The Khoi people of our country and the
descendants of the Khoi
have every right solemnly to celebrate
the return of one who was their daughter.
Photo
right: A plaster cast of the corpse of Saartjie Baartman, the
so-called Hottentot Venus, on display in the storage of the Museum of
Mankind in Paris, January 31, 2002. On January 30, the French National
Assembly approved a law permitting the repatriation of Baartman's remains.
South
African President Mbeki
on Saartjie Baartman
Letter from the President
A student essay that appears on the Internet
says: "Her story was forgotten for centuries, buried under
mounds of dusty racist documents by the Afrikaner government of
South Africa, sloshing in a jar of formaldehyde in a> museum
in Paris. But slowly she has been rediscovered, by women in
South Africa, in England, in the United States. "They have
written plays and poems, made films and speeches telling her
story in the hopes of reclaiming her torturous past. Her name
was Saartje Bartmaan, or at least that's what her captors called
her. She had swelling buttocks and a vagina whose inner lips
extended maybe three, maybe four inches.
"In the early nineteenth century, when
the study of Khoi women became fashionable in European society,
she was convinced to leave her home to become a dancer, with a
contract that she may or may not have seen. A man from England
promised her that she could make money to bring home to her
tribe. What followed was five years of exhibition in museums and
at fashionable parties, her spectacular buttocks and breasts
bare, French and British men and women clustering around her,
mocking her at the same time that her body made them
uncomfortable with their own desire. Her days were punctuated by
rape and scientific examinations.
"She died, probably of syphilis, and her
body was given to Georges Cuvier, a French scientist who made a
plaster model of her brain and preserved her buttocks and vagina
to be displayed at the Musee de l'Homme. They remained on
display until ten years ago."
Another article says: "The effects of
climate on the physiology of black women were used to support
theories about the sexual promiscuity and fertility of black
races, exemplified in the description by J. J Virey, of the
'degree of lascivity unknown in our climate' among black women
'for their sexual organs are much more developed than those of
whites.'
"Similarly, David Spurr quotes Richard
Burton who 'merely affirms the conventional wisdom of his age in
claiming that in damp-hot climates ...the sexual requirements of
the passive (female) exceed those of the active (male) sex; and
the result is a dissolute social state, contrasting with
mountain countries, dry-cold and damp-cold, where the conditions
are equally balanced or reversed'."
Nancy Stepan explains the Victorian
mindset that created the gory exhibits in this Paris
museum, which included the remains of Saartjie Baartman:
"Of all the boundaries between peoples, the sexual
one was the most problematic to the Victorian mind. In
the area of racial thought, there had been since the
earliest of times a prurient interest in the strange
sexual customs of alien peoples, especially the African.
Did African women, for instance, mate with
the great apes who came out of Africa? Were the sexual organs of
Africans larger than those of whites? Did a tropical climate
encourage an unbridled sexuality that resulted in promiscuity?
It was not surprising that anthropological accounts of strange
peoples provided a surrogate pornography for Europeans."
This Letter and the preceding quotations are
occasioned by the return of Saartjie Baartman from France to her
homeland, South Africa.
The scientist who dismembered Saartjie's body
when she died, Georges Cuvier, the founder of comparative
anatomy, said when commenting on Africans: "These races
with depressed and compressed skulls are condemned to a
never-ending inferiority. (Saartjie's) moves had something
reminding (one) of the monkey and her external genitalia
reminded (one of) those of the orang-outang."
Saartjie Baartman, a daughter of the Khoi
people, was born in the Eastern Cape in 1789. Later she served
as a slave or servant in the employ of a white colonist. It was
while she was thus employed, that a British Naval Surgeon,
William Dunlop, had her transported by ship to London in 1810.
Dunlop, intent to use her to make money for
himself, told her she could make a fortune by displaying her
naked body to curious Europeans. She was paraded at circuses,
museums, bars and universities. At times, she was displayed in a
cage and forced to behave like "a wild beast".
Especially on display were her prominent posterior and her
genitals.
In 1814 and 1815, she was exhibited in Paris
by one Henry Taylor and then by someone called Reaux. By the
time she died on January 1, 1816, she was owned by an animal
trainer. During this period, she was also forced into >
prostitution and, in despair, resorted to heavy consumption of
alcohol.
After her death, her body was handed to the
scientist, Georges Cuvier. He cast her in plaster and then
dissected her body, removing the brain, the vulva and the anus,
which were placed in glass jars in a preserving fluid. He then
removed all flesh from the skeleton. These remains were kept in
the exhibition rooms of the French Museums, open for public
viewing, until 1974and 1976.
When we gained our freedom in 1994, we
requested the French government to assist in returning the
remains of Saartjie Baartman to the land of her birth.
Ultimately, this required that the French Parliament should pass
special legislation authorising the release of these remains to
our country.
The debate of this law in the French National
Assembly took place under the theme "Repatriation of the
Hottentot Venus". This is the circus name that Saartjie
Baartman had been given by her European owners.
On the day the necessary legislation was
adopted, on 21 February 2002, Research Minister Roger-Gerard
Schwatzenberg, said: "Saartjie Baartman was firstly a
victim of the exploitation suffered by South African ethnic
groups during colonisation. Secondly, Saartjie Baartman was the
victim of colonialism and sexism because her dignity as a woman
and her rights were denied. Thirdly, she was also the victim of
racism which was the characteristic of anthropology at the time,
the latter being very much > turned to ethnocentrism.
"I see in this bill a double symbol.
Firstly, it gives us the opportunity to turn the page of decades
marked by colonialism, racism and sexism. It will mark the end
of a painful period, when non European populations were not
viewed as equal to the European ones. Secondly, it marks our
will to acknowledge equality among people. This is an important
moment of unity around an essential principle - the dignity of
any human being, whatever his/her religion, origins and
condition."
Saartjie Baartman was called Saartjie
Baartman by those who colonised her, her people and her
country. By depriving her of her Khoi name, they took
away her identity. By turning her into a non-person,
they defined her as sub-human. As such a subhuman, she
became an object intended to be fully owned, used at
will and freely disposed of by those who had robbed her
of her identity. Her few years in Europe gave the
fullest expression to this reality that she was nothing
more than an object to satisfy the needs of those who
were her owners.
The inhumane and barbaric fate she
met exemplified the destiny of the colonised and
oppressed in our country, including the Khoi and the
San.
Denied their identity, defined as subhuman,
dispossessed of their land, their country and their freedom,
millions became chattels in the ownership of others who
convinced themselves that they were true masters of all they
surveyed.
Even scientific inquiry was perverted to
serve the cause of racism and the domination of human beings by
other human beings. Thus did Saartjie Baartman become a mere
biological specimen to be dissected and dismembered to arrive at
predetermined conclusions that justified her categorisation as a
mere biological specimen.
And thus did entire peoples fall victim to
racist beliefs, underpinned by false intellectual propositions
and a corrupted theology, which justified the perpetration of
crimes against humanity on the basis that these peoples,
including our own, were proper objects of a civilising mission.
The struggle for the return of the remains of
Saartjie Baartman to her motherland was a struggle to uproot the
legacy of many centuries of unbridled humiliation. It was a
struggle to restore to our people and the peoples of Africa
their right to be human and to be treated by all as human
beings. Her return stands out as a defining moment in the
continuing process of our emancipation.
The Khoi people of our country and the
descendants of the Khoi have every right solemnly to celebrate
the return of one who was their daughter. They have every right
to demand that this historic act of redress should be given its
true meaning by the restoration to the Khoi and the San their
place of pride as Africans equal to all other Africans.
Those who sought to dehumanise Saartjie
Baartman also have the responsibility to join hands with the
millions whose fate she exemplified, to help rebuild South
Africa and Africa, in a common effort to give meaning to the
vision that all of us, regardless of race or colour, were
created in > the image of God.
As our ambassador to France, Thuthukile
Skweyiya, together with Deputy Minister Bridgitte Mabandla and
her delegation from South Africa, received the remains of
Saartjie Baartman at our Embassy in Paris, she said: "Saartjie
Baartman is beginning her final journey home, to a free,
democratic, non-sexist and non-racist South Africa. She is a
symbol of our national need to confront our past and restore
dignity to all our people."
Speaking on behalf of the government and
people of France, Minister Schwatzenberg said: "After
suffering so much offence and humiliation, Saartjie Baartman
will have her dignity restored. She will find justice and
peace."
The remains of Saartjie Baartman returned
home a few days after our Freedom Day, 192 years after she left
her motherland. Welcome home, our Saartjie!
Hottentot Venusis the story of
Ssehura, a young Khoisan girl orphaned in 1700s South
Africa. Ssehura is renamed Saartjie (which means “little
Sarah” in Dutch) by a Dutch Afrikaner who becomes her
master. As is Khoisan custom, Sarah is groomed to be more
sexually desirable for marriage. Her buttocks are massaged
with special ointments to make them swell and her genitalia
are stretched to produce the legendary “Hottentot apron,”
exaggerated folds of skin. Thus, Sarah is a physical
curiosity and a sexual fetish to her white master. He is
persuaded by an Englishman to send her to London where she
becomes a sideshow sensation. The English gentry is
fascinated by her exotic African ethnicity and sexually
charged presence making her stuff of legend and myth. Sarah
enters the world of circus freak shows and becomes a popular
exhibit. . The “Hottentot Venus,” as she has become
known, is the rage of Europe. Yet, beyond the parade of
curiosity seekers and perverts, the very real loneliness of
this young woman comes through.CopperfieldReview
A celebrated "human
curiosity," exhibited in 1810 in London and Paris for her
larger-than-average posterior, the so-called Hottentot
Venus, Saartjie Baartmen, is delivered once and for all by
Holmes (Scanty Particulars) from the forces of sentimental
primitivism, imperialism and scientific racism that so
determined her life. Academics will recognize Holmes as one
of their own (she is a former professor of English at the
universities of London and Sussex); this book is liberally
salted with the language of feminist, psychoanalytic and
postcolonial theory (here is how Holmes explains Saartjie's
susceptibility to exploitation at the hands of men: "[her]
relationship with paternalistic figures was shadowed by her
unresolved attachment to an idealized father, snatched from
her at the point she most needed and respected him, and
before she had cause to rebel against him"). But the book is
propelled along by the inherent interest of Saartjie's story
and Holmes's clear affection for her subject. Particularly
close attention is given to Saartjie's declining years and
her gruesome posthumous treatment at the hands of French
scientist Cuvier, whose macabre fascination with Saartjie
inspires some of the book's most engaging prose.— Publishers Weekly
Saartjie Baartman, a young South African woman, was brought to London in
1810 and displayed seminude as she danced suggestively to show off to
best effect her ample bottom, earning her the name Hottentot Venus. Her
public display and ultimate study by scientists long ago gained her
iconic status as a symbol of European fascination with African
sexuality. Holmes, author of Scanty Particulars (2003), explores the
zeitgeist of Britain in the early 1800s, when Europeans were fascinated
with the human behind and grappling with notions about race, sex, and
colonialism. Holmes draws on press reports, ballads, and advertisements
of the day that ridiculed Baartman as well as prominent politician Lord
Grenville, who was similarly endowed. Baartman, abused by her manager
and the public, attracted the attention of abolitionists, who saw in her
a cause celebre to challenge provisions of the British constitution
regarding slavery. Using fresh archival research, Holmes offers a
definitive portrait of a woman whose remains--on museum display for
generations--were only recently returned to South Africa for final
burial. This is a probing look at historical racism and sexual
exploitation presented through the life of an extraordinary woman.—Vanessa
Bush, Booklist
This is a reproduction of a book published before 1923. This
book may have occasional imperfections such as missing or
blurred pages, poor pictures, errant marks, etc. that were
either part of the original artifact, or were introduced by
the scanning process. We believe this work is culturally
important, and despite the imperfections, have elected to
bring it back into print as part of our continuing
commitment to the preservation of printed works worldwide.
We appreciate your understanding of the imperfections
in the preservation process, and hope you enjoy this
valuable book.—Amazon.com
Reviewed by J.R. Fauset. The Journal of Negro
History.Vol. I., No. 1,
January. 1916.
In the days when the internal
dissensions of Haiti are again thrusting her into the limelight such a
book as this of Mr. Steward assumes a peculiar importance. It combines
the unusual advantage of being both very readable and at the same time
historically dependable. At the outset the author gives a brief sketch
of the early settlement of Haiti, followed by a short account of her
development along commercial and racial lines up to the Revolution of
1791. The story of this upheaval, of course, forms the basis of the book
and is indissolubly connected with the story of Toussaint L'Overture. To
most Americans this hero is known only as the subject of Wendell
Phillips's stirring eulogy. As delineated by Mr. Steward, he becomes a
more human creature, who performs exploits, that are nothing short of
marvelous. Other men who have seemed to many of us merely names—Rigaud,
Le Clerc, Desalines, and the like--are also fully discussed.
Although most of the book is
naturally concerned with the revolutionary period, the author brings his
account up to date by giving a very brief resumé of the history of Haiti
from 1804 to the present time. This history is marked by the frequent
occurrence of assassinations and revolutions, but the reader will not
allow himself to be affected by disgust or prejudice at these facts
particularly when he is reminded, as Mr. Steward says, "that the
political history of Haiti does not differ greatly from that of the
majority of South American Republics, nor does it differ widely even
from that of France."
The book lacks a topical index,
somewhat to its own disadvantage, but it contains a map of Haiti, a
rather confusing appendix, a list of the Presidents of Haiti from 1804
to 1906 and a list of the names and works of the more noted Haitian
authors. The author does not give a complete bibliography. He simply
mentions in the beginning the names of a few authorities consulted.—
According to the
author, this society has historically exerted
considerable pressure on black females to fit into one
of a handful of stereotypes, primarily, the Mammy, the
Matriarch or the Jezebel. The selfless
Mammy’s behavior is marked by a slavish devotion to
white folks’ domestic concerns, often at the expense of
those of her own family’s needs. By contrast, the
relatively-hedonistic Jezebel is a sexually-insatiable
temptress. And the Matriarch is generally thought of as
an emasculating figure who denigrates black men, ala the
characters Sapphire and Aunt Esther on the television
shows Amos and Andy and Sanford and Son, respectively.
Professor Perry
points out how the propagation of these harmful myths
have served the mainstream culture well. For instance,
the Mammy suggests that it is almost second nature for
black females to feel a maternal instinct towards
Caucasian babies.
As for the source
of the Jezebel, black women had no control over their
own bodies during slavery given that they were being
auctioned off and bred to maximize profits. Nonetheless,
it was in the interest of plantation owners to propagate
the lie that sisters were sluts inclined to mate
indiscriminately.
