Us and them: Skin Part 18 in art historian Michael Bird’s series An Alternative History of Art in 20 Media The body marking of prisoners has been practised since ancient Egyptian times at least. But many cultures also see it as an art form in its own right. Tattoo on the right arm of a tribal chief, Pazyryk culture. The State Hermitage Museum, St. Photograph © The State Hermitage Museum /photo by Vladimir Terebenin Permanent markings can encode a person’s social identity. Impermanent methods like painting often express ritual roles, as in the Nuba ceremonies photographed by Leni Riefenstahl. Felice Beato, Studio portrait of Japanese tattooed ‘bettoes’ (horse grooms), circa 1863-1877.
Felice Beato/Universal History Archive/Getty Images The body of a 5th-century BC chief preserved in permafrost at Pazyryk on the Russia-Mongolia border was covered with tattoos of stylized animals and plants. From the 17th century in Japan tattooing attained painterly finesse, with the use of multiple needles and colours. Hannah Wilke (1940-1993), S.O.S.
See more of NU-BA Beauty & Skincare on Facebook. Create New Account. See more of NU-BA Beauty & Skincare on Facebook. Forgot account? Create New Account. NU-BA Beauty & Skincare. Community See All. 236 people like this. Skin Care Scams – How to Spot Them by Debbie Morgan on January 15, 2013 Our main role is to provide independent reviews of different skin care products that we come across.
- Starification Object Series, 1974-82. Gelatin silver prints with chewing gum sculptures. Digital image, The Museum of Modern Art, New York/Scala, Florence. © Marsie, Emanuelle, Damon and Andrew Scharlatt/VAGA, NY/DACS, London 2015 Since the 1960s the body has been a highly politicised surface. In her S.O.S: Starification Object Series Hannah Wilke photographed her own naked torso, bearing tiny stigmata of vulva-shaped lumps of chewed gum.
French performance artist Orlan underwent surgical operations to reshape her own features to resemble works of art. Nuba Photographed by Leni Reifenstahl © 2000 - 2003 All Rights reserved. Leni Riefenstahl Produktion. Photograph: © Christie’s Images Explore the full series,.
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Two months ago Skin Deep attended an Alsarah & The Nubatones concert at Rich Mix that was sponsored by MARSM, an event company dedicated to promoting Arab music and culture in the UK. The concert was part of a series called Music from Egypt and the Sudan. In a lot of ways, the event title is an ideal introduction to anyone who is unfamiliar with the music of Alsarah & The Nubatones.
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At its heart, the band’s project is a transnational one that attempts to resist the classification and disruption that modernity has inflicted on indigenous music. During the concert Alsarah kept reminding her audience – whether through political statements made in between songs or through the songs themselves – that while the Nubians are often spoken about as a dead people and civilization, the reality is that they are very much alive and thriving, as is their culture. Their disappearance and dislocation are really a product of modernizing processes like the drawing up of borders and building of dams. The band was a part of Aswan, a live concert album by the Nile Project, which pays tribute to that history — Aswan being a border city between Sudan and Egypt in which a dam was built in the mid 20th century, leading to the mass relocation of Nubians to cities in Northern Sudan and Southern Egypt. But the band’s music is not strictly Nubian, or Egyptian, or Sudanese for that matter. Alsarah & The Nubatones draws on a wide array of musical influences from the broader East African coast. Their music, as they’ve often stated, is best described as ‘ East-African Retro-Pop’, drawing heavily on the musical trends of Ethiopia and Zanzibar in the 1960s and 70s.