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Friday 13th superstition: Why is Friday 13th unlucky? – Express11.11.20

The number 13 itself is considered to be an unlucky one, something which is seen throughout history.

The irrational fear of the number 13 has been given a scientific name - triskaidekaphobia, and fear of Friday 13th has its own name, paraskevidekatriaphobia.

This comes from Greek, with the word Paraskev meaning Friday and dekatres meaning 13.

Some people avoid marrying on Friday 13, others take the day off work or refuse to travel on the date.

Read More:Friday the 13th origins: Where did Friday the 13th come from?

Another theory comes from the Middle Ages and the story of the last supper and Jesus crucifixion.

There were 13 people present during the last supper, which took place on 13th day of the Hebrew month of Nisan.

Jesus was then crucified the next day, on Good Friday.

A third popular theory is on Friday, October 13, 1307, Philip IV of France arrested hundreds of the Knights Templar.

There are other theories as to why the dates is so unlucky, such as 13 being the number of witches to make up a coven, bad events being related to Friday 13 and the death of famous figures on the date.

When Friday 13 approaches, many dread the date and attribute unlucky events or anything going wrong to it.

However, out of the date a tradition has been spawned in the tattoo world.

In recent years, Friday 13 is a day for tattoo artists to create flash sheets - sheets with lots of designs - and tattoo fans pick a design for a cheaper price.

Some studios offer 13 tattoos, others design tattoos based around the unlucky theory of the day - with black cats, the number itself and cracked mirrors.

Other bad luck signs according to superstition

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Converting art into alphabet – Livemint11.11.20

On the website of the Typecraft Initiative, one can see the letter R etched in a foliage-rich, botanical typeface. It carries the essence of the vibrant reverse appliqu and patchwork style of the Dhebaria Rabari embroidery practiced in Kutch. This age-old craft has been interpreted as a font in collaboration with five craftswomen, Balli ben, Jeni ben, Seju ben, Parma ben and Dawal ben.

In fact, collaboration is at the heart of what Typecraft does. Founded in 2012 by visual designer and educator Ishan Khosla, in partnership with Andreu Balius and Sol Matas, the project is a one-of-its-kind, creating a digital typeface from a craft or tribal art. As Khosla states, the initiative combines traditional knowledge systems with design and digital technology.

So far, the team has collaborated with craftswomen, who practice Chittara floor art, Godna tribal tattoos, Paakko and Soof embroideries, Madhubani art and the Barmer appliqu and patchwork. The process of font creation varies from craft to craft, depending on the motifs and the ascribed meanings for each. The latest in the series revolves around the Mithila art from across the Madhubani district of Bihar. However, the work on that is going slow due to the ongoing pandemic. The Typecraft team has made a conscious decision to work only with craftswomen. When you support women, the whole family benefits, says Khosla. The idea is not just to provide livelihood but also bridge the gaps between design and craft, rural and urban, mainstream and the subaltern.

The Synergy Rabari Latin Typecraft is a collaboration between Balli ben, Jeni ben, Seju ben, Parma ben and Dawal ben (craftswomen), designers Ishan Khosla and Shreya Meher, and type designer Andreu Balius. Photo: courtesy Ishan Khosla

The process starts with the Typecraft members researching the craft, the meanings of the motifs, and more. For instance, for the Godna typeface, they tried to understand how tattoos act as markers of identity for the Gond community of Chattisgarh, and also their role in healing diseases. They conducted workshops with the tattoo artists about the kind of pigments used, how the needles clustered and how the tattoos are applied on the skin. The craftswomen and artists are encouraged to make letters on their own using materials like paper, ink and scissors. Special kits are designed for workshops for each craft. The ones for Soof, for example, are different from the Rabari ones, as the former makes use of triangles and waves. The kits feature cutouts of these patterns and craftswomen play with these to create simple and geometric motifs. With no outline offered to guide them, they are free to conceptualise their own designs.

For a lot of the women, using these materials is a novelty, and the initial days are spent in trying to get accustomed to those. Usually, craftspeople are given patterns by designers, which they then have to execute. We are challenging that. In this process, they have complete ownership over the process as they have to use their creativity to create the designs, says Khosla. Once they have created the patterns, the Typecraft team adds constraints such as height, width and thickness. This leads to a lot of innovation and learning. For instance, with Paani ben, one of the older craftswomen, we explored different sorts of designs for the soof embroidery based lettering, which we are calling "Soof serifs", writes Khosla in a paper explaining the process. We also explored the use of condensed letters, i.e., letters that are narrower in width, as they seem to be more in line with the proportions of soof embroidery.

A discussion between Ishan Khosla and Sajnu ben, who practices the Dhebaria Rabari embroidery, at her home in Kukadsar village in Kutch, Gujarat. Photo: courtesy Ishan Khosla

Also, the letters, de-contextualised from the motifs they work with, offer a challenge to the artists. It encourages them to think of newer forms that their craft can take. Also, with a majority of the craftswomen being illiterate, the process of making the typefaces motivates them to read and write.

Once the patterns are ready, they are scanned and vectorized, with the Typecraft team checking them for consistency and proportion. According to Khosla, after this, the letters are brought into software like Glyphs to test the functionality of the typeface.

The idea of the project is to challenge the Eurocentric constraints on design. Modernism in design, especially the Bauhaus movement with its minimal aesthetic, banished the lushness of ornamentation. This had a numbing effect on a country like India. Modernism removed all meaning and function from ornament, says Khosla, Its sad as ornament has a function of organising society, and pride in identity. India is not a less is more country. The motifs in tribal and traditional art are layered, complex and nuanced. And our project is a celebration of that creative spirit.

The fonts are already being used by designers and publishers. Khosla has also been giving virtual talks about bringing the lineage of ancient crafts into a contemporary context. One such recent talk was with Pavitra Rajaram, brand custodian, Sarmaya, a museum with no boundaries, which focuses on art, artefacts and living traditions. Lauding Khoslas initiative, Rajaram says, that a project such as this is important in the indian context as it brings out the spirit of collaboration. Also, in the East, art is the beginning and not the end of creation. It is not meant to be a full stop. Rather, it is a continuum. And through his project, Ishan is taking the conversation forward, she says.

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Part of a cultural encounter: Travel and its complicated history with tattooing – The Independent11.08.20

I

n todays travel guides to Japan, tattoos are generally only mentioned in the context of places where tourists should be prepared to cover them up, such as gyms, public pools and bathing houses known as onsens. A century ago, it was a very different story.

Guidebooks, like Basil Hall Chamberlains 1893 Handbook for Travellers in Japan, feature ads for fine art galleries that double as tattoo parlours; you could pick up a piece of Japanese pottery while getting a more permanent souvenir. In Vacation Days in Hawaii and Japan, published in the early 1900s, Philadelphia-based writer Charles M Taylor Jr devotes multiple pages to a meeting with Hori Chiyo, an artist who claimed to have tattooed the British princes Albert Victor and George (the future King George V).

In Japan at the time, tattoos were seen as a sign of degeneracy. They were used to brand criminals - and for those criminals to then cover up their brands. As the country opened up to the west for the first time, the emperor outlawed the art, seeing it as antithetical to modernity. Ironically, tattooing for tourists remained legal and, as Chamberlain wrote in a 1905 travel guide, the Japanese take on the art was considered the champagne of tattooing: an art as vastly superior to the ordinary British sailors tattooing as Heidsieck Monopole is to small beer.

Today, tattoos are popular among travellers, as ways to pay homage to a place (Japanese kanji script, a famous building) or to travelling as a way of life (a compass, a map of the world). But how far back does the practice go? The history of tattooing as a way to mark travels is hard to pin down. But there is something that most scholars agree on: the most common origin story is wrong, and the meaning of tattoos isnt always clear cut.

Yes, Captain James Cook sailed the Pacific Ocean in the 18th century, and many of his crewmen may have received tattoos from the Polynesian people they encountered along the way. Sometimes there may have even been an overlap in the reasons British and Polynesian sailors got tattoos: protection, for example. The letters H-O-L-D F-A-S-T tattooed across the knuckles were thought to save a sailor when letting go of a rope was a matter of life and death.

But the common narrative that those sailors were the first people to bring tattoos back to Europe isnt true. Rather, according to some, its a story rooted in some of the same instincts that make people get tattooed on their travels today.

Theres a misconception in certain western cultural memory that tattooing is sort of something thats foreign, says Matt Lodder, senior lecturer of art history at the University of Essex in England. Certainly that's what drove a lot of the history: it was part of a cultural encounter, acquiring something exotic.

Tracing the history of Europeans getting tattoos to mark trips to distant lands brings us much further back than British nobility visiting Japan or even sailors returning from the Pacific islands with the bold, black Polynesian tattoos that are still popular today.

Both Lodder and Lars Krutak, a tattoo anthropologist, pinpoint some of the first instances of traveller tattoos in Europe to pilgrims visiting the Holy Land. In the 1600s, a trip to Jerusalem was arduous, dangerous and the ultimate way to show just how good of a Christian you were. There, Coptic Christians from Egypt had tattooing down to a brisk business, using carved blocks to replicate commonly requested designs, like the Jerusalem cross a grid of four small crosses around one central cross accompanied by the year of the pilgrimage.

Getting Tattooed With Bamboo Stick In Thailand

(Getty/iStock)

By having a stencil block pre-made, they could just stamp it on somebodys arm and go on to the next person, Krutak says. On holy days, youd have a line of people out the door and around the block.

Hundreds of years later, some of those blocks can still be found at Razzouk Tattoo in Jerusalems Old City. Claiming to be in operation in some capacity since 1300 and run by the 27th generation of tattooists in the Razzouk family, the shop still attracts long lines of pilgrims during Easter festivities.

By the 19th century, tattooing was integral to the pilgrimage tradition in Jerusalem, to the point that even British nobility the future King George V among them were getting inked as a way to show their piety. At the same time, according to Lodder, some visitors complained about it being too commercialised.

We have traveller accounts from the 1850s, where people are complaining about how dirty, busy and noisy it is, Lodder says. And in those descriptions, you have peddlers selling trinkets in a big list of things found objectionable, right alongside all the tattoo shops.

They were descriptions that would be just as applicable to tourist strips in Bali or Cancun today. Or New York Citys Bowery neighbourhood at the turn of the 20th century.

Starting around the 1880s, the Bowery in Lower Manhattan was a destination for a far less wholesome kind of pilgrimage.

The Bowery was the place that you came to in New York City when you wanted to have fun, get in trouble, do some drinking, maybe do some fighting and get tattooed, says Michelle Myles, a co-owner of Daredevil Tattoo in New Yorks Lower East Side. Whether it was with tourists, sailors or New Yorkers, the Bowery just had this reputation as a playground for the working class.

Myles, who also led tattoo history walking tours of the neighbourhood before the coronavirus pandemic, says she often meets visitors from all over the world looking for vestiges of that past.

Myles and her business partner, Brad Fink, opened Daredevil Tattoo in 1997, the year tattooing was re-legalised in the city after being banned since 1961. Today, the shop doubles as a museum, with artifacts including a Thomas Edison electric pen that the first electric tattoo machines were based on, signage from Charles Wagners shop, where he was famous for giving tattoos for a quarter, and plenty of flash (tattoo designs) from the Bowerys glory days.

When you have a Neo-Naga tattoo on your body, you become a cultural ambassador for my people: you will be telling a story about us to the world

As a tourist attraction itself, Daredevil has always received a steady stream of visitors looking to mark their trip to New York City. Oftentimes, they will pick a design off the wall where the shop has vintage flash on display. Many will go for more predictable images of New York: a linework skyline of the city is a common request. But Myles says that what comes to symbolize New York City varies from person to person. Case in point? Her husbands New York tattoo depicts a cockroach riding a rat.

Of course only talking about Europeans and their descendants in the United States travelling around the world and getting tattoos ignores large populations. Indigenous groups across all six inhabited continents have incorporated tattooing into their traditions for thousands of years. Tattoos told uplifting stories of cultural exchange, like shipwrecked sailors who married into Polynesian families and got the tattoos to mark their new allegiances, or French fur traders in North America who got tattoos from their indigenous colleagues. But there were far less harmonious interactions, too.

Krutak, for example, talks about an Inuit mother and daughter, both tattooed, who in the 1560s were taken from their home in the Arctic and sent to Belgium to be put on display in taverns. Some time later, a tattooed man from an island that is now part of the Philippines was taken to London to be shown off. He died of smallpox.

Christian doctrine stated that to mark ones skin was basically the mark of Cain, Krutak says. And so people were fascinated by these individuals.

Long before the western narrative of exoticism, some indigenous people were using tattoos to mark their own travels. The word tattoo itself comes from Polynesian languages. Krutak points to the Iban bejalai tradition in Borneo, for example, wherein young men were sent away from their communities as a rite of passage. As they explored the wilds and neighboring settlements, they received tattoos to mark their journeys.

Krutak believes that those young men were getting tattooed for reasons that arent so different from todays travellers getting a permanent reminder of their journeys. These guys were also taking a souvenir; a story to talk about, of this incredible journey, Krutak says. Its something they can always share with their family and friends.

Michelle Myles, a co-owner of Daredevil Tattoo, sits inside her shop

(Washington Post)

The thick blackwork of Iban tattooing became popular around the world with non-Iban travellers in the 1970s, in part because of a few intrepid tattooers who went into Borneo to get tattooed by some of the last remaining masters of the tradition and learnt the craft. With that, of course, came questions of appropriation. You only need to go to Venice Beach in Los Angeles for an afternoon to see a plethora of tribal tattoos, derivative of Polynesian traditions that go back thousands of years. So when is it OK to mark yourself with a souvenir that might intersect with the traditions of another culture?

For Indian tattoo artist Moranngam Khaling, who goes by Mo Naga, it is a question that he grapples with daily. Mo Naga, who splits his time between Delhi and his home state of Manipur in the countrys northeast, has spent the past decade devoted to reviving the traditional tattooing practices of his people, the Naga, a group made up of more than 30 tribes spread across northeastern India and northwestern Myanmar. To do so, he has spent years travelling in the northeastern regions the Naga call home, talking to elders who are the last people to have the tattoos that were once commonplace.

After years of research, Mo Naga began offering tattoos that used many of the motifs and symbols of traditional Naga tattooing, something he dubbed Neo-Naga. Today, he says, more than 80 per cent of his clients are members of the more than 30 tribes that make up the Naga, but travellers from abroad play a role in reviving a lost art and spreading awareness of its importance.

I have a very tough job, Mo Naga says over the phone from his home in Manipur. But people who come to me are also very conscious about appropriation, they have no idea what they are going to get, and they want to be part of the revival. They know this is something important.

Mo Naga says he gets regular requests on social media from people overseas asking for Naga designs they can use in their tattoos, but he always refuses. A big part of his process is the consultation, in which Mo Naga explains the history of Naga tattooing and the intricacies of the tradition to his client, and then they settle on an appropriate design.

Sometimes that consultation can go on for one whole day - and the actual tattoo might just take an hour, Mo Naga says.

Some off-limits tattoos, regardless of the tourist, include the tattoos that were once given to headhunters to mark their bravery in battle and those that symbolise family lineage. Instead, Mo Naga often opts for motifs that draw from the natural world, something relevant to both the Naga people and his clients from far away.

Mo Naga, who is in Manipur working on building a tattoo village where people would come to learn more about traditional Naga art, hopes that the travellers he tattoos today could lead to more interest in the at-risk tradition.

When you have a Neo-Naga tattoo on your body, you become a cultural ambassador for my people: you will be telling a story about us to the world, Mo Naga says. Youll be spreading the news of a dying tradition, and maybe youll get my people excited and interested in preserving and protecting it.

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Above All Tattoo Takes Inking To The Next Level With Detailed Tattoo Designs – Press Release – Digital Journal11.08.20

San Diego, CA - Tattoos have become more than ink on the body. Many people have different reasons behind their tattoos, reminding them of a time in their life, someone special, or a goal to be realized. Whatever the reason behind the tattoo could be, it is important to make sure that only trusted experts are allowed to deliver the masterpiece of a job. The team at Above All Tattoo understands how delicate a tattoo can be and so focus on delivering exceptional quality jobs in a clean and hygienic environment.

Above All Tattoo is focused on meeting the needs of customers coming into the establishment. Over the years, tattoo experts have found that women are more inclined towards smaller tattoos with salient meanings. The team, therefore, makes sure that customers are offered a wide selection of designs to choose from, especially for people who are unable to make up their mind as regards what to get.

With the current spike in demand for tattoos among women, the team at Above All Tattoo focuses on delivering the best design and drawing. Customers are presented with a wide range of tattoo designs to choose from including the hearts design which has become a popular design owing to its versatility in terms of meaning. The team also offers the Dreamcatcher design, which is one of the rapidly growing designs; animals have become more popular among young women who attach different meanings to each animal of choice.

At Above All Tattoo, the tattoo experts are familiar with all the common animal tattoo requests including dolphins, elephants, owls, butterflies, birds, cats, and others. The tattoo shop also caters to the needs of customers whose hearts are set on other common designs like the sun, phrases that hold meaning and value to them, waves, palm trees, as well as finger tattoos. Those who are more interested in finger tattoos will enjoy the delicate hands of the tattoo artists whose main aim is to replicate the design to look as perfect as possible.

Women who are also interested in going a step further by exploring other hidden areas of their body including the inside of their lips can also check out our tattoo studio - Above All Tattoo for the best possible tattoo options and designs.

Above All Tattoo: check out our tattoo shop in San Diego for small neck tattoos, small wrist tattoos, small hips tattoos for women, small ankle tattoos for women, and more.

Above All Tattoo maintains a clean and healthy environment and can be reached at its tattoo parlor located at 1142 Garnet Avenue, San Diego, CA 92109. Call (858) 270-8287 to schedule an appointment, send an email to info@abovealltattoo.com, or visit their website.

Media ContactCompany Name: Above All TattooContact Person: Woody RichmanEmail: Send EmailPhone: (858) 270-8287Address:1142 Garnet Avenue City: San DiegoState: CACountry: United StatesWebsite: https://abovealltattoo.com/

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‘I’d been avoiding looking at myself’: Breast cancer survivors reveal how mastectomy tattoos changed them – 7NEWS.com.au11.08.20

In the portrait series Reclaim women in diffuse pink lighting reveal delicately tattooed designs inked across their chests, unfurling over scar tissue in explosions of color or in black and gray.

Nude, with nothing else in the frame, the women embody a sense of openness.

The series, a collaboration between British photographer Kate Peters and art director Gem Fletcher, which began in 2018, illustrates the beauty of mastectomy tattoos, a practice that offers breast cancer survivors the opportunity to transform their skin after theyve healed from their surgeries.

Its a way to find new confidence, to take control of ones body after what can be a traumatic experience and, as medical journal JAMA has published, a way to promote psychological healing.

One of the women in Reclaim is Kerry, who was diagnosed with cancer three days before her 40th birthday. She opted for a total mastectomy of her left breast, but declined plastic surgery to reconstruct it after.

Ahead of each shoot, Peters and Fletcher interviewed the women about their experiences.

None of the methods for reconstruction that the medical team could offer me were suitable for me, my physique, my lifestyle and the sports I played, Kerry told them.

It left me with a feeling of being incomplete and I found that really upsetting. You sort of get chewed up, spat out and off you go on your own.

Two years later, when Kerry discovered mastectomy tattoos, she felt she finally had an option that suited her.

She had irises tattooed across her chest as a tribute to her grandmother Iris, who survived breast cancer over six decades earlier.

The practice has risen in popularity in the US since 2013, when the program P.ink, part of the nonprofit F*** Cancer, began coordinating an annual day of gratis tattoos.

Each October, during Breast Cancer Awareness Month, they work with tattoo parlors around the country to open their doors to survivors looking to be inked.

In 2018, Peters happened upon images of mastectomy tattoos on Instagram and realized that these were mostly shared within the tattoo community and did not have a wide audience.

In her home country of the UK, which does not have a coordinated program like P.ink, she wasnt sure many women knew about these tattoos at all.

Peters and Fletcher, who often collaborate, began finding women for the shoot through social media and photographed them in the privacy of Peters home.

Many of them had never been tattooed, but going through the process had given them a sense of closure - particularly since they had to wait at least a year to be tattooed following their surgeries - and comfort in their skin.

Hearing the womens stories when we were photographing them was a very humbling experience, and seeing how the tattoos had changed their perception of their own bodies, Peters said.

They were really keen to share how positive it had been for them.

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'I'd been avoiding looking at myself': Breast cancer survivors reveal how mastectomy tattoos changed them - 7NEWS.com.au

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Eartha Kitt’s Daughter’s Hair Falls on Her Shoulders as She Flaunts a New Hand Tattoo – AmoMama11.01.20

Kitt Shapiro, daughter of the late American singer-songwriter, actress, and dancer Eartha Kitt, showed off her new hand tattoo in a recent post on her Instagram feed.

In a new beautiful post on her Instagram account, Kitt Shapiro, daughter of late American singer and songwriter Eartha Kitt flaunted her new hand tattoo in a lovely selfie.

The photo was posted just yesterday, and it showed the 58-year-old giving her fans a good view of the new body art. Several of them, however, did gush about how much they loved the new addition.

In the picture, she was seen smiling into the camera as her luscious blonde hair cascaded down her shoulders in beautiful waves. She had on a stylish white cashmere open-necked cardigan and a pair of reading glasses.

Shapiro combined the look with a stunning gold necklace, several colorful bracelets, and a huge brown watch. With her hand under her chin, she flaunted her new heart-shaped tattoo just by the side of her palm. She wrote:

"My mother's hand-drawn heart always guides me. You know that I use it in many of my @simplyeartha designs and now I carry it with me"

She then went on to tag the skillful tattoo artist with an endearing emoji. Taking the cue, he took to his ownInstagram accountand posted the sweet photo on hisInsta Story, showing off his work.

WHO IS EARTHA KITT

Eartha Kitt waspopularly knownfor her hit single "Santa Baby" and for playing Catwoman in the 1960s "Batman," among many other movie roles. Born in North, South Carolina, her career took off in Paris when she started as a nightclub singer.

The icon, however, had a difficult childhood. She was abandoned by her mother and left in the care of cruel relatives who often picked on her, mostly because she was of mixed-race heritage. Her father was a white man and her mother an African-American Cherokee.

Her life, however, took a turn for the better after a chance meeting with one ofKatherine Dunham's dancers. She was advised to audition, and when she did, she won a scholarship to adance school.

After years as a dancer on Dunham's troupe, she left for Paris andstarted her solo careeras a nightclub singer. It was there she met Orson Welles who cast her on Broadway's "New Faces" in 1952. After that, her career blew up, and she made a name for herself.

After such a remarkable career, Eartha died in 2008 after a long battle with colon cancer. Five years after her death, in a candid interview, Shapirorevealedthat her mother struggled with her identity.

This was because she did not know the identity of her white father and spent years trying to trace her roots, all to no avail. Shapiro explained that her mother never felt comfortable in her own skin because she did not know who she was.

She admitted that Eartha carried the scar of her rejection with her all her life. She was rejected for the color of her skin, ironically by both black and white. She then added that her birth completed her mother because it gave her a family that she never had.

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Jack Nowell: Would I get a tattoo of Eddie Jones? Only if he promises to pick me for every England game – iNews11.01.20

Jack Nowell will be watching Englands Six Nations finale in Italy at home wearing a surgical boot.

Nowell underwent surgery to fix toe ligaments on Friday morning. A player regularly in for body repairs, Nowell falls without complaint into a familiar routine. He is already looking beyond confinement, plotting a route through rehab to the frontline next year where he hopes to unload his unique brand of energised rugby in the services of Exeter, England, and, skeleton permitting, the Lions.

Its not all bad. Nowell is caressed by the restorative glow of a historic seven days in which he became a European Cup and Premiership double winner for the first time with the Chiefs. Besides, this lad needs little encouragement to smile.

Visitors to his Instagram page and to his YouTube output will recognise the happy disposition, not to mention the wacky hair and exuberant body art. Underpinning this layer of deep content is an essential otherness shaped by a Cornish identity that he believes gives him his drive.

I am from a hard working family, he tells i. My old man is a fisherman. I was the first male Nowell not to carry on in the fishing business that they have built up over many years. Obviously my old man was a bit gutted about that. I spent a lot of time as a kid down on the boats most mornings loading fish on to lorries. I used to wake up at four, five in the morning and go down with dad. I have spent a lot of time painting and doing odd jobs on the boat to earn the odd 20 quid here and there. Never been on a full trip. They are away seven eight days. My old man reckons Im not hard enough for that.

Nowell took to rugby at infant school, and plays with the urgency of one running at speed from the fishermans life. He found expression among a group of fellow travellers, some of whom made the journey with him all the way to the professional game.

We are a lot of misfits down here but we gel together. I was lucky enough to come through with a group of boys, six or seven of us. I have known Luke Cowan-Dickie since I was five years old. Henry Slade, Dave Ewers, Sam Hill (now with Sale), boys like that, played with them since I was 16, 17. That makes a massive difference.

Nowell crossed the border into Devon to sign for the Chiefs at 17, co-inciding with the clubs promotion to the top tier of the English game.

It was a huge moment for Nowell and ultimately a wrench to make a home more than a hundred miles from all he had known in the Cornish fishing village of Newlyn.

I grew up playing for my local team, he says. If Id stayed there I wouldnt be playing for England. Unfortunately I had to go over the border. My dad was pretty gutted because my two little girls were born in Devon. He asked me to come home but it didnt work out. Sorry dad.

Nowells rise with Exeter, the consequent recognition by England and the Lions has seen his profile rocket sufficiently to threaten the status of Ross Poldark as the nations most celebrated Cornishman.

To be perfectly honest I have not seen Poldark. Good looking lad is he? Well, I say, he takes off his shirt a lot and always gets the girl. Ill take that, he said. The Nowell torso is every bit the reference point that Aiden Turners became in his portrayal of the fictional entrepreneur, if a little more inked. Tattoos are central part of the mariners tradition. Ive grown up around them. Id hear weird stories from my dad, my uncles, cousins, all of them in fishing. My dad would get off the boat in Penzance, get a taxi to Plymouth, get a tattoo and then come home again. Some of them are pretty shocking. Some dont remember getting half of them.

If nothing else rehab is a boon for Nowells tattooist. Ive become a good friend with him over time. I always get them when Im injured. It takes my mind off it. I recently got my daughters names on my hands. I want to get my back done, come up with a few new designs, something to do with my life, the journey Ive gone through recently, something to do with the Chiefs, England, the Lions. A likeness of Eddie Jones, perhaps? Only if he promises to pick me every game hes in charge.

As well as body art Nowell surprises with a devotion to Lego. He says it helps keep him sane in the testosterone village of pro rugby.

I do love Lego, he says. I did a motorbike this summer, I have a Land Rover Defender and I have the whole Simpsons set to do. I have always loved it and never quite given it up. You can lose yourself for ours making stuff. Everyone has their own thing. I played with Italian international Michele Campagnaro a few years ago and he used to love collecting leaves. He would put them in a book, write down where he found them, things like that. Thats not uncommon. It was just his release.

Naturally, having lost two years of his career to injury, Nowell is miffed to be missing out with England in Italy and in the Autumn Nations Cup.

Unfortunately it is just the way I play the game, he says. If I changed maybe I would not have achieved what I have, wouldnt have played for England, won Premiership titles for the club or played for the Lions. Im already looking past it and thinking about different ways to rehab to be fit for the Six Nations [in 2021].

Nowells attitude, his willingness to sacrifice all for those around him, explains his value not only to Rob Baxter at Exeter but to England where Jones is so keen to have him around he has considered his inclusion as a flanker. It will be a comfort for both to know that when Nowell does return it will be at full bore.

For me its all about winning and giving my absolute all for the team, Nowell adds. You dont think about your body, about getting hurt, about what the media says, or other people. As long as I can go into the changing room afterwards or sit on the bus and look at my team-mates knowing I have given my best that is the most pleasing thing for me. When you have that everything else takes care of itself.

To learn more about how elite athletes train watch Jacks video at Red Bull Pro Hub

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Henna Art in Morocco Through the Eyes of Meknes’ Henaya Zahira – Morocco World News11.01.20

Morocco has embraced the traditional art form of henna for centuries. Moroccans enjoy henna designs on women and girls hands during celebrations and on cultural occasions, painted by talented artists such as henaya Zahira. The Meknes native not only depends on this art form to make her living, but seeks to maintain this iconic element of Moroccan tradition and heritage.

Moroccan henna originated with Amazigh (Berber) tribes. Women used the henna plant, which grows in the Mediterranean area, to make a thick paste mix of crushed leaves and water. They used it to tattoo their skin with unique designs and symbols that distinguished Amazigh women from one tribe to another.

Throughout the years, and using a brush, little stick, or a plastic nozzle, Moroccos henna art has developed and evolved. So have the artists, with their designs and style. However, many Moroccans still seek out traditional henna artists for their authentic and beautiful work.

Born and raised in Meknes, professional henna artist and single mother Zahira, also known as henaya or nekacha (the Moroccan titles for henna artists) Zahira, is 55 years old and has practiced the art since she was 22.

I have many clients that are good to me and never change me whenever they want a nekacha for their special occasions and events, because they like the quality of my work in return I always do my best to please them and keep them satisfied with my henna artwork, henaya Zahira said in an interview with Morocco World News.

The henna artist is well-known not only in Meknes but also in other parts of Morocco, with her beautiful work and easygoing, warm manner drawing people in.

Amid the coronavirus crisis Zahira was not able to work much due to the cancelation and postponement of the events and celebrations where the artist would work the most.

Having an unemployed 22-year-old son, no one else close to support her, and no monthly salary did not help the traditional artist in the tough times. Despite the struggle, Zahira still loves what she does and feels very grateful to God for everything that she has.

Zahira believes her talent is not something she acquired but something that sacred spirits gave to her in a dream when she was young.

In my dreams, two women visited me, one was called Lala Aisha, and the other was called Lala Malika. They talked to me and showed me their hands which had different henna designs, Zahira said.

Lala Malika had the Nkitat design of henna in her hands, while Lala Aisha had a Fassi henna design in her hand, and I showed them my own hands that had both the henna styles. After that Lala Aisha gave me some money and told me Bismillah, (in the name of God) take this money, so I did.

When Zahira woke up from her dream she did not find the money Lala Aisha gave her in the dream, but she found the henna plant crushed, made into a paste, and ready. She quickly bought a merwed (a stick used to put kohl around the eyes or henna on the hands), and she drew on her hands what she saw in her slumber.

With no hesitation and without thinking, I drew on my hands the henna designs that I saw in my dreams, whatever I saw that night I put it on that day. I am truly thankful for God for this [gift I was] given because it is how I make my living in this world.

Zahira has a strong and intimate relationship with henna and her artwork. She feels the most energetic and happy when she is applying henna for people on special occasions.

Whenever I have work, and unfortunately something happens that makes me cancel my work, I feel sad and sick. Henna art is running in my blood and I love it so much, added the artist.

Moroccans throughout the country use the lovely henna plant not just for designs on their hands and feet, but also as a natural hair dye and as a body wash for use in traditional Moroccan hammams.

Some Moroccans believe henna art on the hands is a symbol of good luck, some believe it protects from the evil eye, others apply it to strengthen the skin of their hands and, of course, many just love the beautiful designs and like to decorate their hands either on special occasions or even casually.

Henna in Morocco is traditional and hereditary, from one generation to the other. For Moroccans, henna is very important in every celebration such as the 7 month anniversary of a newborn, weddings, and Eid, said Zahira.

It just [wouldnt] feel right celebrating these occasions without applying henna on our hands, which makes the unique artwork very symbolic in our culture and traditions.

Henna designs and patterns can vary across Morocco, with geometric shapes, dots, swirls, floral designs, and tribal symbols with significant meaning, making the art intriguing and beautiful.

There are many designs such as khaliji henna design, al khatfa, or damaa design, which resembles a vine of flowers, and nkitat henna design that resembles shapes and symbols made of many little dots, which is applied in Eid Al-miloud (the anniversary of the prophet Muhammads birth) or Ashura.

With the rise of advanced technology and the internet, henna designs expanded in Morocco. Now you can find different designs, such as the Hindi henna style.

Despite having other designs, the most common henna design in Morocco, and which most brides still opt to have before their wedding, is the Fassi design that originated from Fez.

To make the henna paste, different henna artists follow different recipes. Their specific approach allows them to make art either more vibrant, or pigmented, or last longer.

The first mix I have started with was henna powder, water, sugar, and rose water. Now we can add a little alcohol if the client is not allergic, or a squeezed lemon to make the design obvious, we can also mix it with tea and flower seeds.

Zahira believes henna art is an essential component of the traditions, culture, and heritage of every region in Morocco. This makes her even more passionate and drives her to continue practicing her art despite any obstacles she faces.

To get in touch with henaya Zahira, and to have beautiful henna art designs made with love and skill, you can reach her through her phone numbers, 0762828822 or 0663879841. If you plan to visit Meknes, the well-known artist is the person to go to for an authentic Moroccan henna tattoo.

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Henna Art in Morocco Through the Eyes of Meknes' Henaya Zahira - Morocco World News

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Japan Ink: Growing tribe proudly defies tattoo taboo – Japan Today10.29.20

Shodai Horiren got her first tattoo as a lark on a trip to Australia nearly three decades ago. Now, tattooed head to foot, even on her shaven scalp, she is one of Japan's most renowned traditional tattoo artists.

"Your house gets old, your parents die, you break up with a lover, kids grow and go," said Horiren, 52, at her studio just north of Tokyo. "But a tattoo is with you until you're cremated and in your grave. That's the appeal."

Horiren belongs to a proud, growing tribe of Japanese ink aficionados who defy deeply-rooted taboos associating tattoos with crime, turning their skin into vivid palettes of color with elaborate full-body designs, often featuring characters from traditional legends.

(Click https://reut.rs/2HtXVfI to view a picture package of Japan's tattoo aficionados.)

Tattoo artist Shodai Horiren prays in front of an altar before tattooing a customer at her studio in Warabi, Saitama Prefecture. Photo: REUTERS/Kim Kyung-Hoon

Banned from spas, hot spring resorts, some beaches and many gyms and pools, the enthusiasts hope the presence of tattooed foreign athletes at last year's Rugby World Cup and next year's Tokyo Olympic Games - postponed a year due to the coronavirus pandemic - will help sweep away suspicion.

"If you watch the All Blacks do the haka with all their tattoos, it makes your heart beat faster," said Horiren, referring to New Zealand's national rugby team and their pre-game ceremony. "Basketball players are really stylish, too. But here, even boxers cover up with foundation."

Tattoos have been linked to criminals for as long as 400 years, most recently to yakuza gang members, whose full-body ink-work stops short of hands and neck, allowing concealment under regular clothes.

The popularity of Western rock music, though, with musicians increasingly sporting tattoos, has eaten away at this bias.

A court decision last year that tattoos were for decoration, and were not medical procedures, helped clarify their murky legal status and may signal a shift in attitude - perhaps leading the industry to regulate itself, giving it a more mainstream image.

Referring to them as tattoos rather than irezumi - literally meaning "inserting ink" - as is becoming more common, may also help give them a stylish, fashionable veneer.

"Some people get tattoos for deep reasons, but I do it because they're cute, the same way I might buy a nice blouse," said Mari Okasaka, 48, a part-time worker who got her first tattoo at 28. Her 24-year-old son, Tenji, is working towards having his whole body covered in ink and color.

Tattoo devotees are edging into the open as well, meeting at large parties to bare and share their designs.

"We may have tattoos but we are happy and bright people," said party organizer and scrapyard worker Hiroyuki Nemoto.

Surfer and TV set-maker Takashi Mikajiri, though, is still stopped on some beaches and ordered to cover up.

Rie Yoshihara, who works in a shop dressing tourists in kimonos, said her shocked father has still not seen her full back tattoo, while Okasaka wears long sleeves to take out the garbage so her neighbors won't talk.

"In America, if you have a tattoo, people don't really care. There's not really any reaction," said Mikajiri. "That's the ideal. It'd be really good to just be taken for granted."

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Japan Ink: Growing tribe proudly defies tattoo taboo - Japan Today

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Play’n GO’s Latest Production Madame Ink Hits The Market – Inkedin10.25.20

Playn GO s latest production hit the market yesterday, with Madame Inks artistic new 5-reel slot slot.

Madame Ink adds a mystical quality to a medium of art that means so much to so many people across various nations and cultures, with artwork directly influenced by real tattoo designs.

The importance and significance of tattoos make it a trend that directly feeds into the way Playn GO approaches the design of their game.

The slot provider has made no secret that while various games which resonate more strongly with certain audiences, all types of players will still be attracted by the design and gameplay. In this case, in every corner of the globe worldwide, body art has significance and sense.

A more mythical aspect has also been introduced to their slot by Playn GO; it focuses on the mysticism surrounding tattoos, as well as the slot s general theme and artwork.

The concept behind it was spoken about by CPO Martin Zettergren: Its always important to approach a theme from a new angle, to move ahead of the competition and create a more distinctive experience for operators and their players.

The artwork and the design, are just one element of the game for players to enjoy, then you have the narrative of Madame Ink and her magical powers, which gives a whole other aspect as well.

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Play'n GO's Latest Production Madame Ink Hits The Market - Inkedin

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