Search results
Results From The WOW.Com Content Network
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 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 ...
The film concerns a woman named Sarah Baartman during colonial times. Set between 1810 and 1815, the documentary relates the true story of a 20-year-old woman travelling to London from Cape Town. A member of the Khoekhoe people, the woman was exhibited as a freak across England and became known as the Hottentot Venus. An abolitionist group ...
George's cuvier declared "I have never seen a human head so similar to that of an ape." Standing by a moulded cast of Saartjie Baartman's body, anatomist Georges Cuvier's verdict is categorical. Several years before in 1810 Sarah Baartman, a khoikhoi woman from South Africa, is brought to London by Hendrick Caezer, an Afrikaaner.
ESQUIRE: The book opens with the story of Sarah Baartman. You write, "The story of Sarah Baartman is important not only as a troubling tale of a large-butted woman who was mistreated in the early ...
Nona Faustine’s self-portrait series, “White Shoes,” highlights the city’s historic role in the transatlantic slave trade, as well as broader narratives about the perception of Black ...
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 ...
Venus is a 1996 play written by American playwright Suzan-Lori Parks about the life of Khoekhoe woman Sarah Baartman.Set during the 19th century, the play opens in South Africa where Baartman was born, before transitioning to Europe as Baartman begins to perform in freak shows in London.
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 ...