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Handcrafted

When the art of pottery sustains livelihoods and traditions

February 3^rd, 2026

ESPAÑOL FRANÇAIS

Long before plastic or steel existed, humans were turning raw earth into objects that sustained daily life.

Soaked, kneaded, moulded, dried and fired, clay became durable, practical pottery: from vessels for storing grain, to containers for carrying water and coatings that protected homes.

Handcrafted pottery display features a blue and white striped mug with a yellow twisted handle. Other pieces include a green vase and a small white bowl. — Photo: UNDP Kosovo

The art demanded discipline and inventiveness—virtues that, in many ways, mirror the very experience of living.

Today, recognized in numerous places by UNESCO as Intangible Cultural Heritage, pottery continues to sustain livelihoods and traditions, reminding us that, just as clay transforms under skilled hands, so too can the futures of the communities that preserve it.

Clay-conomy for business

In the small village of Pomaire, southwest of Santiago, Chile, Juan Ricardo moulds each ‘chanchito con chaleco’ (little pig in a vest) from greda, the region’s distinctive reddish clay. At 63, he manages a pottery atelier alongside his mother, a retired woman who continues to support the business with its administration and finances.

For years, keeping the atelier afloat was a struggle: “We were taking money from the wrong place,” Juan Ricardo recalls. “Now I see the money in my account, and my mom doesn’t have to use her retirement.”

His turnaround came through In Motion, a UNDP methodology implemented across Latin America to support micro and small enterprises. With hands-on guidance, certified consultants work with businesses on marketing, finance, family dynamics, legal compliance and administration.

Smiling man stands in front of shelves filled with handcrafted pottery. He wears an olive green sweater and collared shirt.

Indoor shop displays handmade pottery, vases, and ceramic figurines on shelves and tables. Red, white, and black are the predominant colors. Plants are scattered throughout.

Smiling woman stands in front of weathered wooden doors, flanked by plant-filled wooden shelves. She wears a patterned zip-up sweater and dark pants. The setting is outdoors with a rustic, handcrafted feel.

A craftsman shows a woman a handcrafted plate with a peacock design in his workshop. The plate has a yellow background and a peacock with colorful feathers. Shelves of pottery surround them.

In Pomaire, the methodology is carried out with the support of the Chilean government and Instituto Profesional AIEP, alongside the technical assistance of the Municipality of Melipilla. The goal is to strengthen enterprises rooted in centuries-old traditions while preserving their cultural identity, as the town navigates the delicate balance between safeguarding its heritage and meeting the demands of a growing tourist market.

Guided by the In Motion methodology, Juan Ricardo redesigned the sale space, giving his bestselling ‘chanchito con chaleco’ more room to shine. But the change wasn’t just visual: "I learned to keep track of sales and maintain daily and monthly records so we can see how our business is doing,” he explains. Among the businesses that benefited from the methodology, 93 percent now maintain formal accounting and some report a 36 percent increase in daily clientele.

In the hands of artisans such as Juan Ricardo, greda sustains livelihoods and carries Pomaire’s craft into the future, with its pottery—recognized with a protected designation of origin—serving as a symbol of Chilean identity.

Young hands, living tradition

In the narrow streets of Veles, North Macedonia, pottery has long been a way of life. In the first half of the 20th century, families produced a variety of handcrafted pieces for everyday use, many of which were sent to markets across Western Europe.

Today, the craft is precarious. Goce and his wife have spent the last 15 years working professionally with clay, yet as he puts it: “There is a great demand in the market, but no one to do the work. There are only seven or eight artists in the whole country.”

In this context, younger generations embody hope for the future of pottery, a belief that led Goce to run workshops for children aged 13 to 15. “At first, we were skeptical,” he recalls, but the kids were so eager to learn, he remembers. Some of them returned to his studio, and he emphasizes that if they manage to turn two out of 20 children into potters, “it will be a great success.”

Low-angle view of a narrow street with traditional white buildings and stone walls. Red flowers climb along the walls, adding a touch of color to the scene. Bright daylight.

A group of smiling young people and an adult stand together holding pottery. They are wearing aprons with the text

Smiling young potter holds a small, handmade clay pot. She wears an apron in a bright room with textured walls, continuing a living tradition.

Young potter arranges small clay pots on a shelf in a pottery workshop. Shelves display finished pottery. The workshop is dimly lit, with clay pots and boxes visible.

The workshops, organized by the NGO Razboj with support from UNDP through the Regional Programme on Local Democracy in the Western Balkans (ReLOaD) and funded by the European Union, are part of a broader effort to, among other objectives, engage youth and strengthen social cohesion. The Municipality of Veles provided the venues for the workshops.

For Antonio, 14, the work is addictive: “Now, I prefer to make clay objects rather than play games on my mobile phone.” Anastasija sees it as a link to the past: “It would be nice to keep pottery as a craft because it’s part of the tradition of our country.”

Deeply committed to his craft, Goce stresses the need for greater government support to revive traditional crafts and believes pottery should be part of the mandatory school art curriculum.

“I’m proof that one can make a living from pottery. Pottery has a future, but it needs encouragement,” he finalizes.

The magic of clay

In the plains of Clarendon’s region, southwest Jamaica, Robert has the clay fields that sustain his craft just steps from his door. At his studio, Khadabra, he works his magic. “All our paintings, sculptures and ceramics are a reflection of Caribbean lifestyle and culture,” he proudly says.

Yet this art faces a growing challenge. Jamaica is rich in clay, but much of it has been overbuilt or lost to construction. For artisans, access to this essential resource is shrinking, and with it, the survival of livelihoods and traditions.

In response, the ACP-EU Development Minerals Programme began supporting small-scale producers such as Robert. Funded by the European Union and implemented by UNDP in partnership with the Ministry of Agriculture, Fisheries and Mining, the programme provides grants and training to help strengthen the production and trade of underused development minerals and unlock the sector’s economic potential.

Dark-skinned hand mixes wet, red clay in a stone basin, preparing it for crafting.

With this support, Robert bought a water tank and pump to address water shortages that had slowed production. He also acquired woodworking equipment, allowing him to diversify his products and create a unique line combining clay pottery and wood. “The programme has been incredibly beneficial,” he says, noting that he now employs even more people.

A major turning point came when the programme sponsored training in Tanzania, where Robert refined his skills and gained knowledge on how to make local clay more manageable. “We learned about adding different materials so that the clay could work. And this has had a tremendous impact on my business.”

Today, Khadabra is more than a studio, it’s a hub for local youth. Robert teaches discipline, time management and life skills, encouraging young people to create their own opportunities. In his work, the true magic of clay lies in its power to mould the future.

Carving a path forward

“When I was 12 years old I created my first pottery piece, which was a plate used for eating saltah, a traditional Yemeni dish,” says Mohammed. For generations, pottery has been a central part of the cultural heritage of the Al-Mahwit region, and potters like Mohammed carry on this ancient tradition.

Yet life was anything but easy. The rugged terrain presented constant challenges for residents. One of the roads connecting his community to markets, services and economic opportunities had become unsafe. “I used to transport 15 pottery pots to the market, but I’d arrive with only a quarter of them remaining,” Mohammed says. When it rained, the road was completely inaccessible, and several accidents occurred, including one that claimed 13 lives.

Then, a lifeline arrived in the form of a community-driven project. Through the initiative Supporting Resilient Livelihoods, Food Security, and Climate Adaptation in Yemen co-funded by the European Union and the Government of Sweden and managed by UNDP in collaboration with FAO, ILO and WFP, the community took action: 4,600 metres of road were paved, creating jobs and providing income to 240 local participants, including 40 women.

Mohammed looks off camera, wearing a headscarf, plaid jacket, and jambiya dagger. He is inside a workshop with pottery.

A group of children and a man craft pottery in a workshop. They sit on the ground, shaping clay on spinning wheels, surrounded by large, unglazed pots. The light is soft and diffused.

Men in vests construct a stone wall. Some wear hard hats or headscarves, and use shovels and a wheelbarrow. The setting is a rocky, sandy area with sparse vegetation.

A winding dirt road cuts through a steep, arid hillside in Al-Mahwait. A white car and stone buildings sit near the road's edge. The landscape is rugged with sparse vegetation.

Mohammed Al-Saeedi, in brown robe and blue cap, coats a pottery pot with glaze. The pots are on a dirt surface with mountains in the background.

These efforts directly impacted 3,000 households, and with 50 percent of the community actively involved, the project became a true collective achievement. “We saw hope being built, stone by stone. We worked with great enthusiasm, often through the night,” Mohammed says.

The new road connected the community to essential services, reduced travel risks and unlocked economic opportunities. Mohammed can now deliver his pottery without damage, leading to higher earnings and less waste. This change has also lifted his spirits.

“I cannot give up pottery because it’s my source of income for me and my children.” Pottery, he also explains, is not only a livelihood but a living piece of his heritage, passed down through his family for generations. “I continue to work in their footsteps.”