Ode to Naatje van de Dam | I see us, even though we don't always see ourselves

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Dear Naatje,

In 1865 there were five days of celebrations on Dam Square because a new monument was unveiled. This monument consisted of an eighteen-meter high obelisk, with a four-meter high statue on top, which took the form of a woman. This monument was called “the Unity,” in memory of the Ten-Day Battle. The monument was not very popular afterwards, and because the statue was made of Belgian sandstone, it did not withstand Dutch weather conditions very well. Over time, she lost her nose and an arm, but did receive a pet name: Naatje. Naatje, you were not really loved among the people of Amsterdam. If there were important visitors, you were covered up. For almost 60 years you stood on Dam Square and so suddenly you were gone. But this was certainly not the end of the story for you, because when celebrating 500 years of Kalverstraat, your face was recreated. Without a nose and without an arm. Because this is how you were most loved by the people of Amsterdam.

Naatje van de Dam is a good example of how the female body is used as a support for an allegory. In other words, even though we see a female body it does not mean that she is a woman. In fact, the body is only used to depict a higher ideal, rather than standing for a person. This is something often found in sculpture that is not so with the male body. For example, when we think of “female monuments” we often think of the Statue of Liberty in New York, she is not a woman but an allegory for freedom. Whereas when we see a man within sculpture it is often about him. Naatje is one of many examples in Amsterdam (and worldwide) sculpture where the female body is depicted, but it is not about a woman at all.

Thus, not only are there fewer female bodies and women to be seen in public spaces but when we see them, they are often not even about a person. So how can women really feel at home in the city? Even Amsterdam is often seen as a woman, or well, a virgin. Within art history, the idea and image of “the virgin” is not seen as a real person, but again, an ideal. In 1975, in honor of Amsterdam 700 years, Naatje was brought back, as “New Naatje” with a completely different appearance. But she no longer stood for the Ten Day Battle either now. No, now she stands for herself and again for the city. And may she shed the weight of allegory from herself.
50 years later, in honor of Amsterdam 750 years, I write this ode to Naatje and all she stands for. But even more to all the women of Amsterdam. I see us, even if we don't always see ourselves.

Love,

Janneke