The following extracts are taken from Samoa, by George Turner, LL.D., London, 1884:
Page 55. Taema and Tilafainga, or Tila the sportive, were the goddesses of the tattooers. They swam from Fiji to introduce the craft to Samoa, and on leaving Fiji were commissioned to sing all the way, “Tattoo the women, but not the men.” They got muddled over it in the long journey, and arrived at Samoa singing, “Tattoo the men and not the women.” And hence the universal exercise of the blackening art on the men rather than the women.
Page 88. “Herodotus found among the Thracians that the barbarians could be exceedingly foppish after their fashion. The man who was not tattooed among them was not respected.” It was the same in Samoa. Until a young man was tattooed, he was considered in his minority. He could not think of marriage, and he was constantly exposed to taunts and ridicule, as being poor and of low birth, and as having no right to speak in the society of men. But as soon as he was tattooed he passed into his majority, and considered himself entitled to the respect and privileges of mature years. When a youth, therefore, reached the age of sixteen, he and his friends were all anxiety that he should be tattooed. He was then on the outlook for the tattooing of some young chief with whom he might unite. On these occasions, six or a dozen young men would be tattooed at one time; and for these there might be four or five tattooers employed.
Tattooing is still kept up to some extent, and is a regular profession, just as house-building, and well paid. The custom is traced to Taēmā and Tilafainga; and they were worshipped by the tattooers as the presiding deities of their craft.
The instrument used in the operation is an oblong piece of human bone (os ilium), about an inch and a half broad and two inches long. A time of war and slaughter was a harvest for the tattooers to get a supply of instruments. The one end is cut like a small-toothed comb, and the other is fastened to a piece of cane, and looks like a little serrated adze. They dip it into a mixture of candle-nut ashes and water, and, tapping it with a little mallet, it sinks into the skin, and in this way they puncture the whole surface over which the tattooing extends. The greater part of the body, from the waist down to the knee is covered with it, variegated here and there with neat regular stripes of the untattooed skin, which when they are well oiled, make them appear in the distance as if they had on black silk knee-breeches. Behrens, in describing these natives in his narrative of Roggewein’s voyage of 1772, says: “They were clothed from the waist downwards with fringes and a kind of silken stuff artificially wrought.” A nearer inspection would have shown that the fringes were a bunch of red ti leaves (Dracæna terminalis) glistening with cocoa-nut oil, and the “kind of silken stuff,” the tattooing just described. As it extends over such a large surface the operation is a tedious and painful affair. After smarting and bleeding for awhile under the hands of the tattooers, the patience of the youth is exhausted. They then let him rest and heal for a time, and, before returning to him again, do a little piece on each of the party. In two or three months the whole is completed. The friends of the young men are all the while in attendance with food. They also bring quantities of fine mats and native cloth, as the hire of the tattooers; connected with them, too, are many waiting on for a share in the food and property.
Among the fellahs, as well as among the laboring people of the cities, the women tattoo their chin, their forehead, the middle of the breast, a portion of their hands and arms, as well as feet, with indelible marks of blue and green. In Upper Egypt most females puncture their lips to give them a dark bluish hue. See Featherman, Social Hist. of the Races of Mankind, V, 1881, p. 545.
Professor Brauns, of Halle, reports (Science, III, No. 50, p. 69) that among the Ainos of Yazo the women tattoo their chins to imitate the beards of the men.