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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 Xhosa-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 remains of 17 Native Americans and over 300 funerary objects discovered between 1910–1985 were laid to rest. The repatriation and reburial of human remains is a current issue in archaeology and museum management on the holding of human remains. Between the descendant-source community and anthropologists, there are a variety of opinions on ...
An example of the sexualization of ethnically diverse women in Europe is Saartje Baartman, often referred to as her anglicized name Sarah Bartmann. Bartmann was displayed both when she was alive throughout England and Ireland and after her death in the Musée de l'Homme . [ 24 ]
The remains were part of a collection from a scientist in the 1800s who falsely tried to prove that European brains were superior to other races. Museum buries remains of Black people held on ...
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 ...
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 ...
The remains of 19 unknown Black Philadelphians, previously held by University of Pennsylvania's Penn Museum, were laid to rest on a week prior. Now, crowds gathered to remember their lost humanity.
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 ...