The art of hand-tapping for tattoos was a widely practised medium in Borneo back in the day. Hand-tapped tattoos are a symbol of culture for various indigenous tribes on the island. However, in the face of modernisation, the art is gradually dissipating as many become reliant on modern machines and methods instead of the traditional ones. Realising that there is a need to preserve this style of tattooing, a lot of Bornean tattoo artists are on a mission to breathe life back into the dying art.
More than just artistic expressions
There were constant ticking sounds, produced by two pieces of wood tapping against each other. At the end of one stick is a needle, poking into the skin of an individual. A hand-tapped tattoo made using century-old traditional techniques is about to be born. An intricate process, hand-tapping features elements from the olden days, when modernity had yet to seep in, and myths and legends were told.
Chin (not his real name) laid on the mat of the floor at Libiki Borneo Resort, Bau, during the recent “Borneo Hand Tapping Tattoo Weekend”. Sweat trickled down his forehead as the ticking sounds continued. A hand-tapping artist was meticulously tapping onto Chin’s back, creating a detailed masterpiece. “I have always been interested in expanding my tribal tattoo collection,” said Chin.
He revealed that he got his first hand-tapped tribal tattoo by chance during a hike up Mount Pulag in the Philippines in 2017. “I have this thing about going hiking in different regions. So while I was hiking up Mount Pulag, I was told that there is a village nearby, where this over 100-year-old hand-tapping tattoo artist resides.”
Without much thought in his mind, Chin decided then and there to get his first tattoo from the renowned hand-tapping tattoo artist Whang-Od Oggay. “I was nervous at that time as I had never gotten a tattoo before. Thankfully, it ended well and without much pain too.”
Passionate about the sacred art of the indigenous people, the 60-year-old Chin enjoys embracing the culture. “I have been to different cities around the world, but often the places that I looked forward to the most are ones that are rich in culture and heritage, where the history is still alive.”
Where it all began
Hand-tapping is a widely used method of inking a tattoo that dates back centuries. Attached to it is a myriad of sacred and spiritual cultural traditions,involving more than just simple artistic expressions.
Renowned hand-tapping tattoo artist Jeremy Lo shared that the art form can be observed within the communities of Kayan, Kelabit, Punan, Iban, Penan and others in Sarawak. A dying art, Lo revealed that throughout his two decades of experience in tattooing, there are only two types of hand-tapping: the Kayan way and the Iban way.
“Kayans use a short stick, usually carved in the image of dogs and dragons, to tap. Meanwhile, the Ibans use a long stick with a needle attached to a split end and tied. Both use a heavier stick as the hammer to knock the one with the needle into the skin,” the 40-year-old explained.
He also said that the Ibans use sticks that have no particular carving. Sometimes, the stick is made on the spot, right before tattooing. These sticks were often foraged from the branches of the trees in the jungle nearby.
Lo revealed that in the Kayan community, tattoos were for the higher-class women known as ‘maren’. “Interestingly, this body art belongs to the womenfolk, whereby the tattoo artists were women, practising their art on fellow women. They could even get a tattoo as early as eight years old.”
“To my knowledge, only the upper-class Kayan women have tattoos, as the commoners have to work in the field, thus they have no time to get a tattoo. As for the higher-class folk, they stayed home, away from the sun, decorating themselves.”
Lo also added that it was not the norm for Kayan men to get tattoos. However, for other tribes — Punan, Penan and Iban — men were heavily tattooed. While it isn’t known when and who started the art of hand-tapping tattoos, Lo said that based on oral history, the oldest of the hand-tapping practises originated in the Marudi area, where the Kayans lived.
“As for the Ibans, they had adopted the practise from the Penan tribe around 200 years ago. This was because, when the Iban had entered Kapuas 500 years ago, they had not been practising the art,” he added.
And when hand-tapping tattoos became popular within the different communities, countless elaborate designs derived from the surroundings were made. Of leaves, fruits, crabs, scorpions and others all decked out on the skin of each individual.
The Kayans, who were more creative, were bedecked with more detailed and smaller patterns on their skin. Lo described them as intricate.
A dying tradition
Over the years, modernisation seeped in, and technology made everything easier. The ease also saw that many traditions were no longer practised and replaced by modern methods. Rituals and taboos were soon forgotten as this century welcomed foreign influences and policies.
Durga, an Indonesian hand-tapping tattoo artist, voiced his concern that the traditional methods of tattooing will one day be obsolete. He is worried that it may soon disappear and just be a distant memory.
The 50-year-old said, “My first time dabbling in the arts was when I was 19 years old. But I have been making hand-tapped tattoos for over 16 years now. It is normal for the younger generation of Indonesians to have a tattoo as young as 14. It is not only part of the culture we have there, but also an expression of freedom.”
His initial body art entailed a cultural element. Though it is no longer visible on his body, Durga revealed that it was a tattoo of a motif from the Punan Dayak tribe. “It has since been layered with another tattoo on my right arm.”
Born and raised in Jakarta, Durga spent his early adulthood as an art director, focusing on fine art. Today, he is a tattoo artist who travels the world, sharing his expertise in the art of hand tapping. “My forte has allowed me to embrace the olden form of tattooing and the traditional element it entails.”
As an artist of this century, Durga shared that the challenge for many traditional tattoo artists is the modern influence and commercial ways of inking a tattoo. “Of course it is easier to go with the wind, but for me, this dying art should be preserved, especially among those of the indigenous groups, as it is part of our identity.”
Durga now travels around to retell the stories of the hand-tapping traditions of the Dayak. He also organises tattoo meet-ups to gather hand-tapping tattoo artists to celebrate the culture.
