1

REPUBLIC OF THE PHILIPPINES

Province of Cebu
City of Talisay

TALISAY CITY COLLEGE

Poblacion, Talisay City, Cebu

STORIES ETCHED IN FLESH: A PERSPECTIVE

ANALYSIS

A Research Paper presented to

Ms. Marili Cardillo and TCC faculty

In partial fulfillment of

EDUC 17: The Research Process

By:

Sibal, Angela Therese C.

October, 2017
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DEDICATION

To Almighty God

“Commit to the lord whatever you do, and he will establish your plans.”
(Proverbs 16:3)

To my family

“Where life begins and love never ends”

To future researchers

“Dream the impossible, seek the unknown, and achieve greatness.”

To tattooed people

“As long as you are being true to yourself, you will always find happiness.”

(Amber Riley)

To non-tattooed people

“As much I live I shall not imitate them or hate myself for being different to them.”
(Orhan Pamuk)
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ACKNOWLEDGMENT

The researcher would like to express her deepest appreciation and

gratitude to the following:

Ms. Marili Cardillo, the researcher’s adviser for her patience, support, guidance,

and suggestions for the enhancement of the study.

Dr. Helmer Montejo, the Talisay City College research coordinator, Dr. Bernard

Evangelicom Jamon, Dr. Carmel Vip Derasin and Dr. Lloyd Matthew

Derasin, for their valuable suggestions and brilliant ideas for the enrichment of

the study.

To the respondents, who participated eagerly in the accomplishment of the study.

To my parents and aunt Violeta Caballero, for their undying love and boundless

support throughout the completion of our study.

And above all, to the Almighty Father, I am ceaselessly thankful for fueling me

with passion and determination to finish what I had started.

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TABLE OF CONTENTS

Title Page

Dedication i

Acknowledgment ii

Abstract iv

CHAPTER 1 1

Theoretical Background 4

Review of Related Literature and Studies 7

Flow of the Study 24

The Problem 25

Significance of the Study 26

Research Process 27

Definition of Terms 30

CHAPTER 2 31

CHAPTER 3 39

PROGRAM 41

BIBLIOGRAPHY 42

APPENDICES 44
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ABSTRACT

This study aims to comprehensively analyze the stories etched in flesh to

help readers gain an in-depth understanding on the communicative value of

tattoos, signification of its symbols and images, and the underlying motives of

having these tattoos based from the tattooed person’s personal experience/s.

Likewise, it seeks to understand the perceptions of people without tattoos

towards those people who have. Therefore, the researchers have used the

qualitative method and have selected 20 tattooed and 20 non-tattooed individuals

in the vicinity of Talisay City as the chosen respondents of the study.

Moreover, as far as the research findings is concern, most of the non-

tattooed respondents perceive those people with tattoos negatively and most of

the tattooed respondents’ motives for having tattoos are for self-identity and self-

expression, which lead the researchers to recommend a seminar in order to

eliminate stereotyping and appreciate the stories embedded on inks.

Keywords: comprehensively, stories etched in flesh, communicative value,

signification, motives, and perceptions

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CHAPTER 1

THE PROBLEM AND ITS SCOPE

Rationale of the Study

Tattoos are more prevalent in the world than in the past and are

expanding across demographics (DeMello, 1995); it becomes part of the

mainstream culture in the twenty first century phenomenon. The prevalence of

tattoos has nearly exploded as part of an international trend where increasing

numbers of people is using tattoos as a part of their physical appearance. The

nature of this phenomenon has changed dramatically and has entered the realm

of normality, and has become generally accepted but there is still an interface or

division between those who regard tattoos as being beautiful and those who

regard them as being ugly and degrading. Moreover, tattoos have been studied

extensively by anthropologists, psychologists, sociologists, nurses and doctors.

Among other things, anthropologists have looked at the people who have tattoos.

Psychologists have looked at the mental disorders associated with tattoos.

Sociologists have looked at the deviance associated with tattoos and nurses and

doctors looked at the motivations people obtaining or removing a tattoo.

In the Philippines, men and women decorated themselves with tattoos

before the Spanish came in the Philippines. However, with the colonization of

Spain, the art of tattooing slowly diminished. People were mocked and shamed

for bannering tattoos in public (Espiritu, 2015). Nowadays, the Philippines, while

becoming liberated in social views, tattoos are generally looked down upon, seen

as something that only criminals or low-class people take part in. A Filipino who
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has many tattoos may be viewed by his fellow Filipinos as gang member or drug

abuser, or someone who has been in prison. (Celentano, 2016). Tattoos,

particularly in the chosen locale, Cebu and Talisay City are also observed by the

researchers. People with tattoos are more often misjudge by other people. Even

schools, those students who have marks on their skins are not allowed to enter in

the campus unless they cover their tattoos with cloth or bandage. Though

tattooing is a very physical personal experience. The pain and excitement of

getting tattooed cannot be understood without actually experiencing the insertion

of a needle with ink in the body. Nor can someone understand the social freedom

or constraint resulting from having a tattoo. These experiential aspects of

tattooing make it a ritual and cause affinity between those who have tattoos and

exclude those who do not.

However, regardless of the existing phenomenon on tattoos, researchers

conduct such study to determine the communicative value of tattoos that for the

following reasons: first, a tattoo is part of a person’s physical appearance. People

judge each other by other’s physical appearance (Leary, 1995; Lennon, 1986)

there is an importance in looking at the people’s perception regarding tattoos.

Second, the symbolisms of tattoos are means of interpreting reality and are

considered to be a communicative tool. Lastly, people will be able to understand

situations, social classes and comprehension brought by the symbols of tattoos.

Thus, research should examine to what extent the tattooed person attempts to

convey messages to others through his tattoos.

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In this paper, the researcher will discuss the background of tattoos, brief

history of tattoos and tackle the function of tattoos on a body. This includes

discussion regarding how tattoos convey information because tattoos can be

much more than just aesthetics etched on the skin. They harbor in themselves a

story, a history, a love lost or a struggle overcome. They are identity, resistance

or in more anthropological terms, a way to make the body space into body place.

This study assumes that people having tattoos are negatively perceived by

people without tattoos. This thesis is therefore as much about identity, culture

and history as it is about tattoos.

Overall, there are many ways a tattoo can be used to convey information

about an individual. The motives for having a modern tattoo have been discussed

in research, and may well be thought of as a form of communication. Tattoos

have been used in the past as adornment, as a mark of mystical power and as a

mark of status and identification to others. Other imposed tattoos have been

used specifically for communicative purposes regarding identification. As a result,

those other imposed tattoos were highly visible. In the present, tattoos are

becoming more common and are a part of one’s physical appearance, and could

be used for communicative purposes from the perspective of impression

management. These tattooed persons are using their tattoos to convey

information to others. Messages which can be sent through a tattoo can be one

of self-expression, identity articulation, and group identity or association. These

messages can be to the self or about the self to others.

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Theoretical Background

Communication Theory of Identity

Hecht (1993) proposed a communication theory of identity. According to

Hecht (1993), identity is interactional. Identity is a communicative process and

can be understood as an interaction in which messages are exchanged. Hecht

(1993) also asserts that the communication theory of identity "extends beyond

individual and societal constructions to consider interaction ..." (p.78). Identity is

not only framed by society or the individual, but through interactions as well.

Hecht discusses four frames of identity: personal, enacted, relational and

communal. These are four perspectives from which we may view identity. These

frames are interconnected; they interpenetrate each other and do not just stand

on their own (Hecht, 1993).

The first perspective is the personal frame of identity. It is that which

comes from the self. This frame is characteristic of identity stored as self-

cognitions, self-feelings or as a spiritual sense of self. The second perspective is

the enacted frame of identity, which comes from a social interaction. This frame

is characteristic of identity enacted in social interaction through communication.

The next perspective is the relational frame of identity, which comes from

relationships. This frame is characteristic of identity as mutually constructed in

social interaction. The last perspective is the communal frame of identity. It is that

which comes from a group. This frame is characteristic of identity as constructed

in a group rather than constructed as an individual or interaction.

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These frames of identity are helpful to understand when looking at other

imposed tattoos because other imposed tattoos function to convey a message

about the identity of an individual. This identity may be personal, enacted,

relational or communal. For example, a tattooed person may use his or her tattoo

to enhance self-feelings and an individual sense of identity, which is a personal

frame of identity. This identity comes from the person, or self.

Another example is an identity from a social interaction, which could be

created between rival gang members; they may display their gang related tattoos

as a sign of danger to a rival gang member. Or an identity could be created by

tattooed persons in that they belong to a certain group such as modern

primitives. Members of a group could have their identities constructed within the

group, or communally, rather than individually. These socially constructed

identities could be classified as either an enacted or communal or even relational

frame of identity.

Both communally and individually, tattoos have been used for identity. In the

past, other imposed tattoos were used to identify individuals in society as a result

ofnegative characteristics (Brouwer, 1998) or perceived negative characteristics

(Cronin, 2001; Vale & Juno, 1989). These individuals included criminals, army

deserters and those of Jewish descent. For example, criminals in seventeenth

century Japan were marked to indicate their criminal status; the tattoos indicated

the type of crime committed and the location where the crime was committed

(Richie, 1985). Inthe Tama region, the ideograph for "dog" was tattooed on the

criminals' forehead (Richie, 1985). InKyoto, a criminal had a double bar tattooed
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on the upper arm, or, in Nara, a double line circling the bicep of the right arm

(Richie, 1985). In Satsuma, the tattoo was a circle near the left shoulder (Richie,

1985). Each of these designs indicated the criminal activity and the region in

which it was committed. The ancient Greeks also used tattoos to mark their

criminals as well as their slaves (Gilbert, 2000). Another example is the

unfortunate individuals assigned to Nazi concentration camps in twentieth

century Europe. These individuals were put in the concentration camps because

they had negative characteristics as perceived by the Nazi regime (Cronin, 2001;

Vale & Juno, 1989). When they were assigned to the concentration camp, they

were marked with tattoos on their forearms.

Tattoos have also been used to mark army members. For example, the

Roman army tattooed the mercenaries so that deserters could be identified

(Gilbert, 2000). Another example is that, in the nineteenth century, the British

army tattooed deserters with a "D" and men ofbad character with "BC" (Brouwer,

1998). These armies used tattoos to distinguish their members according to their

service or characteristics.

In many cases, tattoos have been forced on others as a mark of

identification. These forced, other imposed tattoos have functioned in different

societies to mark or distinguish individuals, conveying information about the

individual to the observer.

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Impression Management Theory

Impression management is a conscious attempt to control an image in a

social interaction (Schlenker, 1980). Impression management theory helps to

explain the decisions people make regarding the appearance they put forth to

others. Because people evaluate each other based on how they look and act

(Schneider, 1981; Schlenker, 1980; Tedeschi& Norman, 1985; Leary, 1995), an

individual will act and dress in certain ways to foster certain impressions or to

influence other's perceptions of him or her (Schneider, 1981; Schlenker, 1980;

Tedeschi& Norman, 1985; Leary, 1995). Attempts to control one's image are also

known as self-presentation (Jones & Pittman, 1982), and are utilized to influence

how others perceive one's personality traits, abilities, attitudes, physical

characteristics, and social characteristics (Schlenker, 1980; Jones &Pittman,

1982). Impression management theory is best understood through its

assumptions, key terms, the importance of physical appearance to impression

management theory, and impression management theory propositions.

Related Literature and Studies

This study also reviews related literature and studies to make available

materials that served to help the researchers in examining the significance of the

stories etched in flesh; tattoos. The stories behind these tattoos may be

emotional, practical, complex or very simple. One may even be the result of

disparate motivations.

Although tattooing is growing within our society, there is still a wide-range

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of psychographic and demographic influence surrounding tattoos. A broad range

of age groups have both negative and positive outlooks on tattooing when

relating to it on a personal level as well as a professional level. There have been

several studies that have measured the communicative and perceptive values of

diverse individuals that have given a range of responses regarding tattoos.

In 1885 Dr. Schadenberg, a German pharmacist living in Vigan, made

three excursions in Northern Luzon and noted that:

‘Warriors with five enemy heads to their credit were heavily tattooed

and unhesitant about discussing the fact that Spaniards had been

counted among them’ (Quoted in Scott, 1974; 314)

In the early 16th century traditional tattooing is widespread in the

Philippines but very little is known or written about the practice (van Dinter, 2005;

85). In these times, tattooing was a common practice among the warrior tribes in

the Cordillera region including the Kalinga’s. During the arrival of the Spaniards

headhunting and tattooing were being practiced more the extensively than in the

time of the Americans (Krieger, 1926; 89). During Spanish colonization the

Kalinga were a people were head taking was an intricate element of their culture.

Killings and counter killings were quite common as were feuds between different

villages and regions (Dozier, 1966; 55). The tattoos, earned by a warrior after a

successful headhunt, were a symbol of male courage and bravery and had the

function of modern day military decorations (Scott, 1994: 20; de Raedt, 1969: 95-

100).

In an 1898 article published in American Anthropologist, Daniel G. Brinton

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takes stock of what is known of the people of the Philippines in anticipating the

annexation of the archipelago to the United States. About the people of Northern

Luzon he states:

‘Many of these have never been converted to Christianity and

preserve their ancient customs of tattooing their bodies, filing their

teeth and from time to time indulging their ancestral tendency to

head-hunting’. (Brinton, 1898; 303)

Many foreign ethnographers reinforced the idea that tattooing was done

primarily and solely in connection with the practice of headhunting (Salvador-

Amores, 2002; p. 110). Until today much of the tattooing and tattoo designs in the

Kalinga province are still best understood within the context of headhunting.

Nonetheless anthropologist Ikin Salvador-Amores (2002) has shed light on the

intricate practice of Kalinga tattooing. She shows the roles and functions of the

Kalinga batek and how these tattoos are cultural symbols of intricate rituals.

Nevertheless Kalinga society is undergoing revolutionary change due to various

processes which will be discussed in this thesis. It’s within this context that we

should view the changes that are taking place in the realm of Kalinga tattooing.

The German scientist Hans Meyer as cited by Salvador-Amores (2002)

was perhaps the first to provide a detailed drawing of Igorot tattoos in the late

1890’s. His tattoo drawings are accompanied by his description of the tattoos

among Igorots of Benguet. The custom of tattooing the whole body with

decorations exactly like a coat of mail with breastplate and back plates was

widespread in the early 16 th century and confirmed that tattooing did exist and
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was extensively practiced during the pre-historic period. Meyer’s drawings show

designs that are identical with tattoo patterns, which date back to an earlier

period, as they appear on the mummy Appo Anno. The mummy is clad in body

tattoos: from fingers to buttocks, chest, back and legs.

In addition, there are also mummies in some Benguet areas that bear

tattoos very similar to those in Hans Meyer’s drawings and the photographs of

tattoos and symbols of the tattoos found on the mummies have been largely

speculative. These cases in Benguet support Thiel’s (1984) as cited by Salvador-

Amores (2002) archaeological discovery of tattoo instruments in the Arku cave in

Cagayan province, an indication of the widespread practice of tattooing. In this

case, past and current archaeological evidence serve as the “explanatory

bridges” in understanding people and culture (Salvador-Amores, 2002).

The first time the word tatau appeared in the English Language was in the

written accounts of Captain Cook’s first voyage to the island of Tahiti in 1769.

The word referred to the markings found on the skin of Polynesians. When

Magellan arrived on the islands of Samar and Leyte in 1521 and the Spaniards

made their way through Visayas, they encountered strangely painted, fierce

looking men. They called them the “Pintados”. (Scott, 1994) These men were not

painted but had their full bodies tattooed.

In the Philippines the term for tattoos is batuk, which refers to the marking

found on snakes and lizards. (Scott, 1994) Among the different groups found in

Northern Luzon the work batek (in Kalinga), fatek (in Bontoc) and fatok (in
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Benguet) are all derived from the sound of the tapping of a stick on the tattoo

instrument, which pierces the skin. (Salvador-Amores, 2002).

Tattooing and tattoos are very much connected to, or rooted in place.

Tattoo styles are therefore often described as connected to place such as the

ubiquitous Japanese design, a Maori tattoo or the Samoan style. This connection

to place is not only a characteristic of tattooing but is found within most cultural

practices (Kuwahara, 19).

People however, do not confine themselves to one place but rather move

between places (whether forced or freely). This is also the case for a lot of

Filipino ́s. According to James Tyner (2009; p. xiv) nearly five million migrant

workers from the Philippines are employed in over 190 countries and territories.

Due to the historical ties with the United States, many Filipino’s have migrated to

the U.S. and form communities in for example Los Angeles.

When analyzing space and place, space only becomes place when people

conceptualize it. Political and economic powers act upon space and transform it

into place where the relations between tattooing, identity and social relationships

are intertwined (Kuwahara, 20). In terms of tattooing, the body can also be

viewed as another important space. Tattooing one’s body is exactly the process

of making one’s body space into place. By tattooing it we possess, territorialize,

conquer and cultivate our body.

The historical stigma attached to tattoos has simultaneously constrained

and guided how tattoos are perceived. Stigma (or to prick, from Latin/ Greek

origins) refers to tattoos (Jones, 2000). According to Margo DeMello’s Bodies of

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Inscription: Cultural History of the Modern Tattoo Community (2000); the

dichotomy between the old and new inherent in the world of tattooing can be

found in several avenues. The portrayals of tattoo clients several years ago are

changing, and this conflict is visible even in the research literature. DeMello

(2000) finds in the discourse of tattooed people and their artists a new and

particular sense of community and explores the unexpected relationship between

this discourse and that of other social movements.

Humans in many different cultures have been wearing tattoos for various

reasons. Uses of tattoos in past cultures include tattoos as adornment, as a mark

of mystical power, and as a mark of status (Dinter, 2000; Gilbert, 2000). These

cultures, which applied tattoos, are widespread across the globe, and tattoos can

be seen in images of the Maori of New Zealand, the Dayak of Borneo, the Haida

of North America (Atkinson & Young, 2001; Dinter, 2000; Gilbert, 2000) and the

Igorots and Bontoc of Philippines.

Tattoos as adornment. Many cultures have used tattoos as adornment

for aesthetic purposes. Tattoos were viewed as ornamental of the women of the

Ryukyu Islands (Dinter, 2000). Many Maori women tattooed their lips with solid or

horizontal blue lines at the time of puberty as red lips were considered

undesirable (Simmons, 1986) and lips tattooed blue were considered beautiful. In

the Philippines, the most distinctive and great permanent decoration of the Igorot

was the tattoo. For Igorot tattoos, the markers on the body when regarded on the

context of the culture itself provide a clear notion of the Igorot sense of logic and

beauty; however, in most of the literature, these markers are frequently

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interpreted as deviations associated with the themes of otherness and difference

(Salvador-Amores, 2002).

Tattoos as a mark of status. Tattoos have been used in many cultures as a

mark of status. These marks distinguished characteristics such as lineage,

power, and nobility (Dinter, 2000; Gilbert, 2000). For instance, the Maori had

elaborate designs placed on their face to depict attributes such as ancestral

lineage, rank within society, and women’s availability for marriage (Simmons,

1986). In seventh century Japan, the lower classes, the hinin and eta, were

marked with a basic cross-tattooed on their inner forearm, or a basic straight line

was made either on the upper forearm or on the upper arm itself near the armpit

(Richie, 1980). In Bontoc, Mountain Province, tattoo is common to elders

especially to men. Tattoos constituted a record of engagement in tribal warfare.

These were symbols of male valor: which were applied only after a man had

performed well in battle with fitting courage. Warriors accumulated tattoos with

each act of bravery, somewhat like modern military decorations. Headhunting

was the only known reason for tattooing and to this day, no one knows exactly

what tattoos signify. For many elders in the area, tattoos are the vestiges of a

valuable culture and tradition. (De Raedt 1989; Scott 1969; Salvador-Amores,

2002) The “dinuras” or people without tattoos are regarded as weak beings and

considered as a bad omen for the community.

Tattoos as a mark of mystical power. Many cultures have used tattoos as a

mark of their mystical powers. The tattoos were used as lucky charms, as a

magical defense and granting the wearer the same attributes as the animal
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depicted in the tattoo (Dinter, 2000). Examples of tattoos used as a magical

defense can be seen on the hunters of Thailand who tattooed a picture of a tiger

on themselves for protection (Dinter, 2000). In South East Asia, fisherman used

dragons, snakes and water animal tattoos as protection (Dinter, 2000). Tattoos

were also used by people to adopt the characteristics as the animal on the

tattoo. In the Philippines, Filipinos ink their bodies with protective or orasyon

tattoos. The word oracion is the Spanish word for prayer. The source of many, if

not all, orasyones is a librito, a booklet jealously kept by its owner to preserve

the potency of the orasyones contained herein. The orasyon in folk belief is

considered as a type of anting-anting which can either be used as an amulet

that has a preventive force against witchcraft, sickness, accidents and the like or

as a talisman that brings good luck or transmit new qualities. An orasyon written

on paper by a tambalan (healer) might be enclosed in a container by the

recipient and worn around the neck. In order to avoid losing the orasyon some

people have it buried under the skin or tattooed on the skin particularly on the

arms, hands, legs, chest and back. This makes the orasyon an indelible anting-

anting and explains the existence of the orasyon tattoos.

According to the book entitled “Gendered Lives: Communication, Gender

and Culture” by Julia T. Wood (2008) says that nonverbal communication carries

more meaning than verbal communication and it is comprised of everything that

does not include words themselves. There are six subcategories of nonverbal

communication that include artifacts, personal space, touch, facial and body

motion, paralanguage, and physical appearance.  A tattoo is an artifact because

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it is something that a person chooses to put on their bodies to express identity.

By putting this artifact on our bodies we are communicating a message to the

people around us.

Tattoos are also considered as a communicative art. In a book entitled

“Method Meets Art: Arts-Based Research Practice” by Patricia Leavy (2009) she

specified that the context in which art is viewed can shape meaning. A film maker

named Alix Lambert stated that:

“All around the world tattoos say a lot nonverbally. Tattoos are nonverbal

communication and trust between people.”

Filmmaker Lambert began her study of the nonverbal language of body art

by delving into the use of tattoos to create a societal hierarchy in the Russian

prison system. She did this through her documentary "The Mark of Cain (2000)."

She also continued this study by immersing herself in the modern culture of the

art form. And what Lambert was to learn over the years is that tattoos have an

international language of their own. Through interviewing prisoners and

criminologists in some of the Russia’s most infamous prisons, Lambert

discovered that, in the past, tattoos shaped the inner-workings of prison

establishments. From the number of cupolas in a church tattoo equating to the

number of an inmate's convictions, to tattoos of Stalin and Lenin demonstrating

what would be the eventual method of execution for a prisoner, tattoos were a

declaration of one's status in a Russian prison. As an observer of human

interaction and human nature, she was learning that, throughout history, people

have not just relied on words to communicate, and tattoos can loudly convey a
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variety of things. The past use of tattoos to establish status is not the only way

tattoos in the Russian prison system have had a deep meaning, however. The

current disappearing importance of tattoos in the internal Russian prison

hierarchy speaks nonverbally to the changing landscape of the institution. By

comparing the older generation of inmates to the current generation, Lambert

learned tattoos are becoming less of a social signifier in Russian institutions. Due

to overcrowding and other factors, the tattooing traditions in Russian prisons are

beginning to clearly dissipate. While the symbolism of specific tattoos may be

dying, getting prison tattoos in general is not. For prisoners, tattoos give them a

voice in an establishment that previously stripped them of such.

Related Studies

Atkinson (2004) examined individual and social motivational elements and

explanations for tattoos through qualitative method. . In Atkinson’s research

entitled “Tattooing and Civilizing Processes: Body Modification as Self‐

Control(2004),” he provides an understanding of tattooing stigma, perceived as

“a pathological instance of self‐ injury,” and details a new wave of perception,

making the claim of tattooing as a “pro‐social act of communication.”  Thus this

source proves useful in arguing the duality of society’s perception of tattooing. To

support his argument that tattooing is rational and pro‐social, he draws from

interviews he conducted himself of Canadian tattoo artists and tattoo enthusiasts.

He claims that tattooing is a physical expression of individuality. In addition to

demonstrating the duality of society’s perception, He also highlights the duality of

tattoos’ significance. Tattooing duality mimics the duality of its perception.

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Tattoos can be both symbols of exclusion and of inclusion. He argues that tattoos

separate the individual from society by providing him/her a unique identity and at

the same time unites the individual with a subculture through shared values.

Antoszewski, Sitek, Fijalkowska, Kasielska, and Kruk- Jeromiral identified

that the motivations for obtaining tattoos in their survey: individuality (2010) noted

several motivations for obtaining tattoos in their survey: individuality (43.3%),

liking tattoos (22%), on a whim (17.5%), social group pressure (5.6), love for

someone else (4.8%), subculture membership (2.9%), as souvenir(1.9%), to hide

a scar (1%).

Fixing indelible marks or figures into the skin have been analyzed and

connected to communication. The findings of a research entitled “The

Communicative Value of a Tattoo: The Role of Public Self-Consciousness on the

Visibility of a Tattoo,” by Kathleen Doss (2005) was a seven point scale that

tattoos were communicative: M=3.86 for one tattoo, M=4.27 for multiple tattoos,

M=4.06 overall. Tattoo visibility and communicative value were significantly and

positively correlated: p<.03(p.68) Tattoos are informative and have significance

for individuals. Potential communication towards a tattoo leads naturally into an

examination of its visibility and in order to communicate, information should

partake. The audience has a role with regard to body modification. Even if the

individual does not consider that personal tattoos are communicative they may

be perceived that way, and a message is created where none is intended.

Individuals rely on previous experiences to make conclusions about the

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information in the present. Therefore, the visual component of body modification

is communicative.

Others get tattoos that are text, which can be in various languages.

According to the research study entitled “Corporate Logo Tattoos and Co

modification of the Body” by Angela Orend (2009).,non-logo tattoos also intend to

communicate to others. This research explores the sociological factors and

underlying the increasing popularity of corporate logo tattoos. She draws upon

critical theory, sociology of the body, and consumption to analyze data from in-

depth interviews with a small sample of subjects with a corporate logo tattoo.

Findings suggest that the increasing popularity of logo tattoos is a product of the

co modification of culture via the culture industry. Findings show that the majority

of the sample was motivated by brand loyalty and self-identification with a brand

philosophy or lifestyle, while a small minority attempted to alter the intended

meaning of the logo by appropriating it into a simulated meaning. This research

suggests that corporate logo tattoos are the one way that corporations have

inscribed themselves onto bodies and into the identities of many of those who

acquire them, while others attempt to use such body modifications as a way to

play with postmodern images.

How the Chinese text has elements of language and image which

connects with tattooing was noted by Lei (2009). In Daphne Lei’s “The Blood-

Stained Text in Translation: Tattooing, Bodily Writing, and Performance of

Chinese Virtue,” he addresses the issue of cultural translation in the transnational

context, with a discourse analysis of the controversial tattooing scene in Maxine

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Hong Kingston’s The Woman Warrior. Text tattoos carries meaning and invites

reading; foreign text requires translation, a process of double reading. Chinese

text, because of its ideographic nature, when used in the tattoos on a western

body, has the enigmatic lure of both exotic pictures and incomprehensible text.

He also articulated the potential issue of having potential tattoo text

misinterpreted or prepared incorrectly (due to language/ translation), leading to

an error and misunderstanding. The Chinese tattoo discourse could be an

elaborate performance because it allows the tattooed body to act as an

interpreter and cultural ambassador. Additionally, whether a tattoo is an image or

text, there is a potential gap between if/what the tattooed individual wants to

communicate and what potential viewers may feel is being communicated.

In Christian Wymann’s research study entitled “Tattoo: A Multifaceted

Medium of Communication (2010),” he stated that “Everything that belongs to

society is constituted by communication”. He argued the conceptualization of

tattooing as communication does not begin with individuals, but with

phenomenon itself. Christian Wymann (2010) have presented tattoos as the

central, multifaceted medium of the form of communication called tattooing. Due

to the particular parallactic form of tattooing, the tattoo features both as a

medium of economy and art. The making of tattoos as punishment constitutes a

form of law enforcement. Legal communication uses the medium of tattoo for the

purpose of marking, “branding” and stigmatizing individuals as criminals. It clearly

differs from tattooing in its way of communicating. Medical tattooing does not

have the same medium of tattoo as previously mentioned. An additional

 20

semantics describes the phenomenon in the medical context (Vassileva and

Hristakieva, 2007). The tattoo here is formed by medical communication as

marks that are applied for reconstructive and diagnostic purposes.

These marks are the means by which medicine tries to restore health.

Reconstructive tattoos of particular skin or body areas just like the mamillas will

ideally not be identifiable as tattoos. And if such marks attracted attention, it

seems that unlikely they would be observed in the same way as other, non-

medically applied ones (e.g., in regard to art) Similarly, permanent make-up or

cosmetic beautification of facial features shapes tattoo as a medium in yet

different way. In contrast to medical applications, it does not try to cure, but to

beautify and re-emphasize existing physical features (see Vassileva and

Hristakieva, 2007; Burchett, 1960, chapters 8&9). The tattoos as medium of

communication, emerges through diverse forms. As the examples of tattoos as

punishment, medicine and cosmetics show, the tattoo even plays a role in other

forms of communication. In contrast to the common definitions of tattooing used

in academic literature, the use of the medium distinction allows for determination

of the specific communicational aspects of a social phenomenon. An empirically

grounded study equipped with the form/medium distinctions they work with. Such

an approach may provide new insights about how phenomena form part of

society. Ultimately, as shown for tattooing, the study of various social

phenomena might produce further insights into their particular characteristics as

forms of communication. The “pure” form (e.g., codes of functional systems),

then, would turn out as only one possible form among others such as the
 21

parallax. Therefore, from different perspectives of communication, a difference in

communication is also produced. Tattooing is chiefly understood as a

phenomenon that has its own particular form of communication, through which it

operates.

Changing perceptions related to tattoos and those who obtain them can

impact how tattoos are communicatively managed with others. Tajfela and

Turner (1986) posited that society is defined by groups, and the differences can

cause conflict for a number of reasons. The interplay of groups factors into

perceptions others have of tattoos and how tattooed individual fit into society.

The findings of a study “Differences in Personality Attributions Toward

Tattooed and Non‐tattooed Virtual   Human Characters” by Wohlrab, Silke, et al.

(2009) conducted in Germany at the University of Göttingen testing the general

perception of tattooed individuals concluded that despite increasing popularity of

tattoos, a negative perception of tattoos still remained. Participants in the study

were either given an image of a man and woman both tattooed or an image of a

man and woman both not tattooed. The participants were then asked to rate the

man and woman on a range of personality attributes. Results showed that

participants believed the tattooed man and woman were more likely to seek thrill

and adventure, to be susceptible to boredom, to have had a greater number of

sexual partners, and were less likely to be inhibited compared to the non‐tattooed

man and woman.

Similarly women also negative evaluations with tattoos. For example,

female nurses, doctors, and medical students rated professional women with
 22

tattoos significantly more negatively than non-professional women with tattoos

(Stuppy, Armstrong, & Casals-Ariet, 1998). In a sample of undergraduate

students, women with tattoos were seen as violating gender norms by those

participants with conservative gender attitudes (Hawkes, Senn, &Thorne, 2004).

In the same study, women with visible tattoos were rated more negatively than

those with tattoos, which could be easily hidden (Hawkes, Senn, & Thorne,

2004). In general, women with visible tattoos have been evaluated negatively.

Adolescents with tattoos have also been negatively evaluated. For

example, tattooed adolescents were viewed less positively by nurses and doctors

(Stuppy, Armstrong, & Casals-Ariet, 1998). Also, tattoos have been significantly

associated with high risk behaviors in adolescents (Roberts & Ryan, 2002;

Carroll, Riffenburgh, Roberts, & Myhre, 2002). Also, significant associations were

found between trait and state anger and number of tattoos on adolescent girls

(Carroll & Anderson, 2002). Finally, there was a significant negative association

found between the number of tattoos and positive feelings towards their bodies

by adolescent girls (Carroll & Anderson, 2002).

Overall, tattoos are still evaluated negatively. In the past, tattoos were

associated with the underclass. In the present, tattoos are associated with

psychiatric disorders. Research has shown that women and adolescents with

tattoos are also evaluated negatively because of their tattoos. These negative

evaluations are prominent, and yet, people are still choosing to tattoo their

bodies.
 23

From the standpoint of impression management theory, having a

negatively evaluated tattoo is contradictory to portraying a positive image. The

performance would be considered a failure if the actor is attempting to solicit a

positive evaluation, but his or her tattoo elicits a negative evaluation. In order to

achieve the desired positive audience evaluation, and have a successful

performance, the actor would either have to choose not to obtain a tattoo or

choose to cover the tattoo. Despite the negative evaluation, if the actor still

chooses to obtain a tattoo, the ability to cover the tattoo is imperative to consider

in order to ensure a successful performance.

These previous literatures and studies are somewhat related to the researchers’

current study because they are similarly designed to explore the degree to which

the respondents consider their tattoos communicative and to probe the significant

difference between the perception of people with and without tattoos. Findings

identify to what extent tattoos convey messages as a non-verbal form of

communication. Respondents were recruited in selected tattoo shops too but with

a different location and number of respondents. In the same way the current

study uses both quantitative and qualitative method, these past related literatures

and studies uses them too in order to understand further the role that

communication plays with regard to people with tattoos.

 24

Flow of the study (Figure 1)

INPUT
 Significance of the images and symbols of tattoos.
 The motives for having tattoos.
 Program proposal based on the findings of the study.

PROCESS
 Informants will be recruited from selected tattoo shops and
inhabitants of Talisay City and Cebu City. The study will be
briefly described and the requirements will be explained.
 The researchers will ask the respondents to fill out a survey
and once it is completed, the informants with tattoos will have
a recorded interview regarding the purpose and meaning of
their tattoos.
 The survey will be analyzed by the researchers and transcribe
the recorded interview.
 The gathered data will be interpreted and it will be presented
through tables and narratives.
 Afterwards, conclusions and recommendations will be drawn
based on the findings of the study.

THE PROBLEM

Statement of the Problem

OUTPUT
The
 A seminar on Tattoo awareness entitled: TATTOO
main
 25

purpose of this study is to determine the discourse analysis of stories etched in

flesh and the perspective analysis between different selected individuals with and

without inks buried under their skins in Talisay City.

Specifically this endeavors to answer the following questions:

1. What do the images and symbols of tattoos signify?

2. What are the motives for having tattoos?

3. What are the perceptions of tattooed and non-tattooed people?

a. Positive

b. Negative

Significance of the Study

 26

This study will be a significant endeavor in establishing a deeper

understanding on tattoos to the following:

Tattooed People. This study can help those tattooed people to understand the

communicative value of their tattoos.

Non-tattooed People. This study can help non-tattooed people to diminish

stereotyping specifically to those people who perceived tattoos as negative.

Sociologists. This study can help the sociologists in analyzing the social

projections of tattooed people in a particular social context and the behaviors of

non-tattooed towards those tattooed individuals them certain social relationships.

Researchers. The study aspires to understand how tattooed people manage

impressions, the tattooed person’s level of awareness of their public image as

perceived by others. It also examines the perceived evaluation of people with

tattoos: either positive or negative. It can also be a form of reference for the

future researchers in a conduct of study about tattoos.

RESEARCH DESIGN
 27

This section clears out the processes used to answer the research

questions. This section includes the research methods, respondents,

environment, statistical treatment, procedures and other related concepts

necessary for data gathering.

Methodology

Due to the exploratory nature of this study, primarily qualitative data was sought.

To reach a sample size that will provide sufficient data to explore the research

questions, a survey method will be selected.

Research Locale

The research study selected twenty (20) individuals with tattoos and twenty (20)

others without tattoos, all residing in Talisay City. The respondents with tattoos

were mainly tattoo artists and clients in tattoo shops. As for the respondents

without tattoos, random sampling was applied specifically to individuals without

tattoos. Talisay, officially the City of Talisay and often referred to as Talisay City,

is a 3rd city income class component city in the province of Cebu, Philippines.

According to the 2015 census, it has a population of 227,645. Primarily a

residential and trading center, Talisay lies within the Metro Cebu area. Talisay

City can be reached through any land transportation and surrounded mostly by

government edifice and some residential buildings.

 28

Research Informants

The informants of this study are 20 tattooed people and 20 non-tattooed

residing in Talisay City.

Research Instrument

The research is a qualitative design in nature hence it utilized the

researchers as the research instrument. Each of the interview of the informants

lasted for 30 minutes to an hour. This included questions regarding the

informants’ tattoos. These questions assessed the communicative value of

tattoos, the perception of others regarding tattoos and tattoo symbols and

meanings. An audio recorder was used in transcribing the stories etched in flesh.

A camera was used to take photos of different tattoos for analysis with regard to

its meaning and interpretation.

Data Gathering Procedure

 29

First, the researchers held of books and e-books on tattoos and its history

to see clearly the related studies of tattoos in terms of their signification,

communicative values and perceptions. Then, qualitative data were collected

using observation, listening and interviewing techniques. Informants were

informed about the purpose of the study and have received a consent form to

participate.

A face-to-face interview was administered separately. Confidentiality was

observed and recorded through an audio recorder lasting from 30 minutes to an

hour then transcribed by the researchers.

To analyze and evaluate data gathered, thematic analysis was utilized by the

researchers.

Definition of Terms
 30

Communicative Value - It is the extent to what the messages the tattoos convey.

Discourse - the spoken words used by the respondents.

Images and Symbols - a figure or representation

Perspective Analysis - Understanding a mental outlook.

Quantify/Quantitative - to determine the quantity of.

Stories etched in flesh - these are underlying narrative stories of tattoos

engraved upon the respondents’ skin or body.

Tattoos - these are the marks or figures fixed upon the bodies of the

respondents.

Motives – reason or cause for having tattoo

Positive – favorable perceptions about tattooed individuals

Negative – unfavorable perceptions about tattooed individuals

 31

CHAPTER 2

PRESENTATION, ANALYSIS AND INTERPRETATION OF DATA

This chapter provides

TABLE 1. SIGNIFICATION OF TATTOO IMAGES AND SYMBOLS

DESCRIPTION SYMBOLIC
RESPONDENT
DESIGN TEXT MEANING
Chris Rose, Portrait of Tom and Azumi Family, vow,
wife, unfinished (Names of reminder
dragon, tribal, children),
barbwire Buddhism Text
Jake Portrait of mother N/A Family
and father and
children

Dee Hibiscus, Heart, “I go to seek a Love and Dreams

Lady Raising great a perhaps”
Balloons, Paw
prints
Daryl Clock and owl N/A Time and watcher
Glenn Hannya Mask N/A Passion, courage
and dark side of a
person
Mitch Butterfly and lotus N/A Memory and
flower spirituality
Ana Roses N/A Love
Ja0sper Musical staff, N/A Music, knowledge
aquarius and and characteristic
abstract leaf
Jeric Owl Jane Criste and Family, clarity,
Joselito (Names vision and focus
of Parents)
Elise Angel N/A Family, Love and
a painful emotion
Rachel N/A Russel (Name of Youth, Love and
husband) Family

Jason Rosary N/A Devotion and

religion
Martin Fishes, turtle and N/A Love and
underwater scene Devotion
Jose Yin and Yang N/A Balance
 32

Dan Portrait, Hannya N/A Balance

and Geisha
Ryan Koi Fish N/A Strength,
perseverance and
good luck and
fortune
Joshua Sharks,Fishes and N/A Love and Art
underwater scene
Edward Owl, Lotus, N/A Wisdom, learning,
Cannabis, Butterfly guardian,
and Geisha freedom, vision,
beauty and
mystery

Chay Medusa N/A Cursed Life

Konigs Three stars, sun, N/A Identity, Passion
musical notes and a and Music
headphone

This table shows the different symbolic meaning of tattooes marked on the

respondents’ skin and the most common signification is love, family and

devotion.

Table 2. MOTIVES FOR HAVING TATTOOS

There are many motives for having a modern tattoo. A tattooed individual

may want to acquire his or her tattoos for a particular reason or reasons, some of

which are communicative. Studies have found that individuals obtain tattoos for

reasons of identity and expression. Identity articulation can be separated into

group identity and self-identity. Expression can also be separated into self-

expression and social expression. Tattoos obtained for reasons of identity and

expression can be considered communicative if the tattooed person desires to

use his or her tattoos to convey messages about him or herself. The table below
 33

shows that the motives of the respondents of having tattoos are: self-identity,

self-expression and self-experience.

Motives Tattooed Respondents

Self-Identity Chris
“First nako nga tattoo kay barbwire. Adunay bakod akong
kamot para dili ko mulayat sa sayup.” (My first tattoo is a
barbwire. There is a barbwire on my hand so I would not
commit mistakes.)

Jake
“Gusto ko magpatattoo ng very related sa akoa. Kay
parents ko.” (I want to have a tattoo that is very much
related to me so I had portrait tattoos of my children since
I am a parent.)

Dee
“I had paw prints because I’m a dog lover.”

Daryl
“The vintage clock represents time since I am a type of
person who is time conscious.”

Glenn
“Ang Hannya Mask kay nagrepresent nako kay taw ra gud
ta naa tay dark side pero bisan in.ana ko, isog ug
passionate ko nga klase sa taw.” (Human as we are, we
have our dark sides and the Hannya Mask represents
mine despite of what is being said I am a courageous and
passionate type of person.)

Jasper
“I had a musical staff tattoo since music has always been
into my life.”

Elise
“Also, my tattoo represents my artistic side.”

Rachel
“Akong first nakong tattoo kay apelido nakos pagkadaga
kay ganahan ko naa koy tatak sa akong pagkadaga.” (My
first tattoo was my Maiden name because I want to have a
mark of my youth.)
 34

Jose
“My Yin Yang tattoo symbolizes that everything I do must
be balanced.”

Chay
“It symbolizes me, it represents me as a person since
she’s been cursed just so am I.”

Konigs
“I'm an artist. A musician. So my tattoo represents my art.
It has three stars and a sun which represents the
Philippines and a headphone and some music notes that
tells of what I do. In short, my tattoo says I’m a Filipino
musician”.
Self-Expression Chris
“Tattoos can be addictive , through sa pain maipagawas
nimu ang imong gebati. Kung nakoy problema ipaagi
nakog patattoo para marelax ko. Kung sa China pana
mura nag-accupunture, ing-ana ang feeling tattoo-an.”
(Tattoos can be addictive, experiencing the pain from
being tattooed helps me release my feelings. When I have
problems, tatoos are my outlet to be at ease. Just like in
China, they have accupuncture. That is how it feels when
you get a tattoo.)

Jake
“Nagpatattoo ko’g portrait sa akong parents ug mga anak
para makibaw sila unsa nako sila ka love.” (I had tattooed
a portrait of my parents and children so that they will know
how much I love them.)

Dee
“I also have tattoos that remind me of my love for the
ocean; about guarding one’s heart; about reaching for
one’s dreams, never settling for anything less; and doing
something worthy and exciting. Most of my tattoos are
very colorful because colorful things make me happy.”

Mitch
“It means a lot to me, my sister passed away last year and
she really liked butterflies and flowers so I had them
tattooed so I will always feel that she is still alive.”

PERCEPTIONS OF TATTOOED RESPONDENTS
APPROPRIATENESS ON THE
BODY
Mitch
“Ang tattoos appropriate ra at certain
body areas.”
Daryl
“Okay ra magpatatatoo basta dili
lang masobraan nga matabunan
imung tibuok lawas.”
Jason
“I believe that tattoos are appropriate at
certain body areas only so I had them
tattooed at his left arm.”
Anna
“Ang tattoos dili acceptable sa
society daghan judgmental og mu
ingon hugaw-hugaw lang sa lawas
so I decided to place my tattoo on my
left arm wherein the general public
won’t notice it immediately.”
EXCONVICT/ADDICT
Chris
“Labi na kanang maglakaw ka niya
nay gasunod nga nay tattoo, ang tan-
aw sa tao basta nay tattoo kay adik or
ex-convict”.
Jose
“Tan-aw sa mga sa nay tattoo kay
dekalido pagkatao, adik. Makuyawan sila
nako.” (People without tattoos perceive
tattooed people dangerous, they are
afraid of me.)
Dan
“Mahadlok sila muduol nako tungod
nakoy tattoo kay murag kriminal” (They
are afraid of me because of my tattoos.I
look like a criminal.)
35
ART
Chris
“Dapat huna-hunaon a hundred times
before magpatattoo. Kay tattoos are
memories, until sa kamatayon na”
Jake
“Kung magpatattoo ka dapat 100%
sure naka. Kay ang tattoo lifetime
commitment to art”.
Glenn
“ I love tattoos especially Japanese
oriental designs.”
Jasper
“Tattoos have stories to tell.”
Jose
“Ang tattoo kay art og self-
expression.”(Tattoos are form of art and
self-expression.)
Dan
“I love portrait tattoos, realistic man gud.
Nawng pa daan , naa juy story.” (I love
portrait tattoos, they are realistic. From the
expression of the faces itself, you can
already perceive that there is a certain
story to tell.)
 36

PERCEPTIONS OF NON-TATTOOED RESPONDENTS

BODY AS A TEMPLE OF CHRIST ADDICT/CRIMINAL ART

Respondent 1 Respondent 10 Respondent 4

“I grew up knowing that my body is “Hugawan ko anang mga tattoo, “Tattoos are a form of art and way of
God’s gift and that I should respect it mura’g adik ug gikan prisohan”(I found expressing yourself.”
in any ways. It doesn’t mean that tattoos dirty and people with tattoos
those who have tattoos don’t respect look like addicts and ex-convicts.)
theirs. All I know that not putting one Respondent 5
can help me conserve this gift.” Respondent 14 “…they are able to express
I count those people who have tattoos themselves through tattoos which are
Respondent 2 as mostly idiots and transgressor of a form of art.”
“Our body is the temple of our Lord social norms. Liberal at its best and
Jesus Christ. Likewise, having tattoos have no cultural and social sensitivity.” Respondent 6
can hinder me to avail a decent job in “They bravely express themselves
the future.” Respondent 17 through tattoo. Di na basehan ang
“Mura silag mga adik ug mga piniriso tattoo arun mo ingun ta nga bati or
Respondent 11 kay sa akong nadak-an, basta naa adik sila.”
“It is my conviction as a Christian not gani tattoo mga kriminal jud na”
to put markings on my body. It has (Based on my upbringing if you have Respondent 8
nothing to do din kasi with my tattoos, you are considered as a “Di ko ganahan feel nako improper sa
personality. Aside from that, hindi ko criminal or a drug addict) usa ka taw ang naay tattoo kay holy
gagawin yun to glorify God so what’s temple sa Ginoo atung lawas.” (I don’t
the use of tattoos anyway. Our body is Respondent 18 like having tattoos because it’s
temple of the Holy Spirit so yun, “Hugaw-hugaw lang na sa lawas” (It improper for a person to have one
iniingatan ko din sya. will cause dirt to my body) since our body is the holy temple of
Christ.)

Respondent 13
“I like the idea of having tattoo, but I'm
afraid it might harm me or I won't like
the result, and I think it’s a bit conflict
with our religious practice.
Respondent 14
I don’t like the idea of tattoos because
our body is sacred. We have to
respect it and take care of it.
The table shows the different perceptions of people with and without tattoos. The tattooed respondents view tattoos
as a form of art and aesthetic. Also, the researchers found out that the non-tattooed respondents firmly
Respondent 19
“Mura sila ug mga adik” (They look
like a drug addict)
Respondent 20
“Ako tan-aw nila kay mura sila ug mga
abat” (They look like monsters)
37
Respondent 9
“Artsy kaayo sila tan.awon, and they
are brave enough to have tattoos
despite knowing that other people
would judge them”. (I am afraid of the
pain it might cause me. People with
tattoos are artistic and they are brave
enough to have tattoos despite
knowing that other people would
judge them.)
Respondent 15
“Tattoo is a form of art. Dili ko
ganahan magpatattoo pero ganahan
ko ako'y magtattoo. Para nako gud
expression man gud ang tattoo sa usa
ka tao. Dependi sad nuon nila.” (For
me, tattoo is a form of art. I don’t want
to have tattoos, I want to be a tattoo
artist. It is a self-expression for a
particular person. However, it
depends)
 38

stand that the body is sacred because it is the holy temple of Christ. However,

the negative perceptions of people without tattoos to those who have are being

criminal or drug addicts.

 39

CHAPTER 3

FINDINGS, CONCLUSIONS, AND RECOMMENDATIONS

This chapter presents the summary of findings that were undertaken, the

conclusions that are drawn and the recommendations that are made to pertain.

Findings

The researcher found out that most of the symbols and images of tattooed

people in the vicinity of Talisay City signify love, family and devotion, while their

motives for having these tattoos are for self-identity and self-expression.

However, tattooed people are negatively perceived by those people without

tattoos, wherein they are commonly considered as addicts and ex-convicts. On

the other hand, tattooed people perceived tattoos as a form art.

Conclusion

Based on the findings of the study, the researcher has concluded that

tattooed people do consider their tattoos as communicative. They mark

themselves with inks, not only to be in contact with other people but also with

oneself. Furthermore, they may mean something different to the wearers than the

people who perceive them just like how non-tattooed people view them

negatively.
 40

Recommendation

Based on the findings and conclusions, the researcher suggested that

people with tattoos should primarily consider the essence and purpose of having

tattoos and how people perceived them. They should also consider the meaning

of the tattoos they marked on their bodies for which it will affect their value as an

individual. The researcher also recommended for the non-tattooed individuals to

be encouraged to attend on a seminar to raise awareness about the

communicative values of tattoos, and to lessen the stigma of the people without

tattoos to those who have.

 41

Objectives People Involved Budget Venue

Allocation

 10,000  Talisay
This program aims (Php 100 City
to be able to:  (50) Tattooed registratio People’s
 Acquaint and (50) Non- n fee) Hall
people with tattooed
different individuals
signification (beneficiaries)
of tattoo
images and  Researchers
symbols
(organizers)
 Eliminate
stereotyping
on tattoos

 Appreciate
stories
embedded in
inks

T.A.T.T.O.O
(Tattooed Against the Thriving Tolerance Of all Odds)
 42

BIBLIOGRAPHY

Album von Philippinen-typen ..Adolf Meyer-Alexander Schadenberg - W.

Hoffmann - 1885

Religions of Primitive Peoples.S. Dyde-Daniel Brinton - The Philosophical

Review - 1898

Snapshot: Tattooing in the Philippines

Ikin Salvador-Amores - South Asia and Southeast Asia Berg Encyclopedia of

World Dress and Fashion -

The Philippines: mobilities, identities, globalization James Tyner - Routledge -

2009

Bodies of Inscription: A Cultural History of the Modern Tattoo Community. By

Margo DeMello. Durham, N.C.: Duke University Press, 2000. Pp. xiv+222.

$49.95 (cloth); $16.95 (paper).

Clinton Sanders - American Journal of Sociology - 2000

Tribal tattoo designs Maarten Dinter - Shambhala - 2000

Ta moko: the art of Maori tattoo D. Simmons - Raupo - 2010

Gendered lives: communication, gender, and culture

Julia Wood - Wadsworth – 2009 Method meets art: arts-based research practice

Patricia Leavy - Guilford Press - 2009

Tattooing and Civilizing Processes: Body Modification as Self-control

Michael Atkinson - Canadian Review of Sociology/Revue canadienne de

sociologie - 2004
 43

Body Ornamentation Questionnaire Bogusław Antoszewski-Aneta Sitek-Marta

Fijałkowska-Anna Kasielska-Julia Kruk-Jeromin - PsycTESTS Dataset - 2010

The Communicative Value of Tattoos: The Role of Public Self-Consciousness on

Tattoo Visibility

Kathleen Doss-Amy Hubbard - Communication Research Reports - 2009

Corporate Logo Tattoos and the Commodification of the Body Angela Orend-

Patricia Gagné - Journal of Contemporary Ethnography - 2009

The Blood-Stained Text in Translation: Tattooing, Bodily Writing, and

Performance of Chinese Virtue Daphne Lei - Anthropological Quarterly – 2009

Tattoo: a multifaceted medium of communication Christian Wymann -

MedieKultur: Journal of media and communication research - 2010

Medical applications of tattooing Snejina Vassileva-Evgeniya Hristakieva - Clinics

in Dermatology - 2007

Differences in Personality Attributions toward Tattooed and Nontattooed Virtual

Human Characters

Silke Wohlrab-Bernhard Fink-Peter Kappeler-Gayle Brewer - Journal of Individual

Differences - 2009

Gene expression; posttranscriptional modifications (2C-01 - 2C-09) Genes &

Genetic Systems – 2004

https://www.youtube.com/results?search_query=the%2Bmark%2Bof%2Bcain%

documentary
 44

APPENDICES

About the Researcher

Angela Therese C. Sibal is a fourth year student of Talisay

City College taking up the course of Bachelor of Secondary
Education major in English. In the same institution, she was a
former student leader of Supreme Student Council and a
former treasurer of English Aristocrats. She took her
Secondary Education at Talisay City National High School
and graduated with honors. She was also a former Editor-in-Chief of De Dicto
in Talisay City National High School.
 45

Agreement to Participate in

Tattoo Survey

Talisay City College

Poblacion, Talisay City, Cebu

I am a 4th year student of Talisay City College taking a Bachelors Degree of

Education majoring in English and currently working on our thesis. This is a research

project looking at individuals with tattoos. Your participation in this project is through

filling out a survey. I intend to survey approximately 20 participants. Although there are

no direct benefits to you, I hope that this project will shed more light regarding

individuals and their tattoos. There is no risk involved in filling out this survey and

completion will take approximately 15 minutes. Participation is completely voluntary.

Responses will be kept anonymous and it is not possible to identify participants. You

may withdraw at any time.

I appreciate your participation and thank you for your cooperation. If you have

any question/s or comment/s concerning this project, feel free to approach me anytime.
46