Page 172 - Changing Living Spaces

Laitpharlang Cajee and Monica Mawlong

religious rituals (MtI, ODC-H, Larnai Clay Pottery). The craft of pottery
in Larnai is very rudimentary and crude. Without the use of spinning
wheels, the traditional technique of pottery making is a craft that uses
only the hands. These women are neither wealthy nor economically pros-
perous, but they are self-sufficient and willing to help each other in times
of need. The women artisans of Larnai do not intentionally and purpose-
fully want to adopt the modern spinning wheel or modern tools and tech-
niques and technological advances. They know that while the introduc-
tion of modern tools and techniques would increase their income and
make it easier for them to make the pots, they would not reap the de-
sired quality. They firmly believe that they can reconnect with the people
of the past by maintaining the skills passed down from their grandpar-
ents. In this way, they can preserve and maintain the cultures and tradi-
tions for future generations. By practicing the skills they received from
their grandparents, they can learn from their imperfections and adversi-
ties and strive to become better. They believe that by working with their
bare hands, they leave impressions on their hearts (Zizira 2019).
Considering the sustainability aspect of Larnai pottery, where much
smaller pieces are developed by women artisans, it is easy to aim for a
better market value that can benefit women through this traditional pot-
tery making. An artisan from the village remarked, ‘This craft is a part of
us; we try to preserve the skills by introducing new designs and artefacts
that a tourist can take as a souvenir and that helps us preserve the indig-
enous skills we are already equipped with.’
The artisans of Larnai inherited the technique from their ancestors,
who believed it was gifted by God. In the past, the artisans of Larnai
made pots to cook various things, but now they only make pots to cook
‘pu-tha-ro’ (rice snacks). Recently, however, there has been a great demand
for these clay products, not as cooking vessels, but as souvenirs, as they
have a touch of antiquity.

Method of Production

Firstly, black clay locally known as ‘khyndew iong,’ and grey clay known
as ‘khyndew khluit’ were collected from Sung Valley in West Jaintia
hills,which is also known as the rice bowl of the Jaintia hills. Another
special ingredient is also collected there from a depth of about six feet,
the green stone called serpentine stone, which is tempered on cows’ hide
with fine granitic sand grains that have a greenish tint until it becomes
like a smooth mould. Then the clay is mixed with the blue-green colour of

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