{"id":19243,"date":"2024-04-03T20:05:30","date_gmt":"2024-04-03T20:05:30","guid":{"rendered":"https:\/\/www.writemyessays.app\/blog\/questions\/what-cultural-societal-and-religious-factors-throughout-history-have-shaped-contemporary-perceptions-of-tattooing-and-body-modification\/"},"modified":"2024-04-03T20:05:30","modified_gmt":"2024-04-03T20:05:30","slug":"what-cultural-societal-and-religious-factors-throughout-history-have-shaped-contemporary-perceptions-of-tattooing-and-body-modification","status":"publish","type":"questions","link":"https:\/\/www.writemyessays.app\/blog\/questions\/what-cultural-societal-and-religious-factors-throughout-history-have-shaped-contemporary-perceptions-of-tattooing-and-body-modification\/","title":{"rendered":"What cultural, societal, and religious factors throughout history have shaped contemporary perceptions of tattooing and body modification?"},"content":{"rendered":"

As I piercer and
\ntattoo artist my clients and views has changed massive amounts.:<\/span><\/p>\n

being hated
\nbecause of what I do for work, being told I am mutilating people. Being told I shouldn\u2019t
\nshow how I look and should be ashamed, I\u2019m too young for my job I shouldn\u2019t be
\ntrusted. Along with physical abuse of hitting and kicking and throwing my tools
\naround verbal assault of getting called nasty names and screamed at. <\/span><\/p>\n

But also, wouldn\u2019t
\nchange my job, to be able to change peoples lives in this way is so fulfilling
\nand even a tiny tattoo or piercing can change a person some much. I am so
\nthankful of what I can\/get to do <\/span><\/p>\n

 <\/span><\/p>\n

.<\/span> types of body mods:<\/span><\/p>\n

-tattoos -Piercings
\n(stretching) -make up and face paint – body paint -fake tan – fake nails and
\nnail varnishes – Eyebrows waxing plucking and threading \u2013 henna – scars and scarification
\n– teeth filling \u2013 braces – teeth fillings – teeth whitening \u2013 hair (cuts,
\nbraiding, beads, shaved, dyes, dreads, straightened, curled, styled, plastic surgery
\n\u2013 binding \u2013 foot binding \u2013 Botox \u2013 corsets \u2013 fashion <\/span><\/p>\n

 <\/span><\/p>\n

 <\/span><\/p>\n

PLAN<\/span><\/p>\n

Rationale<\/span><\/p>\n

Tattooing and body modification have been practised by many
\ncultures throughout history and like today are still surrounded by stigma and
\nnegative societal perceptions. However, there has recently been a noticeable
\nshift in perception, with growing acceptance and appreciation for tattoos and
\nbody mods as artwork. This raises questions about the factors that have
\ncontributed to the stigma towards the industry and the implications it has for
\ncontemporary society. In recent years, tattoos and body modifications have
\nbecome viewed as a form of self-expression or a way of reclaiming one\u2019s body.
\nAlthough there are still some cultural and religious groups that view tattoos
\nas taboo or morally wrong. For example, in many Muslim cultures, tattoos haram
\n(forbidden) because they alter the body given by Allah. Similarly, in some
\nJewish cultures, tattoos are viewed as a desecration of the body considered a
\nholy vessel.<\/span><\/p>\n

Identifying the historical evolution of the stigma surrounding
\ntattooing and body mods is essential to understanding the relationship between
\nthe practices and their societal perception. By examining the practices from
\nmany different periods and cultures, I aim to reveal the main factors that led
\nto the stigmatization of the field. The goal of this deep research and analysis
\nis to challenge current stereotypes and misconceptions and share historical
\ncontext to promote an understanding of the artistry and cultural significance
\nof tattooing and body modification.<\/span><\/p>\n

intro<\/span><\/p>\n

Cultural
\nSignificance and Symbolism:<\/span><\/p>\n

Analyse
\nthe symbolism and cultural meanings associated with tattoos and body
\nmodifications in various societies. Examine how different cultures perceive
\ntattoos and body modifications differently, and how these perceptions have
\nevolved over time.<\/span><\/p>\n

Societal
\nPerceptions and Stigmatization:<\/span><\/p>\n

Trace
\nthe changing attitudes towards tattoos and body modifications in Western
\nsocieties, from stigmatization to acceptance. Discuss the role of popular
\nculture, media representation, and celebrity influence in shaping societal
\nperceptions.<\/span><\/p>\n

Religious
\nand Spiritual Contexts:<\/span><\/p>\n

Investigate
\nthe religious and spiritual significance of tattoos and body modifications in
\ndifferent cultures and belief systems. Explore how religious doctrines and
\npractices have influenced the acceptance or rejection of tattoos and body
\nmodifications within certain communities.<\/span><\/p>\n

Colonialism
\nand Globalization:<\/span><\/p>\n

Examine
\nthe impact of colonialism and globalization on the spread of tattooing and body
\nmodification practices. Discuss how these processes have led to cultural
\nexchange, appropriation, and hybridization of tattooing traditions.<\/span><\/p>\n

Contemporary
\nTrends and Practices:<\/span><\/p>\n

Analyse
\ncurrent trends in tattooing and body modification, including the rise of
\nspecific styles, techniques, and cultural movements. Explore the role of social
\nmedia and digital platforms in shaping contemporary perceptions and practices.<\/span><\/p>\n

Legal
\nand Ethical Considerations:<\/span><\/p>\n

Discuss
\nthe legal and ethical issues surrounding tattooing and body modification, such
\nas consent, age restrictions, and health regulations. Consider the debates
\naround cultural appropriation and the commodification of tattooing and body
\nmodification.<\/span><\/p>\n

Personal
\nNarratives and Identity Construction:<\/span><\/p>\n

Incorporate
\npersonal stories and interviews with individuals who have tattoos or engage in
\nbody modification practices. Examine how these practices intersect with
\npersonal identity, self-expression, and empowerment.<\/span><\/p>\n

Future
\nDirections and Challenges:<\/span><\/p>\n

Speculate
\non the future of tattooing and body modification in a rapidly changing world,
\nconsidering technological advancements, social shifts, and cultural dynamics.
\nHighlight potential challenges and controversies that may arise in the future.
\nBy exploring these themes and incorporating a diverse range of perspectives,
\nhistorical contexts, and contemporary issues, you can provide a comprehensive
\nanalysis of the factors that have shaped contemporary perceptions of tattooing
\nand body modification. Remember to critically engage with the sources and offer
\nyour own insights and interpretations throughout your dissection.<\/span><\/p>\n

consultation<\/span><\/p>\n

 <\/span><\/p>\n

 <\/span><\/p>\n

 <\/span><\/p>\n

\u201cDuring
\nspecial courtship or gift- exchange ceremonies. People may decorate their
\nbodies as part of the a celebration, or to mark an important event or stage in
\ntheir life such as marriage, giving birth to a child or mourning a loved one.\u201d
\n(Powell,6<\/span>, 2003<\/span><\/span>)<\/span><\/p>\n

 <\/span><\/p>\n

Certain
\ndecorations are reserved for chiefs and leaders <\/span><\/p>\n

\u201cThe Polynesians pieced the skin using
\nsharp combs of bone or shell dipped in an ink which they made from soot
\nproduced by burning oily groundnuts\u201d <\/span><\/span>(Powell, 14, 2003)<\/span><\/span> <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cMany indigenous people practise piercing
\nand decoration of their ears and lips, to show, to show membership to a family
\nor group, to make an important stage or events in life, or to reflect their
\nbeliefs and mythology\u201d <\/span><\/span>(Powell, 27, 2003)<\/span><\/span> <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cT Chikrin boys and girls are decorated when they are babies. A boy has
\nhis ear lobes pierced by his father at birth, and red wooden ear discs are worn.
\nHis lower lip is pierced with a string of beads. His eyebrows and forehead are shaved,
\nand his mother, grandmother and other relatives paint linear designs on his
\nbody. At the age of eight, when he leaves his mother to live in the men\u2019s hunt
\nat the centre of the village, his hair is cut and his body painted black. When he
\nis older he will have his hair cut like the adults and wear the larger lip disc
\nof the men.\u201d (Powell,27<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cTxucarram\u00e2e boys wear lip discs made of a light- weight wood called
\nsara. As they grow older, the disc are replaced with larger ones, up to 12cm in
\ndiameter. Plants are also used for ear decoration, such as the leaves of the
\ninaj\u00e0 palm. These are tightly rolled, then stiffened and painted with a
\nchalk-white powder taken from river clay. The most highly prized decorations
\nare feathers like those of the toucan and other colourful forest birds. These are
\nattached with cotton threads and beeswax to a sharpened straw which pierces the
\near.\u201d (Powell, 27<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cthe Suya of Brazil pierce childern\u2019s ears to show that they must listen
\nto their elders. The ear disc is believed to help learning and show wisdom. The
\nlips are pierced to show that a child is gaining speech and understanding. For adults
\nmales, lip piercings represent skill in speaking and also warfare. Colours, too
\nmay be symbolic, with red associated with bravely and warfare and white
\nrepresenting wisdom and understanding.\u201d (Powell, 27<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cChinese practised foot binding. A girl\u2019s feet were usually bound when
\nshe was about six or seven years old. As she grew, the bandages were tightened,
\nso the foot reminded small\u2026 The Lotus foot was a sign of noble birth and
\nconsidered beautiful and dainty.\u201d (Powell,31<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cin Myanmar (formerly Burma), the Padaung women of the kayan state have
\nbeen called \u2018giraffe women\u2019 because of their elongated necks\u2026the women stretch
\ntheir necks by wearing collars of rattan enclosed in beaten brass. As they grow
\nolder, the number of rings is gradually increased, forcing down their ribs and
\ncollar bones and elongating the neck. These collars are symbols of the women\u2019s
\nstatus in society,\u2026 at one time, if the woman was unfaithful to her husband,
\nshe was punished by having her neck rings removed, which meant that her head
\nhad to be held up or supported all the time.\u201d (Powell,32<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cin parts of Indonesia, tooth-filling is practised, to mark the
\nprocession from childhood to adulthood or as a sign that a woman is of noble
\nbirth.\u201d (Powell, 32<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThe Bangwa of Cameroon oil their skin and hair daily with powdered
\nleaves, bark, and wood. When they are celebrating a marriage or birth, or
\ncrowning a new chief, they rub their bodies with red-gold camwood powder,
\nbecause for them red symbolizes life and joy. For funerals, mourners smear
\ntheir bodies with dark clays. Sometimes the patterns show their relationship to
\nthe dead person.\u201d (Powell, 35<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cthe South-east Nuba people of the Kordofa\u00f1 province of Sudan paint
\ntheir bodies to celebrate youth, beauty and strength. Even new-born children are
\ndecorated with red and yellow ochres\u2026 designs are drawn on with fingers,
\nbrushes of grass or straw. Some are abstract; others imitate animals or insects
\nsuch as leopards, giraffes, or wasps.\u201d (Powell, 35<\/span><\/span>, 2003<\/span><\/span>) <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cCicatrization or marking the skin with raised scars, is considered beautiful
\nby many people, and may be used to mark stages or events in life\u201d (Powell, 36<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cthe skin is hooked with a thorn, then cut and rubbed with ash to raise the
\nkeloids.\u201d (Powell, 36<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cFor some tribes, like the Bangwa of Cameroon, scars are a mark of
\nstatus. Many people use piercing to mark stages in life. A Samburu women wear
\ndouble strand of beads looped from her ears for each son who passes into warriorhood.
\nElders of the Turkana and Pokot tribes wear aluminium leaf pendants in their
\nnoses to announce a daughter\u2019s engagement.\u201d (Powell, 36<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThey also show tribal identity and are thought to protect against the
\nsupernatural. For the Surma people, a woman\u2019s beauty and wealth is measured by
\nthe lip plates she wears.\u201d (Powell, 37<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cWomen may remove the plates when talking together, but not when their husbands
\nare present. The size of the plates determines the number of cattle asked by a bride\u2019s
\nparents for her hand in marriage.\u201d (Powell, 37<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cAborigines have a rich tradition of body painting. Members of the
\nfamily may spend hours painting each other, using red and yellow ochres, white
\npipe clay and charcoal applied with fingers or brushes. The pattens they paint
\nare passed down through families or clans and contain symbols representing
\nancestral history and myths.\u201d (Powell, 37<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cFor the M\u0101ori, as for all Polynesian people tattooing was a symbol of
\nrank. the chiefs had their faces and bodies tattooed with elaborate spiral
\ndesigns to make them appear more fierce and impressive in battle.\u201d (Powell, 42<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThe skin was pricked with a sharp chisel or comb of bone or wood, and
\nblack pigment was rubbed in.\u201d (Powell, 42<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cA M\u0101ori chief believed that his character was imprinted in his facial
\ntattoos and even drew them as his signature on documents and deeds.\u201d (Powell, 42<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

\u201cM\u0101ori women also wore tattoos, usually around the mouth and chin, or on
\nthe forehead and between the eyes, because they believed that this made them
\nlook younger and more attractive.\u201d (Powell, 42<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cSome of the older men have the septum of their nose pierced as well as
\ntheir ears. Decorations, such as shells, pigs\u2019 tusks, feathers, bones, and
\nleaves are chosen for both appearance and symbolic meaning.\u201d (Powell, 43<\/span><\/span>, 2003<\/span><\/span>) (about Papua New Guinea)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

The pig festival- \u201cdecorations which may include leaves, shells, bones,
\npigs\u2019 tusks and scarab beetle, are worn through the pierced nose and ears.\u201d \u201cWigs
\nare an important part of the body decoration, because it is believed that
\nancestral spirts live in the hair.\u201d (Powell, 43<\/span><\/span>, 2003<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

 <\/span><\/p>\n

\u201cTo accomplish this ritual creation on the skin,
\nit is important to understand that injecting ink under the epidermis produces a
\nwound, that this wound bleeds and causes pain, and that we need to be mindful
\nof its healing and aging process.\u201d <\/span>(Merino, 11, 2023)<\/span><\/span><\/p>\n

\u201cHygiene and sanitary issues need to be addressed to understand the
\nrisks of injury and to avoid contamination between the tattoo artist and the
\nclient. Explaining the importance of having workspaces inspected for compliance
\nwith the appropriate standards is also crucial.\u201d<\/span><\/span> <\/span>(Merino, 21, 2023)<\/span><\/span><\/p>\n

 <\/span><\/p>\n

 <\/span><\/p>\n

 <\/span><\/p>\n

Was one of the earliest expressions of art, to communicate with each
\nother and a form to self-expression.<\/span><\/span> <\/span><\/span><\/span><\/p>\n

Certain decorations and objects were only for the chiefs and
\nleaders <\/span><\/span> <\/span><\/span><\/span><\/p>\n

The word tattoo or tattooing comes from the tatau meaning \u2018knocking\u2019 or
\n\u2018striking\u2019. <\/span><\/span> <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cPiercing is usually carried out using
\nsharp bones or thorns with plant leaves, feathers and coloured wood used for
\ndecoration\u201d <\/span><\/span>(Powell, 27,
\n2003)<\/span><\/span> <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cIn Japan, the art of tattooing, Irezumi,
\nhas a long history, glazed clay tomb figures dating from ancient times show
\nfacial tattoos which may have the religious or magical meaning as well as being
\nsigns of beauty. In the seventeenth and eighteenth centuries, tattooing was
\nvery popular and artists like Utamaro did designs for tattoos. Later, it became
\nassociated with gangsters and geisha girls, and in the nineteenth century it
\nwas banned by the emperor.\u201d <\/span><\/span>(Powell, 32, 2003<\/a>)<\/span><\/span><\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cAccording to several theories, historically, tattoos were attributed
\nhealing, soothing protective and magical powers.\u201d (Merino, 9, 2023)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

(\u00d6tzi, a more than 5,000 (five- thousand) year old mummy, was discovered
\nin the alps with sixty-one tattoos on his body. They were made from small cuts
\nand using coal. Based on their shape, location, and distribution, it is
\nbelieved they were made to cure or alleviate certain pains, since their
\nlocation coincides with jointed areas easily prone to pain. Over time, tattoos
\nalso become a mark of identity.\u201d (Merino, 9, 2023)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cIn 1988, a carved figure of a man was found in a cave at Hohlenstein-Stadel,
\nGermany. It was carbon dated at an amazing 32,000 years old and was marked with
\nline running along the upper arms.\u201d (Brown, 27<\/span><\/span>, 2018<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThe connection between tattooing and the circus began in 1804, when
\nJean Baptiste Cabri \u2013 who had been tattooed by the people of the Marquesas, and
\nwho in turn learned the art from them \u2013 returned to England and became a
\nCarnival performer. He was also able to replicate the tattoos for the audience
\nand his popularity grew.\u201d (Brown, 24<\/span><\/span>, 2018<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cthe great nineteenth- century showman P.T. Barnum is credited with
\norganising the first group exhibition of unique individuals. One of the
\nprincipal attractions at Barnum\u2019s American Museum in 1842 was James F
\nO\u2019Connell, who had the honour of being the first tattooed man ever exhibited in
\nthe United States. He entertained his audience with tales of exotic adventures
\nand according to O\u2019Connell, savages and Ponape, in the Carloine Islands,
\ncaptured him and forced him to submit to tattooing at the hands of a series of
\nvoluptuous virgins. He was forced to marry the last one to have tattooed him.
\nMuseum patrons, most of whom had never seen tattooing before, were impressed.\u201d
\n(Brown, 24<\/span><\/span>, 2018<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cMany tattoo artists at the time made most of their money while
\ntravelling with the circuses during the spring and summer, returning to their
\nshops and homes in the winter. The circus served as a showcase where tattoo
\nartist could attract customers by exhibiting their work to a paying public. And
\nin many cases the only surviving records are in the form of the photographs and
\nposters that were used for circus publicity. (Brown, 25<\/span><\/span>, 2018<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

Maud Wagner only agreed to date Gus Wagner if he was to give her lessons
\nin tattooing.<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cHorace Ridler, also known as the great Omi, or the Zebra man, who was
\nthe most famous tattooed man in the UK in his day. In1927 he asked London\u2019s
\nleading tattoo artist, George Burchett, to tattoo him all over, including his
\nface with inch-wide Zebra strips. Ridler also had his teeth filed down to sharp
\npoints, had his nose pierced so he could insert an ivory task and ear lobes
\npierced and stretched. To become a freak in order to earn a livehood was a
\ngamble that might not have a pay off, but rilder became one the the most
\nsucceeding freaks in the history of the circus, succeeding because he was
\nunquie.\u201d (brown, 26<\/span><\/span>, 2018<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cInteresting, in 1909 a flyer from the United States navy stated that
\nindecent or obscene tattooing was a cause of rejection, but applicants should
\nbe given a chance to alter the design so they could enter the navy.\u201d (Brown, 20<\/span><\/span>, 2018<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cMany tattoo designs from the first world war were left over from the Spanish
\nAmerican war (1898). Those patriotic, sentimental, religious, heroic nautical
\nand friendship-based designs seemed to be universal no matter what war was
\nbeing fought. Often all it takes is a subtle change to update an image and make
\nit look more modern, like the hairstyles on pin-ups, the types of hats on sailors
\nor the type of ship shown on a chest piece.\u201d (Brown, 20<\/span><\/span>, 2018<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThe reason why soldiers want tattoos is, on a really basic level, it\u2019s
\nthe fighter instinct, it\u2019s the warrior within us and warriors have always
\ndecorated themselves says Dan Gold in an interview for the BBC, who took inspiration
\nfrom Mr Burchett. \u2018To get tattooed is almost like putting on armour; you feel
\nstronger once you\u2019ve got it.\u2019\u201d (Brown, 20<\/span><\/span>, 2018<\/span><\/span>) (George Burchett)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cFollowing the war, the Sombre mood that hung over millions meant that
\ndesigns changed again, this times to memorials \u2013 images of graves, crossed
\nflags and representations of the unity of nations. The tattoos of this period
\ntold their own stories, reflecting the pain and the change in mood of a nation.
\nThis work carries on to this day, with many modern-day soldiers getting tattoos
\nwith the same sentiment as those by Burchett.\u201d (Brown, 22<\/span><\/span>, 2018<\/span><\/span>)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThe end of the
\n1920s there were more than 300 fully tattooed people employed by the travelling
\ncircus. For many of the individuals the circus would offer them a place of
\nsafety, away from the comments of middle class society, somewhere that they
\ncould show off their art in a wekcoming environment with likeminded people
\naround them. (Brown, 26<\/span>, 2018<\/span><\/span>)<\/span><\/p>\n

 <\/span><\/p>\n

During the 1600s
\nbranding irons were used to make felons or deserters in England this was
\nabolished in 1829- with the exception of army deserters). Later they were
\ntattooed rather than branding and this practise was totally abandoned in 1878<\/span><\/p>\n

 <\/span><\/p>\n

\u201cFridrich Barbarossa
\n(Red Beard), holy Roman Emperor and king of Germany from 1152 to 1190, is often
\nseen in illustration with cross designs on the back of his hands.\u201d <\/span>(Brown, 27, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

Kaiser Wilhelm II, Emperor of Germany, was rumoured
\nto have an eagle tattooed onto his chest.<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cnor forget that the first professional tattooist
\nin the United States was Martin Hildebrandt, a German immigrant. Nora Hildebrandt,
\nMartin\u2019s daughter, is credited as the first female attraction in the United States.
\nIn the 1860s she also had the grand title of being the first professional tattooed
\nlady and she travelled extensively with Barnum + Bailey\u2019s Circus in the 1890s.\u201d
\n(Brown, 27, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cMany argue that gaining a prison tattoo could be
\ndue to wanting a sense of belonging or being part of something, while some may
\nsay it\u2019s to mark an individuals uniqueness and to make them their own person in
\na world where they are treated the same as the next inmate serving time.\u201d (Brown,
\n28, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/span><\/p>\n

\u201cThere has been long-standing association between
\ntattoos and criminality, or some would say. However, it is felt that this has
\nmore to do with attitudes and stereotyping in the modern world.\u201d (Brown, 28, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cWhen people were charged with a crime in ancient
\nChina they had their crime tattooed onto their foreheads and faces, so that
\neveryone knew what they were being charged with. This bought shame and
\nhumiliation to both the individual and their families, resulting in many being
\ncast out from their homes.\u201d (Brown, 28, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThe criminal would have a single ring tattooed
\nfor each crime. This was eventually abolished, and the art of tattooing was
\nbanned altogether, being viewed as barbaric and lacking respectability. This created
\na subculture of criminals and outcasts as these people would have no place in
\ndecent society and were frowned upon.\u201d (Brown, 28, 2018) Japan and the Yakuza <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

Daily mirror article in 1965 which reported \u201ca
\nstory of a plastic surgeon who was touring British jails and removing tattoo
\nmarks from prisoners to help them forget their criminal past.\u201d \u201cThe scheme was
\npart of a plan be the home office to help criminals lead a normal law-abiding
\nlives when they are released.\u201d (Brown, 36, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cMedical tattooing was used in Cairo in 1898 as a
\ntreatment for women who were suffering from various pelvic conditions. It was
\nbelieved that tattooing would relieve the unbearable pressure and thus the pain
\nexperienced.\u201d (Brown, 54, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cIn Polynesian societies it is the actual pain felt
\nduring the practice of tattooing that is said to cure certain medical problems.\u201d
\n(Brown, 54, 2018)<\/span><\/span><\/p>\n

\u201cIn Samba, tattooing was used as a distraction for
\ncertain medical procedures; for example, during childbirth.\u201d (Brown, 54, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

We still use tattooing in the medical world to
\naid healing processes, add pigment back into the skin, micropigmentation, scar
\ncover ups and even areola restoration.<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cDue to sharia law, the majority of Sunni Muslims
\nhold that tattooing is religiously forbidden. The view is that the human form was
\ncreated beautiful and therefore should not be charged in anyway.\u201d (Brown, 46, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cTattoos are permissible in Shia Islam, though.
\nIn Judaism Tattoos are forbidden based on the Torah, Which states: \u2018you shall
\nnot make gashes in your flesh for the dead or incise any mark on yourselves.\u2019\u201d (Brown,
\n46, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cIn Hinduism, many women tattoo their faces with
\nseveral dots around the chin and eyes to wand off evil and enhance their beauty.\u201d
\n(Brown, 46, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cPolynesian tattooing, or mako, was done by
\nprofessional artist and symbolized social rank. A design was curved into skin,
\nand black pigment was rubbed into the cuts.\u201d (Favazza,
\n150, <\/a>1996)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cWhen M\u0101ori chiefs were asked to sign land deeds
\nby Europeans, they drew their face pattens on the paper in the lieu of a
\nsignature or a cross. After death the heads of beautifully tattooed men were
\nsometimes cut off and displayed on a pole, cured over a fire, and kept as a
\nmemorial, or sold to admirers.\u201d (Favazza, 150, 1996)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

In Hawaii women had their tongues tattooed to mourn
\nthe death of a chief.<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

In New Guinea girls get tattooed at different
\nstages of their lives. First their hands and arms, later on the bellies and
\nbacks. \u201cWhen they become eligible for marriage, their buttocks are tattooed.\u201d (Favazza,
\n152, 1996)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cAsian prostitutes tattooed their sexual organs as
\namulets to ward off venereal disease.\u201d (Favazza, 152, 1996) branding
\nprostitutes showing they belong to their pimp.<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

 <\/span><\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

Conclusion <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cIn the theatre, in ceremonies and rituals, and
\neven in everyday life, body decoration is found in every country. It can
\nestablish or change a person\u2019s identity, make a statement, or simply make the
\nwearer look more attractive. However, it is used, body decoration is an
\nimportant form of self-expression all over the world.\u201d (Powell,45, 2003)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThe phenomenon of \u2018self-mutilation\u2019 is not
\npurely biological, or psychological, or social determined act but rather involves
\na combination of these factors as they operate within the web of culture.\u201d (Favazza,
\n325, 1996)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cBe it because they embody personal stories,
\nbecause they are done in memory of loved one, or to communicate both idea and
\nattitude towards life, tattoos carry an emotional weight. Often it is also
\nsteams from desire to differentiate oneself or to be integrated into a particular
\nsocial groups. Sometimes beauty is the goal; other times, it signals
\nrepudiation by non-like-minded groups. In any event, the art of tattooing seems
\nto have always had a certain mystical quality. In Someways, this aspect has
\nsurvived to the present day, regardless of the evolution of the art form and
\nall technical advances it has made. For this reason, every tattoo session,
\nwhether past or present, East, or West, tribal or urban, has an extremely important
\nritualistic element.\u201d <\/span><\/span>(Merino, 9,
\n2023)<\/span><\/span><\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cWhether we were native Americans returning to
\ntraditional ways or urban aboriginals responding to some inner universal archetype,
\none thing was clear: we had all rejected the western cultural biases about
\nownership and use of the body. We believed that our bodies belonged to us. We had
\nrejected the strong Judaeo-Christian body programming and emotional conditioning
\nto which we had all been subjected. Our bodies did not belong to some distant
\ngod sitting on a throne; or that god\u2019s priest or spokesperson; or to a father,
\nmother, or a spouse; or to the state or it\u2019s monarch, ruler, or dictator; or to
\nsocial institutions of the military, educational, correctional, or medical
\nestablishment. And the kind of language used to describe out behaviour (\u201cself-
\nmutilation\u201d) was in itself a negative and prejudicial form of control.\u201d (Musafar,
\n326) This is something that I could agree more with as I piercer and tattoo
\nartist.<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cAncient texts such as the Hou Han-Shu (history
\nof the later Han) describes the Wa, inhabitants of Japan at the time, as extremely
\ndedicated to the decoration of their bodies and of their whole environment.\u201d (Moriarty,
\n9, 2018) <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThis practice finally fell into disuse after being
\nprohibited in 1720 by the eight shogun of the Tokugawa clan, Yoshimura. After
\nthat tattooists stopped using the term irezumi to define their work, wishing to
\ndifferentiate artistic discipline from this brutal practice.\u201d (after using
\ntattooing as a form of punishment\u201d (Moriarty, 9, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cWhen Edo\u2019s inhabitants started to look for
\npeople who could tattoo them with Ukiyo-e motifs, they hit upon this small
\ngroup of carvers, who were familiar with the required themes and motifs and who
\nhad acquired the necessary skills through their craft. Kite makers and painters
\nwere also among the earliest tattoo artists.\u201d (Moriarty, 12, 2018) <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

In the 16th<\/sup> century \u201cSamurai going
\ninto battle had themselves tattooed with the symbol of their clan or the date
\nof the battle, anticipating that they would not come back alive; those who did
\ncome back often committed suicide so as to keep their vow.\u201d (Moriarty, 17, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThere was a large number of ex-prisoners or criminals
\non the run, and to cover the marks that they had received to signal their
\ncrimes they used tattoo art. All these individuals shared the fate of being cast
\nout of society, and their tattoos served as a way to separate them from others
\nand as a means of intimidation.\u201d (Moriarty, 18, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cAll their tattoos were thus on display and used
\nthem to specify their particular trade. For example, fishermen tattooed fish on
\ntheir forearms.\u201d (Moriarty, 19, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cTraditional Japanese tattooing is done by hand,
\nwith the tattooed artist sitting on the floor and the customer lying down. A
\nbamboo rod with a series of rows of flat needles attached to the end of it is
\nused. The tool is called Hari and the black and grey ink sumi. This technique
\nis called Tebori, due to the area of the hand that supports the rod during
\ntattooing, between the thumb and index finger. Although today there are still a
\nlot of tattoo artist in Japan who continue to use the Tebori technique and
\ntherefore tattoo by hand, the introduction of the Western tattooing machine at
\nthe end of the nineteenth century inevitably influenced the artistic
\ndevelopment of tattooing by allowing much more precision in lines than that achieved
\nthrough the Tebori technique. As a result, the final tattoo is closer in style to
\nUkiyo-e illustrations, the ultimate aim of any master. Currently, learning to
\ntattoo is mostly based on this combination of using the machine for lines and Tebori
\nfor colours and shades.\u201d (Moriarty, 32, 2018)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cA third-century Chinese account mentions that
\nJapanese people tattooed themselves to mark social class and protect themselves
\nfrom harmful sea creatures.\u201d (Ashcraft and Benny, 4, 2016)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cIn Japan, horish study and train for years to master
\ntheir craft. In the past, that meant a lengthy apprenticeship, or deshi, would clean
\nup the studio and practice drawing and tattooing himself (or more recently,
\nherself). This would continue until the day the master, or shisho, finally
\ndeemed the pupil good enough to work on actual clients.\u201d (Ashcraft and Benny, 4,
\n2016)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThere are also notions in Japan that tattoos are
\ndirty, because unclean needles spread a whole array of diseases, as well as a Confucian
\nbelief that it is disrespectful to modify the body bestowed on you by your
\nparents.\u201d (Ashcraft and Benny, 6. 2016)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThis was a time when information about tattoos
\nwas still scarce and techniques were only passed down from master to
\napprentice.\u201d (Ashcraft and Benny, 11. 2016) however, maybe this was a good
\nthing as people are now giving themselves tattoos at home and other unsafe
\nplaces, and thinking they can tattoo from watching it a couple times, watch a YouTube
\nvideo and good to go, when so much more in needed and has to be learned before
\neven thinking about going on skin. This doesn\u2019t help the whole look of tattoos and
\nbody mods cause the same for piercings and people doing at home.<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cLapita pottery is of special interest for the
\nhistory of tattooing because it provides us with the oldest evidence as to the
\nnature of the ancient Polynesian tattoo designs. Much Lapita pottery bore incised
\ndecorations consisting of V-shaped elements, interlocking geometrical patterns,
\nand stylized motifs resembling mask and sea creatures.\u201d (Gilbert and Gilbert,
\n22, 2000)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThe Artist dipped the instrument in a black
\npigment made of soot and water and executed the tattoo by striking the
\ninstrument with a small mallet.\u201d (Gilbert and Gilbert, 22, 2000) this was used
\nover 3000 years ago and still used today mostly in prisons.<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cThe double or reflected character of the tattoo
\ndoes not limit itself to the artistic or technical side, but also completely affect
\nthe ontology of the societies who practice it, an ontology that includes their
\nenvironment and non-human animals.\u201d (Martell and Larsen, 7,8.2022)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cIt requires a paying client to work with a
\ntattooist in the formulation of a suitable brief (consultation process); the
\npreparation development of a design (design process); the preparation development
\nmaterials (preparation process); and the creation of an outcome (tattooing
\nprocess), which extends through the healing process, to achieve the intended
\nappearance.\u201d (Martell and Larsen, 45.2022)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

\u201cfor many clients, social media is a tool to
\ndiscover designs, and styles, and practitioners. Tattooing images from
\ninternational contexts are made accessible through social media platforms,
\nacting as a resource for tattoo idea generation.\u201d (Martell and Larsen, 45.2022)<\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

 <\/span><\/span><\/p>\n

Bibliography<\/span><\/b><\/p>\n

Calver, L. (2023) <\/span>Tattoos: A
\nhistory of traditions and Social Stigma<\/i>, <\/span>Talking About
\nMy Generation<\/i>. Available at:<\/p>\n

Tattoos: A history of traditions and social stigma<\/a><\/p><\/blockquote>\n