17. TOYS-A Whistle and a Drum

Materials — gray or terra cotta pottery clay, about the size of a tennis ball; small amounts of terra cotta, gray, and black slip

Tools         — one wood and one wire tool; pointed tool; brush; burnisher or polished stone

WHISTLE. One of the most popular whistles or flageolets made by the Chiriqui Indians of Panama, in pre-Columbian times took the form of a bird. Many different kinds of birds were used, size being optional, anywhere from 2" to 6" long, decorated with a slip-painted design, and finished by polishing. The primitives often used the method of polishing with a smooth stone in place of glaze. Similar whistles, in bird, animal, and human forms, have been made by other primitive peoples (see Figures 10 and 11).

Wedge the clay thoroughly (see Introduction, page 12). Shape the body of the bird without wings and feet, using two-thirds of the lump of clay (a piece about 1" in diameter); the remain­ing third to be saved for appendages. Make the beak sturdy at the base and not too long, and the tail at least ¼" thick to avoid cracking when the air passage is made (see Figure 4). Estab­lish the equilibrium of the bird so that when the feet are added it will stand firmly without tipping backward or forward. When the body is shaped to your satisfaction, remove surface irregularities by moistening the clay slightly and working over it with the finger or with the straight edge of a wooden tool.

Hollow out the body with a wire tool by cutting a half-inch hole in the bottom and reaching up into the head and the base of the tail (see Figure 1). Make a small circular opening on the under side of the tail placed so that it opens into the air chamber and bevel the edge farthest from the tail (Figure 2). With a large pin, make an air passage through the tail, directing it so that the end of the pin comes in line with the inside edge of the bevel. Enlarge the air passage made by the pin with the pointed tool (see Figure 3). Great care must be exercised in enlarging this passage to avoid cracking from too much pressure. Close the opening through which the body was hol­lowed by placing a clay patch over it, being certain to moisten the contacting surfaces with heavy slip.

The whistle may now be tested. If it does not pro­duce any sound the air passage is too small, or it does not line up properly with the edge of the bevel. When this has been corrected, shape the wings and feet from the remaining one-third of clay and fasten them firmly in place with heavy slip, first scoring the surfaces to be joined. Weld all edges around wings and feet and smooth them down, leaving no sharp corners. Two addi­tional notes may be obtained by making holes in the head and breast as indicated (Figure 4).

Allow the completed piece to dry and then apply the slip decoration (Figure 5). If the bird is mod­eled in terra cotta clay, use a contrasting slip, black or gray; if modeled in gray clay, use terra cotta and black for decoration. Make the slip thin, but not watery. As soon as the shine of moisture has evaporated, start polishing by gen­tle rubbing over the entire surface with a glass or agate burnishing tool, or a highly polished stone such as is found on the beach or river bed. If the slip smudges when polished, it is too wet. Allow to dry before proceeding. If it powders off, it is too dry and should be moistened slightly with an atomizer. Excessive handling or rub­bing with the fingers will remove the polish. When thoroughly dry, the whistle is finished and ready for firing. The size of the bird will deter­mine the pitch of the whistle—the larger the bird, the lower the note.

Figure 1 —Hollow out body with wire tool.       Figure 2 —Make small circular opening under tail.       Figure 3—Make air passage through tail in line with bevel.         Figure 4 (below, left)-Parts of whistle and extra hole.

Figure 5 (below, right)-Finished whistle, finished by rubbing instead of glazing.

DRUM. Among most primitive people, drums were made of hollowed logs with a longitudinal slit and occasionally a bowl-shaped drum of wood with a skin stretched across the top similar to the modern kettle drum. But the Chiriqui In­dians of Panama devised a way to make drums of clay. Some other primitive people have also made clay drums.

The size and shape is optional and the method of construction the same as employed in making a bowl, that is, by the coil method. (See Projects III and IV.) The three shapes shown in the illustra­tion are: the conical, about 16 inches high, de­signed to stand on the ground and to be held by the knees; the cylindrical, with a handle, de­signed to be carried; and the bowl-shaped one, designed to rest in a stand (see Figures 7-9).

The conical-shaped drum may be made in two sections and joined together with slip. The handle on the cylindrical drum should also be joined with slip and firmly welded to the body. The thickness of the walls should not be less than ⅜", and for very large ones, proportionately more. An impor­tant structural feature is the top rim which pro­jects slightly for the attachment of the skin. This edge should be formed by the last coil and in­cised with diagonal lines which provide a rough­ened surface to prevent the drumhead from slip­ping. The skin may be fastened down with a thong or heavy cord.

The most suitable decoration for this primitive instrument is polychrome slip painting, applied when the clay is dry, or impressed designs using rollers or stamps applied when the clay is soft. If a gray clay is used for the construction of the drum, a terra cotta or black slip may be applied to the entire surface and a design engraved through it. By polishing the slip with a burnish­ing tool or smooth stone, a smooth surface can be obtained. Polishing is done in the same way as for the whistle.

Figure 6 — Whistle  made by an  adult student.

Figure 7—Cylindrical type drum.

Figure 8—Conical type drum.

Figure 9—Kettle type drum.

Figure 10-Whistle with crackle glaze, by William Soini.

Figure 11—Peruvian clay whistle. Photo from American Museum of Natural His­tory, New York.

Figure 12—Pottery drum jar. Zuni Pueblo, New Mexico. Photo by Brett Weston.

Are You Ready To Move Onto The Next Lesson? Click Here...