Ceramics: Raku Field Trip

First, a bit of history, Raku Firing is a Japanese style of pottery first made during the 1580s; the practice is characterized by the removal of a clay object from the kiln at the height of the firing and causing it to cool very rapidly. This technique was originally created for the tea ceremony. Raku-ware is most found in the form of tea bowls, although many present-day artists have adopted this beloved technique to decorate their ceramic wares, adding a traditional twist to modern art. Raku firing is a historical method of glazing, specifically used to decorate or finish a ceramic piece. It is recognized by the blackened clay body. Due to the nature of this technique, the clay will change color, even without glazing. It will become black from the smoke during the combustion of organic materials. Raku firing requires a specific type of kiln and atmospheric conditions. We are not able to do this in the confines of the school due to monetary, safety and physical restrictions.     

For around 16 years the Raku field trip has been a curriculum staple. I am seeking $1500 to cover our entry fee. If we are lucky enough to be given this opportunity, the day would be abundantly valuable. This truly is a once-in-a-lifetime experience for students. I will never forget the day I took this exact trip in high school. I would like to explain what the day would look like.

Prior to heading to Dakota Potters Supply, we have created 2 pieces each. We chose these projects from 9 potential options, specifically designed to work in this type of firing. We bisque fired these pieces to make them strong and ready to be glazed. It is important to note that the Raku trip is entirely based on the surface treatment or glazing of the projects. Once seated and settled in the warehouse of Dakota Potters Supply, Wanda, one of the co-founders, starts her introduction for the day. She talks about safety, procedure and all the different glazes she has available, showing examples of each. She speaks from great experience. She and her husband Tom started this mom-and-pop company 54 years ago, right out of high school. She is well versed, at this point she has done this exact workshop over 450 times. Once we have all been given the basic guidelines, we are now able to start glazing. Brushes are passed out and glazes are distributed. The going is slow to start; a calm before the storm to come. As students finish one by one, Wanda and I are starting to transport them to Tom, our other co-founder, who is starting to get things loaded into kilns for firing. He takes careful note of which piece goes where and what specialized technique (if any) they require. It is a delicate balance of getting the correct number of pieces into the kiln without overfilling. Once each kiln is full, the fun begins, each kiln will be started and, on its way, to peak temperature. Tom has fully designed and built these kilns to be as efficient as possible. Raku firing is a fast process; kilns need to be able to heat up very quickly. On average these specialized kilns will get to temperature, about 1828 degrees Fahrenheit in about 45 minutes. Comparatively, an electric kiln takes about 6-12 hours to fully heat up to the same temperature. Once the kilns reach their peak temperature, Tom opens the door to the kilns, you feel the heat radiate out and warm your face. The pottery is glowing red, he uses long metal tongs to carefully pluck each piece out of the kiln, placing it into a pile of shredded newspaper and wood shavings. At this stage in the firing process, it is integral to allow the pieces to fully combust. This is the stage in which the clay base will turn black from smoke. The (student) volunteers are wearing fire-proof jackets and gloves wait 3 seconds, audibly yelling “FIRE, FIRE, FIRE” and place a large metal bucket over the top of the pieces; this reduces the atmosphere inside to be void of oxygen while the glazes mature.  This is where the chemistry happens. Raku glazes are specifically formulated to work this way. After a short period of time; just a couple minutes, Tom carefully lifts each lid to expose the piece below. Almost like magic, as the wave of oxygen hits the hot pots, their true color flows over their surface, exposing the final appearance of the piece. It is not uncommon for students to audibly “ooo” and “ahhhh” during this phase. This procedure is repeated for as many kiln cycles as it takes for all pieces to travel through the kiln. During the downtime, Tom and Wanda talk extensively about how they got starts so young, funny stories from their long years of working with students and giving spur of the moment glaze chemistry demonstrations. The most exciting is adding Ferric Chloride (an acid, with a pH of 1) to tin toil. Ferric Chloride is a ‘metal eater’ so exposure to the metal creates a chemical reaction, producing heat and spontaneously combusting. After this long day, we head back to school. I make sure to debrief the day during class the next day. I have never experienced such a drastic change in student affect and morale. There is a palpable difference in understanding. Students have a brand-new knowledge and appreciation of ceramics, the use of kilns and hands-on experience with the firing process.

The proposed activity would make a positive impact on the arts and students at Brookings High School by giving students an opportunity to work hands-on with industry professionals and physically participate in the chemistry involved with ceramics. There is ample opportunity to talk about all the different aspects of art that are overlooked in the public-school setting. There is so much more knowledge and intellect involved in art making than students even are aware of. There’s chemistry, there’s fabrication and design, there’s business management and administration. This shows students a potential avenue for future professions and brings real life perspective of the working artist.

The identified needs that this activity addresses is the understanding of the process of ceramics. There is a lot of science involved that students don’t necessarily get to be a part of. We have electric kilns at school, students can help load/unload the kiln, but they never get an opportunity to really see what’s going on inside. What a beautiful thing to have a hands-on experience to increase that understanding.

The identified needs that this experience addresses are the understanding of the interworking’s of the Raku firing process. Over the course of my semester ceramics class, I make it a point to expose students to many different things. We learn about the difference between different clay bodies and why one is preferable to another in different contexts. We talk about the difference between low-fire and mid-fire glazes. We talk about how and why artists create ceramic art. There are projects that are hand-built, extruded and even wheel thrown. The one thing I can’t get students to grasp is the ‘magic’ of the kiln. How does it work and why? This is an opportunity to really show students the science involved with art. The expected outcome of this activity is an awareness and an appreciation of making and creating ceramic art. For some students the value is experience. For others it ignites a passion in the space between art and science. Combining a couple of their great interests. The success of the project is evaluated by their understanding in subsequent projects. Students cherish the projects made during this experience. It is a highlight of the entire course for many students. They are fully committed to the process and have a physical manifestation of their success.