Ghanaian pottery practices and their modern reintroduction have been rendered masculine especially in tertiary institutions. Feminine participation in contemporary Ghanaian pottery/ceramic practices is virtually non-existent. The study believed women’s participation had contributions to make to pottery practices, and hence advocated 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 ceramic art at tertiary levels. ‘Modelling’ and ‘throwing’ were the main studio forming methods employed to produce crockery in the study. Materials used included; Abonko and Mfensi clays, manganese and glaze. Again, the study explored means and bases for feminine inclusion, especially in contemporary and academic pottery practices as means of normalising an anomaly engendered by maternity. It concluded among others that, pottery practices in their modernist sense had been trapped in sculpture representations and it was only through the use of feminine idioms and subjectivities that they ought to be freed to their full meanings as art. It was recommended with others that, female students would be given the chance to develop concepts that would depict their inner values and beliefs in their wares.
| Published in | American Journal of Art and Design (Volume 4, Issue 2) |
| DOI | 10.11648/j.ajad.20190402.11 |
| Page(s) | 8-14 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2019. Published by Science Publishing Group |
Crockery, Feminine Idiom, Pottery
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APA Style
Mercy Abaka-Attah, Kofi Asante-Kyei, Alexander Addae. (2019). Production of Ceramic Wares with Idea Development from Shells to Promote Femininity in Ghanaian Pottery. American Journal of Art and Design, 4(2), 8-14. https://doi.org/10.11648/j.ajad.20190402.11
ACS Style
Mercy Abaka-Attah; Kofi Asante-Kyei; Alexander Addae. Production of Ceramic Wares with Idea Development from Shells to Promote Femininity in Ghanaian Pottery. Am. J. Art Des. 2019, 4(2), 8-14. doi: 10.11648/j.ajad.20190402.11
AMA Style
Mercy Abaka-Attah, Kofi Asante-Kyei, Alexander Addae. Production of Ceramic Wares with Idea Development from Shells to Promote Femininity in Ghanaian Pottery. Am J Art Des. 2019;4(2):8-14. doi: 10.11648/j.ajad.20190402.11
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Download@article{10.11648/j.ajad.20190402.11,
author = {Mercy Abaka-Attah and Kofi Asante-Kyei and Alexander Addae},
title = {Production of Ceramic Wares with Idea Development from Shells to Promote Femininity in Ghanaian Pottery},
journal = {American Journal of Art and Design},
volume = {4},
number = {2},
pages = {8-14},
doi = {10.11648/j.ajad.20190402.11},
url = {https://doi.org/10.11648/j.ajad.20190402.11},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20190402.11},
abstract = {Ghanaian pottery practices and their modern reintroduction have been rendered masculine especially in tertiary institutions. Feminine participation in contemporary Ghanaian pottery/ceramic practices is virtually non-existent. The study believed women’s participation had contributions to make to pottery practices, and hence advocated 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 ceramic art at tertiary levels. ‘Modelling’ and ‘throwing’ were the main studio forming methods employed to produce crockery in the study. Materials used included; Abonko and Mfensi clays, manganese and glaze. Again, the study explored means and bases for feminine inclusion, especially in contemporary and academic pottery practices as means of normalising an anomaly engendered by maternity. It concluded among others that, pottery practices in their modernist sense had been trapped in sculpture representations and it was only through the use of feminine idioms and subjectivities that they ought to be freed to their full meanings as art. It was recommended with others that, female students would be given the chance to develop concepts that would depict their inner values and beliefs in their wares.},
year = {2019}
}
TY - JOUR T1 - Production of Ceramic Wares with Idea Development from Shells to Promote Femininity in Ghanaian Pottery AU - Mercy Abaka-Attah AU - Kofi Asante-Kyei AU - Alexander Addae Y1 - 2019/08/19 PY - 2019 N1 - https://doi.org/10.11648/j.ajad.20190402.11 DO - 10.11648/j.ajad.20190402.11 T2 - American Journal of Art and Design JF - American Journal of Art and Design JO - American Journal of Art and Design SP - 8 EP - 14 PB - Science Publishing Group SN - 2578-7802 UR - https://doi.org/10.11648/j.ajad.20190402.11 AB - Ghanaian pottery practices and their modern reintroduction have been rendered masculine especially in tertiary institutions. Feminine participation in contemporary Ghanaian pottery/ceramic practices is virtually non-existent. The study believed women’s participation had contributions to make to pottery practices, and hence advocated 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 ceramic art at tertiary levels. ‘Modelling’ and ‘throwing’ were the main studio forming methods employed to produce crockery in the study. Materials used included; Abonko and Mfensi clays, manganese and glaze. Again, the study explored means and bases for feminine inclusion, especially in contemporary and academic pottery practices as means of normalising an anomaly engendered by maternity. It concluded among others that, pottery practices in their modernist sense had been trapped in sculpture representations and it was only through the use of feminine idioms and subjectivities that they ought to be freed to their full meanings as art. It was recommended with others that, female students would be given the chance to develop concepts that would depict their inner values and beliefs in their wares. VL - 4 IS - 2 ER -
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