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Sarah Baartman (Afrikaans: [ˈsɑːra ˈbɑːrtman]; c. 1789 – 29 December 1815), also spelled Sara, sometimes in the diminutive form Saartje (Afrikaans pronunciation:), or Saartjie, and Bartman, Bartmann, was a Xhosa-Khoekhoe woman who was exhibited as a freak show attraction in 19th-century Europe under the name Hottentot Venus, a name that was later attributed to at least one other woman ...
Sarah Baartman was a Khoikhoi woman from Cape Town, South Africa, in the early 1800s. She was taken to Europe and advertised as a sexual "freak" for entertainment. She was known as the "Hottentot Venus." She died in 1815 and was dissected.
An abolitionist group unsuccessfully sued to free her from the exhibitionists. Baartman was taken to France in 1814 and from then on became a subject of scientific investigation. Even after her death the following year, she became a symbol for African cultural inferiority and her sex organs and brain were displayed at the Musee de l'Homme until ...
Sarah Baartman was an international sensation of objectification. British LibraryIn “BLACK EFFECT,” a track from Beyoncé and Jay-Z’s 2018 collaborative album “EVERYTHING IS LOVE ...
Closeup of enlarged labia, standing. Elongated labia (also known as sinus pudoris or macronympha, [1] and colloquially as khoikhoi apron or hottentot apron) is a feature of certain Khoekhoe and other African women [citation needed] who develop, whether naturally or through artificial stretching, relatively elongated labia minora, which may hang up to 10 centimetres (4 in) outside the rest of ...
A former Playboy model killed herself and her 7-year-old son after jumping from a hotel in Midtown New York City on Friday morning. The New York Post reports that 47-year-old Stephanie Adams ...
The sleeping subway passenger who was burned to death on a Brooklyn F train had aspirations to be a flight attendant and was known for her “million dollar smile,” according to her high school ...
The text includes a very strong critique of the display and representation of Baartman's body, yet the images that currently accompany the text simply reinscribe the original harm. Diana Ferrus, whose poem was, as you note, instrumental in the return of Sara Baartman's bones and who took an active role in her reburial, would be happy to discuss ...