ADAPTATION OF DAGAUDA POTTERY INTO CONTEMPORARY CERAMICS: A STUDY OF FORMS AND FUNCTIONS

ABSTRACT

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.

TABLE OF CONTENTS

Title page

Abstract

Table of contents

List of figures

CHAPTER ONE

1.0 Introduction

1.1 Statement of problem

1.2 Objectives of the study

1.3 Significance of the study

1.4 Scope of the study

1.5 Limitations of study

CHAPTER TWO

2.0 Review of literature

CHAPTER THREE

3.0 Production techniques, forms and functions

3.1 Tools and materials

3.2 Clay mining and preparation

3.2.1 Clay mining

3.2.2 Clay preparation

3.3Production techniques

3.3.1 Slip decoration

3.3.2 Drying and firing

3.3.3 Blackening

3.3.4 Whitening

3.4 Forms and functions

CHAPTER FOUR

4.0  Adaptation into contemporary studio ceramics production

4.1  Adaptation of Dagauda pottery decorative techniques

 4.1.1 The use of red ocher and grawiamolis species

4.2  Adaptation of Dagauda pottery forms

4.3  Adaptation of some Dagauda pottery materials into mould making

CHAPTER FIVE

5.0  Conclusion

Bibliography

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CHAPTER ONE

1.0 INTRODUCTION

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.

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.

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          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”.   

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.

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.

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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.

1.1 STATEMENT OF THE PROBLEM

Most of the documentations on Dagauda traditional pottery in northern Nigeria are presented in written forms. These are in the form of literature in.....

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