Traditional Tatooist
Ammin Acha-ur
Jasmine Adaoal or better known in the performing arts and tattoo industry as “Ammin Acha-ur”, is one of the rising stars not only in acting but as a prominent “Mambabatok” in Baguio City. A “Mambabatok” is a tattoo artist which involves traditional practices. It has been a part of Ammin’s tribal culture. “Pambabatok ” is the process of tapping the bamboo stick with an inked thorn or needle on to the skin imprinting tribal designs. The significance for the male having a tribal tattoo represents them as a warrior. During the time of headhunters in their region, the number of enemies they killed is etched with cultural patterns into their skin which signifies as their trophies. For the female, their tribal tattoos symbolize beauty, fertility, wealth or protection. The art as a Mambabatok is a long continuity of their cultural existence.
Ammin’s Works
Ammin first started when she was nineteen years old. She learned the tradition and taught herself the practices of Pambabatok from the “Butbut’ tribe in 2016. The Butbut tribe consists of five barangays: Bugnay, Buscalan, locong, Butbut proper, and Ngibut. Ammin also draws inspiration from the legendary artist, Wang-od, who became an icon for the youth in the world of traditional tattoo. For the past seven years, the cultural embodiment of Wang-od was her motivation to promote and continue the art of Pambabatok.
The materials Ammin uses mostly consists of organic materials from nature itself. These materials are from the old ways of their tribe which are thorns from citrus plants and trees like lemon plants and pomelo trees. The thorn is then placed on top of a wooden stick, perpendicularly. The ink is made from water mixed with charcoal soot extracted from the bottom of a cooking pan. She uses another wooden stick to tap the thorn into the skin and grass is used for her stencils . Although Pambabatok has a natural approach, Ammin has a modern take in terms of sanitation. She uses gloves, tattoo balm, alcohol, wet wipes and tissue. Ammin utilizes a combination of patterns but mostly she uses patterns that originated from the Kalinga culture. Due to changes from every generation, Ammin uses personal designs from modified Kalinga patterns to non-traditional patterns based on the client’s request. Given her versatility, she mostly stays committed to the values and meaning of her traditional designs. With her growing fascination in the world of being a Mambabatok, she expands her knowledge by learning every traditional pattern with its significance that the cordillera has. She is fond of doing snake designs and geometrical patterns. In kalinga culture, the snake symbolizes protection and bravery. The geometrical patterns lay out an optical illusionary effect as if it moves whenever it is gazed upon.
It takes Ammin to finish a 1×1 project in an hour. A full sleeve tattoo takes one session per one to two months in a span of two years. The reason why there are large intervals in time is that the skin of a client after a portion of it has been done needs a period to recover. Ammin is not particularly known for a specific style for she mostly practices the method of her ancestors even with modifications as it is traditionally based. However, her neatness and intricacy in execution is highly praised and acknowledged. Besides the tribal traditional patterns, which are passed down to upcoming generations, another trait she shares a similarity with other Mambabatok is the use of natural materials. The use of organic resources for their art is an action of respect to their tradition.
Being a Mambabatok is a career Ammin got used to. She developed discipline within herself due to her art which requires extensive patience. She basks in the honor of the cultivation of their culture. She expressed that the interactions she has with her clients is what she loves about being a tattoo artist. She portrays her knowledge of her heritage and culture through her artistry towards her audience, it’s a way for her to help the preservation of their tradition. While doing so, she learns more about the world, witnessing how her tradition is being valued through engagements and interactions between her and the clients.
It’s not as easy as anyone would think about being a cultural tattoo artist. The responsibility bestowed upon Ammin has certain struggles besides the conservation of the tradition. A common misconception is the comparison of contemporary tattoo and traditional tattoo. As Ammin constantly states that both are different from one another in terms of limitations of materials used and the symbolism of the art. People might get discouraged because of their tattoo preferences in regards to aesthetics and synthetics but the artistry of a Mambabatok imprints such rich history and cultural symbolism into the skin of a person that values their heritage. Above all else, what tattoo artists like Ammin mostly dislike is the discrimination of tattoos in general by the public for they see it as an act of deviance. In the world of art, tattoos are a creative and meaningful way for an individual to express their appreciation of life, culture and their body.
Ammin hasn’t taught anyone about being a Mambabatok yet. Even in her level of mastery at the age of twenty six, she still continues to expand her knowledge as an artist whether as a performing actress or being a tattoo artist. Once she has established her own style then she’ll seek an apprentice to carry her legacy. Art is beautiful for her if the story behind it is engaging. Ammin’s appreciation for her culture and heritage reflects towards her creativity and performance making her an artistic treasure within the region. She will always be open for people who are willing to be a canvas for their cultural history.