Analyzing contemporaneous and contemporary works that re-imagine the "Hottentot Venus."

As a young South African woman of about twenty, Saartjie Baartman, the so-called “Hottentot Venus,” was brought to London and placed on exhibit in 1810. Clad in the Victorian equivalent of a body stocking, and paraded through the streets and on stage in a cage she became a human spectacle in London and Paris. Baartman’s distinctive physique became the object of ridicule, curiosity, scientific inquiry, and desire until and after her premature death. The figure of Sarah Baartman was reduced to her sexual parts. Black Venus 2010 traces Baartman’s memory in our collective histories, as well as her symbolic history in the construction and identity of black women as artists, performers, and icons. The wide-ranging essays, poems, and images in Black Venus 2010 represent some of the most compelling responses to Baartman. Each one grapples with the enduring legacy of this young African woman who forever remains a touchstone for black women. Contributors include: Elizabeth Alexander, Holly Bass, Petrushka A Bazin, William Jelani Cobb, Lisa Gail Collins, Renée Cox, J. Yolande Daniels, Carole Boyce Davies, Leon de Wailly, Manthia Diawara, Diana Ferrus, Cheryl Finley, Nikky Finney, Kianga K. Ford, Terri Francis, Sander Gilman, Renée Green, Joy 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.

Tracing the figure of Black Venus in literature and visual arts from different periods and geographies, Exploring the Black Venus Figure in Aesthetic Practices discusses how aesthetic practices may restore the racialized female body in feminist, anti-racist and postcolonial terms.

The acclaimed biography of Sarah Baartman, once a slave and later a showgirl 'A significant and timely book ... Holmes has produced a laceratingly powerful story' Frances Wilson, Literary Review 'Impeccable ... In telling her extraordinary story, Holmes's fascinating book illuminates the forces which dominated her age, and resound in our own' Sunday Telegraph In 1810 the slave turned showgirl Sarah Baartman, London's most famous curiosity, became its legal cause célèbre. Famed for her exquisite physique – in particular her shapely bottom – she was stared at, stripped, pinched, painted, worshipped and ridiculed. This talented, tragic young South African woman became a symbol of exploitation, colonialism – and defiance. In this scintillating and vividly written book Rachel Holmes traces the full arc of Baartman's extraordinary life for the first time.

Saartjie Baartman was twenty-one years old when she was taken from her native South Africa and shipped to London. Within weeks, the striking African beauty was the talk of the social season of 1810–hailed as “the Hottentot Venus” for her exquisite physique and suggestive semi-nude dance. As her fame spread to Paris, Saartjie became a lightning rod for late Georgian and Napoleonic attitudes toward sex and race, exploitation and colonialism, prurience and science. In African Queen, Rachel Holmes recounts the luminous, heartbreaking story of one woman’s journey from slavery to stardom. Born into a herding tribe known as the Eastern Cape Khoisan, Saartjie was barely out of her teens when she was orphaned and widowed by colonial war and forced aboard a ship bound for England. A pair of clever, unscrupulous showmen dressed her up in a body stocking with a suggestive fringe and put her on the London stage as a “specimen” of African beauty and sexuality. The Hottentot Venus was an overnight sensation. But celebrity brought unexpected consequences. Abolitionists initiated a lawsuit to win Saartjie’s freedom, a case that electrified the English public. In Paris, a team of scientists subjected her to a humiliating public inspection as they probed the mystery of her sexual allure. Stared at, stripped, pinched, painted, worshipped, and ridiculed, Saartjie came to symbolize the erotic obsession at the heart of colonialism. But beneath the costumes and the glare of publicity, this young Khoisan woman was a person who had been torn from her own culture and sacrificed to the whims of fashionable Europe. Nearly two centuries after her death, Saartjie made headlines once again when Nelson Mandela launched a campaign to have her remains returned to the land of her birth. In this brilliant, vividly written book, Rachel Holmes traces the full arc of Saartjie’s extraordinary story–a story of race, eros, oppression, and fame that resonates powerfully today.

Suzan-Lori Parks continues her examination of black people in history and stage through the life of the so-called "Hottentot Venus," an African woman displayed semi-nude throughout Europe due to her extraordinary physiognomy; in particular, her enormous buttocks. She was befriended, bought and bedded by a doctor who advanced his scientific career through his anatomical measurements of her after her premature death.

Displayed on European stages from 1810 to 1815 as the Hottentot Venus, Sara Baartman was one of the most famous women of her day, and also one of the least known. As the Hottentot Venus, she was seen by Westerners as alluring and primitive, a reflection of their fears and suppressed desires. But who was Sara Baartman? Who was the woman who became the Hottentot Venus? Based on research and interviews that span three continents, Sara Baartman and the Hottentot Venus tells the entwined histories of an elusive life and a famous icon. In doing so, the book raises questions about the possibilities and limits of biography for understanding those who live between and among different cultures. In reconstructing Baartman's life, the book traverses the South African frontier and its genocidal violence, cosmopolitan Cape Town, the ending of the slave trade, the Industrial Revolution, the French Revolution, the Napoleonic Wars, London and Parisian high society, and the rise of racial science. The authors discuss the ramifications of discovering that when Baartman went to London, she was older than originally assumed, and they explore the enduring impact of the Hottentot Venus on ideas about women, race, and sexuality. The book concludes with the politics involved in returning Baartman's remains to her home country, and connects Baartman's story to her descendants in nineteenth- and twentieth-century South Africa. Sara Baartman and the Hottentot Venus offers the authoritative account of one woman's life and reinstates her to the full complexity of her history.

It is Paris, 1815. An extraordinarily shaped South African girl known as the Hottentot Venus, dressed only in feathers and beads, swings from a crystal chandelier in the duchess of Berry’s ballroom. Below her, the audience shouts insults and pornographic obscenities. Among these spectators is Napoleon’s physician and the most famous naturalist in Europe, the Baron George Cuvier, whose encounter with her will inspire a theory of race that will change European science forever. Evoking the grand tradition of such “monster” tales as Frankenstein and The Hunchback of Notre Dame, Barbara Chase Riboud, prize-winning author of the classic Sally Hemings, again gives voice to an “invisible” of history. In this powerful saga, Sarah Baartman, for more than 200 years known only as the mysterious lady in the glass cage, comes vividly and unforgettably to life.

the highly predictable and anticipated arrival of racial violence within a person's lifetime --

These poems range from personal memory to cultural history to human personae: John Coltrane, Frida Kahlo, Nelson Mandela, and "The Venus Hottentot," a nineteenth-century African woman made into a carnival sideshow exhibit. -- p.[4] of cover.