By merging the mystic poetry of Kabir with the gritty reality of manual labour, she invites her audience to move past the romanticised image of “folk craft” and confront the profound, slow truths revealed only through the touch of the soil. Meet Sangeeta, who brings visibility to the millions of unnamed women whose hands have sustained the rhythm of Indian pottery. Here is an experience from one of her sessions, where she uses her practice to challenge the gendered and caste-based hierarchies of Indian craftsmanship.
Roughly handmade diyas—uneven, cracked, some leaning like a quiet congregation of forms waiting to be acknowledged—sit upon a mat. Beside them lies a dense, unmoving hump of raw clay, holding within its silence the memory of the ground from which it was taken. At the far end stands the chak, the potter’s wheel. It does not announce itself; it simply exists, anchored and patient, flanked by a bowl of water catching the light and a thin cutting thread coiled like a secret.
This is the sanctuary of Dr. Sangeeta Jawla, a researcher, potter, and storyteller who has spent the last seven years excavating the stories trapped within India’s soil. To attend her session is not to watch a demonstration; it is to enter a rhythm that has pulsed through the subcontinent for millennia. At a young age, she has evolved into a storyteller who serves as a bridge between the academic study of folklore and the tactile world of ceramic art. Her journey began with a childhood curiosity in her ancestral village in Haryana and evolved into a rigorous seven-year research project documenting the oral traditions of India’s potter communities.
Through her practice, Sangeeta seeks to fill the “gaps in the archive,” exploring how Hindu, Muslim, and Tribal narratives differ in their spiritual and physical relationship with the earth. Her work is a rare blend of artistic reclamation and sociological inquiry, specifically challenging the gendered norms of the craft. By placing herself at the wheel and performing the arduous labour of clay preparation, she brings visibility to the millions of unnamed women whose hands have sustained the rhythm of Indian pottery for centuries.
A central theme in Sangeeta’s work is the etymology of the name Prajapati, a title used by potters across India. While the word translates to “Lord of Procreation” or “Creator,” the communities bearing the name often live at the margins of the social hierarchy. Sangeeta uses her performances to highlight this “indispensability without status,” asking the audience to reconcile the divine origins of the craft with the difficult socio-economic realities of the craftsmen.
In her mesmerising presentation this evening, which the writer attended, Sangeeta entered without ceremony. There are no heavy credentials offered, no academic posture. What she carries instead are journeys—across regions, communities, and lives shaped by earth. Her storytelling begins not with a greeting, but with the tactile reality of labour.
Her hands reach for the clay. It meets the mat with a soft, damp thud. Fingers press, release, and hesitate before finding trust in the material. As the chak begins to turn, it produces a low, continuous hum. To the untrained ear, it is ambient noise; to the potter, it is the “rhyme of everyday survival.” It is a cadence that women across rural India recognise because it mirrors their own lives—constant, patient, and largely unnoticed. It is the music of the unseen.
Sangeeta’s narratives are not the romanticised, picturesque tales of “craft” often found in coffee-table books. Her stories are gathered from years of visiting potter communities—initially Hindu, and increasingly Tribal and Muslim potters—to understand the vast, differing frameworks of their existence.
She explores a fascinating paradox: the potter is indispensable to Indian social and cultural life, shaping the vessels for births, rituals, and deaths, yet remains pushed to the lowest strata of society. “Clay carries a paradox,” she notes. “Indispensability without status, skill without recognition.”
In Hindu traditions, tools are often described as divine gifts from Shiva or Vishnu. In contrast, tribal tales can be “graphic,” detailing a more visceral, raw acquisition of tools from the natural world. By engraving these stories onto her pottery, Sangeeta ensures that the clay itself becomes an archive, recording not just folklore, but the politics of identity and survival.
To look at Sangeeta’s finished work is to see a visual tapestry of these oral histories. Her process is one of deep patience and technical care. Unlike contemporary potters who might reach for commercial glazes or vibrant synthetic paints, Sangeeta stays true to the rustic roots of the craft. She emulates rural artisans by applying a layer of khadiya mitti, a white chalk clay, over the damp terracotta. This ivory-hued slip acts as a canvas of depth. Using fine tools, she cuts through the white layer to reveal the rich, burnt-orange earth beneath.
“I heard the stories; I didn’t see them,” she explains. “The visualisation is purely imaginative.” Each line she etches represents a character from a potter’s folktale or a movement of a woman’s hand. She describes the process as “nurturing a child,” often staying up all night to monitor the drying process, ensuring the tension in the clay does not crack the narrative she has so carefully carved. The result is a striking contrast: a dark, earthy line singing against a bone-white surface, making the stories of the community “pop” with visual urgency.
At the heart of Sangeeta’s practice is a sharp, necessary gender lens. In the world of pottery, labour is strictly—and often unfairly—divided. Women perform the most arduous and foundational tasks: they trek to collect the clay, they sieve the soil for impurities, they fetch the water, and they spend hours kneading the earth into a workable state. Without their labour, the wheel cannot turn.
Yet, a traditional boundary exists: women are often kept away from the chak itself. The wheel—the visible symbol of creation and mastery—remains a male domain. Sangeeta’s performance is an act of reclamation. As she moves through the space, her hands and feet immersed in soil, she performs this “invisible” labour. She kneads the clay with her legs, grounding herself fully, allowing her body to become part of the material. She uses tools as metaphors: the sieve speaks of filtration and control; the act of kneading speaks of endurance; the wheel speaks of authority and access.
As the audience is drawn in—no longer spectators, but participants touching and shaping the soil—the atmosphere thickens. Time stretches and folds. In the midst of the labour, Sangeeta recites a couplet from the mystic poet Kabir, allowing the words to rise naturally from the movement of her body. She recites, “Maati kahe kumhar se, tu kya ronde mohe, Ek din aisa aayega, main rondungi tohe.” The meaning: the clay says to the potter, “Why do you trample me now? A day will come when I shall be the one to trample you.”’
The lines arrive not as literature, but as a prophecy. It is a moment where labour confronts power and mortality answers control. The room grows still; the only sound is the whisper of water and the breath of the participants. For Sangeeta, who also carries this “embodied approach” into the classroom as a teacher, pottery is a way of knowing that bypasses the intellect and speaks directly to the nerves. In a world obsessed with speed and digital detachment, her work insists on the “slow answer.”
When the workshop ends, there is often a profound silence. People forget to clap, their hands still stained with the grey-brown dust of the earth. They remain bound not by the spectacle they have seen, but by the realisation of what the clay has revealed.
About Author: Anu Jain is a Doctoral Scholar at Jamia Millia Islamia, New Delhi. Her research examines the intersection of Gandhian philosophy and Gender with a particular focus on the crucial role of Elected Women Representatives (EWRs).
Courtesy: The AIDEM