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Ceramicists at the Convenci6n del45 Neighbourhood: Contemporary Ecuadorian Artisans and Their Material Culture by Victoria Elena Castillo B.A., Simon Fraser University, 1999 THESIS SUBMITTED AS PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Archaeology O Victoria Elena Castillo SIMON FRASER UNIVERSITY JULY 2003 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Victoria Elena Castillo Degree: M.A. Title of Thesis: Ceramicists at the Convencion del 45 Neighbourhood: Contemporary Ecuadorian Artisans and Their Material Culture Examining Committee: Chair: Dr. A.C. D'Andrea Associate Professor - Dr. R.W. Jamieson Senior Supervisor Assistant Professor Dr. E.C. Yellowhorn Supervisor Assi&qt Professor Dr. ,,LA.C. ~6hman External Examiner Associate Professor Geography Department Simon Fraser University Date: PARTIAL COPYRIGHT LICENCE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. Title of Thesis/Project/Extended Essay Ceramicists at the Convenci6n del45 Neighbourhood: Contemporary Ecuadorian Artisans and Their Material Culture Author: (signature) Victoriabena Castillo (name) Abstract Ceramicists at the Convenci6n del45 neighbourhood have dealt with many economic and social changes over the course of the 20" century. At the beginning of the last century ceramicists continued the colonial practice of producing utilitarian vessels which met the needs of local and regional markets. Production was focused within the family and provided a dependable source of income. However, after World War I1 global changes, including mass production and globalization, had a profound affect on ceramicists as their products had to compete with imported plastic and metal items. As a result ceramicists made innovations in their design styles and found new avenues in which to sell their products. This thesis uses a holistic approach to interpret the material culture produced by one small artisanal community in Cuenca, Ecuador. Through an examination of documentary research, oral history interviews, archaeological excavation of a kiln, and material culture research from the Convenci6n del45 neighbourhood I illustrate that ceramicists have, and continue to be, active participants in their society. Rather than emphasize the negative affects of imported goods and mass production on ceramicists, I demonstrate that as agents, they are reflexive participants in their community and have etched a place for themselves and their particular brand of production; their material culture is used to complement their own testimony regarding the socio-economic changes that orbit their neighbourhood and nation. Dedication Para Berty, mi mama y mi amiga. Acknowledgements There are many people to thank for this thesis. My advisor, Ross Jamieson, never stopped supporting my research and encouraged me to think independently and critically. You always welcomed my questions and taught me to see things in a different light, I thank you for that. I would also like to thank my secondary advisor, Eldon Yellowhorn, for his wonderful support, questions, encouragement and meticulous spelling and grammatical corrections. A great deal of thanks goes out to my external examiner, John Brohman, who agreed to read an archaeology thesis and sit on my committee, your input has been greatly appreciated. I wish to express my appreciation to Cuenca's ceramicists, Jose Ramon, Jose Encalada, Juan Pacheco, Eduardo Segovia, Ana Ramon, Carlos Vanegas, Eduardo Vega and Alejandro Crespo for their hospitality and assistance, your voices added life and importance to this study. To David Burley, thank you for introducing me to pot sherds and proceeding to get me hooked. Thank you to Cathy D'Andrea, Dana Lepofsky, and Laurie Beckwith for all your support. To Stan Copps for introducing me to archaeology and Imogene Lim for teaching me that history has no cut off date. Jost-Luis Espinosa and Alexandra Kennedy Troya greatly contributed to my research in Cuenca by introducing me to ceramicists. To Robyn Banerjee, Lynda Przybyla, Ann Sullivan, Andrew Barton, Shannon Wood, Amanda Logan, Shannon King, John Johnson, Aubin Raunet, Mr. And Mrs. Stewart, Carol Clarke, Karine Tacht, Chelsea Dunk, Cameron Smith, Rudy Reimer vi and all the SFU grads. To Evelyn Nimmo for all of your support both in the field and at home, I am quite sure that I would not have lasted without you. And the Screamers (in no particular order ladies): Jennifer Stewart, Jade Boyd, Melanie Lee, Shelley Chelin, Heidi Nutley, Maki Nako, Francoise Raunet, Sara Clarke, Shelley Lightburn, and Erin Clarke. Thank you for 13 years of friendship and for not knowing a thing about archaeology. Susan Boyd, you have inspired me more than words can say, thank you for all your help and encouragement both personally and academically. Grant Zazula, my life gets better and better everyday that you are in it. Erin Green, you have taught me what having a sister is all about. You are gifted and kind and I can only hope to have even an ounce of the talent that you possess. You are an amazing woman and I am honored to be your friend. And most importantly to Berta Rovinsky, for always supporting me and teaching me never to take no for an answer. A woman could not ask for a better mother. Table of Contents APPROVAL ...................................................................................................................................I1 ABSTRACT ........................................................................................................................................111 DEDICATION ................................................................................................................................IV ACKNOWLEDGEMENTS ................................................................................................................V TABLE OF CONTENTS ............................................................................................................VII LIST OF TABLES .......................................................................................................................XI LIST OF FIGURES ..................................................................................................................XI1 CHAPTER 1: INTRODUCTION .................................................................................................. 1 CERAMICISTSAT THE CONVENCIONDEL 45. CUENCA.ECUADOR ................................................. 1 THESISOBJECTIVES ....................................................................................................................... 3 CHAPTERPROGRESSION ............................................................................................................... 4 CHAPTER 2: THE HISTORY OF CERAMIC PRODUCTION IN CUENCA ......................... 7 INTRODUCTION................................................................................................................................ 7 PREHISPANICCOLONIAL CERAMICS IN THE ANDES....................................................................... 7 IMPORTATIONOF MAJOLICAAND LEAD-GLAZEDCERAMICS INTO THE SPANISHCOLONIES ....... 8 COLONIALBRICK AND ROOFTILE PRODUCTION .......................................................................... 9 COLONIALGLAZED EARTHENWARE PRODUCTION ...................................................................... 1 1 ECUADORAT THE BEGINNINGOF THE 2OTHCENTURY ................................................................... 15 CUENCAIN THE 2OTHCENTURY ................................................................................................... 16 CONVENCIONDEL 45: EARLY2OTH CENTURY POTTERY PRODUCTION ......................................... 17 CONVENCIONDEL 45: POSTWORLD WAR 11 ................................................................................. 20 ... Vlll INDUSTRIAL BOOM AND ARTISANDECLINE .................................................................................. 22 URBANGROWTH ............................................................................................................................. 23 CONVENCIONDEL 45: PRESENTDAY ........................................................................................... 26 THEFUTURE OF CERAMISTASAND ALFAREROSAT THE CONVENCIONDEL 45 .............................. 29 CHAPTERSUMMARY ....................................................................................................................... 30 CHAPTER 3: 2oTH CENTURY HISTORICAL ARCHAEOLOGY: AGENCY. ETHNOARCHAEOLOGY. AND MATERIAL CULTURE .......................................................32 AGENCY........................................................................................................................................... 32 ETHNOARCHAEOLOGY:FACING SOCIO-ECONOMIC CHANGE ......................................................

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