Mosaic is a word often used for the Indian culture, analogues, a few puzzle pieces towards making a picture. It is however, perspective that sets a clear notion in our mind that it is always “One” picture with no missing puzzle pieces. Vivekananda Kendra Institute of Culture, has been bringing out this “One Complete Picture” since 1992 with a clear perspective and aim of connecting people to their roots and strengthening their faith and belief in one’s tradition. Vivekananda Kendra Institute of Culture is a project of Vivekananda Rock Memorial & Vivekananda Kendra, Kanyakumari.
The Art of Tattooing among the traditional communities date back to centuries; as a sign of identity and protection as well. An amalgamation of trend and fashion of Tattooing can however be observed at present times. If we turn the clock a little bit to the old tradtion of the past, it was a sign of authority, identification and stages of life. Today, this favourable inclination towards tattooing is perceived as a notion modernity for a certain set of people, but the culture of Tattooing as a part of ritual can be traced primarily amongst the Wanchos, Nocte and Apatani communities of Arunachal Pradesh.
There is a constant battle between valour and unethical display when it comes to tattooing. But tattoo culture amongst these communities of Arunachal Pradesh carries a baggage of history, respect and more of visual language. This persistent negative aura has made tattooing a spurned cultural practice. Although this art form has seen a touch of modernisation but it carries a weight of culture, values, memories, and experience. Similarly, the test of carrying forward a legacy comes into the picture when we turn to our roots, realising that our folktales are rightly fulfilling the obligation to our values.
The communities of Arunachal Pradesh, to name, Apatanis, Wanchos and Nocte, share a cultural history of inscribing tattoos with the rest of the world. Even though technology and modernity have exposed us to more developed equipment and unchallenging paths, yet if we turn back and share a glance, nature held a high position of reliability. Among the Apatanis, right from the needle to the ink, nature here played the vital role. The Needles, which were used to make the tattoos, were made by three-headed thorns, which were called “Tipi-Tere”. A sense of pain can be visualised, but the importance of tattooing as a part of their tradition was a prority. A small stick hammer was used to punch in the needle slightly on the skin; it was called “Chinyu”, nature here carried a supportive link; this ink was made from the soot from the fireplace. The first menstruation, when the girl is near about the age of ten, was the first sign of getting tattooed. The art included a straight line beginning from the forehead to the nose and five straight lines on the chin. This art of practice was mostly done in the winters to fasten the procedure of drying.
“Cultural differences should not separate us from each other, but rather cultural diversity brings a collective strength that can benefit all humanity” – Robert Alan.
And such a language of unity speaks for the Wanchos residing in the eastern part of Arunachal Pradesh. The tradition of practicing tattooing amongst the Wanchos holds different messages to both men and women. It defined the status of each individual residing in the Wancho community. The queen along with her daughters would be marked with a tattoo on their back. However, this mark was only for the queen and her daughters to form a sense of identification and no other women were allowed to mark with the same tattoo. As for the men, the king and his subjects would be marked on their chest which was called “Khah Huh”.
The art of practicing tattooing amongst the Wancho community especially defined the stages of life. Firstly, the needle is made from a specific set of trees called the “Zing” as per the Wancho language, and the ink is further made by mixing ash and water. A Wancho man is first marked at the age of eighteen as a symbol of attaining adulthood. But in comparison, women in Wanchos are marked more in case of tattoos. A Wancho woman attains her first marking at the age of ten resembling a “+” sign on her belly, which is known as “Sung Huh”. When she reaches her puberty, her calves are tattooed, which is called “Thishen Huh” which marks her attainment of the second phase of womanhood. The third phase of a Wancho woman starts when she leaves her parents’ home after marriage, and this is tattooed on her knee. And the last tattoo that she receives is during her pregnancy above her chest.
There are few tales within us that may have been placed on a pedestal of “Long Forgotten” but their value and essence still continue to live as a chapter with a ribbon. The tattoo culture might be rare to find in these communities but the story and memory of it are still living as an experience in skins with wrinkles. Change is a necessity, not just to upgrade oneself along with modernisation but also to carry forward a legacy. But a fading practice will ultimately lead to the death of certain values.
Natasha Saikia,
Junior Publication Associate,
Vivekananda Kendra Institute of Culture
