Samuel Nortey, Robert Amoanyi & Emmanuel Eyram Donkor (2023)
Within the Ghanaian clay and artistic discourse, traditional practice and formal academia training have been windows for producing ceramic works. However, despite their contributions to the cultural heritage of Ghana and beyond, they seem to be on a parallel practice, with limited synergies and inclusiveness. This study, therefore, looks at what the two seemingly disparate extremes, albeit bound by a common material, “clay”, can learn from each other. To what means would the notion of collaborations become a strong tool for strengthening the traditional and contemporary practice and getting younger practitioners to take over from the ones that are ageing? The study discussed the possibilities of traditional pottery practices and academia collaborations and the effect on expanding the clay material and artistic productions. In sum, and their exchange of knowledge with students foster creativity and a healthy relationship between academia and traditional practice. Artistic and curatorial practices can thrive better by identifying and developing such synergies. Both students and women potters moved from knowing to understanding clay practices.