PAPER TITGLE-BODY ART: YORUBA WOMEN TATTOO FASHION AND
MEMORIES (DRAFT)
BY
ADEPEKO, EVELYN OMOTUNDE
ADEYEMI COLLEGE OF EDUCATION, ONDO, ONDO STATE, NIGERIA.
ABSTRACT
Since time memorial the human body has been adorned with varied tribal marks, decorative
cuts and tattoos in many communities all over the world. The history of tattoo dated back to
the late eighteenth and nineteenth centuries when a considerable number of European Seamen
and some other travellers were tattooed by Tahitian, Marquesan, Maori, Samsoan and other
pacific tattooists. Eve de Negri (1976) noted that the ancient Arab custom of tattooing is
firmly established in the Northern part of Nigeria, and is now fashionable among the Yoruba
and other tribes. It is the aim of this paper to examine Yoruba women Tattoo Fashion and
Memories. The reason for having tattoo on the body, who can have it on? The different types,
names and their meanings, the process of making tattoo designs, and its care, the significance
of tattoo as related to culture and tradition, the self-perception of the wearers and those of the
viewers in the past and in our contemporary time and a look at tattoo in the new millennium.
Introduction
The Yoruba communities lies within the tropical region. Latitude 60 and 90 North, and
Longitude 20 30' and 60 30' East. Bounded in the North by the river Niger, Dahomey on the
West, Benin on the East and in the south by the Bight of Benin and the Atlantic ocean. The
Yoruba are probably first known to Europe from the North, through the explorers of Northern
and Central Africa. The principal Yoruba tribes are: The Egbados, Egbas, Ife, Ijesas, Oyos,
Ondos and the Ekitis. Yoruba women are fashion conscious and have distinctive way of selffashioning; displayed in hairstyles, dressing and body decorations such as: marks paints and
tattoo. Yoruba body-marks were of two major types and both are permanent. Eve de Negri
(1976) mentioned that: Deep cuts were made for ethnic identity, such as the royal marks of
Oyo drawn as gashes the whole length of the arms and legs. The second type were used more
as decoration, and fertility symbols. She revealed further that in the sixteenth and seventeenth
centuries, visiting Europeans noted that these ‘beauty berries’ (body marks) looked like ‘silkdamask’ or flowered ‘silk’, no doubt in reference to the effect of light-and-shade three
dimensional berries made on the skin . Other marks known among the Yoruba as fin-fin cuts,
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were made in groups which formed geometric patterns over almost the whole of the women’s
body. (see fig. 1)
Fig.1
This is an example of permanent body marks by knife cuts. This woman from Edo state has complex
arrangements of cuts on the waist and hip area.
Courtesy: Eve de Negri (1976). Nigerian Body Adornment.
The Reason for having Tattoo on the Body
Ever before any known civilization man has been fashion conscious and expressed this in
several ways, especially, in decorating his skin. Skin decoration has been practiced for
thousands of years and will undoubtably continue while this planet lives. Jefferson (1974)
reports that the prehistoric man embellished a wide variety of his possessions from his
weapons to clothing which included his body basically for a ritual or magical purpose.
According to this claim, tattoo might be for ritual or magical purpose to the pre-historic man,
but it is basically for aesthetics and beauty among Yoruba women and contemporary wearers.
The Yoruba society in the past decades up till perhaps thirty years ago believe a maiden
before getting married or even after marriage must cut tattoo marks on certain parts of her
body for the purpose of enhancing that part of the body for societal appreciation and for a
husband’s appreciation.
Today this practice has virtually declined greatly. This practice was done in isolation of the
totality of social order. All social institutional were cooperated to achieve social order. The
family institution was established to put in place or achieve social harmony in its place of
jurisdiction. Marking the body for beautification was put in place for women for attracting
their husbands. For those on private parts were for erotic purposes i.e. to enhance love
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making. If a wife has beautiful markings for her husband to behold, the latter needed not go
outside the marital home to seek and enjoy beholding such erotic markings. In other words,
the culture may have ‘forced’ the bearing of marks on young ladies to save their husbands
from committing adultery. Committing adultery might not even occur because in the past a
man has many wives. I believe the man will behold variety of these beauty marks but will
prefer some markings on certain wives more than the others. Hence the need for women to
select from the tattooist’s catalogue of patterns (motifs) very sticking types that their future
husbands would appreciate.
As earlier mentioned, tattoo fashion is a common Body Art in many communities of the
world. However reasons for having it on differs from one society to the other. This also
meant the need for each woman to be ready to bear the pain associated with more elaborate
pattern markings. In Willet (1971) view the art of body decoration such as painting, staining
the body, scarification tattooing and many others are most likely to do with social status,
religion, or beauty. In the same vein, Gardner (1980) collaborates Willet’s opinion by
indicating that tattoos of Polynesians, the nobles and warriors especially, were concerned
with increasing their status, and personal beauty.
Aniakor (2005) testifies of the Ibo women like their Yoruba counterparts. He that the female
body Art has a strong aesthetic base, the Art functions as visual devise to reaffirm the beauty
of the female body. individual social status and wellbeing while celebrating the virtues of
female maternity. The Art is useful in making social transition to womanhood. While
Ajibade (2006) identifies the Tivs of Benue State in Nigeria as having scarifications on their
bodies because amongst them it is regarded as the most important requisite for beauty. Neverthe-less, to the Yoruba women, tattoo has no spiritual or religions inclinations, it is basically
meant for beautification and adornment of the body. the reason for having tattoo on the body
in contemporary times especially in the West as recorded by Wroblewzki (1989) could be
attributed to a number of reasons different from the traditional concept of tattoo. According
to him the reason for having a tattoo is simple, it enhances gut appeal, wearers like the way
they look on them. Furthermore, tattoo not only reinforce positive feelings in them but they
also suggest an element of mystery that is obviously connected to the ancient practice and
traditions of tattooing.
To them tattoo is a hot medium that
inescapably involves
consciousness of their bodies, revealing itself through the emotions and aspirations of those
who participate.
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Who can have it on?
Every Yoruba woman is a potential tattoo wearer. As Trowel (1960) noted t hat if is common
to the human race and to women especially to attempt to enhance natural beauty by some
forms of decoration. In the past, within the Yoruba community, tattoo was associated with the
womenfolk. In some Nigerian communities as explained by Eve de Negri (1976) cicatrization
was done on both boys and girls during puberty such cicatrization was a mark of bravery for
boys and for girls a part of the fertility rites connected with ‘coming-of-age ceremonies.
Wroblewzki (1989) reiterates that there are no barriers to sex or class in tattooing. All skins
are equal under the tattooist needles. This statement qualifies anyone to wear tattoo in our
contemporary times as long as he or she can endure the pains associated with it during the
making process.
The different types, names and their meanings
Yoruba women wear tattoo of different types, names and meanings. However, the different
types are common to all the Yoruba communities. Here are some examples.
Name
1. Oniresi
Meaning
Rice style
2. Olope
Palm-tree style
3. Eleye
Bird style
4. Elejo
Snake style
5. Alade
Crown style
6. Alaogo
Wrist watch
7. Aarin omo ni o sun
Mother’s pride style
8. Igbomole
Mother’s lap, a child’s seat style
9. Gbegbemu
Hold
10. Oruko
style
Names: Personal names or lovers names
my
side
The process of making tattoo design/care
The process was often painful. This has naturally discourage the practice in many Yoruba
communities. Only the brave was able to endure the pain. A greater number of today’s tattoo
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wears among the Yoruba women did had it when they were young and were able to dare or
withstand the pain involved in the process of marking. Some had it while still an infant and
not so sensible to pain. Tattooists were predominately man, called onikoko. In some Yoruba
communities, tattoo was also done by those involved in children circumcision. They are
called akomola.
These were the processes involved.
- The client either chose motifs from the tattooist catalogue or came up with her own
conceptual motifs but most of the times; the client chose from the catalogue or left the
choice to the tattooist.
-
The client dropped her money (cost of the tattoo) in water contained in a bowl placed
there by the tattooist. No refund would be made to the client after dropping her money
into the water even if she decline and refuse to have the tattoo done on her because of
the pain involved. The cost or the amount to be paid depended on the intricacy of the
design. However, the cost of tattoo in the past was very cheap between 1 pence and 1
shilling. Some even had it for free especially when the tattooist was a relation or a
known person or an acquaintance to the client.
Parts of the body that was commonly tattooed are: leg, arm, back of the palm, chest,
back waist, wrist, lap, ankle, abdomen, face and the chin.
-
The tattooist would wash the surface/part to be tattooed with the water from the bowl,
then traced the motif chosen by the client on it. The tracing was done with a fowl’s
feather and solution made from soots.
-
Needle or knife could be used for the markings. For the needle method, 10 to 12
needles were tied together with a string. The tattooist held it together as one in one
hand while with the second hand held the part to be tattooed in order to smoothen and
toughen the muscle for easy penetration of the needles. The pattern or design was
made by using pinching method he then carefully traced the layout already drawn on
the skin of the client. The pinching continues until the design was completed.
Courageous client who were able to endure the pain to the end were sometimes
compensated with extra designs made for them without cost especially when their
counterparts declined along the way. For the pain threshold in each person differs
greatly, and it was not uncommon to see tough-looking women fainted after just two
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minutes under the needle. Conditions under which the tattoos were done were far
from ideal. Some degenerated to big sores when proper care was not taken.
-
After the process, darkening substances such as soots, powdered charcoal, juice from
efo odu, and any other darkening substance were rubbed-in for darkening purposes.
Care of Tattoo
The tattooed body took about two to four weeks to heal up depending on the body
composition of the person wearing the tattoo. No medication was needed for the healing. The
person wearing the tattoo only needed to rub palm-kernel oil, (adin agbon) and any darkening
substance onto the surface every morning after taking her bath.
The Significance of Tattoo as Related to Culture and Tradition
There is a vast amount of reasons significant to a person who chooses to adorn herself with
tattoo. Symbolization varies by origin of the design. Whether the tattoo is worn for graphic
design or personal reasons tribal tattoo are definitely one of the most popular tattoos all over
the world. Tribal symbols vary, reasons for tattooing were generally the same; ranging from
marriage and rite of passage. In the past, Yoruba teenage girls wore on their bodies names of
their future husbands just as engaged ladies wear engagement rings indicating her romantic
commitment to her fiancé. Among the Nuba people of Sudan, according to Mcnab (1999) this
African tribe are among the most skillful face and body painters. They use face paint to
correct flaws in a face or emphasize its good features. He further gave an example that, a
pointed and narrow nose can be disguised by painting it with flatting colour and pattern to
create stunning effect. To them, body decoration could be effective manipulated to hide
physical faults. Animal motifs are symbolic among tribal tattoos. The meaning of course vary
by which animal you choose e.g. a bear represents good nature or luck. The butterfly
symbolized spiritual immortality. While the eagle is a sign of might and spirituals growth
whereas the feather shows creativity and rebirth.
Eve de Negri (1976) reveals that body marks like tattoo
has symbolic or decorative
significance connected with marriage and birth, there were others which had a magical
purpose. Abiku marks were of this type. They were tiny cuts made in one (or two parallel)
line(s) over the back and shoulders. When made on a child, the lines were rubbed-in with
medicinal spices especially compounded to prevent the Abiku-child from being snatched
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away to the spirit world. According to her, Abiku children were usually one of a pair of twins,
some times one is marked with Abiku marks to prevent the same calamity happening again.
A look at Tattoo in the new millennium
As the saying goes ‘as it was in the beginning so it is now’. Tattoo wearers in the twenty-first
century have it on for the same reason why it was used as a medium of decorating the body in
the eighteenth century. Wroblewski (1989) said and I quote “The reason for having a tattoo is
simple, gut appeal, we like the way they look on us. Furthermore, tattoos not only reinforce
positive feelings about ourselves but they also suggest an element of mystery that is
obviously connected to the ancient practices and traditions of tattooing”. The choice of tattoo
worn in contemporary times is usually determined by the kind of company people keep
(especially youths: bikers, basket balers, footballers and supporter to mention but a few) and
to a greater extent, by the type of social life they lead. In the west, the tattoo has often shown
m ore soul than finess. Tattoos are now no longer chronically associated with animals, exservicemen and prostitute, but enjoy wider popularity, notably and for the first time among
middle-class youth. “There are no barriers to sex or class in tattooing. All skins are equal
under the tattooist needles” in order words, anybody can wear tattoo cutting across all social
strata.
Another reason for the wide spread of tattoo according to findings in the new millennium is
simply aesthetic. It enhances the natural beauty as it is conspicuous on light complexioned
persons, and as such it ahs become part of their cosmetics such that some youths both male
and female feel incomplete without it. Some wearer state that t he temporal nature of t he
design is also adding to the crave for it because the design could be changed within a short
time, it gives room for variety. Angeloglou (1970) contributes that the swift living of the
mouth with lipstick is usually the last thing a woman does before she steps out of the house
and into the street, not with the intention of transforming herself completely, but the habit of
making-up is so deeply ingrained that many women feel ashamed and insecure without it.
This is the level women had attained in beautifying themselves in contemporary times. This
shows that those not wearing tattoo have their various ways of beautifying themselves. Some
wear eye shadow, different facial make-up etc. recent body decoration has less of
scarification and more of painting, staining and tattooing. In other words, body decoration
are made of temporary media that could be changed, remove to improve upon as the case
may be.
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Conclusion
This paper examined Body Art: Yoruba Women Tattoo Fashion and Memories. The reason
for wearing tattoo, who can wear it on?, the different types, names and their meanings and
the processes of making tattoo designs and its care, the significant of tattoo as related to
culture and tradition, and a look at tattoo in the new millennium. Therefore, in order to
sustain the Nigerian cultural heritage, it will be good that Yoruba women married and single
alike use what is indigenous to beautify themselves instead of total dependence on the
western cosmetics.
References
Ajibade, A. (2006): Contemporary female body Decoration. A case study of Ahmadu Bello
University, Zaria. An unpublished Bachelors of Art (Honours) Degree in Art History.
Ahmadu Bello University, Zaria. Department of Fine Arts.
Angeloglou, M. (1970): A History of Make-up. Studio Vista. London.
Aniakor, C. (2005): Reflective Essays on Art and Art History. Lagos: The Pan African Circles
of Artists Press, Nigeria.
Eve de Negri (1976): Nigeria Body Adoration. Lagos: Academy Press Ltd. Lagos.
Gardner, H. (1970): Art Through the Ages (5th edition). New York: Harcourt, Brace and
World, Inc.
Jefferson, L. (1974): Decorative Art of Africa. London: Collins St. James Place.
Johnson, S. (1921): The History of the Yorubas. Lagos: C.S.S Bookshops Willet F. (1960):
African Art, an introduction. London: Thames and Hudson
Mcnab, N. (1999): Body Bizarre Body Beautiful. Australia: Allen and Unwin Pty Ltd.
Trowel, (1960): In Ajibade (2006).
Wroblewzki, C. (1989): Skin Shows: The Art of Tattoo. London: Virgin publishing Ltd.
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