Femininity in pottery: Resurrecting the feminine touch to the practice

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November 2015
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Ghanaian pottery practices and their modern reintroduction have been rendered masculine. Feminine participation in contemporary Ghanaian pottery/ceramic practices is virtually non-existent. Pottery, the older of the two has always through history and indigenous practices been feminine with women accounting for the entire corpus of practitioners. The study explores means and bases for feminine inclusion, especially in contemporary and academic pottery practices as means of normalising an anomaly engendered by maternity. The study believes women’s participation have contributions to make to pottery practices, and hence advocate for the employment of feminine subjectivities and traditional spaces as well as indigenous pottery trade strategies and other feminine idiom within contemporary studio practices as means to rescue the stagnating practices and involve womanhood in the evolution of the art. It concludes that, pottery practices in their modernist sense had been trapped in sculpture representations and it is only through the use of feminine idioms and subjectivities that they ought to be freed to their full meanings as art.
A Thesis submitted to the Department of Industrial Art (Ceramics) Kwame Nkrumah University of Science and Technology in partial fulfilment of the requirements for the degree of Master of Fine Art (Ceramics)