A 20-year-old girl from South Africa known as Sarah “Saartjie” Baartman was recruited to work in a Paris zoo because of a genetic characteristic known as steatopygia – protuberant buttocks and elongated labia. Whites went to the zoo to look at her buttocks and at other naked Black women with the same shape.
Gawking with desire: since forever and today.
This is the shit that I was talking about. Black women have a history of being treated like animals and if we dare say some shit about it we get shut down and told we’re either over reacting or lying for attention.
Her body is beautiful to me. It looks normal and perfect to me, but maybe that is because i am a black woman. All i’ve ever seen was the caricatures of her body:
Seeing actual pictures of her, is… i don’t have a word for it.
And on top of that this is the body type that everyone is starting love/desire/envy. Or rather it has been the body that they have ALWAYS loved/desired/envied!
I have so many feelings about this i cant even articulate them. Suffice it to say i’m just disgusted by how they treated, raped, and molested this woman ( and how to some extent they continue to do this to us black women today). I think this is where some white feminist seem to not have an understanding about why Slut Walk might now be a great liberation for some women of color.
Sara Baartman (hottentot venus)
Saartjie Baartman was born in 1789 into the Griqua tribe of the eastern Cape, a subgroup of the Khoisan people who are now thought to be the first aboriginal inhabitants of the southern tip of Africa. Her family moved to a shack near Cape Town and, while working as a 20-year-old servant to a local farmer, she attracted the attention of a visiting English ship’s surgeon, William Dunlop. What made her a curiosity in the doctor’s eyes were her extraordinary steatopygia — enlarged buttocks — and her unusually elongated labia, a genital peculiarity of some Khoisan women of the time.
She agreed to go with Dunlop to England where, he promised her, she would become rich and famous as a subject of medical and anthropological research. She was 21 when she left Cape Town for London. At first, she was indeed put under anatomical scrutiny by scientists, who named her genital condition the ‘Hottentot apron’. ‘Hottentot’ was a word coined by early Dutch settlers to South Africa to describe the strange clicking language of the Khoisan. But the only success she achieved was as an exhibit before the general public.
Contemporary descriptions of her shows at 225 Piccadilly, Bartholomew Fair and Haymarket in London say Baartman was made to parade naked along a “stage two feet high, along which she was led by her keeper and exhibited like a wild beast, being obliged to walk, stand or sit as he ordered”. People paid one shilling to gawk at her, where she was depicted as a wild animal in a cage, dancing for her keeper. For several years, working-class Londoners crowded in to shout vulgarities at the protruding buttocks and large vulva of the unfortunate woman.
The aristocracy were no less fascinated at what they saw as a sexual freak, but they had private showings. Baartman was supposed to earn half of the proceeds from her performances, but in fact she saw little of the profits. In 1814, after spending four years being paraded around the streets of London, Baartman was taken to Paris and, according to the archival accounts, was handed to a “showman of wild animals” in a travelling circus. Her body was analysed by scientists, including Baron Cuvier, one of Napoleon Bonaparte’s surgeons. A number of pseudo-scientific articles were written about her, testimony at the time to the superiority of the European races.
Her anatomy even inspired a comic opera in France. Called “The Hottentot Venus” or “Hatred to French Women”, the drama encapsulated the complex of racial prejudice and sexual fascination that occupied European perceptions of African people at the time. It appears Baartman worked as a prostitute in Paris and drank heavily to cope with the humiliation she was subjected to. Sad and homesick, she died a lonely alcoholic on January 1 1816, probably of pneumonia. But even then she was to suffer indignity. Less than 24 hours after her death she was carved up by Baron Cuvier. He had her body cast in wax, dissected and her skeleton articulated. Her genitalia and brain were pickled and displayed at the Musee de l’Homme (Museum of Mankind). They were finally withdrawn from public view in 1974, and her remains were assigned to a storeroom and forgotten.
But some Africans never forgot Baartman. Nelson Mandela made a request to France in 1994 for her remains to be handed back. Her cause gained momentum amid post-apartheid South Africa’s new awareness of tribal identity. All over the country, aboriginal peoples are asserting their heritage rights, claiming not only political and cultural recognition, but also the restitution of ancestral land and the protection of intellectual property rights. The San, once known as the bushmen of southern Africa, have successfully reclaimed historic tribal land and won a share in the proceeds of internationally marketed drugs made from their traditional medicinal plants. And now Baartman’s Khoisan tribe, which has been recognized by the United Nations as an indigenous “First Nation,” has won a victory for tribal recognition by securing the return of the ‘Hottentot Venus’ to South Africa.
RENEE COX, HOTT-EN-TOT, 1994.
Sand mandala at Thikse Monastery, Ladakh, India.
THE IMPORTANCE OF EACH OTHER (2014)
New Zealand-based photographer Holly Spring has stumbled upon a foolproof formula for capturing beauty: whimsical scenery, a realistic blend of photography and digital art, and her remarkable, one-handed daughter, Violet.
Spring recently shot a striking portrait series of 4-year-old Violet, who suffered early in life with Hirschsprung’s Disease and is missing her left hand. The series has rightfully gained recognition for both its composition — which earned Spring the NZIPP/Epson Iris Portrait Creative Photographer of the Year award in 2014 — and its positive message. While Violet may not be fully able-bodied, Spring said she wants her to understand her limitless potential.
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