#hajichi

These sacred tattoos were banned in Okinawa. A new generation is bringing them back.

Once worn by nearly every Ryukyuan woman, these intricate hand tattoos were outlawed for over a century.

By Haley Harrison

Inside a small tatami room just outside the center of Naha, the capital of Okinawa Prefecture, a quiet rebirth of a once-banned tattoo practice is taking place. Moeko Heshiki, one of the few remaining hajichaas, lays out her stick-and-poke tools with practiced care. My eyes are drawn to the long, dark arrows that trace the length of her fingers—a sacred art now nearly lost.

I tell her that the last woman in my lineage to have hajichi tattoos was my great-great-grandmother, the weight of both pride and loss settling over me.

“People sometimes tell me, ‘Oh, you opened a box,” she says, alluding to the cultural practices Okinawans were forced to lock away. Soon, the tattoos that once marked the hands of generations of Okinawan women will mark my own.

The colonization of Ryukyu

Long before U.S. military bases lined its shores, the islands known today as Okinawa were once the independent Ryukyu Kingdom. In 1879, Japan’s Meiji government annexed the islands, abolishing the kingdom and absorbing the newly named Okinawa Prefecture into its empire.

Ryukyuan sovereignty was dismantled on all fronts: communal lands were seized and redistributed, the indigenous languages were prohibited, and the political and social systems in which women held positions of leadership were overthrown. 

Adriane Tengan-Stoia and Lex McClellan‑Ufugusuku, doctoral students at the University of California, Santa Cruz, explain that women were the spiritual leaders in Ryukyuan society and were believed to possess a divine connection to the spiritual realm. 

“Before Western intervention and Japanese colonization, the chifijing ganashi me, or high priestess, served as the king's counterpart,” says Tengan-Stoia. McClellan‑Ufugusuku adds that the new Meiji government “wanted to put heteropatriarchy firmly in the Ryukyus as it was in Japan” and began persecuting women in positions of power and targeting their cultural traditions.

As a result, hajichi—hand-poked markings that adorned the hands, wrists, and fingers of Ryukyuan women for centuries—was banned.

In the days of Ryukyu, girls as young as six would begin their hajichi journey by receiving two small circles, called tontonmi, between their knuckles. As they grew and reached new milestones, such as getting married, mastering complicated weaving techniques, or turning 60, so did their tattoos. 

Hand Tattoos from Ryukyu

Lee A. Tonouchi Special to Da Hawai‘i Herald

My great grandma who wuz born in Okinawa in 1885 had traditional Okinawan hand tattoos known as hajichi. Esteemed Okinawan cultural expert, Eric Wada of da eju-ma-cational group Ukwanshin Kabudan wen do field research on what motivated Okinawan women for get their hajichi. Wada Shinshï (teacher) shares “hajichi was around and in use from pre-contact times so there is no written documentation of exactly when and how it started, however through oral and documented information, it evolved into a woman’s right of passage to adulthood and had many other spiritual connections, such as genealogy, cosmology and social status.”

Growing up my great grandma felt ashamed of her tattoos cuz in Okinawa, Okinawans wuz coming for be made for feel ashamed of everyting Okinawan. When she came Hawai‘i to work plantation, my great grandma wuz so self-conscious that she made my grandma promise that when she ma-ke time, she wanted to be put in da casket with gloves on.

But how could something that wuz once one mark of great cultural pride transform into one mark of shame? Wada Shinshï explains, “hajichi was banned and discouraged after the illegal annexation and overthrow of the Ryükyü Kingdom in 1879, which resulted in implementation of assimilation programs by the Japanese government, which brainwashed the native people to be ashamed of their ‘savage’ cultural practices and assimilate to the modern and ‘civilized’ Japanese culture.”

For da past several decades dis art form for Okinawan women had been dying out to da point where I noticed that most of my younger friends in Okinawa had nevah even seen hajichi before. Das how rare it wuz.

Interestingly, in da past couple few years seems like get one revival going on. Wada Shinshï shares his mana‘o on dis phenomenon: “I am happily cautious about the hajichi resurgence and optimistic because things that have been put to sleep can come back. There will be individuals who just want to do it as a fad or without such deep connections, and that is their choice, but for the most part, I see more interest in reviving the tradition connected to the deeper spirituality and identity.”

Below get tree young Local Uchinänchu women and their hajichi stories.