The Hit Parade: The Beat Goes On

Once again, a big thanks to Rob Hunter and his inspired Ceramics in America 2014 ‘top ten’ issue. 

If my "Hit Parade" were to be about looks alone, I might have included the creative slip applications of English Mocha ware, or the bizarre, twisted explorations of George Orr, or the brilliant cobalt blues of German Westerwald salt-fired stoneware, or the wood-fired stoneware of Richard Bresnahan with whom I did my apprenticeship, etc, etc. etc.

But the genius of this exercise is to explore pottery’s intimate walk with humanity through the ages.  And it invites musing on one’s own relation to this incredible field as well.  Narrowing that down to ten entries is challenge enough!

For example, I could have easily included the Absalom Steadman stoneware jug c. 1823 which received the highest price paid at auction for early American pottery, thus illuminating the status of historic pottery in today’s art economy.  The 1840 William Henry Harrison transfer print pitcher by David Henderson speaks volumes about the part ceramics played in the development of our national politics.  The 11th century Central Mosque in D’jenne, Mali is the world’s largest adobe clay structure.  (But what’s that silly tourist doing there?)  Potters for Peace’s Filtron water purifier project highlights the enormous contributions of pottery to rural community development efforts.  The black pottery of Maria Martinez offers a classic example of pottery and cultural revitalization.  And the curious parallels between Richard Bresnahan’s unique wood firing process and astro-physics is fodder for an entire book in itself.

Every picture tells a story.  So does every pot.  The thing is, when it comes to pottery history’s ‘top 10,’ the story itself is quite often where it’s at.

And the beat goes on…

The Hit Parade #4: Ceramic Insulator for Low Tension Power Lines

Are David and Goliath stories true?  Can a humble insulator be considered among the ceramic greats?  To answer, consider who made this specific insulator, when, and why. 

During the 1980’s in Sandinista-led Nicaragua, the “Organizacion Revolucionario de Descapacitados,” or “Revolutionary Organization of Handicapped Veterans,” (ORD), ran a stoneware pottery shop as part of their rehabilitation training program.

Their clay came from a deposit near the village of El Sauce (“El Sow-se”) that displayed, along the length of a long gully, the entire erosion process from feldspathic rock, to white primary clay, to secondary ball clay, then to earthenware.  Their glaze consisted primarily of dust from Momotombo, Nicaragua’s largest volcano. 

Potters for Peace helped the ORD develop a project to produce ceramic insulators for a fraction of the price of existing insulators bought from Brazil.  (I built a kiln with the ORD for this project). 

A US-created coalition of political parties (an open reality in Nicaragua that included some bizarre bedfellows) electorally ousted the Sandinistas in 1990.  An application for US Agency for International Development (AID) funds was quickly granted.  The AID package included funds to purchase (only) US made insulators at four times the ORD’s price.  With a stroke of a pen, the ORD contract was broken.  Their pottery shop faced closure.

Potters for Peace mounted an awareness/fund-raising campaign featuring various elementary schools in the US asking the AID to amend their package to include ORD insulators.  The kids raffled insulators and wrote letters to their representatives and to the AID.  The campaign worked!  The contract was (partially) renewed.

So once upon a time, a humble little clay object found itself smack in the middle of the Cold War.  A small, impoverished country’s war wounded unwittingly found their gesture of self-determination pitted against an antagonistic super power’s economic might.  With this ceramic insulator as their icon, the underdog won. 

The moral of the story:  Truly progressive, “politically inspired” ceramics efforts encompass projects well beyond the flash and glitz of protest, criticism, and confrontation.  These powerful efforts can be found in the most unlikely of places. 

This beautiful little ceramic insulator, my friends, is the real deal.

The Hit Parade #8: Tourist Pottery from San Juan de Oriente, Nicaragua

Adventures in cross-cultural sampling.

Alan Gallegos was a dear friend.  He came from the village of San Juan de Oriente, Nicaragua, known for it’s many “Pre-Columbian” style potters.  I worked with Alan during my time in Nicaragua with Potters for Peace (PFP).  The burnished, slab molded, 6″d. plate shown  here is from San Juan de Oriente.  But it isn’t Alan’s.   Sadly, I don’t own any of his work.

Alan was large, gentle, and quiet.  He was an extremely talented potter, and a valued member of PFP’s team.  One day Alan’s body was discovered along a roadside.  Did he accidentally fall off a truck while hitch hiking?  Was he robbed and killed?  Nobody knows.

I had left Nicaragua before Alan’s death.  The town I was living in just became a Sister City to a community of repatriated refugees in El Salvador, from that country’s civil war.  Many Salvadorans had fled to Nicaragua during the war.  I knew a group of those refugees who lived next to a PFP pottery project.  Kids from this little group painted the pottery’s seconds to sell for extra cash.  Ironically, their new community was my town’s Sister City.

So there I was, struggling to work on an Empty Bowls fund raiser for the Sister City effort.  That night, after hearing of Alan’ death, I began decorating: a jagged border around the rims (Central America’s many volcanoes) above five panels (the five original Central American countries) blocked out by vertical rows of circles (the Mayan counting system).  Each panel contained a pre-Columbian phoenix.

The thought of using pre-Columbian designs in my own work always felt problematic (due largely to Central America’s history and my European ancestry).  But I had the distinct feeling Alan was beside me as I worked.  I wouldn’t have blinked if he reached over, picked up a bowl, and began talking.

Something then occurred to me that I hadn’t thought about for ages.  Years earlier I apprenticed to Richard Bresnahan, who told me he felt he was communicating with ancient potters of southern Japan (where he had done his own apprenticeship) whenever he applied Japanese-style “mishima” inlay to his pots.  “Neat idea,” I thought at the time, before getting on with the day…

Cultural ‘mining’ can leave a long, painful trail.  Communication that transcends that tale requires healthy doses of respect and empathy.  Now I know how powerful this communication can be.

Cowboys and Indians

First time visitors to the US often travel with (somewhat) irrational fears.  Will gangsters shoot it out while de-boarding the plane?  Our global cultural projection of carnage, sex and twisted history runs deep.  In 1991 a group of Nicaraguan women working in the Matagalpa black pottery tradition traveled with some of this baggage to visit Tewa black pottery descendants of Maria Martinez of San Ildefonso, NM. 

The Potters for Peace facilitated trip was predicated on a question: What would happen if women from very different rural backgrounds who work in a similar style were left alone together for a week?  PFP’s Ron Rivera served as translator and guide. 

Hand-built “black pottery” is burnished to a high gloss, pit fired, and smoked until jet black.  Women throughout the Americas and parts of Africa have made black pottery for hundreds, maybe thousands of years.  Modern North American black pottery tends to be much more polished and lower fired (thus blacker) than originally.  It’s now considered primarily a decorative art.  

Black potters are intensely proud of their work.  Maria Martinez is perhaps the most famous North American practitioner.  Mexicans might counter that Doña Rosa Real who revived the Oaxaca black pottery tradition in the 1950’s  holds the ‘most famous’ title.  Maria Martinez resuscitated the almost forgotten Pueblo style while working with archeologist Dr. Edgar Lee Hewett at the Frijoles Canyon excavation in 1908.  Maria’s pottery even made Bernard Leach eat crow “…it belonged to America.  North America – it was arresting.”  (An irrelevant point, but I couldn’t resist.)

But women of the northern mountainous coffee growing region of Matagalpa, Nicaragua say their black pottery making reaches back, unbroken from mother to daughter for over a millennium.  Their work occupies a highly regarded position in the Nicaraguan ceramic world.  Like other black potters  they tend to stick together.  And like other rural Nicaraguan’s they rarely travel far from home.

The New Mexico trip was an eye opener for everyone involved.  The Tewa’s were blown away at the delicacy of form and the superior mirror black polish of the Matagalpan pottery.  The Nica’s were astonished at the Tewas’ playful variations of form and gloss, and at their astronomical prices. 

But another thing perplexed the Nica’s.  One of them took Ron aside.  If these women they had come to visit were real “American Indians,” where were the feathers and tomahawks?

Readings
The Living Tradition of Maria Martinez.  Susan Peterson.  Kodansha International/New York.  1977.

 

Technorati Tags: black pottery,women potters,Matagalpa,San Ildefonso,Maria Martinez,pit firing,Potters for Peace,Ron Rivera,Rosa Real,Oaxaca

Valentin Lopez Visits the United States

(Adventures in Community Development)

In early 1994 Valentin Lopez made his first, and probably only, trip to the United States.  His voyage from his home in San Juan de Oriente, Nicaragua (sponsored by Potters for Peace) was part educational effort for Americans to learn about Nicaragua,  part fund raiser for PFP, and part marketing opportunity for Valentin.  Valentin is an incredibly talented traditional Pre-Columbian Maya style potter.  He can eloquently describe his work, his inspirations, and his community.  He is also very much what Nicaraguans call an “indio;” very Mayan in appearance, with little Spanish influence. 

I was asked to show Valentin around when some free time opened up in his schedule.  Maybe get him into a classroom.  Maybe introduce him to a collector. 

We visited the wealthy collector first.  He owned a walk-through history of Pre-Columbian pottery; Aztec to Maya; Inca to Oaxaca.  Mind boggling.  But the jerk didn’t buy anything.  Was Valentin’s work not “real” enough?  As we drove away, I wondered what Valentin thought of the encounter.

The only teacher I knew then worked in a kindergarten.  So off we went to visit a bunch of 6 year olds.  (Great trip so far, Steve!)  We immediately noticed that the classroom was divided.  “Anglo” kids sat up front.  Hispanic kids in the back.  The teachers seemed resigned to riding shotgun around the Hispanic kids, one girl in particular, to keep them focused on the day’s activities.

The girl giggled when I began translating.  She knew what Valentin was saying better than I did.  We let her  translate.  The change was electric.  Suddenly Spanish was a benefit, not a stigma.  This ‘problem kid’ was now a valued leader, showing others the way. 

I had brought some coloring books on Pre-Columbian pottery designs PFP made for an education  project in Nicaragua where books of any kind were scarce.  The kids dove into the books after the presentation.  It was the most productive day the teachers had seen.

I think of that girl.  Where is she now?  Did that day impart any notion that her abilities were strengths?  Did she grow up to be a potter?  Will she be the first Hispanic female President?  Or maybe, reflecting on the worlds of potters and presidential campaigns, she just grew up to be a decent person.  That’s my hope.

Reading:
Dibujos de las Tatara Tatarabuelas.  Ron Rivera and Barbara Donachy.  Ceramistas Por La Paz/Managua, Nicaragua.  1993.

 

Technorati Tags: Valentin Lopez,San Juan de Oriente,Nicaragua,Potters for Peace,Pre Columbian Ceramics,Inca,Aztec,Maya,Oaxaca,translation,Spanish,Community Development