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Wed Dec 14 14:22:51 EST 2011

representated by musical styles where they feel they belong, they use =
tattoo as part of their language: those marks which survive the pass of =
time, which power resides both in the intimate evocation which exclude =
"others", as in the show off of their designs.

In Uruguay, most in Montevideo, the antecedents of this particular =
expression goes to the end of the Uruguayan dictatorship, in the 80:s.  =
is the beginning of the circulation of groups of young people with dark
clothes and colorful accesories, pale faces and expressions showing they
were nightowls and the use of alcohol, etc. They went to specific bars,
pubs in special hours; displacements marking the limits between =
which fragility could be interpretated as frustration or as capacity of
constructing microclimates, a kind of defense.

Tattoomakers and tattoed were together during a month in a museum. The
museum was a legitimating institution, constructing the collective =
keeper of Art and the history of the old, which traditional role in the
last decades has been analyzed, questioned and reformulated and whose
social and cultural responsability it's not far from the educational
emergency, the need of inclusion and the construction of citizenship.

I share with you these open lines.


mobil/cell +4670-3213370

"When once you have tasted flight, you will forever walk the earth with
your eyes turned skyward, for there you have been and there you will =
long to return.
- Leonardo da Vinci

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<TITLE>RE: [-empyre-] Extension on Sabela's text</TITLE>
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<P><FONT SIZE=3D2>Hello All,<BR>
I am fascinated by these discussions and feel that I can now interject =
and extend this notion of (shared) identity and self through body =
modification (Sabela) to also include dress as further extension. The =
70's and 80's were indeed interesting times where social movements =
influenced the emergence of new sub-cultures and visual and sonic =
expressions of shared identities- fuelled by political and academic =
debate of the time. Beliefs systems adorned bodies and skins - in =
addition to body modifications such as tattooing, specific items of =
clothing were adopted and often customised to achieve the desired =
attitude of wearing and crafting of identity.<BR>
Also in the 1970&#146;s on the streets of London came the rise of black =
power and black consciousness. Men and women began to wear African tops =
and debates on black identity were similarly expressed through dress and =
styling with natural Afro hairstyles also enjoyed. (How different from =
today&#146;s de rigueur straightening of unruly locks in the capital =
city of Kenya (inspiring such products as Nairobi Hair Relaxer) to =
achieve that chic and desired urban look).<BR>
The body is central to the urban space, the clothed and adorned body, =
the naked body, the absent body where only bones and cloth remain =
(reference to Ana's post)&#133; Bradley Quinn in his book The Fashion of =
Architecture, Fashioning the Metropolis says:<BR>
&#147;Clothes, being the form in which the fashioned body is made =
visible, give the wearer a public identity while fostering the =
construction of the self.&#148;<BR>
Kind Regards,<BR>
-----Original Message-----<BR>
From: empyre-bounces at on behalf of Ana =
Sent: Tue 3/20/2012 1:05 PM<BR>
To: soft_skinned_space<BR>
Subject: [-empyre-] translation of Sabela's text<BR>
The actual extended practice of the tattoing has their roots of the<BR>
emergency of the urban tribes, associated with the movements around =
music and punk in the 70:s and 80:s.<BR>
A selfinflicted sign of identity, traditionally the different uses =
tattoin has been linked with rites de passage, initiation rites, =
hierachies or stigmatization. In this forum I shared the experience of =
MAPI Museum, to try of expose the link between these practices and =
bodypainting of differen indigenous communities, both actual as old =
other kind of intervention showable in faces and bodies, very similar =
our time's piercings, pendants and more aggresive interventions =
deformating and appendixes.<BR>
The incorporation of different tendences in the clothing, hair,<BR>
facepainting and &quot;attitude&quot; of the urban tribes show a =
regarding the mainstream conventions of uses and fashion. This<BR>
disconformity walk around the streets; their shelter is the appereance, =
gives the implicite etablishing of collectives which interchange don't =
have other meaning than the gests and models of behaviour tending to<BR>
accentuate the difference with the rest of people. These colletives =
upon the urban landscape a kind of movement in different times.<BR>

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