Pottery traditions of the Pattanam region - KCHR-BM production 2012 ( A documentary) — Transcript

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1. 0:00e
2. 0:43[Music]
3. 0:47the archaeological site at PanAm is the
4. 0:50first early historic settlement site
5. 0:53identified on the Southwest coast of
6. 0:56India excavations by the Kerala Council
7. 0:59for his historical research at PanAm
8. 1:02have revealed multiple cultural layers
9. 1:05spanning the first millennium BC to the
10. 1:09present Ceramics both local and imported
11. 1:13are the most abundant of fins to help us
12. 1:17understand this huge volume of pottery
13. 1:20we conducted an ethnoarchaeological
14. 1:22study of pottery production in the PanAm
15. 1:26region by observing the shared
16. 1:28traditions of the work shops at chandam
17. 1:31mangalam Tali and kumur we investigated
18. 1:36site formation processes continuity and
19. 1:40change from the past to the present
20. 1:43issues of stylistic and Technical
21. 1:46Evolution and
22. 1:54identity using the research strategy of
23. 1:57Shane OA or SE sequences of production
24. 2:01the study identified these distinct
25. 2:04stages in Pottery production consumption
26. 2:07and
27. 2:12discard here we see the making of the
28. 2:15matang the traditional pot used to tap
29. 2:18toi the fermented coconut sap and
30. 2:22Indigenous drink of
31. 2:27Kerala the pottery Workshop is typically
32. 2:31a semi-enclosed fluid space designed to
33. 2:34Encompass the entire production
34. 2:45process the sequence of manufacturing
35. 2:48the muttom starts with the preparation
36. 2:50of
37. 2:53clay the Potter takes the clay for a
38. 2:56batch of pots and begins to trample it
39. 3:00periodically adding water this helps
40. 3:03remove air pockets and brings the clay
41. 3:06to the appropriate
42. 3:16consistency seed fine sand temper is
43. 3:19worked into the clay preventing it from
44. 3:22adding to the floor and allowing the F
45. 3:25to change the properties of the clay to
46. 3:27suit the function
47. 3:43the trampled Clay is then taken to the
48. 3:45area where the second stage
49. 3:56commences small quantities of clay are
50. 3:59cut from the M and flattened into a tat
51. 4:02or plate form with the aid of the Anvil
52. 4:05or
53. 4:17iali ash from the K is added to reduce
54. 4:20thickness of the CL
55. 4:27[Music]
56. 4:35in The Next Step a previously fired Fork
57. 4:38is swiftly rotated in a bed of asash and
58. 4:41the flattened Clay is then pressed on
59. 4:43its inverted
60. 4:45base using her fingers to Define and
61. 4:48smooth the edges the Potter ensures the
62. 4:51clay assumes the shape of the mold
63. 5:10[Music]
64. 5:20form bowl is now dry enough to be picked
65. 5:23up with the palm and allow to rest in
66. 5:26the shade for a short while
67. 5:34it is then dried for a few hours and
68. 5:36brought back to the
69. 5:48workshop the Potter then picks up the
70. 5:51bowl in a hand and smoothens the rims by
71. 5:54dabbing water it is then placed on a
72. 5:57broken pot and another bowl is is placed
73. 6:00on
74. 6:05top the upper half is seated in the rim
75. 6:08of the lower half and the joint is
76. 6:17leveled she makes a puncher in the pot
77. 6:20with her thumb widening the hole into
78. 6:23the neck of the pot
79. 6:43a Cay coil rolled with the flat of a
80. 6:46palm is pressed along the
81. 6:53neck a wet cloth is then dipped in water
82. 6:57and the dampened surface is worked by
83. 7:00hand until it forms the final
84. 7:24Rim the pot is now kept for drying for
85. 7:27at least a few hours
86. 7:33after that the Potter beats the pot with
87. 7:36a variety of wooden paddles while
88. 7:39rotating it using her hand knees and
89. 7:43legs this strengthens the walls of the
90. 7:48pot the choice of the paddle depends on
91. 7:52the degree of force required the size of
92. 7:54the pot and the thickness of the surface
93. 7:57to be beaten the pot may be dampened
94. 8:00during this entire
95. 8:03process the hand Anvil is smeared with
96. 8:06Ash and placed in the
97. 8:09PT its position shifting to ensure the
98. 8:12shape of the PT is not lost during the
99. 8:15paddle
100. 8:27beating often times times with this
101. 8:30constant beating a tear or two appears
102. 8:33on the
103. 8:34pot the Potter then smears the area with
104. 8:37Clay to mend the tear and beats that
105. 8:40area until the clay is
106. 8:53uniform once the shaping process is
107. 8:56completed the pots are allowed to SU
108. 8:59drry
109. 9:01the drying process also requires
110. 9:03constant vigil the pots are inverted
111. 9:06time and again so as to dry
112. 9:10evenly once dry the pts are lined before
113. 9:13the Kil in preparation for
114. 9:17loading the typical Kil is updraft and
115. 9:20has two Stoke holes fueled by wood and
116. 9:23coconut
117. 9:24fiber depending on their size and form
118. 9:27the various Pottery products are stacked
119. 9:29in tears interspersed with broken shirts
120. 9:32and
121. 9:33wood the Kil is then covered with fty
122. 9:36stalks and
123. 9:39mud the color of the pottery varies
124. 9:42depending on how the air in the Kil is
125. 9:46controlled the preparation of the Kil
126. 9:48for firing is a highly technical process
127. 9:51as any miscalculation would lead to
128. 9:54broken or damaged parts and consequent
129. 9:57Financial losses
130. 9:59the firing process takes about 2 days
131. 10:02the ready pots May then be removed from
132. 10:05the Kil and stored in a shed until
133. 10:07they're taken to the market for
134. 10:11sale most dolls selling local Earth
135. 10:15andwar offer a variety of pot forms
136. 10:18intended for various uses such as to
137. 10:21tapping rituals water storage or
138. 10:25cooking the consumer often selects the
139. 10:28PT by kn walking on its surface if the
140. 10:31pot produces a melodious tone it
141. 10:34indicates that it has been well fired
142. 10:36and is
143. 10:39durable the pots are valued for the
144. 10:42distinctive flavor they give and are
145. 10:44usually washed and
146. 10:46reused the exceptions to this pattern of
147. 10:49usage are the FTS purchased for
148. 10:51festivals and
149. 10:54rituals for archaeologists the end
150. 10:57product of the life cycle of a PO are
151. 10:59mostly broken
152. 11:02shirts ethno archaeology provides the
153. 11:05perfect platform to discuss these shirts
154. 11:08the traditional poters who give insight
155. 11:11into their manufacture and
156. 11:14use the entire team wishes to thank the
157. 11:18porters of PanAm region in Kerala for
158. 11:21making the study from the present to the
159. 11:24distant past of possibility
160. 11:34[Music]
161. 11:49[Music]
162. 12:04[Music]