Tattooing and Piercing: The Body as a Site for Performing the Self Essay Sample

or piercings for reasons like aesthetics, religion, or sexual expression.

People attend events for various reasons, whether it be for exhilaration, personal motives, political statements, or as a sacred ritual. The significance and worthiness of each intention are equal, with many seeking to find something that is genuine and meaningful.

Throughout many civilizations for centuries, tattoos and piercings have been common forms of body art. The significance of each varies, ranging from spiritual rites to decorative purposes. In Western history, these forms of body art have often been rejected and deemed as symbols of Satan. Fortunately, in recent centuries, these misconceptions have diminished and are now commonly viewed as disapproval of permanent alterations to the body.

The art of tattoos dates back over 5300 years and was historically associated with painful patterns that marked a transition or demonstrated bravery in warriors. However, some have argued that this form of organic structure art is simply an act of self-mutilation typically reserved for heathens and criminals.

Throughout all inhabited continents, body piercing has been a longstanding form of organic art, dating back to the 9th century B.C.

The piercings that were common in Iraq were mainly for spiritual or ceremonial purposes and served as a display of social status and level of enlightenment, which was a widespread practice globally.

Tattoos and piercings have a long-standing history spanning centuries, with connotations ranging from aesthetics to conduct, sexual improvement, and denoting the social standing of prisoners and slaves.

Throughout the course of time, tattoos have been viewed as a form of creative self-expression and representation of genuine individuality and considerable wealth. Skilled tattooists possess the ability to infuse tattoos with exceptional grace and complexity

through their use of needles.

The art of tattoos has been popularized and adopted by various cultures across different continents throughout history. While some people get tattoos as a form of self-expression and individuality, ancient societies used tattoos as a means to identify local group membership or to convey spiritual, magical, religious, or personal beliefs.

The most ancient human body discovered with tattoos is that of a Bronze Age man who passed away more than 5300 years ago, as documented in Raferty's History in 2002. This well-preserved individual was found frozen in an Otzal Alps glacier spanning Austria and Italy.

According to Raferty's History (2002), ancient tattoos served both as decoration and as having mystical and healing purposes.

According to archaeological evidence, the use of tattooed plants in artistic demonstrations dates back 30,000 years. Additionally, tattooing was practiced during the construction of the pyramids of Gizeh in Egypt during the third and fourth dynasties (2686-2493 B.C.).

Egyptians in the 11th dynasty (2160-1994 B.C.) utilized acerate leafs in their procedure and adorned clay dolls with tattoo-like designs. The mummified cadaver of Amunet, a priestess of the goddess Hathor at Thebes, also exhibited similar designs.

According to Raferty's History in 2002, C. was discovered in excellent condition with tattoos of parallel lines on her arms and legs, as well as an oval pattern below her belly button.

Both men and women in Libya were discovered with tattoos depicting Egyptian deities including Ra, the Sun God, and Neith, the fierce goddess who led soldiers into battle. The initial recorded tattoo was of the God of fertility and revelry.

Bes. was found on a Nubian female dating back to 400 B.C. Tattooing was a primitive practice that

disappeared in Europe as Christian civilization progressed; only the bodies of Christians were tattooed as a symbol of shame. The Greeks employed tattooing for communication among spies, while only slaves and criminals were marked with tattoos by the Romans.

Household crests were commonly tattooed by the Danes, Norse, and Saxons, but the practice was prohibited by Pope Hadrian in 787 A.D. Nonetheless, tattooing remained popular until the Norman Invasion of 1066.

Tattooing was absent in Western civilization for four centuries, from the twelfth century to the 16th century, according to Raferty (History, 2002). During this time, the Native American people of Alaska were influenced by the Ainu people of Far East. This happened in the Americas.

According to Jesuit missions, tattooing was a prevalent practice among the native people they encountered. The Indians utilized irritants, sharpened bones, and chiseled stones to create intricate designs on their skin. They also used carbon black and pigments from specific berries to add color to their tattoos.

Tattooing has a long history in South America and was believed to have existed since the 12th century. The Aztecs, Mayans, and Incas all practiced tattooing, and many Native American communities used tattoos for curative purposes (Raferty, History).

Tattoos and body piercings have been a popular form of artistic expression across the globe, seen as a lasting symbol of cultural sophistication. Their significance has continued to hold true in most societies up to present day. Historical evidence shows that the art of body piercing dates back to the 9th century B.C., as evidenced by rock carvings found in what is now modern Iraq.

Various civilizations, such as the Mayans, Aztecs, Romans, Egyptians, and Victorians, utilized

natural body piercing as a symbol of their unwavering spiritual convictions.

Rites of transition were used to differentiate royalty from commoners in ancient civilizations. To mark the transition from childhood to adulthood, Egyptian Pharaohs utilized navel piercings. As a demonstration of their manhood, Roman soldiers also had their own rites of passage.

According to Raferty's History (2002), Victorian male and female royals expressed their strength, virility, and royal status by getting nipple and genital piercings.

The book of Exodus refers to the practice of body piercings among Hebrew servants, who would have their earlobes pierced as a sign of loyalty to their masters. In Genesis 24:22, Abraham instructs one of his servants to find a wife for his son Isaac. The servant presents Rebekah with a nose-ring, known as a Shanf.

As a wedding present, certain tribes in Australia and New Guinea practice nose piercing, which involves perforating the septum to give the warrior a fearsome and savage appearance. Similarly, there are women in India who pierce their noses to induce a submissive state.

Ethiopian men and women have various facial piercings, including over sized ear phonograph records and lip plates for women. It is believed that these piercings are arranged at specific marma or stylostixis points, according to Raferty's History in 2002.

According to crude beliefs, getting ear-pierced can help one attain a higher social status and increase their value in marriage. These beliefs stem from the belief that evil spirits and demons can enter the body through the ear. However, piercing the ear with metal is thought to repel them and prevent their entry into the body, as documented in Raferty's History.

In Mali and Ethiopia, lip piercings and labrets

are considered significant due to their belief that their ancestral spirits wove yarn through their lips. The act of piercing the septum of warriors was also seen as a symbol of bravery and ferocity. Despite the various reasons for piercing, these cultures from around the world all believed that body piercing was a highly important form of artistic expression.

Despite the rich and longstanding tradition of organic body art, Western society often perceives it as a rebellious or disruptive practice. However, there is a sense of authorization and positivity behind much of this history, blending the ancient with the contemporary.

While tattoos and piercings have historically represented societal class and various ideals, some continue to view them as indications of shame and deviance. Despite increased tolerance towards these forms of body ornamentation, many still cannot comprehend the reasons behind people's choice to decorate themselves in such a way. Interestingly, petroleum has also been associated with self-mutilation in certain contexts.

One reason why the significance of appearance in defining social identity is perceived suspiciously in Western society could be because there hasn't been a history of major physical modifications to group identity. This lack of overt tribalism and racially-segregated communities, despite the existence of servitude and spiritual practices, may contribute to this phenomenon.

The trait of crudeness and savageness in other individuals has frequently been viewed as a justification for its elimination during the course of "civilization."

In contemporary society, the various physical barriers that once separated different groups have been eliminated, resulting in a single community where your neighbor is considered the "other". The discussion surrounding tattoos and piercings focuses on the message conveyed by these types of body

modifications in modern times.

According to Pitts (Flesh, 2003), the Acts of the Apostles serve as a symbolic avenue of death and rebirth. This pertains to the death of conventional beauty standards and the rebirth of new ideals of attraction. The classical ideal of the skin as a "pristine smooth closed envelope for the self" is challenged, thus contradicting the Western notion of the body and self as fixed and unchanging. Arnold Ruben proposes the concept of body art.

Body art, including tattoos and piercings, is often viewed as a non-traditional form of expression associated with deviance and social marginalization. However, it also serves to illustrate the imposition of cultural norms on nature. Due to its significant cultural importance, those familiar with body art may overlook it while outsiders tend to have mixed reactions ranging from fascination to aversion or disgust.

In the late 1980s, it was noted that people who appreciate tattoos and piercings as art may not understand the motivations behind body modification. DeMello's book Bodies (2000) supports this observation.

The alterations in demographics and perceptions of tattoos have been significant, influenced by economic, political, and societal disruptions. While mainstream cultures often disdain sub-cultures, it is crucial to acknowledge that these groups reject dominant ideologies.

Body modifications not only impact the individual undergoing them but also those witnessing the change. Additionally, people are utilizing their bodies to resist the homogenization of popular capitalist culture, particularly in a world where powerful multinational corporations dominate the social and economic realm.

The personal expression of tattoos and piercings makes them unique forms of body modification that use ink and flesh. Through this act of self-creation, they cannot be replicated.

The demonstration

is an assertion of power and ownership over the physical body, in a cultural environment that is increasingly defined by commodification and estrangement, especially in terms of fluctuating social constructs of desirability or prestige. By challenging social norms, the protest also prompts a deeper assessment of fundamental cultural values in Western societies, effectively epitomizing the most straightforward modus operandi of society.

Tattooing and piercing have emerged as popular methods for individuals to alter their physical appearance, which can hold significant meaning for the individual and serve as a public display of a personal transformation or rebellion against established cultural norms. As such, these forms of body modification represent fundamental expressions of individuality and reflection upon cultural dynamics. Modified bodies often provoke strong reactions from those who are not accustomed to them, evoking a primal response that touches upon our core identity as individuals and as a society. Through piercing and tattooing, individuals seek to challenge personal and societal invisibility while imbuing their body's surface with cultural significance.

Body art serves as a manifestation of organic structure ornament, through which individuals seek to address the "ontological insecurities of modernism" by purposefully identifying with certain symbols, according to Pitts' research in Flesh (2003).

While body modifications like piercing and tattooing involve physically altering the flesh and producing scars and blood, they are not inherently violent. Those who choose to modify their bodies in this way are expressing a libertarian or civil libertarian mindset regarding their bodies. This is a form of personal expression that signifies individual independence. The act of intentionally modifying one’s body is a purposeful and effective means of directing society’s attention to where the individual chooses.

The

act of getting tattoos and piercings puts power and autonomy into the individual's hands, giving them control over their body and empowering them with alternative forms of expression. These forms of body art also allow individuals to showcase significant milestones and symbols through semiotic imagery. In the West, where fashion is an ever-changing aspect of society, having body art such as tattoos or facial piercings is a way to demonstrate personal style and individuality.

According to Hewitt's Blood in Ink (1997), being different from the norm is inherently linked to societal and cultural significance being attributed to bodies, leading to a redefinition of beauty. This necessitates a greater level of acceptance and adaptability in societal norms to accommodate the decorated body as a new, yet historically-rooted form of social communication.

The individual has complete control over their organic structure; tattoos serve as a way to commit to something enduring and firm and express one's current identity.

The conventional stereotype has disappeared. It is noticeable that every decision one makes regarding their appearance is influenced by their conscious or unconscious desires to be perceived a certain way by society. For instance, as a woman.

Having long hair can indicate femininity, while sporting jeans suggests casual dress and wearing a dress is suitable for formal occasions. One applies makeup not just to enhance their appearance but also to convey the importance of looking good.

It is significant because societal values have imposed these standards upon individuals. This type of decision-making also applies to those who undergo extreme physical transformations. Rather than conforming to societal norms, these changes lead individuals to diverge from them.

According to Focault's 1980 work on power, individuals differentiate

themselves through their bodies and the common factor is the ground. DeMello and Margo are mentioned.

Bodies of Inscription, published by Durham Duke University Press in 2000, is a work by Michael Focault.

The book "Power/Knowledge" which includes interviews and writings, has been edited and translated by Gordon Colin. It was published by Pantheon in New York.

The American Journal of Psychiatry published an article in 1980 by G.W. Grumet titled "Psychodynamic Implications of Tattoos" (53).

482. 492. 1983Hewitt. Kim.

Mutilating the Body: Identifying with Blood and Ink, published by Bowling Green State University Press in 1997.

Palgrove Macmillan published "The Cultural Politics of Body Modification" by Victoria Pitts.

History of Chicago in 2003 by D. Raferty.