Relevant bibliographies by topics / African potteries

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'African potteries'

Author: Grafiati
Published: 9 March 2023

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Journal articles on the topic "African potteries"

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Hopp, Johnathan. "Scorched Earth: 100 Years of Southern African Potteries." African Arts 51, no. 4 (November 2018): 96. http://dx.doi.org/10.1162/afar_r_00439.

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Hillebrand, Melanie. "Scorched Earth: 100 Years of Southern African Potteries." de arte 51, no. 2 (July 2, 2016): 70–72. http://dx.doi.org/10.1080/00043389.2016.1237178.

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Bandeira, Arkley Marques, Conceição de Maria Belfort, Klautenys Dellene Guedes Cutrim, Kátia do Perpétuo Socorro Viana Santos De Alencar, MARIANA QUEEN CARDOSO DA SILVA, Nyedja Rejane Tavares Lima, Suelen Cipriano Milhomem Dantas, et al. "NEW HISTORICAL AND CULTURAL CONSIDERATIONS OF THE POTTERS OF THE QUILOMBO OF ITAMATATIUA, IN ALCÂNTARA, MARANHÃO." International Journal for Innovation Education and Research 10, no. 5 (April 20, 2022): 37–45. http://dx.doi.org/10.31686/ijier.vol10.iss5.3639.

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The article focuses on the results obtained in research carried out in the Quilombo of Itamatatiua, in Alcântara, Maranhão. By means of Archeological Ethnography, a broad documental survey was carried out, with audiovisual records based on the potters' narratives. The cutout adopted in this research approaches the presentation of the historical documentation about the formation of the traditional territory of Itamatatiua, the slave labor; the abandonment of the land by the owners, once colonizers of the religious Carmelite orders and the permanence of the African descendant population in this region. The documental contribution provided the delineation of new evidences that point to a strong indigenous influence in the ceramic production, a fact that has been deconstructing assumptions, such as that, the referred craft would have been introduced in the colonial period in the Carmelite potteries.
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Mackensen, Michael. "A late mid-Roman African red slip ware lamp from Sabratha and lamp production at Djilma (central Tunisia)." Libyan Studies 33 (2002): 57–69. http://dx.doi.org/10.1017/s0263718900005124.

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AbstractA central Tunisian red slip ware lamp from Sabratha, published by D. M. Bailey in 1994, should be classified as Type Salomonson I/Atlante I. Its discus decoration is a personification of Autumn, a standing female figure with a basket of fruit as a seasonal attribute and a Cupid (Eros) sitting on it. The prototype of the moulded decoration motif appears as an appliqué on a Hayes 171 el-Aouja sigillata jug of C1 quality. The lamp, which probably dates from the third quarter of the third century or the late third century AD, was subjected to chemical analysis and comparison with recently published reference groups from central Tunisian pottery-making centres showed that it was made at the central Tunisian fine-ware potteries at Henchir el Guellal near Djilma. A/D and C1-C4 sigillata as well as Type Atlante IV A, VI B, VII A1, VII A2 and VIII C1a lamps were produced there from about the second quarter of the third century until the mid fifth century AD.
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Eguchi, Kazuhisa. "Jun Mori African Potters." Journal of African Studies 1992, no. 41 (1992): 124–25. http://dx.doi.org/10.11619/africa1964.1992.41_124.

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Johnson, Paul E. "Playing with Race in the Early Republic: Mr. Potter, the Ventriloquist." New England Quarterly 89, no. 2 (June 2016): 257–85. http://dx.doi.org/10.1162/tneq_a_00530.

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The first American-born stage magician and ventriloquist was an African American named Richard Potter. Potter's stage career (1811–1835) coincided with the transition from an entertainment culture grounded in a metropolitan Atlantic world to an American show business that was nationalist and racist. This essay traces Potter's strategies and experiences within that transformation.
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Keding, Birgit. "Middle Holocene Fisher-Hunter-Gatherers of Lake Turkana in Kenya and Their Cultural Connections with the North: The Pottery." Journal of African Archaeology 15, no. 1 (December 7, 2017): 42–76. http://dx.doi.org/10.1163/21915784-12340003.

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AbstractDuring the Early and Middle Holocene, large areas of today’s arid regions in North and East Africa were populated by fisher-hunter-gatherer communities who heavily relied on aquatic resources. In North Africa, Wavy Line pottery and harpoons are their most salient diagnostic features. Similar finds have also been made at sites in Kenya’s Lake Turkana region in East Africa but a clear classification of the pottery was previously not available. In order to elucidate the cultural connections between Lake Turkana’s first potters and North African groups, the pottery of the Koobi Fora region that was excavated by John Barthelme in the 1970/80s was re-assessed in detail. It was compared and contrasted – on a regional scale – with pottery from Lowasera and sites near Lothagam (Zu4, Zu6) and – on a supra-regional scale – with the pottery of the Central Nile Valley and eastern Sahara. The analyses reveal some significant points: Firstly, the early fisher pottery of Lake Turkana is clearly typologically affiliated with the Early Khartoum pottery and was thus part of the Wavy Line complex. Secondly, certain typological features of the Turkana assemblages, which include only a few Dotted Wavy Line patterns, tentatively hint to a date at least in the 7th millennium bp or earlier. Thirdly, the pottery features suggest that the East African fisher-hunter-gatherers adopted pottery from Northeast Africa.
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Basson, Eunice. "Pottering around in Africa: Erich Mayer's search for an indigenous outh African style as exemplified in his ceramic designs." de arte 41, no. 74 (January 2006): 3–19. http://dx.doi.org/10.1080/00043389.2006.11877058.

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Mazou, Loïc, and Claudio Capelli. "A local production of Mid Roman 1 amphorae at Latrun, Cyrenaica." Libyan Studies 42 (2011): 73–76. http://dx.doi.org/10.1017/s0263718900004829.

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AbstractExcavations at the village of Erythron/Latrun near Apollonia in Cyrenaica uncovered a potter's rubbish dump in an abandoned Roman bath complex, thought to be linked to the nearby potter's kiln. Common wares and lamps were produced here and of particular note were Mid Roman 1 amphorae. These amphorae were thought to have been produced mainly in Sicily but also North Africa, and with the new discovery at Latrun we can now also add Cyrenaica to the list. Archaeometric (thin section) analysis on samples from the site confirms this theory.
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London, Gloria, and Richard A. Krause. "The Clay Sleeps: An Ethnoarchaeological Study of Three African Potters." American Antiquity 52, no. 1 (January 1987): 197. http://dx.doi.org/10.2307/281073.

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Dissertations / Theses on the topic "African potteries"

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Jenkins, Anne Elizabeth. "Operating the potter's wheel shaping faith /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p068-0569.

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DUCATI, Fabrizio. "Aspetti tipo-cronologici e archeometrici delle ceramiche africane nel territorio di Cignana (Naro, AG, Sicilia)." Doctoral thesis, Università degli Studi di Palermo, 2020. http://hdl.handle.net/10447/444196.

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Il progetto di ricerca, condotto in cotutela tra l'Università di Palermo e Aix-Marseille Université, si basa sullo studio delle ceramiche africane importate in Sicilia tra la fine del I e il VII secolo d.C.. La ricerca si basa sui frammenti - tutte le classi incluse - raccolti dal gruppo di ricerca di Palermo durante le ricognizioni archeologiche nei dintorni della villa romana di Cignana (Agrigento) e nell'entroterra di Termini Imerese (Palermo). L'approccio multidisciplinare archeologico ed archeometrico, condotto in collaborazione con diversi specialisti di queste discipline, ha permesso di definire l'origine delle diverse produzioni e di riflettere sulla loro circolazione in Sicilia, in un'ottica microregionale. Ciò permette di comprendere meglio l'evoluzione degli scambi economici tre le due province e di ricostruire le possibili rotte marittime e i circuti commerciali. I risultati saranno esposti in sei capitoli che tratteranno: Problematiche, metodologia e obiettivi della ricerca (Capitolo 1), Cignana: i luoghi e la loro storia (Capitolo 2), Catalogo dei siti e dei materiali ceramici (Capitolo 3), Analisi ragionata dei frammenti ceramici (Capitolo 4), Bilancio complessivo e confronto dei dati (Capitolo 5), Riflessioni conclusive per un'interpretazione storica, economica e sociale (Capitolo 6). La tesi termina con due appedici: Ceramiche dagli scavi di Cignana: campagne 1990, 1992, 2006 (Appendice 1) e Tavole (Appendice 2).
The research project, jointly carried out by the University of Palermo and Aix-Marseille University, focuses on the study of African potteries imported into Sicily between the end of the 1st and 7th century AD. The research is based on shards - all ceramic categories - collected by the Palermo team during archaeological surveys around the Roman villa of Cignana (Agrigento) and in the hinterland of Termini Imerese (Palermo). The multidisciplinary archaeological and archaeometric approach, carried out with the collaboration of several specialists in these disciplines, made it possible to define the origin of the different productions and to reflect on their circulation in Sicily, in a micro-regional framework. This allows us to better understand the evolution of economic exchanges between the two provinces and to reconstruct the potential maritime routes and commercial circuits. The results will be exposed in six chapters dealing with the Problems, methodology and objective of the research (Chapter 1), the site of Cignana: the places and their history (Chapter 2), the Catalog of sites and potteries (Chapter 3), the Analysis of pottery shards (Chapter 4), a Global evaluation and comparison of data (Chapter 5), and Conclusive observations for a historical, economic and social interpretation (Chapter 6). The thesis ends with two appendices: Pottery from the Cignana excavations: campaigns 1990, 1992, 2006 (Appendix 1), and Tables (Appendix 2).
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Krummel, Jordan Andrea. "Holt Cemetery| An anthropological analysis of an urban potter's field." Thesis, Tulane University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1522757.

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Holt Cemetery is a historic potter's field in New Orleans that has been in active use for several centuries. One of the few below-ground cemeteries in New Orleans, it is one of the most culturally fascinating burial places in the city. In spite of being frequently visited by families (evidenced by the unique votive material left on grave plots) and the final resting place of several historic figures, Holt is threatened by a lack of conservation so extreme that the ground surface is littered with human remains and the cemetery is left unprotected against grave robbing. Many locals have expressed concern that occult rituals take place within Holt, promoting the theft of human bones, while others have expressed concern that the skeletal material is stolen to be sold. Attempts to map and document the cemetery were originally undertaken by archaeologists working in the area who intended to create a searchable database with an interactive GIS map. Additionally, the nonprofit group Save Our Cemeteries, which works to restore New Orleans' cemeteries and educate the public about their importance, has taken part in conservation work. As of today all the projects and preservation efforts involving the cemetery have ceased. This thesis documents and analyzes the skeletal material within the cemetery alongside the votive material and attempts to explain why Holt is allowed to exist in its current state of disrepair while still remaining a place of vivid expressive culture.

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Doherty, Sarah. "The origins and the use of the potters wheel in Ancient Egypt." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/45612/.

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Despite many years work on the technology of pottery production by archaeologists it is perhaps surprising that the origins of the potter’s wheel in Egypt have yet to be determined. This present project seeks to rectify this situation by determining when the potter’s wheel was introduced to Egypt, establishing in what contexts wheel-made pottery occurs, and considering the reasons why the Egyptians introduced the wheel when a well-established handmade pottery industry already existed. The potter’s wheel is often thought to have originated in Mesopotamia in the 4th millennium B.C. and subsequently its use spread to the Levant and Egypt, but little analysis has been undertaken as to why this occurred, or how its use came to be so widespread. Through a thorough analysis of all available sources, such as manufacturing marks on pottery, provenance potter’s wheels and depictions of potters in art and texts this thesis will assess the evidence for the introduction of the potter’s wheel. Through examining manufacturing marks on pottery and determining characteristics of wheel made marks by comparing them to experimental examples it is hoped a more complete view of when and in what manner the Egyptians were manufacturing their pottery vessels on the wheel will be gained. The potter’s wheel is arguably the most significant machine introduced into Egypt during the Old Kingdom, second only perhaps to the lever. This thesis concludes that the potter’s wheel was introduced to Egypt from the Levant during the reign of Pharoh Sneferu in the 4th dynasty (c.2600 B.C.). Sneferu or a member of his court sponsored their potters to use the elite-stone basalt potter’s wheel in and entirely new way, to throw pottery. The impact of this innovation would not just have affected the Egyptian potters themselves learning a new skill but also signalled the beginnings of a more complex and technologically advanced society.
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McGee, Paula L. "The Wal-Martization of African American Religion: T.D. Jakes and Woman Thou Art Loosed." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/70.

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This dissertation is an ideological critique of the New Black Church model of ministry, with T.D. Jakes and Woman Thou Art Loosed (WTAL) as a case study. T.D. Jakes is an African American televangelist who pastors The Potter’s House, a supermegachurch in Dallas, Texas. He is the quintessential example of a New Black Church pastor—a religious entrepreneur with several successful faith brands. WTAL is by far his most successful brand. Unashamed of his capitalist success, with an empire estimated to be worth $100 million dollars, Jakes says that it is occupational discrimination for him not to reap the benefits of the American dream. This dissertation identifies what has happened to the brand and Jakes’s ministry as “the Wal-Martization of African American Religion.” As a theoretical concept, Wal-Martization speaks to both the ideology and process that explains the generational differences between the New Black Church and the Black Church. It also is indicative of the branding and storytelling at every level of representation of the New Black Church. Jakes and New Black Church pastors are successful because they blur the lines between sacred and secular when they combine their vocations of pastor and entrepreneur. In this dissertation, I propose a cultural studies approach and a two-fold theological method for scholars to study these popular preachers. The method combines James McClendon’s Biography as Theology and Paul Tillich’s definitions of theology and theological norm from Systematic Theology. The method is a collaborative effort between the academic theologian and preacher. The scholar uses Biography as Theology to study the preacher (Jakes), and the second part of the method, Brand as Theology and Theological Norm, is where the scholar uses qualitative research methods to study the brand (WTAL). I define theologies of prosperity as contextual theologies of empire on a continuum that affirm it is God’s will and a believer’s right to obtain health and wealth by using Scripture and rituals like seed-faith giving and positive confession. Because these popular preachers offer adherents existential explanations for suffering (health and wealth), and prescriptions for liberation, I describe theologies of prosperity as theodicy and contemporary liberation theology. However, unlike traditional liberation theologies, these theologies do not have a preferential option for the poor. Instead, Jakes and other New Black Church pastors only offer adherents a pseudo-liberation. In essence, the stories of liberation that Bishop Jakes tells in his brands do not actually empower women, ideologically these stories only encourage women to stay loyal to his brand, become covenant ministry partners, and to buy more products. Jakes and New Black Church pastors are from the Second Gilded Age, they encourage women to pursue individual success within an oppressive system. Similar to Russell Conwell and other celebrity clerics from the First Gilded Age, Jakes and these pastors inadvertently blame the victims for their poverty and for not reaping the benefits of the American Dream, which according to prosperity preachers is available to all.
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Gers, Wendy A. "South African studio ceramics, c.1950s : the Kalahari Studio, Drostdy Ware and Crescent Potteries." Thesis, 2000. http://hdl.handle.net/10413/4370.

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The oeuvre of the Kalahari Studio (Cape Town), Drostdy Ware (a division of Grahamstown Pottery, Grahamstown) and Crescent Potteries (Krugersdorp) is investigated within the historical context of the 1950s, a watershed period that witnessed crucial developments in South African cultural and political history. This dissertation elucidates the historical development, key personnel, the ceramics, as well as relevant technical information related to the Kalahari Studio, Drostdy Ware and Crescent Potteries. This dissertation analyses the broader socio-political and ideological paradigms that framed South African art-making, as well as the international design trends that influenced the local studio ceramics sector. The establishment and demise of the South African studio ceramics industry and requests for tariff protection were considered within this context. Significant primary research was conducted into the present status of South African studio ceramics from the 1950s in the collections of our heritage institutions. Wares of all three of the studios reveal a predilection for figurative imagery, especially images of indigenous African women and iconography derived from reproductions of Southern San parietal art. Imagery of African women is considered within the framework of the native study genre in South African painting, sculpture and photography from 1800-1950 and Africana ceramics from 1910-1950. Images of San parietal art are investigated within their historical context of a growing public and academic interest in the Bushmen and a surge in publications containing reproductions of San parietal art. Some images of African women and San parietal art conform to pejorative and theoretically problematic modernist cannons of the'other', while some are subversive and undermine the dominant pictorial and ideological artistic conventions.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.
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Garrett, Ian William. "Nesta Nala : ceramics, 1985-1995." Thesis, 1997. http://hdl.handle.net/10413/5979.

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This thesis reviews two local collections of ceramics by Nesta Nala between 1985 and 1996. The main text is presented in four chapters. Chapter One outlines the development of Nala's career and discusses the collections of her work outlined in this study. Chapter Two provides a brief overview of Zulu domestic-ware traditions, and outlines the basis of Nala's technology and decorative methods. Chapter Three reviews texts that discuss Nala and her work and then critically examines the application of the term "traditional". Chapter Four interprets Nala's decorative themes of examples in the Durban Art Gallery and University of Natal collections. An attempt is made to contextualize genres of Nala's work represented in these collections on the basis of their intended market destinations.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 1997.
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Todd, Jane. "A documentary film on the Magwaza potters' production of Zulu beer ceramics." Thesis, 2006. http://hdl.handle.net/10413/1569.

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This dissertation consists of two components. Firstly, a documentation of the production of Zulu beer ceramics by the Magwaza potters of Mpabelane, using the medium of documentary film; secondly, a written consideration of issues of representation, in relation to the documentary film, regarding the ceramists and the ceramics. In October 1994 I stayed with the Magwaza family for 5 days. During this time 12 of the Magwaza women produced vessels. They were Khulumeleni Magwaza, Shongaziphi Magwaza, Thandiwe Magwaza, Bonisiwe Magwaza, Esther (also called Buyaphi) Magwaza, Sholoni Magwaza, Buzephi Magwaza, Sindisiwe Magwaza, Mkoso Magwaza, Thuleleni Magwaza, Konzeni Magwaza, Qikiza Magwaza and Mancani Magwaza. The vessels were produced over four days. The potters each individually produced a vessel using the coiling method. On the first day the vessels were formed using the coiling method. Decoration was done on the second day. The vessels were decorated with either scraffito or applied amasumpa (little nodes or warts), or a combination of both methods. On the third day fat (vegetable oil or soap) was applied to the vessels and they were burnished with river stones. At sunrise of the forth day the vessels were fired. Dried aloe was packed below and around the vessels. A small pile of dried grass was packed on top of the aloe kiln. This was lit and the flames spread from the top down, burning for 25 minutes. After this the pots were blackened by various means. This process was filmed and edited. A year after the filming an interview was conducted with Khulumeleni, Shongaziphi and Thandiwe Magwaza to clarify some of the production methods that they used. The paper considers issues of representation prior to filming and editing the documentary, as well as post-production considerations of these same issues. The pre-production consideration section is based on various extracts from texts on representation, particularly of a cultural other. The postproduction analysis reconsiders these notions of representation in the light of what occurred during filming and editing.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.
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Bauer, Vanessa M. "The inception of cross-cultural dimensions in the ceramics of the late 1970s onwards, as reflected in the work of Maggie Mikula and her adherents." Thesis, 2004. http://hdl.handle.net/10413/2607.

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In this dissertation the incorporation of cross-cultural imagery and its assimilation is focused on the work of Maggie Mikula, a ceramist from KwaZulu-Natal. Producing within the 1970's and 1980's. her work is investigated within the historical context of the socio-political background of South Africa. Syncretism in the visual arts reflects problems associated with identity and authenticity and this dissertation analyses these issues. A reference is made to select artists and ceramists in South Africa who approach their work in this manner, in particular with reference to the influence that Maggie Mikula has had in their work. Chapter One discusses the history of borrowing in South Africa citing examples of work by artists including amongst others Walter Battiss, Alexis Preller and Cecil Skotnes. This is based around the broad political and ideological relationships in the country that framed local art making. The assimilation and the breakdown of barriers in African/western art in a South African context is argued through a post-colonial reading. The chapter deals with the problems of borrowing related to appropriation and stereotyping from a postmodernist perspective. Chapter Two introduces the history of South African ceramics examining its development and styles, focussing on changing premises within the medium. The second part of the chapter positions Mikula's work, interests, personal history and ideals. Chapter Three deals with the development of Mikula's ceramic work, referring to her technology, processes and sourcing. The reception of Mikula's work and the attitudes to cross-cultural assimilation in the 1980's, as well as current perceptions are addressed in Chapter Four. Her influence on this creative medium is shown with specific examples. Personal interviews attempt to contextualise her position and situate her within the ceramic world. Acknowledging that there is a wealth of collections through out South Africa, the ceramic work predominately researched for this paper is from KwaZulu-Natal. It has been sourced both from the immediate family, and from individual collectors, as this was the site of her production. Other collections have been accessed from around South Africa including the Corobrik collection in Pretoria (of which there are two pieces - one which is broken), the large piece is documented photographically (see Fig.22) and referred to on Page 66. The Nelson Mandela Museum, Port Elizabeth, (accessed on-line and via photographs from the artist's records) has a notable collection, but given the nature of this research, these pieces do not demonstrate any significant features over and above those that were already sourced. This paper is not intended as a catalogue, but is meant to show a variety of Mikula's work to demonstrate her influence and style. Each piece is chosen for its specific aspects and unique features that would support this research. Given the nature of this investigation, the author has been obliged to read widely, including writers such as Berman, Sacks, Cruise and the complete edition of APSA newsletters and magazines to give a comprehensive over view of the changes in style and influence within South African art and specifically, ceramics.
Thesis (M.F.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.
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Frisinger, Leanne April. "Paperclay in recent South African ceramics : continuity and change in studio works." Thesis, 2012. http://hdl.handle.net/10413/8727.

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This dissertation comprises the documentation and theoretical component of a practice-led Master of Arts in Fine Art. The illustrated text focuses in four chapters on a critical explication of contemporary South African ceramists namely, Juliet Armstrong, Betsy Nield, Liza Firer and Leanne Frisinger. The dissertation includes significant discoveries about the creative use of paperclay in contemporary South African ceramics and provides documentary record of the candidate’s materials and processes. A conclusion briefly compares productions referred to in the text.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.
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Books on the topic "African potteries"

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Makokha, Kusimba Chapurukha, and Kusimba Sibel Barut 1966-, eds. East African archaeology: Foragers, potters, smiths, and traders. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, 2003.

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Frank, Barbara E. Mande potters & leatherworkers: Art and heritage in West Africa. Washington, D.C: Smithsonian Institution Press, 1998.

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Douglas Dawson Gallery (Chicago, Ill.) and Dawson Douglas, eds. The potter's hand: Historic African ceramics : exhibition catalog spring 2005. Chicago, Ill: Douglas Dawson, 2005.

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Dawson, Douglas. The potter's hand: Historic African ceramics ; exhibition catalog spring 2005. Chicago: Douglas Dawson, 2005.

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Mori, Jun. Afurika no tōkōtachi: Dentō kōgei o otte nijūnen. Tōkyō: Chūō Kōronsha, 1992.

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The clay sleeps: An ethnoarchaeological study of three African potters. University, Ala: University of Alabama Press, 1985.

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Wright, Neil. A potter's tale in Africa: The life and works of Andrew Walford. [Kloof], South Africa: Wright Publishing, 2009.

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Hillebrand, Melanie. The women of Olifantsfontein-South African studio ceramics =: Die vroue van Olifantsfontein Suid-Afrikaanse ateljee-keramiek. [Pretoria]: South African National Gallery, 1991.

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Gallery, Tatham Art, ed. Maggie Mikula from clay: A retrospective. Durban, South Africa: Max Mikula, 2004.

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1966-, Stevenson Michael, ed. Hylton Nel: A curious world. Auckland Park: Jacana, 2010.

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Book chapters on the topic "African potteries"

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Fennell, Christopher C. "Craft at a Prodigious Scale." In The Archaeology of Craft and Industry, 131–57. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813069043.003.0006.

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American pottery manufacturers of refined earthenwares and porcelain faced a number of challenges in attempting to develop their operations during the late 1700s and early 1800s. The American pottery industry was dispersed geographically and struggled to compete against those greater economies of scale enjoyed by British manufacturers. From 1850 onward, American producers expanded significantly, evolving rapidly from artisan production to increasingly mechanized factories, particularly in locations such as Trenton, New Jersey, and East Liverpool, Ohio. Yet, decades before the start of that trend, the Landrums of Edgefield, South Carolina, initiated ambitious innovations in their potteries in the backcountry. The innovation and development of alkaline-glazed stoneware pottery in America was introduced by these potteries in the nineteenth century. They employed enslaved African American laborers and later free African Americans. Documentary evidence indicates that many enslaved Africans were brought to this area of pottery production throughout the first half of the nineteenth century, providing newly arrived cultural influences from societies targeted by the trans-Atlantic slave trade. Edgefield potteries present fascinating research questions of understanding technological innovations and investigating the impacts of African American, European-American, and Asian manufacturing traditions and knowledge on a rural enterprise and its cultural landscape.
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Ewing, Adam. "The Education of Marcus Mosiah Garvey." In The Age of Garvey. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691157795.003.0002.

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This chapter contends that the education of Marcus Garvey was both grounded in the decades-old discourse of global pan-Africanism and shaped by the ferment of his era. His youthful experiences and experiments in Jamaica, Central America, and Europe—many of which seem to fly in the face of popular understandings of Garvey and Garveyism—suggest much about the diversity of the pan-African tradition out of which he emerged, and hint at the model of politics Garvey ultimately embraced. Proscribing neither radicalism nor conservatism, neither boldness nor caution, neither separatism nor interracial cooperation, the pan-African tradition offered clever and ambitious activists like Marcus Garvey a “potter's clay” that, under the right conditions, might unite a scattered race.
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3

Fletcher, Kami. "Founding Baltimore’s Mount Auburn Cemetery and Its Importance to Understanding African American Burial Rights." In Till Death Do Us Part, 129–56. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827883.003.0005.

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Abstract:
This chapter says that Blacks used death to gain burial freedoms and graveyard autonomy, in addition to using death as a path for self-help and wealth building. It follows the growth and development of Baltimore’s Mount Auburn Cemetery illustrating how the trustees of the Sharp Street Church who owned it, used the burial ground as a call for humanity and dignity in death. Founded in 1807 as the city’s first autonomous Black burial ground, Fletcher argues that Baltimore’s Mount Auburn Cemetery pushed back against slave cemeteries and Potter’s Fields to serve as a protected and autonomous space of internment for all “Africans and people of colour.” Ultimately, the chapter highlights the interplay of race, death and burial rights and the power that American society vested into racialized burial borders only to have them reinvented and used as catalyst for agency and resistance.
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