The Pyramid in the Garden
As part of its exhibition Earth Matters: Land as Material and Metaphor in the Arts of Africa, the National Museum of African Art invited several African artists to do earthworks in the Smithsonian’s gardens. These are large sculpture works which use earth as material, motif, and/or message. One of these is ”Ala” by Ghanaian artist El Anatsui.
Ala is the Igbo goddess of earth, and is also associated with morality, fertility, and creativity. Although she is usually depicted as a voluptuous woman, El Anatsui has chosen shape and materials to allude to her powers. The pyramidal shape may be seen as emblematic of the pyramids of Giza in Egypt. But for El Anatsui it reflects the ubiquity of mounds of earth in West Africa. There are termite mounds, and mounds may be used to mark the entrance of villages, serving as posts or guardians for those who live there. In addition, there are crops [e.g., yams] that are planted in mounds of earth.
The materials that sheath the pyramid are trade objects that come from the earth. The metal plates are graters made from flattened, repurposed large cans or drums. These are punctured with nails, leaving sharp ridges that are used for grating. These graters are used primarily for processing cassava, which is a staple food that was imported into Africa from Brazil. Cassava — also known by other names such as yuca, garri, manioc, and tapioca— is a very hardy and multi-purpose food which can be prepared in many forms: it can be boiled, fried, mashed into a paste, and ground into a flour-like substance. Depending on how it is cooked and used, cassava can be a main dish, a side dish, dessert, and even bread. Cassava has a long history as a trade object: it was carried on ships going from the western hemisphere to Africa and traded for human lives. It thus served as a kind of currency, with most of the cargo left in Africa. But enough was kept on board to feed those being taken as slaves to the Americas. Cassava therefore has a very mixed legacy: it was both the source of the slaves’ misery and the means of their survival and sustenance.
The graters are interspersed with mirrors, which comes from silica and therefore from sand. In more formal terms, mirrors break up the shape, giving what the artist calls ‘buoyancy’ or lightness to the structure. In addition to being trade objects, mirrors are used in transportation to reflect where we’ve come from. For El Anatsui, these mirrors are a visual pun: they allude to the sankofa bird, which twists its neck to look back and is associated with a variety of Asante proverbs and meanings, including the following:
(1) It is never too late to turn around and start on a new path once one has recognized one’s mistake.
(2) Look at your past and you will recognize your future.
(3) You don’t know where you’re going unless you know where you’ve come from.
Combining different shapes, media, history, and metaphors, El Anatsui has created a tribute to Ala which brings her ‘down to earth’ and makes her accessible to many in a variety of ways.
–Annette B. Ramírez de Arellano, Smithsonian docent