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Tatau (Tatoo)
Tatau (Tatoo): Throughout Samoan history,
tatau (tattoo) seems to epitomize the importance of the dressed
Samoan body. Tattoo is, after all, unique in its permanency, as
the inked designs fuse with the body. However, tattoo has also proven
to be fluid and dynamic, continually defying one-dimensional definitions
and singular meaning throughout its history. Thus, tattoo must be
interpreted on an individual basis, and situated within its broader
historic milieu. In the past, tatau was a spiritual process and
a cultural requirement for those wishing to hold various positions
within society. These traditional tattoos continue to be worn, often
with changed, but still potent, meaning. In addition to the traditional
tatau, many Samoans wear a more contemporary form of tattoo that
draws upon traditional Samoan and contemporary Western motifs. Contemporary
tattoo artists and their clients have developed a new and exciting
Samoan design vocabulary, rooted in tradition, to express specific
personal, family, regional, social and/or cultural statements. Samoan
tattoo, both traditional and contemporary, allows the wearer to
artistically explore and announce his or her Samoan heritage, and
acts as a strongly voiced and permanent display of cultural pride,
especially by those living in the Samoan diaspora.
While
Christian missionaries have frowned upon tatau
since their arrival in 1828/30, it remains firmly
imbedded in Samoan artistic practice. As
manifestations of history, the cultural meanings of
tatau will, as always, continue to change.
Unfortunately, many of the earlier/pre-Christian
histories remain obscure, clouding efforts to
record a clear chronology. Today tatau is performed
out of respect for culture, elders, and family. It
is fa'a Samoa, the Samoan way. Tattooing, however,
more than alters the physical body; it transforms
the wearer's sense of self. Samoans wearing
traditional tattoo almost universally speak of the
inner change they experience while undergoing the
process of outward marking. While the tattoo is a
permanent and highly visible commitment, most
Samoans feel the aspect of pain during the process
is equally important, as they share in the
collective suffering of those tattooed before them.
It is this pain that strengthens their personal
ties to family, community, history, and culture,
ultimately providing the wearer with a sense of
"completion" regarding his or her "Samoanness".
-
Both men
and women continue to tattoo their bodies in a
traditional manner. For men, this traditional
tattoo, called pe'a, runs from just above the waist
to just below the knees. The overall design is
organized within a framework of bounded zones that
are filled in with secondary motifs. While the
overall framework is fundamentally standard,
artistic creativity flourishes within the zones, as
artists inventively manipulate a gallery of
traditional design motifs. Most motifs are highly
stylized visual references to the natural world
(centipede, flying fox, and conch shell).
Individual motifs and designs conceptually relate
to the wearer's family history, his strength of
character, and his commitment to certain behaviors,
such as honoring and caring for family, being
prepared for all crises and events, being firmly
grounded, conquering fear and looking for
challenge.
Each complex design for a
pe'a must be carefully composed to contain the appropriate iconography
and carefully aligned to enhance the natural curvature of the body.
Thus, the skill and knowledge of the tattoo artist (tufunga ta tatau)
must be reaffirmed on each client. Historic records indicate the
esteemed role of the tattoo artist and his basic procedural techniques
have remained fairly constant. The role of tufunga ta tatau continues
to be a position that is primarily hereditary and held solely by
men. The tools of the tufunga ta tatau have also remained somewhat
standard, comprising a set of combs (au), a tapping mallet (sausau),
pigment, a sponge and water. The combs are made from serrated bone
attached to a plate of turtle shell that is then connected to a
wooden handle. The width of the comb (5-50 mm), the number of teeth
(4-60), and the fineness of the serrations vary on the artist's
need. The tufunga dips the sharpened ends of the comb into a thick
pigment made from finely ground candlenut soot mixed with water
(although more recently India ink is also used) and places it above
the skin. In the other hand, the artist holds the wooden mallet
to strike the comb, thus introducing the pigment under the skin.
In addition to the requisite tools, the master artist requires assistants
(often apprentices) to wipe away blood and excess pigment during
the procedure, but more importantly, to hold the skin taut, helping
to keep the bluish/black lines sharp and distinct. In
the past, most boys would begin the tattoo process between the ages
of14-18. To start the process any earlier was deemed unwise, as
growth would distort the design. The completion of the pe'a was
a great event, as it signaled the boy's transition into manhood,
his readiness to serve the chiefs, and his desire to master skills
required to be considered for a future title. On average, it would
take 2-3 months to finish the pe'a, as pain and inflammation required
some rest between sessions. Today, the pe'a is performed on fewer
Samoan men, as they reevaluate the pain, cost, and the social worth
of wearing one. Those that choose to receive the tatau often decide
to accept the commitment when they are asked to take a family title.
Thus, many of these men are in their 20s, 30s or older before undergoing
the process. While the average age has become higher, the average
time taken to finish a pe'a has become shorter. Many of these men
have professional jobs that restrict time away from work, and many
travel to Samoa from other "countries," although some tufunga ta
tatau live or travel abroad to practice their art. Due to these
time restrictions, the process has become more rushed, and is often
finished in a matter of days, rather than months. In terms of design,
however, the pe'a has remained fairly constant.
In the
past, the traditional tattoo of Samoan women,
called malu, was performed on young women somewhere
between the ages of fourteen and twenty-five. These
women were important members of a family whose
special role was celebrated by marking the body.
Today, fewer women wear malu, and there are no firm
restrictions regarding who may wear one and when it
should be applied. Malu is placed primarily on the
thighs and knees, but it can also be found on the
lower abdomen, wrists and hands. Like pe'a, malu is
bilaterally symmetrical, but the design is sparser,
almost lacey, containing linear motifs arranged in
vertical, horizontal, and diagonal rows. While men
and women share many tattoo motifs, the
lozenge-shaped motif called malu is limited to
women. Significantly, it is often the first motif
applied by the tufunga ta tatau, placed behind the
knee joint.
Malu means
to protect. While women's tattoo may have had
protective significance in the past, today it is
discussed in terms of family status and cultural
commitment. When a women is preparing to get her
malu, she (and often family and friends) will be
interviewed by the tattoo artist (tufuga ta tatau)
to determine the motifs to be used and their proper
placement, so that the finished design will
correctly express the family history and
personality of the wearer. Similar design
personalization through personal interview is also
the protocol for men preparing for their pe'a.
Since most Samoan women keep their legs covered
below the knee, malu is rarely visible in public.
Rather it is primarily seen when dancing or sitting
cross-legged to make the ceremonial drink 'ava,
making the permanent commitment to culture directly
relevant to ceremonial events. Although seen on
fewer women today, tattoo masters who perform the
malu on women state that it is of equal importance
as the male pe'a, and that they are worn today for
similar reasons.
"Worn with Pride: Celebrating Samoan Artistic
Heritage" was curated by Teri Sowell, Ph.D.
Learn More:
-Historical
Background
-Worn
With Pride: The Art of Dressing The
Body
-Contemporary
Innovations in
Tatoo
-Saipo
(Bark Cloth)
-'Ie
Toga (Fine
Mats)
-Tuiga
(Ceremonial
Headdress)
-Aesthetics
-Conclusion
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