Body art traditions are diverse and deeply rooted in cultures around the world. In Ethiopia, face tattoos hold particular significance, reflecting cultural identity, religious beliefs, and personal stories. This article explores the history and meaning behind Ethiopian face tattoos, examining the practices of various communities and the evolution of these traditions over time.
In looking through some statistics for my blog, I discovered that seven people have found my blog by searching “beautiful Ethiopian women.” At the risk of increasing that number, I thought I would devote some time to traditions of body art among the Jewish communities of Ethiopia.
One of the most striking features of the Ethiopian Jewish community is their tattooing. Historically, the vast majority of Jewish communities generally refrained from tattooing, even when living in environments with established tattoo traditions, due to the prohibition on tattoos in Leviticus 19:28. Technically, in the Biblical context this was a prohibition on imitating Canaanite mourning practices of cuttings and tattooed inscriptions for the dead.
The rabbis, however, eventually identify this with any form of putting ink permanently under the skin, whether writing or drawing, for any purpose.
Ethiopian Jews, however, did develop traditions of tattooing (note: even though the sacred text of the Ethiopian Jewish community was not the Hebrew text of the Bible but its Ge‘ez translation, known as the Orit, this prohibition still appears there as well).
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This is often one of the first things people notice; anthropologist Hagar Salamon writes that she “could not shake off the shock of the first sight of them. The crosses tattooed on their hands and foreheads remained a vivid symbol for me, shattering long-standing perceptions of Jewish identity” (1999, pg.
The Truth About Face Tattoos | Joe Rogan
Beta Israel Tattoos: A Unique Jewish Practice
The origins of the Ethiopian Jews are murky and, to my mind, irrelevant to this discussion (but see Kaplan 1992, Parfitt 1999, or Weil 2011 for some approaches). Suffice it to say that by the 19th century there was a large community of Jewish Ethiopians, living mostly in the areas of Gondar, Wegera, Semien, Wolqayt and Shire in Tigray (yes, there is both a Gondar and a Shire in Ethiopia; no, it is not Middle Earth). A related community is known as Feresmura or Falashmura, Jews who had converted (or been converted) to Christianity in the nineteenth century, but maintained a separate communal identity.
In Ethiopia, the Beta Israel practiced a Torah-based form of Judaism - that is, without the additional customs, explanations, festivals, and practices of rabbinic Judaism as codified in the Talmud and later scholars. Since coming to Israel, they have largely been assimilated to the structure of normative Judaism; the Feresmura have also reverted to Jewish practice in Israel.
From the little published material, and my own observations, I can make a few basic comments. Beta Israel tattoos, known as tukurat, are done primarily for women, on the face (forehead, temples, and chin), neck, and hands. The tattooing is done with charcoal, although the exact process is unclear. The motifs range from simple circles and crosses to more elaborate sun-like shapes and necklace-like rings around the throat. The suggestion has also been made that the tattoos, the crosses in particular, were intended to disguise Jews in a hostile Christian environment, or to deflect potential anti-Jewish violence, but it remains unclear.
After all, the rabbinic tradition from which 'our' Judaism emerged is in many ways farther from Biblical Judaism than that of the Beta Israel (in areas such as kashrut and niddah, for example, not to mention things like Hillel's prozbul). It seems unfair to hold Beta Israel responsible to a standard developed in the rabbinic tradition, unless we're willing to say explicitly that the only acceptable vision of Jewish life is that of contemporary Ashkenazi rabbinic Judaism (and in Israel, that means specifically that of the Orthodox rabbinate).
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These tattoos, as one might imagine, are frequently invoked in describing the Beta Israel as Other. For example, Abbink describes their “‘strange and exotic’ African appearance: black, living in primitive conditions, women with tattoo signs on their arms and heads” (1984, pg. 242). Hadas Nogah, an Ethiopian-Israeli who immigrated at the age of 9, remembers: “[Officials] told me that ‘whoever has a tattoo on their body won’t enter Jerusalem.’ When they told me I cried all day. I tried to quickly remove my tattoo but a mark remained” (Arnon-Ohana 2005, pg. 163).
Of course, tattoos have a deep history in North and East Africa in Muslim and Christian communities (see Johnston 1844 or Parkyns 1853 for some descriptions of the tattooing process in 19th-century Ethiopia). But the rarity of tattooing in a Jewish community makes this case especially worthy of attention.
So guess how many published sources there are on Beta Israel tattoos? If you guessed zero, you win, um… the same sad feeling I have (sorry). There has not been a single academic study or even description of Beta Israel tattooing practices. The most treatment the subject has received is half a paragraph in the ‘Ethiopia’ volume of the (usually excellent) Ben-Zvi series on Jewish culture (Salamon 2008, pg. 157), and one medical article (Lapidoth and Aharonowitz 2004) describing the use of laser technology to “improv[e] the quality of life of Ethiopian immigrants in Israel and eas[e] their social integration in their adopted country” (pg. from Lapidoth and Aharanowitz, 2004, pg.
Beta Israel woman, Jerusalem, 2010.
Tattooing Practices in Other Ethiopian Communities
The Amharic people of 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.
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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 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.
Close-up of Tsemay tattooing.
Traditional Tattooing Techniques
When the practice was in its prime, half a century ago and beyond, elderly women were the people tasked with carrying out the Niksat. They were respected professionals known as Nekash. Yelfign says that there was a popular Nekash in Gondar called Yeshihareg Ebabu. “Her hands were blessed. Those who went to her didn’t feel much pain.
Young girls, who are not adolescents yet, are encouraged - sometimes even forced by their mothers - to get the Niksat. When a young girl goes to the Nekash, she takes several needles with her. The Nekash then rubs the skin with diluted soot or fine charcoal powder and keeps piercing the skin with 3 to 5 needles tied together until the color is imprinted into the skin and the intended effect emerges. The girl may need to go to the Nekash for two consecutive days to complete the process.
Yelfign says the Nekash was paid in kind for her deed: “Grains and coffee beans were preferred items of payment.” This was half a century ago.
The commonly executed tattoo patterns differ from place to place. Girls in Tigray and Gondar have similar symbols tattooed while those in Gojjam have their own particular designs. Young women get the Niksat not only administered on their skins but also on their gums. Having darker gums is one criterion of beauty in the rural areas of Ethiopia. In Tigray, Gondar, and Gojjam, it’s not only the women who get Niksat on their gums. Men also do it. What differentiates it from the women’s is that the whole length of the gum is not tattooed, just a part of it.
Though traditional gingival tattoos are sometimes meant to be home remedies for dental diseases, most do it for aesthetic purposes.
Meanings and Purposes of Tattoos
Ethiopians started getting tattooed in the fourth century along with the introduction of Christianity, according to Solomon Tessema, an expert on traditional practices at Addis Ababa University. Symbols of Niksat are believed to be cultural and religious identifiers of the bearer. Women from Gondar and Tigray usually get chain-like patterns on their necks with a sign of the cross on their chest.
Moshe Lapidoth and Gali Aharonowitz elaborate on this in their study on tattoo removals saying, “Many Jews in Ethiopia adopted the Christian custom of tattooing various parts of the body, either after conversion or to hide their Jewish origin. The Beta-Israels who lived among Ethiopians, mostly in Gondar, had to use tattoos as one means of concealing their true religion to avoid stigmatization while living under a strict Christian culture.
Apart from its obvious purpose, which is beautification, and its role as an identity indicator, tattoos are also believed to ward off evil eyes. Those who get gingival tattoos also swear by its healing powers for dental problems. Yelfign Matebe told us that Niksat was also believed to be curing goiter - enlarged thyroid glands on the neck.
Modern Trends in Ethiopian Tattooing
Now, one can observe a different trend of Niksat in Gondar. The traditional patterns are fading with time as the modern ones become popular. Young men and women are getting tattoos on their bodies, not of the old patterns but photographs or names of their beloved ones.
Yidnekachew Yikunoamlak is a professional tattooist in Gondar, who lives and works in the area called Bilko in the city. He told us how he got into this business. “I do sketches sometimes. People encouraged me to get into the tattoo business as it is becoming trendy in the city. The most popular tattoo images now are photographs of people one doesn’t want to forget or symbols from a certain religion.
“Some get tattoos to be considered as a sign of being cool. They often don’t seem to know the meanings behind the symbols they tell me to tattoo. The tool he uses to create the tattoos is called Dynamic Tripple. Patterns that are difficult to sketch take as long as two hours to finish, says Yidnekachew. He charges 400-2500 ETB (8 to 50 USD) for getting the tattoos done.
“There are young men and women who get tattoos of their girlfriends/boyfriends’ names. They later come back to me asking to get other tattoos done over the previous ones. Some individuals go to big cities to get their tattoos erased. But even though they get it erased, it always leaves a scar behind.
“I was told not to eat solid food, nor something spicey for a week or so. I know some people who have had allergic reactions when they have their gums tattooed. Yidnekachew says no customer has come back to him with complaints related to health complications.
“I take much care when I do the tattoos. Though modern tattoo patterns are considered fashionable among the youth in Gondar, those who get them are dubbed “unruly” by the elders. It’s taken as a sign of rebellious behavior.
Scarification: An Alternative Form of Body Art
For many African cultures, they turn to scarification rather than tattoos for their body adornment. This process of scarification or tattooing was seen as a huge triumph of bravery and courage, an initiation process or a rite of passage.
Rather than being made via tattoo or paint, Yoruba facial markings, which convey identity and lineage for Yoruba people, are made via scarification. Among the Yoruba people, facial markings (kolo) convey “audacity, perseverance and resolution, but also feelings (e.g.
Yoruba tribe markings.
Tattoos Across Sub-Saharan Africa
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.
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.
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.
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.
In the Fulfilde language spoken by all Fulani tribes, Wodaabe means “people of the taboo.” This moniker is appropriate because the Wodaabe are governed by a series of customary laws and behaviors passed down by their ancestors that emphasize humbleness and modesty, patience and fortitude, hospitality and physical beauty.
Wodaabe tattoos also reflect this magic because many symbols are associated with fertility or are employed as charms (toggu) to increase a man’s or woman’s beauty. Men also seek to repel bad luck through the use of many forms of talismans worn in pouches or placed in their turbans.
The aesthetics of Fulani tattoos vary from subtribe to subtribe. 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.
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.
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. Special substances were rubbed into the cuts to make the owner more successful on the hunt. For example, the fat from the lower reaches of a slain deer or eland provided the hunter with speed and endurance and were rubbed into the cuts placed on the thighs. If these substances were introduced into marks on the right arm, they strengthened the force of the arm while it tensioned the hunter’s bow.
Among the Sekele, old men tattooed a successful hunter in return for an offering of game in order to give him good luck in finding the next buck.
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. Among the Bini, any competent person - male of female - could tattoo, usually an osiwu (“one who sculpts tattoos”) that was called forth to operate. The profession was a hereditary position and some also specialized in autopsies and circumcisions.
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. For example, one Bini woman reported that she received her tattoos at age thirteen, just after her first menses. Five years later her torso was tattooed prior to marriage. Her parents arranged for the “surgery,” but her future husband provided her with an “incision feast” to commemorate the event.
