Goudana: An Extinct ArtTattoo an Embraced Future

Kumar Vikas; Chhavi Singh

doi:doi:10.11648/j.ijaaa.20210704.15

| Peer-Reviewed

Goudana: An Extinct ArtTattoo an Embraced Future

Kumar Vikas, Chhavi Singh

Published in International Journal of Architecture, Arts and Applications (Volume 7, Issue 4)

Received: 19 September 2020 Accepted: 7 November 2020 Published: 11 December 2021

Views: Downloads:

Download PDF

Share This Article

Twitter
Linked In
Facebook

Abstract

As ancient as the oldest of civilizations, the art of tattooing has continued to persist through the ages. A reminiscence of man’s life here on earth, tattooing has been practiced in diverse cultures for varied reasons such as for commemorating the memory of a loved one, as rites for hinder less passage into after-life, as a symbol of spiritual attachment or religion or one’s position in society, for identification and punishment, as well as a sexual lure. In India, tattooing is referred to with many different names but the word most commonly used is ‘Goudana’. The practise of Goudana finds its genesis in Hindu religious mythology and is associated with stories of Gond God, one of the invitees to a dinner arranged by Lord Shiva. While fetching his wife, Gond God accidently put his arm around Parvati Ji, wife of Lord Shiva. The devi (goddess) did not like it and thereafter demanded that the tribal ladies wear a particular kind of mark on their skin to distinguish them from the other castes; with this started the culture of Goudana. There are also other similar stories with Yamraj in Oraon tribe amongst the Mundas, Baigas, Malhars, Singhas, Santhals, the Ho tribe and numerous many. The difference between Tattoo and Goudana is the usual story of after effects of modernization, where one art gets mechanised, evolves, becomes popular and thrives whereas the other, though safe and more therapeutic, witnesses a gradual decline and almost perishes, mainly because of the failure to commercialize it and also due to inadequate support from the government as extended to other arts for their revival. This study is based on my interactions with local Goudana artists during one of my professional excursions to Ranchi, Jharkhand, India. I interviewed the artisans who still practice Goudana and learnt about their induction into the practise, their skills, their techniques, their hardships and the reasons for the decline of Goudana as an art form. The information thus gathered has shaped this research. The script also contains an analysis of primary research data collected from 110 respondents to study the significance and effect of education and the role of gender in creating a preference for and shaping the perceptions around tattooing/Goudana.

Published in	International Journal of Architecture, Arts and Applications (Volume 7, Issue 4)
DOI	10.11648/j.ijaaa.20210704.15
Page(s)	137-142
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Goudana, Tattoo, Oraon, Adivasi, Ornamentation, Pitarmuni, Motifs, and Banjara

References

[1]	Tattooing - Oriental and Gypsy Author(s): A. T. Sinclair Source: American Anthropologist, (Jul. - Sep., 1908), New Series, Vol. 10, No. 3 (Jul. - Sep., 1908), pp. 361-386 Published by: Wiley on behalf of the American Anthropological Association.
[2]	A relook at the observatory at Varanasi Author(s): B. S. Shylaja Source: Current Science, Vol. 100, No. 8 (25 April 2011), pp. 1246-1249 Published by: Current Science Association.
[3]	Chapter Title: SITES AND MONUMENTS Book Title: Indian Islamic Architecture Book Subtitle: Forms and Typologies, Sites and Monuments Book Author(s): John Burton-Page Book Editor(s): George Michell Published by: Brill.
[4]	Homeric Beginnings in the 'Tattoo Elegy' Author(s): Richard Rawles Source: The Classical Quarterly, (Dec., 2006), New Series, Vol. 56, No. 2 (Dec., 2006), pp. 486-495 Published by: Cambridge University Press on behalf of The Classical Association.
[5]	Tattoos, Incarceration and Hepatitis B and C among Street-Recruited Injection Drug Users in New Mexico, USA: Update Author(s): Michael C. Samuel, Marc Bulterys, Steve Jenison and Patti Doherty Source: Epidemiology and Infection, Vol. 133, No. 6 (Dec., 2005), pp. 1146-1148 Published by: Cambridge University Press.
[6]	Chapter Title: Statecraft at the Edge of Empire: Bilaspur, 1795-1835 Book Title: Kingship and Polity on the Himalayan Borderland Book Subtitle: Rajput Identity during the Early Colonial Encounter Book Author(s): Arik Moran Published by: Amsterdam University Press.
[7]	Chapter Title: Pragmatics of Pīr Kathā: Emplotment and Extra-Discursive Effects Book Title: Witness to Marvels Book Subtitle: Sufism and Literary Imagination Book Author(s): Tony K. Stewart Published by: University of California Press.
[8]	Infection Control among Professional Tattooists in Minneapolis and St. Paul, MN Author(s): Monica J. Raymond, Phyllis L. Pirie and Linda L. Halcon Source: Public Health Reports (1974-), Vol. 116, No. 3 (May - Jun., 2001), pp. 249-256 Published by: Sage Publications, Inc.
[9]	Crime and Tattooing Source: Journal of the American Institute of Criminal Law and Criminology, (Nov., 1910), Vol. 1, No. 4 (Nov., 1910), pp. 619-620 Published by: Northwestern University Pritzker School of Law.
[10]	THE PERILS OF BODY ART: FDA REGULATION OF TATTOO AND MICROPIGMENTATION PIGMENTS Author(s): Jessica C. Dixon Source: Administrative Law Review, Summer 2006, Vol. 58, No. 3 (Summer 2006), pp. 667-687 Published by: American Bar Association.
[11]	Chapter Title: Perfor/m/ative Writing: Tattoo, Mark, Signature Chapter Author(s): Sonja Neef Book Title: Sign Here! Book Subtitle: Handwriting in the Age of New Media Book Editor(s): Sonja Neef, José van Dijck and Eric Ketelaar Published by: Amsterdam University Press.
[12]	Chapter Title: Odysseus’s Tattoo: On Daniel Ganzfried’s The Sender and Binjamin Wilkomirski’s Fragments Chapter Author(s): RAFAËL NEWMAN and CAROLINE WIEDMER Book Title: Literary Paternity, Literary Friendship Book Subtitle: Essays in Honor of Stanley Corngold Book Editor(s).
[13]	Tattooing and Body Piercing as Lifestyle Indicator of Risk Behaviors in Brazilian Adolescents Author(s): Michele Dias da S. Oliveira, Marcos A. Matos, Regina M. B. Martins and Sheila Araujo Teles Source: European Journal of Epidemiology, 2006, Vol. 21, No. 7 (2006), pp. 559-560 Published by: Springer.
[14]	Market Distribution Author(s): L. D. H. Weld Source: The American Economic Review, (Mar., 1915, Vol. 5), No. 1, Supplement, Papers and Proceedings of the Twenty-seventh Annual Meeting of the American Economic Association (Mar., 1915), pp. 125-139 Published by: American Economic Association.
[15]	Integration in Marketing Author(s): Lewis H. Haney Source: The American Economic Review, (Sep., 1920, Vol. 10, No. 3 (Sep., 1920), pp. 528- 545 Published by: American Economic Association.

Cite This Article

Plain Text BibTeX RIS

APA Style

Kumar Vikas, Chhavi Singh. (2021). Goudana: An Extinct ArtTattoo an Embraced Future. International Journal of Architecture, Arts and Applications, 7(4), 137-142. https://doi.org/10.11648/j.ijaaa.20210704.15

Copy | Download

ACS Style

Kumar Vikas; Chhavi Singh. Goudana: An Extinct ArtTattoo an Embraced Future. Int. J. Archit. Arts Appl. 2021, 7(4), 137-142. doi: 10.11648/j.ijaaa.20210704.15

Copy | Download

AMA Style

Kumar Vikas, Chhavi Singh. Goudana: An Extinct ArtTattoo an Embraced Future. Int J Archit Arts Appl. 2021;7(4):137-142. doi: 10.11648/j.ijaaa.20210704.15

Copy | Download

@article{10.11648/j.ijaaa.20210704.15,
  author = {Kumar Vikas and Chhavi Singh},
  title = {Goudana: An Extinct ArtTattoo an Embraced Future},
  journal = {International Journal of Architecture, Arts and Applications},
  volume = {7},
  number = {4},
  pages = {137-142},
  doi = {10.11648/j.ijaaa.20210704.15},
  url = {https://doi.org/10.11648/j.ijaaa.20210704.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijaaa.20210704.15},
  abstract = {As ancient as the oldest of civilizations, the art of tattooing has continued to persist through the ages. A reminiscence of man’s life here on earth, tattooing has been practiced in diverse cultures for varied reasons such as for commemorating the memory of a loved one, as rites for hinder less passage into after-life, as a symbol of spiritual attachment or religion or one’s position in society, for identification and punishment, as well as a sexual lure. In India, tattooing is referred to with many different names but the word most commonly used is ‘Goudana’. The practise of Goudana finds its genesis in Hindu religious mythology and is associated with stories of Gond God, one of the invitees to a dinner arranged by Lord Shiva. While fetching his wife, Gond God accidently put his arm around Parvati Ji, wife of Lord Shiva. The devi (goddess) did not like it and thereafter demanded that the tribal ladies wear a particular kind of mark on their skin to distinguish them from the other castes; with this started the culture of Goudana. There are also other similar stories with Yamraj in Oraon tribe amongst the Mundas, Baigas, Malhars, Singhas, Santhals, the Ho tribe and numerous many. The difference between Tattoo and Goudana is the usual story of after effects of modernization, where one art gets mechanised, evolves, becomes popular and thrives whereas the other, though safe and more therapeutic, witnesses a gradual decline and almost perishes, mainly because of the failure to commercialize it and also due to inadequate support from the government as extended to other arts for their revival. This study is based on my interactions with local Goudana artists during one of my professional excursions to Ranchi, Jharkhand, India. I interviewed the artisans who still practice Goudana and learnt about their induction into the practise, their skills, their techniques, their hardships and the reasons for the decline of Goudana as an art form. The information thus gathered has shaped this research. The script also contains an analysis of primary research data collected from 110 respondents to study the significance and effect of education and the role of gender in creating a preference for and shaping the perceptions around tattooing/Goudana.},
 year = {2021}
}

Copy | Download

TY  - JOUR
T1  - Goudana: An Extinct ArtTattoo an Embraced Future
AU  - Kumar Vikas
AU  - Chhavi Singh
Y1  - 2021/12/11
PY  - 2021
N1  - https://doi.org/10.11648/j.ijaaa.20210704.15
DO  - 10.11648/j.ijaaa.20210704.15
T2  - International Journal of Architecture, Arts and Applications
JF  - International Journal of Architecture, Arts and Applications
JO  - International Journal of Architecture, Arts and Applications
SP  - 137
EP  - 142
PB  - Science Publishing Group
SN  - 2472-1131
UR  - https://doi.org/10.11648/j.ijaaa.20210704.15
AB  - As ancient as the oldest of civilizations, the art of tattooing has continued to persist through the ages. A reminiscence of man’s life here on earth, tattooing has been practiced in diverse cultures for varied reasons such as for commemorating the memory of a loved one, as rites for hinder less passage into after-life, as a symbol of spiritual attachment or religion or one’s position in society, for identification and punishment, as well as a sexual lure. In India, tattooing is referred to with many different names but the word most commonly used is ‘Goudana’. The practise of Goudana finds its genesis in Hindu religious mythology and is associated with stories of Gond God, one of the invitees to a dinner arranged by Lord Shiva. While fetching his wife, Gond God accidently put his arm around Parvati Ji, wife of Lord Shiva. The devi (goddess) did not like it and thereafter demanded that the tribal ladies wear a particular kind of mark on their skin to distinguish them from the other castes; with this started the culture of Goudana. There are also other similar stories with Yamraj in Oraon tribe amongst the Mundas, Baigas, Malhars, Singhas, Santhals, the Ho tribe and numerous many. The difference between Tattoo and Goudana is the usual story of after effects of modernization, where one art gets mechanised, evolves, becomes popular and thrives whereas the other, though safe and more therapeutic, witnesses a gradual decline and almost perishes, mainly because of the failure to commercialize it and also due to inadequate support from the government as extended to other arts for their revival. This study is based on my interactions with local Goudana artists during one of my professional excursions to Ranchi, Jharkhand, India. I interviewed the artisans who still practice Goudana and learnt about their induction into the practise, their skills, their techniques, their hardships and the reasons for the decline of Goudana as an art form. The information thus gathered has shaped this research. The script also contains an analysis of primary research data collected from 110 respondents to study the significance and effect of education and the role of gender in creating a preference for and shaping the perceptions around tattooing/Goudana.
VL  - 7
IS  - 4
ER  -

Copy | Download

Author Information

Kumar Vikas

Fashion Communication Department, National Institute of Fashion Technology, Patna, India
Chhavi Singh

Free Lance Editor and Entrepreneur, Patna, India

Download PDF

Sections

Plain Text BibTeX RIS

APA Style

Kumar Vikas, Chhavi Singh. (2021). Goudana: An Extinct ArtTattoo an Embraced Future. International Journal of Architecture, Arts and Applications, 7(4), 137-142. https://doi.org/10.11648/j.ijaaa.20210704.15

Copy | Download

ACS Style

Kumar Vikas; Chhavi Singh. Goudana: An Extinct ArtTattoo an Embraced Future. Int. J. Archit. Arts Appl. 2021, 7(4), 137-142. doi: 10.11648/j.ijaaa.20210704.15

Copy | Download

AMA Style

Kumar Vikas, Chhavi Singh. Goudana: An Extinct ArtTattoo an Embraced Future. Int J Archit Arts Appl. 2021;7(4):137-142. doi: 10.11648/j.ijaaa.20210704.15

Copy | Download

@article{10.11648/j.ijaaa.20210704.15,
  author = {Kumar Vikas and Chhavi Singh},
  title = {Goudana: An Extinct ArtTattoo an Embraced Future},
  journal = {International Journal of Architecture, Arts and Applications},
  volume = {7},
  number = {4},
  pages = {137-142},
  doi = {10.11648/j.ijaaa.20210704.15},
  url = {https://doi.org/10.11648/j.ijaaa.20210704.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijaaa.20210704.15},
  abstract = {As ancient as the oldest of civilizations, the art of tattooing has continued to persist through the ages. A reminiscence of man’s life here on earth, tattooing has been practiced in diverse cultures for varied reasons such as for commemorating the memory of a loved one, as rites for hinder less passage into after-life, as a symbol of spiritual attachment or religion or one’s position in society, for identification and punishment, as well as a sexual lure. In India, tattooing is referred to with many different names but the word most commonly used is ‘Goudana’. The practise of Goudana finds its genesis in Hindu religious mythology and is associated with stories of Gond God, one of the invitees to a dinner arranged by Lord Shiva. While fetching his wife, Gond God accidently put his arm around Parvati Ji, wife of Lord Shiva. The devi (goddess) did not like it and thereafter demanded that the tribal ladies wear a particular kind of mark on their skin to distinguish them from the other castes; with this started the culture of Goudana. There are also other similar stories with Yamraj in Oraon tribe amongst the Mundas, Baigas, Malhars, Singhas, Santhals, the Ho tribe and numerous many. The difference between Tattoo and Goudana is the usual story of after effects of modernization, where one art gets mechanised, evolves, becomes popular and thrives whereas the other, though safe and more therapeutic, witnesses a gradual decline and almost perishes, mainly because of the failure to commercialize it and also due to inadequate support from the government as extended to other arts for their revival. This study is based on my interactions with local Goudana artists during one of my professional excursions to Ranchi, Jharkhand, India. I interviewed the artisans who still practice Goudana and learnt about their induction into the practise, their skills, their techniques, their hardships and the reasons for the decline of Goudana as an art form. The information thus gathered has shaped this research. The script also contains an analysis of primary research data collected from 110 respondents to study the significance and effect of education and the role of gender in creating a preference for and shaping the perceptions around tattooing/Goudana.},
 year = {2021}
}

Copy | Download

TY  - JOUR
T1  - Goudana: An Extinct ArtTattoo an Embraced Future
AU  - Kumar Vikas
AU  - Chhavi Singh
Y1  - 2021/12/11
PY  - 2021
N1  - https://doi.org/10.11648/j.ijaaa.20210704.15
DO  - 10.11648/j.ijaaa.20210704.15
T2  - International Journal of Architecture, Arts and Applications
JF  - International Journal of Architecture, Arts and Applications
JO  - International Journal of Architecture, Arts and Applications
SP  - 137
EP  - 142
PB  - Science Publishing Group
SN  - 2472-1131
UR  - https://doi.org/10.11648/j.ijaaa.20210704.15
AB  - As ancient as the oldest of civilizations, the art of tattooing has continued to persist through the ages. A reminiscence of man’s life here on earth, tattooing has been practiced in diverse cultures for varied reasons such as for commemorating the memory of a loved one, as rites for hinder less passage into after-life, as a symbol of spiritual attachment or religion or one’s position in society, for identification and punishment, as well as a sexual lure. In India, tattooing is referred to with many different names but the word most commonly used is ‘Goudana’. The practise of Goudana finds its genesis in Hindu religious mythology and is associated with stories of Gond God, one of the invitees to a dinner arranged by Lord Shiva. While fetching his wife, Gond God accidently put his arm around Parvati Ji, wife of Lord Shiva. The devi (goddess) did not like it and thereafter demanded that the tribal ladies wear a particular kind of mark on their skin to distinguish them from the other castes; with this started the culture of Goudana. There are also other similar stories with Yamraj in Oraon tribe amongst the Mundas, Baigas, Malhars, Singhas, Santhals, the Ho tribe and numerous many. The difference between Tattoo and Goudana is the usual story of after effects of modernization, where one art gets mechanised, evolves, becomes popular and thrives whereas the other, though safe and more therapeutic, witnesses a gradual decline and almost perishes, mainly because of the failure to commercialize it and also due to inadequate support from the government as extended to other arts for their revival. This study is based on my interactions with local Goudana artists during one of my professional excursions to Ranchi, Jharkhand, India. I interviewed the artisans who still practice Goudana and learnt about their induction into the practise, their skills, their techniques, their hardships and the reasons for the decline of Goudana as an art form. The information thus gathered has shaped this research. The script also contains an analysis of primary research data collected from 110 respondents to study the significance and effect of education and the role of gender in creating a preference for and shaping the perceptions around tattooing/Goudana.
VL  - 7
IS  - 4
ER  -

Copy | Download