PI00007244

Pottery making was a social obligation and provided household equipment and utensils. Bowls were made in various sizes, and vessels and differing functions, such as serving and storing food and beverages. However, for the village of Nakoro, at the district of Noikoro, Nadroga Navosa, they only make cooking pots, and are still used today for cooking.

PI00007243

Dakua resin are used to glaze pots and for lighting, its colour is light amber. The glazing are (is) done while pots are rarasea (very hot).

PI00007242

Firewood are collected such as coconut fronds, coconut husks and split bamboo. A bed of firewood is then prepared, allowing enough room for the number of pots to be fired. Pot are carefully nested on the bed, with more firewood carefully mounted on the pots, leaving gaps so that air can penetrated and allow the fire to burn. It is important to conduct firing on a dry, cool day. Pots are fetched the next day then displayed. The unique characteristics of terracotta clay show its dark reddish colors. A smoky shaping appears here and there over the smooth body of the terracotta clay pot.

PI00007241

The pot is beaten up smartly, then placed upright on the toqi. The formation of the neck is very important. Stone is held inside and patted from outside, while the potter moves around the pot, pulling up the required thickness of clay to the brim, at this point the clay is reinforced by beating the neck with a handle of the beating paddle. Using the same beating and pulling process with great skill, the lip is held up and curved outward. The finished pot is left in a cool place, away from direct drafts to dry for three days. After four days pots can be exposed to the sun’s heat, or placed near the fire place in preparation for firing.

PI00007240

The potter uses a flat stick for patting to shape. The tools used for patting are: mallet (tala) to smoothen the surface both inside out. As patting process continues water is frequently applied to the work by dipping the blade of the tool into a basin of water and rubbing the surface of the stone which is held as a counterpoise inside the pot with the blade. Water is occasionally sprinkled upon the pot itself, this prevents the tools from sticking to the clay.

PI00007239

The pot is left to dry in the wind but out of the direct rays of the sun, the centre of the vessel being covered by a piece of breadfruit leaf. The pot is left in this state until the exposed portion is strong. The pot is left in this state until the exposed portion is no longer pulpy, and is then inverted and work resumed.

PI00007238

This is partly molded into shape, the potter takes a smooth round stone in her left hand and holds it inside the clay, and while with the other hand beats the exterior with a flat piece of wood like a spoon.

PI00007237

The pottery is made entirely by hand, nothing in the nature of a wheel being known. The clay having been mixed with a fine sand rolled and coiled one above the other, into a hollow circle, thus forming the base of a round pot.

PI00007236

The wedging process in Noikoro is unique. The clay is placed in a heap on big stones in the middle of the stream which runs by the village. Men with a heavy rod about 5cm in diameter and one metre long, hit the heap of clay continuously. The beating process forces all dirt out of the clay. Through experience, one knows when to stop beating as the clay is then pure and gains its plasticity. The clay is reffered to as bula (come to life). It is wrapped in banana leaves, then stored.