Intro - Map of Panama 1 - View from the street of the potter's house, La Arena, Panama 2 - View from the street of the potter's side yard; the pottery firing area is between the logs in foreground and the house 3 - Principal potter in her work area (a back room of the house) 4 - One of the potter's young assistants 5 - Assistant and onlookers 6 - Tools of the trade: top left - raspa resting on a colador; top right - cuchara; lower left - polishing pebble; lower left center - white pottery clay ( upper), red slip clay (lower); lower right center - strip of leather; lower right - uva. 7 - Coladors with ground pottery clay ready for sifting 8 - Broken vessel used to keep uva and leather strip moist 9 - Short board occasionally used as a work area; raw clay on end of board 10 - Potter crushing raw clay with a mano de moler 11 - Crushed raw clay stored in a large broken vessel with water until ready for use 12 - Using the colador to sift crushed raw clay onto the work area 13 - A handfull of moist raw clay placed onto the work area covered with sifted clay 14 - foreground: unworked raw clay as brought in from the field; background: initial stage of a mass of moist clay being worked into dry sifted clay 15 - Later stage of moist clay and dry sifted clay being mixed 16 - Adding more sifted clay to the work area 17 - Final stage of mixing mass of moist clay with dry sifted clay 18 - Reaching the point of proper mixture 19 - Nearly completed cone of clay 20 - Nearly completed cone of clay 21 - Completed cone of clay ready for initiating a vessel 22 - The cone of clay (just to the left of the chest of the potter) has just been dashed to the floor, base first, causing the base to spread out into a disk and leaving an elevated peak in the center 23 - The elevated peak has been broken off and worked into the upper surface of the disk 24 - Another view of the disk with the peak worked in 25 - The disk is held in the left hand and the right fist is driven into the center 26 - Folding up the edges of the disk to form a "V" (in cross section) 27 - A very rough coil is added to the top of the"V" to increase the height of the vessel's walls 28 - Annealing and shaping the final coil of an olla 29 - Pinching and shaping the upper portion of an olla 30 - Shaping and strengthening the upper portion of an olla by adding bits of clay to the interior 31 - Several ollas ready for drying 32 - Scraping and shaping an olla with the raspa after drying 33 - Smoothing and shaping of the upper portion of an olla with the uva 34 - Further smoothing of the upper portion of an olla with the uva 35 - Final smoothing of the uppe3r portion of an olla with the uva 36 - Getting ready to polish the rim of an olla with the leather strip 37 - Final smoothing and polishing of an olla with the leather strip 38 - Adding lugs to an olla 39 - Ticking the lugs on an olla 40 - Final smoothing and initial polishing of an olla with the uva 41 - Polishing the exterior of an unslipped olla with a polishing pebble 42 - Polishing the interior of an unslipped olla with a polishing pebble 43 - Polishing the exterior of a red slipped olla with a polishing pebble 44 - The basic clay disk for a large tinaja after the initial fist impression 45 - The edges of the disk are folded up to form a "V" (in cross section) 46 - The exterior ( of a small tinaja) is thinned and roughly shaped by dragging side of the first finger up from the base 4 7 - The interior ( of a small tinaja) is thinned and shaped by dragging the tips of the fingers of one hand up from the base 48 - Preparing the first coil to be added to the basic disk of a small tinaja 49 - Ready to anneal the first coil of a small tinaja 50 - Annealing the first coil of a small tinaja 51 - The first coil added to the basic disk to form a large tinaja 52 - Thinning and shaping of the first coil added to a large tinaja 53 - The lower portion of a large tinaja thinned and shaped 54 - Adding a large coil to the base of a large tinaja to begin forming the insloping upper portion 55 -A small coil added to (another) large tinaja to begin the insloping upper portion 56 - Annealing this coil 57 - Adding another (large) coil to the upper portion of a tinaja 58 - Thinning and shaping of the upper portion of a tinaja 59 - Further thinning and shaping of a tinaja after another coil has been added 60 - Adding the final body coil to a tinaja (below the neck) 61 - The final body coil thinned and shaped 62 - Thinning and shaping the interior after the final body coil has been added 63 - Thinning and shaping the body of a large tinaja with the raspa, after it has dried well 64 - Another view of thinning and shaping with the raspa 65 - Roughening the base of the neck of a small tinaja, by moistening and pinching, prior to adding a coil to form the neck and rim 66 - Adding the neck and rim coil to a small tinaja 6 7 - Neck coil thinned and shaped; the rim not yet shaped 68 - Shaping the rim with the cuchara 69 - Forming scallops on the rim with the cuchara 70 - Medium tinaja dried and polished but unslipped 71 - Large tinaja dried and with red slip partially slopped on 72 - Large tinaja covered with red slip prior to polishing 73 - Large tinaja after polishing of the red slip 74 - Vessels stacked as they would be for firing (these had already been fired but were stacked to show how it had been done) 7 5 - Wood and dung beginning to be stacked around vessels preparatory to firing (illustrated with vessels already fired) 76 - Potter's young son getting ready to help carry vessels to the front of the house for sale 77 - Vessels for sale in front of the potter's house