Sarah Baartman - Knowledge (XXG)

743: 2307:"Son caractère étoit gai, sa mémoire bonne, et elle reconnoissoit après plusieurs semaines une personne qu'elle n'avoit vue qu'une fois. Elle parloit tolérablement le hollandais qu'elle avoit appris au Cap, savoit aussi un peu d'anglais, et commencoit à dire quelques mots de francais. Elle dansoit à la manière de son pays, et jouoit avec assez d'oreille de ce petit instrument qu'on appelle guimbarde....ses épaules, son dos, le haut de sa poitrine avoient de la grace...Ses bras un peu grèles, étoient très-bien faits, et sa main charmante. Son pied étoit aussi fort joli..."("Her personality was lively, her memory good and, after a gap of some weeks, she recognised someone she had seen only the once. She spoke reasonable Dutch, which she had learned in The Cape, knew some English, and was beginning to say a few words in French. She danced according to the fashion of her own country, and played on the instrument they call the 'jew's harp' quite by ear....her shoulders, back, and upper chest were graceful...Her arms (rather slender) were very well-made, and her hand charming. Her foot was also very pretty....") Cuvier, G.:"Extrait d'observations faites sur le cadavre d'une femme connue à Paris et à Londres sous le nomme de Vénus Hottentotte", 381:. Her Country is situated not less than 600 Miles from the Cape, the Inhabitants of which are rich in Cattle and sell them by barter for a mere trifle. A Bottle of Brandy, or small roll of Tobacco will purchase several Sheep – Their principal trade is in Cattle Skins or Tallow. – Beyond this Nation is an other, of small stature, very subtle & fierce; the Dutch could not bring them under subjection, and shot them whenever they found them. 9 Jany, 1811. " The tradition of freak shows was well established in Europe at this time, and historians have argued that this is at first how Baartman was displayed. Baartman never allowed herself to be exhibited nude, and an account of her appearance in London in 1810 makes it clear that she was wearing a garment, albeit a tight-fitting one. She became a subject of scientific interest, albeit of racist bias frequently, as well as of erotic projection. It is alleged she was marketed as the "missing link between man and beast". 903:"Permitted" is an installation piece created by Renée Green inspired by Sarah Baartman. Green created a specific viewing arrangement to investigate the European perception of the black female body as "exotic", "bizarre" and "monstrous". Viewers were prompted to step onto the installed platform which was meant to evoke a stage, where Baartman may have been exhibited. Green recreates the basic setting of Baartman's exhibition. At the centre of the platform, which there is a large image of Baartman, and wooden rulers or slats with an engraved caption by Francis Galton encouraging viewers to measure Baartman's buttocks. In the installation there is also a peephole that allows viewers to see an image of Baartman standing on a crate. According to Willis, the implication of the peephole, demonstrates how ethnographic imagery of the black female form in the 19th century functioned as a form of pornography for Europeans present at Baartmans exhibit. 377:

because of Baartman's pejoratively perceived large buttocks. Crais and Scully allege that: "People came to see her because they saw her not as a person but as a pure example of this one part of the natural world". She became known as the "Hottentot Venus" (as was at least one other woman, in 1829). A handwritten note made on an exhibition flyer by someone who saw Baartman in London in January 1811 indicates curiosity about her origins and probably reproduced some of the language from the exhibition; thus the following origin story should be treated with skepticism: "Sartjee is 22 Years old is 4 feet 10 Inches high, and has (for a Hottentot) a good capacity. She lived in the occupation of a Cook at the

893:, a cultural and literary historian states: "While many groups of African Blacks were known to Europeans in the 19th century, the Hottentot remained representative of the essence of the Black, especially the Black female. Both concepts fulfilled the iconographic function in the perception and representation of the world." His article "Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in the Late Nineteenth Century Art, Medicine and Literature" traces art historical records of black women in European art, and also proves that the association of black women with concupiscence within art history has been illustrated consistently since the beginning of the Middle Ages. 999:, 2015) rendered a live performance of a black naked woman in a cage with the door swung open, walking around a sculpture of male genitalia, repeatedly. Her work was so impactful it led one audience member to proclaim, "Do we allow this to happen because we are in the white cube, or are we revolted by it?". Oka's work has been described as 'black feminist art' where the female body is a site for activism and expression. The article also mentions other African female icons and how artists are expressing themselves through performance and discussion by posing the question "How Does the White Man Represent the Black Woman?". 615: 1870:(London, England), 29 November 1810, p. 3: "Law Report". Court of King's Bench. The Attorney-General commented: "As to Lord Caledon's permission, it would have been wrong in his lordship to have given it. But it should be known, that ... no contract among them was valid unless it was made before a Magistrate. This contract between the Hottentot and Cezar was made as usual; but when Lord Caledon discovered for what purpose, he was much displeased, and would have stopped the parties if they had then been in his power." 336:

and suggested she travel to Europe to make money by exhibiting herself. Baartman refused. Dunlop persisted, and Baartman said she would not go unless Hendrik Cesars came too. He also refused, but he finally agreed in 1810 to go to Britain to make money by putting Baartman on stage. The party left for London in 1810. It is unknown whether Baartman went willingly or was forced, although the acceptance of her earlier refusal might imply she did eventually agree to go of her own free will.

692:, writes, "we lack academic studies that view Sarah Baartman as anything other than a symbol. Her story becomes marginalized, as it is always used to illustrate some other topic." Baartman is used to represent African discrimination and suffering in the West although there were many other Khoikhoi people who were taken to Europe. Historian Neil Parsons writes of two Khoikhoi children 13 and six years old respectively, who were taken from South Africa and displayed at a holiday fair in 511:

some points a collar was placed around her neck (although it is unclear whether that was just a prop for the performance)." Specifically, she was exhibited with a collar on some occasions. At the end of her life she was penniless, which was probably connected to the economic depression in France after Napoleon's defeat, resulting in a dearth of audiences that were able and willing to pay to see her. According to present-day accounts in

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theorists to determine the ways in which 19th-century European colonists exercised control and authority over Khoikhoi people and simultaneously crafted racist and sexist ideologies about their culture. In addition to this, recent scholars have begun to analyze the surrounding events leading up to Baartman's return to her homeland and conclude that it is an expression of recent contemporary post colonial objectives.

240: 763:" (Dictionary of medical sciences), he summarizes the true nature of the black female within the framework of accepted medical discourse. Virey focused on identifying her sexual organs as more developed and distinct in comparison to white female organs. All of his theories regarding sexual primitivism are influenced and supported by the anatomical studies and illustrations of Sarah Baartman which were created by 2965:"Another Venus once I saw, / A young Caffrarian from the Cape ;/And Bond Street swells surveyed with awe/The vast proportions of her shape. / Jet-black and woolly was her hair,/And damson-hued her bounteous lips ;/But more admired, beyond compare,/Were two enormous – pillow-slips./Yet slenderer was her girth than thine,/If measured round that Crinoline!" From "Crinoliniana" by "Dunshunner" 1015:

describing their bodies as mannish, animalistic, or hyper-sexual, rather than well-developed. Their victories have been attributed to their supposed natural physical superiorities, while their defeats have been blamed on their supposed lack of discipline. This analysis claims that commentary on the size of Serena's breasts and bottom, in particular, mirrors the spectacle made of Baartman's body.

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sometimes Bushwoman. The "savage woman" was seen as very distinct from the "civilised female" of Europe, thus 19th-century scientists were fascinated by "the Hottentot Venus". In the 1800s, people in London were able to pay two shillings apiece to gaze upon her body. Baartman was considered a freak of nature. For extra pay, one could even poke her with a stick or finger.

365: 344:, which he had brought from the Cape of Good Hope.... Some time after, Mr. Dunlop again called on Mr. Bullock, and told him, that he had then on her way from the Cape, a female Hottentot, of very singular appearance; that she would make the fortune of any person who shewed her in London, and that he (Dunlop) was under an engagement to send her back in two years..." 3506: 811:, Shibamoto discusses Cameron's study on the patriarchal context within language, which consequentially influences the way in which women continue to be contained by or subject to ideologies created by the patriarchy. Many scholars have presented information on how Baartman's life was heavily controlled and manipulated by colonialist and patriarchal language. 357: 259:" was a Dutch-colonial era term for the indigenous Khoikhoi people of southwestern Africa, which then became commonly used in English, but which is now usually considered an offensive term. Although it is still unclear how much she was a willing participant, the Sarah Baartman story is often portrayed as the epitome of racist 1449: 320:. Records do not show whether she was made to leave, went willingly, or was sent by her family to Cesars. She lived in Cape Town for at least two years working in households as a washerwoman and a nursemaid, first for Peter Cesars, then in the house of a Dutch man in Cape Town. She finally moved to be a 982:

titled "Saartjie Baartman: The Original Bootie Queen", which claims that Baartman was "always an agent in her own path." Oliveira goes on to assert that Baartman performed on her own terms and was unwilling to view herself as a tool for scientific advancement, an object of entertainment, or a pawn of

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in which she was illustrated as balancing a champagne glass on her extended rear. The cover received much criticism for endorsing "the exploitation and fetishism of the black female body". The similarities with the way in which Baartman was represented as the "Hottentot Venus" during the 19th century

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comments on the ethnocentric bias that the colonisers eye applies to the naked female form, arguing that this bias causes the nude female body to be seen as inherently sexually provocative, promiscuous and pornographic within the context of European or western culture. Feminist artists are interested

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of Liverpool Museum, was intended to show that Baartman had been brought to Britain by individuals who referred to her as if she were property. The second, by the Secretary of the African Association, described the degrading conditions under which she was exhibited and also gave evidence of coercion.

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Neelika Jayawardane, a literature professor and editor of the website Africa is a Country, published a response to Oliveira's article. Jayawardane criticises de Oliveira's work, stating that she "did untold damage to what the historical record shows about Baartman". Jayawardane's article is cautious

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Jean-Paul has been fascinated with women like Grace since his youth. The son of a French engineer and an American-born dancer, he grew up in a Paris suburb. From the moment he saw West Side Story and the Alvin Ailey dance troupe, he found himself captivated by "ethnic minorities" — black girls, PRs.

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Hendrik Cesars began to show her at the city hospital in exchange for cash, where surgeon Alexander Dunlop worked. Dunlop, (sometimes wrongly cited as William Dunlop), a Scottish military surgeon in the Cape slave lodge, operated a side business in supplying showmen in Britain with animal specimens,

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own free will. She also did not wish to return to her family and understood perfectly that she was guaranteed half of the profits. The case was therefore dismissed. She was questioned for three hours. However, her statement does contradict accounts of her exhibitions made by Zachary Macaulay of the

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Some historians have subsequently expressed doubts on the veracity and independence of the statement that Baartman then made, although there remains no direct evidence that she was lying. She stated that she in fact was not under restraint, had not been sexually abused and had come to London on her

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Dunlop was the frontman and driver of the plan to exhibit Baartman. According to a British legal report of 26 November 1810, an affidavit supplied to the Court of King's Bench from a "Mr. Bullock of Liverpool Museum" stated: "some months since a Mr. Alexander Dunlop, who, he believed, was a surgeon

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relates to Baartman's name, social status, her illustrated and performed presentation as the "Hottentot Venus", although considered an extremely offensive term, and the negotiation for her body's return to her homeland. These components and events in Baartman's life have been used by activists and

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Dunlop had to have Baartman exhibited and Cesars was the showman. Dunlop exhibited Baartman at the Egyptian Room at the London residence of Thomas Hope at No. 10 Duchess Street, Cavendish Square, London. Dunlop thought he could make money because of Londoners' lack of familiarity with Africans and

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Hendrik Cesars and Alexander Dunlop brought Baartman to London in 1810. The group lived together in Duke Street, St. James, the most expensive part of London. In the household were Sarah Baartman, Hendrik Cesars, Alexander Dunlop, and two African boys, possibly brought illegally by Dunlop from the

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Days before the shoot, Goude often worked with his models to find the best "hyperbolised" position to take his photos. His model and partner, Grace Jones, would also pose for days prior to finally acquiring the perfect form. "That's the basis of my entire work," Goude states, "creating a credible

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She was brought out as an exhibit at wealthy people's parties and private salons. In Paris, Baartman's promoters did not need to concern themselves with slavery charges. Crais and Scully suggest: "By the time she got to Paris, her existence was really quite miserable and extraordinarily poor". At

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An article entitled "Body Talk: Feminism, Sexuality and the Body in the Work of Six African Women Artists", curated by Cameroonian-born Koyo Kouoh", which mentions Baartman's legacy and its impact on young female African artists. The work linked to Baartman is meant to reference the ethnographic

413:. Macaulay and The African Association took the matter to court and on 24 November 1810 at the Court of King's Bench the Attorney-General began the attempt "to give her liberty to say whether she was exhibited by her own consent." In support he produced two affidavits in court. The first, from a 315:

Baartman spent her childhood and teenage years on Dutch European farms. She went through puberty rites, and kept a small tortoise shell necklace, most likely her mother's, until her death in France. In the 1790s, a free black (a designation for individuals of enslaved descent) trader named Peter

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within racist trans-historical narratives of "pornographic eroticism" and "sexual grotesquerie." According to McKay and Johnson, white male reporters covering the Williams sisters have fixated upon their on-court fashions and their muscular bodies, while downplaying their on-court achievements,

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From 1814 to 1870, there were at least seven scientific descriptions of the bodies of black women done in comparative anatomy. Cuvier's dissection of Baartman helped shape European science. Baartman, along with several other African women who were dissected, were referred to as Hottentots, or

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Travelogues that circulated in Europe would describe Africa as being "uncivilised" and lacking regard for religious virtue. Travelogues and imagery depicting Black women as "sexually primitive" and "savage" enforced the belief that it was in Africa's best interest to be colonised by European

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Many African female diasporic artists have criticised the traditional iconography of Baartman. According to the studies of contemporary feminists, traditional iconography and historical illustrations of Baartman are effective in revealing the ideological representation of black women in art

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Her first name is the Cape Dutch form for "Sarah" which marked her as a colonialist's servant. "Saartje" the diminutive, was also a sign of affection. Encoded in her first name were the tensions of affection and exploitation. Her surname literally means "bearded man" in Dutch. It also means

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Dutch colonisers also bestowed the term "Hottentot", which is derived from "hot" and "tot", Dutch approximations of common sounds in the Khoi language. The Dutch used this word when referencing Khoikhoi people because of the clicking sounds and staccato pronunciations that characterise the

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According to writer Geneva S. Thomas, anyone that is aware of black women's history under colonialist influence would consequentially be aware that Kardashian's photo easily elicits memory regarding the visual representation of Baartman. The photographer and director of the photo,

715:, an anatomist, and the public as well as the mistreatment she received during and after her lifetime. She was brought to the West for her "exaggerated" female form, and the European public developed an obsession with her reproductive organs. Her body parts were on display at the 1323:. The work is critical of the "grandstanding" that so often surrounds Baartman: as Awerbuck has explained, "Saartjie Baartman is not a symbol. She is a dead woman who once suffered in a series of cruel systems. The best way we can remember her is by not letting it happen again." 611:(accumulation of fat on the buttocks) while reinforcing that aspect as the primary interest of her body. The Baartman exhibit proved popular until it elicited complaints for being a degrading representation of women. The skeleton was removed in 1974, and the body cast in 1976. 598:

to retain her remains (Cuvier had preserved her brain, genitalia and skeleton), on the grounds that it was of a singular specimen of humanity and therefore of special scientific interest. The application was approved and Baartman's skeleton and body cast were displayed in

578:, could dance according to the traditions of her country, and had a lively personality. Despite this, Cuvier interpreted her remains, in accordance with his theories on racial evolution, as evidencing ape-like traits. He thought her small ears were similar to those of an 899:

and Renee Valerie Cox worked in collaboration to produce the photographic piece Hottentot Venus 2000. In this piece, Harris photographs Victoria Cox who presents herself as Baartman while wearing large, sculptural, gilded metal breasts and buttocks attached to her body.

2044:"Dunlop produced a contract signed by himself and Sara dated 29 October 1810, which was to run from the preceding March for five years. This stated that she was his domestic servant and would allow herself to be exhibited in public in return for 12 guineas a year." 974:

has caused feminist critics to comment how the objectification of the Baartman's body and the ethnographic representation of her image in 19th-century society presents a comparable and complementary parallel to how Kardashian is currently represented in the media.

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However, if indeed she had come to England of her own free will, her situation appears to have changed when she later travelled to France. A man called Henry Taylor took Baartman there around September 1814. Taylor then sold her to a man sometimes reported as an

2245:"The Hottentot Venus, it appears from the French papers, died at Paris last week, after an illness of eight days. Her malady is said to have been the small pox, which the physicians mistook successively for a catarrh, a pleurisy, and a dropsy of the chest." 814:

Baartman grew up on a farm. There is no historical documentation of her indigenous Khoisan name. She was given the Dutch name "Saartjie" by Dutch colonists who occupied the land she lived on during her childhood. According to Clifton Crais and Pamela Scully:

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led the protest, with Hendrik Cesars protesting in response that Baartman was entitled to earn her living, stating: "has she not as good a right to exhibit herself as an Irish Giant or a Dwarf?" Cesars was comparing Baartman to the contemporary Irish giants

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in re-representing Baartman's image, and work to highlight the stereotypes and ethnocentric bias surrounding the black female body based on art historical representations and iconography that occurred before, after and during Baartman's lifetime.

1946:, 26 November 1810, p. 3: "...she is dressed in a colour as nearly resembling her skin as possible. The dress is contrived to exhibit the entire frame of her body, and the spectators are even invited to examine the peculiarities of her form." 634:, herself of Khoisan descent, entitled "I've come to take you home", played a pivotal role in spurring the movement to bring Baartman's remains back to her birth soil. The case gained world-wide prominence only after American paleontologist 837:

and the empire. Scholarly arguments discuss how Baartman's body became a symbolic depiction of "all African women" as "fierce, savage, naked, and untamable" and became a crucial role in colonising parts of Africa and shaping narratives.

849:, due to the continued treatment of Baartman's body as a cultural artifact, Philippe Mennecier's statement is contemporary evidence of the same type of ideology that surrounded Baartman's body while she was alive in the 18th century. 829:; these components of the Khoikhoi language were considered strange and "bestial" to Dutch colonisers. The term was used until the late 20th century, at which point most people understood its effect as a derogatory term. 1652:

The woman ... is now called Sara Baartman. Unfortunately, no record of her original name exists and she is better known by her epithet, the Hottentot Venus', to her contemporaries, present-day historians, and political

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The publicity given by the court case increased Baartman's popularity as an exhibit. She later toured other parts of England and was exhibited at a fair in Limerick, Ireland in 1812. She also was exhibited at a fair at

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the use of the diminutive form commonly indicated familiarity, endearment or contempt. Her surname has also been spelt Bartman and Bartmann. She was an infant when her mother died and her father was later killed by

845:, argued against her return, stating: "We never know what science will be able to tell us in the future. If she is buried, this chance will be lost ... for us she remains a very important treasure." According to 719:

for 150 years, sparking awareness and sympathy in the public eye. Although Baartman was the first Khoikhoi to land in Europe, much of her story has been lost, and she is defined by her exploitation in the West.

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illusion." Similarly, Baartman and other black female slaves were illustrated and depicted in a specific form to identify features, which were seen as proof of ideologies regarding black female primitivism.

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in the 1980s. Mansell Upham, a researcher and jurist specializing in colonial South African history, also helped spur the movement to bring Baartman's remains back to South Africa. After the victory of the

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settlers. Cultural and religious conversion was considered to be an altruistic act with imperialist undertones; colonisers believed that they were reforming and correcting Khoisan culture in the name of

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Sarah Baartman was not the only Khoikhoi to be taken from her homeland. Her story is sometimes used to illustrate social and political strains, and through this, some facts have been lost. Dr.

1886: 519:, she was also working as a prostitute, but the biography by Crais and Scully only notes that as an uncertain possibility (since she was exhibited, besides other places, at the brothel in 711:

Baartman's tale may be better known because she was the first Khoikhoi taken from her homeland, or because of the extensive exploitation and examination of her body by scientists such as

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one who has so greatly attracted the notice of the town... is stated to have been baptized on Sunday week last, in the Collegiate church at Manchester, by the name of Sarah Bartmann."

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Cuvier refers to her instrument as a "guimbarde", usually translated into English as "jew's harp": a contemporary illustration however shows Baartman with a Khoi instrument, the

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In her testimony to the Court of King's Bench via a Dutch interpreter Baartman said: 'Her father was a drover of cattle, and in going up the country was killed by the Bushmen.'

603:. Her skull was stolen in 1827 but returned a few months later. The restored skeleton and skull continued to arouse the interest of visitors until the remains were moved to the 2863: 3385:

Fausto-Sterling, Anne (1995). "Gender, Race, and Nation: The Comparative Anatomy of 'Hottentot' Women in Europe, 1815–1817". In Terry, Jennifer and Jacqueline Urla (Ed.)

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throughout history. Such studies assess how the traditional iconography of the black female body was institutionally and scientifically defined in the 19th century.

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Gilman, Sander L. (1985). "Black Bodies, White Bodies: Toward an iconography of Female Sexuality in Late Nineteenth Century Art, Medicine, and Literature".

328:. There is evidence that she had two children, though both died as babies. She had a relationship with a poor Dutch soldier, Hendrik van Jong, who lived in 475:. In France she may have been in effect enslaved, although her exact position remains unclear. In Paris, her exhibition became more clearly entangled with 3618: 3098: 500: 3064: 2908: 1125:, George Osborne angrily refuses his father's instruction to marry a West Indian mulatto heiress by referring to Miss Swartz as "that Hottentot Venus". 2715: 574:. He describes her shoulders and back as "graceful", arms "slender", hands and feet as "charming" and "pretty". He adds she was adept at playing the 2559: 841:

During the lengthy negotiation to have Baartman's body returned to her home country after her death, the assistant curator of the Musée de l'Homme,

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It has been suggested by anthropologists that this body type was once more widespread in humans, based on carvings of female forms dating to the

3239: 708:'s show "Little People" advertised a 16-year-old Khoikhoi girl named Flora as the "missing link" and acquired six more Khoikhoi children later. 3583: 3119: 3048: 2755:

McKay, James; Johnson, Helen (July 2008). "Pornographic eroticism and sexual grotesquerie in representations of African American sportswomen".

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that its subject was an intelligent woman with an excellent memory, particularly for faces. In addition to her native tongue, she spoke fluent

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Paramount Chief Glen Taaibosch, chair of the Gauteng Khoi and San Council, says that today "we call her our Hottentot Queen" and honour her.

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The professional background of Goude and the specific posture and presentation of Kardashian's image in the recreation on the cover of

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and other eyewitnesses. A written contract was produced, which has been suggested by some interested modern commentators to be a legal

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made the decision to rename Memorial Hall, at the centre of the campus, to Sarah Baartman Hall. This follows the earlier removal of "

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that not only was perceived as a curiosity at that time, but became subject of scientific interest as well as of erotic projection.

595: 1373:, make mention of her in their song "Black Effect": "Stunt with your curls, your lips, Sarah Baartman hips", off their 2018 album 463:, S. Réaux, but whose name was actually Jean Riaux and belonged to a ballet master who had been deported from the Cape Colony for 2048: 1758: 3191:"Black Bodies, White Bodies: Toward an Iconography of Female Sexuality in Late Nineteenth-Century Art, Medicine, and Literature" 1422:

explores the ideas of colonialism and culture as they relate to BIPOC and Saartjie Baartman in her book/play, "Venus' Daughter".

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and founder of the discipline of comparative anatomy, visited her. She was the subject of several scientific paintings at the

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Willis, Deborah. "Black Venus 2010: They called her 'Hottentot.'" Philadelphia: Temple University Press, 2010. Project Muse

3603: 3531: 704:, a travelling show including two Khoikhoi men, women, and a baby, toured Britain, Ireland, and France from 1846 to 1855. 586:. He was part of a movement of scientists who were aiming to codify a hierarchy of races with white Europeans at the top. 2207: 889:

are artists who seek to investigate contemporary social and cultural issues that still surround the African female body.

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when women stand, thus giving the impression of a separate and enveloping curtain of skin."Gould, Stephen Jay (1985).

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From the 1940s, there were sporadic calls for the return of her remains. A poem written in 1998 by South African poet

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Scully, Pamela; Crais, Clifton (2008). "Race and Erasure: Sara Baartman and Hendrik Cesars in Cape Town and London".

130: 942:, based the photo on his previous work "Carolina Beaumont", taken of a nude model in 1976 and published in his book 3628: 3608: 2868: 1175: 804: 3322:

Scully, Pamela (2010). "Peripheral Visions: Heterography and Writing the Transnational Life of Sara Baartman". In

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Postcolonial Performance and Installation Art: Lyle Ashton Harris and Renee Valerie Cox: "Hottentot Venus 2000"

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by Steve Jones has it that "Saartje's hands are covered by the marks of the smallpox that killed her" (p. 204).

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In response to the November 2014 photograph of Kim Kardashian, Cleuci de Oliveira published an article on

735: 484: 716: 604: 520: 3573: 2622:"When Disco Queen Grace Jones Lamented 'I Need a Man,' Artist Jean-Paul Goude Prowled Too Near Her Cage" 1477: 1095: 1076: 842: 640: 406: 31: 3081: 1762:(QB), vol. 61, no. 1 (January–March 2007), pp. 9-22 & vol. 61, no. 2 (April–June 2007), pp. 74-82. 3578: 3270: 2493: 1227: 447: 389: 385: 325: 3373: 2827: 1546: 73: 2621: 1482: 1440: 1403: 1267: 1263: 1179: 1121: 756: 531:

Baartman died on 29 December 1815 around age 26, of an undetermined inflammatory ailment, possibly

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formally requested that France return the remains. After much legal wrangling and debates in the

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Social scientists James McKay and Helen Johnson cited Baartman to fit newspaper coverage of the

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in the household of Peter Cesars' brother, Hendrik Cesars, outside of Cape Town in present day

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by the time she was an adult). Her birth name is unknown, but is thought by some to have been

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to her homeland, the Gamtoos Valley, on 6 May 2002, and they were buried on 9 August 2002 on

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made the historic decision to rename Memorial Hall to Sarah Baartman Hall (8 December 2018).

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Facetten der Sarah Baartman: Repräsentationen und Rekonstruktionen der ‚Hottentottenvenus'

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about introducing what she considers false agency to historical figures such as Baartman.

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exhibits of the 19th century that enslaved Baartman and displayed her naked body. Artist

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Peoples on Parade: Exhibitions, Empire and Anthropology in Nineteenth-Century Britain

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Shibamoto, S Janet. Feminism and Linguistic Theory by Deborah Cameron (Book Review),

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wrote a poem titled "THE HOTTENTOT VENUS" exploring the subject in his 1993 book Eye.

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behaviour. Riaux exhibited her under more pressured conditions for 15 months at the

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Deviant Bodies: Critical Perspectives on Difference in Science and Popular Culture

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https://socialjustice.sun.ac.za/downloads/events/2022-10-diana-ferrus-on-sarah.pdf

2065: 2708:"#EpicFail When @Jezebel Wanted to make Saartjie Baartman Relevant to Millenials" 2332: 1059:

Baartman became an icon in South Africa as representative of many aspects of the

3006:"THE HOTTENTOT VENUS (poem) - Mordechai Geldman - Israel - Poetry International" 2357:

For a discussion of the politics of her return, see chapter 7 Crais and Scully,

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Strother, Z.S. (1999). "Display of the Body Hottentot", in Lindfors, B., (ed.),

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Qureshi, Sadiah (June 2004). "Displaying Sara Baartman, the 'Venus Hottentot'".

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uncivilized, uncouth, barbarous, savage. Saartjie Baartman – the savage servant.

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makes reference to Baartman in her song "For Sarah Baartman" on her 2017 album

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collaborated with the model Renee Valerie Cox to produce a photographic image,

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The Saartjie Baartman Centre for Women and Children, a refuge for survivors of

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In recent years, some black women have found her story to be a source of

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heavily relied on Baartman's story to examine the cultural history of women's

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referred to her allusively in "Hornpipe", a poem in the satirical collection

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used Sarah Baartman's published image to validate typologies. In his essay "

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near Cape Town, but the relationship ended when his regiment left the Cape.

321: 317: 3536: 3222: 2436: 400:, conducted a newspaper campaign for her release. The British abolitionist 3505: 1313:

published a poem titled "Drop It Like It's Hottentot Venus" in April 2012.

2203:"Proceedings of the Academy of Sciences of the Royal Institute of France" 1462: 1349:

references Baartman's story: "They put her body in a jar and forget her".

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Mara Verna's interactive audio and video piece including a bibliography

3214: 3190: 2737: 2428: 1172:, the Creole protagonist Anna Morgan is referred to as "the Hottentot". 1083:

In 2015 South Africa's former Cacadu District Municipality was renamed

962:"I had jungle fever." He now says, "Blacks are the premise of my work." 858:

Traditional iconography of Sarah Baartman and feminist contemporary art

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Cesars (also recorded as Caesar) met her and encouraged her to move to

2178:"Sold as a slave, exhibited as a freak, Sarah finds dignity after 200" 2640:"Kim Kardashian doesn't realize she's the butt of an old racial joke" 1416:

in her 2019/20 book, "Shame on Me: An Anatomy of Race and Belonging".

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published notes on the dissection in 1816, which were republished by

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Sara Baartman and the Hottentot Venus: A Ghost Story and a Biography

1706:

Sara Baartman and the Hottentot Venus: A ghost story and a biography

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Another "Hottentot Venus" featured at a fête given in 1829 for the

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South Africa's first offshore environmental protection vessel, the

384:

Her exhibition in London just a few years after the passing of the

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and also compared her vivacity, when alive, to the quickness of a

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https://doc.lagout.org/Others/Temple.University.-.Black.Venus.pdf

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Raw Nerves: Lauren Beukes Chats to Diane Awerbuck and Recommends

2144:"Remains of Abused South African Woman Given Final Resting Place" 1547:

https://doc.lagout.org/Others/Temple.University.-.Black.Venus.pdf

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Representation and Black Womanhood: The Legacy of Sarah Baartman

243:''La Belle Hottentote'', a 19th-century French print of Baartman 88: 3065:"Megan Tench: 'Exploring, not exploiting, a shameful history'" 2094: 3120:"Edinburgh's most controversial show: Exhibit B, a human zoo" 1253:

investigates Baartman's life from a postcolonial perspective.

3024:"The Life and Times of Sarah Baartman:"The Hottentot Venus"" 1406:

references Sarah Baartman in his song "Upside Down" in 2020.

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and there is evidence that she got married on the same day.

299:, supposedly the closest to her given name. Saartjie is the 2113:

recounted Cuvier's monograph on Baartman's genitalia, "The

2097:

at England Births and Christenings 1538–1975, FamilySearch.

479:. French scientists were curious about whether she had the 3403:

Venus in the Dark: Blackness and Beauty in Popular Culture

1789:"Hendrik Cesars and the Tragedies of Race in South Africa" 1755:

This article was published originally (in 2 parts) in the

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used the story of Baartman as the basis for her 1996 play

1240:

wrote a poem entitled "Hottentot Venus" in her 2007 book

2605:"The Troubling Racial History of Kim K's Champagne Shot" 2560:"Kardashian photo plays off controversial black imagery" 1929:

Africans on Stage: Studies in Ethnological Show Business

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had purportedly observed in Khoisan at the Cape. French

360:

A caricature of Baartman drawn in the early 19th century

1931:. Bloomington, Indiana: Indiana University Press: 1–55. 3082:"National Poetry Month at the Rumpus - The Rumpus.net" 2792:"'Butts: A Backstory' Tells Us to Take Them Seriously" 1319:

has Baartman feature as a central thread in her novel

1904:"(still image) Sartjee, the Hottentot Venus, (1811)" 562:

in 1817. Cuvier, who had met Baartman, notes in his

251:

in arts and cultural anthropology, referring to the

418:Baartman was then questioned before an attorney in 161: 111: 84: 57: 41: 3440: 3167: 1902:Digital Collections, The New York Public Library. 1703: 953:article in 1979 about his relationship with model 547:to inquire into the reasons for Baartman's death. 3240:"Displaying Sara Baartman, the 'Hottentot Venus'" 2924: 2922: 2891:"Saartjie Baartman Centre for Women and Children" 2543:"Reassemblage: From the firelight to the screen." 2309:Mémoires du Musée Nationale d'Histoire Naturelle, 2081:, Thursday, 12 December 1811, p. 3: "The African 1923: 1921: 224:attraction in 19th-century Europe under the name 3389:, 19–48. Bloomington, Indiana University Press. 3624:South African expatriates in the United Kingdom 2895:Saartjie Baartman Centre for Women and Children 2415:(1). The University of Chicago Press: 204–242. 1697: 1695: 1693: 1691: 1689: 1687: 1685: 1683: 1681: 1290:refers to a fictional descendant in her novel: 688:, professor of women and gender studies at the 340:in the army, came to him to sell the skin of a 3362:Black Venus 2010: They Called Her 'Hottentot'. 2510:Osha, Sanya (2014), "African Sexualities II", 2459:Signs: Journal of Women in Culture and Society 1679: 1677: 1675: 1673: 1671: 1669: 1667: 1665: 1663: 1661: 908:Reassemblage: From the firelight to the screen 618:Sarah Baartman's grave, on a hill overlooking 446:. On 1 December 1811 Baartman was baptised at 2658:"Saartjie Baartman: The Original Booty Queen" 2599: 2597: 2368: 2366: 1733: 1731: 1729: 1727: 934:have prompted much criticism and commentary. 535:, while other sources suggest she contracted 422:, in which she was fluent, via interpreters. 8: 3166:Crais, Clifton & Scully, Pamela (2009). 2930:"Renaming Memorial Hall Sarah Baartman Hall" 2052:(online ed.). Oxford University Press. 2027:Lederman, Muriel and Ingrid Bartsch (2001). 1787:Crais, Clifton; Scully, Pamela (June 2009). 1343:' song "Blk Girl Soldier" on her 2016 album 1128:In "Crinoliniana" (1863), a poem satirising 957:describes Goude in the following statement: 778:, also referred to as Steatopygian Venuses. 3364:Philadelphia, PA: Temple University Press. 2514:, Palgrave Macmillan US, pp. 181–199, 919:Media representation and feminist criticism 2579:"Kim Kardashian: Posing Black Femaleness?" 1985: 1983: 1981: 1979: 1702:Crais, Clifton C.; Scully, Pamela (2009). 1621: 1619: 1617: 1615: 1613: 49: 38: 2573: 2571: 2402: 2400: 2398: 2396: 2394: 2259: 2257: 2255: 1939: 1937: 1812: 1810: 1808: 1806: 1804: 1802: 1611: 1609: 1607: 1605: 1603: 1601: 1599: 1597: 1595: 1593: 30:For the South African patrol vessel, see 3108:, 25 March 2013. Retrieved 14 July 2013. 2105: 2103: 2023: 2021: 1541: 1539: 1537: 1535: 1533: 570:, passable English, and a smattering of 507:, where she was examined in March 1815. 187:1789 – 29 December 1815), also spelled 3528:, including Diana Ferrus's pivotal poem 3281:Scully, Pamela; Crais, Clifton (2008). 2862:Ashley, Rokeshia Renné (15 July 2021). 2790:Christensen, Lauren (7 December 2022). 2049:Oxford Dictionary of National Biography 1558: 1556: 1554: 1529: 1146:A Portrait of the Artist as a Young Man 594:Saint-Hilaire applied on behalf of the 560:Memoires du Museum d'Histoire Naturelle 543:. Cuvier conducted a dissection but no 247:"Venus" is sometimes used to designate 3526:South Africa government site about her 1234:(2003), which humanizes Sarah Baartman 368:Baartman's exhibition poster in London 2359:Sara Baartman and the Hottentot Venus 199: 178: 7: 3545:article on the return of her remains 3030:from the original on 23 October 2008 1958:"The significance of Sarah Baartman" 1956:Parkinson, Justin (7 January 2016). 1580:"The significance of Sarah Baartman" 1578:Parkinson, Justin (7 January 2016). 1276:composed a 20-minute opera entitled 1211:The Life and Times of Sarah Baartman 1208:directed a documentary on Baartman, 1085:Sarah Baartman District Municipality 803:In Janet Shibamoto's book review of 774:era which are collectively known as 724:Her body as a foundation for science 601:Muséum d'histoire naturelle d’Angers 501:Muséum national d'Histoire naturelle 263:, and of the commodification of the 3552:The Life and Times of Sara Baartman 3492:The life and times of Sara Baartman 2373:Gordon-Chipembere, Natasha (2011). 2208:The Journal of Science and the Arts 1835:Australian Broadcasting Corporation 1400:- a play about the Hottentot Venus. 1132:, the author compares a woman in a 761:Dictionnaire des sciences medicales 651:1994 South African general election 312:(San people) while driving cattle. 253:Roman goddess of love and fertility 191:, sometimes in the diminutive form 3142:Summerhall - Open Minds Open Doors 2911:. 11 November 2005. Archived from 2826:Heller, Karen (28 November 2022). 2714:. 18 November 2014. Archived from 2046:Harvey, Karen. "Baartman, Sarah". 626:Valley, Eastern Cape, South Africa 552:Henri Marie Ducrotay de Blainville 483:which earlier naturalists such as 249:representations of the female body 165:Hottentot Venus, Saartjie Baartman 25: 3619:South African emigrants to France 3138:"A Khoisan Woman, by Zodwa Nyoni" 3118:O'Mahony, John (11 August 2014). 2266:"Sarah Baartman, at rest at last" 1738:Upham, Mansell (13 August 2019). 795:Much speculation and study about 3517:Site by Sarah Bartmann Gravesite 3504: 3051:. Postcolonial Studies @ Emory. 2988:"Walton: 'Hornpipe' from Facade" 2377:. New York: Palgrave Macmillan. 1759:National Library of South Africa 1447: 1433: 676:over 200 years after her birth. 3447:. University of Chicago Press. 1280:, which was to be premiered by 1270:as Sarah, was released in 2010. 3174:. Princeton University Press. 2971:Blackwood's Edinburgh Magazine 2512:African Postcolonial Modernity 2264:Davie, Lucille (14 May 2012). 1823:"The Fight for Sarah Baartman" 1710:. Princeton University Press. 1071:, opened in Cape Town in 1999. 809:Feminism and Linguistic Theory 690:University of the Western Cape 284:family in the vicinity of the 1: 3584:Art and cultural repatriation 2333:"'Hottentot Venus' goes home" 2176:Zilwa, Obed (9 August 2002). 2029:The Gender and Science Reader 1565:"Searching for Sara Baartman" 1182:and 1990 book, both entitled 1136:to a "Venus" from "the Cape". 276:Early life in the Cape Colony 220:woman who was exhibited as a 184: 65: 27:Khoikhoi woman (c. 1789–1815) 3594:People from the Eastern Cape 3424:. Bloomsbury, Random House. 2496:; "Who are the Hottentots", 2066:UK public library membership 3559:The Saartjie Baartman Story 3010:www.poetryinternational.org 2967:William Edmondstoune Aytoun 1412:discusses Baartman and the 1396:in 2019, a new play called 1117:William Makepeace Thackeray 1108:On 10 January 1811, at the 596:Muséum d'Histoire Naturelle 3645: 3614:Ethnological show business 3550:A documentary film called 3287:Journal of British Studies 3259:10.1177/007327530404200204 3189:Gilman, Sander L. (1985). 3055:. Retrieved 22 March 2015. 2150:. Reuters. 9 August 2002. 2130:. New York: W. W. Norton, 1992:Journal of British Studies 1757:Quarterly Bulletin of the 1640:10.1177/007327530404200204 1080:, is also named after her. 748:Natural History of Mammals 734:Caricature of Baartman by 373:slave lodge in Cape Town. 29: 3485:Vénus noire (Black Venus) 2769:10.1080/13504630802211985 647:African National Congress 180:[ˈsɑːraˈbɑːrtman] 48: 3439:Qureshi, Sadiah (2011). 3238:Qureshi, Sadiah (2004). 2956:, 10 January 1811; p. 2. 2311:iii (1817), pp. 259–274. 1232:Hottentot Venus: A Novel 1178:explores her story in a 1090:On 8 December 2018, the 672:, a hill in the town of 662:French National Assembly 197:Afrikaans pronunciation: 3465:. Münster: Lit Verlag. 3461:Ritter, Sabine (2010). 3420:Holmes, Rachel (2006). 3401:Hobson, Janell (2005). 3344:10.1057/9780230277472_3 2934:University of Cape Town 2520:10.1057/9781137446930_8 2031:. New York: Routledge, 1384:University of Cape Town 1098:" from the hall's name. 1092:University of Cape Town 746:Image from Volume 2 of 392:, created a scandal. A 280:Baartman was born to a 3360:Willis, Deborah (Ed.) 2909:"SA takes on poachers" 2461:(1988): 635–640.Print. 2123:"The Hottentot Venus." 2058:10.1093/ref:odnb/73573 1889:30 August 2011 at the 1292:Bator, Joanna (2010). 964: 822: 751: 739: 627: 411:Patrick Cotter O'Brien 388:, which abolished the 369: 361: 244: 232:body type uncommon in 3483:Abdellatif Kechiche: 2915:on 30 September 2007. 2744:(171). 22 April 2015. 2683:"Neelika Jayawardane" 2656:Oliveira, Cleuci de. 1478:Feminine beauty ideal 1018:Heather Radke's 2022 959: 817: 797:colonialist influence 745: 733: 641:The Mismeasure of Man 617: 550:The French anatomist 495:, head keeper of the 367: 359: 261:colonial exploitation 242: 32:Sarah Baartman (ship) 3604:Human zoo performers 3513:at Wikimedia Commons 2584:4 March 2016 at the 2127:The Flamingo's Smile 1821:(16 November 2021). 1228:Barbara Chase-Riboud 1222:Hottentot Venus 2000 1032:Reclaiming the story 929:released a cover of 448:Manchester Cathedral 394:British abolitionist 386:1807 Slave Trade Act 352:On display in Europe 3599:Sideshow performers 3422:The Hottentot Venus 3336:Transnational Lives 2718:on 24 February 2021 2712:Africa is a Country 2687:Africa is a Country 2646:, 12 November 2014. 2611:, 13 November 2014. 2565:, 13 November 2014. 2474:. etymologiebank.nl 2472:"etymologiebank.nl" 1817:Kelsey-Sugg, Anna; 1793:Wonders and Marvels 1483:Feminism and racism 1441:South Africa portal 1337:) depicts Baartman. 1264:Abdellatif Kechiche 1184:The Venus Hottentot 1176:Elizabeth Alexander 1110:New Theatre, London 1103:Cultural references 757:Julien-Joseph Virey 527:Death and aftermath 521:Cours des Fontaines 485:François Levaillant 428:African Institution 398:African Association 146:33.8372°S 24.8848°E 142: / 3487:. Paris: MK2, 2009 3338:. pp. 27–40. 3332:Woollacott, Angela 3276:on 5 January 2012. 3247:History of Science 3071:, 2 November 2008. 2797:The New York Times 2541:Min-ha, Trin – T, 2500:, 9 November 2014. 2494:originalpeople.org 2148:The New York Times 1628:History of Science 1376:Everything is Love 1242:Translating Mo'um. 1218:Lyle Ashton Harris 1169:Voyage in the Dark 1153:Dame Edith Sitwell 1021:Butts: A Backstory 923:In November 2014, 897:Lyle Ashton Harris 853:Feminist reception 843:Philippe Mennecier 752: 740: 628: 590:Display of remains 513:the New York Times 370: 362: 303:form of Sarah; in 245: 201:[ˈsɑːrtʃi] 3629:Scientific racism 3609:Cape Colony women 3511:Saartjie Baartman 3509:Media related to 3454:978-0-2267-0096-0 3412:978-0-415-97402-8 3370:978-1-4399-0205-9 3353:978-1-349-31578-9 3181:978-0-691-13580-9 2994:on 15 April 2012. 2757:Social Identities 2384:978-1-349-29798-6 2276:on 14 August 2010 2111:Stephen Jay Gould 2064:(Subscription or 1717:978-0-691-13580-9 1584:BBC News Magazine 1513:Scientific racism 1488:Human variability 1473:Female body shape 1303:978-83-7747-466-2 1284:in November 2010. 1256:A movie entitled 1191:Mordechai Geldman 1130:Victorian fashion 1069:domestic violence 1055:Legacy and honors 827:Khoikhoi language 636:Stephen Jay Gould 477:scientific racism 379:Cape of Good Hope 289:Dutch Cape Colony 267:of black people. 169: 168: 151:-33.8372; 24.8848 115:Vergaderingskop, 99:Kingdom of France 16:(Redirected from 3636: 3508: 3458: 3446: 3435: 3416: 3372:. 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Retrieved 3141: 3132: 3124:The Guardian 3123: 3113: 3105: 3100: 3094: 3085: 3076: 3069:Boston Globe 3068: 3060: 3044: 3032:. Retrieved 3018: 3009: 3000: 2992:the original 2982: 2970: 2961: 2953: 2949: 2937:. Retrieved 2933: 2913:the original 2903: 2894: 2885: 2875:11 September 2873:. Retrieved 2867: 2857: 2845:. Retrieved 2831: 2821: 2809:. Retrieved 2795: 2785: 2760: 2756: 2750: 2741: 2732: 2720:. Retrieved 2716:the original 2711: 2702: 2690:. Retrieved 2686: 2677: 2665:. Retrieved 2661: 2651: 2643: 2634: 2625: 2616: 2608: 2588: 2562: 2558:Lee, Jolie, 2554: 2546: 2537: 2511: 2505: 2497: 2488: 2478:25 September 2476:. Retrieved 2466: 2458: 2453: 2412: 2408: 2374: 2358: 2353: 2341:. Retrieved 2336: 2327: 2316: 2308: 2303: 2290: 2278:. Retrieved 2274:the original 2269: 2246: 2241: 2234:In The Blood 2233: 2229: 2217:. Retrieved 2212: 2206: 2197: 2185:. Retrieved 2181: 2171: 2159:. Retrieved 2147: 2138: 2125: 2115:labia minora 2090: 2082: 2078: 2074: 2047: 2040: 2028: 1995: 1991: 1966:. 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