After the dissari has been the first to consecrate the bridal couple with tika, early in the morning, the couple again take their places under the baldachin at midday. All the members of the village and guests now have the opportunity to give the couple tika and place a sum of money in their folded hands^2 When the last person has given tika, the bridal couple stand up amid rejoicing and ululation, as in the morning, and the woman (followed by the man) enters the house. As she does so, she carries into the house a winnowing fan (kula) with the cord used for the chicken feather and a small lamp (maloi).

The tsoru of the Mothers’ Brothers: mamu tsoru

In the afternoon, the bridal couple are summoned in turn to the mothers’ brothers’ cooking hearths and to that of the father-in-law. Each time, they receive new clothes, drink beer or liquor, and eat the tsoru together with the cooks.


Once the bridal couple have eaten the mamu tsoru, and the kandasalia have finished cooking, the barik invites the village to the feast. Women and men sit sep- worlds (cf., e.g., the illustration in Vitebsky 1993, 134), a comparable meaning is conceivable among the Gadaba. The girli branch, which stretches far above the roof of the baldachin, possibly forms a connection between bosmoti and dorom, the primary cosmological opposites, with the rooster’s blood sprinkled on the lower part of the branch (bosmoti) and the feather tied on at the top (dorom).

  • 81 The mothers’ brothers may also conduct separate sacrifices of roosters, from which they then prepare the tsoru.
  • 82 This process may last several hours, and the tika gifts can also be repeated multiple times, if guests arrive late and want to make up this part.

arately in long rows, and the Dombo sit apart from the Gadaba. Those who receive batia, that is, raw foodstuffs, and have done their own cooking also sit somewhat off to the side. The kandasalia and other helpers distribute first beer, then the festival rice (boji bat). The Dombo musicians, who have played almost without pause throughout the day, now have a brief break before the demsa (circle dance) begins to be danced after the meal. Accompanied by the rhythm of the drums and the melodies of the moiri, men and women trace endless circles into the morning hours.

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