During the Sadanggu ceremony, the girl participating in the ritual wears two distinct sets of attire. The first ensemble is worn during the mandi restu, a ceremonial blessing bath that signifies the initial phase of the rite. The second outfit is worn upon the completion of the ritual, symbolizing her transition and the fulfillment of the sacred process.

In the early phase of the Sadanggu ceremony, the girl wears a baju kurung pesak in white—a traditional Malay outfit symbolizing purity and a fresh beginning in a young woman’s life. The ensemble is typically paired with a batik sarong, reflecting the cultural heritage of the local community. Her hair is neatly styled in a traditional bun, representing modesty and the timeless elegance associated with maidenhood.

Following the ritual bathing (mandi restu), the girl changes into a long kebaya, signifying her transition into womanhood and readiness to embrace adult responsibilities. This kebaya is often embellished with intricate embroidery, highlighting the refined artistry and cultural values of the Chetti community. In contemporary practice, some girls may choose alternative attire such as the Nyonya kebaya, long dresses, or even a sari, reflecting personal or familial preferences.

To complete the ceremonial appearance, several traditional accessories are worn. A hairpin (cucuk sanggul) secures the bun, while a set of three brooches (kerongsang) is typically fastened onto the kebaya or its modern alternatives. The most essential and mandatory accessory is the Silambu, an anklet usually crafted from silver or gold, adorned with traditional motifs and imbued with deep symbolic meaning. Each element of the attire and adornments reflects the Chetti community’s values—purity, beauty, and cultural continuity—infusing the ceremony with profound cultural and aesthetic significance.

The tools and materials used in the Sadanggu ceremony are meticulously prepared and arranged according to the specific stages of the ritual. Each item carries symbolic, spiritual, or functional significance, contributing to the overall sanctity, meaning, and successful completion of the rite. These ceremonial elements not only facilitate the ritual processes but also reflect the cultural values and cosmological beliefs of the Chetti community. The following section outlines the key materials and their respective roles throughout the different phases of the Sadanggu ceremony:

Bathing Area

The Sadanggu ceremony unfolds through a series of structured, symbol-laden stages, each deeply rooted in the cultural and spiritual traditions of the Chetti community. It serves not only as a personal rite of passage but also as a communal expression of identity, continuity, and reverence for ancestral customs. The ritual begins with a phase of spiritual cleansing and culminates in the communal recognition of the girl's transformation into womanhood. Each stage is carried out in a deliberate sequence and is performed within the intimate setting of family and close community members, ensuring that the ceremony retains its sacredness and cultural integrity. The following outlines the step-by-step procedures of the Sadanggu ceremony, as practiced traditionally:

Stage One: Ritual Bathing (Mandi Restu)

The Sadanggu ceremony traditionally begins at dawn, a time symbolizing spiritual awakening, renewal, and the emergence of a new phase in life. Its primary objective is to cleanse the girl of spiritual impurities, misfortunes, and unseen disturbances believed to accompany the onset of menstruation. Before the bathing ritual commences, the girl's face and hands are gently anointed with sandalwood powder—an act symbolizing inner peace, serenity, and spiritual purification.

The ceremonial bathwater is prepared as a sacred blend of turmeric water, rose water, and seven selected fragrant flowers, each chosen for their symbolic properties of healing and blessing. The bathing itself is carried out by an odd number of female relatives, typically five, seven, or nine women, comprising both maternal (Mama) and paternal (Ateh) aunts. Using a small ceremonial dipper (cumbu), each woman takes turns pouring water over the girl's right shoulder, left shoulder, and head, in three rounds of blessings.

During the ritual, the girl is dressed in a white Baju Kurung Teluk Belanga and her hair is styled in a traditional bun, reflecting modesty, purity, and cultural identity. Upon completion of the ritual, the ceremonial attire is discarded, a symbolic act of casting away all spiritual negativity and marking the girl's transformation into a new state of being.

Stage Two: Traditional Sweet Offering

Following the purification ritual, the second stage of the Sadanggu ceremony involves the presentation of putu piring kosong, a traditional Chetti delicacy made from steamed rice flour. This simple yet meaningful sweet is served to the girl as a symbol of gratitude and spiritual fulfillment. The act honors the sacred transition she has just experienced and serves as a gesture of thanksgiving for her safe passage into maidenhood. The absence of filling in the putu piring reflects humility and purity, while its soft texture and gentle preparation process signify tenderness and care during this pivotal moment of transformation.

Stage Three: Main Sadanggu Ceremony

In the central phase of the Sadanggu ceremony, the girl is ceremonially adorned in the manner of a bride, symbolizing her transition into womanhood and readiness to assume adult responsibilities. Her hair is styled into an elegant bun (sanggul), embellished with fresh flowers and complemented by traditional jewelry, including necklaces and bracelets. She is then seated on a beautifully draped bench, lined with cloth and uncooked rice grains—a symbol of fertility, abundance, and the continuity of lineage.

At this stage, ritual items for the memusing (circling) ceremony are meticulously arranged by family members. These include trays containing rice, water, dried cow dung (representing earth and purification), oil lamps (signifying divine light), grains, putu piring, bread, and a grinding stone wrapped in red cloth (symbolizing feminine strength). The memusing is performed by a senior female relative, who encircles the girl while holding these symbolic items, enacting gestures meant to protect, bless, and spiritually fortify her.

In addition, relatives from both the paternal and maternal sides present hantaran (ceremonial gifts), which may include saris, cosmetics, jewelry, flower garlands (malai), combs, mirrors, turmeric, and fresh fruits. These offerings represent familial support, affection, and blessings as the girl is welcomed into her new social role within the community. This stage affirms her transformation and symbolizes communal recognition of her elevated status as a young woman.

Stage Four: Chanting of Purification Mantras

This solemn stage is presided over by a Pandaram, a ritual specialist or religious figure who recites sacred mantras intended for spiritual purification and divine protection. The chanting is performed in the presence of ritual items carefully arranged on a ceremonial tray, which includes rose water, kumkuma (red turmeric powder), santanam (sandalwood paste), oil lamps, cumbu water, sacred grass, cupak (a traditional container), betel leaves skewered on sticks, five pieces of bread, uncooked rice, a grinding stone, and five pieces of putu.

The memusing (ritual circling) is initiated at this stage, beginning with the participation of the Mama and Ateh (maternal and paternal aunts) followed by other attending family members and guests. The encircling is performed in five rounds: three in front and two behind the girl, symbolizing complete spiritual enclosure and protection. This ritual motion serves to bless, cleanse, and strengthen the girl as she moves fully into her new role.

Following the chanting, three selected adult women prepare and apply additional ritual elements, including lime water mixed with turmeric, trays of betel leaves, and sudem (traditional marking material). These are used to mark the girl’s forehead with a symbolic pottu (dot), signifying the sealing of her spiritual purity and maturity. The water used throughout the ritual is then discarded outside the ceremonial space, a meaningful act symbolizing the expulsion of impurities and the removal of negative energies from her life.

Stage Five: Presentation of Gifts

Once the circling ritual is complete, the ceremonial gifts are formally presented to the girl. She must wear the gifted sari immediately. If more than one sari is presented (typically five), she is expected to change into each one sequentially. The malai flower garland is placed across her shoulders by her maternal and paternal uncles as a sign that she remains unmarried.

Tanapakiam A/P Ratnasamy

Punisha A/P Arunaghiri Pathair