THURSDAY, MAY 15, 2025
From utility to art: The endangered legacy of pottery
Published on Jan 29, 2025
By EMN
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- Khupunai H
- A group of women making earthen pots at Pongo village in Longleng district.
- DIMAPUR — In the serene village of Pongo in Longleng district, Chahang has dedicated over four decades to preserving the traditional craft of pottery—an art she had learnt from her mother. With hands shaped by years of hard work and a heart brimming with cultural pride, Chahang continues to mould clay into vessels of history, even as the craft faces the challenges of modernity.
- “I started working in pottery before I got married, and it has been over 40 years now,” Chahang recalls. She credits her mother for teaching her the intricate techniques of pottery-making, which involve blending three kinds of clay: Laiishong (grey clay), Shutra (brown clay), and broken clay, smashed and mixed together.
- In the past, pottery in Pongo village served practical purposes, such as cooking and storing rice, water, seeds, and others. However, by the late 1990s, Chahang began innovating, adding decorative features like handles, thickened necks, and ornate designs. Today, most of her creations are made for ornamental purposes rather than utility. “The demand is no longer the same,” she says. “What was once essential for daily life is now primarily appreciated as art.”
- The process of making pottery in Pongo village is deeply rooted in traditions and taboos. From collecting clay to firing pots, strict rituals are observed. “Everyone involved must remain physically clean, and the areas where we collect clay must be kept clean,” explains Chahang. “If these rituals are not followed, the pots do not turn out well and often crack during the firing process.”
- Potters also adhere to cultural restrictions, halting all work if a death occurs in the village. The pots are typically fired in January or February before the windy season begins.
- The demand for clay pots has significantly diminished with the rise of aluminium and plastic utensils. Younger generations are showing little interest in learning the craft, discouraged by the labour-intensive process and the many taboos involved. “Pottery is no longer a necessity; it’s now a cultural relic,” Chahang laments.
- This shift has also impacted the barter system that once thrived in the community. In earlier days, pots were exchanged for essential goods like salt, cloth, and cotton. Today, such practices are nearly forgotten, leaving potters to rely on occasional decorative orders.
- Despite these challenges, Chahang remains determined to keep the tradition alive. She emphasises the need for government and organisational support to preserve this dying art. “We need designated spaces to fire pots and workshops to teach younger generations,” she says. “So far, no one has taken the initiative to provide these resources.”
- Chahang has had a few opportunities to showcase her craft on larger platforms. She fondly remembers attending an international conference on South Asian ceramics in Chennai, facilitated by Dr. Ditamulii Vasa and Pangtuk. However, such instances are rare, and local potters often struggle without any formal support.
- Chahang’s dedication extends beyond her craft—she is eager to teach others. “I am ready to share my knowledge with anyone interested, whether in Nagaland or elsewhere,” she says. “It is crucial for our younger generations to understand the value of our culture before it’s too late.”
- As she continues to work with clay, Chahang hopes her efforts will inspire renewed interest in traditional pottery, ensuring that this vital aspect of Pongo’s heritage is not lost to time. Her story is a poignant reminder of the delicate balance between tradition and modernity and the urgent need to preserve cultural crafts before they fade away completely.
- (The writer is a Master's student at North-Eastern Hill University, Shillong. She is currently an intern at Eastern Mirror.)
Nagaland Districts
