Humans have been marking their skin for thousands of years. Tattoos, across cultures, have held countless different significances around the world. This article takes an encyclopedic look at tattooing practices throughout Sub-Saharan Africa and includes the island of Madagascar.
It should be noted that this article is by no means complete as there are many other groups that practiced tattooing throughout the regions described here. Because there were a plethora of meanings that were embodied within the sacred art forms of the skin, African body art moved far beyond the Western construct of “art” itself. All African tattoos are considered lived experiences, and not always for body adornment or ornamental purposes. It is a shared experience, tying the person to their tribe or people. Tattoos vary across regions of Africa and each tribe/people have different types of tattoos that they choose to brand themselves with, all with different meanings.
This process of scarification or tattooing was seen as a huge triumph of bravery and courage, an initiation process or a rite of passage. For the Yoruba tribe, tattoos and scarification were used for both beautification and a representation of courage for the individual. For many African cultures, they turn to scarification rather than tattoos for their body adornment. African tattoos are rarely representative, which makes determining their meaning and background difficult. But magical practices are often linked directly to the functionality of the tattoo. These tattoos were not usually applied all at once, and instead were added onto over time.
During the Age of Exploration, Europeans became aware of the relatively extreme forms of body art practiced in Sub-Saharan Africa. One of these was scarification, a body modification procedure that offered a sculptural quality to the skin.
Today many people choose to celebrate Africa and its diverse culture through tattoo homages. Perhaps you have deep ancestral ties or wish to commemorate a meaningful experience; you may simply feel a passion for the continent and its people. Popular tattoo choices include simple map outlines of the continent, often with a heart or meaningful symbol etched within, as well as images of Africa’s famous wildlife: zebras, lions, elephants, and giraffes. Another option is to have the stunning savanna backdrop inked across your back or forearm, enhanced by the setting sun.
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Here are some examples of Africa-inspired tattoos:
A cool world Africa sleeve:
Realist animal tattoo at its finest:
A standout piece of tattoo art:
A fantastic forearm sleeve Africa tattoo:
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Another beautiful black and gray Africa continent tattoo:
A clever idea mixing compass tattoo with continent:
A beautiful continent tattoo that uses vivid colors throughout:
This bad ass tattoo features flawless technique:
Nice African band tattoo:
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This is a masterful lower forearm tattoo:
This is a great black and gray Africa tattoo:
This amazing new wave tattoo may be the finest example of color shade contrast you in art on skin:
This is a great black tattoo demonstrating how incorporating a single idea within a border image can be just as telling as one full of different images:
This tattoo shows an outstanding use of negative space:
This is a wicked continent tattoo utilizing a unique fill color and geometric patterns to form a nice, crisp Africa image:
Historical Origins and Evolution of Africa Tattoos
The historical significance of Africa tattoos is deeply tied to the continent's rich cultural heritage and history. Tattoos have been a part of African culture for centuries, used for various purposes such as tribal identification, rites of passage, and spiritual protection. The Africa tattoo, as a modern expression, often serves as a reminder of the continent's historical struggles and triumphs, celebrating its resilience and diversity.
Ancient Tattooing Practices
In terms of tattoos on actual bodies, the earliest known examples were for a long time Egyptian and were present on several female mummies dated to circa 2000 B.C.E.. Among the numerous ancient cultures who appear to have used tattooing as a permanent form of body adornment, the Nubians to the south of Egypt are known to have used tattoos.
The mummified remains of women of the indigenous C-group culture found in cemeteries near Kubban circa 2000-15000 B.C.E. were found to have blue tattoos, which in at least one case featured the same arrangement of dots across the abdomen noted on the aforementioned female mummies from Deir el-Bahari. The ancient Egyptians also represented the male leaders of the Libyan neighbors circa 1300-1100 B.C.E.
Examples of African Tattooing Traditions
The Tsemay of Ethiopia
The Tsemay are an Omo Valley people of southern Ethiopia that practice tattooing which is called do-ey. I met young Elsa Mamo at a tourist rest-stop before the village of Weyto and she told me that “once I became a woman, I got my facial tattoos.” Unfortunately, I had just a few moments with her and the only other information I could learn about her beautiful tattoos is that payment was a chicken, goat or some quantity of sorghum beer (depending on the size, form, and amount of tattoos), and that she was tattooed by a woman. In the old days, the neighboring Hamar who practice incredible forms of scarification believed that the Tsemay had karsama or lethal magic so they rarely attacked them.
Close-up of Tsemay tattooing:
The Fulani of the Sahel
The Sahel is the ecoregion or transitionary climatic zone located between the Sahara Desert in the north and the savanna grasslands to the south. One of the largest tribal groups that inhabitant the western Sahel region (from Senegal to Chad) are the Fulani, who are variously known as the Peul, Fula, Fulbe, or Felaata. These nomadic herders are gradually on the move throughout the year, searching for new pasture and water sources for their vast herds of cattle.
African Women of the Fulani so Strong that They Use Gum Lip Tattoos as Lipstick
Perhaps one of the most heavily tattooed of all Fulani groups are the Wodaabe. In the 19th century, these nomads fled Nigeria to avoid the pressures of British colonial rulers and Muslim chiefs and migrated north to the plains and savannas of Niger where they roam a vast territory that extends across several international boundary lines. As one elder reported, “Here we are free to follow our traditions.
Young Wodaabe men in Niger with facial and torso scar tattoos:
As noted, the Fulani are famous throughout West Africa because they are nomadic cattle herders who cover great distances in the dry season in search of water for their herds. Perhaps this is why Peul men are intricately tattooed so they might impress those women they meet during their long journeys through Benin, Burkina Faso, and Niger.
In Mali, women’s tattooing resembles the bold and dark mouth tattoos of the Ainu of Japan and completely surround and cover the lips in a circular pattern. According to my friend Michael Laukien (aka Travelin’ Mick), Fulani markings are called socou-gol and are pricked into the lips with needles by a throdi or female tattooist. Traditionally, only the lower lip and gum were tattooed with a pigment of charcoal mixed with shea butter when a girl reached puberty.
Fulani girl tattooing her gums:
The Barabaig and Karamajong
Among the Barabaig (also Datooga) of Tanzania and Karamajong of Uganda, these “goggle” tattoos surround the eye sockets of both men and women and are usually pigmented. The tattooist picks up a fold of skin and cuts the tip removing the skin from the body. A charcoal pigment mixed with cow urine is rubbed into the incisions resulting in small bumps that delicately encircle the face over time.
Tattooed Barabaig man:
The Bushmen of Namibia and Angola
Further south, many Bushmen tribes of Namibia and southern Angola cut the skin during initiation or when setting out on a hunt for large game. Using a stone knife or sharp arrow head, an old medicine man made a cut between the eyes of the patient and inserted into it a carbonized pigment with magical ingredients that included the pulverized remains of specific animals. The Kwengo Bushmen placed additional tattoos on important muscles.
The Bini of Nigeria
The Bini or Edo people were the original founders of the Benin Empire (1440-1897) of southwest Nigeria. One century ago, no male Bini citizen of the Kingdom without tattoos could exercise his prerogative of membership in the palace societies. In fact, no one except tattooed Bini, Europeans, and people from Ufe from which the royal family had originally come, was allowed to enter the palace.
Bini “blade” (iwu) tattoos:
Like in other parts of Africa, long and fine tattoos were incised with a scalpel (abee) or knife-like instrument. Pigments were derived from charred asun (Randia coriacea) leaves that produced a dark blue-black color. It was said that in ancient times no Bini man would marry a woman without tattoos. This custom was verified in more recent times by the small number of men and women who continue to carry the designs of their ancestors.
Women’s tattoos were “blade-like” and positioned in various configurations on the body. Women who acquired their tattoos by royal command owned seven of the “blades” that indicated that they were suitable to join the harem of the King.
The Amharic of Ethiopia
The Amharic people of the northern Ethiopia have a rich tattooing tradition that perhaps stretches back to 330 A.D. when their people converted to Christianity. Many wear the distinctive “iron hand” cross as a tattoo on their sternum or foreheads that resembles the sun and acts as a talisman to ward off evil spirits or permanently mark their devotion to God. The neck is similarly crossed with rows of interconnected cruciforms. Symbolically, the “Tree of Life” of the early Christian tradition is generally believed to be the originating element of these crucifix tattoos, although some scholars suggest another source.
The Yoruba of Nigeria
There are several varieties of body markings and scars among the Yoruba of Nigeria but kolo are pigmented cicatrices that look and feel like raised keloids. Women were the primary recipients and Yorubas often commented that kolo are a “test” for the brave to endure so that they will be praised after their painful skin-cut tattoos have healed. Essentially, the patterns were acquired before marriage and prepared the woman for childbirth.
Photograph and illustration of tattooed Yoruba woman, ca. 1975:
Although physical appearances were highly esteemed in Yoruba society, the concept of outward beauty could not be separated from its complimentary interior dimension. Outer appearance may either hide or reveal one’s inner, or spiritual self. The Yoruba prayer, “may my inner head not spoil the outer one” cautions one to conceal and control negative tendencies because they can affect outer appearance and, therefore, can draw hostility from others. Conversely, positive attributes such as courage should be displayed openly, for Yoruba assess an individual’s personality both from physical appearance and behavior.
For these reasons, Yoruba tattoo masters were highly sought after and were held in great regard. They were called oniisonon or “skilled designer” or “one who creates art.” Renowned tattooists were praised for their speed, skill, dexterity, and technique.
Yoruba kolo patterns:
Most Yoruba motifs were derived from nature and featured cowrie shells (esa), lizards (alangba), palm trees (igi ope), arrows (ofa), ostrich (ogongo), vulture (igun), dove (adaba), chameleon (agemo), centipede (okun), butterfly (labalaba), corn cobs (agbado), and the “moon of honor” (osu ola). Other motifs were taken from the material world and encompassed dancewands (ose) of the Thunder God Sango, Islamic writing boards (walaa), arm amulets (apa tira), a king’s crown (ade oba), staffs of authority (opa oye), game boards (opon ayo), anthropomorphs, the tattooist’s Y-shaped blade (abe), and even scissors, airplanes, wristwatches, and personal names in recent times.
Yoruba woman with extensive kolo markings:
The Fang of Central Africa
The Fang are a forest-dwelling people who live in area of 112,500 square miles spread across the international boundaries of Cameroon, Gabon, the Congo, and especially Equatorial Guinea. In the 1950s, the eminent Catalan primatologist Jordi Sabater Pi (1922-2009) began documenting the tattooing practices of the Fang, which later led to a beautifully illustrated work co-authored and co-designed by his son Oriol in 1992.
(left) Tattooed Okak Fang woman with “monkey designs” (osó-bom) on cheeks/below nose, “yucca leaf soup” (mendgim mendjà) motif on chin, and assú pattern on forehead, 1954. (right) Tattooed Ntum Fang man with moon crescents on forehead (efà ngon), “monkey design” (ekob kueiny) on nose, and “spearhead” (king-koro) pattern on the neck, 1956:
In the early 1950s, Fang tattooing was already in decline and Sabater recorded many ancient patterns that were only seen on the faces and bodies of the very old. They were simply “traditional” or imitations of particular animals that dwelled in the jungle. The Fang practiced two types of tattooing: relief tattoos (mamvam) that were a form of pigmented scarification, and flat tattoos (mevale) that were pricked with a comb-like tool into the skin.
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