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In one Indian folk tale, a man has sex with an upper-caste girl after he finds her stealing cucumbers from his field. His dick is immediately chewed off by her fanged vagina, though his brother-in-law's wife soon frightens her into re-attaching the penis. The two of them then pull out every single tooth in the attacker's vagina with a piece of string. Shortly afterwards, the farmer and the now-toothless girl fall in love and run off, which just goes to show there is no accounting for taste.
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Although the diversity of tattooing cultures in India is great, the literature on the subject is surprisingly rare outside of obscure university and governmental reports, not to mention early 20th century census pamphlets buried in dusty archives and museum libraries. Aside from these issues of access, the contemporary ethnographic record on tattooing is relatively sparse itself. This can be attributed to the fact that most of India’s tattooed tribes have dwelled in remote hinterlands until recently and have long been suppressed, forgotten, and/or discriminated against for their refusal to discard “primitive” tribal practices like tattooing that seemed uncivilized and unimportant in comparison to more urban, modern, and sophisticated cultural lifestyles in the cities. As one writer put it, “indigenous people are aware that tattoos identity them as tribal, and hence they are seen as inferior.”
Throughout India, tattoos are connected with magical ideas. From a 1902 article entitled “Notes on Female Tattoo Designs in India,” which I paraphrase at length below, it was reported that a black dot symbolizing a mole on the forehead or chin was believed to protect the bearer from the Evil Eye (see Fig. 1.). The mole or tattooed dot was also considered an emblem of Chandani, corresponding to Venus, whose approach to the Moon, a personified male, is a natural phenomenon held to represent the meeting of a loving pair. The Moon is called Raktipati or Taraganapati, “King of the Night,” “Husband of the Stars.”
Rohini is his favorite wife, and she is represented thus •, while a crescent shows the Moon. A dot between the horns of the crescent represents the face of the Moon, which is often, however, drawn like the human face in profile with another dot below it to represent his loving consort. It is an emblem of conjugal happiness (see Fig. 2).
The milkmaids of Krishna were represented by this tattoo (see Fig. 8B), and the emblems delineated that the woman who possessed them was a milkmaid, Ahir or Goval by caste. It should be noted that the number of maids shown is always five. The mystic sign A (see below) shows the eight directions, while B shows eight points of the compass produced by placing two squares, one above the other, with their planes crossing each other – the squares representing Heaven and Earth.
The camel as a beast or burden was a very useful animal to caravans. The Kasars, traders of copper and brass pots at Nasik, have two camels on the pedestal of their goddess. Women with these marks will be found to be Banjaras by caste, the dotted and linear delineation distinguishing one tribe from another. Those with the dotted lines will possibly be northerners and those with the heavy linear designs the southerners. Of course, the Rabaris of Kutch in Gujarat also tattoo symbols of the camel and they are nomadic traders (see section on Gujarat below).
Notwithstanding there is a common belief across India that tattoo marks migrate to Heaven with “the little entire man or woman (soul)” inside the mortal frame. In other words, it is believed that if there is anything that survives after death it is the tattoo marks, because the soul is identified by them.
The artist generally pronounced a benediction for the welfare of the individual to be tattooed, and then she began the operation. While plying her client’s skin, she chanted nursery rhymes or sang Gopika Gita songs with the object of making the person undergoing the operation disregard the pain. One example of a Korathi tattoo song sung during the operation follows:
