Project in media and other sources:
DWTonline (Suriname)
United News (Suriname)
STVS Suriname (Suriname)
NIAS-KNAW (The Netherlands) - Eating Earth
NIAS-KNAW (The Netherlands) - Geophagy
Northwestern University (USA)
Eating Earth at NIAS-KNAW, June 2018. Photo by Ielyj Ivgi
'PIMBA. CLOSING THE GAP', installation at ReadyTex Art Gallery, Paramaribo, Suriname.
In a number of countries all over the world, soil eating is a common cultural, spiritual or healing practice. In particular, this tradition is present in Suriname. Apart from being an important part of Winti, pimba is an intrinsic component of the culture, as people often eat it as a snack. Especially, pimba is often consumed by (pregnant) women.
Winti prayer in Santigron village, Suriname, August 2017. Photo by Masha Ru
In Europe and USA eating earth-based substances is officially regarded as a psychological disorder, known as pica - consumption non-nutritious items, including earth. Eating soil is discouraged, in particular in the Netherlands, as it can contain elements hazardous for health. However, some people in Amsterdam practice various types of earth eating. A number of popular brands available in health shops sell edible soil and clay officially meant for internal use. Also, almost every cultural Surinamese shop trades pimba.
Pimba after its production and ready to be sold in Paramaribo, Suriname. Photo by Ielyj Ivgi, August, 2017.
In 2013 a research by the senior inspector of Dutch Food Authority Noortje M. Reeuwijk and others was published. Their article “Levels of lead, arsenic, mercury and cadmium in clays for oral use on the Dutch market and estimation of associated risks” describes how edible clays were sampled on the Dutch market from 2004 until 2012 and further examined. The study focuses on 36 traditional clays and 27 health clays (63 in total). Traditional clays on the market are usually sold in ethnic shops and the information about these clays is scarce, there is often no labelling and proper packaging. Health clays are generally marketed as food supplements; they are well packed and labelled. One can find them in health shops, such as Ecoplaza, and web shops. In the work of Reeuwijk, 26 out of the 63 edible clay samples originate from Suriname. The authors of the publication point out that the use of traditional and health clays should be discouraged since it can seriously damage health due to their toxicity.
Making balls of pimba in Paramaribo, Suriname. Photo by Ielyj Ivgi, August, 2017.
My genuine interest in the topic led Ielyj Ivgi and me to Suriname where I carried out a field research and collected first-hand information while interacting with the local communities. We have learned a lot about pimba, starting from its digging and production, and ending up with cultural engagement and getting to know local Winti spirituality. We exchanged with the community in Suriname by swapping pimba with various similar clays and soils from Russia and Ukraine. A number of interviews have been conducted. Video and photo documentation has taken place. We have collected more than twenty various types of pimba, which have been taken along to the Netherlands. In Suriname, pimba is not merely a deep-rooted element of the everyday life. This special kind of edible clay is often eaten as a snack and is especially valued by (pregnant) women. On a spiritual level, it is an essential component of Winti. Within the cultural practices the connection with the earth - represented by a life-giving deity - is crucial because earth gives power and helps reconnect with own self.
Interview with Sha about tastes, sensations, traditions, addictions, fears and pleasures. Amsterdam, November 2017.
Despite of the warnings of food authorities in both The Netherlands and Suriname, cultural communities still continue to engage with pimba. Project 'PIMBA. CLOSING THE GAP' examines through contemporary arts sometimes participatory practice and visual story telling, cultural traditions within contemporary context, as well as their connection and interaction with science and policies.
Open studio at WG-Plein, Amsterdam, November 2017.
'PIMBA. CLOSING THE GAP' is an ongoing project, which is now in the stage of a research and a series of presentations in Amsterdam. It is possible thanks to the financial participation of the Amsterdam Fund for the Arts (AFK). The project is partly developed within Netherlands Institute for Advanced Study NIAS-KNAW with support of NIAS and the Society of Arts-KNAW.
'Klei Eten in Kleiburg', as a part of the Open Art Route in Amsterdam South-East. Photo's by Ielyj Ivgi, December 2017.
I am very thankful to people and organisations who made the research in Suriname possible: Rene Tosari and Priscilla Tosari; Monique and Ada (ReadyTexArt gallery, Paramaribo); Nanda Plein, Nanda Vonkel, Sharida; Marcel Pinas & Toto (Tembe Art Studio, Moengo); Isidoor, Harry, Dolwin (ArtCeb Botopasi); Helena Sevela; Mike Jabini; Ken Doorson, Danasion Akobe, Sri Iro. I am grateful for collaboration within the Netherlands: Sha, Vincent Henar, Priscilla Macintosh, Xavier Robles de Medina, Henk Sallons, Nathalie Ho Kang You, Claudette, Dolce, Djamilla Hiwat (Mavencio Ontmoetingsgroep), Ronald, Diederick & Irene (Burenhuis van Buuren), Wouter Klein Velderman.
Speakers and participants of 21&22 of June: Sera Young, Kwasi Koorndijk, Riecelda Landveld, Bert Boekschoten, Elihaika Minja, Ron Hoogenboom, Debra Solomon, Victorine Pinas, Mandisa Mayne, Ludo&Hedo, Matthew Hoye, Saskia Coenen Snyder, Jules Rijssen. My colleagues at NIAS-KNAW, fellows and stuff, especially: Angelie Sens, Kahliya Ronde, Dindy van Maanen, Sjoerd Janssen, Yvonne Stommel, Remco Raben, Jaroslav Rudiš, Astrid Schulein, Preeti Chopra, Maartje Abbenhuis, Johanna Söderström, Joe & Robin Bauman
Masha Ru Studio team: Irene Kobalchuk, Alain Chaney, Ida Brottmann, Ielyj Ivgi, Jester Van schuylenburch; Photographers and video-makers: Ielyj Ivgi, Jester van Schuylenburch; Graphic Designer: Olga Ganzha.
