Summary Of Maria Martinez's Pottery

Maria Martinez’s Pottery Maria Martinez and her son Popoui Da begin their traditional process by seeking supplies out in New Mexico’s wilderness. They appear to find their customary clay and sand sources near their home in the Pueblo San Idefonso in Black Mesa country, as demonstrated by this particular batch. In the desert, Maria scatters sacred coins along the ground as an offering to the Great Spirit. Clay is gathered, and blue sand is gathered to act as a binder from another location in the desert. Before packing up their desired sand, they sieve the sand to separate the sand from any other material. Then, Maria mixes equal parts blue sand and red clay, and water is slowly added. Water must be expertly controlled, as to avoid crumbling or nonbinding clay. She works the clay until it is pliable, and she kneads, divides, and presses the clay until the air is worked out. The now smooth clay is left for a day, during which it is occasionally kneaded. Vessel formation begins as Maria flattens a ball of clay. She places the flattened clay onto the puki, supporting base,

They do not just go out and take resources from nature without reason or necessity; instead, they go and ask the Great Spirit for permission to take what they need, and they only take what they sensibly need at a given time. They are working in harmony with nature. They take care of their resources because of how they asked to be given it by nature. They do their best to honor the gifts nature constantly blesses them with.
In dry locations, far more of the pottery process would survive than in wet/dry climates. In dry climates, lots of sherds could be preserved, even pieces that could be identified as puki. Gourds and stone tools might leave evidence, and traces from burning the types of dung might remain. In climates with wetness, it is hard to assume much more than sherds would leave enough of a trace to