Egyptians often refer to their homeland as Masr Om el Dunia, which means “Egypt, Mother of the World”. Because of this, even since ancient times a fellaha (peasant woman) has been used in Egyptian art as a symbol of fertility and giving life. In my travels to Egypt, I have seen a number of beautiful fellaha statues in public places.
Nahdet el Masr (Awakening of Egypt)
The most famous of the fellaha statues in Egypt is the one at the top of this post, which is known as Nahdet el Masr (Awakening of Egypt). It stands in front of Cairo University, near the Giza Zoo. The statue, made from rose granite, was unveiled in 1928. It symbolized Egypt’s struggle for independence from Britain following World War I and the 1919 revolution.
This statue uses both a Sphinx and a fellaha to represent Egypt. The woman unveiling her face represents Egypt’s post-revolution revival, while her companion the Sphinx recalls the greatness of Egypt’s history. (In Arabic, the Sphinx is called Abu el-Hool, which an Egyptian taxi driver told me means something similar to “father of all”.) With these images together, the statue celebrates Egypt’s glorious past while looking ahead to the future. The statue was erected facing east so that each day the sunrise would strike it as if to reawaken Egypt.
The sculptor who created this statue was Mahmoud Mukhtar, a highly respected Egyptian artist of the early 20th century. On May 10, 2012, Mukhtar was honored with a Google Doodle which features Nahdet el Masr to commemorate his birth date.
The Agricultural Museum
The Agriculture Museum in Cairo, Egypt is a treasure that most tourists visiting Egypt have never heard of, and never been to. It resides inside a former palace, so even the architecture is well worth taking a moment to enjoy. I think maybe the museum opened in the 1950’s, but I could be wrong about that. The museum is near the Giza zoo and the Cairo Opera House.
There are two beautiful fellaha statues outdoors on the grounds of the museum. Both celebrate the role of women in the agricultural lifestyle.
Basma Hotel in Aswan
When I go to Aswan, I enjoy staying at the Basma Hotel. Its beautiful courtyard features a large swimming pool, adorned with a statue of a fellaha carrying a balas (water jug). A walkway leads from the edge of the pool out to the statue, so it is possible to pose for a photo with her.
The Fellaha Statue that Never Was
Today, we know the French sculptor Auguste Bartholdi as the artist who created the Statue of Liberty. What many of us don’t realize is that in 1867 he had approached Ismael Pasha, the Viceroy of Egypt, with the idea of creating a massive statue of a fellaha holding aloft a torch which would be placed at the entrance of the Suez Canal. The statue would be called “Egypt – Carrying the Light to Asia”, and it would also serve as a lighthouse.
Bartholdi submitted several sketches in 1869 for his proposed statue, hoping to receive a commission in time to complete it for the Suez Canal’s opening. Unfortunately, the project never went forward due to a lack of funds to pay for it.
I hope someday to visit the Suez Canal, and when I do, I’ll take a moment to fantasize about the fellaha statue that Bartholdi had dreamed of creating for it.
About My Egypt Travels
For several of my trips to Egypt, I have traveled with Sahra Kent, through her Journey Through Egypt program. I discovered the fellaha statues shown in this post through traveling with her. I highly recommend the Journey Through Egypt program to anyone who is interested in a cultural perspective of Egypt.
Because of Dakar, Senegal’s location on the western tip of Africa as shown on the map above, it served as one of many ports along West Africa used in the trans-Atlantic slave trade from 1536 through 1848. Just off Dakar’s coast is Gorée Island, one of the locations where captured Africans were kept before loading them onto the ships. Its name in French is Île de Gorée. Academic sources differ in their views of how prominent Dakar and Gorée Island were in the slave trade as compared to other West African locations, but most agree that some level of trafficking did occur here. Today, this UNESCO World Heritage site stands to remind us of the atrocities of the African Holocaust.
Barack and Michelle Obama visited Gorée Island with their family in 2013. Nelson Mandela visited it in 1991.
Getting to Gorée Island
I went to Gorée Island on a Saturday, and found that it wasn’t a optimal day of the week to go. Many tour groups go there on the weekends, and consequently the process of touring the island and its historical sites can be a bit chaotic. Some of my coworkers opted instead to go on a Wednesday, and they enjoyed much lower crowd levels.
A ferry boat runs several times a day to take visitors to Gorée Island. On a Saturday, it’s important to arrive at the ferry ticket counter at least 45 minutes before the ferry’s departure time, because the lines to purchase tickets are quite long. If you don’t allow enough time, the ferry might leave while you’re still standing in line waiting to buy your ticket.
Reflecting on History
When the ferry docked, one of the first sights we came to was the Statue of Liberation. France gave this sculpture to Senegal in 2006 as a gift to commemorate the abolition of the slave trade.
The House of Slaves (La Maison des Esclaves)
The primary feature that people visit on Gorée Island is the House of Slaves. This is a museum that memorializes the African people who were imprisoned there awaiting their passage to the West. Although the first record of slave trading at Gorée Island dates from 1536, the building that is known as the “House of Slaves” was built in 1776. It is the last remaining such structure on the island.
Some academic sources challenge whether this building was ever actually used for the slave trade. There is also a debate over how many people were shipped out from Gorée Island as opposed to other West African ports. I am not qualified to judge who is correct. Therefore, for purposes of this blog which is about my travels to Senegal, I will describe what the Senegalese people believe about their own history, which is that the House of Slaves was indeed one of the places used as a place to keep prisoners until they could be loaded on ships bound for the Western Hemisphere.
The building is a two-story structure. Wealthy European slave dealers lived with their families on the upper floor, while the captives lived on the ground floor in misery.
According to the guides at Gorée Island, men were held in one cell, adult women in one, girls in one, and young children in a fourth. The photo below shows the room that was used for the men. Its dimensions are approximately 8 feet (2.6 meters) long by 8 feet wide, and up to 30 men would be crammed into it at once. The men would need to stand or crouch all the time, with not enough room to lie down or sit. The room contains no toilet facilities, and therefore its occupants were forced to live in their own filth.
Parents were separated from their children. Adult women were held in one room, and young children in a separate cell for children. Young girls were kept in a special room with slightly better conditions than the others. Men would come to that room to select a girl for an evening of sexual assault.
All of the captives were kept chained and shackled, and fed once a day. The unsanitary conditions led to many problems with disease. The narrow windows allowed in very little light.
When I later read claims by some historians that enslaved people were never kept in the Maison des Esclaves awaiting passage to the West, I remembered gazing at the thick walls and narrow windows, thinking at the time how perfectly constructed they were to prevent escape. The architecture definitely brought to mind some sort of dungeon. Historians may be correct that this site hosted less trafficking activity than others in West Africa, but I believe there was some.
Prisoners who attempted to escape or rebel were moved to the “room of the recalcitrants” as punishment. This was a small, damp, windowless room that lay beneath a stairwell. The tour guides said that few made it out alive.
Historians estimate that prisoners were typically kept at the House of Slaves about 3 months before being loaded onto ships.
The Door of No Return (La Porte Sans Retour)
Tour guides at Gorée Island state that this door led to a wooden wharf used for loading the captives onto the slave ships.
According to tour guides, as prisoners were led through this door and onto the walkway to the slave ships, they were shackled in pairs, each with a 3-pound iron ball attached to his or her leg irons. Prisoners who tried to leap off the walkway to escape would drag along the companions that were shackled to them.
A rocky beach (shown below) lies beneath the walkway. According to tour guides, if a prisoner managed to make it to the water, the iron ball would prevent them from swimming to freedom. Still, guides say some people did make the attempt, often choosing suicide as being preferable to the fate that awaited on distant shores.
There are many additional things to visit on Île de Gorée besides its House of Slaves museum. There are small beaches, picturesque colonial buildings, restaurants, and more. However, I did not visit any of these things.
While visiting the House of Slaves, I felt a strong sensation of oppression, of suffering. The last time I felt something like that was when I visited the concentration camp at Dachau, Germany. A feeling that great evil had happened there. I felt a very strong pull to get away, and return to the mainland. Was it lingering spiritual energy of those who suffered there in the past, or simply an overactive imagination? I can’t say. Whichever it was, it was strong enough to draw me to the ferry, without exploring the rest of the island.
Despite the debate by historians on this island’s history and role in the trans-Atlantic slave trade, I highly recommend it as a place to visit if you are visiting Senegal. I recommend walking through the House of Slaves, looking at the holding cells with their narrow slits for windows, listening to the tour guides, and gazing out through the Door of No Return. Doing these things brings a strong awareness to the history of the African diaspora that simply reading a textbook does not. It’s a place to reflect, and to honor the memory of those who suffered.
I hope someday to return to Senegal for another visit, and if I do perhaps I’ll return to Gorée Island to see the parts I didn’t visit on this trip.
One of the more spectacular landmarks in Dakar, Senegal is the African Renaissance Monument, known in French as Le Monument de la Renaissance Africaine. It shows a man, woman, and child emerging from a volcano. It sits high on a hill overlooking the Atlantic Ocean. At 160 feet (45 meters) tall, it’s the tallest statue in Africa, making it taller than the Statue of Liberty.
At the time this status was unveiled in 2010, marking 50 years of independence from France, Senegal’s President Abdoulaye Wade said, “It brings to life our common destiny. Africa has arrived in the 21st century standing tall and more ready than ever to take its destiny into its hands”. The event featured hundreds of drummers and dancers. I would have loved to have seen that!
Many people in Senegal were not supportive of the statue, criticizing it for various reasons. For example:
Local Senegalese artists criticized the fact that the contract to design it was awarded to a Romanian architect and the contract to build it was awarded to a North Korean company. Why not use local talent?
Some have pointed out that the facial features don’t look particularly African.
It cost $27 million dollars, which was a big concern in a country where many live below the poverty line.
The skimpy clothing of the family does not represent the more modest preferences of the country’s Muslim majority. (95% of Senegalese people are Muslim.)
We had a chance to see this statue up close during our city tour on October 7, 2017, which is when I took this photo. At night, lighting effects give it a beautiful glow.
It’s possible to pay an entrance fee and go inside it. I did not do this during my visit. There are stairs you can take to the top, and look out of windows in the man’s crown.