Tattoos

In contemporary Western society, there is a strong focus on how the body looks and performs, and whether it requires regulation. These powerful expectations impact on individual embodiment - the lived experience of having and being a body, including the internalisation and enactment of socially constructed norms (Kosut and Moore 2010; Shapiro 2015). In this article, we focus on the ways in which tattoos are an embodiment of the interaction order (Goffman 1983); a symbolic mediation between individuals and the social structure. To achieve this, we draw upon the experiences of Rachael, a 24-year old woman employed as a receptionist with ten tattoos, to illustrate how social discourses about the ‘normalised’ feminine body can be reinforced and challenged through tattoos. This is evidenced by Rachael’s use of tattoos as part of a suite of ‘technologies of the self’ (Foucault 1988), which make her feel in control and align, and reconfigure, her body with social discourses of femininity. ...

Christian Warlich (1891–1964) is a famous German tattooist and his flash book is one of the most coveted objects in the tattoo world. It is now available in this exquisite edition that includes over three hundred hand-drawn designs restored to their original vibrant state. It also includes photographs and other archival material, much of which has never been published before. This book brings Warlich’s career into new focus, reflecting the latest research on how his early years at sea may have influenced his work. Intricate renderings of cowboys and indigenous Americans, Chinese dragons and Japanese geishas, daggers, snakes, and skulls reveal not only Warlich’s influence in the iconography of tattoos, but also suggest the interplay of ideas with tattooists across Europe, North America, and Asia. The book also explores how Warlich’s estate helped shape the state of tattoo art today. This elegant book is invaluable in understanding the importance of Warlich to the history of tattooing.

This chapter examines the cultural history of Naga tattoo through the voices of Naga elders, a contemporary Naga tattoo artist, Naga writers, among others. One hundred years ago, tattoo was considered everyday wear with a precise and detailed system of codes and socio- religious meanings attached to it. Post-missionization the Naga tattoo was demonized, condemned, and gradually abandoned until the last decade with the re-emergence of an ethnic fashion and cultural revival movement that includes the neo-Naga tattoo. I argue here that Naga artists and writers are actively reshaping the future of the Naga tattoo through art, design, and innovative publications. They give new expression to an inerasable and unquestionable mark of ethnic identity, and in the process may revive the Naga tattoo from the brink of extinction.

For thousands of years astonishingly rich and diverse forms of tattooing have been produced by the Indigenous peoples of North America. Long neglected by anthropologists and art historians, tattooing was a time-honored traditional practice that expressed the patterns of tribal social organization and religion, while also channeling worlds inhabited by deities, spirits, and the ancestors. TATTOO TRADITIONS OF NATIVE NORTH AMERICA explores the many facets of indelible Indigenous body marking across every cultural region of North America. As the first book on the subject, it breaks new ground on one of the least-known mediums of Amerindian expressive culture that nearly disappeared from view in the twentieth century, until it was reborn in recent decades.

Nella immensa ricchezza di esempi prodotti dalla antropologia culturale e sociale, resta emblematico il caso dei missionari in Amazzonia -osservatori severi dei tatuaggi tracciati sui volti dei caduveo -raccontato dal grande etnologo francese Claude Lévi-Strauss nel celebre romanzo-diario di campo "Tristi Tropici". 1 È un esempio significativo della difficoltà di comprendere il tatuaggio come una delle forme della corporeità e della persona diversa da quella ritenuta ovvia da parte della nostra cultura dominante. E al tempo stesso esso rivela la centralità del corpo-immagine ai fini del confronto e del dialogo interculturale. I tatuaggi caduveo avevano in passato incuriosito e scandalizzato i missionari. Rileggendo quelle testimonianze Lévi-Strauss annota: «Il missionario è allarmato per questo disprezzo dell'opera del Creatore; perché gli indigeni alteravano l'apparenza del viso? Egli cerca una spiegazione: è forse per ingannare la fame che passano ore a tracciare i loro arabeschi? O per rendersi irriconoscibili al nemico?». Il missionario è

In addressing skin this paper seeks to illuminate current research within consumer culture theory. Framing our discussion within a consideration of tattoo culture, we explore the double-sidedness of skin, its ambiguity and ambivalence. In this way, we examine the relationship between identity and consumption and throw into question many of the received ideas concerning embodied identity within consumer research. Utilizing three skin metaphors (skin as container, projection surface, and cover to be modified), we generate a ...

Beginning in the late nineteenth century around the Bering Strait, ornate pieces of carved fossil ivory bearing decorations unlike anything previously known from the Eskimo region began appearing in museum collections. These small, deeply patinated artifacts, which originated from ancient village sites across the region and passed from the pockets of Indigenous collectors to American whalers, teachers, traders, and museum curators, were evidence of a distinctive and scarcely known prehistoric maritime culture of northwestern Alaska and neighboring Siberia. Beautifully incised harpoon heads and socket pieces, animated zoomorphic drum and box handles, anthropomorphic figures inscribed with tattoos and body ornaments, and other objects of “unknown use” largely comprised the “high fossil ivory culture” of a society that appeared to have been centered on St. Lawrence Island,
parts of the adjacent Asiatic coast, the Diomede Islands, and portions of the Seward Peninsula of Alaska (Hrdlička 1930:174).

By the mid-1920s anthropological interest in the origins of these Paleo-Eskimo peoples peaked (Collins 1937:iii), resulting in a series of archaeological expeditions to the Bering Strait that continues to the present day. On St. Lawrence Island and the neighboring Chukotka Peninsula of Russia, excavations revealed a succession of closely
related and partially overlapping cultures—Okvik/Old Bering Sea (~50 to 800 CE) and Punuk (800 to 1200 CE)—whose settlements and cemeteries exhibited some of the finest art ever produced by a hunting society.1 Lured to the Bering Strait by vast herds of ivory-bearing sea mammals like walruses and large whales, these maritime peoples from Asia were led by shamans, whaling captains, and notable warriors. Both men and women of these peoples tattooed their bodies and crafted human figurines, or “dolls,” that often displayed ornate and naturalistic personal adornments, including amulet straps, beaded headbands, and permanent body markings that have counterparts in recent history and practice.

Landmarks are developed with a specific name, form, thematic references and concept. Public discourses negotiate the references of each landmark. In the process, the landmark is represented in various media, including merchandise and other en-passant-media. Due to this, the same landmark signifies different meanings in different representations. These develop their own communicative contexts and reference frames, with all of them referring back to the landmark itself. The meanings construct and negotiate not only the symbolic value and reference frame of each landmark, but also influence related place-­-images and the role of individual topics or objects in culture(s). The canonisation of landmarks and their appropriation by different social groups that create different readings and uses of the same geographical spaces is discussed in this paper focussing on the example of The Angel of the North.

Seit den 1970er Jahren spielt das Stechen von Tattoos eine immer größere Rolle als künstlerisches Verfahren. Ein prominentes Beispiel in der zeitgenössischen Kunst ist Damien Hirsts Werk 'butterfly, divided' – ein auf einer Vulva platziertes Schmetterlingstattoo. Ausgehend von diesem zentralen Beispiel untersucht Ole Wittmann in seinem Buch, auf welche Weise Tätowierungen als eigenständige Kunstwerke fungieren können.

Ole Wittmann erläutert die Zusammenhänge zwischen Tattoos und der menschlichen Haut als Trägermaterial und arbeitet so die spezifische Materialität des tätowierten Bildes heraus. Dabei geht er auch den Besonderheiten des Schmetterlingsmotivs nach, das sich schon seit dem 19. Jahrhundert großer Beliebtheit erfreut und in engem Zusammenhang zu dem Ort seiner Anbringung stehen kann. Die materiellen Eigenheiten von Tattoos – ihre Bindung an den Körper – führen außerdem zu der Frage, wie sie als Kunstwerke präsentiert und vom Betrachter rezipiert werden können.

This chapter will examine the cultural history of Naga tattoo in Northeast India through the voices of Naga elders, a contemporary Naga tattoo artist, Naga writers, among others. One hundred years ago, tattoo was considered everyday wear with a precise and detailed system of codes and socio-religious meanings attached to it. Post-missionisation tattoo was demonized, condemned, and gradually abandoned until the last decade with the re-emergence of an ethnic fashion and cultural revival movement that includes the neo-Naga tattoo. I will argue today that Naga artists and writers are actively reshaping the future of Naga tattoo through art, design, and innovative publications. They give new expression to an inerasable and unquestionable mark of ethnic identity, and in the process may revive the Naga tattoo from the brink of extinction.

Le privilège de la noblesse Les dernières représentantes encore en vie ne sont plus qu'une trentaine. Toutes octogénaires, ces VuVu (« grand-mère » en langue paiwan) portent sur leurs mains les traces de ce rituel initiatique visant à marquer leur statut social, invoquer la protection divine et ouvrir les portes de l'après-vie. Si traditionnelle-ment, les hommes Paiwan étaient eux aussi marqués (les chefs portaient sur leurs poitrines des motifs spécifiques et complexes traduisant la puissance de leur statut social), leurs traces ont elles déjà disparu, avec le décès notamment de la dernière génération dans les années 1990. La coutume connaît son premier déclin durant l'occupation de l'île par le Japon de 1895 à 1945. Interdite, elle devient secrète, les femmes allant se faire tatouer dans les montagnes à l'abri du pouvoir. À la fin de la Seconde Guerre mondiale, l'île entre dans le giron de la République de Chine, qui elle aussi désavouera cette pratique. « La passation du pouvoir pris deux ans néan-moins, se souvient Ho Yu-mei, une femme âgée vivant à Laiyi Township, ville montagnarde indigène situé au sud de l'île. Durant cette période, mes grands-parents nous ont encouragé à nous faire tatouer. Mais ensuite, la pratique s'est arrêtée ». Un rite initiatique soumis à des règles rigoureuses La société paiwan reposant sur le principe de classe sociale héréditaire, les tatoueurs (chaque village en avait au moins un) étaient soit noble, soit shaman, soit un homme, soit une femme. Les parents de la jeune fille en passe d'être tatouée devaient offrir au chef du village une boisson cérémonielle à base de vin de céréales. Ce dernier décidait alors de la date à laquelle le tatouage serait réalisé, et choisissait parmi cinq classes possi-Ljalep Qamuljilj, née en 1927, est une noble paiwan. Elle a été tatouée par une femme : « Quand la séance s'est terminée, une cérémonie pour calmer la température des mains était obligatoire. Nous avons aussi prié pour que cela ne s'infecte pas, et que le motif soit clair et brillant » raconte-t-elle.

In the past generations, there has been an evident increase of people getting inked or having a tattoo in different ages. Tattoos in young adults, these days, are representative of different meanings in their life. The study investigated the relationship of perception of tattoos and employability amongst young adults. The study conducted a survey to 70 students who are currently studying in various universities in Dubai, United Arab Emirates. The study found out that there is a undeniable stigma attached to the tattooed young adults. It is found out that tattoos can have a bias in the hiring process, can easily get judged, and colleague won't be comfortable working with them. Conversely, tattooed and non-tattooed young adults perceived that having tattoos cannot limit a person's employability and not a hindrance on job promotion. The study will benefit students, young professionals, and HR practitioners to be more open minded and adapt to changes in the workplace.

In the first half of the 3rd millennium BC, the peasant and metallurgical communities of Occitania (southeastern France) produced and erected a large number of anthropomorphic stelae in their respective territories: Rouergue and High-Languedoc for the Treilles culture, Low-Languedoc for the Fontbouisse culture. Several of these stone objects display particular marks on the face: ‘‘périnasales’’ in one case, ‘‘circumoculaires’’ in the other. Such patterns can be identified as representations of tattoos or scarifications. They are the most obvious part of the opposition system revealed by the structural analysis of the stelae designed by the two cultural groups. The latter would thus have materialized in their respective choices of plastic expression an antagonism probably centered around the copper mining in the Massif Central, on a model close to that brought to light by Claude Lévi-Strauss among the Indians of British Columbia.

Papua New Guinea is the second largest island in the world. Roughly the size of California, it is one of the most rural countries on the globe, with only 18 percent of its six million inhabitants living in urban areas. Incredibly, over eight hundred Indigenous languages are spoken in PNG, accounting for 20 percent of the world’s total.

Just as Papua New Guinea (PNG) is linguistically diverse, it possesses numerous tribal tattooing cultures. And as far back as elders can remember, tattooing has been a local tradition of nearly every coastal people. Here, among the Motu, Waima, Aroma, Hula, Mekeo, and others, women were heavily tattooed from head to toe,1 resulting in some of the most complete body coverage in the Indigenous world.

In the early to mid-nineteenth century, however, tattooing largely disappeared in PNG for a variety of reasons: tribal warfare ceased, missionaries discouraged initiation ceremonies, and tattoos associated with highly ritualized Motu trading voyages (hiri) became obsolete as these seafaring traditions were gradually abandoned (Ryan 1970).

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As a research collective we have discussed a range of methodological issues here and simultaneously worked towards dissolving existing boundaries between self with the field as the Other (Grossman and Kimball, Dass) while constituting or understanding social memory (Wood and Latham, Weber) and framing them as a field for our enquiry. Long-standing epistemological divisions between object and subject (Grossman and Kimball, Wood and Latham, Dass, Weber), observation, participation and performance (Grossman and Kimball, Dass, Rossmanith, Ila Jones and Arries, Winkewinder), notions of inside and outside (Dass, Karl, Weber), and place, space and imagined spaces (Rossmanith, Peaslee) need to fade away. We take positions in the field, off the field, in writing and by not writing ethnographically (Arora 2006). Far from arrogantly claiming to represent others, some of the contributors admit the transformative impact of ethnographic research on themselves (Weber, Grossman and Kimball, Hurst). The evolution of us as persons and as researchers undertaking fieldwork is intertwined and not distinct or separable.
We arhue that in as much as we are governed and shaped by our disciplinary roots, in traversing these disciplinary boundaries we are equally in turn shaping future fields. We value disciplinary appropriation and are committed to translation and the evolution of shared vocabularies. Interdisciplinary methodologies can blur or change existing boundaries but not erode them altogether.

Originally published in "I Ink, Therefore I Am," Wiley-Blackwell, ed. Robert Arp, 2012 (http://www.wiley.com/WileyCDA/WileyTitle/productCd-0470672064.html)

In this paper, I’ll explore tattooing not merely as a form of expression—it is that—but as a practice of writing or inscription, that is, as a praxis or creative labor that tells aspects or parts of the story of the person whose body is inscribed by/through the tattooing. Such practices, I’ll argue, are not rightly conceived in terms of the (dualistic) view that the body/skin is best conceived as that “text” upon which such a practice is performed, or even as a “canvas” upon which meanings are “painted.” Both, I think, offer an inadequately static view of tattooing as a practice. Tattoos, in other words, are never merely “there.” Rather, in telling their stories (stories partly told—however inadequately or incompletely—just in seeing them), they come to inform and are informed by a particular form of life. Like writing, tattooing is animated in being “read” by oneself or others; hence, the having of tattoos is more like engaging in an activity than claiming a possession, their meaning (s) subject to change in light of on-going experience. Tattooing tells a story, I’ll argue, whether we (can) see them, we “forget” them, are embarrassed by them, lie about them, flaunt them, or even have them removed. It’s not just that their stories are our stories, it’s that through them we take up a certain practice of writing, a certain way of inscribing who we are for ourselves and for others.

With the development of new technologies, new dynamic epithelial artifacts (new tattoos) are designed, enabling new types of situated and embodied multimodal communication. New tattoos (NTs) turn the skin into a source of dynamic and reversible inscription, possibly responsive to fine-grained organic variations, and dependent on oriented local perturbation. As new aesthetic-cognitive artifacts, NTs alter the operational and semiotic dimension of the skin, transforming it into a new frame of interactive interface. This paper aims at introducing some epithelial prostheses based on new biocompatible materials and technologies

A pesquisa analisou as possíveis influências visuais que levaram os membros da máfia japonesa Yakuza a selecionarem o repertório de suas tatuagens. Com a verificação da recorrência das principais iconografias encontradas como dragões, peônias e flores de cerejeira, a pesquisa se concentrou em mostrar a relevância dos designs das tatuagens dos yakuzas em diálogo com os padrões tradicionais da arte japonesa no ukiyo-e e no baralho hanafuda. A busca pelas fontes da iconografia revelou a circulação e a transferência de imagens entre a China e o Japão, aspecto que se tornou latente após a grande verificação de elementos chineses como o dragão e a peônia presentes nas tatuagens dos gângsteres. Desse modo, pôde-se concluir, a partir da iconografia das tatuagens da Yakuza, a conexão entre a estética japonesa que possui grande influência da China.

Permanent body modification is an often-overlooked variable in the behavioral sciences. While a correlation between at-risk human behavior and body art is in need of further study, related research on self-harm practices offers similarities where non-traditional and extreme forms of body modification can become a potential physical diagnostic indicator of underlying psychopathology including maladaptive impulse control and childhood psychological trauma. Discussion includes initial guidelines for differentiating common and socially accepted body art methods from those that can be viewed as risk criteria.

The ultimate “think before you ink” guide to accurate and ethical Gaelic tattoos. Written by a Gaelic language expert in Nova Scotia, the book will appeal to anyone who loves Celtic and Scottish culture. Featuring illustrations of real-life Gaelic tattoos gone wrong; tips on how to incorporate Scottish Gaelic words into a tattoo design that honours and supports the culture, language, and speakers; a brief history and description of the Gaelic language; and a glossary of nearly 400 authentic Scottish Gaelic words and phrases suitable for tattoos.
“[An] informative, succinct, and incredibly useful little volume for all with the desire to Gaelicise their skin.” —Àdhamh Ó Broin, Gaelic consultant to the “Outlander” television series

For thousands of years, Native Americans throughout the Eastern Woodlands and Great Plains used the physical act and visual language of tattooing to construct and reinforce the identity of individuals and their place within society and the cosmos. The act of tattooing served as a rite of passage and supplication, while the composition and use of ancestral tattoo bundles was intimately related to group identity. The resulting symbols and imagery held important social, civil, military, and ritual connotations within Native American society. Yet despite the cultural importance that tattooing held for prehistoric and early historic Native Americans, modern scholars have only recently begun to consider the implications of ancient Native American tattooing and assign tattooed symbols the same significance as imagery inscribed on pottery, shell, copper, and stone.

"Drawing with Great Needles" is the first book-length scholarly examination into the antiquity, meaning, and significance of Native American tattooing in the Eastern Woodlands and Great Plains. The contributors use a variety of approaches, including ethnohistorical and ethnographic accounts, ancient art, evidence of tattooing in the archaeological record, historic portraiture, tattoo tools and toolkits, gender roles, and the meanings that specific tattoos held for the Dhegihan Sioux and other Native American groups, to examine Native American tattoo traditions. Their findings add an important new dimension to our understanding of ancient and early historic Native American society in the Eastern Woodlands and Great Plains.

Introduction / Carol Diaz-Granados and Aaron Deter-Wolf
1. Native American Tattooing in the Protohistoric Southeast / Antoinette B. Wallace
2. Needle in a Haystack: Examining the Archaeological Evidence for Prehistoric Tattooing  / Aaron Deter-Wolf
3. Swift Creek Paddle Designs as Tattoos: Ethnographic Insights on Prehistoric Body Decoration and Material Culture / Benjamin A. Steere
4. Tattoos, Totem Marks, and War Clubs: Projecting Power Through Visual symbolism in Northern Eoodlands Culture / Lars Krutak
5. The Art of Enchantment: Corporeal Marking and Tattooing Bundles of the Great Plains / Lars Krutak
6. Identifying the Face of the Sacred: Tattooing the Images of Gods and Heroes in the Art of the Mississippian Period / F. Kent Reilly III
7. Dhegihan Tattoos: Markings That Consecrate, Empower, and Designate Lineage / James R. Duncan
8. Snaring Life from the Stars and the Sun: Mississippian Tattooing and the Enduring Cycle of Life and Death / David H. Dye

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Nella parte settentrionale dell’Inghilterra viveva una popolazione celtica nota come i Pitti. Dei Pitti  (lat.  Picti ) parlano non solo  gli storici latini ( come  Cesare o Pomponio Mela), ma, anche poeti  come Claudiano (IV sec.). Partendo da Plinio, l’immagine dei ‘Britanni’ dal corpo dipinto di blu si  diffonde: dalle descrizioni non è chiaro se si tratta di veri e propri tatuaggi o di colori cerimoniali di  guerra. La tintura usata si diceva fosse ricavata dal guado (isatis tinctoria), che conferiva ai volti e  ai corpi dei guerrieri pitti il colore azzurro. Erodiano parla anche di disegni di animali che ricoprono tutto il corpo dei Pitti che, per questo  non indossano abiti. Una Cronaca  (Chronica de origine antiquorum pictorum) parla invece  chiaramente di tatuaggi incisi con una punta di ferro. Una minuziosa descrizione di come i Pitti si  tatuassero il corpo è offerta di Isidoro di Siviglia nelle  Etymologiae  (XIX.xxiii.7). La descrizione di  un popolo che si era opposto tante volte e, spesso, con successo, ai Romani presenta tutti gli stilemi  della rappresentazione del guerriero ‘barbaro’ dal corpo possente nudo e ricoperto di tatuaggi/disegni. 
Molti secoli  più tardi, nel periodo elisabettiano, un artista inglese, John White, viene inviato in  quella che è l’attuale Virgina con l’incarico di  ritrarre uomini e  terre del ‘Nuovo Mondo’ e esegue  una serie di  acquerelli che rappresentato i ‘nativi’.  Gli Indiani hanno il corpo seminudo  e recano disegni sulle braccia. Le immagini molto simili  ad opera  dello stesso White, incise da Theodor de Bry (e  pubblicate nel  1585), raffigurano invece i Pitti, presentati come i primi abitanti dell’Inghilterra, nudi e  tutti  coperti di tatuaggi, dando, questa volta, voce agli stereotipi della contrapposizione tra  le diverse rappresentazioni contemporanee dell’origine e della composizione del popolo inglese.

Tattoo in Japan is usually considered to be an essential part of the criminal underworld, where images on the body are as familiar as cut fingertips. However, the tradition of tattooing in Japan goes way back to the 17/18 th centuries, in which a specific tattoo culture was related to wellknown images from popular stories like Suikoden. Taking into consideration, that these stories were the base for colorful full body pieces of tattoo art, there is also a semiotic formula, which can be used the explain the specific components of these large art works on human skin.

The first major scholarly investigation into the rich history of the marked body in the early modern period, this interdisciplinary study examines multiple forms, uses, and meanings of corporeal inscription and impression in France and the French Atlantic from the late sixteenth through early eighteenth centuries.

Placing into dialogue a broad range of textual and visual sources drawn from areas as diverse as demonology, jurisprudence, mysticism, medicine, pilgrimage, commerce, travel, and colonial conquest that have formerly been examined largely in isolation, Katherine Dauge-Roth demonstrates that emerging theories and practices of signing the body must be understood in relationship to each other and to the development of other material marking practices that rose to prominence in the early modern period.

While each chapter brings to light the particular histories and meanings of a distinct set of cutaneous marks—devil’s marks on witches, demon’s marks upon the possessed, devotional wounds, Amerindian and Holy Land pilgrim tattoos, and criminal brands—each also reveals connections between these various types of stigmata, links that were obvious to the early modern thinkers who theorized and deployed them. Moreover, the five chapters bring to the fore ways in which corporeal marking of all kinds interacted dynamically with practices of writing on, imprinting, and engraving paper, parchment, fabric, and metal that flourished in the period, together signaling important changes taking place in early modern society.

Examining the marked body as a material object replete with varied meanings and uses, Signing the Body: Marks on Skin in Early Modern France shows how the skin itself became the register of the profound cultural and social transformations that characterized this era.

Available at Routledge: https://bit.ly/37NqUT9


Contents

Introduction: The Impressionable Body

1 Seals of Satan: Demonologists and the Devil’s Mark

2 Demonic Marks, Divine Stigmata: The Female Body Inscribed

3 The Amerindian Tattoo: Signs of Identity in New France

4 Jerusalem Arms: The European Pilgrim Tattoo

5 Stigma and State Control: Branding the Deviant Body

Conclusion: Lasting Impressions


Reviews

This brilliant and gracefully written study weaves an eclectic and original corpus of primary sources into a compelling argument about the cultural implications of body marking in France and its colonies during the early modern period. In addition to being understood as magical signs, devotional gestures or material by-products of the power of the imagination, body marks also served as a powerful means of self-fashioning, and as signs of identification and authoritative control. The book is a must read for anyone interested in how the ancient practice of body marking became transformed into a product of the modern state.
—Allison Stedman, Professor of French, University of North Carolina—Charlotte

Whole worlds of meaning were legible in the marks written by God and man, nature and the cosmos, on the delicate surface that clothed, however porously, the bodies of renaissance men and women. Wounds of many different provenances; tattoos on pilgrims from the holy land, on prisoners and on the native peoples across the globe; birthmarks of various colors and shapes spoke to matters of deep cultural exigency. In this book Katherine Dauge-Roth constitutes, explores and interprets beautifully a whole lost archive of writing on the body.
—Thomas W. Laqueur, Helen Fawcett Distinguished Professor Emeritus of History, University of California—Berkeley

Signing the Body reveals how cutaneous marks were deeply embedded in early modern European culture. In this abundantly researched work, Dauge-Roth examines demonic marks and sacred stigmata, the branding of criminals, Amerindian tattooing, and the Jerusalem tattoos traditionally received by Christian pilgrims. These diverse dermal practices are united, Dauge-Roth argues, by the desire to make the human body a stable site of signification in an age of cultural upheaval and physical mobility. Signing the Body reveals the ubiquity of body marking in early modern Europe, confirming the relatively familiar status of European tattooing practices once thought extraordinary.
—Craig Koslofsky, Professor of History and Germanic Languages and Literatures, University of Illinois, Urbana-Champaign

Tattoo art is a very old form of bodily inscription. In spite of its long history, tattoo art has not changed very significantly in terms of applying new materials and techniques. The impact of developing technologies for the conception of “new” modalities of organic interventions will have ramifications in unprecedented areas, allowing the use of new interactive epithelial interfaces (responsive dynamic tattoos), and creating new ways of interaction and embodied communication. In contrast to traditional tattoo art of static images, “new tattoo art” (NT) allows the generation of dynamic interactive images on the skin. Our purpose here is to present this new field of research and speculate on the role of the designer in the design of dynamic tattoo images, and the implications of these tattoos which transform the skin into a new source of interactive and reversible inscription.

Purpose: The primitive anthropological meaning of genital ornamentation is not
clearly defined and the origin of penile intervention for decorative purposes is lost
in time. Corporeal decoration was practiced in the Upper Paleolithic period. We
discuss the existing evidence on the practice of phallic piercing, scarring and
tattooing in prehistory.
Materials and Methods: We studied the archaeological and artistic evidence
regarding explicit genital male representations in portable art made in Europe
approximately 38,000 to 11,000 years ago with special emphasis on decorations
suggesting genital ornamentation.
Results: Archaeological evidence that has survived to our day includes 42 phallic
pieces, of which 30 (71.4%) show intentional marks to a different extent with a
probable decorative purpose. Of these ornamental elements 18 (60%) were recovered
from the upper Magdalenian period (11,000 to 12,700 years ago) in France
and Spain, and 23 (76.7%) belong to the category of perforated batons. Decorations
show lines (70% of objects), plaques (26.7%), dots/holes (23.3%) or even
human/animal forms (13.3%). These designs most probably represent skin scarification,
cutting, piercing and tattooing. Notably there are some technical similarities
between the motifs represented and some designs present in symbolic
cave wall art. This evidence may show the anthropological origin of current male
genital piercing and tattooing.
Conclusions: European Paleolithic art shows decoration explicitly represented
in a high proportion of portable art objects with a phallic form that have survived
to our day. Decorative rituals of male genital tattooing, piercing and scarification
may have been practiced during Paleolithic times.

Angle-hafted bone tattoo combs are found on many Pacific islands
occupied by people speaking languages of the Oceanic sub-group of
the Austronesian linguistic family, with the most elaborate bone tattoo
tools restricted to Polynesia. A critical problem in understanding
the development of an Oceanic tattooing tradition based on hafted
bone combs is their conspicuous absence from nearly all early sites
in the region. Did tattooing with bone combs arrive in the Pacific
with early Neolithic dispersals around 3,000 years ago, or was it an
innovation that developed in West Polynesia that was later diffused
to other parts of the Pacific? AMS dating and traceological examination
of four bone combs from a site in Tonga indicate they are the
oldest multi-toothed tattooing implements in the Pacific and confirm
the existence of the angle-hafted bone comb technology in Polynesia

2,700 years ago. The basic tattooing toolkit represented by narrow
bone combs from the TO.1 site appear to have been remarkably stable
over millennia and we suggest that the angle-hafted bone comb
probably dispersed from West Polynesia to other parts of Oceania.

En el presente trabajo describiré la cultura del “Body Art” y más específicamente el “arte” de Tatuar. Empezaré con una breve definición e historia del tatuaje, a continuación haré  referencia a sus clasificaciones, corrientes y divisiones. Argumentaré con ayuda de textos especializados, journals y libros, el porque estas prácticas pueden considerarse arte. Me decidí a abordar este tema, ya que desde el inicio de este  curso hemos visto como a lo largo de el siglo pasado la concepción de arte ha ido revolucionando, lo que para algunos era arte para otros eran puras líneas, cubos, etc. Sin embargo a partir de la controversial obra de Marcel Duchamp “fountain” la viabilidad a observar otras técnicas, conceptos y propuestas de arte se ha extendido. Se abrió camino a nuevas tendencias que son o eran cuestionadas como artísticas, es por eso que considero que la percepción del arte hoy en día puede ser lo suficientemente flexible para considerar algunas obras de la cultura del tatuaje como arte.

This essay identifies the intersections of blackness and Indigeneity in the writings of Prince Alexander Liholiho, Samuel Kamakau, King Kalākaua, and Queen Lili‘uokalani as sites of potential for a particular thread of nineteenth-century Kanaka Maoli literary nationalism invested in the body as an epistemological tool and a symbol of sovereignty. This potential is rooted in the body’s connections to Pō, the cosmogonic blackness which began the universe and to which all Kānaka Maoli are genealogically connected. This essay poses an intervention in contemporary discussions of black and Indigenous intersections, asking us to move beyond comparative understandings of the two and instead contemplate what we might gain by examining a particular context in which blackness is a constitutive, foundational element of Indigeneity.