Body Painting Art Bust - Lotus Dream ...

Body Painting Art Bust - Lotus Dream ...

At the heart of Prague's medieval Old Town is the expansive Old Town Square. Originally the site of an eleventh century city market, today it is best known as being the location of some of Prague's most iconic attractions. Within the perimeter of the square's cobblestone floor is the gothic skyscraper of Town Hall, the baroque aquamarine domes of St. Nicholas and the twin towers of Tyn Church, along with a cluster of cafes and shops.

Although Old Town Hall is actually a sprawling complex of buildings, what most people notice is its legendary clock tower. The tower was erected in 1410, but it stood without a tic or a tock until 1572, when the astronomical clock was finally installed. The clock itself is a testament to medieval scientific and technological achievement. Not only does it tell the time, it also measures the movement of the planets as they spin in their celestial orbits. The clock's face is a mirage of geometric shapes, colors and symbols, all safely guarded by a deep, dark frame of stone. On the hour, a mischievous looking skeleton rings its little chime, calling forth the wooden apostles, each of who appear through the clock's miniature windows before quickly spinning back into the tower's cavernous confides. Another must do is to take the out-of-place modern elevator up to the tower's viewing gallery, where one is treated to a panoramic view of Prague.

While in Old Town Square, visitors should check to see if the Church of St. Nicholas is hosting a choir or organ concert, which are a regular occurrence. For a romantic evening, hire one of several horse and carriages patiently waiting along the pedestrian path running between Old Town Hall and St. Nicholas Church.

Old Town Hall is open every day except Mondays, April - October: 10am to 6pm; November - March: 11am to 5pm.

The Jewish Quarter

Little remains of Prague's once vibrant, if not humbling, Jewish Quarter. Yet within these cramped and shaded blocks one can discover the enduring history of Prague's once prominent Jewish population.

One of the main attractions is the Alt-Neu (Old-New) Synagogue. Recognized by its jagged, pyramid roof that looks to be sawing its way towards the heavens, it was once the center of Prague's Jewish life. This seven hundred year old Synagogue, which the city's Orthodox Jewish population still uses for services, is the oldest in Europe and is reportedly constructed of stone brought from Jerusalem. The entire building is enshrouded with an air of eerie history. Legend has it that within the mystery that permeates the musty air of the Synagogue, stashed away in the chain-bolted attic, are the remains of the Jewish Frankenstein known as The Golem.

From the synagogue, it is just several blocks along a craft-shop lined promenade to the black iron gate of the Old Jewish Cemetery. As city rules once forbade Jews from being buried outside the strangling confines of the ghetto's boundaries, the cemetery is overfilled with 12,000 bodies, sometimes buried twelve deep, which cause the earth to swell like the tide of a dead sea. The slim stone tombstones lean and tilt, stretching for the filtered beams of sunlight that occasionally make their way through the canopy of trees hanging above. Within these sacred grounds lay some of Prague's most revered Jewish leaders, including Rabbi Loew, Mordecai Maisel and David Gans.

For more information on the Old Jewish Cemetery. The cemetery is open Sunday through Friday 9am to 6pm from April through October and 9am to 4:30pm from November through March. The grounds are closed during Jewish Holidays.

Prague Castle

Prague Castle is a truly majestic site that witnesses all that occurs within the city. Perched atop a hill on the far side of the Vltav River, its plethora of palaces, towers and spires can be seen from almost any open vantage point in the city. The castle grounds are free and open to the public, but admission is charged for entrance into its many museums and buildings. However, the spectacular twelfth century St. Vitus's Cathedral, with its robust, kaleidoscope stained glass windows and towering vaulted ceilings, can be seen for free. The best way to reach the castle is via a steep climb up the New Castle Steps, located just off Nerudova, one of the district's main thoroughfares.

At least an entire day is needed to see everything the castle has to offer. However, if one is short on time and is looking for an abbreviated tour, be sure to put the Old Royal Palace, White Tower, Golden Lane and The Story of Prague Castle on your agenda.

Old Royal Palace is impressive in its bare simplicity. Its main hall is an open and rather dull stone and wood affair brightened by coats of arms, jeweled chandeliers and an intricately woven web of trim that races across its vaulted ceiling. Be sure to step outside onto the hall's balcony for royal views over the castle's gardens and stretching well past Old Town.

Golden Lane, running between the Royal Palace and the White Tower, is filled with colorfully painted houses tucked into the castle's wall. Originally they were home to goldsmiths looking to avoid having to pay the dues required for those living in town. Today these homes sell an assortment of crafts, foods and souvenirs.

The White Tower and its adjacent halls, which run along the back of Golden Lane, were the castle's source of protection and served at its jail. Within the halls, where archers once guarded the premises from invaders, are replicas of medieval weapons, suits of armor and even an opportunity to test your aim at the crossbow. The dusty, stale-air filled tower itself, where many prisoners met their untimely deaths, contains replicas of the era's creatively grotesque torture machines.

The Story of Prague Castle is a fascinating museum that chronicles the history of the complex from B.C. to modern times. Although the castle complex is still home to the Czech Republic's president, nobility and leaders have occupied it since 3200 BC. Today the castle is the accumulated result of a building spree that transported it through Romanesque, Gothic, Renaissance, Baroque and modern times. Here history is heaped on top of history, burying the ghosts of its collective past with the treasures and bones just now being unearthed from the castle's most inner vaults. Within this collection of artifacts unearthed through the castle's ongoing archeological excavations are the crown jewels of St. King Wenceslas, the skeletal remains of royalty, art works expanding the breadth of art history, and an encyclopedia-worth of information on the cultural evolution of Prague. Also worth the trip is the chance to see exposed sections of the former castles, long buried under the current structures.

For more information on visiting Prague Castle, go to http://www.hrad.cz. Although the castle grounds are open until midnight, most buildings close by 5pm.

Wenceslas Square

Stretching across the expanse of New Town, this former horse market's modern buildings and art nouveau highlights offers a stark contrast to the city's otherwise medieval facade. Wenceslas Square is most likely etched into our memories as being the stage for Prague's Velvet Revolution, which caused the topple of Communist rule in 1989. Today the square stands to honor the past while looking towards the city's encouraging future.

At the far end of the square is the parliament-like building which houses the National Museum. Inside is an interesting collection pertaining to mostly the natural sciences, although most visitors consider the mocha-colored marble, statute-lined stairway as being the building's main attraction.
Saddled to his horse, standing just outside the National Museum, is the statute of St. Wenceslas, the patron saint of Bohemia. The area around the statute is considered a traditional meeting place and in fact is where many anti-communist protesters held court. Directly in front of the statute is the Communist Memorial, a testament to the courageous acts of the many victims of Communism's cruelty.

Besides the memorials, museums and unique architecture, Wenceslas Square is also the place to shop. All of the main brand-named outlets can be found either in the square or within its vicinity.

Franz Kafka Museum

Although Franz Kafka once described his native city of Prague as "a dear little mother with claws" who never let him go, today Kafka's entrapment in Prague is greater than ever. Declaring itself the "City of Kafka", Prague has associated itself with the author's now iconic, brooding face. Gift shop shelves are cluttered with Kafka mugs, Kafka books and screen printed Kafka t-shirts. There is a Kafka memorial near the Old-New Synagogue, several Kafka cafés, and a Kafka bust standing guard in the Mercure Hotel's lobby, located in the office Kafka once worked at as an attorney. And, with the newly opened Franz Kafka Museum, it seems ensured that Kafka will now forever be trapped in what he called the "bird cage" of Prague.

Located near the bottom of the steep Old Castle Stairs, the Franz Kafka Museum is guarded by a ghostly moving, abstract sculpture of two men urinating into a pool. Strange as the entrance may be, this comprehensive museum does an excellent job of capturing both the facts of Kafka's biography and the creative genius that occupied his mind. Within the museum visitors can traverse Kafka's life through hallways and corridors enshrouded with shadows, muffled with white noise and distracted by flowing water. Along with rare copies of Kafka's letters and books, the museum also has displays specifically focused on each of his major works.

Exiting the museum, one comes face to face with a giant black K. Despite the fact that during his life Kafka only thought of escaping, today there is no escape. Franz Kafka now permeates throughout the city of Prague, defining both what the city was and who it has become. Nothing seems to summarize this complicated and shared history better than the poignantly simple yet somehow complex "K" logo of the Franz Kafka Museum.

The Franz Kafka Museum is located at Cihelna 2b and is open daily from 10am to 6pm.

Pilsner Beer

In describing his country's marquee beer, Czech Emperor Franz Josef I commented, "It is indeed curious that no brewery has yet succeeded in replicating the distinctive gourmet flavor of the pilsner beer." Prague, the centerpiece of the golden genre of beer known as pilsner, was built, destroyed, and rebuilt on a foundation of beer.

Therefore, when in Prague, one must sample at least one of its many pints of pilsner. No matter what part of Prague you find yourself in, there are plenty of great places to quench your thirst for a cold Czech beer.

Old Town

U Zlateho Tygra: A crowded, standing room only, smoke filled dive of a working class bar. Here Czech beer is enjoyed in the most classic tradition. The bar is famous for being the haunt of writer Bohumil Hrabal, a place President Bill Clinton paid homage to, and for serving the best Pilsner Urquel in Prague. (Husova 17, 222-221111)

Literarni Kavarna: It may be a bit hard to find as there's really no sign revealing its hiding behind an arched wooden door, but this intellectual hangout is a great find. The interior's courtyard is the place to relax, eavesdrop and, most importantly, sample a new variety of beer. (Tynska 6, 420-2-2482-7807)

Castle District

U Cerneho Vola: Here's a concept you cannot refuse: a chance to drink for charity. A portion of all sales goes towards a local school for the blind. The bar also offers a good, local feel and relatively cheap draws. (Loretanske Namesti 1)

Hospuda na Schodech: Conveniently located at the crest of the Radnicke Schody steps, this quaint bar is a cheap pit stop that also offers an outstanding view. (Radnicke Schody 5)

New Town

U Fleku: Perhaps the world's most famous beer hall, this sprawling restaurant and brewery is everything a beer hall is suppose to be: crowded, loud and over priced. Yet, one literally cannot say no to the constant onslaught of oncoming mugs filled with caramel-dark U Fleku Lager. (Kremencova 11, 420-224-934-805)

Pivovarsky Dum and Pivovarsky Klub: Whereas Pivovarsky Dum is the city's original brewpub and brews Prague's most original flavors, Pivovarsky Klub, a beer boutique, has over 200 beers for you to choose from. (Pivovarsky Dum: Lipova 15, 420-296-216-666; Pivovarsky
Klub: Krizikova 17, 420-222-315-777).

The Big Breweries

Staropramen: Located in a working class part of town, this is Prague's only brewery. It brews an excellent pilsner and a tasty dark variety. Tours are available but must be arranged beforehand. (Nadrazni 84, 420-257-191-402)

Gulas

It's hearty, it's meaty and it has more carbohydrates than one can count, but Czech Gulas should be a staple in any visitor's diet. Unlike the goulash most people are accustomed to eating, Gulas is not a pasta dish. In fact, there are no noodles and no tomato sauce present on the plate. Instead, the Czech species consists of juicy strips of beef smothered with a gooey gravy and served over bacon and beer-based dumplings.

Gulas is served in most traditional Czech restaurants, including the many beer halls. U Medvidk, a restaurant and brewery, serves one of the city's best plates of gulas and at a surprisingly affordable price. (Na Perstyne 7, 420-224-211-916).

Other Prague staples include such fried, gravy and bread fares as Smazeny Syr (deep-fried cheese), Utopence (pickled sausages), Pivni Syr (beer cheese), and Veprokendlozelo (pork, dumplings and sauerkraut).

Charles Bridge

During the day, crossing the Vltava River via the gothic statue lined Charles Bridge is akin to being a pinball, bouncing your way through obstacles of tourists. This being said, the ideal times to enjoy the suspended cobblestone alleyway of this six hundred year old bridge is during the morning or evening. At these times you can take in the architecture of the bridge's two bookend towers, the detail of its statues and the beauty of its setting in near solitude.

Starting from the Old Town side of the bridge, one begins by passing through the shadows of Old Town Bridge Tower, a royal-crown capped behemoth of stone and sculpture. Visitors can climb to the top for one of Prague's most prized views.

While walking across the bridge, one is watched by the eyes of over thirty statues, all depicting saints and other religious figures or events. One of the most famous is the Calvary statue, a depiction of the Crucifixion of Christ holding the words "Holy, Holy, Holy is the Lord of Hosts" written in Hebrew. The Statue of St. John of Nepomuk is recognized by the shiny brass color protruding from the surrounding darkness. Legend has it that rubbing the depiction of the saint diving into the river will bring good luck.

Between the statues are a collection of private art vendors, craft makers and music players. Everything from magic flutes to personal portraits and photographs of Prague can be purchased. Some of the most notable performers are the Dixie-land band known to set up impromptu shows along the bridge's path. Another most-see is Antonin, a local artist who specializes in painting self-portraits taking the persona of Satan.

Museum of Communism

Don't let this museum's location next to a Casino and above a McDonald's or its late-night hours deter you. This is not another gimmick museum along the lines of the Museum of Torture Instruments or Sex Machine Museum. The Museum of Communism is an excellent portrayal of the "dream, reality and nightmare" of the Czech Republic's communist experience.

The curators of the museum put together a well-researched and comprehensive collection of artifacts that chronicle the rise and fall of Communism. Starting with the end of World War II, the museum ushers one through a timeline that includes Sputnik, Stalin, the Warsaw Pact, the Velvet Revolution and the ultimate crumbling of the system.

Not only does the museum contain in-depth historic information, it also has a wide-ranging collection of memorabilia and other historic artifacts. From bearded busts of Marx to silver cosmonaut space suits, school books, propaganda posters, hammer and cycles, an authentic interrogation room and a graffiti-washed slab of the Berlin Wall, the museum does an excellent job at capturing the philosophy, ideals, culture, life and failures of this fascinating period of Czech history.

The Museum of Communism is located at Na Prikope 10, on the first floor. It is open daily from 9am to 9pm. For more information, call +420 224 212 966.

Prague's Left Bank

Known as The Little Quarter, the arts-orientated and café cluttered Mala Strana is a peaceful stretch of green running along the Vltava River, just under Charles Bridge. Within the solitude of this neighborhood one can enjoy the hippie-created John Lennon Wall, Kampa Park and its galleries, and the lush hill that is Petrin Park.

Located within walking distance of Prague's main attractions while at the same time retaining its "off-the-beaten-track" charm, Mala Strana is an ideal place to call home while in Prague. The crème-de-le-crème hotel of this neighborhood is the Mandarin Oriental. The Mandarin Oriental Hotel Prague stands out from other chain hotels in that it excels in blending into its historic surrounds by creating a modern, luxury hotel within the structure of an old baroque and renaissance Dominican abbey.

The hotel's rooms are of two general designs: the baroque, with grand arches and exposed wooden beams, and the renaissance, with its long, geometrical halls speckled with hints of frescos worn away with time. Each room is characterized by a unique touch of original abbey trimmings and unearthed artifacts.

The hotel has one main restaurant, a café and several bars. Essensia, serving both Asian and international fare, is located within several adjoining rooms stretching along an arched renaissance hallway highlighted with Asian inspired wall hangings. Afternoon tea is offered in the comfortable, vaulted ceiling and baroque-styled Monastery Lounge, while drinks can be shared in the ultra-cool yet highly sophisticated atmosphere of Barego, a glass and mirror cocktail lounge. The wine cellar, located down in the musty stone interior of the abbey's floors, is available for private dinners and wine tastings.


bodypainting. cave art. caveman

bodypainting. cave art. caveman

If you are just getting started in body painting or face painting, one thing you may not have considered is how you are going to get all that paint off again!

While your client may like being a zombie or a tiger at a party, they may not want to go to work looking like one. In any case, they will want to get cleaned up before going to bed or doing pretty much anything else, and you will be expected to know how to remove the paint you put on them safely and painlessly.

Here are 7 quick tips for removing body paint from the skin, and also for staying clean and neat while you are working.

1. Check your paints and packaging.

Always use safe paints that have been made specifically for face painting and body painting. They should explicitly say that is what they are for. Read what they say, either on the label, or on the website, about how to clean them up. Some body paints are made to be cleaned with water; others may use a special kind of remover that you will have to buy. Be sure you are cleaning them off skin using the methods the packaging says to use.

2. Use warm water, sponges, and cloths.

If your body painting or face painting supplies say to use only water, or mild soap and water, then follow those instructions. Use warm water if possible to make cleanup nicer for your clients, and easier paint removal. Sponges (the same kind you use to apply body paints) and soft cloths are the best tools; you can use paper towels, but why not save the environment a bit and use something re-useable? And using the same types of sponges you use to put paint on will give you the best kinds of shapes for removing it as well.

3. Use non-allergenic, natural, safe skin soaps.

If you've chosen your face and body paints correctly, you have made sure they are meant for face painting and body painted and are almost guaranteed not to cause an allergic reaction. Be sure your clean up soaps follow the same standards. Natural bases like glycerin and castille are good; try to avoid perfumes, artificial colors, and chemicals. If it says 'natural' or 'hypo-allergenic' on the label, you may still want to check the ingredients, they may still include scents or high amounts of alcohol-stearates, which can cause sensitive skin to react.

4. Be careful around the eyes.

Watch cleaning around the eyes especially - of course ask your client to close their eyes, and go slowly. Some makeup suppliers (Mehron, for example) carry special cleaners especially made for cleaning around eyes; you may want to try one of those. You could also look at makeup suppliers for smaller tools meant for cleaning around eyes. The skin around the eyes (and of course the eye itself) is more sensitive than the rest of the skin, so what works on the rest of the skin may not equally well around the eyes.

One good trick is to clean the other areas entirely first, and leave the eyes for very last - that way you will not be getting more paint near the eyes once they are clean, and will only have to clean them once. That way you can avoid repetitive cleaning (and irritation) of the eye area - as well as extra work on your part.

5. Baby Wipes are great, but use the right ones.

Baby wipes are great to have on hand, but remember they were formulated for wiping a very different area of the body than the face. This means they have probably not been tested for facial safety and irritation. I would recommend getting baby wipes that are 'natural,' but again, check the ingredients on the back. You want no fragrances if possible, and no dyes. Sometimes you can get them especially for 'sensitive skin,' again, read the labels. Then try them on your face to see how they work before using them on others.

6. Protect clothing while painting - and washing up.

Paints made for face painting and body painting should never stain the face, but the same can't be said for clothing. Even water based body paints can still stain clothing. Keep clothing away from the paint as it is being applied, of course - but you will want to watch it when you are cleaning up as well. Soaking paints with water and washing them off can be a drippy process, and colors are even more likely to get on clothes then than when painting. Consider using covering cloths while you are cleaning, even if you didn't when painting.

7. And Last But Not Least: Don't Scrub!

Don't scrub the skin, even if the paints are not coming off properly. Scrubbing can cause bad reactions even if everything else is safe for skin. If your paint is not coming off quickly, be patient, let it soak a bit and try again, gently. Try using something else to clean such as baby wipes or a cloth with a little soap squirted directly on it. You may also want to take a look at the paint's instructions on cleaning up again - maybe you missed something on cleaning up. In any case, don't get frustrated and scrub! Your client will appreciate it.

So that's it - 7 best tips for cleaning up safely and easily after face painting or body painting. You may want to print these out as a reminder sheet to include in your painting supplies, that way if you have a cleaning problem, you can consult them quickly!


Body Painting European Festival 2010

Body Painting European Festival 2010

Body Painting European Festival 2010

Body Painting European Festival 2010

Body Painting European Festival 2010

Body Painting European Festival 2010

Lawyer Kaireddyn (Kai) Orta began fabricating his own, rudimentary tools for making tattoos in 1996, while still in high school here in Oaxaca, Mexico. One day a neighbor saw him carrying a shoe box, and asked him what was in it. Kai showed him the adapted motor, needles, ink and other paraphernalia. The neighbor was the recipient of Kai's first tattoo. Kai then began doing tattoos for his schoolmates.

Kai had been interested in tattoos (tatuajes) and body piercing (perforación) since boyhood. It was natural for him, since his father was a history teacher, constantly recounting stories of rituals of Mexico's indigenous populations. There was no shortage of books around the house with images of pre-Hispanic peoples who were accustomed to self-adornment. Kai ate it up.

But throughout Kai's youth, seeing tattoos in the flesh was a rarity. Aside from in books and occasionally coming across a tattooed person on TV, he would only have an opportunity to actually see real live people with tattoos and body piercings when he would catch a glimpse of mainly North American and European tourists walking the streets of downtown Oaxaca, a Mecca for international tourism.

The modern tradition of tattoos and body piercings had been established in countries such as Canada, the US, Spain and Britain, long before it arrived in Mexico. Like so many representations of emerging subcultures, it takes upwards of a decade for them to catch on in Mexico, especially in the more isolated and conservative regions of the country, like Oaxaca.

The state of Oaxaca was by and large physically isolated from the northern half of the country, and indeed the broader world, until the arrival of the pan American highway in the late 1940s. While the odd adventurer would make his way down to Oaxaca between then and the early 1960s, it was the hippie movement later that decade and into the early 1970s which opened up southern Mexico to the concept of North American and European counter-cultures, including tattoos, and then body piercing. However the prevailing sentiment of the Mexican middle classes was that their children should be insulated from foreign youth, and all that its subculture stood for.

Leap forward to the 1990s. Change would begin to emerge in Oaxaca. Tattoos, body piercings and other non-traditional forms of self-expression had begun to be perceived as mainstream throughout the Western World. The silver screen and magazines promoting its pierced and tattooed stars had become commonplace. Oaxaca had to take notice. And that included its older generation, which was then forced to recognize if not accept that the ritualized behavior of their grandchildren (and to a much lesser extent their children) could no longer be equated with something devious, dirty and wrong, simply as a consequence of changing their physical appearance through piercing and painting their bodies, permanently. Many in the Oaxacan youth culture were becoming critical thinkers through higher education, therefore better able to make informed decisions, stand up for them, and celebrate them.

Kai is thirty years old. Practicing law wasn't for him. By the time he had graduated and had a taste of the working world of attorneys (less than a year), he had already become an established tattoo and body piercing artist, with his own studio, albeit quite smaller than his current digs. And besides, most lawyers in Oaxaca do not earn the level of income that provides for a middle class lifestyle, at least by Western standards.

Kai's current studio, Dermographics, in the heart of downtown Oaxaca, consists of:

• The reception area with long desk and computer, tropical fish filled aquariums, display cases with mainly jewelry relating to body piercings, wooden African floor sculptures and masks (as well as a few Mexican masks), a bookcase filled with albums containing drawings and photographs of mainly tattoos, and two comfortable sofas where customers can browse through the "catalogues" at their leisure
• A similarly adorned middle room with supply cases by now of course filled with modern, commercial equipment and supplies, and a small adjoining workroom
• The back room, with chairs and "operating" table, for attending to tattoos and body piercings

"Here in Oaxaca we don't refer to ourselves as 'artistas,' Kai explains. "In the United States there's much greater acceptance of the art form and those who are dedicated to the skill, so in the US and other countries such as Canada it's acceptable to use the term 'tattoo artist.' But in Oaxaca we just refer to ourselves as tatuadores."

Kai & Colleagues Participate in Twelfth Annual Tattoo Fest in Oaxaca, Summer, 2010

During the course of a 3 ½ hour interview at Kai's studio, his friends and fellow tatuadores from Mexico City, Daniel (Tuna) Larios and his girlfriend Angélica (Angy) de la Mora, were in the shop working and otherwise serving customers, while for part of the time Kai was out running errands.

Tuna has been a tatuador for 12 years while Angy began doing tattoos only a year ago, when she began living with Tuna. Together they opened up a shop, called Toltecan, in the nation's capital. Before then Tuna had been doing tattoos for customers at other studios. He was introduced to the trade from having had his body tattooed. Angy learned the skill from Tuna.

But for Angy learning to be a tatuadora was a natural extension. She already held a degree in fine arts from a university in Chihuahua, and had participated in several collective traditional art exhibits. "But it's easier to make a living doing tattoos than as an artist," Angy concedes. As distinct from Angy and Kai, most tatuadores in Mexico do not have advanced training for other career paths options.

Tuna and Angy had come to Oaxaca to participate in the twelfth annual Tattoo Fest, held on August 21 & 22, 2010, a couple of days earlier. Kai is one of three festival organizers, and was on the ground floor of the concept when the first fest was held back in 1998. "Until this year the event was called Expo Tatuaje," Kai clarifies. "We decided to change the name with a view to attracting more foreigners. But back in the early years we held the exposition so that we could meet to exchange ideas, improve access to modern equipment and supplies, and raise the level of consciousness of the Oaxacan community, so that hopefully there would be a greater acceptance of what we were doing. Now the purposes and functions of the event are much broader, since we are well on our way to achieving our earlier goals."

The success of Oaxaca's Tattoo Fest 2010 was evident from the crowds (hundreds by all estimates) and sales. Tuna and Angy between them did 11 tattoos over the two-day period. "I've been coming to the fair for the past four or five years," Tuna explains, "but this is the first year I can actually say that it was worth my while, profit-wise, to come to Oaxaca. You know I had to close my shop in Mexico City to come here. I think this show has finally turned a corner."

This year there were approximately thirty booths, about a dozen of which were dedicated to doing tattoos. In the course of a one-hour visit on the Sunday, during that entire time each and every tatuador was kept busy working - and in many cases there were onlookers in queue awaiting their turn.

Many vendors had come from other parts of Mexico to participate. They converged on Oaxaca to not only do tattoos and piercings, but to also sell a broad diversity of related materials including:

• Tattooing and body piercing equipment, supplies and other paraphernalia
• CDs, DVDs and posters all with alternative themes (both Bob Marley and Alice Cooper live on in Oaxaca)
• Body piercing and other personal adornments, wrestling masks, and clothing, custom-painted while-u-wait.

The event was much more than a sales opportunity for retailers, however. It provided a chance for those in the business to promote their industry, source state-of-the-art and otherwise imported equipment and supplies (since many tatuadores don't get to Mexico City very often, and most imported machinery, needles and paints arrive initially in Mexico City), and entertain tattoo and piercing collectors, aficionados, and the curious, all under one roof, the Salón Señorial located across from Oaxaca's renowned Abastos Market.

As Kai contends, there appears to be three classes of people in Oaxaca, and presumably in other countries, who get tattoos:

• The colecionista who usually ends up filling most parts of his or her body, attempting to adorn with as broad a diversity of designs as possible, or with a particular class of design or artistry (i.e. demons, pre-Hispanic figures, animals, famous faces), often seeking to get the work done by several different top tatuadores from various states and countries if possible
• The aficionado who wants a few tattoos strategically placed on select body parts
• The casual individual who desires one or two tattoos for self-expression or to make some kind of statement, having seen a tattoo he or she likes, whether on a celebrity, friend or stranger on the street, or electing to do a specific design; a tattoo of the logo of one's favorite sports team exemplifies this type work

It's not unlike other hobbies and interests. Human nature remains the same. The first category represents an obsession with collecting, just as in a class of antique, salt and pepper shakers, folk art, weigh scales, and so on. The second is an enthusiast who imposes boundaries, either by design or subconsciously based on personality trait. The third does only selective thinking about it, whatever the product, holding some interest, often fleeting but long enough to result in a purchase or two.

In the course of the two day celebration of all that is still somewhat considered counter-culture in Oaxaca, there was:

• Live entertainment including seven predominantly rock and reggae bands, as well as belly dancers and other forms of choreographed performances
• An outdoor makeshift restaurant serving beer, soft drinks, and real barbecued hamburgers
• Panel discussions and forums with themes including methods for advancing the reputation of this alternative art form in Oaxaca, and dealing with allaying health and safety concerns through the adoption of US-style norms

Health & Safety Issues a Concern of the Body Piercing & Tattoo Trade in Oaxaca, Mexico

Throughout the US there are health and safety regulations relating to tattooing and body piercing; not so in Oaxaca, though it's a hot topic throughout the Mexican tattoo and body piercing community. The word "normas" is constantly being bandied about. The tatuadores at Tattoo Fest, and more particularly Kai, Tuna and Angy, made a point of indicating that most in the industry follow US norms for health, safety and hygiene. According to Tuna, the United Kingdom has the strictest, all-encompassing laws relating to tattooing and body piercing, which he views as a good thing.

It appears that virtually all tatuadores are sensitive to the clout carried by the authorities, even without specific laws relating to tattooing and body piercing. In Oaxaca it's the Secretaria de Salud (ministry of health) which does in fact conduct spot checks of studios, much the same as it does of restaurants in Oaxaca. It has the ability to shut down a restaurant, eatery or comedor, on the spot. And the same holds true for a tattoo studio.

The threat or perceived threat of incarceration perhaps serves a positive function in the tattoo and body piercing milieu. While Oaxaca's inquisitorial, Napoleonic legal code is slowly changing (oral trials arrived in the state of Oaxaca in 2007, albeit for only the most heinous criminal offences), the attorney general's office still has the right to jail alleged offenders of virtually any rule, law or regulation, where a personal injury has resulted. Without specific laws relating to tattooing and body piercing, perhaps Oaxaca's current legal system, as high-handed as it might appear, serves an important function for the tattoo-buying public. Certainly it appears to keep those in the industry in check.

"We won't work on a minor, plain and simple, without parental authorization," Tuna stresses. "And in fact, rather than relying on written permission from a parent, for me, I personally want the father right there in my studio when I'm working on his son or daughter."

Having been trained as a lawyer, Kai has a special appreciation for the implications of not ensuring a clean, safe work environment in his studio, and following health, safety and hygiene procedures established in other jurisdictions, "to the tee:" packaged needles; equipment kept under wrap; gloves and masks; first aid, fire and related health, hygiene and safety equipment close at hand; a "surgical" workspace segregated from the retail portion of the shop; etc. The back of his business card lists steps that should be taken by recipients of tattoos from the moment they leave the studio, to reduce and hopefully eliminate the risk of infection or other complication. Other tatuadores hand out leaflets listing the same or similar precautions that should be observed.

According to Tuna, in Mexico City one can take courses in tattooing and body piercing at a couple of different institutions. But they are for learning the trade, and are not government regulated. Tuna views an inconsistency between government treatment of dental offices and tattoo and piercing studios, and unfairness: "There are a lot of dental offices around which are much less clean than our studios, and whose staff do not follow the most sanitary of practices; and yet the dentists are not subjected to the suspicion and innuendo that we are." [At least dentists are required to have a minimum level of training regarding matters of health, safety and hygiene.]

Kai, for one, is clearly an expert at his trade. From the outset, dating to his high school days, he would invariably read and otherwise learn before starting to work on someone. He would always work in consultation with a doctor, a relative of the family. The doctor was a most valuable resource for Kai in terms of guiding him through all the appropriate health and hygiene procedures, for every step. Kai has never worked on anyone without approaching the task with a high level of confidence. But, he acknowledges, "you never stop learning."

The Economics of Tattoos and Body Piercing in Oaxaca

Angy is working at the counter, doing a pencil drawing of a 1950s pin-up - with a twist. A young woman had come into the studio the day before, wanting a tattoo on her leg of a vintage pin-up girl, but part of the body to be non-traditional, as in one leg and half the head perhaps with skeletal bone exposed, the rest shapely and feminine; as in a Mexican catrina, as Angy puts it, "but with a bit of flesh on her body." The customer is due back today at 4 p.m.

Two men in their twenties come in to look at tattoo samples. They sit down and browse through two albums for about 40 minutes, then arrange for one of them to come back the next day for a fairly large black tattoo of the Pumas Mexican soccer team logo. Then two younger girls come in looking for eyebrow rings or other similar adornments, in the 250 - 300 peso range.

Kai's studio does a brisk business. He charges a minimum fee of 400 pesos for a simple tattoo, a tribal, literally "tribal," as they're known, or perhaps a letter. It was the same minimum charge at the Tattoo Fest: "Sure, some tatuadores will do a tattoo for 150 - 200 pesos, but most of us prefer to start with prices where we can take our time to do quality work that the customer will definitively appreciate, and therefore want to come back, show off to friends, and so on. I've been doing tattoos long enough, and my quality is such that I should command that kind of price, and the customer is more than satisfied."

Kai and Tuna charge within the same range. They both are happy to work by the job, or per daily session. Kai charges 1,000 - 1,500 pesos per session, which can result in a fairly substantial, detailed, color image. Tuna will do a full back for 10,000 - 15,000 pesos. Each has done large, complex multi-color tattoos for as much as 20,000 pesos. That seems to be the top price in Oaxaca.

There appears to be a desire to reinvest profit into securing a better work environment, and higher end equipment. Regarding the latter, in most cases it's simply a matter of imported machinery and supplies commanding a higher price, and the fact that the options for Mexican-made equipment and supplies are much more limited. Hence the desire to search abroad for more diverse product lines. "Don't get me wrong," Tuna cautions, "there is high quality equipment manufactured here in Mexico, but we lack the range in products, and of course everything imported is perceived as better and therefore fetches a higher price."

Continuing education also seems to be a priority for tatuadores. A few years ago Kai traveled to Guadalajara to take an intensive course. According to Angy, sometimes tatuadores will take a brief, area-specific art or drawing course to enable them to keep up with market demand. Most tatuadores do not have training in fine arts, so seizing the opportunity to learn is something to which many aspire. In some cases rather than turn away a prospective customer for lack of particular expertise, it's better to invest in learning a new aspect of the trade through training.

It's rare for a tatuador to turn away business, but it does happen. It's usually a result of the artist not being able to do quality work based upon the requested design, than finding it repugnant. Perhaps it's simply that tatuadores do not often encounter someone who wants, for example, a swastika on the forearm. "Usually what happens is someone comes in and wants a small tattoo, of whatever, on a finger or arm, and I know that I cannot do a good job given the requested size, or that after a short period of time the quality will diminish," Kai admits. "So I suggest something different, something larger or with a different color scheme, or for a different part of the body. Sometimes the customer agrees, sometimes he leaves, and sometimes he insist, in which case I decline the job."

"We can all use more business, but it's a skilled trade which we want to elevate in terms of its reputation, so we must all strive to maintain standards, as well as our personal integrity;" Kai asserts.

The main reasons that customers do not return is lack of funds for either additional tattoos or to continue with the same project, or pain. "Different people have different pain thresholds," Tuna advises. "The sex of the customer sometimes is a determinant of the pain one can expect will be felt, depending on the particular part of the body. Working on the same part of the body can affect men differently than women." Only 50% of Tuna's work is repeat business.

Kai has a preference in favor of working on men rather than women. Why men? Men tend to want larger tattoos, which translates to more artistic license and a greater ability to produce a true masterpiece. "But don't get me wrong," Kai adds defensively, "I love working on women, and do just as high quality work, always."

Customers in their twenties make up the largest age group. Otherwise, occasionally a teen comes in with a parent, perhaps 20% of tattoo-seekers are in their thirties, and a much small percentage comprises an older clientele.

Advice for Americans, Canadians, Europeans and Those from Further Abroad Wanting a Tattoo in Oaxaca

Tuna admits that in Mexico there are perhaps two high quality tattoo artists per 300 tatuadores, stating that in the US the numbers are very different, two per hundred. It's difficult to accept his figures, having seen several quality tattoos on the bodies of Oaxacans, and having had an opportunity to speak with many Oaxacan tatuadores and evaluate their dedication to the skill, and their desire to elevate its reputation through self-improvement. Tuna contends: "If someone wants a tattoo that I know another tatuador can do better, I refer him to a colleague. That builds public confidence. For me, I know that in black, I'm at the top of my game."

The triumvirate of tatuadores is ad idem when it comes to passing along advice for tourists visiting Oaxaca and wanting a tattoo:

• Don't rush; spend as long as required with the "tattoo artist," chatting, looking at his or her designs, and examining the surroundings of the studio
• Ascertain if the tatuador has a particular specialty, or higher level of competency in one area versus another (i.e. color as opposed to black)
• Address any health, hygiene and safety concerns, since while the ministry of health does have rules and regulations of general application, and spot checks of tattoo studios are conducted, no specific body exists for policing the tattoo industry
• Notwithstanding the foregoing, as indicated the lion's share of the tatuadores in Oaxaca do follow the American normas, those in the industry wanting to elevate their trade to having a more mainstream perception amongst the Oaxacan populace
• Look for instructions regarding how to care for a tatttoo, starting with the moment after leaving the studio, to reduce and hopefully eliminate the chance of complications - either on a flyer or on the back of a business card
• Ask questions, questions and more questions until satisfied that both the process and the end result will meet or exceed expectations

Tattoo Removal in Mexico

Tuna confirms some obvious reasons for seeking to have a tattoo removed:

• As required by an employer (i.e. change in job position)
• For the purpose of attempting to secure employment
• The individual was very young when he or she received the tattoo, and later had a different attitude towards this type of body adornment
• The quality of the tattoo was poor or questionable from the outset
• A change of mind regarding the image or towards body alteration, conceivably later perceived as adulteration

With the modest cost of quality plastic surgery in Oaxaca, tattoo removal in the state proves to be an attractive option for those wishing a return to a tattoo - free existence. In fact in Kai's studio on display there's a plexiglass stand filled with pamplets of a Oaxacan plastic surgeon, Dr. Filberto Fajardo, who specializes in laser tattoo removal.


Related Posts Plugin for WordPress, Blogger...