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Lars Krutak | |
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Born | |
Known for | Tattoo anthropology |
Scientific career | |
Fields | Anthropology |
Lars Krutak (April 14, 1971) is an American anthropologist, photographer, and writer known for his research about tattoo and its cultural background. He produced and hosted the 10-part documentary series Tattoo Hunter on the Discovery Channel, which traveled the indigenous world to showcase vanishing art forms of body modification. [1] Between 1999-2002 and 2010-2014, Krutak worked as an Archaeologist and Repatriation Case Officer at the National Museum of the American Indian and National Museum of Natural History, facilitating the return of human remains, funerary objects, sacred and ceremonial objects. Today, he is a research associate at the Museum of International Folk Art.
Krutak was born in Lincoln, Nebraska, to Dr. Paul Krutak (1934–2016), a traveling geologist and university professor, who moved the family to Mexico City in 1979 and then to a series of states including Louisiana, Texas, and eventually Colorado where he grew up in the small mountain town atmosphere of Rye, Colorado. Krutak attended the University of Colorado at Boulder studying art history and anthropology and upon graduation (1993) moved to San Francisco to work as an art gallery preparator for Paul Thiebaud, the son of American Pop artist Wayne Thiebaud. In 1996, Krutak attended graduate school at the University of Alaska at Fairbanks where his thesis One Stitch at a Time: Ivalu and Sivuqaq Tattoo focused on the ancient tattooing traditions of the St. Lawrence Island Yupik people. [2]
Krutak briefly attended Cambridge University as a PhD student in 1998 but he returned stateside joining the National Museum of the American Indian (Smithsonian Institution) where he worked as a Repatriation Research Specialist (between 1999–2002) facilitating the return of sacred and ceremonial objects and human remains to indigenous peoples throughout North America and Mexico. Between 1998 and 2003 he also worked for the Organization for Security and Co-operation in Europe as a Democratization Analyst and Applied Anthropologist in several countries of the former Yugoslavia monitoring electoral reforms. [3]
Since 2002, Krutak served as an Anthropological Consultant for three National Geographic Channel productions and was a co-recipient of the 2003 American Book Award in Literature for Akuzilleput Igaqullghet, Our Words Put to Paper Sourcebook in St. Lawrence Island Yupik Heritage and History. [4] His PhD studies at Arizona State University (2005–2009) focused on the socioeconomic impacts of tourism on the Rarámuri (Tarahumara) people of Mexico's Copper Canyon region. [5]
Krutak appeared as a studio guest for the History Channel's Ancient Aliens: Mysterious Rituals episode (2011) where he spoke about shamanism. In 2018, Krutak was the resident tattoo historian for the Facebook Watch series "Ink Expedition" produced by INSIDER. Later that year he was a studio guest for Netflix's "Explained" series episode on tattoo which was produced by VOX. Krutak has consulted with the motion picture industry, rendering services to "The Revenant" (2015) and "The Salvation" (2014). [6] Krutak also works as a cultural consultant for leading gaming companies and franchises.
Lars Krutak is married to Heidi Rauch, the founder of apparel company Belabumbum and has one daughter, Neena. [7]
Published in 2007, Krutak's The Tattooing Arts of Tribal Women ( ISBN 9781898948759) was the first book to focus on the tattooing artistry of Indigenous women worldwide. It is based on one decade of field and archival research. [8]
In August 2010, Krutak released a new coffee table book with Edition Reuss on the ancient art of Kalinga tattooing in the Philippines entitled Kalinga Tattoo: Ancient and Modern Expressions of the Tribal ( ISBN 9783934020863). With an introduction provided by tattooed Kalinga elder Ms. Natividad Sugguiyao, this book is the first volume to focus on the indelible arts of these Cordilleran people and is based on field research conducted in 2007 and 2008. [9] [10]
In his continued effort to understand how tattoos and other forms of body modification "make" the people who wear them, Krutak has acquired many traditional tattoos including hand-tapped work from the Iban of Borneo, Kalinga of the Philippines, Mentawai of Indonesia; hand-poked art from Theravada Buddhist monks in Thailand; and hand-pricked designs from the Kayabi of the Brazilian Amazon. He also wears approximately one thousand razor and knife-cut scars across his body received from other groups like the Kaningara of Papua New Guinea, Bétamaribé of Benin, the Hamar of Ethiopia, and the Makonde of Mozambique. [11]
Krutak's tattoo research is regularly published internationally in magazines TätowierMagazin (Germany), Total Tattoo (UK) and Skin & Ink Magazine (USA). [12] In September 2012, Lars' new book Magical Tattoos and Scarification: Spiritual Skin. Wisdom. Healing. Shamanic Power.Protection ( ISBN 9783943105117) was released by Edition Reuss. This photographic masterwork explores the secret world of magical tattooing and scarification across the tribal world. Based on one decade of Dr. Krutak's field research among animistic and shamanic societies of Asia, Africa, the Americas, and Melanesia, Magical Tattoos and Scarification journeys into highly sacred territory to reveal how people utilize ritual body modification to enhance their access to the supernatural. [13]
In 2013, Krutak’s new work on Native American tattooing (i.e., Great Plains and Eastern Woodlands regions) was published by the University of Texas Press in the book Drawing With Great Needles: Ancient Tattoo Traditions of Eastern North America (Aaron Deter-Wolf and Carol Diaz-Granados, eds). Also that year, Krutak's research on ancient and contemporary practices of medicinal tattooing (including evidence on mummies) was published in the book Tattoos and Body Modification in Antiquity (Zurich Studies in Archaeology 9), edited by Philippe Della Casa and Constanze Witt. [14]
Krutak's research on the history of Native North American tattoo, including contemporary revitalization movements, was published in the 2014 book Tattoo Traditions of Native North America: Ancient and Contemporary Expressions of Identity distributed by the University of Washington Press. [15]
Krutak co-edited Ancient Ink: The Archaeology of Tattooing with Aaron Deter-Wolf. The book assembles the research of international scholars and tattoo artists. Published by the University of Washington Press in November 2017, Ancient Ink is the first book to explore the archaeological history of tattooing through ancient tools, tattooed mummies, and tattooed objects of material culture. [16]
Krutak's new research on Naga tattooing of Northeast India and its ongoing revival was published in the 2020 release Tattoo Histories: Transcultural Perspectives on the Narratives, Practices, and Representations of Tattooing by Routledge. In 2020, Krutak with Dr. Dario Piombino-Mascali co-authored a peer reviewed book chapter on global Indigenous therapeutic tattooing in relation to the Iceman in the tome Purposeful Pain: The Bioarchaeology of Intentional Suffering published by Springer. [17]
In 2024, Krutak's new book Tattoo Traditions of Asia will be published by the University of Hawai'i Press. This work is the culmination of 20+ years of field and archival research and the first single volume on the subject. Krutak also serves as an Executive Producer for the forthcoming (2024) film documentary Treasure of the Rice Terraces, which chronicles the story behind Filipino identity in relation to the tattoo revival of the Kalinga people of northern Luzon.
Krutak primarily focuses on documenting indigenous information on tattoos. He has attempted to uncover the social, religious, ontological, and medicinal values of tattoos through collaborative efforts. [18] Krutak has conducted tattoo research with 50+ indigenous societies in 20+ countries. [19]
His examination of the therapeutic features of indigenous tattooing has been important, since to a great extent these cultural practices have been grossly underreported worldwide. The mummified remains of a Neolithic “Iceman, Otzi” found in Europe in 1991 is perhaps the best-known evidence of medicinal tattooing praxis as well as the oldest form of therapeutic tattooing yet preserved, and closely parallels classical Chinese acupuncture. [20] More than fifty dark blackish-blue tattoos have been found at significant joints on his body, and radiographic examinations of Otzi’s remains uncovered substantial arthrosis in these tattooed areas (lumbar vertebrae, hip joints, knee joints, and lower limb joints). The St. Lawrence Island Yupiit and Unangan (Aleut) of Alaska likewise practiced joint-tattooing as a deterrent against ligament grievances and body pains. [21] The therapeutic custom of tattooing the joints prevails among the Kayan of Sarawak, and are similar to that of Otzi in location and function. [22]
The Unangan of the Aleutian Islands similarly “tattoo-punctured” to soothe joint paints. Unangan Atka Islanders utilized dampened thread covered in gunpowder to sew through pinched-up skin near an aching joint or over the back of a region of pain to relieve cases of migraines, eye disorders, and lumbago. [21]
The efficacy of tattooing as a medical technology was also part of indigenous Ainu practices in Japan. The Yuki and Miwok of California also tattooed to relieve rheumatism and joint sprains. [23]
St. Lawrence Island has featured a complexity of tattoo conventions encompassing some 2000 years. Prior to missionization, tattooing on St. Lawrence Island was a visual language that communicated the various ways Islanders engaged with their social, physical, and spiritual worlds. [21] Tattooing here, as in every indigenous culture where tattooing was practiced, was a significant rite of passage. Numerous years elapsed before a woman acquired a full complement of tattoos that identified her family and clan group genealogy, social endeavors, and sometimes the achievements of relatives. [24]
As a significant rite of passage, these tattoo were also ritualistic, since some markings were believed to cure infertility issues for women and/or they helped repel the advances of hostile spirits that were believed to be the harbingers of illness and disease. [21]
Tattoo, as a therapeutic device, was frequently disease-specific. A few illnesses were "cured" with the placement of small lines or marks on or close to the distressed area. For example, tattoos placed over the sternum were believed to alleviate heart trouble, two small lines placed close to the eyes, temple, and forehead, might remedy headache or vision problems. Other medicinal marks were applied across the bodily surfaces by the shaman. [20]
Krutak's tattoo research is regularly shared with local communities when his projects and publications are completed, so that future generations have the necessary resources to revive, as needed, these ancient customs. After his Master's research in Alaska, he provided copies of his unpublished thesis to local Bering Strait libraries, organizations, families, and regional universities so this indelible history could be revisited at any time. [18] Krutak also helped compile and edit the (2003) American Book Award-winning Akuzilleput Igaqullghet = Our Words Put to Paper: Sourcebook in St. Lawrence Island Heritage and History, and copies of this tome were provided to every household on this Alaskan island in Bering Strait. A pallet load of his (2010) book Kalinga Tattoo was shipped from Germany to Kalinga Province, Philippines, where it was distributed to local schools, educational institutions, and Kalinga elders. Studying the origins of tattooing allows individuals to discuss how tattoos have been a significant part of local identities for thousands of years. These ancient traditions represent one of the world's most important forms of cultural heritage. [25]
Aleuts are the Indigenous people of the Aleutian Islands, which are located between the North Pacific Ocean and the Bering Sea. Both the Aleuts and the islands are politically divided between the US state of Alaska and the Russian administrative division of Kamchatka Krai. This group is also known as the Unangax̂ in Unangam Tunuu, the Aleut language. There are 13 federally recognized Aleut tribes in the Aleut Region of Alaska. In 2000, Aleuts in Russia were recognized by government decree as a small-numbered Indigenous people.
Ötzi, also called The Iceman, is the natural mummy of a man who lived between 3350 and 3105 BC. Ötzi's remains were discovered on 19 September 1991, in the Ötztal Alps at the Austria–Italy border. He is Europe's oldest known natural human mummy, offering an unprecedented view of Chalcolithic Europeans.
A tattoo is a form of body modification made by inserting tattoo ink, dyes, and/or pigments, either indelible or temporary, into the dermis layer of the skin to form a design. Tattoo artists create these designs using several tattooing processes and techniques, including hand-tapped traditional tattoos and modern tattoo machines. The history of tattooing goes back to Neolithic times, practiced across the globe by many cultures, and the symbolism and impact of tattoos varies in different places and cultures.
Scarification involves scratching, etching, burning/branding, or superficially cutting designs, pictures, or words into the skin as a permanent body modification or body art. The body modification can take roughly 6–12 months to heal. In the process of body scarification, scars are purposely formed by cutting or branding the skin by various methods. Scarification is sometimes called cicatrization.
St. Lawrence Island is located west of mainland Alaska in the Bering Sea, just south of the Bering Strait. The village of Gambell, located on the northwest cape of the island, is 50 nautical miles from the Chukchi Peninsula in the Russian Far East. The island is part of Alaska, but closer to Russia and Asia than to the Alaskan and North American mainland. St. Lawrence Island is thought to be one of the last exposed portions of the land bridge that once joined Asia with North America during the Pleistocene period. It is the sixth largest island in the United States and the 113th largest island in the world. It is considered part of the Bering Sea Volcanic Province. The Saint Lawrence Island shrew is a species of shrew endemic to St. Lawrence Island. The island is jointly owned by the predominantly Siberian Yupik villages of Gambell and Savoonga, the two main settlements on the island.
Maya society concerns the social organization of the Pre-Hispanic Maya, its political structures, and social classes. The Maya people were indigenous to Mexico and Central America and the most dominant people groups of Central America up until the 6th century.
Tattooing has been practiced across the globe since at least Neolithic times, as evidenced by mummified preserved skin, ancient art and the archaeological record. Both ancient art and archaeological finds of possible tattoo tools suggest tattooing was practiced by the Upper Paleolithic period in Europe. However, direct evidence for tattooing on mummified human skin extends only to the 4th millennium BC. The oldest discovery of tattooed human skin to date is found on the body of Ötzi the Iceman, dating to between 3370 and 3100 BC. Other tattooed mummies have been recovered from at least 49 archaeological sites, including locations in Greenland, Alaska, Siberia, Mongolia, western China, Egypt, Sudan, the Philippines and the Andes. These include Amunet, Priestess of the Goddess Hathor from ancient Egypt, multiple mummies from Siberia including the Pazyryk culture of Russia and from several cultures throughout Pre-Columbian South America.
Yantra tattooing or Sak Yant is a form of tattooing using Indian yantra designs. It consists of sacred geometrical, animal and deity designs accompanied by Pali phrases that are said to offer power, protection, fortune, charisma and other benefits for the bearer.
Tattoo inks consist of pigments combined with a carrier, used in the process of tattooing to create a tattoo in the skin. These inks are also used for permanent makeup, a form of tattoo.
The Kalinga people are an indigenous ethnic group whose ancestral domain is in the Cordillera Mountain Range of the northern Philippines. They are mainly found in Kalinga province which has an area of 3,282.58 sq. km. Some of them, however, already migrated to Mountain Province, Apayao, Cagayan, and Abra. The Kalinga numbered 163,167 as of 2010.
The Itneg are an Austronesian indigenous peoples from the upland province of Abra and Nueva Era, Ilocos Norte in northwestern Luzon, Philippines.
The Bontoc ethnolinguistic group can be found in the central and eastern portions of Mountain Province, on the island of Luzon in the Philippines. Although some Bontocs of Natonin and Paracelis identify themselves as Balangaos, Gaddangs or Kalingas, the term "Bontoc" is used by linguists and anthropologists to distinguish speakers of the Bontoc language from neighboring ethnolinguistic groups. They formerly practiced head-hunting and had distinctive body tattoos.
Yup'ik doll is a traditional Eskimo style doll and figurine form made in the southwestern Alaska by Yup'ik people. Also known as Cup'ik doll for the Chevak Cup'ik dialect speaking Eskimos of Chevak and Cup'ig doll for the Nunivak Cup'ig dialect speaking Eskimos of Nunivak Island. Typically, Yup'ik dolls are dressed in traditional Eskimo style Yup'ik clothing, intended to protect the wearer from cold weather, and are often made from traditional materials obtained through food gathering. Play dolls from the Yup'ik area were made of wood, bone, or walrus ivory and measured from one to twelve inches in height or more. Male and female dolls were often distinguished anatomically and can be told apart by the addition of ivory labrets for males and chin tattooing for females. The information about play dolls within Alaska Native cultures is sporadic. As is so often the case in early museum collections, it is difficult to distinguish dolls made for play from those made for ritual. There were always five dolls making up a family: a father, a mother, a son, a daughter, and a baby. Some human figurines were used by shamans.
Whang-od Oggay, also known as Maria Oggay, is a tattoo artist from the village of Buscalan within Tinglayan, Kalinga, Philippines. She is often described as the "last" and oldest mambabatok and is part of the Butbut people of the larger Kalinga ethnic group.
A face tattoo or facial tattoo is a tattoo located on the bearer's face or head. It is part of the traditional tattoos of many ethnic groups.
Batok, batek, patik, batik, or buri, among other names, are general terms for indigenous tattoos of the Philippines. Tattooing on both sexes was practiced by almost all ethnic groups of the Philippine Islands during the pre-colonial era. Like other Austronesian groups, these tattoos were made traditionally with hafted tools tapped with a length of wood. Each ethnic group had specific terms and designs for tattoos, which are also often the same designs used in other art forms and decorations such as pottery and weaving. Tattoos range from being restricted only to certain parts of the body to covering the entire body. Tattoos were symbols of tribal identity and kinship, as well as bravery, beauty, and social or wealth status.
Kakiniit are the traditional tattoos of the Inuit of the North American Arctic. The practice is done almost exclusively among women, with women exclusively tattooing other women with the tattoos for various purposes. Men could also receive tattoos but these were often much less extensive than the tattoos a woman would receive. Facial tattoos are individually referred to as tunniit (ᑐᓃᑦ), and would mark an individual's transition to womanhood. The individual tattoos bear unique meaning to Inuit women, with each individual tattoo carrying symbolic meaning. However, in Inuinnaqtun, kakiniq refers to facial tattoos.
Scarification in Africa is a major aspect of African cultures and cultural practice among African ethnic groups; the practice of scarification in Africa includes the process of making "superficial incisions on the skin using stones, glass, knives, or other tools to create meaningful pictures, words, or designs" and expresses "clan identity, status within a community, passage into adulthood, or spiritual significance."
Elle Festin is an American tattoo artist of Filipino origin. In 1997 he created the Tatak ng Apat na Alon tribe, a transnational collective that popularized traditional Filipino tattooing around the world.
Tatak Ng Apat Na Alon Tribe or Mark of the Four Waves tribe in English, is a transnational collective made up of members of the Filipino diaspora who work to preserve the ancestral traditions of Filipino tattooing. It was founded in 1996 in Los Angeles by tattoo artist Elle Festin.