Woad, Tattooing and the Archaeology of Rebellion
As part of a series of occasional seminars, Dr Gilly Carr of the University of Kent, (seen recently in the Channel Four Real Wizards: the Search for Harry’s Ancestors and also in next spring’s The Real Boudica) gave a fascinating talk on the above theme.
Dr Carr proposed that the 1st century BC to 5th century AD canoe-shaped ‘cosmetic grinders’ with bovine, duck and phallic-shaped terminal designs, such as those found at Colchester, were not for Roman use but were instead used for the preparation of woad for body painting by native Britons. She suggested that these tools were in fact symbols of resistance, with their existence in this country pre-dating the occupation, and their continuing use a stance against Romanisation.
The terminal designs perhaps relate to the binding agents used to apply woad; for example, the duck terminal indicating egg white or yolk, and the bovine terminal indicating a binding agent of beef dripping or milk. A call to the audience for volunteers to indulge in a little body painting after a practical demonstration of mixing woad was met with some reluctance after Dr Carr discussed the binding agents suggested by the phallic terminal designs! However, several ‘guinea pigs’ eventually offered themselves up. The range of colour produced by the different binding agents varied from a steely blue-grey (useful for creeping through the dawn or dusk unnoticed!) to a deep midnight blue.
Other colours can be produced by woad; adding quicklime produces a green colour; rubbing the skin with the plant produces black. An infusion of the plant in hot water with the addition of an alkaline substance, such as ammonia or urine, produces a woad vat. The aim of a woad vat is to produce a reduction reaction, which would reduce the insoluble blue woad into a soluble white form, which would turn blue on exposure to air. If a person climbed into the vat, their immersed skin would turn blue in around three minutes after leaving the vat — surely perceived as a magical process? Dr Carr referred to some of the scenes on the famous Gundestrup cauldron as evidence for this; perhaps even the cauldron itself was a woad vat?
A very entertaining seminar — perhaps the teenagers of today who tattoo themselves or paint themselves with henna should switch to woad in true rebellious British fashion!
If any KAS members would like to receive information about future seminars run by the School of Classical & Archaeological Studies, please contact Dr Patty Baker, Cornwallis Building UKC, Canterbury CT2 7NF, to be added to the mailing list.
[fg]jpg|Below: possible woad colouring as depicted on the Gundestrup cauldron.|Image[/fg]