Tribal Tattoos and Body Modification in Southeast Asia

By Iya Dausin

Introduction

Southeast Asia is ethnically diverse with more than 350 ethnic groups in the region. There are misconceptions surrounding this because of colonization and rapid modernization that this region has had to cope with in the past century. Despite this, they are able to thrive and live on with their cultures and traditions passing them down through generations. With that in mind, the traditional art of tattoo and body modification within Southeast Asia especially in indigenous communities is evident and will be expanded further on in this section.

Ethnic Diversity in Southeast Asia

Southeast Asia is ethnically and culturally rich, with hundreds of indigenous groups and languages across the region. However, an interesting phenomenon is the similarities that exist between these diverse populations in terms of culture, language, beliefs, and practices. These can be attributed to the longstanding connections through trade, historical migration, and geographical proximity that allowed cross-cultural exchanges to occur. It has been established through archeological findings that ancestral remains can be traced back thousands of years, indicating the shared common roots of the Indigenous communities in this region [1]. Despite the diversity, the shared commonalities between groups prove that a deep historical interconnection exists and continues to do so over the centuries.

One example is the practice of tattoos and body modifications that may look similar yet can have different symbolic meanings and cultural significances depending on their local traditions and beliefs.

[1] Soares, Pedro and others. 'The Archaeogenetics of Southeast Asia', in Charles F. W. Higham, and Nam C. Kim (eds). The Oxford Handbook of Early Southeast Asia, Oxford Handbooks, 2022. https://doi-org.mutex.gmu.edu/10.1093/oxfordhb/9780199355358.013.3

manhhai. The Peoples of Mainland Southeast Asia - National Geographic Society 1971. 2014.

Background of Tribal Tattoos and Body Modifications in SEA

Terra, Evo. Sak Yant Festival. Monk Working. Wat Bang Phra, Thailand. 2016.

Tribal Tattoos

There are multiple reasons why Southeast Asians, specifically the indigenous and ethnic minorities engage in the practice of tattooing whether it be doing or getting them.

Notably, there is "Batok" from the Philippines which translates to "hand tapping" in the Ilocano dialect [1]. This term and practice is mostly used in the northern regions of the Philippines where the "mangbabatok" or the hand tapper/tattooer taps ink on another person's body using wooden tools to create a pattern or design. Batok is traditionally done for headhunters of the tribe but has since evolved to being done for aesthetic purposes [2]. Batok, specifically from one of the eldest "mangbabatok" in the Philippines or Apo Whang-Od, has become an attraction for tourists who want to experience this practice.

Another form of tattoo hand tapping is Sak Yant which is mostly practiced by Buddhist monks [3]. It serves a more religious purpose as most Thai people consider these tattoos sacred, believing they hold spiritual powers that can provide guidance, luck, protection, and strength. Incorporating Buddhist, Hindu, and Animist elements, these tattoos follow shapes, patterns, and symmetrical designs, often freestyles by the tattoo practitioner or monk [4].

Loupiote. 7038 - Blackened Teeth - Tribe Woman - Vietnam. 2006.

Body Modifications

A common theme in body modifications in Southeast Asia is the cultural significance they hold which is also heavily dependent on an ethnic community's beauty standard.

To give an example, the Kayan or Padaung women's practice of wearing neckrings is a longstanding tradition that exists to this day. It is deeply rooted in their cultural and ethnic identity. Most Kayan women wear these rings as it is a symbol of beauty in their tribe. "It’s part of our Kayan tradition, our cultural identity as dragon people. We consider it beautiful" a Padaung woman states in an article written by Jessica Theurer who visits these women in Thailand seeking refuge from the Myanmar military regime [5].

However, this practice can be traced back "to the skeletal remains of an approximately 4500-year-old Neolithic burial in the Duyong Cave on the west coast of Palawan Island, Philippines" [7]. The reason behind this can also be attributed to beauty standards within their communities.

[1] Cabalquinto, Ana, Carmela Dizon, Chelsea Ramirez, and Mai Santiago. “Batok: The Exploration of Indigenous Filipino Tattooing as a Collective Occupation.” Master of Science in Occupational Therapy, Dominican University of California, 2022. https://doi.org/10.33015/dominican.edu/2022.OT.02.

[2] Soukup, Martin, Dušan Lužný, Jan D. Bláha, and Jaroslav Skupnik. “The Aura of Tattoos: The Commodification of Tradition in Buscalan Village, the Philippines.” Asian Journal of Social Science 49, no. 3 (September 1, 2021): 153–60. https://doi.org/10.1016/j.ajss.2021.04.001.

[3] May, Angela Marie. Sak Yant: The transition from Indic yantras to Thai "magical" Buddhist tattoos. The University of Alabama at Birmingham, 2014.

[4] Salvador-Amores, Analyn. 2011. “Batok (Traditional Tattoos) in Diaspora: The Reinvention of a Globally Mediated Kalinga Identity.” South East Asia Research 19 (2): 293–318. doi:10.5367/sear.2011.0045.

[5] Theurer, Jessica. “Trapped in Their Own Rings: Padaung Women and Their Fight for Traditional Freedom.” INTERNATIONAL JOURNAL OF GENDER & WOMEN’S STUDIES 2, no. 4 (2014): 51–67. https://doi.org/10.15640/ijgws.v2n4a3.

[6] Tayanin, Gisela Ladda, and Douglas Bratthall. “Black Teeth: Beauty or Caries Prevention? Practice and Beliefs of the Kammu People.” Community Dentistry and Oral Epidemiology 34, no. 2 (2006): 81–86. https://doi.org/10.1111/j.1600-0528.2006.00264.x.

[7] Fox, Robert B. The Tabon Caves: Archaeological Explorations and Excavations on Palawan Island, Philippines. National Museum, 1970.

Present Day...

In the 21st century, tattoos and body modification have gained mainstream attention. They have come to serve a more aesthetic purpose rather than for religion or tradition. The act of tattooing has gained popularity as a form of self-expression and personal identity. Similarly, body modification takes the form of piercings, teeth filling, and plastic surgery, and serves to reach one's desired physical appearance. While this modern trend may be motivated by individual preferences and societal beauty standards, it is important to understand the historical and cultural contexts that are behind such practices in Southeast Asia. These historical contexts, often derived from indigenous beliefs and traditions continue to shape the cultural significance and symbolism involved in tattoos and body modification in the region, even as they evolve into modern trends.

Case Studies

Marquez, Lee. English: Ink Road (Apo Whang-Od). March 29, 2013. https://www.flickr.com/photos/lee_marq/8648819744/. https://commons.wikimedia.org/wiki/File:Ink_road_%28Apo_Whang-od%29_23.jpg.

Marquez, Lee. English: Ink Road (Apo Whang-Od). March 29, 2013. https://www.flickr.com/photos/lee_marq/8650916587/. https://commons.wikimedia.org/wiki/File:Ink_road_%28Apo_Whang-od%29_26.jpg.

Apo

Whang-Od

Apo Whang-Od is from the Butbut tribe located in Buscalan, Kalinga in the Northern regions of the Philippines [1]. She is famously known for being the oldest traditional tattoo artist in the world at the age of 107 years old as of June 2024. Keeping the tradition of "Batok" alive, she uses a mix of charcoal and water for ink, and a gisi, a bamboo stick with a thorn attached to one end, as a needle. She has been practicing the art of batok since she was 15 years old and was the first woman of the tribe to be trained in the art, under the guidance of her father. The practice of batok is only supposed to be passed down through bloodlines, and without any children of her own, Whang-Od taught the art to her two grandnieces, Grace and Elyang, who continue the practice until today [2]. Whang-Od is now mostly known for her signature tattoo of three dots, representing herself, Grace, and Elyang.

The question of whether it is culturally appropriate for those who do not belong to Kalinga tribes to receive these tattoos is still a widely debated issue. Despite that, Apo Whang-Od states in a documentary that she is glad to have tourists visit her and give them tattoos. Another local shares that they welcome the influx of tourists because of the attention "Batok" has gained all over the world. Now that tourism has gained traction in their community, tattooing can serve as a livelihood [3].

[1] The Last Kalinga Tattoo Artist, Whang Od | DW Documentary - YouTube, 2018. https://www.youtube.com/.

[3] Biyahe Ni Drew: Meet Apo Whang-Od, the Oldest Traditional Tattoo Artist in Kalinga - YouTube, 2019. https://www.youtube.com/.

Padaung Women

The Padaung Women are originally from Burma or Myanmar but now reside in Thailand. In the Chiang Dao: Long-Neck Village, you will be able to visit them and observe the cultural practice of wearing neck rings which is a significant part of their identity [1].

These brass neck rings gradually elongate the neck, giving the appearance of a longer neck. In the Padaung culture, the rings are a symbol of beauty despite the global attention and scrutiny it has received due to the health implications it has. Most women encounter collapsed rib cages, compressed chests, and bruising around the areas where the rings lay their weight [1].

The Padaung women who wear these rings willingly do so because of their cultural significance. As refugees in Thailand, this allows them to feel closer to their traditions and ethnic identity.

The Padaung community in Thailand encounters the issue of ethnic exploitation. The long-neck village seems more like a human zoo where tourists can marvel and view these people as attractions. A big part of how these Indigenous communities thrive is through tourism and it allows them to earn money. However, the practice of ethnic tourism has raised ethical concerns about the commodification and exploitation of their traditions [2]. The experience within these types of ethnic tourist attractions is also fabricated and mended to cater to foreign tourists.

[1] Theurer, Jessica. “Trapped in Their Own Rings: Padaung Women and Their Fight for Traditional Freedom.” INTERNATIONAL JOURNAL OF GENDER & WOMEN’S STUDIES 2, no. 4 (2014): 51–67. https://doi.org/10.15640/ijgws.v2n4a3.

[2] Chatkaewnapanon, Yuthasak. “Ethnic Tourism in Northern Thailand: The Paradox of Authentic Tourism Experience.” SSRN Scholarly Paper. Rochester, NY, July 29, 2019. https://papers.ssrn.com/abstract=3427965.

Gómez, Juan. Antigua | Juan Gómez | Flickr. February 12, 2010. https://www.flickr.com/photos/juan-images/4350257737.

Stanley, David. Padaung Women. February 24, 2018. Photo. https://www.flickr.com/photos/davidstanleytravel/43365353355/.

Bibliography

Biyahe Ni Drew: Meet Apo Whang-Od, the Oldest Traditional Tattoo Artist in Kalinga - YouTube, 2019. https://www.youtube.com/.

Cabalquinto, Ana, Carmela Dizon, Chelsea Ramirez, and Mai Santiago. “Batok: The Exploration of Indigenous Filipino Tattooing as a Collective Occupation.” Master of Science in Occupational Therapy, Dominican University of California, 2022. https://doi.org/10.33015/dominican.edu/2022.OT.02.

Chatkaewnapanon, Yuthasak. “Ethnic Tourism in Northern Thailand: The Paradox of Authentic Tourism Experience.” SSRN Scholarly Paper. Rochester, NY, July 29, 2019. https://papers.ssrn.com/abstract=3427965.

Fox, Robert B. The Tabon Caves: Archaeological Explorations and Excavations on Palawan Island, Philippines. National Museum, 1970.

Gómez, Juan. Antigua | Juan Gómez | Flickr. February 12, 2010. https://www.flickr.com/photos/juan-images/4350257737.

Loupiote. 7038 - Blackened Teeth - Tribe Woman - Vietnam. 2006.

Manhhai. The Peoples of Mainland Southeast Asia - National Geographic Society 1971. 2014.

Marquez, Lee. English: Ink Road (Apo Whang-Od). March 29, 2013. https://www.flickr.com/photos/lee_marq/8648819744/. https://commons.wikimedia.org/wiki/File:Ink_road_%28Apo_Whang-od%29_23.jpg.

Marquez, Lee. English: Ink Road (Apo Whang-Od). March 29, 2013. https://www.flickr.com/photos/lee_marq/8650916587/. https://commons.wikimedia.org/wiki/File:Ink_road_%28Apo_Whang-od%29_26.jpg.

May, Angela Marie. Sak Yant: The transition from Indic yantras to Thai "magical" Buddhist tattoos. The University of Alabama at Birmingham, 2014.

Salvador-Amores, Analyn. 2011. “Batok (Traditional Tattoos) in Diaspora: The Reinvention of a Globally Mediated Kalinga Identity.” South East Asia Research 19 (2): 293–318. doi:10.5367/sear.2011.0045.

Soares, Pedro and others. 'The Archaeogenetics of Southeast Asia', in Charles F. W. Higham, and Nam C. Kim (eds). The Oxford Handbook of Early Southeast Asia, Oxford Handbooks, 2022. https://doi-org.mutex.gmu.edu/10.1093/oxfordhb/9780199355358.013.3

Soukup, Martin, Dušan Lužný, Jan D. Bláha, and Jaroslav Skupnik. “The Aura of Tattoos: The Commodification of Tradition in Buscalan Village, the Philippines.” Asian Journal of Social Science 49, no. 3 (September 1, 2021): 153–60. https://doi.org/10.1016/j.ajss.2021.04.001.

Stanley, David. Padaung Women. February 24, 2018. Photo. https://www.flickr.com/photos/davidstanleytravel/43365353355/.

Tayanin, Gisela Ladda, and Douglas Bratthall. “Black Teeth: Beauty or Caries Prevention? Practice and Beliefs of the Kammu People.” Community Dentistry and Oral Epidemiology 34, no. 2 (2006): 81–86. https://doi.org/10.1111/j.1600-0528.2006.00264.x.

Terra, Evo. Sak Yant Festival. Monk Working. Wat Bang Phra, Thailand. 2016.

The Last Kalinga Tattoo Artist, Whang Od | DW Documentary - YouTube, 2018. https://www.youtube.com/.

Theurer, Jessica. “Trapped in Their Own Rings: Padaung Women and Their Fight for Traditional Freedom.” INTERNATIONAL JOURNAL OF GENDER & WOMEN’S STUDIES 2, no. 4 (2014): 51–67. https://doi.org/10.15640/ijgws.v2n4a3.manhhai. The Peoples of Mainland Southeast Asia - National Geographic Society 1971. 2014.

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