Like what you've read?

On Line Opinion is the only Australian site where you get all sides of the story. We don't
charge, but we need your support. Here�s how you can help.

  • Advertise

    We have a monthly audience of 70,000 and advertising packages from $200 a month.

  • Volunteer

    We always need commissioning editors and sub-editors.

  • Contribute

    Got something to say? Submit an essay.


 The National Forum   Donate   Your Account   On Line Opinion   Forum   Blogs   Polling   About   
On Line Opinion logo ON LINE OPINION - Australia's e-journal of social and political debate

Subscribe!
Subscribe





On Line Opinion is a not-for-profit publication and relies on the generosity of its sponsors, editors and contributors. If you would like to help, contact us.
___________

Syndicate
RSS/XML


RSS 2.0

A statement of identity

By Paul Taçon - posted Monday, 3 April 2006


One of the reasons scarification is primarily practiced by dark-skinned people is that their skin contains keloid, a substance that produces a raised scar. Conversely, light-skinned people have little keloid but have battle, operation or sporting scars, such as European duelling scars, war wounds, scars from animal attacks, and so forth.

Both light- and dark-skinned individuals often proudly display such scars as marks of courage or stories of survival. Perhaps the first purposely made scars were meant to mimic or symbolically express similar aspects of bravery and endurance.

In many ways, tattooing and scarification can sometimes be viewed as opposites that are part of the same process of permanently marking the body with symbolic designs. However, occasionally they are used simultaneously within the same community.

Advertisement

The Maori Moko is an interesting case as it combines facial tattooing with deeply cut scars to produce a truly unique effect. Importantly, Moko also is applied very differently to men and women, men’s designs usually being much more elaborate and extensive, depending on status.

Furthermore, there are status and age differences, with each geometric element having both personal and group meaning. More ancient tattoo and scarification designs from various corners of the globe may have functioned similarly but we will never recover their exact meaning.

In recent times, the main motivations for purposeful scarification are as part of an initiation or ceremony - a status symbol to make one more attractive to the opposite sex or, in parts of northern Australia, to protect against or ward off certain harmful spirits.

But in some societies - especially those with peoples that have light skins - there is an aversion to scars: they are considered “ugly”, especially if on the face or other body parts thought to be key points of “beauty”.

However, among dark-skinned groups, scars on the face, buttocks, back or other body parts may be considered to be especially attractive. Body art expert Julian Robinson has summarised some of the motivations for scarification:

Most forms of tribal scars are made in traditional designs or patterned groups on specific parts of the body as an individual passes through various stages of life - what might be described as written evidence of a person’s “rites of passage” - thus denoting the precise social status of each individual. These patterns are also perceived as symbols of tribal beauty for those able to decipher the messages conveyed, and give a unique sculptured quality to the body, which is widely admired. Cicatrix scar patterns are also widely used - they are a controlled long flat shiny scar formed by carefully cutting the surface of the skin with the design required, easing the wound apart slightly and then inflaming the open cut with ground ash mixed with a little fruit juice or other irritant so that when healed a flat shiny scar forms.

Advertisement

In addition to its symbolic meaning, scarring can also play an important role in preventive medicine not realized by many Western observers: the body builds up its antibodies during the gradual scarring process, so that the mature adult is more able to survive in the harsh conditions of bush life.

A common feature of scarification - and indeed all body art - is that of cultural attitudes and identity. For instance, among certain peoples of the South Pacific and northern Africa tattooing helps distinguish them from their darker skinned neighbours, as well as reflecting cultural experiences or rites of passage.

But many marks on bodies are hidden, reserved for use and display in more private circumstances. For instance, there has long been a concern, fascination, or even preoccupation with modifying both male and female genitals.

It is not something new to paint, tattoo, scar, pierce or modify a penis, clitoris or labia - some Egyptian mummies over 6,000 years old show evidence of genital modification. Today, some men risk setting off metal detectors at airports with sometimes dozens of pieces of metal through penis and scrotum.

Obviously, there is a fine line between pleasure and pain when it comes to self-expression and control. And titillation, machismo and flamboyance all feature when it comes to sex. So it is only natural to expect some of the most richly adorned parts of the body to be the genitals.

Many people wear brightly coloured underwear, at least on occasions, while others feel quite at home in lace, leather or jewel-encrusted cod pieces. Think of the bold statement of identity a pair of white Y-fronts makes!

  1. Pages:
  2. 1
  3. 2
  4. Page 3
  5. All

Article edited by Allan Sharp.
If you'd like to be a volunteer editor too, click here.

This is the first part of a two-part article and a modified version of an essay first published in 2000 in the Australian Museum exhibition catalogue Body Art (Outback Print, Mosman). The Australian Museum retains copyright but has kindly consented to the republication in this format. See more on body art and the exhibition. Read part two here.



Discuss in our Forums

See what other readers are saying about this article!

Click here to read & post comments.

Share this:
reddit this reddit thisbookmark with del.icio.us Del.icio.usdigg thisseed newsvineSeed NewsvineStumbleUpon StumbleUponsubmit to propellerkwoff it

About the Author

Professor Taçon joined the School of Arts in February 2005. He was previously based at the Australian Museum, Sydney, for 14 years from January 1991. He was Principal Research Scientist in Anthropology from mid-1998 to early 2005 and from 1995 to 2003 he was Head of the Australian Museum’s People and Place Research Centre. He is an anthropologist, archaeologist and photographer who specialised in collaborative research involving creative artists, scientists, Indigenous peoples and other members of the broader community.

Other articles by this Author

All articles by Paul Taçon
Related Links
On Line Opinion - My body, my art

Creative Commons LicenseThis work is licensed under a Creative Commons License.

Article Tools
Comment Comments
Print Printable version
Subscribe Subscribe
Email Email a friend
Advertisement

About Us Search Discuss Feedback Legals Privacy