Irezumi, Neo-Traditional Expression and the

Cultural Market of Japan

By
Reyes Keeme-Sayre

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 Tattoos have been around for thousands of years, constantly evolving and changing while

holding on to certain traditional values. Tattoos hold many different stigma and stereotypes with

them, and depending which country you’re in, it could be severe. In American culture, we see

many varying views, but they are still accepted and normal, despite person preference. Some

tattoos, depending on quality and location, give people notions of prison time. Other tattoos of

the higher quality and more decorative, become interesting to others and even admired. These

contemporary attitudes towards tattoos in American culture carry over to many countries where

tattoos have a rich and symbolic history. However, some countries, although participating in

these similar traditions, do not carry the same widespread contemporary attitudes. Japan has a

deep history when it comes to tattoos, yet there is a harsh social stigma behind it. They are a

thing to hide if you have them, banned from public view. Despite this stigma, Japanese tattoos,

or irezumi, are ever sought after by foreigners and inspire artists around the world. They serve as

a large tie to the global interest and consumption of Japanese culture. Despite their current

stigma, they have a long and deeply-rooted history within Japan.

Japan has a long and mixed history when it comes to tattoos. Japanese people have been

getting tattooed for thousands of years, but certain modern styles of tattooing didn’t come about

until later, during the Edo Period. Irezumi, or traditional Japanese tattoos, were found to be

initially a tribal thing. It can be seen in the Gishiwajinden: a history of the men of Wa, meaning

Japan, since it was originally referred to as Wa. Tattoos were a common tribal practice and were

commonly seen among the people. Shells and fish were common for tattoo themes among these

tribal men of Wa and showed status and gave protection. (Bodylore) These tribal practices

seemed to have carried over to the well-known indigenous tribe of the Ainu. Ainu people were

recorded with their tattooing as early as 1612. Many of these tattoos were on the face,

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concentrating on eyebrows and the mouth. These tattoos served as more of a cosmetic and

attraction feature than a ranking one but also implied sexual maturity. (Bodylore)

During the Edo Period, many transitions occurred when it came to tattoos and attitude

toward them. Tattoos began to gain a lot of popularity among yakuza gangs. Tattoos became

their way to express toughness and ferocity, with the deep designs and cultural symbolism. It

was about a thousand years earlier, during the Kofun Period, where yakuza began using

decorative tattoos as a way to cover up tattoos that symbolized crimes committed. (Bodylore)

Around this time, tattoos became socially unacceptable and were used to mark criminals and

their specific or repeated crimes. Using this practice as a transition to their own representation

and self-alienation form society, yakuza adapted to purposely tattoo themselves and wear the

mantle of a criminal. As mentioned before, later in the Edo Period, these tattoos worn by yakuza

began to become more stylized into the more modern traditional tattoos we see in Japan today.

(Bodylore)

Once yakuza had established tattoos to be their symbols of identification, tattoos became

almost entirely associated with crime. As a result, people began to fear the sight of tattoos. This

fear carried over to today, where there are still restrictions for showing tattoos in public places

and a ban on attending many public bathhouses or onsen. As the years have passed, some

accommodations are made possible to foreigners with small cover ups or the occasional tattoo-

friendly onsen. (Bodylore)

Despite usual attitudes and associations with Japanese tattoos, there is a lot of symbolic

meaning and expression behind irezumi. When it comes to self-expression, tattoos have always

been a strong and bold way to go about it. Their permanence is very symbolic in itself, almost

like a decision to open one’s own book of life and leave it open for all to read. There are many

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common motifs tattooed in Japanese-style tattooing such as the dragon, koi, tiger, foo dog,

phoenix, and hannya. (Inked Mag) A Japanese-style dragon tattoo symbolizes many things

depending on certain colors used, but mainly they symbolize freedom, balance, and luck. Koi

fish are an interesting motif as well, because they symbolize perseverance in reference to the

legend that if a koi fish can complete a swim all the way upstream, they will turn into dragons. In

this sense as well, they also represent luck. Tigers are another popular one as they represent

strength. Strength and power are common meanings tattoo collectors look for to show their more

fierce and brave sides. It is common for men especially to indulge in these masculine motifs.

(Inked Mag) The foo dog is another interesting one as the legends go that they act as guardians.

They are commonly seen in Japan and China as guarding special places like palaces and temples.

Usually, this theme has implications of protection for the person with the tattoo but also

prosperity is an alternative meaning. The phoenix has always across cultures represented new

starts, rebirth, death and then from death comes life, etc. Some wear the phoenix as a symbol of

perseverance that whatever life throws at you, you will always rise from the ashes. (Inked Mag)

The hannya mask is a common legend in Japan. The brief version of the story is that a woman

was so overcome with anger and jealousy, that she turned into a vengeful demon. These are

popular tattoos representing a history of pain or strong emotions, usually anger. This imagery

became not only popular among yakuza or the other rebels in Japanese society, but we see a deep

interest carried over into the West.

After the Meiji Restoration in 1868, Japan saw a rise in the number of Westerners coming

through Japan. There was much business, communications and trading being conducted

internationally at this time and Japan’s image became very important. It was around this time

that it wasn’t in Japan’s best interest to appear as underdeveloped savages. So, the government

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cut down even more tattoos and also samurai. Japan wanted to modernize and so there was a lot

of pressure to crush prior traditions. (Bodylore)

Although tattooing was illegal, foreigners were fascinated by irezumi and started to seek

out tattoo artists. During this time of cultural exchange and consumption, things like fashion,

food, and art were things foreigners became interested in when visiting Japan. So, naturally, even

though tattoos were taboo, they sought out these artists and even got tattooed. Even royals from

all around the world came to get tattooed in the underground market. (Bodylore) It is around this

time that the consumption of Japan’s cultural market began, and as we can conclude already,

tattoos have always been one of the most popular traditions. Although nothing changed in terms

of legality because of this patronization, later in 1948 tattoos became legal in Japan again.

(Bodylore) While tattooing became legal, what did not change were the attitudes towards them.

They were still associated with crime, still banned from the public view, and still carry a world

full of assumptions. Attitudes towards tattoos in Japan may not be very positive, but across the

rest of the globe is a different story.

Japan and its visual culture have become increasingly popular across the globe. With the

ease of cultural exchange and experience we have today, it is fair to say that the exposure is on a

larger scale than when trade first opened up with Japan. People all across the globe now have the

ability to consume and experience different cultures in their everyday lives. The internet and new

forms of media really make this possible. Instagram, Facebook, Tik Tok, and Twitter are all

examples of platforms which make it that much more possible to be exposed to culture remotely.

All of these feed-based apps have for a long time now fed new things to the eyes and ears of

viewers each day. This could be food, fashion, music, or movies/television. Throughout one’s

feed you can see many different aspects of Japanese culture. Even other media platforms such a

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Hulu, Netflix, and Crunchyroll provide this opportunity through providing anime and Japanese

drama and movies.

Anime, drama, and other movies are all at our fingertips nowadays. This allows for a lot

more exposure than what there used to be. After getting into Japanese media, it is quite common

for viewers to begin their own exploration of the culture. This leads to purchasing merchandise,

participating in cultural events, or learning the language. Of course, this also means getting

tattoos. This all ties into the concept of “Cool Japan.”

Cool Japan is the concept of foreigners being interested in Japanese media and culture.

Thinking that various Japanese things are cool is a popular trend in the West, but it is also seen

throughout other countries. Manga, anime, games and other similar media from Japan carried a

lot of social stigma with them. They were seen as lower-class activities and associated with the

unproductive members of society. (Matsui, 81) As Japan’s working class follows a very strict,

competitive and stressful lifestyle, fun and artistic activities are seen as trivial and a waste of

time. This working class is so entranced by the need to work that having kids and a family is

even neglected. So, needless to say, these forms of entertainment are attributed with kids or

unproductive, non-contributing people.

Now, what we see is a big transition away from this stigma by the intense promotion of

the popular culture of Japan. There is a kind of new market that has risen from a “Cool Japan

Craze” and the Japanese have taken advantage of it. There are now policies in place now that

require the intense promotion of popular Japanese culture. These policies and practice come from

central ministries that are seizing the opportunity where it stands. (Matsui, 81) Japan has

developed a global “cool” with the kind of entertainment they are putting out to the world.

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 “Cool Japan” first began to emerge as an active concept in July of 2002. It was the concept of

“content” that had first been introduced. The year prior, Hayao Miyazaki’s Spirited Away had come

out and won some awards for its artistic quality, and with it came much popularity. After seeing the

large foreign uproar of interest and popularity, the Japanese government seized the opportunity before

them. They began the promotion of artistic products or of entertaining and spectacular content.

(Matsui, 86) Miyazaki’s Spirited Away was such a big hit, that the Japanese government found that

putting out content such as this would eventually lead to a wealthy development for the country.

Therefore, an “Intellectual Property Outline Strategy” was created for the purpose of promoting the

creation of this content. Things like manga, anime, and games were all promoted and accepted as a

way to gain economic growth through its mass appeal. (Matsui, 86)

This initiative to grow the national competitiveness of Japan wasn’t done on a lower level of

government. This went to higher levels, such as the Prime Minister. It was actually common among

many recent Japanese administrations that they would be ones to endorse the “Cool Japan thesis”.

“For example, Shinzo Abe, the Prime Minister from 2006 to 2007, endorsed the Asian Gateway

Initiative in 2007, in which one of the objectives was to create a 'beautiful country' which is

attractive, trustworthy and respected. Its appendix "Japan Cultural Industry Strategy” argued that

Japan needed to promote its attractiveness to the world through its popular culture including the

lifestyles and values that created such culture.” (Matsui, 87) This being said, promoting this

popular culture served a deeper and more important purpose than preservation or cultural

exchange. It became a way to exert a new global influence or power.

This global “cool” that we see is now being considered a kind of power. This power is

not militaristic but a sort of cultural diplomacy. Through the spread of and manipulation of

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popular media, Japan has a sort of strong influence on other countries. They observe what people

consume from their culture and promote it further. This has developed into a large industry in

Japan and will in time boost their economy even further than it already has. Japan has pushed its

cool factor so much that the Ministry of Foreign Affairs has adapted manga and anime into their

promotions, taking away from more traditional culture that they promoted more before. (Matsui,

82) These contemporary and artistic promotion also served to rebuild the global image of Japan.

Promoting the freshly popular parts of their own contemporary culture to raise the country’s overall

attractiveness was a good strategy to rebuild.

After being left with a tainted global image post-WWII, to rebuild under a new system of

appeal was very ideal for Japan. According to Kokusai Koryu Kenkyukai (qtd. in Matsui), “the

modern Japanese society can promote its new attractiveness internationally if it can construct a

national image that contains the social system that Japan has developed since the end of World War II,

such as efforts toward environmental problems, construction and development of a democratic

society, coexistence of the East and West, internationally featured Japanese modern culture, and

internationally distributed attractive cultures such as fashion, manga, TV games, TV dramas, J-Pop,

and robots.” (Matsui, 89) By using this new popular culture as a hook, Japan is able to open

themselves up globally and present themselves as an ideal country for international business

collaborations and economic growth. This new media gave birth to a new, profitable, and powerful

path for consumption which exercises a lot of influence over those interested. The popularity of things

like manga, anime, music, etc. in the West especially provided Japan with new opportunities to

compete with other countries in the global market. Usually, Western trends are quickly adapted into

other regions of the world. The Western interest in Japan’s new culture only give Japan more

attention. This attention was good for Japan as it was on its way to a regained state of prosperity.

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Now, in the midst of all the craziness of the consumption of Japanese culture and Japan’s cool

factor, tattoos are another area of consumption that promotes “Cool Japan.”

As deduced in the analysis of “Cool Japan”, with the consumption and promotion of

Japanese contemporary culture comes a benefit to Japan. Any benefit would be more ideal than

not, but if previously low-society activities or culture can have their stigmas removed, than so

can other things. With the removal of stigma, comes the opportunity for Japan to take part in the

existing attention a stigmatized practice may have. This goes for things other than contemporary

digital media or other media, but also some traditional practices. Japanese-style tattoos, or

irezumi, are everywhere nowadays. Almost every tattoo parlor in the United States will do

something similar, Korean artists are doing tattoos with heavy usage of Japanese themes

common motifs, and even China has many active artists on the same style. After looking at how

widespread the interest in these tattoos is, it is fair to say that they have contributed heavily to the

cultural consumption of Japan. Much like things like manga, anime, cosplay, or other forms of

previously stigmatized media in Japan, tattoos are stigmatized. However, the stigma, even

though these tattoos are quite popular and draw a lot of attention to Japan, has not yet

disappeared.

So, if tattoos have contributed much already to the cultural consumption of Japan, then

there must be a deeper reason for their existing stigma. While things like manga, anime, etc. have

had their stigma flipped into a successful industry that appeals to most nations, attitudes towards

tattoos remain nearly the same after their legalization in 1948. The association of irezumi with

the yakuza has taken a deep toll on its evolution. This being said, the extensive length of history

that associates tattoos with crime is a bigger factor than the association itself. Time does damage.

For example, Nintendo was originally a playing card company that sold hanafuda cards, which

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were popular among yakuza traditions of gambling. The company itself was originally supported

by the yakuza until the company cut ties and transitioned into the world of video games, yielding

the Nintendo people all know and appreciate. (Samson) However, this association has been

nearly forgotten and people all enjoy what Nintendo has to offer and appreciate how “cool” it

makes Japan seem. This is a much shorter history than what tattooing holds with the yakuza. It is

this long history that causes so much negative attitudes and fear towards tattooed people. The

difference in progress that Nintendo has in comparison is vast. While some progress has been

made in the world of Japanese tattooing, it doesn’t appear to be very much. Local laws and the

general attitudes of the public seem to prove this. However, despite the negative stigma, the

tradition of tattooing in the world of yakuza proves to be a unique and entertaining culture on its

own and proves to be just as “cool.”

Ever since the start of the Meiji Era, Westerners have been fascinated with the intricate

designs and artwork that is irezumi. As stated earlier, people from all over the world, even royals,

would come and seek out a horishi, or a traditional tattoo master. (Bodylore) Flash forward to

today, and we see this same kind of behavior, except on a much more intense level. There is

Japanese tattooing everywhere. It is an essential requirement to be able to tattoo Japanese-style

or at least neo-traditional Japanese in many apprenticeships and in many tattoo shops. The style

being so popular, draws in a lot of business and if done right will result in a lot of publicity.

Japanese tattoo experts in the United States are sought after artists, being booked months ahead.

Aside from the regular tattoo shop reality, Japanese tattooing is also popular in national TV, as

seen on the famous reality TV show Ink Master. Within the show, there are American experts in

Japanese tattooing who judge the Japanese tattoos being done. The requirements are very strict,

as to be expected from a traditional art form. Whenever a tattoo in this style is done right, the

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artist is given praise for the skill they were able to demonstrate with such a style. Regardless of

who is doing the style, it is always a popular theme and a very respected specialty. The skill it

takes to do a proper Japanese tattoo is tremendous. The color, the detail, the linework, and

especially the common motifs are all characteristics of Japanese tattooing that gives it such

respect in not only the tattoo community but the realm of art. How elite and artistic the style is

one of the reasons why they draw so much attention. However, it is also because of their

exclusivity that people become so fascinated with them. Everyone wants what they can’t have.

To put it in other terms, “nothing worth having is easily achieved” or “it isn’t the destination, but

the journey.” Regardless of phrasing, many people seek the process to make reaching the goal

that much better. The process of earning a traditional tattoo is a coveted experience and one that

takes time.

Japanese tattoos have always been an exclusive art. Needing a connection to an artist to

even get a consultation is still a prevalent fact today. Securing an artist, designing and financing

a tattoo, and then earning the ink over the course of months or years is not a simple process.

While spotting someone with Japanese tattoo motifs and designs today isn’t hard, seeing

someone with a traditional style tattoo by an exclusive artist isn’t as easy. However, one of the

things that generate so much appeal about traditional Japanese tattooing is the exclusivity of it.

This exclusive part of Japanese tattooing is referring to old style tebori tattooing done by a

horishi, or master tattooist. (Burton) This style is much different from the modern tattoo

experience and it is very difficult to grasp a full traditional experience. While you can find

people within the United States who do traditional Japanese tebori tattooing, it is not as easy a

claim to make about finding a true horishi.

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 Tebori tattooing is much more time consuming and seemingly more painful than a tattoo

gun. It is tattooing done by hand using a short rod with needles secured the end of it. After being

dipped into ink, the rod is then rubbed into the skin using a reciprocating motion. There are

different kinds of appeal to these kinds of tattoos, and while in past it was the way to get

tattooed, modern alternatives are being utilized more, even by yakuza. (Burton) However, the

current appeal to someone like a westerner, would be to take in the traditional experience to the

fullest, no matter how much trouble it is. It isn’t as straightforward as walking into a shop,

picking a design, and sitting for a few hours. Getting tattooed by a legitimate horishi is its own

process.

Horishi are very hard to get a meeting with. They are usually booked and hard to contact

as they are extremely exclusive artists who are sought after by many people, especially

foreigners. The usual way to find certain horishi is to be referred by a past client. Nowadays it is

more common for an artist to have a line of communication open online. Once someone finally

gets a meeting with a horishi, the consultation process takes a while. Over the course of several

months, the horishi will discuss the design, either picked from a book filled with his previous

designs or designed custom. (Burton) Certain artists will choose a design for the client with no

negotiation and will require the decision will be made by the artist. You get what you get

essentially. This approach fascinates some people as well. The horishi, being a very respected

rank in the tattoo world, have a lot more power in the tattoo process then most modern artists. In

a more modern setting it may vary, but on average the tattoo process in most modern shops is

deeply coordinated with the client and the client makes the final decisions. This is not the usual

case when it comes to a more traditional Japanese tattoo process.

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 Within the tattoo process, the artist has more say and makes most final decisions. The

client is expected to bring gifts to show respect to their horishi. Over the course of time, the

client and horishi develop a close relationship. (Burton) Once the tattoo is done, which may take

a year or more to complete, the client is not free from their obligations to the horishi. “It is

notable that once the tattoo is completed, there seems to be less of a belief that the client owns

the tattoo and more of a presumption that the client has become a piece of the horishi's artwork.”

(Burton) Joy Hendry commented in 1991 that "when I asked whether I could photograph his

work and therefore the bodies of his clients, that the decision to allow me was his, totally without

reference to the canvas." (qtd. in Burton) This goes to show that there is more to the experience

of a traditional Japanese tattoo than walking into a shop to get inked. You become transformed

into a living piece of art. This is one reason why people who are getting tattooed seriously are

sometimes referred to as a “canvas.” Getting a Japanese tattoo is an all-encompassing experience

that allows one to appreciate not only Japanese culture, but also the art that was etched into their

skin. This appeal is one reason why Japanese tattoos should be considered a part of “Cool

Japan.”

The exclusivity of getting a tattoo by a traditional tebori-style tattoo master is one of the

reasons these kinds of tattoos have great appeal to foreigners. The full experience that comes

with the tattoo is another marketable quality. Not only that, but to people interested in tattoos,

getting tattooed by someone renown is very appealing. It is quite common for people to try to

book a tattoo appointment with an artist that has been on TV or has tattooed celebrities. For

example, horishi like Horiyoshi III are coveted artists that are booked out well into the year and

are hard to meet with for even a consultation. Horishi are just like other traditional trades in

Japan, where one must serve a horishi as an assistant and apprentice before learning the trade

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and becoming a true tattoo master. (Burton) In Japan it would be akin to going to train with a

renowned swordsman, in that you get to train under a great master with years of expertise under

their belt. While it is common to get caught up in the traditional experience and its exclusivity,

there are renowned horishi like Horiyoshi III and other artists who are evolving with the times.

Horiyoshi III is a very famous horishi. He is world renowned and has tattooed multiple

celebrities. He was traditionally trained by his predecessor, Horiyoshi I, and committed himself

to tattooed since he was 15 years old. Horiyoshi III began his traditional apprenticeship at the

age of 25 and was given his title of Horiyoshi III once he had completed it. (Friese) While

currently one of the most famous horishi and one of the most famous tattoo artists, he has a very

modern mindset and attitude towards his trade, while striving to preserve the tradition. He has

recognized that in order to truly preserve a tradition, some evolvement is necessary, or the art

will die out. His acceptance to tattoo foreigners is one example of this, and also his alternate use

of certain modern tattoo technology. When asked what he thought about foreign interest in

irezumi he responded, “The human body is beautiful. I think Japanese Irezumi has beauty of

form that explores the human body. In the West, people have become interested in the beauty of

form in Japanese Irezumi. It has rules and sophistication. It’s not surprising that Japanese

Irezumi is accepted worldwide. Foreigners are starting to understand the beauty of it.” (Friese)

So despite the local stigma of tattoos, Horiyoshi III recognizes the outside attitudes and

appreciation of them and works to accommodate those with the right appreciation. He also seems

to recognize that foreign patronization is another way to preserve the tradition.

With traditional Japanese tattoo artists like Horiyoshi III embracing a foreign perspective

and appreciation, comes further evidence towards the promotion of Japanese culture for foreign

consumption. This is in line with the “Cool Japan” initiative to heavily promote popular aspects

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of Japanese culture for foreigners to enjoy. The expanding patronage of Americans and other

foreigners towards Japanese tattooing, abroad and within Japan, leads to a similar consensus that

foreign consumption is beneficial to Japan. Americans watching anime and reading manga are no

different from Americans who decide to get a Japanese tattoo. Some may argue that Japanese

tattooing is not as prominent in “Cool Japan” because more people consume the usual forms of

media like manga, anime, and games. However, the influence of Japanese tattooing goes above

and beyond foreigners traveling to Japan for a tattoo. It also contributes to personal expression.

It has become extremely common through the world to find people who participate in

body modifications. From piercing to tattoos to even implants under one’s skin, there is a

surrounding culture of body modification as a form of expression. This is very common in places

like the United States where the surrounding culture norms are much more fluid than in more

conservative countries. It’s an extremely inclusive and optional practice. While other countries

may have something like a strong historical or religious background that resulted in negative

feelings towards body modifications, it is even becoming more accepted in those countries as

well. It has become a more progressive and contemporary practice. With body modifications

becoming a very normalized form of self-expression across the globe, it is not surprising to hear

about Japanese artists like Horiyoshi III recognizing the foreign appreciation of the Japanese art

of tattooing. Recognizing the beauty of the art and choosing to interpret and express it is a

wonderful thing. This is done in any form of expression.

When it comes to self-expression, people choose all sorts of ways to do so. This can be

through spoken art like poetry, or song. Some people use their athletics to express themselves,

like dance. People tend to express themselves heavily, however, by how they choose to present

themselves to others. Commonly exemplified through fashion, people alter their appearance to

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show interests or attitudes. Clothes, hair, and accessories are central to this way of expression.

Body modifications also fall into this category. Tattoos and piercings have always been a way to

fashion one’s body to exhibit certain things to the public. As mentioned above, people within the

Ainu tribe used tattoos to show sexual maturity. This is a very straightforward topic of

expression, but expression, nonetheless. While tattoos have dipped in and out of a fashionable

category over time, they currently are widely accepted and a big part of modern fashion.

Magazines like Inked Magazine or Tattoo Magazine are prime examples of tattoo directed

fashion. People are now modelling for tattoos and if you have a good collection of tattoos, you

may be recruited for tattoo modeling. Whether it is to show off an artist’s work, highlight an

edgy clothing trend, or to just promote fashion in general, tattoo models are hard at work. It is

promotions like this that also rope people into getting tattoos and being more fashionable and

externally expressive.

People without tattoos don’t always understand why someone may choose to get a tattoo,

or how it ties into their own kind of self-expression. They could represent things a person likes or

enjoys, or they could represent fond memories. Tattoos are also commonly used to celebrate and

remember loved ones who have passed away. Sometimes that is the only reason people get a

tattoo. In traditional Japanese tattooing, especially when it comes to yakuza, tattoos represent

fearlessness and strength. Not just the motifs, but the size of the tattoo shows pain and

dedication, so it becomes a symbol that you are strong-willed. These tattoos command respect

among peers. Modern Western tattoo expression has now been carried over to Japan.

Traditionally, tattoos are given out in the form of bodysuits, which take up most of the

body’s skin. Now, smaller tattoos are more common as a fashion statement to express an

appreciation for something, or to represent a community or group. “Keiko, a 40-year-old woman

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living with her parents on the outskirts of Tokyo, got her first and only tattoo in her late

twenties… She told me she never really saw herself as someone who would get a tattoo, but a

trip to France inspired her to have a Baroque floral design tattooed on her upper arm, featuring

the leaf scroll motifs of that art style in the design of a candleholder that she had seen in an

antique shop. When asked why she tattooed the image instead of merely framing a photograph of

it, she replied, “The style really moved me. I wonder what it was…somehow a photograph

wasn’t enough. I wanted [the design] to be a part of my body.” … She spoke about her own

tattoos using the terms “art” and “fashion tattoo,” without using the more negatively charged

term irezumi, and generally described her experience as a cathartic one.” (Skultin) Here it is easy

to discern Keiko’s intentions in getting a tattoo. She wanted to express her love for the beauty of

the image so much that she made it permanent on herself. She did not view the tattoo as

something with negative associations, but something that is artistic and fashionable. This kind of

expression is very common in tattoo culture and has a deep hold on the tattoo “collector”.

Tattoos do not have to be for others to see, instead they can serve to be one’s art collection that

they enjoy in private. Horiyoshi III actually said tattoos were not for exhibition and meant to be

hidden from the public view. (Friese)

People in Japan, as well as other places around the globe, may also get a tattoo to express

their love or affiliation with a group or organization/profession. In the US, it is not rare to see a

tattoo artist have a tattoo of a tattoo gun, or a chef half a tattoo of a chef’s knife. This has been a

trend in Japan for a while now. It became quite common among the Japanese working class

around the nineteenth century to get a tattoo association with one’s job. (Bellinetti) Regardless of

social stigma towards tattoos and their association with criminals, people like firemen,

construction workers, and sailors got tattoos with representation of their job. These motifs would

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be a mantle worn to show pride in one’s job or to even ask for protection while in danger.

“Firefighters, for example, would ask for protection from the dangers of their jobs by covering

their bodies with water symbols such as dragons, snakes, and carps.” (Bellinetti) These ways that

people choose to express themselves hold deep meaning. Whether it be memories, pride in one’s

profession, or to even show love and appreciation for art, all are a form of self-expression that

hold great influence over that person.

Japan’s “Cool Japan” initiative has shown that appreciation for good and interesting

content can be a gateway to a new world. Media can provide entertainment and engagement in

certain cultural themes and traditions. Art triggers emotion and emotion interferes with some

logical reasoning. This influence leads to greater consumption of that content, which then

benefits the origin or source of that content, as more patronage and consumption is the goal.

When it comes to tattoos, Japan could be taking more of an advantage by grouping that part of

their culture in with Cool Japan. Self-expression is a central part of what it means to be human,

and if Japan’s culture can influence the way someone chooses to express themselves, then their

culture is a powerful one. This is the “soft power” of cultural diplomacy. Since the Cool Japan

initiative is all about cultural diplomacy, it should embrace all forms of its culture that holds

influence. Influencing foreigners to gain popularity for the nation and supporting the economy is

no small task. Any part of its culture that it can exploit should be included. Just like other

popular media from Japan, tattoos exhibit potential to support frequent consumption within

Japan’s cultural market. With this evidence, tattoos really are a de facto member of Cool Japan.

Whether or not they are formally exploited or lawfully classified as content to be promoted,

tattoos step up to the position without the aid of national support.

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 With the national benefit that comes with foreign indulgence in Japan’s popular culture

comes a much deeper agenda. This soft power is a way to compete internationally with countries

that Japan cannot normally compete with on a different scale. For example, even if Japan

couldn’t compete militaristically or even economically with a country, this cultural diplomacy is

a way they can dominate on an international level. Gaining popularity in this context is not

necessarily just about gaining popularity. It is about grooming the perceptions, attitudes, and

mindsets of people. Much like propaganda, cultural diplomacy acts in a way to manipulate

through appeal. “Furthermore, the idea of soft power differs little from the well-known concept

of propaganda, the latter being defined as a deliberate attempt to shape perceptions to achieve a

response that furthers desired action.” (qtd. in Bukh, 462) Through the promotion of popular

culture, Japan shapes people’s perceptions and romanticizes the country. The desired behavior

here would not only be more consumption and money put into Japan’s economy, but also the

obsession and gravitation towards Japan’s ideals, expressions, and way of life.

Tattoos have been around for centuries. The way people choose to openly express

themselves has often involved the alteration of one’s body and look. With the ancient practice

entering the modern world, transitions of attitudes and ideals are something to point out. Stigma,

history, and traditional are all things that are constantly evolving but still being tied to the past. It

is time to accept the change and appreciate what change has to offer. When it comes to Japanese

tattooing, the foreign indulgence of this culture is a good thing for the country and for the world.

Self-expression and cultural exchange are forms of communication that bring people closer

together. Within tattooing brings tradition, and tradition inspires advancement. However tattoos

may contribute to the ancient and modern world, there exists one undeniable fact: tattoos are

definitely cool.

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 Works Cited

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www.artandobject.com/articles/skin-deep-art-japanese-tattoos.

Bukh, Alexander. “Revisiting Japan's Cultural Diplomacy: A Critique of the Agent-Level

Approach to Japan's Soft Power.” Asian Perspective, vol. 38, no. 3, 2014, pp. 461–485.,
www.jstor.org/stable/43738099. Accessed 29 Apr. 2021.

Burton, Helena. “Oriental Irezumi and Occidental Tattooing in Contemporary Japan.” Yoso
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Aug. 2017, tattoo.yoso.eu/japanesetattoo/oriental-irezumi-and-occidental-tattooing-in-
contemporary-japan.

Friese, Kimo. “Horiyoshi III.” Tokyo Journal - Japan's Leading English Magazine in-Print since
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iii.html.

“Inked and Exiled: A History of Tattooing in Japan.” Bodylore,

sites.wp.odu.edu/bodylore/2018/02/28/inked-and-exiled-a-history-of-tattooing-in-japan/.

Matsui, Takeshi. “NATION BRANDING THROUGH STIGMATIZED POPULAR CULTURE:

THE ‘COOL JAPAN’ CRAZE AMONG CENTRAL MINISTRIES IN JAPAN.” Hitotsubashi
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Samson, Carl. “Nintendo Wouldn't Exist Today Without the Japanese Yakuza.” NextShark, 3
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Skultin, John. “Fashioning Tattooed Bodies: An Exploration of Japan's Tattoo Stigma.”

University of San Francisco, 17 Jan. 2020, www.usfca.edu/center-asia-
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Staff, Inked Mag. “An Inked Guide to Symbolism Within Japanese Tattoos.” Tattoo Ideas,
Artists and Models, Tattoo Ideas, Artists and Models, 9 Nov. 2020,
www.inkedmag.com/original-news/japanese-tattoo-symbolism.

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