Journal articles: 'African potteries'

1

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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6

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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10

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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11

Diallo, B., M. Vanhaelen, and O. P. Gosselain. "Plant constitutents involved in coating practices among traditional African potters." Experientia 51, no. 1 (January 1995): 95–97. http://dx.doi.org/10.1007/bf01964928.

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12

Davison, Patricia, and Richard A. Krause. "The Clay Sleeps: An Ethno-Archaeological Study of Three African Potters." Man 21, no. 1 (March 1986): 144. http://dx.doi.org/10.2307/2802660.

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13

Fowler, Kent D., Örjan Sandred, and Autumn Whiteway. "Acoustic perceptions of vessel fitness in southern Africa." Journal of Material Culture 22, no. 3 (April 17, 2017): 261–80. http://dx.doi.org/10.1177/1359183517701301.

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The acoustic properties of objects found in archaeological contexts have seen little attention because they are seldom found intact. Nevertheless, sound is quality of objects that is of tremendous significance during both their manufacture and use. In this article, the authors examine how the acoustic properties of ceramic vessels influence the perception of their fitness for use. Grounded in how sound cues correlate to visual, tactile and olfactory measures of vessel fitness in an ethnographic context, they focus on detecting perceptible sonic differences between damaged and undamaged vessels produced by Zulu and Swazi potters in southern Africa. The article demonstrates how sound is a key quality of vessel ‘strength’ that both potters and clientele use to gauge functional and social suitability. We show that studies of fabric characteristics, such as fissures and voids, in addition to fabric composition provide a means to infer the acoustic properties of archaeological pottery and evaluate the significance of sound in past valuations of vessel fitness. Archaeological discussions of materiality can explore how social valuations of vessel fitness are accessible through studies of the functional properties of ceramics that consider human sensory experience.

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Chaney, Michael A. "Words, Wares, Names: Dave the Potter as American Archive." Anglia 138, no. 3 (September 15, 2020): 449–67. http://dx.doi.org/10.1515/ang-2020-0038.

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AbstractThis article introduces readers to the enslaved African American crafter, David Drake, otherwise known as “Dave the Potter”, who incised poetry, signatures, dates, and sayings onto the stoneware ceramic jugs and plantation storage pots he made (from the 1830 s to the 1860s). In view of the concept of an archive, Dave the Potter’s works are significant as they are made up of writing and plastic arts, words and material. They not only record what has been thought through writing, they also perform through material languages of handles, spouts, bases, rims, etc. disruptions of the conventional functioning of the archive. If, as Derrida and others have argued, an archive confuses the content of cultural artefacts with the invested right of those housing an archive to interpret its content, then Dave the Potter’s incised jars perform this contradiction on their very surfaces, in their very design and construction, showing how the place or site of memory is also a house of hidden hermeneutic rights to remember.

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15

Hofman, Corinne L., and Alistair J. Bright. "From Suazoid to folk pottery: pottery manufacturing traditions in a changing social and cultural environment on St. Lucia." New West Indian Guide / Nieuwe West-Indische Gids 78, no. 1-2 (January 1, 2004): 73–104. http://dx.doi.org/10.1163/13822373-90002518.

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Overview of pottery manufacturing traditions in St Lucia, placed within the island's cultural history from pre-Columbian times up to present Afro-Caribbean folk pottery. Authors focus on manufacturing processes in different cultural traditions through history, looking at raw materials used, the shaping and finishing, decoration, and firing process. First, they sketch St Lucia's habitation history since the first Amerindian settlers in 200 AD, and evidence of pottery, which climaxed in the later Suazoid period pottery since about 1150 AD, and discuss how later European colonization and arrival of Africans contributed to the decline of Amerindian traditions, replaced by European and West African pottery traditions, although some Amerindian traditions remained. The pottery manufacturing of 3 main cultural traditions are examined, discussing differences, as well as similarities due to cultural blending: Suazoid pottery, later Amerindian Island Carib pottery, with origins in the Guianas region, related to the Kar'ina, and current St Lucian, West African-influenced, "folk pottery". Authors conclude that all 3 traditions mainly use local clay, and include hand-built and low-fired pottery. Shaping techniques include coiling, and in today's pottery also fashioning with smaller lumps. Surfaces are smooth and polished in today's pottery, but more scraped and scratched in Suazoid vessels. Further, they find that decoration is uncommon in today's pottery, while Suazoid ceramics included decorations, and that vessel shapes tend to be simple in all 3 traditions. They also find that women have been the principal potters through time, although pottery was a male activity among the Island Caribs in the mid-17th c.

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Ezra, Kate, and Barbara E. Frank. "Mande Potters and Leatherworkers: Art and Heritage in West Africa." International Journal of African Historical Studies 32, no. 2/3 (1999): 612. http://dx.doi.org/10.2307/220465.

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17

Spindel, Carol, and Barbara E. Frank. "Mande Potters and LeatherWorkers: Art and Heritage in West Africa." African Arts 33, no. 2 (2000): 12. http://dx.doi.org/10.2307/3337769.

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18

Joseph, J. W. "Crosses, Crescents, Slashes, Stars: African-American Potters and Edgefield District Pottery Marks." Journal of African Diaspora Archaeology and Heritage 6, no. 2 (May 4, 2017): 110–32. http://dx.doi.org/10.1080/21619441.2017.1345107.

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19

Gosselain, Olivier P. "Mande Potters and Leatherworkers: Art and Heritage in West Africa:Mande Potters and Leatherworkers: Art and Heritage in West Africa." American Anthropologist 102, no. 2 (June 2000): 346–47. http://dx.doi.org/10.1525/aa.2000.102.2.346.

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20

Arnold, Phillip J. "The Clay Sleeps: An Ethnoarchaeological Study of Three African Potters. Richard A. Krause." Journal of Anthropological Research 41, no. 2 (July 1985): 229–30. http://dx.doi.org/10.1086/jar.41.2.3630422.

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21

Arnoldi, Mary Jo, and Barbara E. Frank. "Mande Potters and Leather-Workers: Art and Heritage in West Africa." Journal of the Royal Anthropological Institute 5, no. 3 (September 1999): 476. http://dx.doi.org/10.2307/2661296.

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22

Joseph, J. W. "“… All of Cross”—African Potters, Marks, and Meanings in the Folk Pottery of the Edgefield District, South Carolina." Historical Archaeology 45, no. 2 (June 2011): 134–55. http://dx.doi.org/10.1007/bf03376836.

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23

Allsworth-Jones, P. "Continuity and Change in Yoruba Pottery." Bulletin of the School of Oriental and African Studies 59, no. 2 (June 1996): 312–22. http://dx.doi.org/10.1017/s0041977x00031591.

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Mrs. A.K. Fatunsin's Yoruba pottery (Lagos, 1992) is the outcome of a project funded by the Ford Foundation (grant no. 875–1066) as part of its continuing programme ‘to preserve and interpret diverse aspects of West Africa's cultural heritage’. The intention of the project as suggested to them in 1985 by this author was that it should ‘go beyond the mere collection of artefacts’. Emphasis was to be ‘placed on techniques of pottery manufacture, sources and types of raw material, methods of forming the pots, decoration and firing, as well as forms and functions including the designated names for the pots in the different parts of the Yoruba speaking area.’ Also investigated would be the uses to which the pots were put; and the organization, beliefs and customs of the potters themselves. The monograph resulting from the work would be designed to show pots ‘not just as art objects but as basic components of the entire economic, social, and religious life of the people’.

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24

Burland, John B., and Robert J. Mair. "Sir Alan Marshall Muir Wood FREng FICE. 8 August 1921 — 1 February 2009." Biographical Memoirs of Fellows of the Royal Society 59 (January 2013): 261–76. http://dx.doi.org/10.1098/rsbm.2013.0011.

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Sir Alan Muir Wood was a civil engineer who gained worldwide recognition for his pioneering and innovative tunnelling design and construction. In the early years of his career he was much concerned with coastal erosion and landslides. Later he became involved in some of the world’s major tunnelling projects, among them the Potters Bar railway tunnels, the Clyde Tunnel, the Channel Tunnel and the 50-mile water-carrying Orange–Fish Tunnel in South Africa. Each project saw him pushing forwards innovation in different aspects of design. The cargo tunnel at Heathrow Airport has been described as his most influential design and a testament to his analytical skills, his creativity in design and his vast experience in the handling of the inevitable uncertainties and risks associated with tunnelling. As might be expected for such an innovative engineer he took a keen interest in research and in engineering education. He relished robust technical debate and intellectual challenge and, even after ‘retirement’, was regularly involved in construction litigation and arbitration, for which he developed a formidable reputation for his clarity of thought and penetrating evidence. Although extremely modest, he was a natural leader in his profession and was widely respected for his absolute integrity (being elected President of the Institution of Civil Engineers).

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25

Ferguson, Leland G. "Crosses, Secrets, and Lies: A Response to J. W. Joseph’s “ ‘… All of Cross’—African Potters, Marks, and Meanings in the Folk Pottery of the Edgefield District, South Carolina”." Historical Archaeology 45, no. 2 (June 2011): 163–65. http://dx.doi.org/10.1007/bf03376838.

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26

Du Plessis, Hester, and Gauhar Raza. "Indigenous culture as a knowledge system." Tydskrif vir Letterkunde 41, no. 2 (April 20, 2018): 85–98. http://dx.doi.org/10.4314/tvl.v41i2.29676.

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Complex concepts such as cultural identity, gender issues and the effects of colonialism, politics, and power structures on societies form part of the debate around indigenous culture as a knowledge system. This article makes a contribution to the debate by addressing cultural issues encountered during a cross-cultural research project based in India and South Africa. The authors reflected on some of the conceptual issues they grappled with during their research. The project involved the documentation, study and understanding of the extent in which indigenous knowledge systems (IKS) and modern technologies were utilised in the traditional manufacturing processes of artisans in general and potters in particular. The roles and functions of IKS as used during the production of artefacts were included in the study. This perspective was coupled with a study on the artisans' attitude towards and understanding of science (PAUS) while conducting their traditional technological processes. The combined approach provided a method that allowed researchers to develop interventions that capitalised on existing skills, practices and social relationships rather than undermining them, thus contributing to their sustainability. The project, at the same time, focussed on redefining the characteristics of "knowing" (of knowledge) as not just a mere contemplative gaze, but also as a practical activity. By focusing on artisans, the question of knowledge was placed in the two spheres of knowledge production: "theory" (epistemology) and "practice". This approach attempted to address and discuss some academic notions based on culture; including a variety of aspects that broadly constitute the "concept" of culture. As these notions continuously alter with changing academic insights they are constantly re-defined by academics and researchers.

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27

Reid, Andrew. "East African Archaeology: Foragers, Potters, Smiths and Traders. Edited by C. M. Kusimba and S. B. Kusimba. University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia (ISBN 1931707618), 2003, 226 pp." African Archaeological Review 22, no. 2 (June 2005): 105–9. http://dx.doi.org/10.1007/s10437-005-4192-9.

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28

Kenrick, P. M. "‘Tripolitanian Sigillata’: A Response." Libyan Studies 18 (1987): 88. http://dx.doi.org/10.1017/s0263718900006853.

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I am grateful to Dr. Soricelli and to the Editor for the opportunity to see this interesting article in advance of publication. The evidence presented here of chronology, distribution and petrology seem to me to offer compelling reasons for supposing the ware discussed to have been produced in Campania, and this is further supported by the names of the potters and their occasional use of the Greek alphabet. (This was a factor to which I had not given adequate weight in suggesting an origin in Punic North Africa). As to the precise origin of the ware within the region, I am dubious of the significance of two wasters found on their own in separate excavations: an accident in the later life of a vessel may on occasion be indistinguishable from an original fault in firing, and a greater concentration of wasters would be necessary to have the force of definite proof. Besides which, the foot of the cup illustrated in Figure 3.24 is not typical for Production A/‘Tripolitanian’ Sigillata. Soricelli is undoubtedly right in suggesting that a plurality of similar wares was produced in different parts of Campania (and probably other parts of Southern Italy and Sicily) during the first centuries BC and AD. Their individual characterisation will depend on the publication and study of a great deal more material from the region and the present article represents an important step along that road. And as we know that the products of Campania could so readily find their way into distant markets throughout the Mediterranean, so the identification of more of these products is likely to be of relevance to excavators working in many different parts of the Roman World.

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29

Insoll, Timothy. "Adria La Violetie. Ethnoarchaeology in jene, Mali: craft and status among smiths, potters and masons (British Archaeological reports International series S838; Cambridge Monographs in African Archaeology 49. vi + 158 pages, 44 figures, 6 tables. 2000. Oxford: Archaeopress; 1-84171-043-1 paperback £ 26." Antiquity 75, no. 287 (March 2001): 225–26. http://dx.doi.org/10.1017/s0003598x00053011.

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30

"East African archaeology: foragers, potters, smiths, and traders." Choice Reviews Online 41, no. 09 (May 1, 2004): 41–5372. http://dx.doi.org/10.5860/choice.41-5372.

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31

Motsamayi, Mathodi. "Indigenous Pottery Embedding Worldviews in Limpopo Province, South Africa." Southern African Journal for Folklore Studies 30, no. 1 (March 15, 2021). http://dx.doi.org/10.25159/1016-8427/7330.

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This article applies a culture-sensitive approach to an exploration of three topics related to African pottery: first, the core culture that constitutes a specific worldview, second, the socio-historical contexts of clay pots whose names are associated with verbal expressions that have been anthropologically analysed and found to be pertinent to communality, and, third, selected indigenous South African pottery mentioned in local Northern Sotho and Vhaven?a proverbs that convey local knowledge. Through interviewing potters and heritage practitioners and applying an emic view, I seek to contribute to a more accurate interpretation of African pottery meanings by emphasising the need for documentation processes to take into account indigenous languages in order to recognise the epistemological significance of indigenous pottery productions and their meanings in their respective cultures. I argue that the use of Western models to evaluate and understand local pottery meanings is problematic. A method needs to be developed to integrate African knowledge systems into mainstream knowledge production to address challenging aspects of theories currently used to describe and formulate pottery names and meanings.

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32

"Mande potters & leatherworkers: art and heritage in West Africa." Choice Reviews Online 36, no. 04 (December 1, 1998): 36–1967. http://dx.doi.org/10.5860/choice.36-1967.

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33

Delvoye, Adrien. "Barbara Frank: Griot Potters of the Folona: The History of an African Ceramic Tradition." African Archaeological Review, January 17, 2023. http://dx.doi.org/10.1007/s10437-023-09512-1.

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Cole, Mary L. "Revision of Chondrocyclus s.l. (Mollusca: Cyclophoridae), with description of a new genus and twelve new species." European Journal of Taxonomy, no. 569 (October 22, 2019). http://dx.doi.org/10.5852/ejt.2019.569.

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Chondrocyclus Ancey, 1898 is a genus of nine species of African operculate land snails restricted to indigenous forest and mesic thicket. Worn specimens (i.e., without a periostracum or operculum), on which some species descriptions and records were based, appear to be indistinguishable morphologically. A comprehensive revision of Chondrocyclus s.l. is provided here based on comparative morphological examinations of the shell, protoconch, periostracum, operculum, radula and penis, and on mitochondrial genes cytochrome c oxidase subunit I and 16S rRNA. Two genus-level lineages are recognised, Chondrocyclus s.s. and Afrocyclus gen. nov. Revised species descriptions are given for seven species. Two species, C. meredithae Bruggen, 1983 and C. chirindae Bruggen, 1986 both from north of South Africa, are removed from Chondrocyclus. Twelve new species are described: C. herberti sp. nov., C. silvicolus sp. nov., C. amathole sp. nov., C. pondoensis sp. nov., C. devilliersi sp. nov., C. pulcherrimus sp. nov., C. cooperae sp. nov., C. langebergensis sp. nov., C. kevincolei sp. nov., A. oxygala gen. et sp. nov., A. potteri gen. et sp. nov. and A. bhaca gen. et sp. nov. This is the first detailed systematic revision of an Afrotropical cyclophorid group to include morphological and molecular data. This study complements research on other taxa of low-vagility forest-dwelling habitat specialists by providing comparative distribution data for an independent, widespread group. Such evidence is urgently needed for conservation of South Africa’s threatened forest biome.

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Journal articles on the topic 'African potteries'

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