Some of the personal attributes which can be developed through clay include becoming more respectful and tolerant of other cultures as well as becoming more self-aware (Sessions, 1999; McGrath, 2001).
Respect and tolerance for other cultures. A significant attribute a student can acquire from working with clay is tolerance or respect for other cultures (Sessions, 1999). As ceramic pieces have been created for centuries by people all over the world, examining the history of ceramic work produced by other cultures can not only expand students present knowledge of ceramics, but it can also aid them in becoming more open and accepting of different people (Peterson & Peterson, 2009). As Bastos (2006) explains, learning about other cultures, such as about the ancient Japanese and their Jomon coil pots, can help to clear up misconceptions students may have about other cultures.
Self-awareness. Clay is an excellent coach for helping students to develop the attribute of self-awareness. Davis (1988) notes how clay can provide students with much needed “inner guidance” (p. 42). When making a work in clay, students do so much more than engaging in the creative process. Provided that the teacher avoids simply dictating directions by leaving room for students to make their own choices, working with clay can be a great vehicle for instilling a sense of personal agency, which, in turn, can strengthen students’ self-confidence (Davis, 1988). McGrath (2001) also notes how students can grow in self-awareness when they create a personally meaningful piece and reflect on their work. Perhaps Richards said it best when she wrote, “To find one’s way with clay is to integrate one’s inner search with one’s outer practice…. It is the pots we are forming, yes. And it is ourselves as well” (Richards, as cited in Berensohn, 1972, pp. 11-12). A student’s clay work can, thus, be seen as an extension of him or herself. Lidstone (1988) expands on Richards’ metaphor by stating, “The endless shape possibilities of real clay suggest to children the infinite shape possibilities of their own bodies…” (p. 23). In other words, the possibilities for students are only as limited as they determine them, with the realization of their place in the world or their knowledge of working in clay, being an integral component impacting their self-realization. Working with clay, according to Hluch (2001), can result in “awakened human consciousness” (p. 39). From this state of personal awareness, students can grow in metacognition and be inspired to continuously seek new levels of truth through the process of questioning themselves and the world around them.
References
Bastos, F. M. C. (2006). Border-crossing dialogues: Engaging art education students in cultural research. Art Education, 59(4), 20-24.
Berensohn, P. (1972) Finding one’s way with clay. Simon and Schuster.
Davis, S. (1988). Listening to the clay. In G. Williams (Ed.), A case for clay in secondary art
education (pp. 42-43). Studio Potter. https://studiopotter.org/sites/default/files/Case-for-Clay_SP_1988v16n02.pdf
Hluch, K. A. (2001). The art of contemporary American pottery. Krause Publications.
Lidstone, J. (1988). When clay is play and play is art. In G. Williams (Ed.), A case for clay in
secondary art education (p. 23). Studio Potter. https://studiopotter.org/sites/default/files/Case-for-Clay_SP_1988v16n02.pdf
McGrath, V. (2001). Ceramics at the Academy of Arts: School of Visual and Performing Arts University of Tasmania, Launceston, Tasmania. Ceramics Technical, (13), 101-102.
Peterson, S. & Peterson, J. (2009). Working with clay (3rd ed.). Pearson Education.
Sessions, B. (1999). Ceramics curriculum: What has it been? What could it be? Art Education, 52(5), 6-11. http://doi.org/10.2307/3193810