kalıcı makyaj eğitim verenler

Carol Delaney did her anthropological field research in a Turkish Village during the late 20th century. When she was there, the village still celebrated night of the henna, kina gecesi, for brides and grooms, and Delaney recorded these events for her doctoral dissertation. Her approach in The Seed and The Soil is to analyze of symbolism and metaphor of Turkish village life. One of the themes she explores is the parallel of the abundant earth to the woman's hennaed body (perfect, heavenly fertile soil) ready to be impregnated by her circumcised, believing husband (perfect, heavenly seed.)

For village marriage celebrations, the groom’s family provided the bridal henna. The bride’s part of the night of the henna was in her home, as lavish as the family could manage, with musicians, dancing and feasting, rowdy games and bawdy teasing. The men’s night of the henna was more subdued and took place in the local tea room, and the groom was hennaed in his own home.

The groom’s mother mixed the henna the night before the kina gecesi, covered it with an embroidered henna cloth, a kina ortusu, and left it for the dye to develop. On the evening of the kina gecesi, the groom’s family took the henna to the bride, and seated her on a bed for her henna. Women put candles in the pan of henna paste. They turned out the lamps in the house, lit the henna candles and brought it in, singing, as a western birthday cake is presented.

Henna, kina, was lucky and was a metaphor for the pure, heavenly soil of Paradise. Henna smelled like heaven, whereas earthly dirt smelled … dirty, especially in a village full of livestock. Delaney interpreted the woman as human soil, purified with heavenly soil, and the flame a symbol of male procreation. The image of a large flaming candle plunged into henna may have also had a less lofty symbolism, mimicking a successful marital defloration.