Filipino tribal tattoo
The Filipino tribal tattoo (also called Filipino Tribal Tattoo ) is a tradition of several ethnic groups that goes back to the pre-colonial times of the Philippines , for which the headhunter tribes of the northern Cordilleras of Luzon are known. Common motifs are geometric elements such as lines and circles or animal scales, animals and celestial bodies. In addition to tattoos , scarifications were also carried out in some regions .
General
Originally, the Spanish conquerors called the tattooed islanders "Pintados" (German: "The Painted"). From Legazpi records for entertainment with Rajah Sulayman shows that nearly the entire population of pre-colonial Philippines was not tattooed. Since the declared aim of the Spaniards and later the Americans was the "civilization" of the indigenous population (see The White Man's Burden ), which meant something like the extinction of the original culture and replacement by the new, western culture, the colonial powers were and the Catholic Church is trying to push the tradition of tattooing out of society.
Terminology
Although tattoos are called tatô or tatu in Tagalog nowadays , the original word is batek or batok (depending on the dialect and language region of the Philippines also “batik”, “fatik”, “fatek”, “fatok”, “baruk” or “patik” “Written - possibly related to Malay: batik , dye ). Salvador-Amores (2002) writes that the morpheme policy (also tek written), an onomatopoeic term for "beat slowly," is derived from the noise, which is the Tätowierinstrument during penetration of the skin by itself. The tattooing is carried out by a manbatek or mambabarok , also called pambabatok , which means "tattoo artist ".
Scarifications , as iscommonamong the Aeta , are carried out in various ways. One of these variants is the tuktuk in which the skin of the upper body isfannedwith the help of tinder in order to obtain geometrically evenly arranged scars. In addition, the aeta also practice tayad , a process in which boys' teeth are groundafter their milk teeth have fallen out. With the aid of knives are cutting , corner and the front molars of the upper and lower jaws so broken and ground, that the teeth are pointed and sharp, similar to those of a predator. (see Aeta 4.6 art and jewelry and cf. Mentawai (people) 2.1 body modifications )
Prince Giolo of Moangis
The history of Filipino tattoos is often associated with "Prince Giolo" (also spelled "Jeoly"), "Son of the King of Moangis" (also spelled "Meangis"). This is a slave that the English privateer William Dampier brought to London and Oxford in 1691 in order to publicly display him as an exotic spectacle and thus enrich himself. At the same time, Dampier promised his slave to return to Moangis with him in order to establish trade connections with the locals. Giolo, also known as the "Philippine Prince", fell ill with smallpox shortly after arriving in Europe and died in 1692.
In his notes, Dampier described Giolo as a man who was "painted" from the chest down, even between the shoulders, along the arms and hips. However, he was unable to make sense of the many geometric shapes. But Giolo assured him that most men and women in his homeland had such tattoos. It remains to be clarified where Moangis is. Conjectures range from the Philippine province of Sarangani , an island in the Micronesian state of Yap to an unidentified island in the Celebes Sea .
Original English text of the Giolo leaflet
In London, the slave's owner had a flyer printed for his attraction, on which Giolo could be seen with his tattoos; underneath was:
"Prince Giolo, Son of ye King of Moangis or Gilolo: lying under the Equator in the Long [itude] of 152 Deg [rees] 30 min [utes], a fruitful island abounding with rich spices and other valuable commodities. This famous Painted Prince is the just Wonder of ye Age. His whole Body (except Face, Hands and Feet) is curiously and most exquisitely Painted or Stained full of Variety and Invention with prodigious Art and Skill performed. In so much of the ancient and noble Mistery of Painting or Staining upon Human Bodies seems to be comprised in this one stately piece. The more admirable Back-parts afford us a Representation of one quarter part of the Sphere upon & betwixt his shoulders where ye Arctick & Tropick Circles center in ye North Pole of his Neck ... The Paint itself is so durable, which nothing can wash it off or deface ye beauty of it. It is prepared from ye Juice of a certaine Herb or Plant, peculiar to that Country, w [h] ich they esteem infallible to preserve Human Bodies from ye deadly poison or hurt of any venomous Creature whatsoever, & none but those of ye Royal Family are permitted to be thus painted with it. This admirable Person is about ye Age of 30, graceful and well proportioned in all his Limbs, extreamly modest & civil, neat & cleanly; but his Language is not understood, neither can he speak English. "
German translation of the Giolo leaflet
Translated by Gerhard Raimund Magpoc Krolikowski ( chin .: 高力 , Pinyin : Gāo Lì, POJ : Ko-le̍k, Bay .: ᜄᜓᜎᜒ, Tag .: Gori)
“Prince Giolo, son of the King of Moangis or Gilolo: Located under the equator with a length of 152 degrees & 30 minutes, a fertile island brimming with lush spices & other valuable goods. This famous painted prince is the real wonder of this age. His whole body (except the face, the hands and the feet) has been painted or discolored in a curious way & exceptionally beautifully [-] full of variations & brimming with wonderfully executed art & skill. The ancient & noble mystery of the art of painting and coloring of the human body seems to be summarized in such a diverse way in this one stately work. The even more excellent back parts highlight a quarter of the circle which [goes] on & between his shoulders where the north pole of his neck is centered between the arctic & tropical rings. The paint itself is so durable that nothing can wash it off or spoil it. It was obtained from the juices of a certain herb or plant, unique in what they [the locals] believe to be an infallible means of protecting the human body from deadly poisoning or poisonous animals of any kind, & none but members of the Royal families are therefore allowed to be painted in this way. This admirable person is around the age of 30 [years], graceful & shapely in all limbs, extremely [ sic! ] modest & civilized, neat & neat; but his language cannot be understood, nor does he speak English. "
Social significance in the modern Philippines
During their colonial rule in the Philippines, the Spaniards and Americans not only largely displaced the Filipino writing systems , combat systems and religion, but also the tradition of tattooing. In the meantime, tattoos and piercings are frowned upon in the Philippines, are banned in most educational institutions and are considered an obstacle to job search. An all-too-common argument against tattoos within families, friends and at school in the very Catholic Philippines is Leviticus 19:28, which says: “You should not tear a mark on your body for the sake of the dead, nor etch letters on yourself; because I am the Lord ”. To this day there is a strong attitude towards tattoos.
Non-Christian Filipino Chinese, on the other hand, often read Confucius' Book of Filial Piety (孝经, Pinyin Xiào Jīng) with the sentence: “Our body comes from the individual hair through the piece of skin from our parents, so we should not damage it under any circumstances. This is where childlike love begins. ”(身体 发 肤 ， 受 之 父母 ， 不敢 毁伤 ， 孝 之 始 也.) Quoted to speak out against tattoos.
During the colonial and post-war period, indigenous tribes and thus their tattoo art were pushed further and further into the remote provinces and are now almost extinct. Even in the Cordilleras there are hardly any people with tribal tattoos left.
literature
- Analyn Ikin V. Salvador-Amores: Batek: Traditional Tattoos and Identities in Contemporary Kalinga, North Luzon Philippines. University of the Philippines. (online at: journals.upd.edu.ph ; English)
- Lars Krutak : Kalinga Tattoo: Ancient and Modern Expressions of the Tribal. Translated into German by Eberhard Wormer. Ed. Reuss, Aschaffenburg 2010, ISBN 978-3-934020-86-3 .
- Adolf Bernhard Meyer, Alexander Schadenberg : Album of Philippines types. 1st edition. Dresden 1885, OCLC 8547354 . (2nd edition 1904)
- Diana Preston, Michael Preston: A Pirate of Exquisite Mind: The Life of William Dampier: Explorer, Naturalist, and Buccaneer. Berkeley Trade, New York 2005, ISBN 0-425-20037-X . (English)
- William Dampier: A New Voyage Round the World. Nabu Press, 2010, ISBN 978-1-148-38515-0 . (English)
- Lane Wilcken: Filipino Tattoos - Ancient to Modern. Schiffer Publishing, 2010, ISBN 978-0-7643-3602-7 . (English)
See also
Web links
Individual evidence
- ↑ AB Meyer: Album of Philippines types. Dresden 1885. (online on the Smithsonian Institution website )
- ↑ Bansa.org
- ^ Center for Southeast Asian Studies - Northern Illinois University
- ↑ Analyn Ikin V. Salvador-Amores: Batek: Traditional tattoos and Identities in Contemporary Kalinga, North Luzon Philippines. University of the Philippines, 2002. (online at: journals.upd.edu.ph ; English)
- ↑ Pinatubo Aeta by Khristin Fabian ( Memento of the original dated February 7, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Diana Preston, Michael Preston: A Pirate of Exquisite Mind. Doubleday, London / New York 2004, ISBN 0-385-60706-7 .
- ↑ cf. William Dampier: A New Voyage Round the World. 1697.
- ↑ Indio Ink - Philippine and Austronesian-inspired Tattoos
- ↑ ( Page no longer available , search in web archives: The Painted Prints © - The Prince Giolo Apparel Group ™ - An ARKANE Subsidiary Company )
- ↑ Res Obscura - A catalog of obscure things - Giolo, the Painted Prince (2010)
- ↑ biblestudytools.com
