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Baartman also moved to Manchester where she was baptized as Sarah Bartmann.

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He sold her to an animal trainer, S. Reaux, who made her amuse onlookers who frequented the Palais-Royal. Georges Cuvier , founder and professor of comparative anatomy at the Museum of Natural History examined Baartman as he searched for proof of a so-called missing link between animals and human beings.

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Baartman's body was exploited for scientific racism. After her death, Cuvier dissected her body, and displayed her remains. For more than a century and a half, visitors to the Museum of Man in Paris could view her brain, skeleton and genitalia as well as a plaster cast of her body. Sara Baartman was born to a Khoikhoi family in the vicinity of the Camdeboo in what is now the Eastern Cape of South Africa, on land taken over by Dutch farmers. Her birth name is unknown. Baartman spent her childhood and teenage years on settler farms.

She went through puberty rites, and kept the small tortoise shell necklace, probably given to her by her mother, until her death in France. In the s, a free black the Cape designation for individuals of enslaved descent trader named Peter Cesars met her and encouraged her to move to Cape Town, which had recently come under British control. Records do not show whether she was made to leave, or went willingly, or was sent by her family to Cesars.

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She lived in Cape Town for at least two years working in households as a washerwoman and a nursemaid, first for Peter Cesars, then in the house of a Dutch man in Cape Town. She moved finally to be a wet-nurse in the household of Peter Cesars' brother, Hendrik Cesars, outside of Cape Town in present day Woodstock. As someone of Khoisan descent she could not be formally enslaved [ citation needed ] , but probably lived in conditions similar to slaves in Cape Town. There is evidence that she had two children, though both died as babies [1].

She had a relationship with a poor European military man, Hendrik Van Jong, who lived in Hout Bay near Cape Town, but the relationship ended when his regiment left the Cape. Dunlop persisted and Sara Baartman said she would only go if Hendrik Cesars came too.

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He also refused, but became ever more in debt in part because of unfavorable lending terms because of his status as free black. Finally, in he agreed to go to England to make money through putting Sara Baartman on stage. The party left for London in It is unknown if Sara Baartman went willingly or was forced, but she was in no position to refuse even if she chose to do so. Dunlop was the frontman and conspirator behind the plan to exhibit Sara Baartman: According to an English law report of 26 November , an affidavit supplied to the Court of King's Bench from a "Mr.

Bullock of Liverpool Museum" stated: Alexander Dunlop, who, he believed, was a surgeon in the army, came to him sell the skin of a Camelopard, which he had brought from the Cape of Good Hope Some time after, Mr.

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Dunlop again called on Mr. Bullock, and told him, that he had then on her way from the Cape, a female Hottentot, of very singular appearance; that she would make the fortune of any person who shewed her in London, and that he Dunlop was under an engagement to send her back in two years James the most expensive part of London.

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Dunlop schemed to have Sara exhibited and Cesars was the showman. Crais and Scully say: She lived in the occupation of a Cook at the Cape of Good Hope.

Sarah Baartman

Her Country is situated not less than Miles from the Cape the Inhabitants of which are rich in Cattle and sell them by barter for a mere trifle, A Bottle of Brandy, or small roll of Tobacco will purchase several Sheep — Their principal trade is in Cattle Skins or Tallow. Her exhibition in London just a few years after the passing of the Slave Trade Act created a scandal.

This is in part because British audiences misread Hendrik Cesars, thinking he was a Dutch farmer, boer, from the frontier. Scholars have tended to reproduce that error, but tax rolls at the Cape show he was free black. An abolitionist benevolent society called the African Association conducted a newspaper campaign for her release. Zachary Macaulay led the protest. Hendrik Cesars protested that Baartman was entitled to earn her living, stating: The first, from a Mr Bullock of Liverpool Museum, was intended to show Baartman had been brought to Britain by persons who referred to her as if she were property.

Black Venus : they called her "Hottentot"

The second, by the Secretary of the African Association, described the degrading conditions under which she was exhibited and also gave evidence of coercion. However the conditions of the interview were stacked against her, in part again because the court saw Hendrik Cesars as the boer exploiter, rather than seeing Alexander Dunlop as the organizer. They thus ensured that Cesars was not in the room when Baartman made her statement, but Dunlop was allowed to remain. Historians have stated that this therefore casts great doubt on the veracity and independence of the statement that Baartman then made.

The case was therefore dismissed. The statements directly contradict accounts of her exhibitions made by Zachary Macaulay of the African Institution and other eyewitnesses. The publicity given by the court case increased Baartman's popularity as an exhibit. She also was exhibited at a fair at Bury St Edmunds in Suffolk.

Taylor then sold her to an animal trainer , S. In France she was in effect enslaved. In Paris, her exhibition became more clearly entangled with scientific racism. She was the subject of several scientific paintings at the Jardin du Roi , where she was examined in March She steadfastly refused to remove this even when offered money by one of the attending scientists.

Crais and Scully state: Sara was literally treated like an animal. There is some evidence to suggest that at one point a collar was placed around her neck. Baartman died on 29 December at age 26, of an undetermined [20] inflammatory ailment, possibly smallpox , [21] [22] while other sources suggest she contracted syphilis , [3] or pneumonia.

Cuvier conducted a dissection, but did not do an autopsy to inquire into the reasons for Baartman's death. French anatomist Henri Marie Ducrotay de Blainville published notes on the dissection in , which were republished by Georges Cuvier in the Memoires du Museum d'Histoire Naturelle in Cuvier, who had met Baartman, notes in his monograph that its subject was an intelligent woman with an excellent memory, particularly for faces. In addition to her native tongue, she spoke fluent Dutch, passable English, and a smattering of French.

He describes her shoulders and back as "graceful", arms "slender", hands and feet as "charming" and "pretty". He adds she was adept at playing the jew's harp , [23] could dance according to the traditions of her country, and had a lively personality. He thought her small ears were similar to those of an orangutan and also compared her vivacity, when alive, to the quickness of a monkey.

From the s, there were sporadic calls for the return of her remains. A poem written in by Diana Ferrus , herself of Khoisan descent, entitled "I've come to take you home", played a pivotal role in spurring the movement to bring Baartman's remains back to her birth soil. Mansell Upham, a researcher and jurist specializing in South African colonial history also helped spur the movement to bring Baartman's remains back to South Africa.

After much legal wrangling and debates in the French National Assembly , France acceded to the request on 6 March Her remains were repatriated to her homeland, the Gamtoos Valley, on 6 May [25] and they were buried on 9 August on Vergaderingskop , a hill in the town of Hankey over years after her birth.

Baartman became an icon in South Africa as representative of many aspects of the nation's history. South Africa's first offshore environmental protection vessel, the Sarah Baartman , is also named after her. Sarah Baartman was not the only Khoikhoi to be taken from her homeland. During her period of fame and exploitation, she was known as the "Hottentot Venus. The book moves from Baartman's life and times to an assessment of the figure of the "Hottentot Venus" in contemporary art and a broader consideration of the historic public display of black women.

Appended is a photo gallery that is as essential and diverse as the texts. This remarkable volume satisfies the academic reader with scholarly essays and moves the general reader with its creative expression, making it fascinating and accessible to any one. Thank you for using the catalog. Temple University Press, []. Make this your default list. Page 1 of 1 Start over Page 1 of 1.

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  4. Jacques Chirac's Museum on the Quai Branly. African Art in Transit. The Art of Conversion: We Wanted a Revolution: Black Radical Women, — Inside the Lost Museum: Curating, Past and Present. From Publishers Weekly Starred Review. Temple University Press January 8, Language: Be the first to review this item Amazon Best Sellers Rank: Related Video Shorts 0 Upload your video. Customer reviews There are no customer reviews yet. Share your thoughts with other customers. Write a customer review. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers.

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