Adwoa Miwo (right) learns to make clay pots from her experienced potter mother, Peni Ngunu Chͻ (center), as they work together in the interior courtyard of their house. Mosi Nyuu (husband and father) looks on. Partially finished clay jars sit nearby, resting on the palettes (kapankpa in Nafaanra) on which they have been formed. The more experienced mother is making a larger jar than her apprentice daughter. Also placed around the house's interior courtyard are two dark-colored clay soup pots (chiin sinyjͻlͻ in Nafaanra) and a wooden mortar (right). Thatch- and metal-roofed rooms surround the courtyard. Dorbour, 1994.
The exterior wall of an atakpame (coursed earth) house. Atakpame is a technique for building durable earthen walls that can stand for many decades. The thatched roof is supported by interior and exterior posts and does not rest on the walls. When covered by well-maintained thatched roofs, the walls are protected from erosion by rain. A goat walks on the street outside. Makala, July, 1994.
During the 20th century women from the potting villages of Dorbour, Adadiem and other locations west of the Banda hills sold their pots in markets centers to the east and the west. Here women sell clay pots in the market at Bondoukou in Côte d’Ivoire. Visible are varied-sized cooking pots (sro chͻ in Nafaanra), water jars (chͻkoo in Nafaanra), soup pots (chiin sinyjͻlͻ in Nafaanra) and grinding bowls (pԑԑ in Nafaanra). Also for sale in the foreground are clay eating bowls that appear to have been fired in a kiln (?) rather than a bonfire. Bondoukou, 1994.
The interior of a courtyard house surrounded by thatch-roofed rooms. Houses like this were often built over time, with rooms added as needed, gradually enclosing the interior courtyard. The compound in this photo is fully enclosed, with a doorway to the exterior visible in the center, back. Four hearths are visible in the courtyard, surrounded by a variety of metal vessels used in food preparation and other daily activities. Left, a pestle lies on the ground surrounded by groundnut (peanut, boŋgrɛ in Nafaanra) shells. Makala, July, 1994.
A potter sits on a stool as she molds the upper body of a clay water jar (chͻkoo in Nafaanra). In her right hand she uses a maize cob (bledjukaan in Nafaanra), pulling it against the exterior surface to smooth and thin the clay. In the foreground are water jars whose leather-hard upper body and rim have been joined to a rounded base, their clay bases still moist and not yet smoothed. Large wooden mortars and a headpan containing moist clay sit nearby as she works in the shade of an open-sided room. Dorbour, 1994.
Afua Donkor, a Nafana potter, uses a pestle to pound bark that will be used to make a solution to finish clay pots. In a nearby headpan, more stripped bark awaits pounding. After pounding, the bark will be soaked in water. Hot clay pots just removed from the bonfire will be dipped and turned in the solution. This colors the pots and is said to reduce their porosity. She sits on a stool as she works in the courtyard near a hearth. Nearby is a large metal cooking pot, several wooden mortars and a number of pestles. Finished clay soup cooking pots (chiin sinyjͻlͻ in Nafaanra) sit behind her ready for sale. Dorbour, 1994.
The exterior of a compound house made of adjoining rooms oriented around a rectangular courtyard. These were often built over time, with rooms added as needed, gradually enclosing the interior courtyard. The compound in this photo is open on one side, rooms surrounding the other three sides of the courtyard. Atakpame walls are visible as are the gabled thatched roofs that protect walls from erosion by rain. Makala, July, 1994.
During the 20th century women from the potting villages of Dorbour, Adadiem and other locations west of the Banda hills sold their pots in markets centers to the east and the west. Here women sell clay pots in the market at Bondoukou in Côte d’Ivoire. Visible are varied-sized cooking pots (sro chͻ in Nafaanra), water jars (chͻkoo in Nafaanra) and grinding bowls (pԑԑ in Nafaanra). Only the grinding bowls are blackened which was a fashion that came in sometime in the 20th century. Bondoukou, Côte d’Ivoire, 1994.
A youngster helps a woman remove a loaded headpan as she approaches the thatch-roofed veranda of a room in a compound house. A variety of metal containers used to prepare food and for other household tasks are placed about, along with several calabash bowls and low stools used in this kitchen area. A headpan containing dishes rests on a cluster of hearth stones, lower right. Makala, July, 1994.
Rights:
Creative Commons Attribution-NonCommercial
Publisher:
University of Victoria Libraries
Location(s) Facet:
Makala
Subjects:
Headloading; Metal pots; Headpans
Subjects Facet:
Stools; Thatched roofs; Gourd, Calabash; Courtyards; Lifting and carrying
Akua Donkor, a Nafana potter, etches grooves onto the leather-hard surface of a clay cooking pot (sro chͻ in Nafaanra) before it is fired. The lower part of the jar has been surface treated using a maize cob (bledjukaan in Nafaanra) as a roulette. This gives the pot surface texture, over which the grooved design is made. She wears bracelets that sometimes double as tools to decorate pots. Dorbour, 1994.