“Paneleiras de Goiabeiras”: women who make clay pots

During my past trip to Brazil I visited the “Associacão das Paneleiras de Goiabeiras” of Vitoria. “Paneleiras” are women who make clay pots from their homes. My grandmother lived in a village within the city of Vitoria, Espirito Santo, Brazil. She was a member of a group of women artisans who lived their life as “Paneleiras”. My grandmother died in 1993. Unfortunately, she did not live long enough to see her profession honored by the newly formed association. I will always consider her a major contributing woman from this historic village. The association was created to preserve and teach the history of these remarkable and hardworking ladies.



Making and selling clay pots was the main source of income for my grandmother. It defined her life. Throughout my childhood I closely experienced the manufacture of these pots in her back yard. She, along with several of her neighbors, manufactured and sold the pots on weekends at “Canto Beach” in Vitoria. Why did she sell the pots on weekends? So, she could juggle making the pots with caring for her nine children during the week. I can still remember the first little pot that she gave to me on my 6th birthday. She showed me how to cook my dad’s favorite dish, “moqueca”, a type of fish stew, using this charming little pot.

My grandmother’s house was located in a typical fishing village. I vividly remember groups of men repairing their boats in workshops, women grouped in large circles sewing and untangling fish nets, kids playing with live crabs as if they were pets. Most of the houses looked like large bungalows made from bricks with mud between them and roof tops covered with layers of coconut tree palms. The hot tropical weather is favorable for outdoor activities. On extremely hot days, the strong smell from the fish market blends with the scent of campfires leaving a distinct impression on the nose.

Previously, the “Paneleiras” worked in their own homes. Today, more organized, the “Paneleiras” formed an association, a sort of cooperative; a common shed where each lady independently produces and sells their own pieces. Traditionally, the manufacture of clay pots was handed down from parents to children linking a cultural thread between generations. The craft has been preserved without changes for several generations. In fact, the process remains almost the same as the process used by the indigenous people when the Portuguese first anchored in Brazil.

The raw clay is extracted from the valley outside the city of Vitoria. Men dig the clay out from the side of a mountain, rolling it into a clumpy ball. They load the balls of clay into small trucks or horse-drawn wagons. Then they deliver the chunks of clay to the awaiting craftswomen back in the village.
Before the clay can be used, it must go through a preparation process. First, a thorough cleaning which includes removing impurities such as stones and plants remains. Second, the clay is then wrapped in plastic to keep the moisture from escaping. Lastly, the clay is stored.

Stomping the clay flat formerly was done by women. It is a strenuous and heavy chore. Now, men perform the difficult duty. The men step over and stomp their feet to make the clay uniform, consistent and adequate for modeling. Shaping the pots is still done manually, without using a “potter's wheel”. Using a manual technique where clay is laid and rolled directly onto a surface until the wall to a pot is raised to the desired shape. Stretching and tugging the clay with their hands, both circular and vertical, bulging, rounded, defining the shape of the pot with the aid of rudimentary tools such as smooth stones, coconut shells and other similar types of objects. Clay pots, platters, teapots, kettles and dishes of various shapes and sizes are competently designed all from hand.

The most striking feature of the pots is its dark color. This is achieved through impregnation of the piece with tannin, which is extracted from the tree of Rhizophora mangle. The application of tannin to the pots is accomplished immediately after the pot leaves the fire by vigorously whipping the pot with a tannin-soaked broom. This process of impregnation is known as "whip". As a result, the tannin penetrates in the pores of ceramics, covering cracks and making them waterproof. Also, the tannin serves by preventing the proliferation of fungi, which, over time, deteriorate the clay. In addition, the dark coloration of pan allows a better concentration of heat thus facilitating the cooking and preservation of foods. In order to dry the pigmentation, pots are burned on campfires under the open sky.

The Association has become a significant tourist destination for the city; people are very interested in and seeing how the pots are made. The pots have been around for hundreds of years. Yet, demand to purchase the pot has grown over recent years. In the future the association intends on expanding facilities by opening a restaurant featuring typical dishes from the region.

Interested buyers can find purchase information on the association’s web site. The prices range from $2 for a small pot to $50 for a larger pot. The buyer can either visit the association, or purchase by phone. Pans are physically stored and sold directly from the association’s shed. Each pan is certified with a stamp of authenticity certifying its origin. Buying directly from the association allows the “Paneleiras” to differentiate their utensils from the mass-produced pans or “knock-offs” versions manufactured by automated machines available at larger department stores.

In conclusion, the work of the “Paneleiras de Goibeiras” can be seen in the homes throughout Brazil; the pans symbolize a piece of the national culture. As artists, the “paneleiras” use the earth, water, fire, and air to make beautiful pans that are used to cook tasty Brazilian cuisine. Observing and researching the work and life of these incredible ladies was personally fulfilling. As I introduce more people to the life of “paneleiras”, I honor the significance and contributions of my grandmother to this culturally rich profession.

http://www.losartesanos.com/brasil/espiritu_santo/paneleiras.htm