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Her family came from places such as Russia, Poland and Lithuania. Sarah used to suffer from depression as a teenger.

Despite her problems, she never stopped doing comedy. During her time at the high school, she used to perform comedy at Boston Club and various other local clubs.

Her first name is the Cape Dutch form for "Sarah" which marked her as a colonialist's servant. Encoded in her first name were the tensions of affection and exploitation.

Her surname literally means "bearded man" in Dutch. It also means uncivilized, uncouth, barbarous, savage.

Saartjie Baartman — the savage servant. Dutch colonizers also bestowed the term "Hottentot", which is derived from "hot" and "tot", Dutch approximations of common sounds in the Khoi language.

Travelogues that circulated in Europe would describe Africa as being "uncivilized" and lacking regard for religious virtue. Cultural and religious conversion was considered to be an altruistic act with imperialist undertones; colonizers believed that they were reforming and correcting Khoisan culture in the name of the Christian faith and empire.

If she is buried, this chance will be lost Many African female diasporic artists have criticized 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 throughout history.

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

Sander Gilman , 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. 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.

Willis also explains that Cox's side-angle shot makes reference to the "scientific" traditional propaganda used by Cuvier and Julian-Joseph Virey, who sourced Baartman's traditional illustrations and iconography to publish their "scientific" findings.

Reviewers of Harris and Cox's work have commented that the presence of "the gaze" in the photograph of Cox presents a critical engagement with previous traditional imagery of Baartman.

The gaze has been and is a site of resistance for colonized black people globally. Subordinates in relations of power learn experientially that there is a critical gaze, one that "looks" to document, one that is oppositional.

In resistance struggle, the power of the dominated to assert agency by claiming and cultivating "awareness" politicizes "looking" relations — one learns to look a certain way in order to resist.

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.

In her film Reassemblage: From the firelight to the screen , Trinh T. Minh-ha comments on the ethnocentric bias that the colonizers 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.

In November , Paper Magazine released a cover of Kim Kardashian 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".

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.

A People Magazine article in about his relationship with model Grace Jones describes Goude in the following statement:. 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.

Days before the shoot, Goude often worked with his models to find the best "hyperbolized" position to take his photos. His model and partner, Grace Jones, would also pose for days prior to finally acquiring the perfect form.

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

Neelika Jayawardane, a literature professor and editor of the website Africa is a Country, [46] published a response to Oliveira's article.

Jayawardane criticizes de Oliveira's work, stating that she "did untold damage to what the historical record shows about Baartman. The work linked to Baartman is meant to reference the ethnographic exhibits of the 19th century that enslaved Baartman and displayed her naked body.

Artist Oka's Untitled , 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?

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?

James McKay and Helen Johnson, social scientists from England and Australia, respectively, invoke Baartman to fit newspaper coverage of the tennis-playing Venus and Serena Williams within racist trans-historical narratives of "pornographic eroticism" and "sexual grotesquerie.

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.

From Wikipedia, the free encyclopedia. Redirected from Saartjie Baartman. For the South African patrol vessel, see Sarah Baartman ship.

Paris , Bourbon Restoration. South Africa portal Biography portal. Crais; Pamela Scully Sara Baartman and the Hottentot Venus: A ghost story and a biography.

Princeton University Press. Archived from the original on 14 August Retrieved 6 August History of Science. The woman 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 activists.

Court of King's Bench. Wonders and Marvels. The Times Digital Archive. 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 This contract between the Hottentot and Cezar[sic] 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.

The Gender and Science Reader. New York: Routledge, p. Bloomington, Indiana: Indiana University Press: 1— 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.

Journal of British Studies. This stated that she was his domestic servant and would allow herself to be exhibited in public in return for 12 guineas a year.

Oxford Dictionary of National Biography online ed. Oxford University Press. Subscription or UK public library membership required. Solutions for Every Application.

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