The "Rice of the Presence" (nasi adap-adap) is now prepared for what is called the astakona or setakona, which may be described as a framework with an octagonal ground-plan, built in three tiers, and made of pulai or meranti or other light wood; it has a small mast (tiang) planted in the centre, with cross pieces (palang-palang) in each of the upper stories to keep it in its place; the framework is supported by four corner-posts, on which it is raised about a foot and a half from the floor. The box thus formed is filled to the top with "saffron rice" (nasi kunyit), and in the rice at the top are planted the aforesaid coloured eggs. Into a hole at the top of the mast is fitted the end of a short rattan or cane, which is split into four branches, each of which again is split into three twigs, whilst on the end of each twig is stuck one of the coloured eggs (telor joran), an artificial flower, and an ornamental streamer of red paper called layer, [622] which is cut into all sorts of artistic and picturesque patterns. The setakona is erected in front of the pelamin, on which the bride takes her seat at about 4 P.M. to await the coming of the bridegroom, the members of her own bridal party, including the Muhammadan priest or Imam, continuing the zikir maulud in the reception room at frequent intervals from 9 A.M. until the bridegroom's arrival. The arrangements are completed by placing ready for the bridegroom the "Bridal Mat" (lapik nikah), which consists of a mat of screw-palm leaves (or in the case of a Raja, a small quilt, embroidered in the manner called jong sarat) five cubits of white cloth, which are rolled up and put on one side, and a tray of betel. Returning to the bridegroom, holy water (ayer sembahyang) is now fetched in a cherek (a kettle-shaped vessel) or bucket, for the bridegroom to wash his face and hands, and he then proceeds to put on his wedding garments, as described above, after which a scarf (salendang) is slung across his shoulder. The marriage procession (perarakan) then sets out, the women heading it (penganjor) and the men following, the bridegroom carried upon somebody's shoulders (di-sompoh), and right and left the musicians beating drums, tabors, etc., whilst those who have any skill amuse the company with exhibitions of Malay fencing (main silat) and dancing, etc., to the accompaniment of the zikir intoned by their companions. The arrival of the bridegroom at the bride's house is the signal for a mimic conflict for the person of the bride, which is called melawa, and is strangely reminiscent of similar customs which formerly obtained in Europe.