Encylopedia of Body Adornment.pdf - Print My Tattoo
Encylopedia of Body Adornment.pdf - Print My Tattoo
Encylopedia of Body Adornment.pdf - Print My Tattoo
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212 PAIN<br />
menstruation. Among the Tlingit, for example, the girl would <strong>of</strong>ten be secluded<br />
from society for months at a time, initially fasting in darkness, during which time<br />
her lip would be sliced open and a bone or stick inserted into the hole. When she<br />
is reincorporated into society as a woman, her old clothes are burnt and a feast<br />
is held in her honor, at which time her first labret will be inserted into the lip<br />
hole. For the Tlingit, and for many other tribes, the labret marks her status as a<br />
marriageable woman, and she is generally married soon afterward.<br />
In all cases, the first labret was small, and would be replaced by increasingly<br />
larger labrets as the hole grew bigger. For that reason, labret size indicated both<br />
age and also status. The material used to make the labret also could indicate status,<br />
with the highly valued blue beads only worn by the wealthiest people. While most<br />
labrets were worn below the lip, between the lip and the jaw, some tribes wore<br />
labrets, which were typically round plugs, on both sides <strong>of</strong> the lips.<br />
The traditions <strong>of</strong> wearing labrets and tattoos started to disappear in the nineteenth<br />
century as missionary activity as well as commercial whaling disrupted cultural<br />
traditions. Among some groups, however, they simply replaced the large<br />
labret that was traditionally worn with a small silver pin, maintaining the tradition<br />
over time.<br />
See also: Inuit; Labrets; Native Americans; Nose Piercing<br />
Further Reading: Griffin, Joy. “Labrets and <strong>Tattoo</strong>ing in Native Alaska.” In Arnold Rubin,<br />
ed., Marks <strong>of</strong> Civilization: Artistic Transformations <strong>of</strong> the Human <strong>Body</strong>. Los Angeles: Museum<br />
<strong>of</strong> Cultural History, UCLA, 1988; Jonaitis, Aldona. “Women, Marriage, Mouths and Feasting:<br />
The Symbolism <strong>of</strong> Tlingit Labrets.” In Arnold Rubin, ed., Marks <strong>of</strong> Civilization: Artistic<br />
Transformations <strong>of</strong> the Human <strong>Body</strong>. Los Angeles: Museum <strong>of</strong> Cultural History, UCLA, 1988.<br />
PAIN<br />
The permanent body modifications discussed in this book, as well as a number <strong>of</strong><br />
the body play practices, involve anywhere from a small amount to a considerable<br />
amount <strong>of</strong> pain.<br />
<strong>Tattoo</strong>ing, piercing, branding, scarification, cutting, as well as practices like<br />
circumcision, when not conducted under anesthesia, can be quite painful. For<br />
most people getting these procedures, the pain is something to be endured in<br />
order to achieve the desired result. For others, enduring the pain is a badge <strong>of</strong><br />
honor and strength, to be displayed proudly. For still others, however, the pain is<br />
a part <strong>of</strong> the process, to be experienced and overcome, rather than to be avoided.<br />
Many practices in the body modification community are based on an acceptance<br />
<strong>of</strong> pain. Pain is seen as a tool for self-transformation, and many body modification<br />
practitioners follow the “no pain, no gain” motto in an effort to use pain in order<br />
to achieve growth. Being able to control pain, and turn it to one’s advantage, is<br />
another benefit, as is testing oneself to see how far one can go, and how much<br />
pain one can endure.<br />
For others, especially those who practice BDSM, the sensations associated with<br />
pain are felt to be pleasurable and even addictive. As endorphins are released