of residents is due to there their villages to find other lands which are more convenient to live. The free character is owing to stable climate, favourable natural conditions with the rare appearance of natural calamity. Open and free characters facilitate to receive easily influences from outside. However, in spite of having different features from Northern villages Southern villages still have bamboos, communal house for worshipping tutelary and have festivals. Although Northern people are free, they still be industrious and still respect the communalism. Thus, Viet Nam cultural identity has still preserved its unification.

Running along the stretch of Viet Nam, there are several villages. Each one beside of common features, has its own impressive traits. It is possible to say that every village or hamlet is also of certain merits or achievements. Among them, there are some ones who are notable for their private traits and they are called traditional cultural villages.

That may be literary villages, lands of study or examination system in which, there are many people who passed examinations or take part in teaching, writing books….Even though, a village with only one well known poet lich as Tien Dien with the great poet Nguyen Du has been regarded as a village of literary tradition.

That may be martial villages, where there are several military leaders or wrestlers and also many sports and martial games. Boc village with the famous wrestling custom is a example.

That may be vocational villages with traditional handicrafts such as incrustation, woodwork, forging… A village’s fame may be due to the whole village does that vocation or just some professionals but their products are esteemed in many places.

That may also market village specializing trade and” commerce. Above are four typical traditional cultural villages in Viet Nam. Right from the feudalism, the cultural value of villages was much respected. Many feudal dynasties were consciousness of bringing up nice qualities of villages. A village who has good families with virtuous persons is also considered to be a cultural village.

When the country encountered enemy at the end of the 19th century, Vietnamese people both coped with invaders and got in touch with new ideas revolution villages or resistance ones were formed and paid homage to. The combination between tradition and newness has done its share in making villages more beautiful.

In history of Viet Nam culture, village culture has developed and brought its influence into play as a substance in communities, collectivenesses and individuals of Vietnamese, meaning in villages of Viet Nam. In order to understand manifestation of village culture, it is necessary to understand these traditional cultural villages.

Content of village culture may be researched through aspects such as social culture, spiritual culture and art culture. Each aspect has many different cultural phenomena, among them, some have become symbols of certain traditional value. Images of communal houses, banyan trees, water wells, mulberry-terraced fields call up something familiar and moving to expatriates. Genealogies, habits, customs is the treasure folk knowledge in which a lot of social and historical information is contained. Historical relics, archaeological vestiges, headstones or festivals with their rich content express significance of religion, habit literature, music, art at many respects.

All has made liveliness as well as the pride for ages of Viet Nam to their villages.

Vietnam Wedding Ceremony

admin — Thu, 04 Jun 2009 23:18:17 +0000

The traditional Vietnamese wedding is one of the most important ceremonies in Vietnamese culture, with influence from Confucian and Buddhist ideologies.

wedding ceremony

Depending on habits of specific ethnic groups, marriage includes various steps and related procedures, but generally there are two main ceremonies:

Le an hoi (betrothal ceremony): Some time before the wedding, the groom and his family visit the bride and her family with round lacquered boxes known as betrothal presents composed of gifts of areca nuts and betel leaves, tea, cake, fruits, wines and other delicacies covered with red cloth and carried by unmarried girls or boys. Both families agree to pick a good day for wedding.

Le cuoi (wedding ceremony): Guests would be invited to come to join a party and celebrate the couple’s happiness. The couple should pray before the altar asking their ancestors for permission for their marriage, then to express their gratitude to both groom’s and bride’s parents for raising and protecting them. Guests will share their joy at a party later.

On the wedding day, the groom’s family and relatives go to the bride’s house bringing a lot of gifts wrapped in red papers. These gifts are similar to those of the engagement: betel leaves and areca nuts, wines, fruits, cakes, tea … Those who hold these trays are also carefully chosen, usually they are happily married couples. Ladies and women are all dressed in Ao Dai. Men could be in their suits or men traditional Ao Dai. The troop are usually led by a couple that is most wealthy and successful among the relatives, this means to wish the to-be-wed couples a blessing life together in the future.

The groom’s family would stop in the font of the bride’s house. The leading couple should enter the house first bringing a tray with wine and tiny cups on it. They would invite the bride’s parents to take a sip. By accepting the toast, the bride’s family agree for the groom family to enter their house. The firework is immediately fired to greet the groom’s family.

The groom’s family would introduce themselves and ask permission for their son to marry his bride. The Master of the Ceremony (usually a respected person among the bride’s relatives) instructs the bride’s parents to present their daughter. The bride then follows her parents out. She is in Vietnamese traditional wedding Ao Dai which is usually in red. Followed are her bride maids. The wedding ceremony starts in front of the altar. The bride and the groom would kneel down and pray, asking their ancestors’ permission to be married, also asking for blessing on their family-to-be. The couple then turn around and bow down to the bride’s parents to say thank for raising and protecting her since birth. They then bow their head to each other, which means to show their gratitude and respect toward their soon-to-be husband or wife. The Master of the Ceremony would gave the wedding couple advices on starting a new family. The groom and the bride’s parents would take turn to share their experience and give blessing. The groom and the bride then exchange their wedding rings. The parents will give the newly wedded value gifts such as golden bracelets, ear rings, necklace… The ceremony is ended with a round applause.

Today, a lot of Vietnamese couples have their wedding ceremony done in Temples or Churches which is very much similar to American and Western style, including exchanging vows and wedding rings. However, they still maintain Vietnamese traditional ceremony in the bride’s home before heading to temples or churches.

A wedding banquet is scheduled in the evening at a hotel or a big restaurant. It is always a delight feast that all relatives, friends, and neighbors are invited. A music band is usually hired to play live songs.

At the banquet, the groom, bride, and their family are once again introduced to the guests and everyone will drink a toast. Dinner will be served at the tables.

During the reception, the groom, bride, and their parents will stop by each table to say thank to their guests. The guest in return, will give envelopes containing wedding cards and money gifts to the newly wedded couples along with their blessing. A lot of weddings nowadays are followed by a dancing party, which is opened by the groom and the bride’s first dance. The party does not recess until very late at night. The newly wedded couples then leave for their honey moon.

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