Traditional Clay Craft of Larkana Community: transformation, Challenges and

opportunities.

Mehar Ali
Abstract

Over the last two decades, clay tradition has remained one of the highest paying and
sustainable industries in Sindh Pakistan. the people related to this industry were very rich, their
contribution is seen in multiple places of Sindh as well as Pakistan but nowadays this industry is
facing some challenges. Focus of this article is to investigate the transformation, challenges and
opportunities to this traditional clay craft of the Sindh. for this article Larkana is case study,
which is the hub of this tradition. Transformations are occurring for the tourism activities. [1]
there are some indigenous tribes who are associated with this specific tradition, there are two
types of the artisans in this region first type are those who are making houses from clay and this
tradition was common two decades ago here but now almost vanished. There can be multiple
reasons but major reason behind this can be the transformation in living style from countryside
to urbanism township and mud brick shelters to the burnt or fired brick shelters, clay is the
basic material for making cultural products in this region for centuries (Khoso, Wagan et al.
2014). This is a brief analysis of the topic traditional clay craft Larkana community:
transformation, Challenges and opportunities.

Introduction

the clay tradition has remained when was significantly spending and art through centuries
within the South Asian countries. The out of clay, ceramics, and pottery has the pertinent
insignificance within the countries from South Asia, more specifically the Larkana region of
Pakistan is very well known to the world across handicrafts and stunning handicrafts and the
collection of ancient genres across the country. The art of clay, ceramics has great ground roots
within the civilization of Sindh, the greatest in the oldest civilization was mainly depends on the
number of items made of clay (Misra 2001) apart from that, there are many sorts of things and
pots were decorated with the Kashi Karry. Larkana community of the province which is still
known to the country for its work on clay, and a good significance upon their work is very well
known to the world. The work on clay is not only available in a single shape or shade but it has
been divided into many sorts of things a most prominent among them is the work on pots and
pottery. Many workers work in this field but most prominent among them is the tribe which is
known as Kumbhar (ethnic group/caste) people of other castes, such as Channa, Mallah, Abro,
etc are associated with this work but it is not their inheritance as like Kumbhars’ have.
Kumbhars are continuing the work where their ancestors have left. The clay work is a
systematic process in which many sequencer steps are included such as at the very first
instance the mud or clay is extracted from harsh grounds then it is further being mold and
scolded with hands and later in the period that will preserve mud or clay is then taken to the
machine is known as a pedal machine and then there's a final touch of coloring which they call
it Kashi Karri (Sethi, Shen et al. 2020) Nevertheless, not only males but females and entire
families are very well attached towards doing clay work. the people attached to this profession
across the province are very much concerned with the changing circumstances of their work.
they perceive that almost a decade ago there were several markets as well as stalls available in
prominent markets of Sindh where their work was presented in sold out but right now
according to the facts and figures there is no specific market our special installs are installed
either by the government are by the private sector to promote this vanishing tradition. This
article discusses the transformation, challenges and opportunities to this traditional clay craft
by using literature from the books, journals, article, reports, newspapers, documentaries on this
specific Larkana community.

Figure 1 an artist from Larkana during his activity. Mehar Ali 2019. ©.

1
This region (Larkana) is famous for Mohen Jo Daro and it is the tourist place of the region, both
national and international tourists come here to visit it, and they buy local cultural products from
stalls around it.
 General focus on Larkana region.

Larkana is a district located in northwestern Sindh southern Pakistan. and its total area is
around one thousand nine hundred- and six-kilometer square. The old name of this city was
Chandka, its population is 490,508 according to the census of Pakistan 2017 (Oad, Dong et al.
2020) this region is famous for its rich agriculture there are huge rice crops and guava
orchards. Green and fertile field around Larkana are producing several crop productions. The
region can be divided into two main parts, one the city region and the great section of this
region is based on small towns, villages, small markets and stalls are available in almost each
town and village of the region where cultural products and the artistic objects are sale by the
local artists and dealers. the famous food of this region is fish and rice in breakfast in dinner the
most famous and traditional food is the rice bread with Saag and Palli. The most famous place is
Mohen Jo Daro a great city of the Indus valley civilization, continuity in the cultural products
and rural practices can be seen here from when Indus Valley Civilization was on its peak. Rural
sides and local villages of Larkana where cultural products are produces in huge quantity, but it
seems generally that the producers of these products of this specific clay craft tradition of
Larkana region had remained in lot of difficulties and problems. It is a general observation. As
we wrote above that this region is agriculturally rich therefore economically, large portion of
population depend on agriculture as a source of livelihood and also some section of the
population is dependent on the handicrafts.

Transformation, challenges and opportunities.

the clay tradition has provision background in the history of
this region where most of the trade of this region was done
upon these products. Furthermore, this tradition has been
providing a number, of employments to a very vast population
of this region. People around the world were used to visit this
region of Sindh, Pakistan to know the art of doing clay work.
Figure 2 painting shown the cultural apart from that, there are various parts now this province
practice of rural Sindh. (Pinterest)
where negligible work is done with the greatest ever
enthusiasm as well as significance (Mughal 1992) while having a discussion with the people who
are directly or indirectly related to the clay work are now considering to change their profession
according to them there are multiple reasons for this transformation in their profession at first
1
This region (Larkana) is famous for Mohen Jo Daro and it is the tourist place of the region, both
national and international tourists come here to visit it, and they buy local cultural products from
stalls around it.
they perceive this profession is dead there is no market demand for their work second they said
they are receiving very minimal amounts for their work which is not even with the accordance
to the wage rate declared by the government of the country thirdly their perception is that
their work is no more like by the customers, therefore, they are majorly shifting towards
making showpieces and toys to attract a very vast area of customers. Nowadays there are only
a few clay dunes are existent in the Sindh province because they perceive that the raw material
for the clay work is consider to paying a huge amount therefore, they are shifting towards other
professions.

In many regions of Pakistan cultural products are being prepared at industrial level with the
help of modern technology, the famous industries of this traditional clay craft are in Multan
Punjab province and in Hala Bhitt Shah Sindh province, where sophisticated and typical
products are manufacturing. In Sindh two distinct clay traditions can bee seen, one is date back
to the Indus valley civilization and second was started when Muslim period began in Sindh in
712 A. D, most of the Indus valley traditions replaced and transformed by the Muslim traditions,
local artisans adopted the new techniques and designs, the centers of the Muslim character
traditions were the Multan, (now part of Punjab region) historically Multan was an integrated
part of Sindh, Banbhore, Sindh (ancient harbor and city conquered by Muslim general
Muhammad Bin Qasim) Al-Mansura. (Arab founded city now ruined) Muslim traditions became
localized under their rule at different periods in the province, but the influence of Muslim
traditions in the Larkana region are less than as in mentioned regions. Research studies
undertaken over the twenty years showing the continuity in of clay craft traditions in the Sindh
province, such as the working method, decorative designs tools and materials have not changed
at a great extent. However, the transformation in many of practicing artisans from the ethnic
families Kumbhar and Kashigar (kashikari/Kashigari associated with the craft of glazed
decoration on terracotta/ clay pottery) families and changes in this craft was observed. (Salim
2016) this article focuses on the understanding impact of those interventions which are
responsible for the transformation in this craft. More specifically Larkana community which is
associated with this traditional craft economically depend on the making pottery, clay
ornaments, toys, entertainment objects showpieces, such as the replicas of objects from the
Mohen Jo Daro, such as king priest, Dancing, girl, figurines. All these objects are locally available
on the markets around Larkana, as well throughout the country. It is pertinent to mention here
that many peoples in the province are still preferencing to drink water from jars made up of
clay end still a vast number of items made up of clay are we used in household for kitchen and
cooking purposes (Vincentelli 2000). More specifically, here is interesting thing, that in a village
of Larkana naming Bhalerji ine the south of Larkana city near to the Mohen jo Daro, a group of
artists is working on the producing more attractive products from clay, recently they have
depicted the scenes of Sindhi cultural practices on the walls of Mohen Jo Daro museum. This
1
This region (Larkana) is famous for Mohen Jo Daro and it is the tourist place of the region, both
national and international tourists come here to visit it, and they buy local cultural products from
stalls around it.
group of artists is associated with the work of making local cultural material from a decade and
they supply it to supermarkets of the country, even they have not any professional degree in
this respect but they are doing very good and sophisticated work, At the time this group is
facing problems due to the absence of financial support by the government, (personal
communication with Mr. Aizaz Ali Peerzado a social activist 2021) Mr. further added that the
local government is responsible for the promoting this art. Handicrafts, specifically traditional
clay craft was once a major source of livelihood for the locals of Sindh. (Khan 2011)

A small stall of terracotta cultural objects in a rural area of Sindh.

Figure 3 Village in Tando Allah Yar Sindh. Emmanuel Guddo. 2020.

Transformation, in other words we can say it as the cultural development of modern domestic
artistic practices. Some decades ago, there were simple technologies in this respect. The clay,
water, wheel Chakra/ Chak, kilns and fuel for kiln are the basic tools, other tools and equipment
are also used for manufacturing products of this special kind, decorative activity is another step.

Artisans are of two types those who are experts in the making pottery, traditional Kumbhar,
and other are the locals who are experts in manufacturing small, human figurines, male female,
birds, animals, ornaments, musical instruments, and other interesting objects, it has been
mentioned above the group of artisans, which is consists on local people, another artist girl
naming Samreen Solangi from the rural area of Larkana near to the Mohen Jo Daro, her house’s
economy is based on the things which she manufacture from the clay, her art is not only
available on local markets, but her things have been exhibited in Karachi a metropolitan city of
Pakistan, she said in a interview that she was first went to the Karachi on a event where her
objects were exhibited, she expressed that “I was thinking that, there is a something inside me

1
This region (Larkana) is famous for Mohen Jo Daro and it is the tourist place of the region, both
national and international tourists come here to visit it, and they buy local cultural products from
stalls around it.
through which I visited a largest city of the country” when she was asked that what is it she
replied that “my art”. But unfortunately, after the COVID-19 reached her economy is affected.

Artist Samreen Solangi preparing objects for baking.

Figure 4. shoot from video documentary on her. Indus Artisan Market.

1
This region (Larkana) is famous for Mohen Jo Daro and it is the tourist place of the region, both
national and international tourists come here to visit it, and they buy local cultural products from
stalls around it.
There are multiple efforts were taken to revive this clear tradition but not all of them went
fruitful and effective enough due to multiple reasons and causes and prominent among them is
the lack of technical knowledge and the expertise of the researchers. Moreover, from recent
history we can find that there are multiple funds are granted from the governance system for
the continuity of this clay tradition but sadly none of them reaches for the bottom. by the
words of people who are directly or indirectly involved in the clay, tradition is saying that no
funds are utilized for the development of the tradition. mostly people from the villages and
rural areas were responsible for the continuity of this tradition but later most of the Kumbhars
are right now deciding to leave for the cities to earn a better income end sustain their
livelihood. Furthermore, there are multiple stories can be heard from different craftsman about
the success and achievements that they have got from the art. The elder artisans I still recall
that the profession was one of the greatest ever and it has ruled over the hearts of rulers and
households for their handicraft only products made up of clay. These people believe that there
were the days then products made above clay and earthen very familiar within the household
and for commercial purposes as well. many craftsmen heavily strategically specified that the
survival for this industry cannot be done without a complete understanding have the problem
as well as without a comprehensive and concrete plan. although people are so consolidating for
continuing this tradition as they believe this is what they've got from their generations, so they
don't want to leave it at any cost. one of the cases from Hala Bhit Shah was that given the
youngsters are the younger generation what's so passionate about continuing the legacy of
their generations they consider that they've learned this ancient art for preserving it for the
coming generations is they believe that their forefathers had participated in clay tradition, so
they're supposed to continue it without any intervention. but the inadequate policymaking far
continuing this tradition has shaken the bases of what they call is their livelihood od. apart
from that lack of government support is further aggrandizing the preservation of clay tradition.
There are multiple families associated with this sort of industry and despite being so much
talented and producing elegant works these families stay is still poor and backward lack of
education is one of the prominent causes are their backwardness and addition to it inadequate
knowledge of marketing their goods is further adding fuel to the fire. one of the elderly workers
whose name is supposed to be called anonymous has comprehensively said that the
middlemen are purchasing their goods at half the market rate which is cutting their entire
revenue stream secondly the marginal profit from the pottery then father divided to enter the
Bing thesis and charges to the market owners. People related to this industry are supposed to
get loans at a very high returning rate even if they are getting a possible buyer who can give
them up good chances of earning marginal revenues but certain agreements have been written
between the middleman and the producer which bound the producers the sale but this perfect
middleman which comprehensively cut the revenue rates as well as selling their goods to the
1
This region (Larkana) is famous for Mohen Jo Daro and it is the tourist place of the region, both
national and international tourists come here to visit it, and they buy local cultural products from
stalls around it.
possible low rate (Junejo, Chand et al. 2008). There are many producers who said that there are
certain chances to earn a great chunk of revenue if they are offered good machinery as well as
subsidy on electric supply which ultimately will boost the inventory circulation process.

Technical recommendation and comprehensive set of suggestions

A lot of things need to be done for the revival of this tradition, and there is no great significant
contribution is yet to be seen for the revival of this sweeping tradition. following at some of the
methods that can be contributing far reawakening of clay tradition when the most prominent
among them is the at first the government needs to market the products made up of clay
nationally, regionally, internationally. secondly, the government should provide a feasible
market for the people responsible for achieving this tradition, and sadly no government has
taken such steps to make it count and make it readable for the world and the rich history and
grab after clay work. Thirdly, simple and complaints of loans needs to be provided to the
workers and the people related to the work directly or indirectly that loaning facility must be
comprised of simple informative installments, and it has to be made for financial assistance and
for the sole purpose of reviving this dead tradition. A separate political will needs to be
constructed for the good revival of this tradition as there are many people concerned with this
tradition hence financial, political, moral, and ethical can prove to be boosting for this tradition.
Moreover, a separate political department has to govern all the tasks related to clay and
products made up of clay out well preserved and sold to the market at the greatest market
rate. In addition to it, this comprehensive research needs to be initiated on this tradition to find
out the best possible solutions for the revival of this tradition. it is an exception that
government must fix financial assistance and political assistance for the people who are
concerned with this clay tradition this ultimately will increase the motivation and will of the
people and they will find it feasible to continue the reminders of their forefathers. last but not
least general public has to find the nearest store market and purchase clay products which can
be fruitful for the revival and continuity of this almost dead tradition.

Conclusion

from this comprehensive research, we found that centuries back utensils and products used in
homes and houses either for personal consumption or for serving the guest were made up of
clay. Sindh has the greatest history of keeping this profession alive still in many places of Sindh
1
This region (Larkana) is famous for Mohen Jo Daro and it is the tourist place of the region, both
national and international tourists come here to visit it, and they buy local cultural products from
stalls around it.
province especially in Larkana, clay tradition is still alive and breathing, there are numerous
things that need to be done to keep this extinction professional alive such as financing,
learning, research and development, specific market installations, the government will, political
assistance and civil bureaucratic benevolence can keep this tradition alive. The earthen or the
goods made up of clay are part of our collective culture this sort of heritage must have and
needs to be preserved and protected from all sorts of dangers because if this heritage our
tradition has vanished then it will be hardening the livelihood of many people electively
resembling it. There's a gracious need that the dunes of clay have to be declared as safe just
only for this particular industry because of the hard clay with a used for making pots and
pottery is used for other commercial purposes such as making cement then this industry will
never stay long. in the last it has to be said that this alone industry is providing job to the
hundreds of thousand people from different spheres of life.

1
This region (Larkana) is famous for Mohen Jo Daro and it is the tourist place of the region, both
national and international tourists come here to visit it, and they buy local cultural products from
stalls around it.
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Vincentelli, M. (2000). Women and ceramics: Gendered vessels, Manchester University Press.

1
This region (Larkana) is famous for Mohen Jo Daro and it is the tourist place of the region, both
national and international tourists come here to visit it, and they buy local cultural products from
stalls around it.