74 • SKIN DEEP MAGAZINE
revere the past,” she declares, adding, “Translating these symbols and meth-
odologies connects us to those generations’ rejection of imposed shame. It’s a
sign that we remember what we were supposed to forget.”A BRIDGE TO THE PAST
“The act of tattooing by hand, a mirror and a bridge between our ancestors, is
not simply an aesthetic activity but a meditative artform,” says Fiddy, elaborat-
ing on just how important mastering hand-poke is to her. “It’s about reviving
respect for our ancestors and respect for ourselves.”
To hear Fiddy tell it, the impact of colonisation on tattooing continues to
this day, even if most people don’t notice it. “The biggest misconception is that
the Western perspective and version of history is the only one that exists or
the only one that matters,” she says. “Even the way tattoos become more ac-
cepted, the narrative is a twisted continuation of the functions of colonisation.
Much is overwritten and sanitised in a way that is convenient for the people
who have decided to go from devaluing it to consuming it.”
“Subtleties in language always come up,” she points out. “I’ve lost count of
how many times I’ve heard people refer to machine tattoos as ‘real’ or ‘regular’
or even ‘traditional’ tattoos in opposition to hand-held techniques. Even un-
consciously, we are taught to centre a narrow-minded view of what is normal
or where validated history begins.”
When it comes to the Philippines specifically, she believes that “FilipinosIlona Fiddy On... Her Unconventional Studio
“I don’t have a name for my studio — it’s
just me. I am inside a barbershop called
King’s Landing [in Toronto]. There are five
barbers in the shop and a couple of desk
managers — that’s the fam. We are in a
sweet spot in the city between Chinatown,
Kensington Market and Little Italy.”
always the goal and will always be at
the heart of my practice,” she starts.
“My maternal ancestors are from
the Philippines where tattooing
used to be common among many of
the 7,000+ islands. Most practiced a
back-handed tapping method, which
I will one day learn.”
“Tattooing was normal, highly
regarded, practiced for beauty, for
healing, in ceremony, and told of
personal history, ancestry, accom-
plishments, status,” she elaborates.
“Tattooing was also an expression
of people’s reverence for nature. Art
was integral to life, not separate or
frivolous. One of the reasons this art
was so highly prized was that the ma-
terials for making it came from na-
ture. The spirits embodied in nature
were transfigured through materials
into the skin.”
Then colonisation changed eve-
rything. “Colonisation is not just
physical violence, it is psychologi-
cal warfare; systematically replac-
ing pride with shame in order to
conquer and control the people,” she
states. “Goods like textiles were still
encouraged as a tradeable item of
tangible value — products that ben-
efit the coloniser through exploita-
tion of labor — but tattoos were not
a product to be sold. People were
taught it was ugly, against God, the
mark of savages and not civilised
people,” she continues.
“While the effects of colonisation
worked to eradicate the value of tat-
toos, some symbols lived on in tex-
tiles,” which was possible because
“weaving and tattooing disciplines
already shared symbology as tattoos
were considered an extension of
clothing. The continued presence of
pre-colonial, non-Christian themes
was not only an act of preservation,
but an expression of defiance. It was
a rebellious and empowering act to