Comm Proj
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Language Development of Tattoo 1 Nonverbal Communication: The Language Development of the Ancient Art of Tattoo Paper Outline & Annotated Bibliography Katie DuPree COMM 200-02 Perspectives on Human Communication 6 April 2009
Language Development of Tattoo 2 Paper Outline I.) Intro A.) Attention getter 1.) Suppose you’re at the grocery store in the bread aisle and a 30-something mom with two kids in the cart bends over to get to the Wonder Bread. You notice that a bit of her lower back tattoo peaks out. Are you surprised? Well, current research is showing that you shouldn’t be too surprised because in fact, a survey showed in 2001 that 20% of Americans were tattooed (Kosut, 2006). B.) Thesis 1.) What was once a nether-art of the Ancient Polynesians to show cultural pride and later a marker of social outcasts and criminals has become a cosmetic process that people of all socio economic statuses are consuming. This essay (or paper outline in this case) will discuss this phenomenon. C.) Transition 1.) So is this mother of two secretly a criminal, a freak off her leash or of Polynesian descent? Although any of these scenarios are possible, it is more likely that she is just a mom who wanted a tattoo, whether it has some kind of personal meaning to her or she just thought it would look good. II.) First Topic (Discuss origins of tattoos) A.) Intro 1.) So how did this metamorphosis happen? It is common sense that in order to get a good idea of how one reached their destination, they must first know where they came from. B.) Iceman had tattoos (5300 years ago) and there are records of tattooed people dating as far back as 6000 BCE (Doss & Hubbard, 2009) C.) A five day interview describes the tatau process by a tufuga. This Samoan master craftsman does his work according to ancient practice, with the exception of sterilization of materials, which Tulouena has adopted. A traditional Samoan tatau is an excruciating and extensive operation requiring many sessions. The client picks an area to be given the tatau and the tufuga decides on the design. During prep, all materials are stabilized and strips of white cloth are dipped in hot water to clean up free flowing pigment and blood. The procedure takes place in the client’s home where family and/ or friends are present for moral support. The tufugas assistants hold the skin tight as the client lays on the floor in a position suitable for the area being done. Using a needle comb ( au ) and a tapping stick (sausau), pigment made from soot and water is taped into the skin in various designs. After the first session, the craftsman gives the client tapus (restrictions) to keep out infection and evil spirits. Once the final session is complete, a ceremony called the samaga pe’a is held. This is much like the Jewish bar mitzvah because it is an initiation of true man/ womanhood for Samoans (even though many who have the procedure are in their mid-late adult life. During this ceremony, the Samoans eat, drink, and practice merriment. In the original ceremony, the newly tattooed person is supposed to engage in intercourse to display their new adulthood. This is not commonly practiced anymore. The balance of the bill is also paid to the tufuga (Va’a, 2006).
Language Development of Tattoo 3 1.) Make the point that the ceremony that follows is where tattoos get their association with sex and this is why christian religions do not like tattoos. 2.) Make the point that America was founded on the Puritan religion, which is a strict sect of Christianity and this is why Americans see tattoos as taboo. 3.) Make the point that the excruciating pain is what makes the men out to be “macho” in our society. 4.) Rape has been justified on the grounds of a girl having a tattoo (Braunberger, 2000) C.) Transition: Christianity’s views on women and sex have helped determine tattooed women as exceptionally taboo. III.) Second Topic (Discuss tattoos and women) A.) Intro 1.) Speak only when spoken to has been the rule for women since the beginning of time. They have been limited to roles that meet the needs of men whether it is as a sexual object or a supporting role. Women with tattoos are viewed as rebelling to these societal norms. a.) Support: “As symbols demanding to be read, tattoos on women produce anxieties of misrecognition…In a culture built on women’s silence and bent on maintaining silence as a primary part of the relationship between women’s bodies and cultural writing, the rules have been simple. The written body may only speak from a patriarchal script that tries to limit women’s voices and bodies to supporting roles and scenery. Soon a woman’s body any tattoo becomes the symbol of bodily excess” (Braunberger, 2000). b.) Support: “From the 1770’s on, when Capt. James Cook re-introduced tattooing to the Western world from the Polynesian islands, tattooing has primarily been done by men for other men, and has functioned like ahundred other rituals implicitly designed to keep men together and exclude women” (Braunberger, 2000) 2.) So to society, despite the meaning a woman may intend for her tattoo to have, society will view her as a feminist who is trying to tread into “male territory” for having one. B.) Women began getting tattooed so they could be in circuses and freak shows and beauty contests (Braunberger, 2000) 1.) This is another reason why women with tattoos are seen as taboo. This is also a reason for why tattoos are interpreted as belonging to social outcasts and criminals for all kinds of people. C.) This begins to change when women are tattooed without their knowledge for cosmetic purposes. The fact that upper class women got these done begins to break down the idea that tattoos were for those of lowly social status 1.) Many women got rosy cheeks, red lips, etc. tattooed on their faces without realizing the process was actually a tattoo. This scandal even filtered into the upper class women (Braunberger, 2000) D.) Transition: So it is because of women who were initially attempted to be excluded from tattooing that tattoos have started to send negative messages to society.
Language Development of Tattoo 4
IV.) Third Topic (Discuss Commodification) A.) Intro: What women started as far as commodifying tattoos, the media has certainly taken over. In this present day, there are several famous people with tattoos. This list includes actors/ actresses, models, musicians and sports figures. I’m sure the list does not end there either. With the media being our source of knowledge of the fashionable, it makes perfect sense that tattoos have finally broken the barriers of being just for freaks and criminals. 1.) Support: “At the very least, the celebrity tattoo phenomenon contributes to new understandings of tattoo and elevates its social status” (Kosut, 2000). B.) It is also a mistake to think that media only influences youth culture as well. Tattoos have been used as an advertising strategy aimed at adults of the upper classes as well. 1.) Support: “Besides the youth culture market, tattoos are utilized in advertising campaigns geared toward more established adults, particularly those interested in expensive luxury goods. In a frequently reproduced print ad campaign for Versace’s 2002 summer beach collection, russet-skinned, well-slickened models reveal large portions of their bodies from under tiny bathing suits highlighting carefully positioned tattoos. That tattoos are appearing on models bodies’ and are being used to target the present-day leisure classes indicates an elevation in their cultural status” (Kosut 2000). C.)In the same sense, what happens when too many people have tattoos? What happens when people like Carrie Fischer (Princess Leia), who is a middle-aged mom get tattoos? 2.) Kosut comments, “How much longer can tattoos keep their lingering status as emblems of rebellion if obviously uncool, middle aged women chattily discuss them on a major network morning show owned by Disney” (Kosut, 2000)? D.) Transition: However, it is evident that tattoos have come a long way if established middle aged mothers are openly speaking of their ink on National Television. V.) Conclusion A.) So when you see that thirty-something mom reaching for the Wonder Bread in the bread aisle, don’t be alarmed. She’s not a freak or criminal, she’s just a mom with a tattoo. B.) Thanks to Ancient Polynesians, women and the media, her tattoo is not a mark of criminality, it is evidence that she just pays attention to fashion or maybe just has something to say.
Language Development of Tattoo 5
References Bengston, A., Ostberg, J., & Kjeldgaard, D. (2005). Prisoners in paradise: Subcultural resistance to the marketization of tattooing. Consumption, markets and culture, 8, 3, 261-274. Talks about how the subculture that primarily and traditionally practices tattooing do not approve of their practice/art becoming mainstream and commercialized. Subculture recognizes that demand for their service is necessary for their success. Therefore, the subculture views commercialization as bittersweet. The subculture also does not approve of brand tattoos but realizes it has a duty to comply with the desires of the customer. Discusses how even brand tattoos can be made personal by the artist/ customer by using personal meaning to transform brand into identity. Braunberger, C. (2000). Revolting bodies: The monster beauty of tattooed women. Nwsa journal, 12, 2, 1-15. This essay examines what the author will call “The aesthetic revolution of monster beauty” and how it has developed. She talks about how women have both gained and lost power over their own bodies as a result of this revolution by gaining employment in circuses and freak shows and being termed as branded and/ or requesting rape because of their tattoos. Cosmetic tattooing plays a part in this revolution as well because women were unknowingly being tattooed. This fact does positive things for the acceptability of tattoos among women. She compares the stigmas/stereotypes associated with tattooed men as opposed to tattooed women. She mentions how tattoo is considered a sexual act for a woman but not for a man. Doss, K. & Ebesu Hubbard, A.S. (2009). The communicative value of tattoos: The role of public self-consciousness on tattoo visibility. Communication research reports, 26, 1, 62-74. Examines how effectively tattoos are used as a means of artifactual communication by using impression management principles. This study also discusses the phenomena where as tattoo visibility increases, communicative value of the tattoo also increases. It also examines the inverse relationship between tattoo visibility and public self-consciousness of the tattooed person. This study was done via survey of sample populations from parlors and universities. Kosut, M. (2006). An ironic fad: The commodification and consumption of tattoos. The journal of popular culture, 3, 6, 1035-1048. This article is an analysis and evaluation of the acceptability and popularity of tattoos. Pop culture and consumerism are two factors that are explored. Idolizing celebrities with tattoos and the growing need to be associated with a brand are two explanations given to the rising popularity of tattoo. The relevance of this article is that it gives insight into how tattoo has/ is transforming due to media exposure. It’s gone from an ancient nether-art belonging to the Polynesians, to a practice and symbol of social deviants of all sorts, to a a fad item not unlike Versace swimsuits (example used in article) that is purchased by all
Language Development of Tattoo 6 socio-economic classes. It’s main focus seems to be on who is consuming tattoos and why. Unasa, L.F.V. (2006). Five days with a master craftsman. Fashion theory, 10, 3, 297-314. Examines the orignins of tattooing through Tulouena Peni Faamausili, a Samoan, traditional tatau artist. It discusses the need of Samoans to acquire a “Samoan identity” through getting a tatau. This article is the product of a five day interview of the master craftsman. The articles main focus is to analyze Tulouena’s clients in regards to aesthetics and identity. This article also discusses the history of tattoos. Gives various accounts of clients. Describes the majority of the traditional tatau process.
Language Development of Tattoo 2 Paper Outline I.) Intro A.) Attention getter 1.) Suppose you’re at the grocery store in the bread aisle and a 30-something mom with two kids in the cart bends over to get to the Wonder Bread. You notice that a bit of her lower back tattoo peaks out. Are you surprised? Well, current research is showing that you shouldn’t be too surprised because in fact, a survey showed in 2001 that 20% of Americans were tattooed (Kosut, 2006). B.) Thesis 1.) What was once a nether-art of the Ancient Polynesians to show cultural pride and later a marker of social outcasts and criminals has become a cosmetic process that people of all socio economic statuses are consuming. This essay (or paper outline in this case) will discuss this phenomenon. C.) Transition 1.) So is this mother of two secretly a criminal, a freak off her leash or of Polynesian descent? Although any of these scenarios are possible, it is more likely that she is just a mom who wanted a tattoo, whether it has some kind of personal meaning to her or she just thought it would look good. II.) First Topic (Discuss origins of tattoos) A.) Intro 1.) So how did this metamorphosis happen? It is common sense that in order to get a good idea of how one reached their destination, they must first know where they came from. B.) Iceman had tattoos (5300 years ago) and there are records of tattooed people dating as far back as 6000 BCE (Doss & Hubbard, 2009) C.) A five day interview describes the tatau process by a tufuga. This Samoan master craftsman does his work according to ancient practice, with the exception of sterilization of materials, which Tulouena has adopted. A traditional Samoan tatau is an excruciating and extensive operation requiring many sessions. The client picks an area to be given the tatau and the tufuga decides on the design. During prep, all materials are stabilized and strips of white cloth are dipped in hot water to clean up free flowing pigment and blood. The procedure takes place in the client’s home where family and/ or friends are present for moral support. The tufugas assistants hold the skin tight as the client lays on the floor in a position suitable for the area being done. Using a needle comb ( au ) and a tapping stick (sausau), pigment made from soot and water is taped into the skin in various designs. After the first session, the craftsman gives the client tapus (restrictions) to keep out infection and evil spirits. Once the final session is complete, a ceremony called the samaga pe’a is held. This is much like the Jewish bar mitzvah because it is an initiation of true man/ womanhood for Samoans (even though many who have the procedure are in their mid-late adult life. During this ceremony, the Samoans eat, drink, and practice merriment. In the original ceremony, the newly tattooed person is supposed to engage in intercourse to display their new adulthood. This is not commonly practiced anymore. The balance of the bill is also paid to the tufuga (Va’a, 2006).
Language Development of Tattoo 3 1.) Make the point that the ceremony that follows is where tattoos get their association with sex and this is why christian religions do not like tattoos. 2.) Make the point that America was founded on the Puritan religion, which is a strict sect of Christianity and this is why Americans see tattoos as taboo. 3.) Make the point that the excruciating pain is what makes the men out to be “macho” in our society. 4.) Rape has been justified on the grounds of a girl having a tattoo (Braunberger, 2000) C.) Transition: Christianity’s views on women and sex have helped determine tattooed women as exceptionally taboo. III.) Second Topic (Discuss tattoos and women) A.) Intro 1.) Speak only when spoken to has been the rule for women since the beginning of time. They have been limited to roles that meet the needs of men whether it is as a sexual object or a supporting role. Women with tattoos are viewed as rebelling to these societal norms. a.) Support: “As symbols demanding to be read, tattoos on women produce anxieties of misrecognition…In a culture built on women’s silence and bent on maintaining silence as a primary part of the relationship between women’s bodies and cultural writing, the rules have been simple. The written body may only speak from a patriarchal script that tries to limit women’s voices and bodies to supporting roles and scenery. Soon a woman’s body any tattoo becomes the symbol of bodily excess” (Braunberger, 2000). b.) Support: “From the 1770’s on, when Capt. James Cook re-introduced tattooing to the Western world from the Polynesian islands, tattooing has primarily been done by men for other men, and has functioned like ahundred other rituals implicitly designed to keep men together and exclude women” (Braunberger, 2000) 2.) So to society, despite the meaning a woman may intend for her tattoo to have, society will view her as a feminist who is trying to tread into “male territory” for having one. B.) Women began getting tattooed so they could be in circuses and freak shows and beauty contests (Braunberger, 2000) 1.) This is another reason why women with tattoos are seen as taboo. This is also a reason for why tattoos are interpreted as belonging to social outcasts and criminals for all kinds of people. C.) This begins to change when women are tattooed without their knowledge for cosmetic purposes. The fact that upper class women got these done begins to break down the idea that tattoos were for those of lowly social status 1.) Many women got rosy cheeks, red lips, etc. tattooed on their faces without realizing the process was actually a tattoo. This scandal even filtered into the upper class women (Braunberger, 2000) D.) Transition: So it is because of women who were initially attempted to be excluded from tattooing that tattoos have started to send negative messages to society.
Language Development of Tattoo 4
IV.) Third Topic (Discuss Commodification) A.) Intro: What women started as far as commodifying tattoos, the media has certainly taken over. In this present day, there are several famous people with tattoos. This list includes actors/ actresses, models, musicians and sports figures. I’m sure the list does not end there either. With the media being our source of knowledge of the fashionable, it makes perfect sense that tattoos have finally broken the barriers of being just for freaks and criminals. 1.) Support: “At the very least, the celebrity tattoo phenomenon contributes to new understandings of tattoo and elevates its social status” (Kosut, 2000). B.) It is also a mistake to think that media only influences youth culture as well. Tattoos have been used as an advertising strategy aimed at adults of the upper classes as well. 1.) Support: “Besides the youth culture market, tattoos are utilized in advertising campaigns geared toward more established adults, particularly those interested in expensive luxury goods. In a frequently reproduced print ad campaign for Versace’s 2002 summer beach collection, russet-skinned, well-slickened models reveal large portions of their bodies from under tiny bathing suits highlighting carefully positioned tattoos. That tattoos are appearing on models bodies’ and are being used to target the present-day leisure classes indicates an elevation in their cultural status” (Kosut 2000). C.)In the same sense, what happens when too many people have tattoos? What happens when people like Carrie Fischer (Princess Leia), who is a middle-aged mom get tattoos? 2.) Kosut comments, “How much longer can tattoos keep their lingering status as emblems of rebellion if obviously uncool, middle aged women chattily discuss them on a major network morning show owned by Disney” (Kosut, 2000)? D.) Transition: However, it is evident that tattoos have come a long way if established middle aged mothers are openly speaking of their ink on National Television. V.) Conclusion A.) So when you see that thirty-something mom reaching for the Wonder Bread in the bread aisle, don’t be alarmed. She’s not a freak or criminal, she’s just a mom with a tattoo. B.) Thanks to Ancient Polynesians, women and the media, her tattoo is not a mark of criminality, it is evidence that she just pays attention to fashion or maybe just has something to say.
Language Development of Tattoo 5
References Bengston, A., Ostberg, J., & Kjeldgaard, D. (2005). Prisoners in paradise: Subcultural resistance to the marketization of tattooing. Consumption, markets and culture, 8, 3, 261-274. Talks about how the subculture that primarily and traditionally practices tattooing do not approve of their practice/art becoming mainstream and commercialized. Subculture recognizes that demand for their service is necessary for their success. Therefore, the subculture views commercialization as bittersweet. The subculture also does not approve of brand tattoos but realizes it has a duty to comply with the desires of the customer. Discusses how even brand tattoos can be made personal by the artist/ customer by using personal meaning to transform brand into identity. Braunberger, C. (2000). Revolting bodies: The monster beauty of tattooed women. Nwsa journal, 12, 2, 1-15. This essay examines what the author will call “The aesthetic revolution of monster beauty” and how it has developed. She talks about how women have both gained and lost power over their own bodies as a result of this revolution by gaining employment in circuses and freak shows and being termed as branded and/ or requesting rape because of their tattoos. Cosmetic tattooing plays a part in this revolution as well because women were unknowingly being tattooed. This fact does positive things for the acceptability of tattoos among women. She compares the stigmas/stereotypes associated with tattooed men as opposed to tattooed women. She mentions how tattoo is considered a sexual act for a woman but not for a man. Doss, K. & Ebesu Hubbard, A.S. (2009). The communicative value of tattoos: The role of public self-consciousness on tattoo visibility. Communication research reports, 26, 1, 62-74. Examines how effectively tattoos are used as a means of artifactual communication by using impression management principles. This study also discusses the phenomena where as tattoo visibility increases, communicative value of the tattoo also increases. It also examines the inverse relationship between tattoo visibility and public self-consciousness of the tattooed person. This study was done via survey of sample populations from parlors and universities. Kosut, M. (2006). An ironic fad: The commodification and consumption of tattoos. The journal of popular culture, 3, 6, 1035-1048. This article is an analysis and evaluation of the acceptability and popularity of tattoos. Pop culture and consumerism are two factors that are explored. Idolizing celebrities with tattoos and the growing need to be associated with a brand are two explanations given to the rising popularity of tattoo. The relevance of this article is that it gives insight into how tattoo has/ is transforming due to media exposure. It’s gone from an ancient nether-art belonging to the Polynesians, to a practice and symbol of social deviants of all sorts, to a a fad item not unlike Versace swimsuits (example used in article) that is purchased by all
Language Development of Tattoo 6 socio-economic classes. It’s main focus seems to be on who is consuming tattoos and why. Unasa, L.F.V. (2006). Five days with a master craftsman. Fashion theory, 10, 3, 297-314. Examines the orignins of tattooing through Tulouena Peni Faamausili, a Samoan, traditional tatau artist. It discusses the need of Samoans to acquire a “Samoan identity” through getting a tatau. This article is the product of a five day interview of the master craftsman. The articles main focus is to analyze Tulouena’s clients in regards to aesthetics and identity. This article also discusses the history of tattoos. Gives various accounts of clients. Describes the majority of the traditional tatau process.
