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kod majstora “Piroćanca” Slobodana Živkovića, gde jeproveo dve sezone. U radionici je bilo pet majstora. Poreduobičajenih posuda (testije, činije za jelo, saksijeitd.), u ovoj radionici pravljeni su i pirotski “šporetski”lonci sa uskim dnom, horizontalno kanelirani, pogodniza otvorenu ringlu šporeta na drva (od Ř 14-40). Potomje preko “berze”u “Guševici”ugovorio još dve sezone radau Obrenovcu, kod majstora Obrada Đođevića.Sledeća etapa bio je Split, od 1969 do 1977. godine.Majstor Jova je uspešno poslovao. Otvorio je čak dveprivatne radionice i radio za turističko tržište. Napredovaoje u poslu i razmišljao da ostane u Splitu, ali ga jezbog nesigurne političke situacije napustio.Po dolasku u Beograd nastanio se u Sremčici, sazidaokuću i opet otvorio privatnu radionicu. Međutim,već posle dve godine morao je da odjavi radnju, zbognerentabilnosti i visokih poreza.Prestao je da se vrti točak u njegovoj pustoj radionici.Majstor Jovino mukotrpno sticano životno i pečalbarskostvaralačko iskustvo više nije vredelo. .Rešio je da napusti grnčarski zanat i potražio je posaovozača u Gradskom saobraćajnom preduzeću, uBeogradu.Ostali su rasuti fragmenti tradicije.Sasvim slučajno desio se preokret u majstor Jovinomživotu. Baš tada je na Fakultetu primenjenih umetnostii dizajna u Beogradu, penzionisan čuveni majstorČeda Jovanović i raspisan je konkurs za novog grnčarana Katedri za keramiku. Majstor Jova se jediniprijavio na konkurs i podneo deset izvedenih radova idiplomu. Primljen je, 1981. godine, gde i danas radi. NaKatedri za keramiku dobio je nove dužnosti. Na smeruunikatne keramike i dizajna, vrteo je po skicamastudenata i to prvi put na električnom točku - kolu.(Stari nožni točkovi ostali su da služe samo za doradupredmeta). Zadužen je takođe za pripremu gline i zaproces pečenja, sada, opet prvi put, u električnim pećima.Osim rada sa studentima, majstor Jova već desetakgodina vrti keramiku po skicamaučesnika međunarodnog simpozijuma“Svet keramike” u Aranđelovcu.Nove okolnosti uticale su ina promenu njegovog rada. Inspirisantipologijom etnografske keramike,majstor Jova se oprobao i u kreiranjunovih formi. Međutim, ostalamu je nostalgija za elementarnim,tradicionalnim grnčarstvom: za engobama,“izvoženom” šarom, pećimana drva ...Autentičnih majstora je sve manje.Na tržištu često dominiraju tehnološkekvazi-umetničke imitacijenarodne keramike. Tradicionalnomgrnčarstvu potrebna je zaštita.Projektom “Eksperimentalna arheologija,tradicionalne proizvodnjekeramike” fragmentovana tradicijaće se restaurirati i revitalizovati kaonaše i balkansko duhovno kulturnonasleđe. Eksperimentom rekonstrukcijetradicionalne keramike učinjenje prvi korak.Majstor Jova je “zatvorio krug”.Opet je bio u prilici da demonstriraautentičan grnčarski opus. To ga jevratilo dalekim uspomenama i sećanjuna ognjište u rodnom selu Ponor,na “pečalbu” i tradicionalnu tehnologijugrnčarskog umeća -”ab ovo”.182hed a workshop again. Nevertheless, after only two years,he had to close the workshop due to the lack of workand high taxes.The wheel stopped rotating in his empty workshop.Jova’s life and working experience, gained with greatdifficulties, was worthy no more.He decided to leave his craft and he looked for a jobof a driver in the City Traffic Agency in Belgrade.Fragments of tradition were left scattered.Then an unexpected turn of events took place. Wellknownpotter Čeda Jovanović retired from the positionat the Faculty of Applied Arts and Design in Belgrade atthe time and the vacancy was announced for a new potterat the Department of Ceramics. Jova was the onlyone to apply for the position and he enclosed ten of hisceramic works and his diploma. He was accepted in1981 and he is still working there. He got some new responsibilitiesat the Department of Ceramics. In theGroup for Unique Ceramic Items and Design, he used anelectric wheel, for the first time in his life, to make piecesbased on students’ sketches (old kick wheels wereleft to serve solely for finishing details). He is also responsiblefor preparation of clay and firing process, butagain for the first time – in electric kilns.Apart for his work with students, Jova has been producingceramics, for ten years already, based on thesketches of the participants of the international simposiumin AranĆelovac, Serbia, called «The World of Ceramics».Then again some new circumstances introducedchanges in his work. Inspired by the tipology of ethnoceramics,Jova tried his skill at creating new forms. Nevertheless,he was nostalgically bonded to the basic, traditionalpottery – engobe, wheeled pattern, old kilns...There are very few authentic potters left. Market isflooded with technological quasi-artistic imitations ofethno-ceramics. Traditional ceramics production needsprotection.The “Experimental Archaeology, Traditional Productionof Ceramics”project is aimedat restorationand revitalizationof this fragmentedtradition, as aform of nationaland Balkans’ intangibleculturalheritage. The firststep was madethrough the experimentalreconstructionof traditionalceramics.The potter Jovaclosed a circle.He had an opportunityonce moreto demonstrateauthentic potter’sskill. It broughthim back to hisold memories ofthe open home firein the village ofPonor where hewas born, of “goingabroad” and oftraditional technologyof potter’sskill – “ab ovo”.