EARTH FIRE WATER AIR – an offering of 51 shagirds of clay.
Text: Marjorie Husain
Photography: Kohi Marri
The elements comprising traditions of pottery making were the theme of a 5 week workshop conducted by Sherezade Alam at the Indus Valley School of Art and Architecture during October, November 2008. Back in her top form after years of working abroad, Sherezade’s vibrant enthusiasm initiated an interest and response to the Ustad, Shagird programme that only she could arouse. Attending the workshop were high school students from Karachi and Lahore, teachers, IVS faculty members, and at week-ends, classes were held for 10-12 year olds. Many of the participants worked with clay for the first time, but by the end of the course, several were inspired and equipped to pass their knowledge on to others.
Sherazade was exuberant, delighted with the results of her work and she spoke of the children of the Citizen’s Foundation School at Machar Colony, whom she found hard working and with great initiative. “They really blossomed. The first day we started they didn’t wait to be told what to do; they just got right down to it.” A number of teachers were extremely interested and Sherezade was delighted that one participant was so successful that she actually took a class of 45 children one Sunday. “In this way the art will be revitalized and passed on to future generations.”
Arriving at the opening of the display was a dramatic experience, a step into another dimension. There was a fire burning in the quadrangle on which were placed sweet smelling pieces of resin found in desert areas: lobaan, or frankincense. At the IVS exhibition, scented smoke from the wood fire created the mood. Musicians were playing folk music and there were flowers. One immediately imbibed a pleasantly expectant mood before stepping into the Gallery where a variety of clay pieces were well displayed.
The work on show referred to objects created by the ancient practitioners of the Indus Valley Civilization, a tradition which in recent times has been carried on by a group of potters working with an American team of anthropologists and archeologists on site. Keen for authenticity, they recreate the historic working conditions: building a kiln based upon an excavated piece and working without the convenience of electricity.
A very much admired aspect of the display was the work of Master potter Muhammad Nawaz from Harrupa, who has been working on the site for decades. His art pieces consisted of exquisite structures, forms, animals and toys, as well as diverse pots and urns. At the behest of Sherezade, Ustad Nawaz spent a week-end with students at the workshop and taught the children how to fashion whistles out of clay.
One section of the show exhibited a collection of work by school children eagerly explaining their methods and their pieces. They all declared they would like to continue working with clay. Teachers from several schools made an impressive showing, while there were also lovely exhibits created by Sherezade, Sohail Abdullah, Raania Durrani, and faculty members of IVS. Rabia Tehmina had done some interesting circular forms that appeared as a development of earlier work fashioned in metal.
During the workshop the children also learned a clay vocabulary which Sherezade considered very important to the art. “They wrote about sixty words such as transformation; transmission in their note-books, and before classes we would discuss issues such as the `Sacred’, seated on a Dari in a circle. I would perform the earth, fire and water ritual with a bowl of flowers, a dia (lamp of clay) and agarbatti. The children would participate and then move into the class to begin work”.
By holding workshops for children and teaching them the traditional arts Sherezade feels they will learn to take pride in their country’s great history, and understand the process of creativity. A course book on the Indus Valley Civilization, written and illustrated by Jonathan Mark Kenoyer, was used for reference, editions for children and for adults published by OUP, which Sherazade praised fulsomely. These she intends to use for future workshops throughout the country.
Sheherazade Alam’s involvement with hand crafted clay objects is a long and fascinating saga. She joined the National College of Arts – where Mian Salahuddin was in charge of the Ceramic department – in 1968. He was an eccentric teacher though a genius at his work and Sherezade was the only student to stay the course and graduate with honours in 1972. She went on to explore excavated sites such as Mehergar, Moenjodaro and Harrupa, studying the line and profile of the ancient pieces before setting up her own studio in Lahore. She married one of the most important contemporary artists to have emerged in the country, Zahoorul Akhlaque, and while Zahoor taught at NCA, Sherezade worked in her spacious studio.
Those were halcyon days. In holidays the young couple would set off for obscure places in Pakistan and neighboring countries to study diverse methods and forms of pottery and interact with potters. She was the first woman ceramist/potter in Pakistan and the first exhibition of her work was held at the Karachi Arts Council in1978. For the next few years Sherazade continued to work, exhibit and raise her two daughters. Zahoor was experimenting with small metal three dimensional forms. They were creative years, evenings were spent with artist friends discussing aspects of art; traditional and contemporary.
In 1983, a tremendous opportunity to extend her experience was offered to Sherezade through a British Council Scholarship to Farnham Art School. It is an area in England famed for its pottery traditions and the school numbered several distinguished ceramist/potters as faculty members. Sherezade’s family encouraged her in taking up the challenge that included working with established potters in their studios throughout Britain. Sherezade stayed with the potter’s families in diverse settings and she was invariably regarded as a family member. Lasting friendships were made. It was this period, she claims, that gave her the education in ceramics she desired. From there came a residency at the famed Glasgow School of Art, where she taught pottery, ran workshops and continued with her own work.
In Pakistan, Sherezade continued with her work until Zahoor was asked to work on a research project at Yale University, USA. The family accompanied him and for two years Sherezade explored the technique of turquoise glaze that became a signature factor of her ceramic work. Many years were spent abroad teaching, working and exhibiting. After tragically losing her husband and eldest daughter in 1999, she focused on sorting out Zahoor’s papers and tracing his work, often left where it was painted in friends houses. With a team that included a photographer and a British author, Sherezade researched and appropriately set up his studio in Lahore for visitors. She painstakingly collected and exhibited Zahoor’s work in the USA and Canada, and published a book on Zahoorul Akhlaque by Roger Connah.
Two years ago she felt it was time to return home and vowed she would do everything clay related for the rest of her life. Her studio in Lahore is now in working order and she has equipped it with wheels for children’s pottery. Meanwhile Sherezade is tempted to take her art to Multan, where they are keen to set up a ceramics department at the university. Similarly, Qudsia Nisar is eager to extend the Art Department she set up at Bahawalpur University. Sherezade is filled with a Zealot’s enthusiasm and determination which shines in her eyes. She is a role model for ceramists in Pakistan today. Busy as her schedule may be, one hopes the distinguished potter will make time for her own unique style of ceramics to delight us.
Photography: Kohi Marri
The elements comprising traditions of pottery making were the theme of a 5 week workshop conducted by Sherezade Alam at the Indus Valley School of Art and Architecture during October, November 2008. Back in her top form after years of working abroad, Sherezade’s vibrant enthusiasm initiated an interest and response to the Ustad, Shagird programme that only she could arouse. Attending the workshop were high school students from Karachi and Lahore, teachers, IVS faculty members, and at week-ends, classes were held for 10-12 year olds. Many of the participants worked with clay for the first time, but by the end of the course, several were inspired and equipped to pass their knowledge on to others.
Sherazade was exuberant, delighted with the results of her work and she spoke of the children of the Citizen’s Foundation School at Machar Colony, whom she found hard working and with great initiative. “They really blossomed. The first day we started they didn’t wait to be told what to do; they just got right down to it.” A number of teachers were extremely interested and Sherezade was delighted that one participant was so successful that she actually took a class of 45 children one Sunday. “In this way the art will be revitalized and passed on to future generations.”
Arriving at the opening of the display was a dramatic experience, a step into another dimension. There was a fire burning in the quadrangle on which were placed sweet smelling pieces of resin found in desert areas: lobaan, or frankincense. At the IVS exhibition, scented smoke from the wood fire created the mood. Musicians were playing folk music and there were flowers. One immediately imbibed a pleasantly expectant mood before stepping into the Gallery where a variety of clay pieces were well displayed.
The work on show referred to objects created by the ancient practitioners of the Indus Valley Civilization, a tradition which in recent times has been carried on by a group of potters working with an American team of anthropologists and archeologists on site. Keen for authenticity, they recreate the historic working conditions: building a kiln based upon an excavated piece and working without the convenience of electricity.
A very much admired aspect of the display was the work of Master potter Muhammad Nawaz from Harrupa, who has been working on the site for decades. His art pieces consisted of exquisite structures, forms, animals and toys, as well as diverse pots and urns. At the behest of Sherezade, Ustad Nawaz spent a week-end with students at the workshop and taught the children how to fashion whistles out of clay.
One section of the show exhibited a collection of work by school children eagerly explaining their methods and their pieces. They all declared they would like to continue working with clay. Teachers from several schools made an impressive showing, while there were also lovely exhibits created by Sherezade, Sohail Abdullah, Raania Durrani, and faculty members of IVS. Rabia Tehmina had done some interesting circular forms that appeared as a development of earlier work fashioned in metal.
During the workshop the children also learned a clay vocabulary which Sherezade considered very important to the art. “They wrote about sixty words such as transformation; transmission in their note-books, and before classes we would discuss issues such as the `Sacred’, seated on a Dari in a circle. I would perform the earth, fire and water ritual with a bowl of flowers, a dia (lamp of clay) and agarbatti. The children would participate and then move into the class to begin work”.
By holding workshops for children and teaching them the traditional arts Sherezade feels they will learn to take pride in their country’s great history, and understand the process of creativity. A course book on the Indus Valley Civilization, written and illustrated by Jonathan Mark Kenoyer, was used for reference, editions for children and for adults published by OUP, which Sherazade praised fulsomely. These she intends to use for future workshops throughout the country.
Sheherazade Alam’s involvement with hand crafted clay objects is a long and fascinating saga. She joined the National College of Arts – where Mian Salahuddin was in charge of the Ceramic department – in 1968. He was an eccentric teacher though a genius at his work and Sherezade was the only student to stay the course and graduate with honours in 1972. She went on to explore excavated sites such as Mehergar, Moenjodaro and Harrupa, studying the line and profile of the ancient pieces before setting up her own studio in Lahore. She married one of the most important contemporary artists to have emerged in the country, Zahoorul Akhlaque, and while Zahoor taught at NCA, Sherezade worked in her spacious studio.
Those were halcyon days. In holidays the young couple would set off for obscure places in Pakistan and neighboring countries to study diverse methods and forms of pottery and interact with potters. She was the first woman ceramist/potter in Pakistan and the first exhibition of her work was held at the Karachi Arts Council in1978. For the next few years Sherazade continued to work, exhibit and raise her two daughters. Zahoor was experimenting with small metal three dimensional forms. They were creative years, evenings were spent with artist friends discussing aspects of art; traditional and contemporary.
In 1983, a tremendous opportunity to extend her experience was offered to Sherezade through a British Council Scholarship to Farnham Art School. It is an area in England famed for its pottery traditions and the school numbered several distinguished ceramist/potters as faculty members. Sherezade’s family encouraged her in taking up the challenge that included working with established potters in their studios throughout Britain. Sherezade stayed with the potter’s families in diverse settings and she was invariably regarded as a family member. Lasting friendships were made. It was this period, she claims, that gave her the education in ceramics she desired. From there came a residency at the famed Glasgow School of Art, where she taught pottery, ran workshops and continued with her own work.
In Pakistan, Sherezade continued with her work until Zahoor was asked to work on a research project at Yale University, USA. The family accompanied him and for two years Sherezade explored the technique of turquoise glaze that became a signature factor of her ceramic work. Many years were spent abroad teaching, working and exhibiting. After tragically losing her husband and eldest daughter in 1999, she focused on sorting out Zahoor’s papers and tracing his work, often left where it was painted in friends houses. With a team that included a photographer and a British author, Sherezade researched and appropriately set up his studio in Lahore for visitors. She painstakingly collected and exhibited Zahoor’s work in the USA and Canada, and published a book on Zahoorul Akhlaque by Roger Connah.
Two years ago she felt it was time to return home and vowed she would do everything clay related for the rest of her life. Her studio in Lahore is now in working order and she has equipped it with wheels for children’s pottery. Meanwhile Sherezade is tempted to take her art to Multan, where they are keen to set up a ceramics department at the university. Similarly, Qudsia Nisar is eager to extend the Art Department she set up at Bahawalpur University. Sherezade is filled with a Zealot’s enthusiasm and determination which shines in her eyes. She is a role model for ceramists in Pakistan today. Busy as her schedule may be, one hopes the distinguished potter will make time for her own unique style of ceramics to delight us.
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