This paper analyzes the beginnings of the so-called „human zoos“ in the late 19th and early 20th century and whether there are still continuities of these practices in the present world. What are the consequences, what are the impacts? It will further look into the example of Sarah Baartman, who was objectified and exhibited 1810 to 1815, in order to illustrate the horrible fates of people on display in Europe. Are human beings still exhibited and exploited in the way they used to be? The South African Artist Brett Bailey made an attempt to spread awareness of the highly popular human zoos with his show Exhibit B. The show was received very controversial by the public and in London the show even had to be cancelled due to the dimensions of the protests. The question is whether by re-creating scenes of slavery his show is able to provide a critique of racism and human-zoos or whether it is a mere reproduction of human zoos that is racist in itself.
It is in the nature of human kind to be curious and to observe things that are new to the eye. Only by observation can be recognized whether something is a danger or not. The unusual thus always exerts a strong appeal to the observer. The "exotic" has always attracted attention. This even more when an unfamiliar looking or "exotic" human being is concerned, a being that seems very familiar to the viewer and possibly even shows him similarities to himself.
This is one of the reasons why "wild people" have been displayed at fun fairs and exhibitions during centuries, and since traveling was dangerous or not possible at all and a worldwide media network did not exist, these exhibitions were often the only opportunity to see people from far away in real life. It is hardly surprising that this natural interest in the stranger has quickly been utilized by some people for their own benefit, whether to generate attention, to demonstrate power or to generate economic profits.
Table of Contents
1. Introduction
2. History of ethnological shows or “human zoos“
2.a. Ethnological shows
2.b. World fair
3. The case of Sarah Baartman also known as the „Hottentot Venus“
4. Exhibit B by Brett Bailey
5. Conclusion
Research Objectives and Core Themes
This paper examines the historical development and cultural legacy of "human zoos" from the late 19th and early 20th century to the present day. By analyzing the objectification of individuals—exemplified by the case of Sarah Baartman—and the contemporary controversial art installation "Exhibit B" by Brett Bailey, the study explores whether modern artistic attempts to raise awareness about colonial history effectively critique racism or inadvertently replicate the exploitative power dynamics of the original displays.
- Historical mechanisms of "human zoos" and ethnological exhibitions.
- The intersection of colonial power structures, scientific racism, and public curiosity.
- The tragic life and historical exploitation of Sarah Baartman ("Hottentot Venus").
- The ethics of artistic representation and the controversy surrounding Brett Bailey's "Exhibit B".
- Conflicts between artistic freedom and the prevention of the reproduction of harmful stereotypes.
Excerpt from the Book
4. Exhibit B by Brett Bailey
After reading a book about the phenomenon of human zoos in 2010, the South African artist Brett Bailey was inspired to create an artwork on the topic. In twelve installations, black actors were staged in degrading settings, some in cages, chained, painted and mostly semi-nude. One actress also represented Sarah Baartman. The performers neither talked nor moved, but confronted the audience by starring them directly into the eyes. In this way the spectator should become aware of his own gaze, how he is looking at the objectified people in front of him and feels uncomfortable in his role as a voyeur. The installation wanted to visualize the gruesome acts of slavery and should cause the audience to reflect on the colonial past of Western powers.
The spectators and their reactions were meant to be part of the installation. At the end they entered a room, where they could write down their response and feelings about the work. There were also texts by the performers, describing how they felt about the exhibition and how they experience nowadays’ racism.
Summary of Chapters
1. Introduction: The introduction outlines the human propensity for curiosity and the historical exploitation of "exotic" individuals in exhibitions, setting the stage for an analysis of both past human zoos and modern artistic responses to them.
2. History of ethnological shows or “human zoos“: This chapter traces the development of ethnological displays from early modern royal courts to 19th-century commercial shows, highlighting how these events were staged to confirm European stereotypes and reinforce colonial power.
2.a. Ethnological shows: This section details how commercial entrepreneurs like Carl Hagenbeck popularized ethnographic displays, turning "foreign" lives into theatrical spectacles and pseudo-scientific experiences for European audiences.
2.b. World fair: This section examines how international world fairs integrated colonial "native villages" as part of their attractions, serving to simultaneously entertain and reinforce the imperialist worldview of the Western public.
3. The case of Sarah Baartman also known as the „Hottentot Venus“: This chapter focuses on the specific historical case of Sarah Baartman, analyzing her physical objectification, the scientific racism that fueled her exhibit, and her lasting iconographic status in discussions of black sexuality and exploitation.
4. Exhibit B by Brett Bailey: This chapter evaluates Brett Bailey's controversial installation, exploring whether the artwork successfully challenges historical racism or if it repeats the exploitative power dynamics it seeks to critique.
5. Conclusion: The conclusion emphasizes that while overt human zoos have vanished, their exploitative legacies persist, making artistic engagement with these themes vital despite the challenges regarding sensitivity and artistic censorship.
Keywords
Human zoos, colonial history, Sarah Baartman, Hottentot Venus, Brett Bailey, Exhibit B, ethnological shows, racism, objectification, cultural legacy, artistic freedom, exploitation, colonial gaze, post-colonialism, representation.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper focuses on the cultural legacy of 19th and early 20th-century "human zoos" and investigates how these historical practices of objectification relate to modern-day representations of race and colonial history.
What are the central thematic fields explored in the text?
The core themes include the history of ethnological exhibitions, the life and exploitation of Sarah Baartman, the intersection of science and racism during the colonial era, and the ethical dilemmas of representing historical trauma in contemporary art.
What is the primary research question?
The paper seeks to determine whether modern artistic re-creations, such as Brett Bailey’s "Exhibit B," successfully provide a critique of racism or whether they act as a reproduction of the original exploitative displays they intend to challenge.
What scientific or academic methods are applied?
The work utilizes a qualitative approach, combining historical analysis of archival evidence and documentation of ethnological shows with a critical discourse analysis of artistic practice, public reception, and contemporary media responses.
What key topics are addressed in the main chapters?
The main chapters move from a general historical overview of the "human zoo" phenomenon, through the specific illustrative case study of Sarah Baartman, to a detailed examination of the artistic and public controversy surrounding Brett Bailey’s work.
Which keywords best characterize this work?
Key terms include human zoos, Sarah Baartman, Exhibit B, colonial history, objectification, artistic representation, and the colonial gaze.
How does the author characterize the role of the spectator in "Exhibit B"?
The author describes the spectator's role as that of a voyeur. By forcing the audience to meet the gaze of the performers, Bailey intentionally makes the viewer feel uncomfortable with their own position as a participant in the objectification process.
Why was the London exhibition of "Exhibit B" cancelled?
The London exhibition faced intense protests, leading to a large-scale petition and a blockade of the venue, which caused the organizers to shut down the installation due to security concerns.
- Citar trabajo
- Sophia Barolo (Autor), 2017, The cultural legacy of the "human zoos" in the 19th and early 20th century and Brett Bailey’s "Exhibit B", Múnich, GRIN Verlag, https://www.grin.com/document/371334
