By Deborah Willis
As a tender South African girl of approximately twenty, Saartjie Baartman, the so-called 'Hottentot Venus', used to be delivered to London and put on convey in 1810. Clad within the Victorian an identical of a physique stocking, and paraded throughout the streets and on degree in a cage she grew to become a human spectacle in London and Paris. Baartman's special body turned the thing of ridicule, interest, clinical inquiry, and wish till and after her untimely dying. The determine of Sarah Baartman used to be decreased to her sexual elements. "Black Venus 2010" lines Baartman's reminiscence in our collective histories, in addition to her symbolic heritage within the development and identification of black girls as artists, performers, and icons. The wide-ranging essays, poems, and pictures in "Black Venus 2010" symbolize the most compelling responses to Baartman. each grapples with the iconic legacy of this younger African girl who eternally continues to be a touchstone for black girls. individuals contain: Elizabeth Alexander, Holly Bass, Petrushka A Bazin, William Jelani Cobb, Lisa Gail Collins, Renee Cox, J. Yolande Daniels, Carole Boyce Davies, Leon de Wailly, Manthia Diawara, Diana Ferrus, Cheryl Finley, Nikky Finney, Kianga okay. Ford, Terri Francis, Sander Gilman, Renee eco-friendly, pleasure Gregory, Lyle Ashton Harris, Michael D. Harris, Linda Susan Jackson, Kellie Jones, Roshini Kempadoo, Simone Leigh, Zine Magubane, E. Ethelbert Miller, Robin Mitchell, Charmaine Nelson, Tracey Rose, Radcliffe Roye, Bernadette Searle, Lorna Simpson, Debra S. Singer, Penny Siopis, Hank Willis Thomas, Kara Walker, Michele Wallace, Carla Williams, Carrie Mae Weems, J. T. Zealy, and the editor.
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Extra resources for Black Venus 2010: They Called Her "Hottentot"
55. Ellis, Psychology of Sex, 4:176. 56. , 4:176 n. 1. 57. , Schon auf den ersten Blick: Lesebuch zur Geschichte unsere Feindbilder (Darmstadt: Luchterhand, 1981). 58. Freud, Standard Edition, 25:212. See also Renate Schlesier, Konstruktion der Weiblichkeit bei Sigmund Freud (Frankfurt: Europäische Verlagsantalt, 1981), 35–39. ROBIN MITCHELL 2 Another Means of Understanding the Gaze Sarah Bartmann in the Development of Nineteenth-Century French National Identity All representations require editing.
3. The common belief that representations of black women in French culture are a twentiethcentury phenomenon is not surprising, especially given the enormous impact of Josephine Baker on 1920s Paris. In fact, art historian Petrine Archer-Straw makes an interesting observation in her text dealing with what she calls “Negrophilia” and the Avant-Garde in Paris. Archer-Straw concludes that the white artistic interactions with black culture in the 1920s were not about blackness. Rather, they “were really about whiteness and about providing Europeans with a new sense of direction,” Negrophilia: Avant-Garde Paris and Black Culture in the 1920s (New York: Thames & Hudson, 2002).
E. Taggert, “A Tavern Scene: An Evening at the Rose,” Art Quarterly 19 (1956): 320–323. 9. M. N. , The Itinerary of Benjamin of Tudela (London: H. Frowde, 1997), 68. 10. , University of Connecticut, 1974); and Werner Krauss, Zur Anthropologie des 18. Jahrhunderts: Die Frühgeschichte der Menscheit im Blickpunkt der Aufklärung, ed. Hans Kortum and Christa Gohrisch (Munich: Hanser, 1979). See also George W. , Race, Culture and Evolution: Essays in the History of Anthropology (Chicago: University of Chicago Press, 1982).