ABSTRACT
This chapter proposes an archeological genealogy of multimodal ideologies that stretches from the remotest times of our civilizations up to the present digital era. It does so through exploring the multifaceted nature of the Māori facial tattoo, known as the moko, as a form of writing and its complex historical trajectory. Initially come across by the first British colonizers, the moko became an object of colonial curiosity, invoking both fascination and misunderstanding. Herman Melville's portrayal of Queequeg in Moby-Dick further propelled the moko into the literary realm, highlighting its significance as a defining feature of a character while also inviting speculation on human exteriority and the intricate balance between revealing and concealing one's identity. For centuries, the writing on the skin, which was later to be called ‘tattoos’ following the encounter with Oceanian cultures, faced stigmatization due to its divergence from the semiotic ideologies of Judaism and subsequently Christianity. These belief systems, in different ways, perceived writing on the skin as a potential source of idolatry, leading to the marginalization of the moko and its cultural significance. In the contemporary era, the Māori tattoo has experienced appropriation and exploitation, including its digital manifestation through facial filters. However, it has also emerged as a powerful medium for reclaiming cultural dignity and pride. Māori individuals have embraced the moko as a means of asserting their unique identity, challenging the historical stigmatization, and fostering cultural resilience. This chapter sheds light on the journey of the moko from its initial encounter with British colonizers to its present-day resurgence as a symbol of cultural revitalization. By examining its historical, literary, and cultural dimensions, this study aims to deepen our understanding of the Māori facial tattoo as both a form of writing and a vehicle for personal and collective expression.
