Adaptation of dagauda pottery into contemporary ceramics: a study of forms and functions

Project Abstract

<p> </p><p>This research focuses on the adaptation of Dagauda pottery into contemporary ceramics as a means of documenting the tradition. To achieve this, oral interview were conduct in the area during which the researcher carefully observed the processes and techniques of production adapted by the potters. These processes and techniques were documented photographically. Data collected where analyzed and interpreted using stylistic, historical and functional approach. The results showed that certain tools and materials used by the potters could be adapted for use in modern ceramics production. The study also revealed that some of the Dagauda pottery forms could be adapted for use by contemporary society with or without modification.</p><p>&nbsp;</p><p>&nbsp;</p> <br><p></p>

Project Overview

<p> </p><p><strong>1.0 INTRODUCTION</strong></p><p>The economics of Dagauda community is based on small scale farming and local crafts production. Agriculture is particularly important to Dagauda local economics by yielding material for making pottery, basket, rope, brooms, tray, hat and mat weaving. Among crafts produced in Dagauda community, pottery is one of the principal craft practices which this research work is based. Dagauda is located in north eastern part of Bauchi State. According to Britannica (2012), Bauchi state is located in north eastern Nigeria. Before 1976 it was a province in former north-eastern state. Bauchi is bounded on the northwest by Kano; Kaduna on the west; Plateau, Taraba and Adamawa on the south; and Borno and Yobe on the east. Bauchi state is inhabited by a large number of ethnic groups, including the Tangale, Waja (Wajawa), Fulani, and Hausa. The state also contains a number of traditional Muslim emirates. According to tradition, it was named by a hunter known as Baushe, who settled in the region before the arrival of Yakubu, the first traditional ruler of Bauchi emirate.</p><p>Bauchi state now has twenty local governments from which Dambam L.G.A was created out of present Misau local government area in 1980 by the administration of Alhaji Shehu Shagari during the second republic. Dambam local government area has three administrative districts: Dambam, Dagauda and Jalam. In these three districts, pottery, and tanning are the predominant activities apart from farming and rearing of animals.</p><p>According to Malam Audu (2013), a traditional potter from the area, “it is not known when pottery making began in Dagauda community”. But according to George (2012), “pottery excavations in many parts of the world have shown clearly that pottery making began since the prehistoric era. Pottery making had begun in the Middle East as early as 6,500 B.C. From the various archaeological discoveries, it was established that pottery first reached the Aegean in the Stone Age. While in the ancient Egypt, Mesopotamia and Rome, pottery was known as an age long industry among the people”.</p><p>Among other traditional crafts practiced in Dagauda, pottery is the most popular because of its important roles in the traditional society. Apart from the economic and socio-cultural values of their pottery, the high aesthetic quality of their clay pots achieved through skillful handling of decorations and forms is quite remarkable. Their pots are characterized by beautiful forms. Examples of such forms are the wine pot with long narrow neck, bowls with incised decoration, drinking pot, cooking stove, cooking pots, ritual pot, and clay toaster.</p><p>Malama Fati (2013), a traditional potter in Dagauda community stated that, “in the past potters depended on pottery as a means of livelihood. Even today it still receives certain level of patronage, because it is still part of the material culture of the people. In spite of the availability of modern plastic wares few local pots are still being produced in some parts of Dagauda town”. In fact, despite the challenges imposed by massive production of plastic wares in this advanced technological age, Dagauda locally made pots still enjoy certain degree of acceptance and popularity.</p><p>In fact, among the people of Dagauda, the threat by plastics and other modern wares is not much felt. Dagauda people still prefer some clay pots to plastic wares because of the different roles they play in the tradition society. Pots could be used for storing water and could remain cool for a very long time. Unlike the plastic wares, local clay pots are used for cooking and, for various other purposes where plastic wares will be of little or no use. For instant in ritual practices, some of these pots are dedicated to gods and native doctors use them for their worship. However, since their pottery tradition is on the decline due to the introduction of modern wares, it is therefore imperative to seek ways of documenting it before it goes into total extinction. This can be achieved through adaptation into contemporary ceramics which form the focus of this research endeavour.</p><p><strong>1.1 STATEMENT OF THE PROBLEM</strong></p><p>Most of the documentations on Dagauda traditional pottery in northern Nigeria are presented in written forms. These are in the form of literature in exhibition brochures, reviews in news papers, and articles in journals. In fact, a thorough research has not been done to properly document their pottery forms, techniques and functions using visual images as a means of preserving them for posterity in view of its declining state. Besides, effort has not been made to adapt their traditional pottery into contemporary ceramics. Therefore, this research work is an attempt to adapt Dagauda traditional pottery into contemporary ceramics which is one of the best ways of documenting pottery tradition, for future generations to study and appreciate.</p><p><strong>1.2 OBJECTIVES OF THE STUDY</strong></p><p>The general objective of this research is to study the forms, techniques, materials and tools used by Dagauda pottery and how to adapt them into contemporary ceramics design.</p><p>Its specific objectives are as follows:</p><ol><li>To identify and examine the pottery forms and their functions.</li><li>To discuss their methods of pottery production.</li><li>To design and produce some of the forms using modern production techniques.</li><li>To determine alternative functions of some of the forms in modern society.</li><li>To identify the types of tools and materials used by the potters.</li><li>To use some of their pottery decorations to decorate modern forms.</li></ol><p><strong>&nbsp;</strong></p><p><strong>1.3 SIGNIFICANCE OF THE STUDY</strong></p><p>Since there are few studies on the adaptation of traditional pottery into contemporary ceramics in northern Nigeria, it has become imperative to attempt to increase the number of such studies using Dagauda pottery tradition. This research, therefore, serves as a contribution to knowledge and as resource material for researchers in traditional and contemporary pottery and related fields. With this study, it is possible for future generations to learn about the pottery tradition of Dagauda people, even after it had gone into extinction.</p><p><strong>&nbsp;</strong></p><p><strong>1.4 SCOPE OF THE STUDY &nbsp; &nbsp; &nbsp; &nbsp;</strong></p><p>The research focuses on the study of Dagauda pottery tradition with emphasis on adaptation of its forms, techniques, materials and tools into contemporary ceramics. Since Dagauda is made up of three communities: Kare-kare, Guddurawa and Fulani, emphasis will be on Kare-kare which is well known for her pottery tradition. However, where necessary, mention will be made of pottery of other communities to enrich the research.</p><p><strong>1.5 &nbsp;LIMITATIONS OF STUDY</strong></p><p>Any pioneering research is usually limited by certain factors. Due to lack of relevant literature, documentation of Dagauda pottery was rather difficult to achieve. One of such difficulties was the absence of certain forms because of the influence of the introduction of modern containers. Also the death of some renowned potters in the area constituted a problem in locating some relevant facts about the pottery tradition. Also the translation of some of the local pottery terms into English language posed some challenges.</p> <br><p></p>