Thoughts on ’90s Tribal’

Over the past few months I have been ruminating about the iconography I have chosen to use in my tattoo art, in particular what is commonly referred to as ’90s Tribal designs’.

Initially I saw the choice of name used to describe the imagery challenged, and then from further conversations and reflections the complete use of the imagery itself has been called into question for me. I know not everyone will agree with these thoughts, I am writing this from a place of love and respect for tattooing publicly in the hopes to further this conversation and encourage my peers to continue to reflect and ask questions around the imagery we incorporate into our work and onto our bodies. 

Previously I considered ‘90s Tribal’ to be so far removed from where it originated from that it has morphed into its own weird entity. It seemed to be something that was just there, cemented into the walls of our tattoo consciousness. The designs are seen reproduced in different iterations everywhere now, from luxury runway fashion to cheaply manufactured clothes, adorned on motorcycles, cars, and etched into the skin of thousands of people across the globe – How could I question something thats seemingly normalised among so many? When i initially began using those motifs I liked to think of my use of that imagery as an embracing of a frowned upon, vulgar aesthetic dismissed by the seriousness of contemporary tattooing. I saw it as a hyper masculine expression and thought subverting it in a new context, juxtaposed with delicate fine line imagery could create a new realm for it to be appreciated. I did not invent this but i was inspired to adapt this duality into my work.

I thought that it was quite separate to the blatant cultural appropriation of tattooers’ theft of Indigenous patterns which hold great cultural significance to their work. Now I have come to the realisation that ’90s tribal revival tattooing’ is not an innocent, innocuous bystander but is an active contributor to the practise of cultural appropriation. I apologise that I am late to learn this and want to acknowledge that it is my whiteness that has afforded me this complacency in my rationale for a long time.  It seems evident to me that the style was born out of an identity crisis in the west, a yearning for a more meaningful existence. Daniel Wojcik in his book ‘Punk and Neo tribal Art’ writes; “Tribal designs for example, appealed to some punks who valued the bold features, unique patterns, and exotic connotations of ancient tattoo imagery from Borneo, Polynesia and Micronesia”   The word exotic stands out to me, It highlights the colonial lens in which the cultures are seen as the other. By taking from Indigenous tattooing, white washing and watering down the visual language to place it in a western paradigm we decontextualise and simplify it. This contributes to the erasure of culture, uplifting only aesthetics and ensures the ones to benefit are the tattooer and customer alone. Now I can see how ‘90s tribal’ can be a safe vehicle for some white people to project and enjoy the perceived coolness, sex appeal and edginess of the other, without actually living the reality of a marginalised person subject to racism and discrimination. 

Christian colonialism saw tattooing as a savage, heathen practise and threatened to decimate Tā Moko from Māori, and numerous other traditional indigenous tattoo practices from many cultures across the world. It is in spite of the oppression of colonisation and white supremacy that these traditions survived. I do not wish to continue to further perpetuate harm by taking up vital space indigenous peoples rightfully require to have autonomy over their culture flourishing.

It is not for me to say what anyone else should do, but I can speak for myself. In the context of who I am, a Pākehā tattooist of Irish, Scottish and French Ancestry I believe my continuation of the use of this imagery is not inline with my values as it is detrimental to the liberation of authentic tribal tattooing . I am always open to dialogue around furthering this conversation and commit to continue to grow as our world needs us to.

I can see and want to acknowledge that my positionally as a woman who works in a queer tattoo studio which puts effort into creating a safe and equitable space could contribute to sanctioning the inclusion of this choice of imagery. Every tattoo I make i put my whole being into, I have created each design with a lot of love and consideration and it is from this place which urges me to continue to learn and change. I am so grateful for the opportunity to tattoo people and that is an honour i do not take lightly.