Ryan Ouellette: Lord of the Blade [Guest Column]

  

Ryan Ouellette

Lord of the Blade


“I’m tired of all this nonsense about beauty being only skin-deep. That’s deep enough. What do you want — an adorable pancreas?”

- Jean Kerr

There’s something quite profound about scarification that marks it apart from other forms of aesthetic body modification. Whereas tattoos and piercings augment and decorate the body by adding ink or metal, a scar is created merely by interacting with what’s already there, harnessing one of the peculiarities of the skin and channelling it to decorative ends. By using a scalpel, branding iron or cautery pen, it is possible to create intricate patterns in the skin, which, when healed, form distinctive and permanent scars. I really see this as body modification in its purest form — the body itself is producing the artwork, sealing over the inflicted wound and leaving an enduring mark that is actually part of the skin, not an inorganic addition.

Unfortunately, the idiosyncratic nature of an individual’s healing often makes the results of scarification fairly unpredictable, and as such the designs attempted have usually been fairly simplistic. In the West, scarification has tended to be either pieces made up of single line scalpel incisions for fine work or large, heavier scars produced by branding. Over the last few years, however, a number of scarification artists across the globe, feeling artistically constrained by the limited results and narrow range of designs that can be produced by single-line cuttings and the unpredictable and brutal scars left by brands, have begun to experiment with skin removal techniques, using their tools to actually remove areas of the upper layers for skin to produce larger, bolder and more predictable results.

Fresh skin removal scarification Healed skin removal scarification
Fresh and healed skin removal by Ryan Ouellette

Skin-removal really is in its infancy, and this article is in no way intended to be a how-to or instruction manual on the intricacies of this invasive and potentially dangerous procedure. Please do not try this at home. Instead, I hope it will illustrate what it is possible to do with the human body’s largest organ and germinate a few ideas in your head. I’ve been fortunate enough to be able to interview one of this community’s most prominent, prolific and talented scarifiers, and this article is in many ways both a portrait of him and an introduction to his often astonishing work.

Although not the ‘inventor’ of this technique by any means, Ryan Oullette (IAM:The Fog), a twenty-five year old artist working out of Precision Body Arts in Nashua, New Hampshire, is widely regarded by his peers as one of the best scarification artists currently practising skin removal. Photos of his scars were recently showcased in National Geographic magazine, the patterns and motifs he produces are brave and original, and his work — both fresh and healed — is simply stunning. Chatting with other scarification artists, Ryan’s name comes up again and again when they’re asked whose work they particularly admire.

Ryan Ouellette Ryan Ouellette at work
BME:  Where are you from originally, Ryan?
RYAN:  I grew up in a small rural town called Pepperell — it’s just over the border in Massachusetts only about a half hour from the little city I live and work in now, Nashua. BME:  What got you interested in body-modification in the first place?

RYAN:  I have no idea to be honest. It was never a choice, it just felt natural. Like shaving or eating. I ‘play-pierced’ myself a lot when I was younger, with sewing needles and things like that. I used to do crude scarification on myself with needle heads in my bedroom. I never thought it was unusual behaviour and I didn’t see it as ‘self harm’ or anything. It just felt natural. I started getting actual piercings in my mid teens and it just grew from there.

BME:  How long have you been ‘in the business’ as a piercer and practitioner?

RYAN:  I’ve been piercing professionally for about five years. I had hopped around part-time at some shops for another year or so before then but I would say that was more of an amateur thing. I took over my shop about four years ago and I started cutting maybe six months after that.

BME:  Did you apprentice?

RYAN:  I’m completely self-taught as far as technique goes, although I’ve done a lot of formal training for piercing (Association of Professional Piercers anatomy classes, aseptic technique, and so on). I got some little pointers here and there from talking to guys like Lukas Zpira over the internet. I try to soak up all the ideas I can from watching videos and looking at pictures of other artists’ work. But mostly it was just trial and error.

One of the bigger things that sticks out in my head is reading an interview about Blair and his branding. He talked about how a lot of branders were scared to hit the same line multiple times and he said something along the lines of “work it until you’re satisfied”. And that really influenced my cutting style. Instead of trying to get a perfect line in one pass I hit and re-hit the same multiple times until I got it looking exactly how I wanted it. My cuttings are actually influenced most by Blair’s brandings if that makes any sense.

BME:  When did you start doing cuttings, and how did you develop?

RYAN:  Aside from the little chicken scratches I did as a teen I started professional cutting about three-and-a-half years ago, early 2001 I think. Originally I only bought scalpels to do work on myself. I never intended to work on other people at first. I did some small pieces on myself over the course of a few months. After that I did one on a guy I worked with, then my girlfriend. Gradually, it grew to regular customers, and once word got out on the internet I started to get a lot more people coming in asking about it.

BME:  Do you perform other forms of scarification such as branding or electrocautery?

RYAN:  I only do cutting. I’ve never even attempted any form of branding. At first I looked at scarification as the name for any scar procedure and I looked at things like scalpels, cautery pens, hyfrecators, and so on as different brushes used for one kind of art. Now that I’m experienced with a scalpel I see cutting and branding as two completely separate art forms. I might get into branding in the future but right now I feel most comfortable with a blade.

BME:  Why and when would you choose skin removal as a method of scarification as opposed to simple scalpel cutting or any other methods?

RYAN:  It all depends on the design. My earlier work was basic geometric designs — lines and curves. No solid or bold sections. After a while, I got bored and I felt that in order for my designs to evolve I needed to have larger sections, so that’s when I tried out flesh removal. My first one came out terribly. I cut it the way I would a single line piece and it ended up being way too deep and it healed really unevenly and didn’t look good at all. I gave up on flesh removal for about a year and then decided to try it out again, this time on myself. I changed what I thought was wrong with my last one and the piece came out to my satisfaction. After that it just felt as comfortable as anything else, so I incorporate it into most of my designs these days.

BME:  How do the results differ, in your view?

RYAN:  I just like the bold sections more than single line work. There is only so much you can do with single line pieces. After doing single line pieces for a year or two I was getting a lot of requests for designs that just couldn’t be done without flesh removal. Also, it’s easier to get a nice distinctly healed scar with flesh removal. I seem to get more consistency with them. I try to push myself each time. I think I do my best work when it’s something that looks too complicated for me.

Skin removal scarification by Ryan Ouellette Skin removal scarification by Ryan Ouellette Skin removal scarification by Ryan Ouellette
BME:  Can you talk me through the procedure, from start to finish?

RYAN:  Well it’s actually pretty similar to a tattoo for set up. The skin is shaved when needed, cleaned (sometimes with iodine, sometimes with Technicare), and then I put on a stencil. After all the prep stuff I usually make a quick pass over the entire design with a #11 blade scalpel. I basically consider it guide-lining. It’s not very deep, and it looks pretty uneven at first. It’s basically just opening up the skin over the whole piece very shallowly; the depth isn’t evened out until the next step.

    Number 11 scalpel blade
11
Number 15 scalpel blade
15

Next I’ll usually change blades to keep it sharp, and then I’ll go back over the design and slowly even out the depth and width. The depth and width varies depending on the design. If it’s single line I tend to go a bit deeper and wider. If I was doing removal I would go a bit shallower because I’ve learned that if you do flesh removal too deep it tends to blob out and heal unevenly. For removal sections I get my outlining done and then I use some haemostats to basically just pull up a corner. Then I use a #15 blade and slowly separate the tissue up and away while I lift with the clamps. I try to go as even as possible because you obviously want a uniform removed section for good healing. I try to make my removed sections as small as possible because I’ve noticed that if you try to remove too large of an area the center of it tends to be excessively deep. I’ll often split a removed area into smaller sections or strips and remove them individually instead of just on one large hunk.

As far as the depth goes I’ve talked to a lot of very good scarification artists and their techniques all vary. Depth is really just whatever works for the individual. Generally you’re going into the tissue below the cutaneous layer but not through the fascia. And I’d say that good flesh removal is typically slightly shallower than single line scarification. You really want to keep it uniform. You don’t want to see pits and valleys because that means different tissue layers, hence different scar production.

Ryan Ouellette at work

In terms of blood control, basically I just pat my field with paper towels as I work, again similar to tattooing. I really like to keep my lines clean and as dry as possible. Some people bleed more than others, obviously, so sometimes it’s hard to keep things as clean as I like but I generally don’t like blood to leave my immediate field. I don’t just let it drip all over the place like some people tend to do. It’s partially for contamination control but it’s mostly just so I can clearly see the cut depth and width clearly. The bleeding tends to stop within five minutes of finishing a line. So by the time I move on to a new line my previous ones are usually dry.

I’ll occasionally clean the field during the procedure, typically between steps. So maybe once after all the outlining is done, and then again when the piece is completed. I typically clean the field with green soap solution, again like a tattoo. After I’m done I’ll bandage the area with a sterile non-stick dressing. I usually tell the person to keep it bandaged for at least four to six hours. Sometimes, particularly for flesh removal, I’ll just have them keep it bandaged overnight. As for removed skin it’s basically nothing by the time I’m cleaning everything up post-cutting. Without blood supply it shrivels up within just a few minutes.

BME:  What are the benefits of skin removal — what can be done, and what are the limitations — what can’t be done?

RYAN:  I think the main benefit with flesh removal is additional control. With a single line cut you make a cut and basically just widen it out and change the depth. So if you make a slight error all the cuts from that point on are going to have to work around that one mistake or even it out. With flesh removal you can control both the outline and center of all lines and sections. If I want to do a grouping of small tight lines, especially with angles or curves I’ll almost always do it with removal. If you do single line you are basically splitting the skin open so that can sometimes limit what you can do right next to a line. With flesh removal you are going shallower so the skin tends to open less. So I can do tightly compacted lines and feel confident that they’ll heal where I put them. If I tried to do lots of small lines within an eighth of an inch they would tend to scar outward and probably blend together during the healing process. The lines are more straight down and tend to heal in their original location unless they keloid a significant amount.

As far as what can’t be done I guess I would push people away from very large sections of removal. If someone wanted a removed section bigger than maybe two inches wide I would probably try to change their design or flat out turn them down. As far as complexity I’ve never had to turn something down because it’s too complex. I’ve had to rework designs to simplify them slightly in order to be able to cut it into someone. Obviously you can’t do shading, so I have to redraw things to make them bolder, kind of like a solid black tattoo.

There are some areas I would prefer to not work on like hands, wrists, necks, and so on. But I’m sure if someone really wanted a piece there I could figure out a way to do it safely. I’d just have to do it a little shallower than average. I did some flesh removal stars on the side of my girlfriend’s hand and it was very difficult. Two little coin-sized sections took me about two hours because I had to be so careful with my depth and remove the tissue at the exact same shallow level.

Skin removal scarification by iam:The Fog Skin removal scarification by iam:The Fog
BME:  What are the risks?

RYAN:  Risks are similar to any comparable procedure like tattooing or branding. The biggest risk would be infection but I’ve never had a problem with that. I give very clear aftercare instructions so it hasn’t been an issue. That’s the only thing I would call a risk. There are more complications that could come up like uneven healing and scarring mostly. Occasionally a person can get kind of a rash around the piece, depending on aftercare. It’s usually from wrapping it the wrong way or not cleaning it often enough.

BME:  What aftercare do you generally recommend?

RYAN:  My basic aftercare is that they keep it covered with plastic wrap and Vaseline for about seven to ten days. It keeps the body from forming a scab which makes it heal more from the bottom up instead of from the sides inward. It’s just important with wrapping that you keep the piece clean and somewhat dry. So I tell the person to unwrap and clean it throughout the day. I usually just have them use an antimicrobial soap like Satin or Provon. If they don’t clean it often enough the fluid under the wrap can cause irritation or a rash. The rashes are more frequent if I have to shave the person before the cutting.

I basically just worked out my aftercare with trial and error. I also talk to a lot of other artists about technique so I steal a lot of ideas from them. Sometimes I’ll suggest using a mild irritant like lemon juice mixed with the Vaseline. It can tend to make the body heal with either a darker hypertrophic scar or, with a little luck, raised keloid tissue.

BME:  How long is the healing period, generally, and what are the stages of healing?

RYAN:  Complete healing varies on how they take care of it. With the wrap I’d say that the body will form a new layer of skin over the whole design within around two weeks. If they keep it unwrapped the body will scab slowing the healing process to maybe three weeks. If you add in agitation, picking, or scrubbing it could lengthen it out to a month or more.


healing skin removal scarification
2 days old

healing skin removal scarification
5 weeks old

healing skin removal scarification
3.5 months old
BME:  What kind of results does skin removal produce — what do the resulting scars look like compared to other forms of scarification?

RYAN:  With my removal it’s not really making the body heal in a specific way. It’s really just emphasizing the way an individual’s body will heal a cut. I’d say on a whole removals tend to give a better more distinct scar. But it’s very difficult to force the body to heal one way or another. Keloid tissue is more of a raised pinkish tissue. It’s basically what most people hope for with healing but it’s actually not that forthcoming in a lot of pieces. I’ve notice that the body heals more commonly with hypertrophic tissue. This tends to be more of a darker granulated, less raised tissue. What I shoot for with aftercare is either a very dark distinct hypertrophic scar or an evenly raised keloid scar. I never guarantee a certain look though, that would just be impossible.

As for how it looks compared to other scars I’d say flesh removals don’t scar outward as much as some other techniques. Brandings tend to heal outward a lot more due to the heat damaging surrounding tissue. A lot of single line scarification tends to be deeper than removal so the line can heal a little wider due to it having a tendency to heal in more of a V-shape then wide U like some removals.

BME:  Is there anything else you’d like to add?

RYAN: 

Yes! It’s really important that people remember that these procedures can be extremely dangerous if not done by a skilled professional with a decent amount of anatomical knowledge and experience working with skin. If not, people could end up in hospital! The difference between single line and removal can be compared to the difference between punch-and-taper piercing and transdermal implants. They might be similar but the latter is a lot more advanced and dangerous.


If you’re interested in getting work done by Ryan, his shop Precision Body Arts is located at 109 West Pearl Street, Nashua, New Hampshire (or call 603-889-5788). You can also see more of his work in his gallery on BME (and of course you can view other artists working in similar styles in the general scarification galleries as well).

As scarification techniques evolve, designs which previously would not have produced good, clear, dramatic looking scars become possible. The only limits are those of your imagination and of your artist’s skill. Choose wisely.

– Matt Lodder   (iam:volatile)



Matt Lodder is a 24 year old native of London England. He wrote his Masters dissertation for the University of Reading on “The Post-Modified Body: Invasive corporeal transformation and its effects on subjective identity”.

Thanks so much to Ryan for agreeing to be interviewed, and for being so eloquent and forthcoming with information. Thanks also to Quentin (iam:kalima) and Vampy (iam:vampy) for their help in answering my questions, and also to Shell (iam:stunt_girl) for her last-minute assistance!

Online presentation copyright © 2005 BMEzine.com LLC. Requests to republish must be confirmed in writing. For bibliographical purposes this article was first published online January 7th, 2005 by BMEzine.com LLC from La Paz, Mexico.



  

..and this is why I pretty much don’t ever do scarification anymore.

People often ask me why I don’t tattoo. I have been around it enough, I know the technical stuff but I just lack the talent to really excel at tattooing. I explain that while I could likely make a few bucks doing it, I would forever be disheartened by my inability to put out pieces with the artistic quality I would expect of myself.

Go back a few years, to the “early days” of scarifications modern resurgence, a time when very few piercers/mod artist offered this service and it seemed like a bandwagon I could jump on. Bold simple designs, cut burned and peeled from the flesh…….that I could handle. Then along comes people like Ryan Oullette who did this piece. People like him, Ron Garza, Brian Decker, Efix Roy and several others  have pushed this art form from it’s primitive roots into the fine art you see here.

To think that just 10 years ago scarification was so rare and “extreme” it could earn it’s wearers an invite to Modcon events, it is astonishing the quantity of amazing scarification we see each and every week here on Modblog.  So while I occasionally will continue to take on a simple piece,  I have to throw my hat in to these guys when it comes to this sort of amazingness.

So thanks, you overly talented  a-holes, now I am “just a piercer” again 🙂

Anyhow, back to the photo at hand ……this recent piece, which I was just blown away by. It was actually drawn up for one client who never showed up for it, so he posted the drawing to facebook and a girl named Samantha, jumped on the chance and spent 7 hours under the blade to get it.

mail

For proof that Ryan actually wears the title of “Lord of the Blade” with pride keep on keeping on.

bladelord

Tattoo by Angry Al at Ryan’s shop, Precision Body Arts.

A long, long time ago…

..in a land far, far away a friend of mine, known as “lord of the blade” sent me this picture of an itty bitty flesh removal key. It was the tiniest flesh removal detail he has ever attempted to pull off.  I held onto this picture in my chamber of secrets (my bme email box) for many, many moons (since last December) until it was just the right time to post. Now is that time.

key1

The piece below it was also by Ryan, and was done five years prior. I can’t wait to see how the key looks in five years, and since I forgot about this picture in my email inbox for so long one of those years is almost over!

It’s Springtime!

Even though we have had some ridiculously Summer like weather in my area, technically, it is still Spring. You know what that means? Dandelions! Weeds to some, beautiful flowers to others, but either way you can’t avoid them.

Ryan Oullette, who a lot of you may remember as the Lord Of The Blade, made sure for one lucky client of his, that dandelion season is year round. I don’t really like dandelions, or any plant for that matter, enough to carve it into my leg. However, if I was going to get a slab of bacon carved into me, you can be damn sure I’d stop by Precision Body Arts to hit up Ryan.

pbadandelion

The year 1890 in body modification

It’s been a very long time since I’ve done a historial “tattoos in the news” column, and I think perhaps it’s time to revive that. Today I shall cover a cross-section of mentions of tattoos and body modification in the news in the year 1890. In 1890 tattoos were already quite common and well known, and even a “trend” in some areas, among both the upper classes and among sailors, as well as there being wide awareness of body modification in tribal cultures. But I want to begin with my absolute favorite article of the year, which I read in the Acton Concord Enterprise of March 28, 1890 — although I should mention they were quoting The Philadelphia Inquirer and that this story was widely printed across North America. In short, a deaf-and-dumb girl is tattooed with the alphabet on her forearm, and learns to communicate by “typing” out words — and having responses typed back. Keep in mind that this was before ASL was standard, so there were many creative methods of dealing with deafmute communication — this is definitely one of the more interesting!

TALKS WITH HER ARM
Where a Deaf and Dumb Girl Carries the Alphabet and How She Uses It

“James V. Dorpman and daughter, Lodge Pole, Nebraska,” is written in a bold hand on the register at the Ridgway house. Mr. Dorpman is a tall, well built man of 60 years, with a long beard strongly tinged with gray. His daughter is about 18 years old. She has an intelligent, pretty face and the brightest and bluest kind of bright blue eyes.

When Mr. Dorpman and his daughter first came to the Ridgway house they attracted the attention and curiosity of the guests by their strange behavior. Whether in the parlor or in the dining room, Mr. Dorpman always sat on the left hand side of his daughter and tapped her left arm constantly with two fingers of his right hand, as though playing on a typewriter. His fingers skipped nimbly at random from the girl’s wrist almost to her shoulder and back again. At intervals he paused and the girl smiled, nodded her head or else tapped her left arm in the same manner with the fingers of her right arm, the old man closely watching their movements.

The strange actions of the couple were subjects of continual comment and speculation among tho guests. Finally Borne one noticed that the father and daughter were never heard to exchange a word. They always sat quietly when in each other’s presence, and were always drumming on tho girl’s arm as if it were a pianoforte. The girl kept away from the other guests of her sex, and was never seen in conversation with any one. At the dining table Mr. Dorpman gave the orders to the waiters both for himself and his daughter. When Proprietor Butterworth met the young woman on the stairs and said affably, “Good morning,” she never answered.

The strange actions of the couple occasioned such widespread comment and curiosity among the guests that finally Proprietor Butterworth approached Mr. Dorpman while he was standing at the cigar counter one day, and after a few minutes of general conversation asked him to explain the cause of his constant tapping on his daughter’s arm.

“So you’ve noticed that, eh?” said Mr. Dorpman with a laugh. “Well, that is how I talk to Hattie. Sho is deaf and dumb.”

Mr. Butterworth asked him how he was able to converse with bis daughter by simply drumming on her arm.

“You’ll think it is easy after I tell you,” he answered. “You must remember that we came from an obscure part of Nebraska, settled there with my wife a quarter of a century ago. Eighteen years ago, when Hattie was born, there was not a house within a mile of us, nor a city within sixty miles. As the child grew older we discovered that she was deaf and dumb. We were at a loss how to communicate with her. We were far away from a civilized community, and no one that we knew was familiar with the sign manual for deaf mutes, so that the baby grew to be a child before we could devise a scheme to talk to her.

“Finally my wife hit upon a novel idea. She got a clever young fellow who worked for us to tattoo the alphabet on Hattie’s arm. The letter ‘A’ began just above the wrist, and the letter ‘Z’ ended just below tho shoulder blade. Hattie was then 5 years old. In less than a year by this means my wife and I had taught her the alphabet.

“Then we began to spell out words by touching each letter very slowly with our fingers. As the child learned we became faster, and when Hattie was 12 years old we were able to talk to her as rapidly as a person can spell out words on a typewriter. Hattie, too, learned to answer us by drumming on her tattooed arm. Of course, for several years at first, when we wanted to talk to her, or she to us, she had to roll up the sleeve of her left arm. Gradually her sense of touch became so fine that she knew without looking just where each letter was located, and her mother and I, by constant practice, were enabled to strike these letters with her sleeves rolled down.

“The tattoo was not very deep, and by tho time Hattie was 16 years of age it had entirely disappeared, leaving her arm as white and spotless as a woman’s arm could be. But she knows just where each letter was, and so do I, for I have been drumming on her arm ever since she was knee high to a grasshopper. Of course, I am the only person alive able to talk with her, as my wife died about six months ago, but I hope to arrange so that she may be able to talk to others. While we are on east I am going to get some one to instruct her in the sign manual. She is bright and quick and will soon learn.”

talks-with-her-arm

More stories continue after the break.

I found a great many news pieces describing cultures around the world, ranging from quite xenophobic to almost adoring. I’ll start at the less friendly end of the scale. This is from the Spirit Lake Beacon, March 21st, 1890 — of course, it is about cannibals, which really starts most people off on the wrong foot.

DEGRADED SAVAGES
Things Told by Dr. Carl Lumholtz About Queensland Cannibals.

They tattoo their children in the crudest way, cutting parallel lines across the breast and stomach with sharp stones and clam-shells, and keeping the wounds from healing by filling them up with ashes or charcoal. The shoulders are cut in the same manner until they look like epaulets.

…and later on…

They frequently flog their wives brutally, and if she runs away to some one more kind, the husband is privileged to maim her when he sees her. This is what they call “marking” a woman.

A more neutral article about another cannibal group in the Congo also mentions tattoos, in this November 12th article in the Sterlin Illinois Evening Gazette.

Wonders of the Great Forests

There are many inhabitants in the region, but they could be classed into the tall inhabitants and the pygmies. The tall natives occupy the clearings; the pygmies are found in groups in the forests. The different tribes of each are distinguished by marks, some having tattoo marks on their foreheads, and others on their cheeks.

This mention of tattooing in Algeria, which I found repeated in dozens of papers, syndicated in their trivia columns was more neutral. This particular example is one of the earlier mentions, from the Salt Lake City Tribune on January 5th, 1890.

In Algeria every girl born of native parents is tattooed on her forehead between the eyebrows and just at the root of the nose with a cross formed of several straight lines of small stars running close together. Those tattoo marks are a a dark blue color. Algerian women ara also considerably tattooed on the backs of their hands, their forearms and chests, as well as on their shoulders, their wrists being especially adorned with drawings representing bracelets and flowers strung together As a rule, women are the operators, and it is principally on children between the ages of seven and eight that they have to exercise their art. They use sometimes a needle, but more frequently a Barbary fig-tree thorn. They employ kohl as a coloring substance. It is a kind of fine powder made from sulphur of antimony, which is also in great request by the Algerian women for the purpose of face-painting.

I found an interesting and positive story about tattooing in Polynesia in the Oelwein Register called “Tattooing the Body”

Tattooing is by no means confined to the Polynesians, but the “dermal art” is certainly carried by them to an extent which is unequaled by any other people. It pervades all the principal groups of islands, and is practiced by all classes, though to a greater extent by the Marquesans and New Zealanders than any others. By the vast number of them it is adopted simply as a personal ornament, though there are some grounds for believing that the tattoo may, in a few cases and to a small extent, be looked upon as a badge of mourning or a memento of a departed friend. Like everything else in Polynesia, its origin is related in a legend, which credits its invention to the gods and says it was first practised by the children of Taatoa, their principal deity.

The sons of Taaroa and Apouvaru were the gods of tattooing, and their images were kept in the temples of those who practiced the art as a profession, and to them petitions are offered that the figures might be handsome, attract attention and otherwise accomplish the ends for which they submitted themselves to this painful operation. The coloring matter was the charcoal of the candlennut mixed with oil, and the instrument used was a needle made of fishbone, and a thread was drawn through the skin, after which puncturing the black coloring matter was injected with instruments made for the purpose. To show any signs of suffering under the operation is looked upon as disgraceful, and accordingly, in some of the islands, while the operation is going on the young man undergoing it will lay his head on the lap of his sister or some young relation, while a number of female friends will keep up a song, so as to drown the mumuring which the torture may draw from him inadvertently, and that therefore, he may not be demeaned in the eyes of his countrymen who are present as spectators.

Another little tidbit from the Dunkirk Evening Observer on October 6th, 1890 that caught my interest and then didn’t pay off. It describes a report on lectures given by a Dr. Talmage at the Brooklyn Academy of Music on his journeys in the Holy Land. He describes the people he meets in Jerusalem — it is an unfortunately brief but tantalizing mention of these North African peoples.

JOPPA TO JERUSALEM
Dr. Talmage Continues His Sermon On The Holy Land

Here wo meet people with faces and arms and hands tattooed, as in all lands sailors tattoo their arms with some favorite ship or admired face. It was to this habit of tattooing among the orientals that God refers in a figure, when he says of his church, “I have graven thee on the palms of my hands.”

Unfortunately that’s it. But I was happy to read an article in the Boston Daily Globe on August 24, 1890, in which the author — a Miss Grundy Jr — quite obviously fetishizes the exotic, although seems more open to tattooing than piercing. The article discusses how women around the world express beauty — here are a few excerpts that refer to body modification.

WOMEN OF ALL WORLDS
Pretty Ears of a Dozen Different Nations and their Adornments.

Two of the most beautifully formed women I have ever seen wore pointed out to me by the curator of the African exhibit, from a picture in the posession of the museum. They were young Kallirs, were about 15 years old and were fully developed. They were dressed in the costume.of that country. In other words they were perfectly nude with the exception of a belt of bark about six inches long about their waist. They have high shoulders, beautiful busts, plump forms and long lithe limbs. Their hair is curly and their noses are flat and I am told that in this flatness they find a part of their beauty. Mothers think that the flat nose is the only beautiful nose and they press down upon the noses of their babies to spread out their nostrils.

She has an idea that scars add to her beauty and you will notice that in many cases a Kallir woman’s arm from the wrist half way up to the elbow has natural bracelets of raised flesh. This is done by cutting the arm when the child is young and filling the wounds with ashes made of burned snakes.

Tattooed Beauties

These ashes produce to a certain extent the effect of tattooing and you will find the tattooed woman in nearly every country. Prof. Hitchcock, who has just returned from Yezo, the island which lies between Japan proper and eastern Siberia, has brough some photographs of the savage aborigines of that country. He says that the Aino women are beautifully formed, but that they disfigure themselves with tattooing. When the Aino wants to kiss he has to kiss inside the tattooed line which runs about the girl’s mouth. The probability is that he does not know what kissing means, for the Japanese do not kiss and they never shake hands.

This tattooed line is one of the Aino’s signs of beauty. It runs along the upper lip under the nose and between the under lip and the chin, and the two lines are united at the corners.

Some of the women unite the eyebrows by a streak of tattooing, and all the girls have tattooed bracelets around their arms.

This tattooing begins at the age of 5. The skin is punctured with a knife and soot is rubbed in. A great deal of tattooing is done in Alaska, and the museum has many examples of tattooed women of that country. They tattoo differently, however, from the Ainos and Lieut. Niblack of the navy, who spent some years in Alaska in the employ of the museum, has prepared a report upon this subject which is now in press. He says that the Haida tribe of Alaska have reduced tattooing to a fine art, and that the women frequently tattoo finger rings upon their hands and bracelets upon their arms.

Among some of the fashionable women of Japan — I mean English women living in Japan — tattooing has gotten to be quite a fad, and a man returned last week from the East, in showing me a red, white and blue design, which had been pricked by a tattooer upon his arm, told me that a half dozen fashionable women at Kobe, Japan had pictures made on certain parts of their bodies by this man. It is only the men among the Japanese who tattoo; the Japanese girl keeps her beautiful skin clean.

Ears Pretty and Otherwise.

The Venus of Burmah has naturally just as pretty an ear [as that of the Yum Yum women] but she ruins it by her ear plug. As soon as she reaches that age at which our girls begin to lengthen their dresses, her ear is bored by a professional ear-borer and this boring makes her a young woman. It is done with great ceremony. Her mother gives a party and all the friends look on while she is thrown down on the ground and a golden wire is thrust through the lobe of her ear and twisted into a ring. After the sore is healed a bigger wire is put in. This is followed by a bigger one until the hole becomes as large around as a man’s thumb. Then a plug of gold, silver or glass is put into the ear and is worn there from this time on as an ornament. These plugs are sometimes studded with diamonds, and in the cases of wealthy girls they are very costly. Among the poorer Burmese women the holes are enlarged until you could put a napkin ring inside them.

The Burmese cigar is about three times as big round as the ordinary Havanna, and the Burmese women often carry their cigars around in their ears. In some cases the ears are pulled out so that they will hang almost to the shoulders, and I have seen photographs of such ears which contained holes large enough for me to have put my fist through.

This ear forming is done by some of the East Indian maidens and the daughters of the kings [???] themseves in this way. As to nose rings the Indian women have all sorts of them, and you will find that about half the women in the world ornament their noses.

There was also regular casual mention of tattooing — a lot of tidbits about what tattoos various convicts on the run had to identify them with, for example. But one rather morbid example really jumped out at me, from the Alton Daily Telegraph on April 29.

The Gun Did Its Work Nicely

Auburn, Neb., April 28 – Roscow Bros., dealers in general merchandise here, found a dead man lying behind the counter under the money-drawer. They had been troubled with burglars, and had attached a gun to the money-drawer by a wire. In trying to open it the man shot himself. He had been working in the country for a couple of weeks, and gave the name of George Woods. He had a tattoo of a woman’s face on one arm and on the other an inscription in memory of his mother.

I assume in part because book ownership wasn’t as widespread at the time, papers in 1890 often ran serial fiction, and I found that this serial fiction often mentioned tattooing. For example, in the Warren Ledger of March 14th, 1890, I read an incredibly cheesy Harlequin romance-type story about an amorous encounter between a woman named May and her exciting lover called Guy L’Estrange.

Claire’s Revenge

He helped her ashore as he spoke, and fastened the boat to the mooring post.

“You know you are always welcome,” said May tenderly; “but–oh, Guy, what strange mark that is on your right arm? I never noticed it before.”

She had taken hold of his white muscular arm, and was gazing intently on a strange tattoo mark, skillfully wrought — the mark of an anchor and a dagger, a kind of Spanish stiletto.

A dark cloud seemed to pass over his face as she spoke, but it vanished as quickly as it came.

“Some whim of my parents,” he said. “I only wish I could get rid of it. But I cannot without disfiguring myself, so I am forced to let it remain.”

“Oh, it does not matter,” said May; “it is no disfigurement in itself, is it, Guy?”

And as they moved along towards her home she clung to his arm in childlike confidence and love.

Speaking of tattoo regrets, in the “Queries” section of the Echo London Middlesex of June 11, 1890, in which readers could write in questions for other readers to respond to, a “J. Tillot” wrote in, “REMOVING TATTOO MARKS.–How can I remove Indian ink tattoo marks from the hands and arm?”. I do not know if they ever got an answer but I never saw it. In any case, continuing with the serial fiction, I also found what might as well have been a day-time soap-opera in the Acton Concord Enterprise of May 16th, 1890. In it Sir Toby, thought to have drowned in the Atlantic, reappears (soap opera shock!) and reveals that it was not he that drowned, but another passenger.

AN UNCLE VANISHED

“But what on earth have you beer doing for more than two years?”

“I went hunting bears and things in the Rocky mountains,” said Uncle Toby in a sepulchral voice. “We lost our way, wandered about for days, and were eventually captured by the Indians. Couldn’t get away or even write.”

“Oh, indeed! Is that why you have tattooed your face so elegantly?” asked Jack.

“I didn’t tattoo myself–they did it for me,” wailed Sir Toby. “My face is nothing to the rest of me. I’ve got a pine forest, a lake and a range of mountains on my back; three rattlesnakes on each arm, my chest is covered with tomahawks, arrows and pipes; and there are opossums, terrapins and all sorts of damn ghastly animals on my legs!”

“Dear me, uncle, what’s become of your left ear?”

“Well, you see. Red Blanket, the chief, you know, took a great fancy to me: but sometimes he used to get drunk and throw things about. He cut nearly the whole of my ear off with a tomahawk one day.”

“You must have had a rollicking time.”

Anyway, Sir Toby then insists that he is taking back his family home, and the story continues in serial drama fashion that would make daytime soaps proud.

Now I want to finish up with something a bit less mundane. As the end of 1890 approached I started coming across stories of a “Messiah craze” among the Native Americans — An Indian man identifying himself as the second coming of Christ and gaining apparent large followings. This one is from the November 18th edition of the Burlington Hawk Eye. This Messiah seemed to be preaching a Christian-like message, but identified the Native Americans as God’s chosen people rather than the White Man. He was later identified as a Piute tribe member called John Johnson, highly intelligent but not educated, from the Walker Lake reservation. He would tell his story about being sent back to Earth by God to continue his work, and would show the scars of the crucifixion (tattoos apparently) on his wrists as “proof”.

THE NEW MESSIAH.
Apostle Porcupine Tells About the Indian Christ.

Lieutenant Robertson, in partial corroboration of the story that Piute Johnson is the Messiah referred to, says Reedtold him Johnson had tattoo marks on his wrists. He is quite wealthy in horses and cattle.

That story didn’t tell me much beyond the fact that there was a native walking around claiming to be the second coming of Christ, and using some tattooed-on crucifixion marks to con people. I’ll wrap up this collage of news clippings with a final article I found on the subject in The World Hutchinson News on November 23rd, which has a General Miles blaming the Mormons for setting into motion this religious fervor.

THE MESSIAH CRAZE TRACEABLE TO JOE SMITH’S PROPHECY.

Joseph Smith, the founder and first “prophet, seer, and revealer” of the Church, was greatly given to dreams aud visions. On one of these occasions the Lord appeared before him aud assured him that be should live to the age of eighty-five, and that before he died he should see the Saviour. Had he lived he would have been eighty-five years old in 1891, and reckoning on this basis, he prophesied the coming of the Messiah in that year. His appearance was indefinitely postponed by President Woodruff last month, but through all these years the Mormon missionaries, with the fervor of fanatics, have been enjoining their red brethren to prepare for the coming of the Messiah, who was scheduled for 1891. And now comes John Johnson, a half-breed Piute over in Nevada, where Mormon settlements abound, and declares that he is the Messiah, and exhibits tattoo marks on his wrists to prove that he was crucified, and preaches his gospel to delegations from all the Western tribes. And so, also, comes the squaw of the Northwest, who proclaims herself to the worJd as the Virgin Mary.

Next time I’ll pick another year at random and see what I find!

Body Play: State of Grace or Sickness? (Part II) – Fakir Rants & Raves

Body Play: State of Grace or Sickness?
Part II: The New Culture Matures

Today is August 10. My seventy-third birthday! It’s a good day to reflect, remember, and take stock of what has happened to me and the world around me. During the 1960s, since I’d “gone public”, I found new opportunities for personal exploration. Instead of isolation, there were now kindred spirits — others to give me encouragement and sanction for a whole new round of “body play” adventures. I asked sympathetic friends, like Davy Jones, my newly found tattoo artist, to put me in a “Kavadi” frame like that of the Savite Hindus. I was pierced by ninety four-foot long steel rods in my chest and back. I danced for many hours with this fifty-pound load. I went into a state of ecstasy and drifted out of my body. It was sweet. It was bliss. I got to know what the Tamil Hindus had experienced as long as a thousand years ago. I repeated “Taking Kavadi” many times after that, and eventually I was asked by other Modern Primitives to put them in it as well. I did so and also acted as a shaman who could safely guide them through the hazards of the “unseen worlds” to which they went.



1967: TAKING KAVADI; SELF PORTRAIT WITH DAVY JONES

In another body ritual, I invited trusted friends to pierce my chest with two large hooks and suspend me by these piercings in the style of the Ogalala Sioux Sun Dance and Mandan O-Kee-Pa ceremonies. That experience proved to be truly transformative; life-altering. After I swung free it took only about ten seconds and I was lifted out of my body where I drifted up to a White Light that radiated incredible love and understanding. The Light said, “Hello, I am you and you are me. And I am as close to God as you will ever be!”

In a timeless space, I had a long telepathic conversation with the White Light. I got answers to many questions. I was never the same after that remarkable trip. Years later I discovered that many others had had a similar life-altering transformation during what is called “the near death experience”. But mine was voluntary and sought after as part of my “body play”.

I repeated the hanging several times after the first one in 1976. Each one contained its own lessons to learn and special places to visit. My fifth hanging was beautifully filmed in Wyoming for a documentary by Mark and Dan Jury, released in 1985 as Dances Sacred & Profane. A video with segments of this hanging and a Sun Dance will soon be available on my web site. I have not done this kind of suspension in recent years — one does not have to repeat a body ritual again and again if the first one resulted in a truly transformative experience. The job is done!

By 1990, the Modern Primitive Movement, with its intricate web of body expression and exploration, had come to bloom. Body piercing was now a mainstream business in large cities — mostly as a result of the diligence of a handful of people in the original 1970s T&P group mentioned in my last column. In 1990 and 1991 I worked as a commercial piercer in one of the largest of these studios in San Francisco. Since I also did, and had done for some years, private ritualized piercing I couldn’t help but introduce this element into what was developing into a commercialized personal service industry. I was curious: why did these hundreds of mostly young people flocking to our studio want piercings? I knew from years of research many of the reasons why people in other cultures did it, but how about these contemporary Modern Primitives?

In the so called “primitive” tribal societies I had studied and visited, about a dozen recurring reasons kept appearing for the practice of body piercing, marking, and modification rites:

  1. Rite-of-passage marking movement from one phase of life to another
  2. Creation of life-long peer bonding
  3. Sign of respect or honor for elders and ancestors
  4. Symbol of status, belonging, bravery, or courage
  5. Initiation into greater mysteries and the unseen worlds
  6. Protection from evil spirits and energies
  7. Opening for beneficial spirits and energies
  8. Rebalancing of body or spiritual energies
  9. Healing of diseased body, self, or others
  10. Healing of wounded psyche, self, or others
  11. Healing of tribal disorder and chaos
  12. Tribal and community connection to greater forces

Since I was now doing ten to twenty piercings a day, I had plenty of opportunity to ask reasons of contemporary piercees. In the privacy of the piercing booths we used in a commercial studio, I would encourage ritual and ask, “You don’t have to answer me if you don’t want to, but if you don’t mind, could you tell me why you’re getting your nipples pierced today?” Or, “Have you been thinking about doing this for very long? Does it have any special meaning for you?”

I expected answers like “I’m getting this because I think it’s cool” or “I want this piercing ’cause all my friends have it”.

To my surprise, most piercing clients in San Francisco gave me more meaningful answers. The reasons were not very different, in most cases, from those I had found in other cultures where body piercing was sanctioned and a part of cultural tradition… But a few of the reasons were radically skewed from those of other cultures; reasons never or seldom heard in tribal cultures. One that came up often in San Francisco, especially among young women, was a sad commentary on the abusiveness and disregard for others’ Sacred Space in our society. “I’m getting my genitals pierced today to reclaim them as my own. I’ve been used and abused. My body was taken without my consent by another. Now, by this ritual of piercing, I claim my body back. I heal my wounds.

Some reasons were more obvious and traditional, such as the identification and status marking of certain subgroups like bikers, or the Club Fuck girls of Los Angeles who all wore small colored rings in their nasal septum. But the most common reason given for a body piercing usually involved a rite-of-passage or memorial to some one near and dear to the piercee.

In 1990, while I was piercing commercially, I met Dr. Armando Favazza, M.D., a renowned psychiatric expert on self-mutilation. We were both appearing on a television talk show on self-mutilation and body modification, mostly that of young women who slashed themselves with razor blades. In addition to Dr. Favazza and myself, the program also featured Raelyn Gallina who is renowned for and openly does cuttings on others (primarily women) in socialized rituals. Raelyn and I packed the studio audience with highly modified people, all of whom were either heavily pierced, tattooed, or cut with intricate patterns. They were all very articulate and positive about their experiences. For his side of what became a television debate, Dr. Favazza brought in a young woman “cutter” from Los Angeles who had a long history of isolated cutting and psychiatric treatment. She had just been released from a hospital. I felt sorry for Dr. Favazza — he didn’t have much of a chance to present his side of the story in this setting. We overpowered many of the negatives with our enthusiasm.

After the program, the young cutter from Los Angeles connected with other women in the audience whose urge to express deep feelings by body ritual had been more social and sanctioned than hers. In listening to their conversations, I had the feeling that if this woman had been in San Francisco and had connected sooner with a supportive peer group like this one, her shame and negative experiences as an isolated cutter might have taken a different turn… that she might have avoided the psychiatric ward. Dr. Favazza also noticed this interaction of his patient with the other women cutters and it seemed to register deep in his consciousness. I gave the psychiatrist a tour of the widespread display and acceptance of body modification in San Francisco. In the long run, that kind of exposure added a whole new dimension to his work. He eventually revised his psychiatric text book Bodies Under Siege and a new edition was called Bodies Under Siege: Self-mutilation and Body Modification in Culture and Psychiatry (John Hopkins University Press, Second Edition, 1996).

By 1991, the Modern Primitive Movement was receiving widespread public notice, which in itself was a type of sanction. Rock stars and clothing models began to appear in mass media with body piercings and tattoos. Maverick clothing and personal styles became fashionable. I gave countless television interviews and wrote extensively for the alternative press about these changes. Hundreds of young people responded to the message. They wanted more: more information, more opportunity, and more guidance in body arts and ancient rituals, and more instruction in safe and social ways to express themselves through the body. To provide a reliable channel of information, I started a magazine called Body Play & Modern Primitives Quarterly. This magazine lasted for nine years and served its purpose well through 1999. Then other forums, along with BME, came into being to fill the gap.

For the general public who wanted guided group exploration of body rituals, I started a series of workshops on “Ecstatic Shamanism” in the mid-nineties; these workshops have been given in major cities like Los Angeles, Dallas, Denver, Phoenix, and Washington DC. They are becoming ever more popular and are continuing on in the new century (see my web site for up coming shamanic events). And, close to my heart, in 1990 I started Fakir Intensives to teach the art, skills, safe medical practice, and magic of body piercing and branding. I started this school on my kitchen table with two students. Now it has expanded to monthly classes with ten students and seven very dedicated and skilled instructors. To date this educational enterprise has trained over 1,400 body piercers and branders. Fakir Intensives are registered with the State of California as a Career Vocational Training Institution and instructors are certified for the subjects they teach. This represents a huge advance in social sanction for our body modification passions!

All of these recent activities have given permission and sanction to thousands of young people eager to modify their own and other people’s bodies. Some are sincere, grounded, thoughtful, and stable, open to advice and counsel. Others are so overwhelmed with their passion, so quick to act, that I have adopted a practice of intervening and stalling any rash, hasty, or risky bodymod actions whenever possible. I advise them to study the traditions and reasons behind the practices they are going to do and to consider the risks and possible dangers: physical, mental, spiritual, and psychic. If, for example, a young man wants to do a real Sun Dance, I would encourage him to learn all about the Native American tradition from which it came. I would advise him to find a trustworthy medicine man or shaman and only do the ritual if that mentor felt he was properly prepared and ready.

I’ve had a number or people ask me to help them take the Spear Kavadi of the Hindus. One woman, a Christian, asked at least a dozen times. I made her wait two years until I felt her motives were clear and she was appreciative of the Hindu tradition from which it came. Then I asked her to prepare herself so that finally, on a sunny summer day in Northern California, I could put her into the Kavadi cage for half a day. She had a marvelous transformative experience during the ritual. A few years later, I also hung this same women horizontally by twenty-two piercings in a thousand year old Redwood tree where she drifted into the unseen world and visited her own private hell and heaven. Again she had a deep transformative experience that a few years later prepared her to pass from this physical world altogether!

Others who also facilitate modern day body modifications have adopted a similar practice. Raelyn Gallina, for example, was recently asked by a protégé body piercer trained in my courses to make a series of slashes across his face. The requested modification was radical; the decision to do it was somewhat impulsive. When he went to Raelyn to get this cutting, she asked him if he had given it much thought; seriously considered the consequences. She made three lines with a permanent red marker where he wanted the slashes on his face. She told him to wear the marks for seven days. If he still wanted the cutting at the end of the waiting period, she would do it. This is the type of approach serious, responsible body modifiers should be taking. But not everyone involved in the modern body modification trend are this conscientious. Some see the trend as a way to commercialize and exploit this “urge” that runs so deep.

* * *

Why do we do it? Why do people through all ages and in many cultures seek expression of life through the body, through sensation and modifications? I’ve felt the “urge” myself and have come to terms with it. I’ve investigated this phenomena — it runs very deep and is a significant part of human development. The more I look, the more I am convinced that the “urge” wells up from profound universal archetypes that may even be encoded in our genes. Several years ago I had the opportunity to travel and explore the universality of this “urge”. As a young man, I was emotionally moved by the body worship of the Savite Tamil Hindus in such cultural rites as the Thaipusam Festival. As a teenager, I had seen photos of them in old National Geographic magazines — on the streets of South India with a hundred limes suspended from body piercings, in arched frameworks supported by long iron spikes embedded in the chest and back, suspended by large hooks in the back or chest, with long spikes pierced through their tongues and cheeks. The glazed look in the eyes and their seeming indifference to pain said something.

I vowed to witness this event some day, to soak in and understand first-hand what was happening inside these unique people that I had only observed externally in pictures and movies. So after waiting fifty years, in 1995 I finally had my chance to attend a Thaipusam Festival in Penang, Malaysia (see Body Play Magazine, Issue #11). I was not disappointed. A million people gathered — over two hundred thousand in Penang, a half million in Kuala Lumpur, and another quarter million in Singapore on the auspicious day. These were not tourists but devotees with their priests, family, and friends assembled for massive and openly sanctioned public worship through the body. In Penang, the procession streets were purified by smashing over two million coconuts whose milk is believed to clear the way for the passing of the image of Lord Muruga (also know to the Tamils as Murugan, Subramanya, Velan, Kumara, and many other names, each indicating an aspect of an unseen deity).

The atmosphere on the morning of the body piercing and procession ritual was heady and intoxicating. As I watched group after group of Tamil Hindus get pierced to cries of
“Vel!”“Vel!”, and let themselves enter into deep trance states and possession, I began to feel the utter reality of the deities they were invoking. Murugan was there. Lord Siva was there. Goddess Kali Ma was there… all welling up from somewhere deep inside the devotees. I had felt this before at my own rituals and the ones I had conducted for others in California, but never of this magnitude. What I felt in Penang that day was definitely not “sickness” but rather a “State of Grace”. Way Big Grace! I continue my own Body Play, and in it, find my own States of Grace. I encourage all others who feel the urge to seek their own as well.

Namaste.


Fakir Musafar
fakir at bodyplay dot com



Fakir Musafar is the undisputed father of the Modern Primitives movement and through his work over the past 50 years with PFIQ, Gauntlet, Body Play, and more, he has been one of the key figures in bringing body modification out of the closet in an enlightened and aware fashion.

For much more information on Fakir and the subjects discussed in this column, be sure to check out his website at www.bodyplay.com. While you’re there you should consider whipping out your PayPal account and getting yourself a signed copy of his amazing book, SPIRIT AND FLESH (now).

Copyright © 2003 BMEzine.com LLC Requests to republish must be confirmed in writing. For bibliographical purposes this article was first published August 14th, 2003 by BMEzine.com LLC in Tweed, Ontario, Canada.