On December 8, 2020, the Paradijon Pottery Center was formally opened to the public. Humble it may seem, this display center carries not just the pottery works, but more importantly, the hopes and dreams of a community of artisans who once belonged to a thriving industry that is very much a part of the heritage and culture of Gubat, Sorsogon. Founded by concerned artisans and individuals, some descendants of master potters, the center showcases earthenware that is distinct and specifically made by traditional potters from Barangay Paradijon.
The Paradijon clay craft can be traced way back in pre-colonial times, more than 2,200 years ago, before the Spaniards came, as recorded on June 13, 1731. Generation of families practiced the craft until they achieved mastery to produce and shape clay into vessels and other forms considered as functional art.
Cluster of houses was once known as paradijon or coron makers as part of a thriving backyard industry. Since earthenware is mainly used in traditional cooking and storage at the time, pottery products were valuable enough to be bartered with rice, fish, and other essentials, or sold during the weekly market day (saud, saudan). Carefully loaded in double outrigger sail boat (paraw), the barter of pottery even reached parts of the nearby province of Samar.
The traditional process of making Paradijon pottery involves a community of individuals and artisans working together to produce earthenware that takes about two to three weeks. It is the clay gatherers (pag-kalot, parakalot) who go out to secure the needed raw materials. To do this, they must know how to identify the different types of clay (himulot na baga [red], himulot na itom [black], baras, porog). After transporting it back to the community several kilometers away, the clay is then subjected to manual pounding with a wooden pestle by clay refiners, or clay purers to break down the material. Clay refiners are adept in mixing stones, sand, clay and water to produce different types of potting materials to be used in making plant pots (masitera), cooking pots (palayok), jars (tapayan/banga), and clay toys (uyagan na koron, koron-koronay). This process, called pag-lubok or pag-dusang, could take about a minimum of two to three hours to refine the clay (lapok) with enough elasticity and viscosity.
“After pounding, it is shaped it into a ball and covered with plastic for some curing and to let it release air bubbles. After two to three days, it becomes more compact but still retains its elastic property. Then it is molded into clay products depending on what type of refined clay is produced (red for masitera, white for tapayan, yellow for palayok). Then it’s left to dry for about two to three weeks, depending on the weather. Before it goes into the fire, the polishers (parabayang) put red clay (purog) to cover up the dullness and obtain that red color,” says Gil Escobedo, a longtime potter who learned his skills from parents, Margarita and Miguel Escobedo. Then it goes for firing up in the makeshift, open air kiln (pagbahan) with coconut palm, or pili shells used as fuel. Firing up the clay products can take about seven hours in a single go.
Master potters utilize two artisanal techniques for molding clay. For cooking pots, water storage jars (biso), and plant pots, they use the wooden paddle and anvil (pikpik at bato) method. To create the clay stove and layer (sampau), they use the manual potter’s wheel (bayangan) and a piece of cloth to polish the clay (babyang). They are free to use both methods as needed.
The skills of these master potters, known as paradihon, came from generations of potters who settled and earned their livelihood by making use of the abundant clay deposits in their area, alongside other economic activities such as farming and fishing.
Without the benefit of any formal education or training, the traditional Paradijon clay craft was passed down through observation, repeated exposure, and personal coaching by master potters whose families flourished through the years. But since then the industry had been beset by grave challenges for the past decades, and without immediate intervention, these could very well threaten to wipe out their legacy and way of living.
In the 1970s, the rich clay deposit went scarce and up to this day, clay gatherers still find it difficult to identify sources and collect clay. Marilyn Eco Enilda, coming from a family of master potters Lilia Eco (mother), Orlando Eco (father), Arsenio Eco (grandfather), and Maximena Eco (grandmother), is able to make clay pots with husband, Lee Andrie Enilda, out of the generosity of a landowner. “We get clay from his farmland, but not for long. Once that part is tilled, we can no longer gather clay, so we need to find another source again,” she shares. In addition, master potters need a production area, preferably far from the residential homes, so that residents aren’t bothered by the smoky kiln. The facilities should also have a covered drying area and storage, among other necessities to produce clay products. The craft also faces the challenges of the times in terms of benchmarking, upgrades in skills and design as well as the introduction of modern technology to step up production that could meet the demands of the market.
Another debacle the Paradijon pottery went through was when families of master potters faced stiff competition from each other that lead to pulling down of retail prices just to entice more buyers. This resulted in lower profit margins for their wares and families went into economic hardship. The introduction of plastic and metal wares compounded the problem of weak sales. Eventually, some potters refrained from producing clay pots and sought other means to survive. Discouraged, their children sought jobs as professionals rather than pursue pottery making. Without the basic knowledge of marketing and distribution strategies, the Paradijon pottery can’t grow as an industry and continue as a viable source of livelihood. And without the youth practicing of the craft, the industry may soon be gone. Unfortunately, time is not on their side.
The master potters are now ageing and well into their senior years, most of them live in poverty. The Paradijon center has so far identified eight living master potters: Orlando Eco, Gloria Felonia, Maria Barro, Elisa Jareño, Aurora Ermino, Alicia Flestado, Rosalina Bruño, Lourdes Gabuyo, and Luciano Enguerra. While a few are still able to produce earthenware, they opt to stick to their traditional methods, despite previous attempts from government agencies to roll out programs to introduce technology and modernize their skills.
In support of these master potters and their families as well as other individuals who make a living out of the local craft, the Paradijon Pottery Center aims to live up to its name and be the center of all activities to bring the industry back on its feet. Its physical structure serves as the main distribution center of clay products to keep the retail prices stable and profitable. The people behind center pledges to gather resources and support to preserve the culture and tradition of pottery making in Paradijon, offer livelihood to its 25 active members, and transfer the knowledge of pottery to the younger generation. “We also plan to conduct training, install a modern kiln for firing clay products, and transform our organization into a cooperative later on,” says Paradijon Pottery president, Rodel Pancho.
Not just an industry, the Paradijon involves the people’s livelihood, history and culture. This is who they are and hopes to be in the promising future.
Photos by Jason Hubilla Mendoza
Image credits: Jason Hubilla Mendoza