Cultural Connections: Pottery

Most people think of O’odham pottery as plain and unfinished and Piippash as red polished.

But according to Ron Carlos with Cultural Resources, this is not true.

“The shiny red pottery we think of today didn’t emerge until 1920-30s when traders came to the area. They were the ones who wanted color and design,” said Ron. “Before then, pottery was more utilitarian, after all, it’s hard to hold on to a polished pot, especially when it’s wet.”

Traditionally, pottery was used for holding water, storing grains, cooking and eating out of. Over time when the Spanish and the Americans came, metal pots began replacing pottery for cooking. Later, when the railroads came

through and native handicrafts became popular, pottery became more of an art form.

“We have an example of an elephant effigy pottery because [the artist] saw the circus train when it came through,” said Ron. “Pottery became a way for families to supplement their income.”

Ron laments the loss of traditional ways.

“No one touches the earth anymore. No one sits on the ground. Children don’t play in the dirt,” he said. “When making clay for pottery, you’re feeling how the earth really feels. It has a smell, it’s natural. When the mud gets wet, it smells like rain in the desert.”

Traditionally, potters would gather dry clay and process it with mortar and pestle, pounding it into a fine powder. Impurities are sieved out. Water is added a little at a time.

“It’s much like tortilla dough. You add a little water at a time and knead it and knead it until it sticks together,” said Ron.

From there, the clay was shaped into forms or coiled and pinched. Anvils and wooden paddles were also used to shape the clay. Keeping a uniform thickness is key.

Artisans also gathered their own pigments from nature, washed and strained them then mixed them with water to make paint. The clay must be completely dry before painting—usually a couple of days.

Once painted, the pots would dry a day and be wood-fired for 1-2 hours, depending on the thickness of the pots.

“Back in the day, we didn’t care about fire clouds from the smoke or wood touching the clay,” said Ron. “Now we want it more uniform and uniform space must be reserved around the pots.”

Ron and other community artisans offer classes in traditional pottery making.

“People are unaware of all the work that goes into making pottery. You have to learn to let things be, to be patient and let it emerge,” said Ron. “According to our traditions, we are made from clay. Working with clay connects us with the Earth and our culture.”

If you would like to learn more call Cultural Resources at 480.362.6320 or contact Ron Carlos at