Tattoo art in Burmese Culture

You will notice in my shop http://stores.ebay.co.uk/Naga-Store I am an avid collector of tattooing implements from Burma. The place of tattoos in different cultures fascinates me, but probably  more than any other culture the Burmese tradition of tattooing.  Many may know the tales of Burmese tribes resisting the British and Japanese believing their tattoos could save them from bullets. This guide attempts to give a wider perspective on tattoo art in Burmese culture.

Tattoos have always had their place in Burmese culture. Ever since the Shans acquired the craft in their original home on Southern China, before bringing the craft to the Burmese, who were to evolve the art into a very elaborate technique which became entwined and part of their magical and religious beliefs. To some extent these practises are still alive, especially in more rural areas.

In Burma/Myanmar, as in many other cultures the tattoo is done to gain magical powers, to categorise the person, or simply as decoration.

To gain magical powers or obtain good luck or even to ward off evil, certain runes and figures are tattooed. This can be in the form of letters, designs or marks strategically placed, for instance a tattoo on the ankle to prevent a snakebite.

In the days of the Burmese kings, thieves and bandits when captured and jailed had the names of their crimes tattooed on their foreheads. Sometimes first time offenders were let of with words like "don't steal again" tattooed on their forearms. Many of the soldiers of the king were conscripted during times of war, these conscripts usually being farmers. The backs of their necks were tattooed, so in an emergency they could be quickly gathered. The insignia of their troop would be tattooed on the back of their hands. Executioners, who were usually murderers, would have round patches tattooed on both cheek and the word "murderer" on their chests.

For decoration, the southern Chin tribes tattoo the faces of their women. This is done voluntarily when a girl is at puberty. Offerings are made to the spirits, (see Guide on Nat Worship), by the woman tattooist who is also a spirit wife or medium. This is seldom practised anymore, the youngest women with tattooed faces would now be in their thirties.

In the old days, the decorative tattoo of a Burmese man was done from the waist down, to just below the knee, full designs back and front. This was a very painful process and some could not stand it beyond one thigh, or they would avoid their buttocks and or hips. This was considered cowardly behaviour. A young man would go through this ordeal at seventeen or eighteen. The whole process is fascinating in the depth of ritual surrounding the event and worthwhile explaining in more detail. As it is now very unusual for this ritual to be conducted in the traditional manner I have used past tense to describe the process, though I understand it still happens in some areas.

The Tattooist Arrives

The tattooist was also a herbal medicine man, and with around five followers travels from village to village during the cool season, staying at monasteries, as every male traveler was allowed to free of charge. The hot and dry seasons were avoided as the climate was considered more risky for the cuts and wounds inevitable from the tattooing process.

The local village elders wielded great deal of influence and would, in the olden days, ensure that all men who were not yet tattooed must visit the travelling tattooist.

Preparations Made

The tattooist set up his special pandal in an auspicious corner of the monastery, reciting sutras and sprinkling blessed water on the ground. A small pandal walled with blankets was erected and fenced off with slats of woven bamboo woven by young girls born on certain days of the week. A thick layer of clean and well watered sand was laid on the ground. Finally a cloth roof was put over the pandal, the fringes of the cloth containing the symbols of the eight planets. Also each of day of the week was represented with different local flowers; coconut flower for Sunday, gangaw for Monday and so on.

On top of the fresh laid and watered sand floor were laid banana leaves, freshly cut to give off scent. Over this a blanket was laid. A Buddha image, pots of ink, the tattooing needles, vases of flowers and a bowl of sandal wood paste were all placed at the head of the hut.

A rope twisted out of threads made by eight girls was tied between the structure. On this is hung the waistcloth of the man to be tattooed. And finally there were the openings; an entrance left and right. Those who only want small tattoos use the right entrance and those getting a full design use the left.

The Needle

There were normally three sections to the needle, caste on bronze. When fitted together, it measured approximately 15 inches. The top section was the heaviest and about 4 inches long, it was shaped in the form of a Nat or sacred animal; elephant or lion for instance. The mid section was hollow and contained the ink, around 6 inches long. The tip, the actual needle, about 5 inches long, narrow at either end and flared in the middle. About 2 inches from the tip there was a slit which can be two or more sections, depending of what type of work was being done.

The Ink

The black ink was made by gathering soot from the fuel of crude oil, peanut oil, sesame oil and lard. A large bowl was upended over the lamp with a small wedge under the rim for enough air to enter. After the lamp died down, the soot was scraped out. It was then mixed with the dried gall bladder of a fish before the mixture was tied up in clean cloth.

In a clay pot half filled with water, a handful of leaves of bitter gourd were boiled, then the soot mixture immeresed and the boiling continued, until only a third of the water remained. The soot was removed and dried. After drying, it was mixed with the boiled water left in the pot or with some pure oil to form a thick paste. Just before using, it was mixed with limejuice and special herbs.

The Tattooing

Friends and possibly his girlfriend would gather nearby to listen into the process. They were however not allowed to watch or come too near so a young boy was the designated messenger who carried the encouragement of the group to the tattooee. Four select friends were picked to go in with him to hold him down, should that have be needed.

Any who enter from the right entrance were tattooed by the head tattooist with a few figures, the rest were completed by his under studies. The head tattooist concentrated his efforts on those entering from the left; the serious applicants. Before any work started the tattooee would pay homage to Buddha and take the Five Precepts;(not to kill, steal, lie, drink intoxicants or commit adultery). For the serious tattooee the banana leaves were spread with expensive silks. After prayers hecould not not speak but must remain composed and dignified. The waistcloth would be removed and hung on the rope and submit himself for examination to ensure he did not have leprosy or other skin disorders. Once completed the tattooing began.

The designs were marked out with sooty ink pressed with cut blocks on the skin. Just after the tattoos were etched, some leaves were crushed and rubbed on cuts, so that the ink would turn a greenish black. This was considered more beautiful that pure back.

For the waist to the knee, first the whole waist was circled, and then he worked gradually downwards. This process of one thigh, from waist to knee, usually took about 5 hours.

To avoid the heat, it would start at dawn to be finished by lunchtime. The next thight would be done a week or month later according to the patient. Everday the new tattoos were to be washed with boiled water and herbs.

After completing the tattoos the tattooee would emerge from the hut by clapping his arms with the palm of his hands, three times. This is a male Burmese display of manliness.