Chinese (Mandarin)

Spanish

English

Hindi

Arabic

Portuguese

Bengali

Russian

Japanese

Punjabi

German

Javanese

Malay

Telugu

Vietnamese

Korean

French

Marathi

Tamil

Urdu

Turkish

Italian

Chinese, Yue / Cantonese

Thai

Gujarati

Chinese, Jin

Chinese, Min Nan

Persian, Dari

Persian, Western

Polish

Pashto

Kannada

Chinese, Xiang

Malayalam

Sundanese

Hausa

Odia

Burmese

Chinese, Hakka

Ukrainian

Bihari, Bhojpuri

Tagalog

Yoruba

Bihari, Maithili

Uzbek

Sindhi

Amharic

Fula

Romanian

Oromo

Igbo

Azerbaijani

Chinese, Gan

Dutch

Kurdish, Central

Kurdish, Northern

Kurdish, Southern

Malagasy

Lahnda, Saraiki

Nepali

Sinhalese

Chittagonian

Zhuang

Khmer

Turkmen

Assamese

Madurese

Somali

Marwari

Bihari, Magahi

Haryanvi

Hungarian

Chhattisgarhi

Greek

Chewa

Dakhini

Akan, Twi

Akan, Fante

Kazakh

Chinese, Min Bei

Sylheti

Zulu

Czech

Kinyarwanda

Marwari, Dhundhari

Haitian Creole

Chinese, Min Dong

Ilocano

Quechua

Kirundi

Swedish

Hmong

Shona

Uyghur

Hiligaynon

Mossi

Xhosa

Belarusian

Balochi

Anthropology

<OpenstaxParagraph>
	Various forms of body art are a foundational form of expression in cultures all over the world. All cultures decorate and modify the human body in some way, whether temporarily or permanently. Anthropological frameworks can be used to understand body art as both a form of visual art and a cultural tradition.
</OpenstaxParagraph>
<OpenstaxParagraph>
	<OpenstaxTerm>Tattooing</OpenstaxTerm> is a form of body art that has been practiced for thousands of years. <OpenstaxEm>Tattoo</OpenstaxEm> is a Polynesian term. Polynesian tribes and people used tattoos to establish identity, personality, and status. The Maori, an Indigenous Polynesian people of New Zealand, have traditionally used tattoos as an expression of identity and cultural affiliation. Examples of this can also be found in the Tonga and Samoa warrior cultures, in which specific tattoo designs and placement on the body were used to demonstrate a warrior’s affiliation with a particular group of elite warriors. In the mid-20th century, American sailors used tattoos to represent personal interests, aspects of their identity, and group affiliation. Such tattoos might include representations of a unit mascot, places individuals have visited, or things they found beauty in.
</OpenstaxParagraph>
<OpenstaxFigure id="fig-00006" src="https://openstax.org/apps/archive/20240226.174525/resources/92e9612664300377d2ce942ad27949e663cb8780" alt="Black and white image of two young sailors, one tattooing the arm of the other." mediaType="image/jpeg" width="592" height="600" />
<OpenstaxFigureText width="592">
	Figure 16.7 One American sailor tattoos another aboard a ship during World War II. Tattooing is widely practiced by cultures around the world to express both personal and group identity. (credit: “Two sailors aboard the American battleship USS New Jersey in 1944” by Fenno Jacobs. Department of Defense. Department of the Navy. Naval Photographic Center/National Archives and Records Administration/Wikimedia Commons, Public Domain)
</OpenstaxFigureText>
<OpenstaxParagraph>
	There is clear evidence of the practice of modifying the body with markings dating as far back as 5,300 to 3,000 years ago (Deter-Wolf et al. 2016; Shishlina, Belkevich, and Usachuk 2013). Such markings are still practiced by some of these same cultures today, such as the Maori people. Ötzi, a naturally mummified man found in the Ötzal Alps whose death has been dated to around 3250 BCE, is the first known tattooed human. His tattoos were of lines and crosses across his body. They are believed to have been made by creating incisions in the skin and rubbing charcoal into the incisions.
</OpenstaxParagraph>
<OpenstaxParagraph>
	Tattooing can be a way for individuals to express membership in a larger community. Not only are communities formed around having body art, but some may obtain tattoos as a mark of belonging to a certain community (e.g., tattoos of a cross as a symbol of the Christian faith). Tattoos in recent decades have come to serve many purposes, including memorializing loved ones, expressing aesthetic tastes, depicting personal histories, expressing emotions or feelings, and symbolizing rebellion (Dey and Das 2017).
</OpenstaxParagraph>
<OpenstaxParagraph>
	A modified approach to the classic tattoo can be found in the art of scarification. <OpenstaxTerm>Scarification</OpenstaxTerm> is the branding, burning, or etching of designs into the skin. Scarification marks often identify someone as being affiliated with subcultures or other groups. The practice is also used to represent individual growth or the growth and development of a group or subset of a society.
</OpenstaxParagraph>
<OpenstaxFigure id="fig-00007" src="https://openstax.org/apps/archive/20240226.174525/resources/7671a5bc8d79b741111bdefefa3c8bbeb239f75b" alt="Man with many scars on his forehead and around his mouth. The scars form recognizable patterns." mediaType="image/jpeg" width="664" height="800" />
<OpenstaxFigureText width="664">
	Figure 16.8 The patterned scarification visible on the face of this man was formed through the intentional creation and controlled healing of wounds. This image was taken in what was then the Belgian Congo by Christian missionaries in the early twentieth century. Scarification has been used by many cultures to mark group identity. (credit: “Man with Scarification Patterns, Congo, ca. 1900-1915” by Unknown/USC Digital Library/Wikimedia Commons, Public Domain)
</OpenstaxFigureText>
<OpenstaxParagraph>
	Makeup has been an expression of visual art since prehistoric times. It is used to enhance beauty, cover up flaws, and represent cultural ideals of what beauty is and should be. It is often a sociocultural delineation of wealth and success. Piercings are used for many of the same reasons and have been found in the earliest of ancient African mummies. They may be seen as an expression of individuality or of identity and affiliation.
</OpenstaxParagraph>
<OpenstaxParagraph>
	Another example of body art is <OpenstaxTerm>body painting</OpenstaxTerm>. In some cultures, body painting is limited to the face, while others cover their entire bodies. The painting of the whole body is a common practice among Indigenous Australian peoples (Figure 16.9). The purposes of this type of body art include, but are not limited to, subcultural identification and announcements of social status and accomplishments. The painting can be temporary or semipermanent, achieved through various types of paints and stains. Body painting follows uniform patterns and styles in some cultures and is independently driven in others. The specific designs might reveal an individual’s position within their family, membership in a group, social position, tribal identity, and even precise ancestral history (Layton 1989).
</OpenstaxParagraph>
<OpenstaxFigure id="fig-00008" src="https://openstax.org/apps/archive/20240226.174525/resources/6ee211ab6f78ee65c911b281fdbc98b09946331a" alt="Black and white photograph of a group of people with geometric designs painted on their torsos. The group includes grown men and boys." mediaType="image/jpeg" width="800" height="461" />
<OpenstaxFigureText width="800">
	Figure 16.9 These Aboriginal Australians have adorned their torsos with traditional body paint utilizing various conventions and motifs. (credit: “Aborigines on Palm Island, Qld - 1930s Perhaps” by Aussie~mobs/flickr, Public Domain)
</OpenstaxFigureText>
<OpenstaxParagraph>
	Henna art is another example of body painting. Henna paint is derived from crushed, milled, and sifted henna leaves. It is applied directly on the skin in intricate designs that leave a red or orange stain once the paint is removed. Henna body art is used in various cultures of North Africa, Somalia, Southeast Asia, and the Indian subcontinent to adorn the hands and sometimes the feet of young women on special occasions, such as weddings and religious celebrations such as Eid al-Fitr (Chairunnisa and Solihat 2019). During weddings, women use henna to articulate cultural, familial, and religious affiliations. It is also used to accentuate the beauty of the bride and as a testament to the status of the family she is coming from and of the one she is marrying into.
</OpenstaxParagraph>
<OpenstaxFigure id="fig-00009" src="https://openstax.org/apps/archive/20240226.174525/resources/2a07d881cc618e35f8e52d15de82626f8e1fb8c7" alt="A woman with hands and forearms painted with henna art painting another woman’s hands and forearms." mediaType="image/jpeg" width="800" height="500" />
<OpenstaxFigureText width="800">
	Figure 16.10 The elaborate patterns on these women’s arms are created using henna paste. After giving the paste time to stain the skin, it is washed away. The arm on the left shows the paste before washing, the arm of the woman on the right shows the color once the paste is removed. (credit: “Henna” by Rovich/500px/Wikimedia Commons, CC BY 3.0)
</OpenstaxFigureText>
<OpenstaxParagraph>
	The grooming of hair is also a culturally significant practice in societies throughout the world. The way one styles or displays their hair can symbolize many things, including membership in a religious sect, racial affiliation, and alignment with pop cultural trends. Hair also has been seen as an indicator of social status. From an evolutionary perspective, the quality and amount of hair one has indicates robustness and has contributed to mate selection and group identification. Hairstyles, hair volume, and hair coverings all have contributed to cultural identity and have been viewed as artistic representations of the lived experiences of people in myriad cultures and times. In some traditional Muslim cultures, hair is concealed by headscarves called hijabs. This representation of modesty has become an icon of Middle Eastern tradition and culture.
</OpenstaxParagraph>
<OpenstaxParagraph>
	Hairstyles are especially significant in African and African diasporic cultures. Hair played a significant role in ancient African civilizations, used to symbolize familial background, social status, tribal belonging, marital status, and spirituality. Hair-grooming practices, particularly time-intensive practices such as getting one’s hair braided, are often social activities.
</OpenstaxParagraph>

16.1.8 Body Art

1 What Is Anthropology?

1.1 The Study of Humanity, or "Anthropology Is Vast"

1.1.1 The Heart of Anthropology: Central Narrative and Commitments

1.1.2 Central Commitment #1: Exploring Sociocultural Diversity

1.1.3 Central Commitment #2: Understanding How Societies Hold Together

1.1.4 Central Commitment #3: Examining the Interdependence of Humans and Nature

1.2 The Four-Field Approach: Four Approaches within the Guiding Narrative

1.2.1 Biological Anthropology

1.2.2 Archaeology

1.2.3 Cultural Anthropology

1.2.4 Linguistic Anthropology

1.2.5 How the Four Fields Work Together: The Example of Race

1.3 Overcoming Ethnocentrism

1.3.1 Enculturation and Ethnocentrism

1.3.2 Primitivism and Orientalism

1.4 Western Bias in Our Assumptions about Humanity

1.4.1 Primitivism and Orientalism in Popular Culture

1.4.2 The Bias of Backwardness

1.5 Holism, Anthropology’s Distinctive Approach

1.5.1 Society as an Integrated Whole

1.5.2 Sources of Contradiction, Conflict, and Change

1.6 Cross-Cultural Comparison and Cultural Relativism

1.6.1 Relativism Is Not “Anything Goes”

1.6.2 Morality, Activism, and Cultural Relativism

1.7 Reaching for an Insider’s Point of View

1.7.1 The Challenge of Representing Others

1.7.2 Collaborative Methods of Representation

1.7.3 Working across Cultures toward Common Goals

1.7.4 Suggested Readings

2 Methods: Cultural and Archaeological

2.1 Archaeological Research Methods

2.1.1 Archaeological Techniques

2.1.2 Archaeological Dating Methods

2.2 Conservation and Naturalism

2.2.1 Early Efforts

2.2.2 Salvage Anthropology

2.2.3 Museum Collections

2.2.4 Interpretation and Voice

2.3 Ethnography and Ethnology

2.3.1 The Development of Ethnography and Ethnology

2.3.2 Perspective and Interpretation in Ethnography

2.4 Participant Observation and Interviewing

2.4.1 Participant Observation

2.4.2 Interviewing Informants

2.4.3 Ethical Considerations

2.5 Quantitative and Qualitative Analysis

2.5.1 Differences between Quantitative and Qualitative Information

2.5.2 Modeling

2.5.3 The Science of Anthropology

2.6 Collections

2.6.1 Archives

2.6.2 Three-Dimensional Collections

2.6.3 Ownership

2.6.4 Suggested Readings

3 Culture Concept Theory: Theories of Cultural Change

3.1 The Homeyness of Culture

3.2 The Winkiness of Culture

3.3 The Elements of Culture

3.3.1 Culture Is What We Make

3.3.2 Culture Is What We Do

3.3.3 Culture Is What We Think

3.4 The Aggregates of Culture

3.4.1 Symbols

3.4.2 Ritual

3.4.3 Social Structure

3.5 Modes of Cultural Analysis

3.5.1 Evolution, Adaptation, and Historical Particularism

3.5.2 Functionalism

3.5.3 Structuralism

3.5.4 Ontology

3.6 The Paradoxes of Culture

3.6.1 Paradox 1: Culture Is Continuous, but It Changes

3.6.2 Paradox 2: Culture Is Bounded but Mobile

3.6.3 Paradox 3: Culture Is Consensual but Contested

3.6.4 Paradox 4: Culture Is Shared, but It Varies

3.6.5 Suggested Readings

4 Biological Evolution and Early Human Evidence

4.1 What Is Biological Anthropology?

4.1.1 Looking to the Deep Past

4.1.2 Exploring What It Means to Be Human

4.2 What’s in a Name? The Science of Taxonomy

4.2.1 Defining the Science of Taxonomy

4.2.2 Defining a Species

4.3 It’s All in the Genes! The Foundation of Evolution

4.3.1 The Units of Life

4.3.2 Gregor Mendel and the Laws of Heredity

4.3.3 Mendelian Inheritance in Humans

4.4 Evolution in Action: Past and Present

4.4.1 Early Evolutionists and the Fixity of Species

4.4.2 Charles Darwin’s Role in Changing Views of the Natural World

4.4.3 Understanding Darwin’s Theory of Natural Selection

4.5 What Is a Primate?

4.5.1 What Is a Primate?

4.5.2 Primate Behavioral Variation

4.5.3 Explaining Primate Success

4.5.4 Primate Classification and Taxonomy

4.6 Origin of and Classification of Primates

4.6.1 Understanding Concepts of Time

4.6.2 Fossils and Dating Methods

Question	Answer
application of paint to the body	body painting
the branding, burning, or etching of designs into the skin.	scarification
a form of body art where a mark, symbol, picture or design is placed on the skin. Tattooing has been practiced for thousands of years.	tattooing