Part 2 - The Recontextualization of Burik (Traditional Tattoos) of Kabayan Mummies in Benguet to Contemporary Practices

What practices and techniques contribute to the “recontextualization” of an extinct traditional tattoo tradition in contemporary practice? Through what channels do today’s practitioners revive the application and use of extinct tattoos? This paper is about the “recontextualization” of burik, an exti...

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Main Author: Analyn Salvador-Amores
Format: Article
Language:English
Published: University of the Philippines 2012-06-01
Series:Humanities Diliman
Subjects:
Online Access:http://www.journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/3374/3142
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spelling doaj-1476b60f7db34c9196325a4d251128412020-11-24T23:38:16ZengUniversity of the PhilippinesHumanities Diliman1655-15322012-07882012-06-01917494Part 2 - The Recontextualization of Burik (Traditional Tattoos) of Kabayan Mummies in Benguet to Contemporary Practices Analyn Salvador-AmoresWhat practices and techniques contribute to the “recontextualization” of an extinct traditional tattoo tradition in contemporary practice? Through what channels do today’s practitioners revive the application and use of extinct tattoos? This paper is about the “recontextualization” of burik, an extinct traditional tattoo found in some of the mummies in Kabayan, Benguet, north of Luzon, Philippines. While the traditional cultural bearers are already nonextant, I explore the contemporary transformations of the burik through “cultural borrowing” and “appropriation,” such as (a) graphic designs on clothing, (b) actual tattoo designs on the skin, and (c) an aesthetic tattoo practice. Tattooing, in terms of both practice and design, has become a popular practice worldwide. In the Philippines, tattoo artists turn to traditional tattoo practice by “re-invoking” the features of tattoos (pain, permanence), and the “graphicness” (designs) is appropriated to recent practices in tattooing the skin (“skin-deep”) and incorporated in tattoo designs on clothing (“surface”).I argue that the successive phases and changes in the status of burik tattoos—enabled by the advent of modern technology, the Internet, and mass media—encourage an interaction between contemporary and historical influences rather than an extinction of past practice. Such cross-sector sources continue to characterize the reinterpretation of traditional tattoos in contemporary practices. To understand fully the significance of burik today, I draw on Appadurai’s notion of objects as “things-in-motion” and Kopytoff’s “social biography of objects” as the burik relate to relevant socioeconomic and political contexts across time.http://www.journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/3374/3142tattoosreinventionBenguettraditionmummies
collection DOAJ
language English
format Article
sources DOAJ
author Analyn Salvador-Amores
spellingShingle Analyn Salvador-Amores
Part 2 - The Recontextualization of Burik (Traditional Tattoos) of Kabayan Mummies in Benguet to Contemporary Practices
Humanities Diliman
tattoos
reinvention
Benguet
tradition
mummies
author_facet Analyn Salvador-Amores
author_sort Analyn Salvador-Amores
title Part 2 - The Recontextualization of Burik (Traditional Tattoos) of Kabayan Mummies in Benguet to Contemporary Practices
title_short Part 2 - The Recontextualization of Burik (Traditional Tattoos) of Kabayan Mummies in Benguet to Contemporary Practices
title_full Part 2 - The Recontextualization of Burik (Traditional Tattoos) of Kabayan Mummies in Benguet to Contemporary Practices
title_fullStr Part 2 - The Recontextualization of Burik (Traditional Tattoos) of Kabayan Mummies in Benguet to Contemporary Practices
title_full_unstemmed Part 2 - The Recontextualization of Burik (Traditional Tattoos) of Kabayan Mummies in Benguet to Contemporary Practices
title_sort part 2 - the recontextualization of burik (traditional tattoos) of kabayan mummies in benguet to contemporary practices
publisher University of the Philippines
series Humanities Diliman
issn 1655-1532
2012-0788
publishDate 2012-06-01
description What practices and techniques contribute to the “recontextualization” of an extinct traditional tattoo tradition in contemporary practice? Through what channels do today’s practitioners revive the application and use of extinct tattoos? This paper is about the “recontextualization” of burik, an extinct traditional tattoo found in some of the mummies in Kabayan, Benguet, north of Luzon, Philippines. While the traditional cultural bearers are already nonextant, I explore the contemporary transformations of the burik through “cultural borrowing” and “appropriation,” such as (a) graphic designs on clothing, (b) actual tattoo designs on the skin, and (c) an aesthetic tattoo practice. Tattooing, in terms of both practice and design, has become a popular practice worldwide. In the Philippines, tattoo artists turn to traditional tattoo practice by “re-invoking” the features of tattoos (pain, permanence), and the “graphicness” (designs) is appropriated to recent practices in tattooing the skin (“skin-deep”) and incorporated in tattoo designs on clothing (“surface”).I argue that the successive phases and changes in the status of burik tattoos—enabled by the advent of modern technology, the Internet, and mass media—encourage an interaction between contemporary and historical influences rather than an extinction of past practice. Such cross-sector sources continue to characterize the reinterpretation of traditional tattoos in contemporary practices. To understand fully the significance of burik today, I draw on Appadurai’s notion of objects as “things-in-motion” and Kopytoff’s “social biography of objects” as the burik relate to relevant socioeconomic and political contexts across time.
topic tattoos
reinvention
Benguet
tradition
mummies
url http://www.journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/3374/3142
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