The Secret of Morocco’s Green & Ochre Pottery
The long, dusty road leading to Tamegroute takes me back in time. The family-run pottery workshops in this oasis, not far from the Sahara desert, are among the oldest in the country. Dating back to the mid-1600s, they remain virtually unchanged. Artisans still work with manual pottery wheels in buildings made from the same clay used to make pots and tiles. Finished pieces are fired in multi-chambered wood stoves.
These pottery workshops aren’t just old; they also house one of Morocco's greatest secrets. There is a particular shade of green and ochre traditionally used in the pottery of this region. These colors are unique to Tamegroute, and you won’t be able to find them anywhere else.
Mohamed sits at the door of his family’s shop, creating intricate designs on a plate with paint and a syringe. His family immigrated from Mali five generations ago, bringing their craft with them.
“They made bowls from wood, but when they got to Morocco, they thought of making them from pottery instead,” he says.
His family, along with others that settled Tamegroute, decided to develop a green glaze since it’s the color of Islam. They also began experimenting with ochre, a color that symbolizes warmth and earth. Today, besides the traditional green and ochre pottery, Mohamed also creates pieces with multi-colored patterns. He uses the same needle technique that local women use to draw henna tattoos.
“I noticed that visitors to the shop have different color preferences,” he says. “Green and ochre aren’t to everyone’s taste.”
The Secret of Tamegroute’s Green & Ochre Pottery
The artisans source all their raw materials from nature. Clay is collected from nearby palm groves by digging deep holes in the ground up to ten meters deep. It’s a dangerous practice and has claimed the lives of a few workers over the years. (Fortunately, there has only been one accident recently, and it was relatively minor). Palm tree branches are mostly used as fuel for the stove, although tamarisk and eucalyptus chips left over from local carpenters are sometimes added.
The signature green glaze contains a high proportion of manganese, silica, cobalt, a hint of copper, barley flour, and a particular type of rock found in local mines a few hundred kilometers away. The ochre glaze, on the other hand, includes iron oxide and clay from the region, giving it a rich, earthy tone. Both concoctions are mixed with water in a huge basin and left to thicken for about a week. But it’s the firing process that is thought to be key to the multi-shade green and ochre colors that have yet to be replicated elsewhere.
“The colors never fade,” says Mohamed. “Even when exposed to heat or humidity, they don’t change.”
Apart from pottery, the artisans also make tiles which are in high demand. From houses to mosques, the tiles are a common sight in many buildings in the region. I’ve spent a few afternoons helping the workers make them. Slabs of clay are dusted with sand before they are flattened in a mold using a precise technique that I gradually began to master. The process is almost meditative. We often spend hours churning out rectangles of clay while the rhythm of Arabic pop music sets the pace.
Today’s Green & Ochre Pottery Artisans
Their age-old ways are about to change, though. Mohamed tells me that after a visit from the king about five years ago, the government decided to build a modern workspace for them down the road. The spacious quarters, which have now been completed, are equipped with electric pottery wheels as well as solar and gas-powered kilns, which will do away with the billowing smoke that their current stoves produce.
Many of the artisans are looking forward to having more space to work. The families have grown, and they are often cramped. But for Mohamed, the biggest concern is whether the modern stoves will be able to replicate the same irregular green and ochre colors they are famous for. Several years ago, they were given a gas stove, but they found that the glazes became uniform in color. Thus, they continued firing their pieces the traditional way.
Mohamed is willing to give the new space a chance. However, he won’t let anyone touch the historic workspace. Nestled within the surrounding kasbahs, there are plans to restore it so that visitors can still visit the pottery’s birthplace.
“It’s our treasure,” he says. “One day the original green and ochre pottery will be worth a fortune.”
Tamegroute Pottery: History and Tradition
Tamegroute, located within the Draa Valley in southern Morocco, is a village whose name means ‘last place before the desert’ in Amazigh. It was historically the last stop for caravans traveling across the desert on camels. The founders of Tamegroute aimed to elevate its status to that of a city, rivaling the imperial city of Fes, known for its pottery. They assembled craftsmen specializing in pottery, creating a signature green shade that remains unique to the region.
Today, Tamegroute is home to seven atelier families, each owning one oven and their own workshop. The crafting process, passed down through generations, involves collecting clay from the Draa Valley riverbed. The clay is molded and shaped, then left to dry in the Moroccan sun before being glazed with a mix of manganese, silicon, and copper. The pottery is baked in stoves fueled by palm tree branches and sometimes eucalyptus and tamarisk chips from local carpenters.
Perfectly Imperfect
Every piece of Tamegroute pottery is crafted by hand from natural materials unique to the region, bearing the hallmarks of its maker. The variations in color, shape, and size make each piece truly unique, embracing the perfectly created imperfections that define the beauty of Tamegroute pottery.
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