Currently reading : Drawing With Great Needles
I was very excited to receive my copy of Drawing with Great Needles, a new compilation of essays published by the University of Texas Press on Native American tattooing in North America. The book claims to be “the first book length scholarly examination into the antiquity, meaning, and significance of Native American tattooing in the Eastern Woodlands and Great Plains.” Despite my initial eagerness to delve into the volume, I felt that as a whole, Drawing with Great Needles suffered from methodological and thematic issues. Although I am neither a tattoo expert nor an anthropologist and cannot speak to the accuracy of the historical sources presented in its many essays, I did take issues with some of the broader claims of the volume and the evidence used to make them.
Some of the issues in the book become apparent in its introduction. In the summary of Chapter 1, editors Aaron Deter-Wolf and Carol Diaz-Granados explain how Antoinette Wallace’s essay “compiles ethnohistorical documentation and art historical evidence of Native American tattooing…These accounts from European and Euro-American explorers, settlers, and artists provide an essential window into the extent and variety of indigenous tattoo traditions that existed prior to European contact.” The notion of reconstructing a practice as it existed pre-contact by using post-contact, often biased colonial documents seems to me a problematic exercise, and, frankly doesn’t accurately reflect what Wallace does in her essay. In fact, Wallace thoroughly acknowledges the problems inherent in using colonial sources in her synthetic study of colonial texts and images. Some of the other essays in the volume do, however, un-critically use these kinds of sources in analyses of tattoo motifs and iconography without accounting to the historical specificity of tattooing and the documents that record it.
Another pattern that bothered me was the nonchalance of cross-cultural comparisons. Benjamin A. Steere’s essay, for example, tried to make a case for the plausibility of Swift Creek paddle designs being used as tattoo designs. To set a precedent for this “admittedly speculative” (by his own admission) claim, he discussed the tattooing and craft practices of tribal people in Africa and Borneo. I felt, however that this type of comparison neglected the cultural and historical specificity of tattooing in each place, reducing what could have been an in-depth analysis of Native American practice into a essentializing and reductive argument about “primitive” people across the world. For example, his discussion of anthropomorphic pottery in Africa provided some culturally-specific evidence behind the intersection in pottery and tattoo designs that did not exist in his discussion of Native America. His suggestions for further research, however, were very intriguing, and I hope they are followed through. As someone who studies art history, I was personally confused by F. Kent Reilly’s invocation of both Panofsky and “Myer [sic] Schapiro,” neither of which were examined in their full complexity and specificity (and even necessarily correctly, though perhaps that’s misreading on my part).
I do not want to discount some of the important work presented in this volume. Surely, the synthesis of colonial documents and prior scholarly work in the field is a worthwhile endeavor. Deter-Wolf’s essay, which used comparative archeological evidence to present a means of identifying tattoo instruments was very helpful. Furthermore, many of the essays presented here, especially Lars Krutak’s chapters suggest further thematic points of study. Not only does he contextualize tattooing motifs within Native American culture, but his thoughts regarding facial tattooing and the mouth as a “liminal zone” interested me by discussing the tattoos within context, on the body. Many essays in this volume established the aesthetic precedents for tattooing in other types of artistic practice, so I appreciated Krutak’s thoughts on why tattoos were placed where they were. I also found his photographs of ornamented deer skins intriguing, and wonder about the connection between the many sets of tattooed skin.
Essentially, I feel like this field of study requires a shift in focus, from trying to reconstruct traditional or “ancient” meanings and practices to thinking about the complexity of these practices after contact. If tattoos did have ritual functions, how did these functions change after the introduction of metal tattooing needles rather than the faunal instruments used previously? What can colonial interactions and the critical examination of colonial texts on tattooing tell us about the people who were observing as well as the people being observed (and what about the interaction between the two)? Furthermore, I think that scholars will need to grapple more strenuously with the issues and complexities created by the historical specificity of their sources, including images, which were often stylized or staged. Hopefully that will allow a more fruitful investigation into this interesting body of work in the future.
If anyone else has read the book (especially tattoo experts/anthropologists/historians), I’d love to hear your thoughts.