Behavioural variability is likely to emerge when a particular task is performed in different cultural settings, assuming that part of human motor behaviour is influenced by culture. In analysing motor behaviour it is useful to distinguish how the action is performed from the result achieved. Does cultural environment lead to specific cultural motor skills? Are there differences between cultures both in the skills themselves and in the corresponding outcomes? Here we analyse the skill of pottery wheel-throwing in French and Indian cultural environments. Our specific goal was to examine the ability of expert potters from distinct cultural settings to reproduce a common model shape (a sphere). The operational aspects of motor performance were captured through the analysis of the hand positions used by the potters during the fashioning process. In parallel, the outcomes were captured by the geometrical characteristics of the vessels produced. As expected, results revealed a cultural influence on the operational aspects of the potters' motor skill. Yet, the marked cultural differences in hand positions used did not give rise to noticeable differences in the shapes of the vessels produced. Hence, for the simple model form studied, the culturally-specific motor traditions of the French and Indian potters gave rise to an equivalent outcome, that is shape uniformity. Further work is needed to test whether such equivalence is also observed in more complex ceramic shapes.

Ceramics are quintessential indicators of human culture and its evolution across generations of social learners. Cultural transmission and evolution theory frequently emphasizes apprentices' need for accurate imitation (high-fidelity copying) of their mentors' actions. However, the ensuing prediction of standardized fashioning patterns within communities of practice has not been directly addressed in handicraft traditions such as pottery throwing. To fill this gap, we analysed variation in vessel morphogenesis amongst and within traditional potters from culturally different workshops producing for the same market. We demonstrate that, for each vessel type studied, individual potters reliably followed distinctive routes through morphological space towards a much-less-variable common final shape. Our results indicate that mastering the pottery handicraft does not result from accurately reproducing a particular model behaviour specific to the community's cultural tradition. We provide evidence that, at the level of the elementary clay-deforming gestures, individual learning rather than simple imitation is required for the acquisition of a complex motor skill such as throwing pottery.