Ceramic knowledge among the Bayot-Jola of Guinea-Bissau: Documenting the usages and meanings of a disappearing tradition

PI: Bruno Pastre Máximo | Collaborators: Angelo Marcelo Vasco,
Marília Oliveira Calazans, Leonardo Cardoso, Mauricio de Paiva, and Eusebio Coli
Project ID: 2023SG04 | Location of Research: Elia, Guinea-Bissau | Host Institution: Bem-Te-Vi NGO

This project documents knowledge and practices related to pottery production by the Bayot-Jola from Guinea-Bissau. According to archaeological studies, the region has a ceramist tradition going back at least 2000 years, deeply embedded in every aspect of Jola way of life, whose stages of production incorporate many elements of traditional knowledge. From the practical and symbolic uses of ceramic objects themselves to the material aspects of human and non-human relations such as the search for raw components, the technical choices involved in each step of production, the ceremonial usages of ceramic and even the management and disposal of each artefact.

This knowledge is essentially connected to the feminine universe as it is elder women who pass it down to the younger generations, a process associated with the collective construction of identity. However, local social dynamics of pottery production have been profoundly influenced by external agents. Presently, pottery production is confined to a single Bayot village and happens on an inconsistent basis, only when commissioned. The task is performed solely by elderly women who have not passed down the knowledge to younger females.

Once ubiquitous, ceramics went from being found in every Jola village to being replaced by plastic receptacles. Its ceremonial usage has also diminished as more and more villagers convert to Evangelical Christianity and Islam. The project team aimed to assemble a record—audiovisual materials, fieldnotes, maps, reference collections and exhibition—that will allow current knowledge to be registered for the community and future researchers.

Methodology

The project was carried out in Guinea-Bissau, with its main activities concentrated in Elia village and complemented by outreach efforts in the capital city, Bissau. Elia was chosen because of its historical connection to pottery-making traditions. The fieldwork in Elia allowed the team to immerse themselves in the daily life of the community and document the entire process of ceramic production in its authentic context. Bissau, on the other hand, served as a hub for institutional collaboration and public engagement, particularly through our partnership with the National Institute for Studies and Research (INEP), which played a key role in disseminating the results and strengthening local academic networks.

During the initial meeting, the community expressed two priorities: support for the local kindergarten and the installation of a new water pump. These requests were not only reasonable but aligned with the project’s commitment to reciprocity and ethical engagement. By donating school supplies and funding the pump, the team ensured that the project left a tangible and positive impact on the community.

The methodology adopted was rigorous and culturally sensitive. Preparations began months before the fieldwork, with several team meetings dedicated to planning logistics, acquiring equipment, and defining the research strategy. Once in Elia, the team held a formal meeting with the entire community to explain the project’s objectives and secure consent. This transparency was essential for building trust and ensuring active participation. The documentation process combined ethnographic observation with audiovisual recording. The team followed the work of the four most skilled potters, as identified by the villagers themselves, and also organized a collective pottery-making session with other artisans. This approach allowed us to capture both individual expertise and communal practices. In addition to filming and photographing the production stages, the team documented the collection of raw materials such as clay, oyster shells, tambacumba fruit (used for glazing), and firewood. Interviews were conducted to explore the ritual and symbolic uses of ceramics, adding depth to the technical documentation. By the end of the fieldwork, thousands of photographs and hundreds of videos had been produced, creating a rich and detailed archive.

Selected Assets

The following provide an overview of Bayot-Jola ceramic making processes and supplementary documentation.

Acknowledgements from the Project Team

We express our deepest and most sincere gratitude to all the inhabitants of the villages of Elia, with special appreciation to our direct collaborators, Alqueia, and to the members of the organization Filhos de Elia. This project would not have been possible without the generosity, openness, and trust of the community.

We extend our heartfelt thanks to all the women whose knowledge, work, and willingness to share made this project a reality. We are profoundly grateful to: Fatu Sanha, Inabure Sambu, Taranki Sambu, Andjangurmba Sanha, Aberisó Manga, Andigairen Sanha, Rosita Biai, Aidona Sambu, Aimbaratu Sambu, Aisoda Cunha, Alqueia Sanha, Amerissum Djene, Anadama Coli, Anaenhé Sanha, Anhangrumba Manga, Areborio Sanha, Covruré Djandi, Djanque Manga, Eriga Manga, Lelé Sambu, Safin Manga, Tchombi Sanha, and Tulai Manga.

A very special acknowledgment is owed to Fatuh Sanha, who conceived this project by calling upon the team to preserve and document the knowledge and practices of ceramic production. Her vision, leadership, and commitment were foundational to everything that followed.

We would also like to express our sincere thanks to our research partners, Euclides André Correa and Eusébio Poldji Coli. Without your dedication, collaboration, and support, this project could not have been carried out.

Finally, we extend our gratitude to the INEP, in the name of its director at the time, Zeca Jandi; to the Ethnographic Museum of Bissau, in the name of Albano Mendes and Albino; and to the Directorate General of Culture of Guinea-Bissau, in the name of Cynthia Évora Cassamà. Their institutional support was essential to the realization of this work.