bindi

bindi, a mark or sticker worn by Hindu, Jain, and Buddhist women and occasionally men on the forehead between the eyebrows. The custom of wearing a bindi in South Asian countries dates back centuries, and the bindi’s significance has changed over time, so that there is not one static interpretation but a multitude of meanings across subcultures.

Some sources suggest that the custom of wearing a bindi has roots in ancient rituals offering blood sacrifices to gods. The bindi maintains its associations with religious practices, some women wearing a bindi specifically during the performance of auspicious rituals. Indeed, it remains a common practice for Hindu priests to mark the foreheads of both men and women with red powder as they enter a temple. Wearing a bindi every day is also thought to serve as a reminder to its wearer to keep God at the centre of her thoughts.

Relatedly, the bindi has associations with the third eye, or ajna chakra. According to esoteric traditions of Hinduism and Buddhism, chakras are focal points where psychic forces and bodily functions merge and interact with one another. Of the 88,000 chakras in the human body, seven run along the centre line of the body. The sixth, the ajna, is situated in the area between the eyebrows. The bindi is said to help control the latent energy released through the ajna chakra during meditation. Also called the third eye, the ajna chakra sees the inner world just as physical eyes see the external world; the bindi helps its wearer access her inner wisdom and interpret matters in an unbiased, rational manner.

A red bindi also serves as a sign of marriage, guaranteeing a wedded woman the blessings and social status of the institution. In some cultures, if a woman becomes a widow, she either replaces the red bindi with a black one or a dash of white ash or stops wearing a bindi altogether. Some women remove their bindis when mourning any family member.

The bindi’s role as a social signifier recalls the tilak, which is a different type of forehead marking worn in South Asia that traditionally denotes the wearer’s religious sect. Adherents of the god Shiva, for example, usually wear three horizontal bands across their forehead, bisected by a vertical line or a circle. The tilak is worn by both men and women, either every day or only for religious occasions as a sign of piety.

While the bindi has religious and symbolic roles, it can also act as a fashion statement. Changes to its mode of application have often led to shifts in trends. Originally, the bindi may have been made from cut leaves, which were pasted to the forehead. Traditionally, however, women have used vermilion or kumkum powder. In the 20th century this could be applied with an ointment, such as petroleum jelly. During the 1930s and ’40s it was common for women in urban locations to wear the bindi as a very small minimalist dot. The look was popularized by Hungarian-Indian artist Amrita Sher-Gil, actress Shanta Hublikar, and Maharani Gayatri Devi. The first stick-on bindis were introduced about mid-century, and liquid kumkum was marketed in the 1980s. Neither of these applications, however, so thoroughly replaced powder as did maroon felt stickers, which had come on the market by the late 1980s. Since then, shapes, colors, and styles have become increasingly intricate, and bindis are worn by married women and unmarried women alike. Young girls have also participated in the trend.

The ease of stick-on bindis and the relaxation of the conventions around wearing them increased their popularity not only in South Asia but also in Western countries. By the late 1990s celebrities such as Madonna and Gwen Stefani were often seen donning intricate bindis. The trend continued into the 21st century, Katy Perry often being bedecked in a jeweled bindi. Singer and actress Selena Gomez, however, courted controversy in 2013 when she wore a bindi during a performance and other promotional appearances. Several Hindu leaders argued that by wearing a bindi as an accessory without understanding its religious connotations, Gomez was oversimplifying or distorting the bindi’s significance. Other commentators noted that while Gomez, a celebrity, could wear a bindi safely, some South Asian women in the West are marginalized or targeted for the same act. In the 1980s, for example, many Indian women stopped wearing bindis in Jersey City, New Jersey, when a group calling themselves “Dotbusters” (referring to the bindi) terrorized the community.