Tattoo culture and the community it has created have undergone a renaissance since the 1980s. Persons with tattoos now account for an estimated 34% of the North American population between the ages of 18-30. Despite this relatively recent surge towards acceptance of tattoos in the current social context, much of the academic literature and media portrayals of tattoos characterize social deviancy among tattoo enthusiasts. Tattoo enthusiasts are pushed to the periphery of society and marginalized as bikers, criminals, and people with psychological problems. The purpose of this study is to describe and understand tattoo culture in a way that is accessible to non-members of that culture, particularly teachers and parents. The primary research questions proposed by this study include what motivates people to become tattooed, what motivates members of the tattooed community to stay minimally involved in the culture or to increase their involvement, and how members of the community perceive their tattoos within the current social context. To answer these questions, this study focuses on the lived experiences of six tattoo enthusiasts from one small community. Through the study of these shared experiences, this study questions the nature of tattoos in this small community and whether these acts can be considered deviant or culturally normative. / Thesis (Master, Education) -- Queen's University, 2009-09-24 18:58:45.639

As a rapidly growing, multibillion dollar industry, tattooing is quickly becoming a mainstream art form and commodity. Although the ancient art form, originates from civilizations all over the world, the modern history in the United States has largely limited Black individuals from receiving the recommended training (apprenticeship) until about the last twenty-five years. The purpose of this study is to explore the history of the Black Tattoo Community in Atlanta. The following questions will guide the study: What is the history behind the Black Tattoo Community in the Atlanta area? What are the experiences of Black artists apprenticing and learning to tattoo? What are the differences, if any, when tattooing people of color? What impact has television, the internet, and social media had on the tattoo industry, and in particular on Black tattoo artists? This study utilizes an oral historical interview method to answer these questions.

No description available.

Thesis (M.Arch.)--University of Detroit Mercy, 2007. / Includes bibliographical references (p. 115).

Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Nancy Nelson Hodges; submitted to the School of Human Environmental Sciences. Includes bibliographical references (p. 274-282).

This document examines the works by Sir Harrison Birtwistle that feature the trumpet as a solo instrument, with extra emphasis placed on The Silk House Tattoo. This document also features a performance guide for the trumpet parts of The Silk House Tattoo. Pedagogical methods for learning the most challenging passages are evaluated, and daily exercises based on the specific demands of each excerpt are offered.

The thesis deals with the theme "Modern tribal tattoo" - description of that theme and subsequent performance of the tattoo.

This study explores the history of tattoos in the United States along with the role and significance of tattos today. The study's primary research question seeks to discover whether tattoos anchor an individual's personal narrative and help to solidify an individual's sense of self. The study considers both modernist and postmodernist concepts of identity, but ultimately supports a perspective which argues that identity is the result of an individual's ability to keep a consistent narrative going over time. This exploratory study uses a qualitatative approach to discern the meanings behind individuals' tattoos through their own words and conceptions. Eight individuals ranging in age, race and gender were interviewed in order to collect data for the study. The findings suggest that individuals frame the importance of their tattoos in a variety of ways from tattoos that commemorate aspects of one's past to tattoos that are highly symbolic of an individual's sense of self.

Studentų nuostatos į tatuiruotę SANTRAUKA Tyrimo objektas – studentų nuostatos į tatuiruotę. Tyrimo tikslas – studentų nuostatų į tatuiruotę tyrimas. Tyrime dalyvavo 401 studentas iš keturių Vilniaus universitetų. Tyrimo dalyvių amžius: 18 – 26 metų (amžiaus vidurkis 21 m.). Tyrime naudotas M. L. Armstrong sukurtas ATTAS klausimynas (The Armstrong Tattoo Team Attitude Survey). Analizuojant rezultatus, tyrimo dalyviai buvo suskirstyti į keturias grupes: tatuiruoti studentai (36), netatuiruoti studentai (365), merginos (255) ir vaikinai (146). Gauti rezultatai parodė, kad tyrime dalyvavusių studentų nuostatos į tatuiruotę pozityvios. Pasitvirtino hipotezės, kad (a) skiriasi tatuiruotų ir netatuiruotų studentų nuostatos į tatuiruotės riziką, (b) skiriasi studentų vaikinų ir studenčių merginų nuostatos į tatuiruotės riziką. Didžioji netatuiruotų tyrimo dalyvių dalis manė, kad, jei nuspręs išsitatuiruoti, išgirs neigiamų šeimos narių pastabų; didžioji tatuiruotų tyrimo dalyvių dalis tikino, kad, jei nuspręs dar kartą išsitatuiruoti, susidurs su odos aplink tatuiruotę dirglumu. Merginos labiau nei vaikinai buvo linkusios manyti, kad tatuiruojantis susidurs su vietos aplink tatuiruotę jautrumu saulės spinduliams ir odos aplink tatuiruotę dirglumu, o vaikinai – jog tatuiruodamiesi susilauks neigiamų visuomenės vertinimų ir išgyvens įvairių nepatogumų. Duomenų analizė parodė, jog (A) skiriasi tatuiruotų ir netatuiruotų studentų tatuiravimosi tikslas, bei (B) studentų vaikinų ir... [toliau žr. visą tekstą] / Higher School Students’ Attitudes to Tattoo SUMMARY Object under study: students’ attitudes to tattoo. Purpose: investigation into students’ attitudes to tattoo. Participants: 401 students from four universities in Vilnius. Age: 18-26 years (mean: 21 years). The Armstrong Tattoo Team Attitude Survey was used to carry out the study. To analyse the data, participants were divided into four groups: tattooed students (36), non-tattooed students (365), girls (255), and boys (146). The findings showed that participants’ attitudes to tattoo were positive. Hypotheses that the attitudes differed by (a) gender and (b) tattoo presence/absence were corroborated. Most non-tattooed participants expected negative remarks from their family should they get a tattoo; most tattooed participants expected to develop local skin irritation should they get another tattoo. Girls, compared to boys, were more inclined to believe that they would develop local sensitivity to sunrays and skin irritation should they get a tattoo; boys – that they would experience negative reaction from people and multiple inconvenience. Data analysis showed that the purpose of getting a tattoo differed in terms of (A) tattoo presence/absence, and (B) gender. Most tattooed and non-tattooed participants thought that should they decide to get a/another tattoo that would be a thing “to honour a festive occasion”. However the second purpose differed: non-tattooed students thought that a tattoo would help to “express oneself”... [to full text]

This thesis examines the possibilities of the tattoo as a collectible. Specifically, three different modes of collecting and displaying tattoos; as a living museum on the body of the tattooed subject, as a skin specimen separated from the body and displayed in a variety of museum settings and, finally, as an image abstracted from the body in the form of photographs of tattooed sitters. Implicit in this journey from body art to artifact is a consideration of the changing meaning and significance of tattoos in the evolving discourse of visual culture. Once regarded as markers of social deviance - as symbols of exclusion or marginalization - tattoos have become a much more popular and widely accepted form of body art - signs of community, affinity and inclusion. The growing popularity of tattoos has also led to a reconsideration of their status as an art form, an elevation of what was once considered a 'low art' process to the realm of high art. This shift has only recently led to an increase in scholarship about tattoos within the discourses of both art history and visual culture. In this thesis I examine this new scholarship about tattoos in visual culture, and then go one step further by considering tattoos as visual objects within the culture of collecting. Specifically, I examine tattoos as collectible 'souvenirs', as specimens and, when reproduced as photographs, as socially resonant signs of identity and meaning. These case studies examine tattoo art from various perspectives. Primarily, as art collected on the body, but also as imagery existing separate from a physical form, just like the majority of collected artwork.