Roryvanas 2025239 a SEMIOTIC

ABSTRACT This study focuses on the graphic imagery of tattoo artists in KwaZulu-Natal with special reference to the Ramesar brothers. Various visual communication practices and theories are drawn upon to explain the imagery created by them. The literature review chapters of this study cover a brief history of primarily Western tattooing practices, as well as a discussion of the meaning of tattoos from a visual semiotics perspective. The fieldwork component of the study involved conducting and analysing a series of qualitative in-depth interviews with interviewees who were either tattooed by, or are family members of, the Ramesar brothers. The purpose of the interviews was to explore the personal experiences and motivations that contributed to the work of these tattoo artists. The study contributes to visual studies in South Africa in the sense that the empirical data confirm the pioneer status of the Ramesar brothers as graphic artists. I DECLARATION This dissertation is the result of my own independent work and investigation, except where otherwise stated. Where it is appropriate, other sources are acknowledged by giving explicit references – a bibliography is included subsequently. This dissertation is being submitted in fulfilment of the requirements for the degree of Master of Applied Arts in Graphic Design. This work has not been previously accepted in substance for any degree and is not being concurrently submitted in candidature for any other degree. Signed: 19 July 2019 Date: II 'I think every man should have a tattoo so he may be identified'1 Harry Ramesar (Hennig 1981) 1 The author is aware the quotation may be interpreted as an example of sexist language but decided to include this quotation of Harry Ramesar's words verbatim as the quotation summarised his attitude to his clients and the population in general. III ACKNOWLEDGEMENTS • I would like to extend my deepest gratitude to my wife Maria, for always being the wind in my sails when the winds were low and my rock for when I needed something to hold on to. Your unwavering support throughout this journey has helped me stick to the path of completing this study. • To my parents, thank you for always being there for me and continuously pushing me to be the best and fulfill any challenge that lays in my path. • Professor Rolf Gaede, your guidance throughout this journey has been immense. Thank you for all you support and valued input. • I would also like to thank Latha Ravjee for her valued contribution to this study. • To all the participants in this study, your input has been the foundation of this study. It was an absolute pleasure to meet you all and thank you for sharing your stories. • Thank you to the anonymous reviewers for their insightful comments and recommendations. IV TABLE OF CONTENTS ABSTRACT I DECLARATION II ACKNOWLEDGEMENTS IV TABLE OF CONTENTS VI LIST OF FIGURES X LIST OF TABLES XV CHAPTER ONE 1 INTRODUCTION 1 1.1 Introduction to the field of study 1 1.2 Aims and objectives 2 1.3 Study Design and methods 3 1.4 Overview of the remaining chapters 5 CHAPTER TWO 6 TATTOOS AND THEIR CLASSIFICATION 6 2.1 Introduction 6 2.2 History of Tattoos 6 2.3 Circus Attractions 10 2.4 Tattoo Tools, Inks and Flash 17 2.5 Stencils 21 2.6 Tattoos, their Meaning and Mythology 23 2.6.1 Tattoos of the Sea 24 2.6.2 Babes, Banners, Hearts and the Natural World. 26 2.6.3 The Animal Kingdom. 33 2.6.4 Religious 35 2.6.5 Lady Luck and Her Superstitions 37 2.6.6 Prisons and Gangs 38 2.6.7 Gangs and Bikers 40 2.7 Classification of Tattoos 42 VI 2.8 Conclusion 43 CHAPTER THREE 45 A SEMIOTIC PERSPECTIVE OF TATTOOS AS A FORM OF GRAPHIC COMMUNICATION 45 3.1 Introduction 45 3.2 Social theories relevant to the study of tattoos 45 3.2.1 Deviance Theory 45 3.2.2 Anthropology 47 3.2.3 Visual Anthropology 48 3.3 Pictorial communication theories relevant to the study of tattoos 50 3.3.1 Graphic Communication 50 3.3.1 (a) The Natural World 52 3.3.1 (b) Man Made Objects 53 3.3.1 (c) Symbols 55 3.3.2 Pictorial Communication 57 3.3.3 Communicative Functions of Images 58 3.3.4 The Cognitive Approach 61 3.3.5 Pictorial Communication Functions of Tattoos 62 3.4 A semiotic perspective of tattoos 67 3.4.1 Semiotic studies in general 68 3.4.2 Visual Social Semiotics 69 3.4.3 Visual Semiotics 70 3.4.4 Johansen's semiotic pyramid model 72 3.4.5 Examples utalising Johansen's semiotic pyramid model 76 3.6 Conclusion 79 CHAPTER FOUR 81 METHODOLOGY 81 4.1 Introduction 81 4.2 Methods and procedures 81 4.3 Inclusion and Exclusion Criteria in this Study 83 4.4 Ethical Considerations 83 4.5 Research Methods 85 VII 4.6 Fieldwork 86 4.7 Transcripts 87 4.8 Codes and Themes 88 4.9 Conclusion 91 CHAPTER FIVE 92 DATA COLLECTION AND ANALYSIS 92 5.1 Introduction 92 5.2 Background information about the Ramesar brothers 92 5.2.1 The Tattoo Beginnings 93 5.2.2 Tattoo Premises 95 5.2.3 Tattoo History as told by Harry 95 5.2.4 The Tattoo Process 96 5.2.5 Tattoo Removal 96 5.2.6 Popular Designs 98 5.2.7 Tattoo Experience 99 5.2.8 Tattoos and Race 99 5.2.9 Clientele 99 5.2.10 Tattoo Royalty 103 5.2.11 A Clients Experience 104 5.2.12 Tattoo Career 106 5.3 Conclusion 107 CHAPTER SIX 108 FINDINGS 108 6.1 Introduction 108 6.2 Analysis of the textual data 108 5.3 In-Depth Interviews 132 6.3.1 (PERSINT 3 and 5) 132 6.3.2 (PERSINT 1) 140 6.3.3 (PERSINT 2) 146 6.3.4 (PERSINT 4 and 6) 153 CHAPTER SEVEN 160 VIII CONCLUSION 160 7.1 Summary of the preceding chapters 160 7.2 Main points to emerge from the study 161 7.3 Implications for graphic design practice 164 7.4 Suggestions for future research 164 APPENDIX A 167 PROVISIONAL INTERVIEW QUESTIONS 167 APPENDIX B 169 INFORMED CONSENT FORM 169 APPENDIX C 170 MODEL RELEASE FORM 170 APPENDIX D 171 ETHICS CLEARENCE LETTER 171 LIST OF REFERENCES 172 IX LIST OF FIGURES Figure 2.1 Prince Giolo (online image) 8 Available: http://www.vanishingtattoo.com/tattoo_museum/ Philippine_tattoo_images.html (Accessed 13 July 2016) Figure 2.2 Webber, John. 1776. Captain Cook (online image). 8 Available: http://en.wikipedia.org/wiki/James_Cook (Accessed 13 July 2016) Figure 2.3 James F O'Connell (image). Undated. London: Carlton Books 11 Limited (Accessed 13 July 2016) Figure 2.4 Circus tattoo banner (image). Undated. London: Carlton 12 Books Limited (Accessed 13 July 2016) Figure 2.5 Circus sideshow stalls. (image). Undated. London: Carlton Books 12 Limited (Accessed 13 July 2016) Figure 2.6 'Painless' Jack Tyron (image). Undated. London: Carlton Books 12 Limited (Accessed 13 July 2016) Figure 2.7 Artoria Gibbons. 1920s. (online image). 14 Available: http://minipennyblog.com/2014/12/womencrush- wednesday-artoria-gibbons.html (Accessed 12 July 2016) Figure 2.8 Nora Hildebrandt (online image). 14 Available: http://thehumanmarvels.com/nora-hildebrandt-the- first-tattooed-lady/ (Accessed 12 July 2016) Figure 2.9 Example of Feminine Tattoo on the wrist 16 Figure 2.10 Pitch card of La Bella Angora (online image) 16 Available: www.pinterest.co.uk/Charmed_Life/vintage-tattooed-ladies/ (Accessed 12 July 2016) Figure 2.11 Irene Libarry . 1976. (online image) 17 Available: http://www.dailymail.co.uk/female/article-2270600/ History-womens-tattoos-from-Native-America-cancer-victims-tatts- Instead-breast-reconstruction.html (Accessed 12 July 2016) Figure 2.12 Lyle Tuttle outside his studio (image). Undated. Sydney: Adrian 19 X Savvas Publishing Figure 2.13 Tattoo Advertisements (image). Undated. London: 19 Laurence King Publishing Ltd Figure 2.14 Cap Coleman outside his tattoo parlour in Norfolk, Virginia (image). 19 Undated. London: Carlton Books Limited. Figure 2.15 Cap Coleman and the tattoo flash in his tattoo parlour (image). 20 Undated. London: Carlton Books Limited. Figure 2.16 An example of a travelling tattooist flash book. (image) undated. 21 USA: Schiffer Publishing Ltd. Figure 2.17 Lyle Tuttle tattooing a traditional sailing ship, 1960's 24 (image). 1960. Amsterdam: Taschen. Figure 2.18 Danzl, D. 1960. Clipper Ship Tattoo (image). London: 25 Carlton Books Limited. Figure 2.19 Hula girl, tattoo on The arm of a US sailor, 1940's. (image). 28 1940 London: Carlton Books Limited. 23 Figure 2.20 Cindy Ray in her studio, 1960's (image). Undated. 27 Amsterdam: Taschen. Figure 2.21 Heart with Banner Tattoo, 1970's (image). Undated. 28 Amsterdam: Taschen. Figure 2.22 Heart with 'True Love' Banner tattoo, 1970's (image). Undated. 29 Amsterdam: Taschen. Figure 2.23 Rose tattoo with dagger and snake, 1970's (image). 31 Undated. USA: Schiffer Publishing Ltd. Figure 2.24 Rose Tattoo (image). Undated. USA: 31 Schiffer Publishing Ltd. Figure 2.25 Tattoo artist, Ron Ackers tattooing a tiger and snake, 1950's 34 (image). Undated. Amsterdam: Taschen. Figure 2.26 A Pharaoh's Horses back piece (image). Undated. London: 35 Carlton Books Limited. Figure 2.27 A Pharaoh's Horses back piece (image). Undated. London: 35 Carlton Books Limited. XI Figure 2.28 A back piece of Madonna and Angels, 1915 (image). 1955. 36 London: Carlton Books Limited. Figure 2.29 A chest piece of Christ's Crucifixion and angels, 1960's (image).

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