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Cathy Park Hong wrote a poem entitled "Hottentot Venus" in her 2007 book Translating Mo'um. Lydia R. Diamond 's 2008 play Voyeurs de Venus investigates Baartman's life from a postcolonial perspective.
Baartman's promoters nicknamed her the "Hottentot Venus", with "hottentot" - now seen as derogatory - then being used in Dutch to describe the Khoikhoi and San, who together make up the...
exhibition advertisement A poster advertising the exhibition of the “Hottentot Venus,” an enslaved woman from South Africa, presumably Sarah Baartman (1789–1815) of the Khoekhoe people, whose body was put on display for paying audiences, 1810.
Saartjie (Sara) Baartman was one of the first black women known to be subjugated to human sexual trafficking. She was derisively named the “Hottentot Venus” by Europeans as her body would be publicly examined and exposed inhumanly throughout the duration of her young life.
“Hottentot Venus” was the moniker given to a series of women exhibited in sexually suggestive, ethnic curiosity shows in England and France in the early nineteenth century. The woman who is most linked with the icon, Saartjie Baartman, was the first to take the role.
She was nicknamed “Hottentot Venus”. Her constant display attracted the attention of George Cuvier, a naturalist. He asked Reaux if he would allow Sara to be studied as a science specimen to which Reaux agreed.
Around 1814, Baartman and the Hottentot Venus show were taken to the stages of Paris. There, Baartman's living conditions became even worse.
In 1810, Baartman went to England under dodgy and exploitative circumstances with her 'owner' Cezar and an Englishman, William Dunlop. Their mission was to exploit and display her body for monetary gain, which they did at the Piccadilly building where she was duly nicknamed the "Hottentot Venus".
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.
Sara Baartman (also known as Saartje, Saartjie, or Sarah), a South African woman, was widely known on stage in England and France in the early 19th century, and subsequently internationally since then, as the “Hottentot Venus,” the Western racist fiction of the primitive, sexualized, black woman.