The Art of Moulding
The Art of Moulding “To appreciate the beauty of any handicraft, one must not just see at the craft as the product but the craft as an embodiment of human creativity and human labour.�
Digital publication of a student document. For private circulation only. Fashion Communication department 2018 National Institute of Fashion Technology, Bengaluru, India All rights are reserved. No part of this book, either text or illustration, may be used or reproduced in any form without prior written permission from the publisher. Designed by, Sakshi Kumari Guided by, Sanjeev C M
CERTIFICATE This is to certify that the presented document is a record of work done by the students; Nandini Khetan, Navyata Gali, Riya Kanaujia, Twinkle Pahwa and Sakshi Kumari of B.Des, Fashion Communication department during the month of June 2018 before the commencement of 5th semester as a group work and does not form the base for any previous work. PLACE: Bengaluru DATE:
Under the Guidance Sanjeev CM Faculty Department of Fashion Communication National Institute of Fashion Technology Bangalore - 560102
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ACKNOWLEDGEMENT
W
e take this moment to thank the National institute of Fashion Technology to have given this opportunity of undertaking a craft documentation project, as part of our curriculum. We would like to express our special gratitude towards CM Sanjeev for his constant guidance and supervision as well as Lordson Shivakumar for providing us with the necessary information about the project. We are forever indebted to the artisans of the craft cluster for their valuable information and kind cooperation, without which this documentation would never have been possible. We would further like to extend our sincere thanks to our friends and family for their kind support in developing this project, and all the people who have willingly helped us out with their abilities.
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The Art of Moulding
CONTENTS Preface Focus of study Objectives Research Methodology Introduction Karnataka
1. TEACHING THE ART OF FORMING: THE CREATERS THEMSELVES • • • •
Workshop Day 1 Day 2 Day 3
2. THE SMELL THAT REMAINS ROOTED: BEHOLDS STORIES • Bettanahalasuru • Demographics • Living Conditions
3. WHERE THE SHAPE IS FORMED: STORIES WHICH ARE INGRAINED • Pottery Town • Demographics • Living Conditions
4. THE ARTISTS OF OUR NATION: FROM THE ROOTS ITSELF • • • • •
Pottery Potters History Creating the Model Techniques
5. THE JOURNEY OF THE MAKING: FROM CLAY TO FORM • Tools • Process »» centering »» Opening »» Shaping »» Transforming »» Polishing and Decorating »» Embellishments »» Drying »» Burning
6. VENDING THEIR HANDINESS: SKILLS FOR TRADE • Working of the Artisans • Marketing Products
7. BEYOND CRAFT, BEYOND CULTURE: STORIES FROM THE HOME WHERE THE HANDS CREATE THE FORM • Interviews
Feature of the Indian Clay Pottery Industry Challenges faced by the Artisans SWOT Analysis Intension for Improvement The Future of Potters in India Our Experience Conclusion Glossary Bibliography
The Art of Moulding
T
he craft cluster initiative of nift is a project undertaken in order to boost and enhance the crafts of india. For which the students are left to explore, learn and research any craft of india. This gives them the opportunity the to learn the working knowledge of the traditional crafts, it’s techniques, design process and manufacturing process followed since ages. The main objective of this book is to share our experiences and learnings from the craft cluster and to give insights to reader about the beautiful craft of detailing and intimacy. Moreover, an attempt is made to bring the notice of the young minds to look more into limitations and criteria for designing a product which can sell itself in the market for a longer time period.
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PREFACE
FOCUS OF STUDY
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he diyas that we have grown up seeing as an integral part of almost all Hindu festivals, the traditional feel associated with pottery as well as the intricate craftmanship of the cluster inspired us towards knowing more about this craft. The main focus of our study intends to be the material itself, its journey, from raw to final product, as well as the way that it is processed at the various stages before its final outcome. A few other important aspects of our study include the history behind this craft, its origin and the communities which continue practicing this craft as part of their livelihood. The recent evolution in the product range as well as a market study of where all it is sold and exported also is a potential area of introspection as part of our craft documentation. Getting a basic understanding of the culture as part of this study is a key factor to be able to experience their livelihood to some extent and the relevance of the craft in this region. Our intention as part of preserving this craft will be to get an in-depth understanding of what meaning the craft holds for the craftsperson, so as to create awareness amongst a larger audience, such that they value it as much as the craftsperson would.
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The Art of Moulding
OBJECTIVES PHASE 1 To study the historical background of the craft and place where its practiced. 1. To study history of Bettanahalasuru. 2. To study the history of pottery. 3. To study different techniques used by the artisans.. 4. To study factors affecting pottery: • Aesthetical • Cultural • Historical • Psychological • Sociological • Socio-economic
PHASE 2 To conduct an ethnographic study of the Pottery cluster of Bettanahalasuru. 1. To study the technique, production process and product details. 2. To study the relationship between pottery and artisans. 3. To study the socio economic conditions of the artisans. 4. To study the retail chain in market. 5. To study the government initiatives for pottery (if any).
PHASE 3 To analyse and present a comparative data. 1. To find the relationship between market, entrepreneur and artisans. 2. Market analysis of tools and hand techniques. 3. To conduct SWOT analysis.
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RESEARCH METHODLOGY The craft study started with a four days pottery workshop conducted at our campus from 28th to 31st of May, 2018. Then we headed to meet potters of Bettanahallasuru.
DATA COLLECTION PRIMARY DATA
ETHNOGRAPHIC RESEARCH
AREA IDENTIFICATION When and where to conduct the research
DATA COLLECTION METHODOLOGICAL TRIANGULATION
Visual Data • Photos • Observations Qualitative and Quantitative Data • Interview • Open ended conversation • Questionaire • Field notes • Market research
PHASE 1 To study the historical background of the craft and the cluster.
SECONDARY DATA • • • • •
PHASE 2 To conduct an ethnographic study of the cluster.
Internet Documents Reports Research Papers Books
PHASE 1 To analyse the study and present a comparative data.
ANALYSIS
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The Art of Moulding
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craft is a profession that requires particular skills and knowledge of skilled work. It is a discipline and practice distinct from art and design. The aim of craft research is to advocate and promote current and emergent craft research including research into materials, processes, methods, concepts, aesthetics and style. This may be in any discipline area of the applied arts and crafts including craft education. India is a land of immense variety. The range and diversity of Indian crafts is staggering. Indian handicrafts are a storehouse of classical motifs and patterns that have evolved over centuries, many of which have been passed on from trading cultures over eons of interactions. The tradition of crafts in India is grown around religious values, needs of the common people and also the needs of the ruling elites. The craft traditions in India have withstood the depredation of time and several foreign invasions and continued to flourish till date. Handicraft industry has shown tremendous potential for growth. Handicrafts are a source of livelihood to a large number of people in India and specially the rural sector. This sector often provides part time employment to rural women who traditionally practice the craft. Pottery being symbolic plays an important role. A great part of the history of pottery is prehistoric, part of past pre-literate cultures. Indians are known for their magnificent workmanship and have produced the most beautiful pottery wares, yet preserved and exhibited in many of the Indian museums. The art of pottery has evolved through the process of shaping. Each Indian state is unique by itself as far as pottery wares and its variegated designs are concerned. This is mainly because of the difference in the culture and the people, the availability of raw material, plasticity of the clay, influence of ecology, customs, festivals, deity, occupation, skill, likes and flare for various motifs, techniques of shaping and the chemical processes which result into the finished product. Clay ware takes on varying physical characteristics during the making of pottery.
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INTRODUCTION
KARNATAKA
T
he arts and crafts of Karnataka is traditional. They have evolved through ages from one generation to another. If one has ever visited a handicraft village in the state of Karnataka, they will be stunned at the sight of the villagers who always sit in groups and enjoy their work. The arts and crafts of Karnataka includes the works on various objects such as woods, ivory, stones, sandalwood, metals and so on. Ivory art is typical to the state and is so unique that the objects of ivory art have been preserved in the museums outside the country as well. The arts and crafts of Karnataka is popular for the toys made of wood as well as of leather. Such toys include the puppets as well. The works of wood especially the rosewood and the sandalwood are a delight to the tourists. The Mysore paintings probably need no introduction. They are famous all over the world. Pottery is another craft which has gained popularity in Karnataka and in the southern India over theses years. It has maintained its traditional as well as commercial value. Food cooked in the pottery is considered good for health. Red clay is commonly used in designing images of gods and goddesses, animal shapes and flower pots and many other articles.
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TEACHING THE ART OF FORMING THE CREATERS THEMSELVES
Fig: Artisans lighting the lamp before starting the workshop
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WORKSHOP
O
ur learning process included not only attending the two-day workshop at our college campus and visiting the houses of craftsmen in Bettanahalasuru, but also getting a hands on experience with the tools and processes involved in Pottery. From collecting the clay from Betthali (a nearby river) in Bettanahalasuru to burning the final product , each process was described very precisely by the artisans. We even made our very own stylised products under the guidance of Mr. Roy, a pottery master, who came to our college with his team, all experts in the field of pottery. We keenly observed the way he was demonstrating the method of making a simple diya. From introducing the history of pottery to telling his own stories in this field, Mr. Roy taught us a great deal in Pottery. We all were stunned and surprised to see with how ease he moves his fingers into the clay and made such awe-struck design. We even learned how to dough the clay to get a perfect blend for the final product. In the workshop we were also introduced to pottery wheel, we learned how to make vase, glass, money bank and many more with the help of Mr. Roy and his team.
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DAY 1
Fig: Artsian shaping clay in form of human head
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I
n India any good work or occassion starts with lighting diyas, our faculties did the same, we started the day with joyous feeling, Mr. Roy with his experts came to teach us the basic of pottery. Mr.Roy in his mid 60s, was very enthusiastic to help us learn how to dough the clay, the amount of water required to do so. Just taking a handful of clay and moulding it into a bird, that was our first lesson in pottery. And then telling us about the history and origin of pottery. Our first day of the workshop went pretty well in introduction and the very basic.
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Fig: The complete form with detailed features
DAY 2
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F
rom day 1 we all took some or the other information or technique to work with clay, its not easy as it seems. We each were given a big ball of clay, to dough and make it flat with the help of roller-pin and then to start with our own creation. All the creative minds were seen unfolding, some made a picturesque scenery, while others tried their hands on a more three dimensional objects. Mr. Roy and his team was always their to help and guide, at the end of day 2 all were happy and satisfied with the work.
Fig: Artisan demonstrating ‘quilling’ technique
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Fig: Artsian shaping the vase
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DAY 3
F
rom day 1 there were several pottery wheels kept aside, we all were curious to know why haven’t we started with it, and finally on day 3 we started off with pottery wheels. Mr. Roy was their to give the demonstration, just watching the clay take a shape of a pot made everyone awestruck, it was like the fingers was playing their own tune. Then soon there was laughter and giggles in the oval because everyone was enjoying themselves and made pretty funny shapes (which was not even close to a pot). And soon with some guidance and patience we all started making some or other product like small vases, glass, money bank etc.
Fig: Students getting their hands on potter’s wheel
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Fig: Student trying to center the clay
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Fig: Student shaping the clay on the wheel
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THE SMELL THAT REMAINS ROOTED BEHOLDS STORIES
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BETTANAHALASURU
Fig: The village: Bettanahalsuru
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F
rom Bettanahalasuru of North Bangalore, traditional pottery artisans those who are performing clay craft for generations were chosen for the study. There were 100 families in village practicing this craft. The livelihood of those families largely depends on pottery industry. Among them, all the families with younger generation artisans were also taken for study. Census method was used for the study. The entire artisans from family was contacted to find out the socio economic condition of them, working condition of the society, governance, and societies contribution towards the artisans improvement were analyzed by focused group discussion and interview and made necessary analysis and interpretation.
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DEMOGRAPHICS LOCATION:
Bettahalasur village is located in North Tehsil of Bangalore district in Karnataka, India.
TOTAL AREA:
The total geographical area of village is 598.25 hectares.
ROADWAYS:
Kanakapura is the nearest town to Halasuru. It is connected by roadways and is 18 kms away.
BUS STOPS:
The nearest bus stop is Sonapanahalli Bus Stop.
RAILWAY STATION:
Nelamangala - Majestic Service Road Yeshwanthpur Industrial Area, Phase -1 (25.5 km away)
AIRPORT:
Kempegowda International Airport, KIAL Rd, Devanahalli, Bengaluru
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SCHOOLS:
Sai Vidyamandira School GMPS Bettahalasur School
COLLEGES:
No such college in the vicinity
ATMs:
Bank of India
HOSPITALS:
There are no hospitals in this village
TEMPLES:
Anjaneya Temple Muthyalamma Temple Sri Anjaneya Swamey Temple
INTERNET CENTRE:
There is no Internet Centre in less than 10 km.
OTHER AMENITIES:
Anganwadi centre, ASHA, Birth & Death registration office, Daily News Paper and Polling station are there in the village.
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LIVING CONDITIONS Bettanahalasur is census town in Bangalore Urban district in the Indian state of Karnataka. It is one of the 199 villages of Bangalore North Block of Bengaluru district.
POPULATION:
The village has a population of about 3097 persons living in around 725 households according to the census 2011. Total Population - 3573 Male Population- 1817 Female Population- 1756
LIVING CONDITIONS
People here are living in claustrophobic conditions, having narrow passages and lanes. The society is not very clean. Most of the people here practice pottery and supply the products to sellers instead of directly selling them in the market. Some of the families own pets like cows, goats and dogs. The workers are not very well equipped with today’s technology.
RELIGIOUS BELIEFS
A devils’ face can be usyually found hanged outside nearly every house and shop, which is believed to keep the negative energies away. Females put a tika and also adorn their hair with jasmine flowers. Women are also found wearing anklets of silver. Photographs of hindu gods and goddess can be seen hung on the walls inside every working space.
AGRICULTURE
Ragi, Paddy, Grapes and Mulberry are agricultural commodities that is grown in this village. Total irrigated area in this village is 32.81 hectares. Tube wells are the major source of irrigation.
WATER AND SANITATION
Hand Pump and Tube Wells/Boreholes are other Drinking Water sources. Open Drainage System Available in this Village. There is no system to Collect garbage on street. Drain water is discharged directly into water bodies.
POLITICS
JD(S) , BJP , INC are the major political parties in this area.
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Fig: Lifestyle of people in Bettanahalasuru
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WHERE THE SHAPE IS FORMED STORIES WHICH ARE INGRAINED
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POTTERY TOWN
Ipiet, non et offictatibus accatem landitatius, adissitae ius et velibus andioria seque nonseriat quiatquam, ium sitibus eos voluptatem.
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P
ottery Town is a small lane in Shivaji Nagar, Bangalore where one can buy pottery products for a very less price. Pottery Town is actually centrally located and hence easy to reach. It is an old place in Bangalore where people from decades have been into the skill of pottery making. There is always a high demand of pottery, specially during festivals, the potters make traditional clay lamps and less demand during monsoons.
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DEMOGRAPHICS LOCATION:
Bettahalasur village is located in North Tehsil of Bangalore district in Karnataka, India.
TOTAL AREA:
The total geographical area of village is 598.25 hectares.
ROADWAYS:
Yelahanka, Bommanahalli, Krishnarajapura, Kengeri , Hosakote, Dasarahalli, Devanahalli, Dod Ballapur, Magadi, Nelamangala are connected to Pottery Town via roadways.
BUS STOPS:
CSI hospital bus stop (2.8 kms)
RAILWAY STATION:
Bangalore Cant Railway Station (3.1kms)
AIRPORT:
Kempegowda International Airport (32.3 kms)
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SCHOOLS:
Featherlite School Excellent English School
COLLEGES:
R.V. Tutorials Fatima Teachers Training College
ATMs:
There is no ATM, commercial bank or cooperative bank in less than 10 km.
HOSPITALS:
Divine Speciality Hospital Santosh Hospital ESI Hospital Corporation Maternity Home
TEMPLES:
William Town Vel Murugan Temple (260 m)
INTERNET CENTRE:
There is a few internet centres in the area.
OTHER AMENITIES:
Daily news paper vendors, Mechanic shops and Polling station are there in the village.
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LIVING CONDITIONS HISTORY
The origin of pottery town can be traced back to 300 years from now, coming from Tamil Nadu, Bellur district. There have been a total of 5 pottery towns till date. The first 3 pottery towns were set up by the Kings, who ruled over Bangalore.
LIVING CONDITIONS
People here are living in claustrophobic conditions, having narrow passages and lanes. The society is not very clean. Most of the people do not live in shops, they have their houses somewhere else. Some of the families own pets. The workers are well equipped with today’s technology, and can be seen using android phones, have televisions in nearly all houses and computers with internet facilities. There is hardly any problem related to electricity.
RELIGIOUS BELIEFS
A devils’ face can be usyually found hanged outside nearly every house and shop, which is believed to keep the negative energies away. Females put a tika and also adorn their hair with jasmine flowers. Photographs of hindu gods and goddess can be seen hung inside every shop with bhajans playing in the background.
HEALTH
Good health facilities are available in the vicinity. Some of the hospitals in the neighbourhood are Santosh Hospital & Deewan Hospital. Pharmaceutical stores are also available for the residence of pottery town. They majorly face dust allergies due to their livelihood
EDUCATION
In the previous generation majorly the females weren’t fully educated but the current scenario is such that the people have realised the importance of education and most of them send their kids to school. The nearest school observed in the area is the Featherlite Pottery Town Government High School.
OTHER OCCUPATIONS
People living on the main lane of the pottery town practice pottery making. Apart from pottery making other occupations that can be observed in the area are butcher’s shop, tyre repair shops, small grocery stores, mattress sellers, small tea stalls etc.
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Fig Life style of people at Pottery Town market
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THE ARTISTS OF OUR NATION FROM THE ROOTS ITSELF
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Fig: Artisan using her figure to shape the clay
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POTTERY
P
ottery is the ceramic material which makes up pottery wares, of which major types include earthenware, stoneware and porcelain. The place where such wares are made by a potter is also called a pottery (plural “potteries�). Pottery is clay that is modeled, dried, and fired, usually with a glaze or finish, into a vessel or decorative object. Clay is a natural product dug from the earth, which has decomposed from rock within the earth’s crust for millions of years. Decomposition occurs when water erodes the rock, breaks it down, and deposits them. It is important to note that a clay body is not the same thing as clay. Clay bodies are clay mixed with additives that give the clay different properties when worked and fired; thus pottery is not made from raw clay but a mixture of clay and other materials.
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Fig: Artisan using her figure to shape the clay
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Fig: Artisan creating a vase
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POTTERS
P
otters have been forming vessels from clay bodies for millions of years. When nomadic man settled down and discovered fire, the firing of clay pots was not far behind. Pinch pots, made from balls of clay into which fingers or thumbs are inserted to make the opening, may have been the first pottery. Coil pots, formed from long coils of clay that are blended together, were not far behind. These first pots were fired at low temperatures and were thus fragile and porous. Ancient potters partially solved this by burnishing the surfaces with a rock or hard wood before firing. These low-temperature fired pots were blackened by these fires. Decoration was generally the result of incisions or insertions of tools into soft clay. Early potters created objects that could be used for practical purposes, as well as objects that represented their fertility gods.
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HISTORY
P
ottery was in use in South Asia dating back to prehistoric times, including areas now forming Pakistan and northwest India, during the Mehrgarh Period II (5,500-4,800 BC) and Mehrgarh Period III (4,800-3,500 BC), known as the ceramic Neolithic and chalcolithic. Pottery, including items known as the ed-Dur vessels, originated in regions of the Saraswati River / Indus River and have been found in a number of sites in the Indus Civilization. Despite an extensive prehistoric record of pottery, including painted wares, little “fine” or luxury pottery was made in the subcontinent in historic times. Most traditional Indian pottery vessels are large pots or jars for storage, or small cups or lamps, often treated as disposable. In contrast there are long traditions of sculpted figures, often rather large, in terracotta.
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THE MYTH: Once upon a time, Lord Shiva decided to get married to Goddess Parvathi. Utensils were required for the ceremony and serving food, while clothes and jewelry needed to be made. The Brahmins were the priests, while the Kshatriyas were the warriors. Vaishyas were businessmen and merchants. The only remaining caste was the Shudra caste. They were the workers and the cultivators, and were known as Kalakars. Hence it was decided to take them and split them into roles such as Malakars, Kamaar, Taati, Bonika, Mali, Dhobhi, Samaar, Kumharis and the Kisaan who was the cultivator. All the Kalakars (craftsmen) together came of help in Lord Shiva’s marriage.
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CREATING THE MODEL
T
he potter can form his product in one of many ways. Clay may be modeled by hand or with the assistance of a potter’s wheel, may be jiggered using a tool that copies the form of a master model onto a production piece, may be poured into a mold and dried, or cut or stamped into squares or slabs. The methods for forming pottery is as varied as the artisans who create them. Pottery must be fired to a temperature high enough to mature the clay, meaning that the high temperature hardens the piece to enable it to hold water. An integral part of this firing is the addition of liquid glaze (it may be painted on or dipped in the glaze) to the surface of the unfired pot, which changes chemical composition and fuses to the surface of the fired pot. Then, the pottery is called vitreous, meaning it can hold water.
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TECHNIQUES PINCH POTS:
Begin a pinch pot by forming a lump of clay into a smooth sphere that fits the size of the hand. While holding the sphere of clay, press the thumb into the center of the ball, half-way to the bottom. While revolving the ball in one hand, press the walls out evenly with the thumb into the inside and the fingers on the outside. Smooth the surface with a damp sponge.
COIL METHOD:
Coils of clay can be used to build bowls, vases and other forms in various shapes and sizes. Keeping the fingers flat, form the clay into sausage shapes, then roll into ropes 1/4 to 1/2 inches thick. Make a shallow dish with the pinch pot method and turn up-side down to serve as a foot of base. Place a coil along the edge of the foot. Dampen the fingers and join the next coil to it, with a little pressure. Keep adding coils . Coils may be pressed with the fingers or a tool on both the inside and outside to create interesting texture.
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SLAB METHOD:
Place two strips of wood on canvas a little further apart than the width of the finished slabs. Working on a textured fabric will leave imprints on the clay slab. Place clay on the cloth between the strips of wood and roll out. Use a pointed tool to trim the slab of clay to desired size. Rub a wet finger over the edges to be joined and score with a tool. Roll out a thin coil of sticky clay and place it along one edge. Press the two edges together. Slabs of clay may be placed over rocks, bowls, plastic forms etc. to create interesting shapes. As the clay dries, it shrinks away from the form but retains the shape of the form.
All handbuilding techniques can be used on one piece, such as using a slab to form the sides of a vessel, and then using coils and pinching to create an interesting rim or handles. Handbuilding techniques can also be used to alter and enhance a form thrown on a wheel.
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THE JOURNEY OF THE MAKING FROM CLAY TO FORM
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Fig: Artisan using a “tool� to create an intricate design on diya
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TOOLS Pottery requires very few tools and many can be made or adapted from kitchen utensils and other household items. There are, however, a few essentials, which can be bought from pottery suppliers.
FORMING TOOLS POTTER’S WHEEL
A potter’s wheel is a machine used in the shaping of round ceramic ware. The wheel may also be used during the process of trimming the excess body from dried ware, and for applying incised decoration or rings of colour.
SPONGES
All potters need a selection of natural and synthetic sponges to remove excess water from the insides and surfaces of pots, smooth rims, and to apply slip and glaze decoration.
CUTTING WIRE
Essential for wedging clay and cutting parts off a wheel head, wires are usually about 18inches long with wooden toggles at each end. Potters usually prefer to use a metal wire with handles made for slicing through the clay. It can be made of fishing wire of suitable thickness.
ROLLING PIN
Rolling pins can easily and quickly roll out slabs of clay. They are best used with the thickness strips to produce a consistent girth. It should preferably be long and without handles.
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DECORATING TOOLS WOODEN MODELING TOOLS
Used to smooth surfaces, shape sculptures and blend seams. It comes in a wide variety of shapes and sizes but a combination of two or three can be used to serve many functions. *Tip: Use a wooden chopstick for smoothing surfaces and blending seams.
WOODEN RIBS
Used for smoothing and refining wheel thrown pots, but are available in shapes to suit any kind of work.
POTTER’S NEEDLE
Useful for marking levels on rims while the product is rotating on the wheel. It can also be used for scoring small areas and also for cutting pieces out of slabs of clay.
RIBBON/LOOP TOOLS
Used to trim the bases of wheel-thrown pots and also to hollow out handmade shapes, especially sculpture forms.
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PROCESS
Fig: Artisan collecting clay
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Fig 16: Artisan removing stones and mixing clay
T
he clay is collected from the nearby river popularly known as ‘Betthalli River’ which is 4-5 km away from the village, the clay is generally collected by the agents, artisans doesn’t do the sourcing of the clay himself. After the clay is received by the potters, water is added to the mud block and kept for drying. Indigenous techniques are used to remove the peebles and other unwanted particles , they also make it even by pressing it under their feet. Once the mud is ready to use, it is then put on the potter’s wheel and the products are made according to the demand
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Fig: Artisan centering the lump of clay on the wheel in a way that no space is left in between the clay particles for air to enter.
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CENTERING
B
efore the clay can be formed into a pot, it has to be centered, so that every part of it lines up with the very heart of the wheel. The unruly clay wobbles at first, heading off in all directions. The potter adds water and presses his hands against the sides of the clay as it spins, pushing the clay closer to the wheel head, smoothing uneven places, and pressing bumpy edges. Finally, under the firm and gentle guidance of the potter, the clay begins to center. It is a process that requires much time, trust, and patience. But by the end, the clay gets smooth, solid, and perfectly aligned - on its way to becoming a true work of art.
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OPENING
T
he clay sits on the wheel, smooth, round, and perfectly centered. But there is a problem. The lump is solid through and through. There is no opening that will turn the heavy lump of clay into a bowl, a cup, or a vase. At this point in the process, there is too much in the way, and it is of no use at all. So the wheel spins and the potter gets to work, resting his left hand lightly on the outside of the clay, using his right hand to press into the top of the clay. He moves the extra clay aside; he opens up an empty space. As the clay is opened up, new room is made available to hold good things.
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Fig: Artisan giving an opening to a lump of clay centered on the wheel
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Fig: Artisan stretching the clay and giving it a shape
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SHAPING
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his is the moment of truth, the moment the potter has been waiting for. Every step before this one is preparation; every step after this is finishing work. In shaping a pot, the potter puts one hand on the inside of the pot and one hand on the outside, squeezing the clay in-between, moving from the bottom to the top. The clay is stretched, thinned, and directed between the potter’s hands. As each person is shaped according to God’s plan, so each pot is shaped according to the potter’s will. Whether he is creating a pot because there is a need for something to function in the household, a need for beauty somewhere in the world, or a need to express the joy of creativity, he makes each pot as he sees fit.
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TRANSFORMING
T
hen the potter picks the pot off the shelf and stacks it in the kiln. They are then cleaned, wedged, stretched, and dryed. The pot is now flung into the blazing furnace. The kiln heats the pot to about a thousand degrees Fahrenheit.But after it is fired, the pot becomes smaller, lighter, and much more stronger. The firing process heats the clay so hot that a permanent change takes place; it no longer dissolves in water. The process isn’t easy or comfortable, but the clay pot is not good for anything until it is transformed by fire.
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Fig: Artisan transforming the shaped clay
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Fig: Artisan polishing the clay bottle
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POLISHING AND DECORATION
F
iring gives the pots a lovely, tactile soft feel. After the burning/baking process is done and the products are ready . In ancient times, animal fat, oil, and wax were often used to make it more waterproof and to restore the pre-firing high gloss. Today, most potters use a form of wax. Paraffin wax, candle wax, and beeswax, have all been used successfully. By applying the wax to a small area of heated ware and polishing a high sheen can be achieved.T he artisans in Bettahalasuru aren’t that aware of these kind of products, they do not give any finishing to the final product , after the burning process they directly sale the products in the market.
Fig: Artisan decorating the diyas
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EMBELLISHMENTS
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here are endless methods for embellishing or decorating pottery, while the clay is carveable from the forming stage through final glazing and beyond. In Bettanahalasuru the potters while moulding the clay often create textures to wet pots through impressing a variety of tools and objects into the surface, like making few traditional patterns on the edges, some of them also make small flower patterns to give it a fancy look.
Fig: Artisan attachinng handle to the diya
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Fig: Artisan making handles and other embellishments
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DRYING
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Fig: Clay pots kept under the sun for drying
BURNING
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he items are arranged on the plank of wood
in order and dried within the room. The outer attachments are to be made to the lamps, it is done by fixing the clay immersed in water into the required shapes. In uneven bottom layers, they are smoothened by pasting a light mixture of the clay to it and rubbing on to the smooth granite stone surface. After the prepared clay materials are completely dried reached to the quantity of customer’s request it is dried under direct sunlight and taken for the Bhatti(kiln). After the clay materials are arranged, firewood is placed to provide heat to the Bhatti for about 7-8 hours at 800-12000 C. After the heating process the clay items are left over night for cooling completely.
Fig: Artisan setting up the fire for baking
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VENDING THEIR HANDINESS SKILLS FOR TRADE
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WORKING OF THE ARTISANS ECONOMY
The craft items have a good market in the city but still are lagging behind far than its wage calculated in terms of actual time spent in its making. Above this is very much seasonal so market is not available round the year as in festive season during deepavali - karthik poornima. Their keeping this art alive as their tradition also as their source of income in spite of facing all adversities.T hey make 100 pieces per day on average and earn 20k.
DIVISION OF LABOUR
They spend at least 9 hours a day for 100 pieces per day where two people will be woking on each wheel. But entire indirectly the entire family is involved in some or the other process liking sorcing mud, mixing md, baking the pot/diyas etc. Craftsmen spend several months on a piece to meticulously curve out the details. With handoperated simple tools they used to engrave exotic designs on the Sholapith. It was very laborious and time-consuming job. No part of the pith is wasted and leftover bits are used for making flowers, birds and animal figures. Here entire families are engaged in the craft, yet it is the master craftsmen who take charge of the most intricate works.
TRADITION OF LEARNING: HEREDITARY
From the very young age, they are trained to make some Sholapith articles. Hereditary have developed in them perfected forms and motifs and their inborn sense of art displays itself in the use of these forms and motifs to create one of the most impressive items of decoration and ornamentation. By helping the elderly artisan in crafting the Sholapith as well as through day to day experience the young craftsmen acquires the training at home. The oral tradition of learning the technical skill of the craft is the only means to train the novice artisan. In Maheshpur village I find a Sholapith craft training centre supported by Department of Rural Development, Kolkata where the women and younger craftsmen can learn to create new designs or different objects to fulfil the demand of the modern taste.
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Fig: Artisan polishing the shaped diyas
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Fig: Decorative clay horses displayed for the sale
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Fig 30: Tea cups made out of clay are been displayed for sale
MARKETING PRODUCTS
T
he raw material like clay is brought from Varma Agra which is 20 Km away from pottery town and is carried by road transportation like tempo or truck. After the burning process when the product is ready, the artisans doesn’t invest more hours giving a finishing look, they sell the products right away. Their customers are usually the local people and they take the orders in bulk on a daily or monthly basis, there are no minimum order criteria. In bulk they generally charge less comparatively when taking individual orders. The education background of the artisans are not that strong, as they have to help with the family income. In Bettanahalasuru the customers are not the local people, because more than half of the villagers are into pottery only, they usually sell their product in the town. Some potters have agents who sell their products on profits, other potters who can’t afford the cost of third person, take their own products to sell in the market. There pottery is passed through ages, so the skills are inborn and they grow into it, they always design their own products. Some of the potters have different business as well, because pottery alone can’t make ends meet.
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BEYONG CRAFT, BEYOND CULTURE STORIES FROM THE HOME WHERE THE HANDS CREATE FORM
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Fig: Students interacting with the residents of Bettanahalsuru
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Fig: Students interacting with the artisans of Bettanahalsuru
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INTERVIEWS MUNI RAJU: BETTANAHALASURU Muni raju, 47 year old has been practising pottery since more than 20 years which he learnt from his father and now it is his main source of income. His native place is a village called Narayanapura. Raju also work a bus driver in a nearby school, because pottery alone can’t make his ends meet, with a family of four members, wife and two kids. On asking whether his kids will follow the same step as him, he said pottery won’t bring much money and happiness in their life, so he encourages his kids to study hard and get better jobs of their own interests. For Raju himself, he is attached to the aroma of wet mud which he moulds everyday in something new and beautiful. Raju works from his semi-kutcha house. Initially he started making flower pots, but because of decreasing market demands, he has to shift his work to making just the diyas, on an average he makes 300 diyas per day, making diyas there was a sudden rise in the income as per the market demands, as it all increased the price of mud as well as transportation also rose. During festivals, diyas are sold at a very large scale but there is no such profit at that time as well. Talking about variation in design, he usually make 3-4 types of different diyas.
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CHANDRA SHEKHAR: BETTANAHALASURU Chandra Shekhar a 48 year old potter has been living in Bettahalasuru since his birth and now owns a house. He and his wife have three daughters, the elder one is married, and the other two does pottery workshops in school, colleges, fair etc. Shekhar studied till class 6 in Kannada medium school, after that he started helping his father with pottery. He makes his own design when it comes to making a product, but for sourcing the raw materials, he said it’s getting costly because of urbanisation around the village. Including the earnings of the daughters , they make 20 thousand per month.
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LAKSHMI DEVI: BETTANAHALASURU Lakshmi devi amma is 50 year old from andhra pradesh, after her marriage to Yenkaya her husband, she shifted to Bettanahalasuru and now its been 30 years she got associated with this craft. Her husband doesn’t work because of health issues, so she is involved fully into this craft throughout the year. Lakshmi amma is well settled in her own kutcha house. She have a daughter and a son both married and are settled happily. Her working hour is quite tiresome from morning 10am to evening 4pm, at this age she easily gets tired. The higher demand for her products are during Deepawali and Karthik Poornima, as people use diyas all around their home and surroundings. On adapting new techniques, she said it totally depends on the availability of tools. Currently she earns 20 thousand in a month.
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PAPAMMA : POTTERY TOWN Papamma a 65 year old potter, have been living in pottery town since childhood , and he is in this business from past 50 years. Papamma and his wife is blessed with two sons and a daughter, his sons help him with the pottery business and also they are into few other small business for extra income, his daughter is married housewife. Pappama is a grandfather, he have three grandchildren, all of them go to school. On asking about the types of soil/clay used for making the products, he said red soil, black soil and sand. He usually make pots, and sculptures of God during festivals, price range varies from Rs.5 to Rs.500, it all depends on the size of the products. When we asked about what does government do or does government help the potters with anything, be it giving incentives, more knowledge about the market, government scheme, Papamma replied- we don’t get any help from the government.
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A
nalysis of the data obtained from the field survey reveals the following characteristic features of the Indian clay pottery industry.
• The unit of production of the pottery industry is of home scale level. • Maximum older people whose age is above 45 years are continuing in the occupation. This occupation is average 200 working-days of employment per annum on an average to each family. None of the respondents is willing that their children should learn this age-old traditional occupation. • This occupation is not providing adequate employment for the respondents who are completely dependent on this occupation. On an average only 50 percent families are continuing in this occupation, and the rest are engaged in other professions as an unskilled labour. • Out of the total workers engaged in pottery production 30 percent are highly skilled, 50 percent are semi-skilled and rest are 20 percent are unskilled workers. For upgradation of their skill, no systematic HRD programmes were organized by any agencies. • Around 70 percent products are traditional, 20 percent is moderate and hardly 10 percent contemporary products are produced by the potters and they are either staying in the city or close to city. • No modern technology and new techniques od production have been introduced so far under any development scheme of the government.
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FEATURES OF THE INDIAN CLAY POTTERY INDUSTRY
CHALLENGES FACED BY THE ARTISANS
C
lay pottery is an ancient craft of the world. Clay pots, toys, art products, terracotta, tiles, black & red pottery , wall hangings, animals, fruits & vegetables, water coolers etc. are found in many countries and have good demand in domestic as well as export markets yet it is facing in flourishing as a craft. Potters are facing problem in supporting their family so they work as laborers on very low wages in allied activities like building bricks, refractory, crockery, electrical porcelain items, stone carving etc. One will be surprised to know that even today clay pots are used for cooking rice, dal and vegetables in some remote areas as the food cooked in these vessels is very tasty & hygienic.
• Despite of the facts that domestic and export markets exist for earthen ware, wide acceptance of paper and plastic products have posed serious threat to clay pottery as whole and it has received sever set back. • Due to urbanisation which is resulting afforestation the people are facing problem to get the raw materials such as the dry leaves and mud. People were blaming the ‘corporate world’ as it may be the reason to kill their craft. • Also as the market is seasonal; they wish and want a bulk and regular orders and expect people to use these earthen products. • Rapid growth of urbanization has adversely affected potters living in urban areas and they are finding it increasingly difficult to carry out their activities due to non availability suitable clay and protest from the neighbors against smoke coming out from the oven. •
Due to high cost of production of clay pots in comparison to paper & plastic products, the demand has considerably decreased. Therefore artisans are unable to meet their bare necessities like fooding, clothing, medicine and education to their children.
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SWOT ANALYSIS STRENGTHS
• Less competition since they are the only ones in the market • There is no wastage of clay since it is reusable.
WEAKNESSESS • Storage is an issue due to fragile nature of the products and lack of space. • A considerable lack of productivity as well as demand from consumers is seen during monsoons. • The land is government owned and not their own. • Market demand is seasonal
OPPORTUNITIES • The innovation in design are feasible.
THREATS • Government can seize their land anytime since they don’t own it. • This profession may die as the upcoming generation may not continue in this held due to lack of profits and opportunities involved.
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INTENTION FOR IMPROVEMENT
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t is obvious that if you want to eat a fruit from your tree, then the first thing is to pour water to its root. The pathetic fallacy is that, not only these art forms are in a miserable dying condition in most parts of India, but the earthen dolls and earthen products are also being sold in high prices in different showrooms in metropolis. Government is reluctant to improve the condition of this art. There are no changes for noticeable improvement where we can feel a satisfactory growth in future for the people engaged in this art. Some of the artisans curse their fate and started to accept that on the long run they will not survive if they further engage themselves in this profession which they inherited from their ancestors. An eager step from administration and conscious civilians should be taken that can help to rejuvenate this enriched art. Proper sales promotion and advertisement can be conducted in front of interested businessmen that will perhaps help in improvising the sales of the product. Some awareness and aggressive promotional activities both in the part of stakeholders and government should be necessarily taken to establish earthen product side by side with modern glass or stone product of that category. The present enquiry will help to explore the need to organize the earthen doll sector both in national and international, keeping in mind that there it noticeable demand of the product. The study also highlights the necessity to adopt new approach to survive as a product being flexible with conventional methods of manufacturing to marketing. Tradition has its own importance. Time has its own rules, that is why new thing happens and few fade out with the passage of time.
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E
conomically, potters exist on a subsistence level and any extra expenditure, such as dowry or unforeseen illness, entails a loan with the accompanying inevitable debts. It has been recommended by various government commission that potters should be included in the category of ‘Socially and Educationally Backward Classes’. This will entitle them to affirmative action programmes such as reservations on seats in institutions of higher learning and jobs, special training programs and interest free loan schemes for equipment such as electric wheels and kilns. Transition periods are difficult and it will take time for a new aesthetic to emerge from a new technology. Change is inevitably brought about by economic and social pressures in a time of political and industrial development. But it is pity that the old should be stigmatized for the wrong reasons as being primitive, and that social status should depend the destruction of what was beautiful and precious.
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THE FUTURE OF POTTERS IN INDIA
Fig: Artisan smoothening the surface of diya
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W
e the students of Fashion Communication department (NIFT Bengaluru) did our craft cluster study on ‘Pottery’ for a week, which comprised of workshop at college campus followed with a cluster visit to Bettahalasuru. This one week was more beyond than a learning experience. We saw the world of pottery through the eyes of the potters, their experiences, their learning, their approach in the field of pottery. Our experience was nonetheless different, we got a chance to sit and watch the diyas and diyas being made by the artisans, which was very satisfying, one after the other, and simultaneously getting to know their lifestyle. We were so awestruck by their skills that we wanted to inculcate few into ourselves. And to know that they all learned it by themselves was more of a surprise to us. Also, the place Bettahalasuru (village located in Bangalore), is not that big with too many houses, but has lot to give in terms of experiences. In our few visits, we observed the lifestyle not only of the artisans, but also of their families. It was the usual as any other village, women doing their chores, kids riding their bikes, cows mooing in unison, dogs peeping into the house, it was just as we imagined it would to be. Our experience was more than words to describe.
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OUR EXPERIENCE
CONCLUSION
P
ottery, one of the oldest and most widespread of the decorative arts, consisting of objects made of clay and hardened with heat. From our one week of workshops and cluster visit to Bettanahalasuru, we got to know various things about the craft, the artisans inspired us to look at this craft differently. The intricacy of this art is mind-blowing and an eye-opener. The study not only did enlighten us about the craft, but has also brought a new dimension to our approach towards things and people. It made us realise the value of patience, skills and hard work put by people at every step for the product to come out as beautiful as we see in markets. Their struggles is harsh but a true reality which provokes us to to bring changes in our mindset about the craft. The Indian pottery industry is suffering from irregular supply of raw materials, lack of working capitals, obsolete technology, lack of diversification of products, competition from the organised sector, lack of good marketing facilities, and lack of Research and Development efforts, management problems, etc. The artisans are often exploited by the middlemen who always squeeze the profit. There is a need of capital for increased productivity of the sector. The Government and non-government initiatives can solve the problem and develop the industries at its best level. It goes without saying that realization of policies will need very efficient and committed functionaries. Since the artisans are in the hands of stereotype machinery it may be necessary that the entire programme for the development may be organized through various governmental institutions.
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GLOSSARY • • • • • • • • • • • • • • • • •
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Diya: A small cup-shaped oil lamp made of baked clay. Tika: A mark worn by a Hindu on the forehead to indicate caste, status, or sect, or as an ornament. Cakra: Wheel in kannada Shiva: One of the three chief divinities of the later Hindu pantheon. Parvathi: Hindu goddess of fertility, love and devotion; as well as of divine strength and power. Kamaar: People of central India now engaged in the practice of plow agriculture. Taati: It is called Ice-apple in British English. Maali: People who are engaged with gardening. Dhobi: People who are engaged in the practice of washing clothes. Samar: Hindu and Muslim unisex name meaning ‘Battlefield Commander’ in Sanskrit. Kumharis: Pottery in which the ceramic material which makes up pottery wares, of which major types include earthenware, stoneware and porcelain. Kisaan: Person who is engaged in the practice of agriculture Kalakars: People who are associated with art Bhatti: An enclosed structure in which material can be heated to very high temperatures, e.g. for smelting metals. Karthik Poornima: A Hindu, Sikh and Jain holy festival, celebrated on the full moon day or the fifteenth lunar day of Kartik. Sholapith: It is a dried milky-white spongey plant matter from Aeschynomene sp. It can be pressed and shaped into objects of art. Dal: It is a term used in the Indian subcontinent for dried, split pulses.
BIBLIOGRAPHY • • • • • • • • • • • • •
www.google.co.in en.wikipedia.org/wiki/Bettahalasur villageinfo.in/karnataka/bangalore/bangalore-north/bettahalasur.html indikosh.com/vill/655636/bettahalasur en.wikipedia.org/wiki/Pottery www.britannica.com/art/pottery dict.hinkhoj.com lbb.in/bangalore/pottery-town-in-benson-town/ www.youtube.com/watch?v=k4BQP2zEm00 www.google.co.in/maps/place/Pottery+Town,+Williams+Town,+Benson+Town,+Bengaluru,+Karnataka www.professorgreco.com/wp-content/uploads/2016/02/Basic-Ceramic-Terms.pdf thepottersfriend.blogspot.com/2012/10/burnishing-unfired-clay-pottery.html www.lakesidepottery.com/HTML%20Text/Methods%20of%20Handbuilding.htm
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National Institute of Fashion Technology, Bengaluru, India