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Poster Credits: Vidhi

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Wedging plays a crucial role in preparing clay for ceramics, providing essential advantages. By repetitively folding, slicing, and slamming, it ensures uniform moisture distribution and removes air bubbles. The outcome is clay that is well-prepared, offering improved workability and enhanced structural integrity, setting the groundwork for consistent firing responses and the crafting of visually appealing and durable ceramics.

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Our Presentation: Particular communities/tribes who are linked to/known for particular musical instruments. Either their making, or their playing.

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Our Presentation: Particular communities/tribes who are linked to/known for particular musical instruments. Either their making, or their playing.

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We covered the Yidaki or the Didgeridoo, that goes back to the Aboriginal people of Australia, The Dak or Dakla originating in Bengal and Assam, and the Dhodra Banam that comes from the Santal tribal community of central India, particularly what is the modern state of Orissa

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the Sachs-Hornbostel system, introduced in 1914 by Erich Von Hornbostel and Curt Sachs suggests an approach to classifying musical instruments. It classifies musical instruments based on how they produce sound, i.e. through the vibration’s source location. This system is divided into five categories: Idiophones, Membranophones, Chordophones, Aerophones and Electrophones

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prior to the class where we made the rain stick's body, we spent an entire class rolling the tiny pellets to fill our rain sticks. This was so calming. We for some ungodly reason chose to listen to really sad music that morning as it rained and rolled our tiny rain pellets in groups of two. Mahi was my partner in pellet hehe which was fun.

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Create two hemispherical pinched pots of identical size and connect them, ensuring the edges curve outward for a clean interior. Develop a flat surface and affix a cuboidal mouthpiece in alignment with the flat face. Insert one pointed ice cream stick through the mouthpiece and another from the top at a 45-degree angle. Continuously clean both holes until all debris is removed, allowing the ocarina to produce sound. Introduce additional holes on the ocarina's body to achieve diverse pitches.

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Fashioned from a coiled slab of thoroughly wedged clay enveloping a stick, this aerophone takes form as a tube. The process for crafting its mouthpiece mirrors that of an ocarina. Upon exhaling, air traverses into the tube and encounters a slope where it bifurcates, resulting in the generation of sound. The manipulation of the instrument involves altering the length of the air column by sealing specific openings, consequently modulating the pitch with each adjustment.

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We initially deemed the clay prepared the previous day as suitable for our intended purpose, which was the creation of basic pots using a range of techniques. Nevertheless, upon closer examination, we realised that the interior remained significantly moist and lacked the requisite plasticity essential for immediate moulding.

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We soaked some clay in water to rehydrate it 

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We soaked some clay in water to rehydrate it 

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Wedging is a fundamental clay preparation process, involving the act of kneading the clay by cutting it perpendicular to its axis and subsequently repositioning the two divided segments across the orthogonal axis. This technique serves to eliminate any trapped air bubbles, which, if left unattended, could potentially rupture/explode during the clay firing process due to the expansion of air when exposed to heat. The process of molding the clay together in a spiral motion is called the thousand petal lotus technique which has japanese origins.

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Perpendicular positioning in the wedging process 

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Perpendicular positioning in the wedging process 

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The first pottery technique we delved into, often referred to as the "pinching technique," commences with the formation of a clay ball. The next step involves creating a deep impression in the clay by pressing your thumb into it.

"Eating a Christmas pie; He put in his thumb, And pulled out a plum, And said 'What a good boy am I"

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Begin making slight indents with your thumb and simultaneously turning the ball of clay. Try to maintain the same thickness throughout the pot while doing so. stretch the pot after achieving the desired wideness and raise the edge to give it depth.

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I thought it was really interesting how some people smoothen clay when making pots but Kaveri spoke about how adding thumb prints adds characters to the pieces you make. we very often find perfection in art but clay as she always says is a "very forgiving medium" that allows you to make mistakes and rectify them, all while adding a personal touch.

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Roll out a ball of clay and make almost cylindrical "snake-like" structures that can be layered on each other to form a pot. To prevent cracking or the separation of coils, the clay must be soft, and the correct method must be employed to join the coils securely.

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1. Create a foundation.

2. Shape a coil.

3. Connect the coil using a bonding pinch.

4. Use a flat pinch to slenderize and elevate the pot wall.

5. Smooth and sculpt by employing a rib or scraper.

6. Iterate through steps 2 to 5 until the desired size is achieved or the clay is exhausted.

7. Trim the pot's rim with a knife and subsequently refine it with your fingers. Apply slip if need be.

sidenote: making and using slip has been so satisfying. A variable mixture of clay and water, referred to as slip or clay slurry is utilized for tasks like joining leather-hard clay pieces through slip casting, as well as glazing and decorating pottery by painting or dipping.

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This technique entails flattening clay into sheets or 'slabs,' which are subsequently shaped and combined to produce diverse forms.

1. Prepare the Clay:

Eliminate air bubbles and achieve uniformity by kneading the clay.

2. Roll out the Slabs:

Utilize a rolling pin to create flat slabs of the desired thickness.

3. Cut the Slabs:

pinch, mould, cut slabs into a desired shape or design

4. Assemble the Pieces:

Connect the cut pieces using slip, a clay and water mixture serving as a bonding agent.

5. Smooth the Joints:

Ensure secure bonding by using fingers or a smoothing tool to blend and smooth the joints.

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We all got together, listened to some really good rock music and made clay rainbows to allow the clay to dry faster by next class.

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Art has long been a source of intimidation in my life. Throughout my school years, the relentless pursuit of perfection within the realm of art limited and restricted my creative expression. Enrolling in a course like this, which not only offers the opportunity to explore and grow with a fresh artistic medium but also allows me to further my proficiency in a discipline I'm already adept in, such as music, has been a much-anticipated and eagerly embraced journey for me.

Morning classes have often been an issue for me but having something tangible and intellectually stimulating to anticipate makes those early hours more bearable.

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Clay, we discovered, necessitates a specific moisture level for optimal malleability. During the break, kaveri started the rehydration process by submerging clay from the previous class in water, rendering it primed for subsequent use upon our return. We systematically transferred this reconstituted clay onto a large fabric surface on a cement slab. We then allowed it to air-dry under the sun, awaiting the following day when it would attain the requisite consistency for our use. a few of us also threw dry clay against a wall in order to use it further down the road.

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1. Prepare the Clay: Before delving into the wedging process, start by thoroughly inspecting the clay for any foreign objects, we had pottery tools in ours hahaha. It's essential to work with clean, debris-free material.

2. Cut the Clay: Once you have a clean batch of clay, use a wire cutter or a similar tool to section it into manageable pieces. This step ensures that the wedging process is more manageable and effective. It is an arm and core work out for sure though because of how heavy the clay can sometimes be, depending on the quantity you choose to work with.

3. Form a Cone: Take one of the clay sections and begin by forming it into a cone shape. This initial step sets the foundation for the subsequent wedging actions.

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We left the pellets to dry last class so they were almost leather hard by now

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4. Slice and Slam:

Now, vertically slice the clay cone and firmly slam the two resulting sections back together. Any other positioning angle will splatter the clay everywhere. I took time to learn this. This action helps in both homogenizing the clay's consistency and removing any trapped air.

5. Rotate and Repeat:

Rotate the clay cone by 90 degrees and repeat the slicing and slamming process. This technique aids in evenly distributing moisture content and further expelling any air pockets within the clay.

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Kaveri demonstrated how to make the rainstick briefly and we immediately started to make the instrument. This for me was the most time and labor intensive instrument we worked on in this class.

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6. Fold and Slam:

Introduce a folding action into the process by folding the clay in half, creating a book-like structure, and then slamming it down once more. This additional step contributes to the overall refinement of the clay's texture.

7. Repeat Wedging:

To achieve optimal results, continue repeating steps 3 to 6 until the clay attains a consistently smooth texture, is free from air bubbles, and displays a uniform composition. This meticulous approach ensures the clay is well-prepared for shaping.

8. Shape into a Ball:

Conclude the wedging process by shaping the thoroughly worked clay into a ball. This final step signifies the readiness of the clay for application in your chosen pottery or sculpting endeavours.

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Air pockets within your clay can weaken or create uneven walls in your pottery, potentially causing problems during firing. Employing the Ram's head wedging technique is an ideal method to eliminate these air bubbles from your clay.

1. grab some clay

2. press your palms into the play

3. rock the clay up towards yourself

4. press your palms into the play higher than last time

5. repeat pressing and rocking as needed

6. Check for consistency and air bubbles

7. Roll into a ball or cylinder to finish

Schwartz, B. (2021, August 7). Ram’s Head Wedging: How to Ram’s Head Wedge Clay | Expert Clay. Retrieved October 31, 2023, from Expert Clay website: https://expertclay.com/rams-head-wedging-how-to/

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Begin by meticulously organizing your workspace, ensuring the clay is uniformly wedged to eliminate air pockets and achieve a consistent texture. Arrange essential tools, including a water basin for moistening, a sponge for regulating clay moisture, a cutting wire for precision, and an assortment of shaping tools.

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Centering:

Gently position a well-prepared clay lump onto the wheel head's center. Activate the wheel and, using moistened hands, apply gradual, even pressure to center the clay. This foundational step is crucial for crafting balanced and symmetrical pottery.

Opening:

Use your thumbs to delicately create a central depression in the clay, gradually unfolding the form. Maintain centered positioning and ensure consistently even walls throughout.

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Pulling:

With hands moistened, skillfully lift and pull the clay walls upward using your fingers. This process shapes the clay into the desired form, necessitating a smooth, controlled motion for the intended design.

Shaping:

Utilize an array of shaping tools to further refine the form, adjusting thickness and contour to align with your creative vision. Keep the wheel rotating steadily for an even shaping process.

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Trimming (optional):

If required, use trimming tools to refine the base and remove excess clay. This step is typically performed when the clay reaches a leather-hard state for more precise adjustments.

Wire Off:

Achieve a clean separation of the finished piece from the wheel using a cutting wire. Ensure the cut is made close to the wheelhead for a smooth detachment.

Finishing Touches:

Following primary shaping, refine the surface with a damp sponge. Address details, smooth imperfections, and consider incorporating unique textures or decorative elements to enhance the aesthetic appeal.

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Behold the pinnacle of clay perfection, a work of cohesion and texture worthy of any potter's heart! A wonderful clay mixture, precisely wedged to eliminate every hiding air bubble and attain exquisite consistency. Its uniformity is like a symphony, with each molecule precisely aligned. Look at its smooth, flexible surface, ready to surrender to the careful hands of a trained artist. No lumpiness or irregularity dares to damage its perfect exterior. It's the Michelangelo of clay, ready to be carved into a masterpiece that would impress even the kiln. This isn't simply clay; it's the pinnacle of ceramic possibility, the pinnacle of malleability. Submit to the clay perfection embodied!

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Implementing techniques learnt in the previous class 

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Implementing techniques learnt in the previous class 

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Ensuring a consistent thickness in the pot while preventing the clay from drying out posed a considerable challenge. I observed that the more I worked with the clay, the quicker it lost moisture, leading to surface cracks. Additionally, merging the coils proved tricky as I aimed to avoid any gaps. At times, my efforts to join the coils resulted in pinching too hard, causing the structure to collapse or become flattened.

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I made this soap dish just for fun but working with the clay and moulding it became much easier this time around.

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Rolling clay involves pressing a lump onto a smooth surface and using a rolling pin to flatten it into a thin, even sheet. Two planks of wood are often employed to maintain uniform thickness, ensuring consistency in slabs for pottery and providing a versatile base for hand-building methods like coil or slab construction.

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we rolled out cones in the shape of carrots in order to fit them into the holes we created on the rainstick. These cones help slow down the speed at which the balls fall to the other side when turned. I initally found it difficult to roll these out until I realised that it was much easier to get the desired shape when you roll the cone against the table rather than between your hands. Some of them which i rolled with both my hands were crooked while the others looked great.

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We began by wedging the clay to remove the air bubbles and achieve a consistent texture across the material. However, for the pellets, you do not need to wedge the clay since the pellets themselves are very small. Following wedging, we played some music and made tiny pellets to put into our shakers and left them out to dry. The rhythmic process of crafting clay pellets is surprisingly soothing. The tactile engagement, paired with the repetitive motion of shaping each tiny sphere, creates a calming experience, making it a meditative and therapeutic aspect of pottery.

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I made one pinched pot by inserting my thumb into a ball of clay and navigating my fingers around its edges to achieve an even thickness across the pot. While working the circumfrence into a hollow semi-circle was easy, getting a round base proved to be quite challenging. I then scored and slipped the edge to join the other pot that I made using the same method.

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Once the pellets had soaked in the sun for some time and had lost some of their moisture, I brought the bowl back in and transferred all the pellets into on of the pinched pots.

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the two "semi-spheres" ended up looking like two bowls instead of spheres but that's okay. I tried my best to round out the bottom after this was clicked. I joined the two pieces together, blended the cracks together, and rolled it around on the table to make it look as shaker or egg-like as possible.

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Piercing for Sound: Make small holes in the sealed area to let sound escape when disturbed. The size and placement of these holes affect the tone.

Decorate with personal touches such as carving, stamping, or texturing on the surface. Ensure that any additional items do not conflict with the shaker's operation.

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I rolled out a slab of clay which i joined like a cylinder using the rolling pin as a guide.

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We've only just begun

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A pellet bell, classified as an idiophone within the realm of pottery instruments, generates sound predominantly through the impact between a clay pellet and the inner surfaces of the bell. The crafting process involves wedging the clay and subsequently shaping it into a spherical form to fashion the pellet.

Employing an additional portion of kneaded clay, shape a pinched vessel with a broad body. Ensure adequate space is reserved to accommodate the pellet, allowing room for its movement.

Utilize your index finger and thumb to apply pressure to both the interior and exterior surfaces of the vessel, thinning the walls of the pot.

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i chose to make a pinches pot and narrow the edges to make sure the pellet did not escape when shaken. it was challenging to achieve uniform thickness around the bell but was much easier than last time.

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In order to make it easier to ring without drilling a hole or making a holder, I made indents with my fingers that enabled me to hold the pellet bell.

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my signature symbol for this course was an "s" inside a "u".

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I tried making another pellet bell. This time the thickness was almost completely even and the pellet fit into the bell seamlessly. I tried another design this time where the end of the bell was easier to grab onto by the edges.

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cleaning up after class I thought initially would not be fun but we actually had a great time always. we picked up sponges as soon as we were done and gently wash them in the tub and run them under some water while listening to our "pottery playlist"

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Group Picture!! (except Kaveri is clicking the picture) 

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Group Picture!! (except Kaveri is clicking the picture) 

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Idiophones (for eg. bells) produce sound by striking, shaking, or scraping solid materials, resulting in vibration without membranes or strings.

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They produce sound by vibrating stretched membranes (Drums).

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The term "chordophones" is commonly employed to categorize musical instruments characterized by the production of sound through vibrating strings, which can be activated by plucking with a plectrum, bowing with a bow, or played manually.

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In the realm of musical instruments, a subset belongs to the category where the initial sound is generated by a vibrating mass of air. This class encompasses various types, including woodwind, brass, and free-reed instruments. Additionally, there are instruments that defy classification into these groups, such as the bull-roarer and the siren.

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An electrophone is defined as any instrument that generates sound solely through electric means. However, it's important to note that the term was initially not used for instruments where electricity merely amplifies a sound produced by traditional methods. For instance, the electric guitar, despite utilizing electricity for amplification, is classified as a chordophone, not an electrophone.

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We used the hole maker to make holes in the cylinder and inserted the cones into the holes. I used the sponge to blend out the area where the cone merged with the cylinder. The indentations did not completely disappear but I did my best hehe

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Clay, originating from disintegrated rocks, particularly igneous ones, used to take millennia to form, but contemporary processes have reduced this duration to decades. China clay, or kaolin, represents the purest form of clay, with its chemical composition denoted as Al2O3 . 2SiO2 . 2H2O. Differentiating between clay, mud, and sand, clay particles slide over each other and lock in place, rendering it less malleable and plastic. Primary clay, exemplified by ball clays, is moved or washed down by ancient rivers, containing small particles, plasticity, and other minerals. Plastic clay, while more user-friendly, absorbs more water and exhibits higher shrinkage when drying. Refractory clays, or fire clays, moved by wind, are found in desert areas and are not plastic, serving to prevent shrinkage. Mixing different clay types is common. Surface clays, such as terracotta clay, are abundant and require no mining. Anything made with or fired with clay falls under the category of ceramics. The porosity of the product determines whether it is classified as earthenware, stoneware, or porcelain.

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The most basic way of shaping clay is by hand. Pinching a pot involves compressing the walls for added strength. Coil building compresses the bottom while building on top, and slab building immediately shaping results in soft forms, while letting it dry creates cardboard-like corners. The pottery wheel, often romanticized, is used for throwing pots, where any mark or indent goes all the way around, creating symmetrical pieces. Dry clay is slaked in water, sieved to remove stones, and then wedged for workability and to eliminate air bubbles.

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Throwing involves centering the clay and then opening it using thumb and forefingers. Learning to center something may take weeks of practice.

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Pottery Town_ Where Clay And Charm Meet Artisanship And Old Bangalore _ LBB

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Unfired clay is malleable like melting butter, but fired clay is rigid like ghee. Fired clay is not biodegradable but is eco-friendly. While fired products can be reused, the clay cannot be recycled. Bisque firing is a non-glazed process, and if glazing is desired, a second firing is necessary. Products need to cool before opening the kiln to prevent thermal shock. Glaze firing requires careful loading to prevent melting. Raku firing, a Japanese technique, involves removing glazed pots while the glazes are still hot and molten. Lead testing is crucial, especially for food-safe items.

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Kilns use oil or electricity as an energy medium, and burning fuel requires a chimney. Reduction firing is only possible in gas or oil kilns. Different types of drafts exist in kilns, and the choice of wood in kilns, like casuarina wood, affects the surface of the ware due to wood ash effects.

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Surface decorations include smoke firing, glazing with slip, wood kiln firing, and corrosive salt and soda firing.

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Consideration of the environmental impact includes evaluating each potter's carbon footprint, given that most energy is coal-based. LPG gas is a finite resource, and collective carbon footprints in pottery may be less than a single takeoff by an Airbus A330.

The article attached above explores the environmental sustainability of pottery, particularly focusing on the environmental impact of glazing and ceramic firing. Using life cycle assessment (LCA), the study analyzes the manufacturing phase, emphasizing the high energy consumption and carbon dioxide emissions in the process. It suggests integrating eco-design principles from the electronics industry into pottery arts, advocating for the use of recycled materials and sustainable practices. It presents two pottery designs comparing their environmental impact through LCA. The conclusion emphasizes the importance of considering the environmental impact in pottery creation for a more eco-friendly approach.

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Noteworthy figures in the field of pottery and ceramics include Alan Caiger Smith, known for lustre firing; Susan Peterson, a ceramics educator; Jim Danish, recognized for porcelain fired with lustre highlights; Jane Perryman, specializing in low-temperature earthenware; Mike Dodd, known for ash-glazed stoneware; and Jeff Shapiro, an expert in unglazed Anagama pottery and culture.

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The classification of musical instruments is explored, starting with idiophones, which exhibit surface resonance, and progressing to aerophones, which rely on air resonance. The discussion questions the classification system and explores the subjective nature of perceiving sound and music, emphasizing the role of the audience in this distinction.

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To begin with, I made a pinched pot. This time was much easier since the clay was softer than usual and I used the slip to cover all the cracks in it, Despite that, the bell was a little uneven in a few places, especially the bottom, so I used a paddle to round it out.

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I chose to engrave eyes on the bell and make a tongue-shaped clapper, to represent a symbolic human face. Everyone else made these really pretty bells, one of them was shaped like a squash flower. And my bell looked pretty morbid compared to theirs but such is art I guess

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I sealed one section of the cylinder and added the pellets through the other side. A lot of them stuck to the cone which was quite scary after spending so much time working on it but trust time i guess!! Fingers Crossed!!!!!!

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a video of me engraving the eyes onto the bell

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a video of me engraving the eyes onto the bell

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1. Particular communities/tribes who are linked to/known for particular musical instruments. Either their making, or their playing.

2. Inequalities and connections between instrument players and instrument makers.

3. Similarities and contrasts between the Ghatam of Southern India and the Udu Drum of Nigeria.

4. Ancient idiophones and their modern counterparts.

5. Ritualistic uses of drums, bells, and rattles, across cultures.

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Major Takeaways from group presentations 

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Major Takeaways from group presentations 

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In essence, the presentations not only addressed the intricacies of the technical facets associated with musical instruments but also extensively explored the socio-cultural frameworks, underscoring the integral correlation between materials, artisanal expertise, musical expression, and communal identity. The utilization of clay as a primary medium for instrument craftsmanship prominently surfaced as a focal point, signifying a profound intersection of cultural and social narratives deeply ingrained in the tapestry of musical traditions within an academic context.

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Interactions Between Clay and Instruments:

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Interactions Between Clay and Instruments:

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The analysis of the Ghatam from Southern India and the Udu Drum from Nigeria emphasized the intricate engagement between clay as a material and the construction of musical instruments. Examining the Ghatam, a traditional South Indian clay pot drum, and the Udu Drum, a ceramic percussion instrument from Nigeria, illustrated the meticulous manipulation of clay to achieve distinct musical tones. The artistry involved in crafting these instruments played a pivotal role in shaping their unique cultural and sonic attributes.