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In this second edition of the remarkable, and now classic, cultural history of black women’s beauty, Venus in the Dark, Janell Hobson explores the enduring figure of the "Hottentot Venus" and the history of critical and artistic responses to her by black women in contemporary photography, film, literature, music, and dance. In 1810, Sara Baartman was taken from South Africa to Europe, where she was put on display at circuses, salons, museums, and universities as the "Hottentot Venus." The subsequent legacy of representations of black women’s sexuality—from Josephine Baker to Serena Williams to hip-hop and dancehall videos—refer back to her iconic image. Via a new preface, Hobson argues for the continuing influence of Baartman’s legacy, as her image still reverberates through the contemporary marketization of black women’s bodies, from popular music and pornography to advertising. A brand new chapter explores how historical echoes from previous eras map onto highly visible bodies in the twenty-first century. It analyzes fetishistic spectacles of the black "booty," with particular emphasis on the role of Beyoncé Knowles in the popularization of the "bootylicious" body, and the counter-aesthetic the singer has gone on to advance for black women’s bodies and beauty politics. By studying the imagery of the "Hottentot Venus," from the nineteenth century to now, readers are invited to confront the racial and sexual objectification and embodied resistance that make up a significant part of black women’s experience.
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Venus in the Dark In this second edition of the remarkable, and now classic, cultural history of black women’s beauty, Venus in the Dark, Janell Hobson explores the enduring figure of the “Hottentot Venus” and the history of critical and artistic responses to her by black women in contemporary photography, film, literature, music, and dance. In 1810, Sara Baartman was taken from South Africa to Europe, where she was put on display at circuses, salons, museums, and universities as the “Hottentot Venus.” The subsequent legacy of representations of black women’s sexuality—from Josephine Baker to Serena Williams to hip-hop and dancehall videos—refer back to her iconic image. Via a new preface, Hobson argues for the continuing influence of Baartman’s legacy, as her image still reverberates through the contemporary marketization of black women’s bodies, from popular music and pornography to advertising. A brand new chapter explores how historical echoes from previous eras map onto highly visible bodies in the twenty-first century. It analyzes fetishistic spectacles of the black “booty,” with particular emphasis on the role of Beyoncé Knowles in the popularization of the “bootylicious” body, and the counter-aesthetic the singer has gone on to advance for black women’s bodies and beauty politics. By studying the imagery of the “Hottentot Venus,” from the nineteenth century to now, readers are invited to confront the racial and sexual objectification and embodied resistance that make up a significant part of black women’s experience. Janell Hobson is an associate professor of women’s studies at the University at Albany, State University of New York, USA. Venus in the Dark Blackness and Beauty in Popular Culture Second Edition JANELL HOBSON Second edition published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Janell Hobson The right of Janell Hobson to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mecha