User:Rebeccawilder/sandbox

Origins of Hottentot Venus
Hottentot Venus refers to the name given to Sarah Baartman and also to other Khoikhoi women in South Africa who were sold into slavery during the early 19th century. The term "'Hottentot'" was used to describe the Khoikhoi people, a tribe in South Africa near the Cape Region, or the southern most tip of the continent. "Venus" in reference to the Greek/Roman goddess Aphrodite was used to objectify obscure feminine characteristics, such as her larger curves and elongated labia. "Hottentot Venus" is the equivalent to what modern times would consider a stage name. Hendrik Cesars, the manager of Sarah Baartman, was the initial creator of "Hottentot Venus". He sold her into slavery at age 21, with the promise that "[she] would come back rich" and her life would return to the way it had been. Alexander Dunlop, the owner of Cesars, originally persuaded both into giving up Baartman's freedom, and creating the image of "Hottentot Venus". From that point on, the African icon was traded and exchanged, sent all over Europe- each time with different owners. The image of the "Hottentot Venus" sparked controversy in many countries, and brought attention to the Civil Rights movement in London. Due to negative attention and public outcry, Baartman's employment was extended and moved to France. She was sold to animal trainer S. Réaux who forced "Hottentot Venus" into far more shows with longer hours. Essentially Rèaux's harsh labor was what ultimately lead to the early death of the goddess.

Social and Political Reform
Following Hottentot’s performances in London, the Slave Trade Act 1807 was passed, which abolished slave trade in Britain, but not slavery itself. This created a scandal, causing the African Association to conduct a campaign for Hottentot’s freedom. However, Hottentot had two options: return to South Africa, where her family lived or stay in England, where she received profit and some freedom. Eventually, Hottentot journeyed to France in 1810 and was handed over to a predatory showman. During the time, France was considered a forward and liberal country except for its racism toward Caribbeans, Africans and Asians. Due to her certain sexual traits, Hottentot became the object of scientific and sexual interest.

Strides In Feminism
The life of Sarah Baartman as the "Hottentot Venus" impacts the issues of colonialism, sexuality, race, and class. Colonialism or to be more specific, exploitation colonialism lead Sarah Baartman to become “Hottentot Venus.” This slave act of colonialism, which became more of a show business, exposed sexuality in a very different way in Great Britain and France, for the body of Sarah Baartman was not your “average body.” It was her body which intrigued her popularity, however, the color of her skin made an impact as well, which further addresses race. Race and sexuality also coincide to the creation of the offensive term “Hottentot Venus.” Race is also emphasized through the concept of class. Sarah Baartman's location on the class spectrum was at the bottom of the list, for she was a black woman, which makes her closest to a primate. Thus, class as gender is also expressed. Therefore, each factor evokes the creation of the “Hottentot Venus.” Venus which conveys the Roman goddess who is the embodiment of love and sexuality further exemplifies the name of “Hottentot Venus.” As a result, depending on sexuality, race, and class and in this case the spread of colonialism, it can be seen that society is judged through these factors which can play a part in the creation of an offensive term like the “Hottentot Venus”.

Political Relevence of the early 19th century
According to Sadiah Qureshi’s article, “Displaying Sarah Baartman The ‘Hottentot Venus’” many representations of the Khoikhoi people (such as Sarah Baartman) were used to illustrate them as wild and savage. These depictions effectively demoted them from human status and made them ape-like instead. This appropriation and forms of categorization is what lead to African flora, fauna, and people to be seen as commodities by the white colonist. Qureshi writes, “Sara Baartman arrived on England’s shores within this traffic of animals, plants and people destined for display as objects representing colonial expansion and as a means of economic gain; she served as both an imperial success and a prized specimen of the ‘Hottentot’”. Baartman was therefore seen as nothing more than an object put up for display; she was subsequently the physical representation of British activity in the cape and symbolized their conquests of African territory. Baartman was a, “rare live specimen of the exotic” she was of value to men like Hendrick Cezar who showed her in the London entertainment scene which further emphasized a “culture of display”. Shortly after Baartman arrived in London in 1810 the public was invited to view the ‘Hottentot Venus’ for only two shillings. Baartman wore a garment which resembled her complexion and was extremely tight, giving the appearance that she was actually naked. The show took place upon “a stage two feet high, along which she was led by her keeper, and exhibited like a wild beast; being obliged to walk, stand, or sit as he ordered”. Bartman was put into the category of human curiosity and performed alongside other people who were physically abnormal according to Western standards. The association between ethnological exhibits and humans with an anatomical curiosity was not uncommon as they were often exhibited together. According to Qureshi, these exhibits blurred the boundaries between humans and animals. Like exhibits of animals, the ‘Hottentot Venus’ was shown as a supposed representation of her nation and race.

Edits To Other Pages
"'Emily Martin'" Emily Martin was a feminist, sinologist, and anthropologist who heavily influenced the women's rights movement from the mid to late 20th century. Martin is most remembered for her role in feminist studies. Born in 1944, Martin went on to study Anthropology, at Cornell University, recieving her PhD by 1971. Currently Martin is a professor at New York University teaching Socio-cultural Anthropology. Although Martin did gain recognition through her studies of other cultures (mainly Chinese and South Asian societies) she made notable strides in feminism. Unlike many other feminist of the 20th century Martin had many notable strides in the fields of human rights. Like Anne Fausto Sterling, and her work on intersexuality, Martin broadened her focus as a philanthropist to human rights. Some of Emily Martin's most recognized literary achievements contributed exclusively to the feminist movement. One of Emily Martin's first novel's was "Women in the Body". Published in 1987, she scrutinized how the American culture viewed birth and pregnancy. Not only did Martin highlight the lack of empathy towards women in reproduction- but for the first time turned attention to what is now referred to as the Uterine Economy. Labor, another work of Martin's, dealt with the female body being treated like a machine. This book underlined the concept of the public and the private sphere. According to feminist of the time period, women were associated with the private square- dealing with emotion, nature, and artistry; While men were associated with the public square- dealing in math, science, business, and physicality.

Lhanlon Page "'H. J. Mozans'" was one of the first individuals to highlight the dividing line between men and women in the workplace; Ultimately clarifying the difference between the public and private spheres.

Malikaa1230/sandbox The term "'Hottentot'" was used to describe the Khoikhoi people, a tribe in South Africa near the Cape Region, or the southern most tip of the continent. "Venus" in reference to the Greek/Roman goddess Aphrodite was used to objectify obscure feminine characteristics.

Although I made these edits all of my corrections were taken down within hours.

Peer Edit
Made by: Malikaa1230

(changes are in bold)

Origins of Hottentot Venus Hottentot Venus refers to the name given to Sarah Baartman and also to other Khoikhoi women in South Africa who were sold into slavery during the early 19th century. The term "'Hottentot'" was used to describe the Khoikhoi people, a tribe in South Africa near the Cape Region, or the southern most tip of the continent. "Venus" in reference to the Greek/Roman goddess Aphrodite was used to objectify obscure feminine characteristics, such as her larger curves and elongated labia. "Hottentot Venus" is the equivalent to what modern times would consider a stage name. Hendrik Cesars, the manager of Sarah Baartman, was the initial creator of "Hottentot Venus". He sold her into slavery at age 21, with the promise that "[she] would come back rich" and her life would return to the way it had been. Alexander Dunlop, the owner of Cesars, originally persuaded both into giving up Baartman's freedom, and creating the image of "Hottentot Venus". From that point on, the African icon was traded and exchanged, sent all over Europe- each time with different owners. The image of the "Hottentot Venus" sparked controversy in many countries, and brought attention to the Civil Rights movement in London. Due to negative attention and public outcry, Baartman's employment was extended and moved to France. She was sold to animal trainer S. Réaux who forced "Hottentot Venus" into far more shows with longer hours. '''This sentence could use some rephrasing. Such as: She was sold to an animal trainer that increased her appearance in shows for longer amounts of time'''. Essentially Rèaux's harsh labor was what ultimately lead to the early death of the goddess.

Rebecca's sandbox is excellent other than this sentence. She is well organized and neat with her work. Rebecca makes sure to separate her contributions (she actually taught me how to do the same!)