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On the eve of the debut of “The Venus Revolution” I caught up with Hotep, founder and CEO of Skinnymen Productions, a multimedia edu-tainment company in Atlanta, GA, for an in-depth discussion about this innovative and edgy multi-media art exhibit. |
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Power of the Booty – Nancy Gilliam
On the eve of the debut of “The Venus Revolution” I caught up with Hotep, founder and CEO of Skinnymen Productions, a multimedia edu-tainment company in Atlanta, GA, for an in-depth discussion about this innovative and edgy multi-media art exhibit.
Nancy Gilliam: Could you please explain to our readers exactly what “The Venus Revolution” is?
Hotep: “The Venus Revolution” is a mixed media, exotic art and photographic exhibition series featuring “full-figured” women with amazing adornments. It is a celebration of the beautiful voluptuous figure of black women across the planet. “The Venus Revolution” was created to provide a contemporary vision of a forgotten historical figure known as the Hottentot Venus.
NG: Can you tell us a little about the Hottentot Venus?
H: Saartjie Baartman, known to many as the Hottentot Venus, was from South Africa. In the year 1810, upon seeing her amazingly large backside, an Englishman convinced her that she could have fame and fortune if she visited Europe and exhibited herself. Saartjie traveled through England and France where she was exhibited under the description, “La Vénus Hottentote.” But instead of fame and fortune, she found herself in a position of near slavery. She was exploited and treated like an animal or circus freak.
The image and story of the Hottentot Venus swept through European pop culture for many years. The fascination with the Hottentot Venus led European designers to create a new style of dress. This dress featured the corset and large, blossoming skirt which was designed to mimic the shape of Saartjie’s beautifully voluptuous body. Today’s wedding dresses are a modern form of this design.
While Saartjie Baartman became an icon that forever changed the fashion world; she was also subjected to many degrading scientific and medical experiments that formed the bedrock of European myths about black women that exist today.
NG: You mention that Saartjie had been subjected to many degrading scientific and medical experiments? Can you share with us some of the details?
H: I’m not sure of all the details, but I do know they probed her vagina. It’s rumored that after her death they dissected body parts, took a mold of her body and displayed it and her bones in museums. In fact, it wasn’t until 2001 that her bones were brought back to South Africa so she could have a proper burial.
NG: Why is this project so important to you and why now?
H: I love big women! I am their biggest fan! So after years of noticing the lack of representation and misrepresentation of what the fashion industry calls “full-figured” women in media, I decided to stop complaining about it and do something about it.
It’s important not only to me, but to the world for many reasons. First, because the sisters need to know how beautiful their large hips, thighs and butts are. They need to embrace these gifts as blessings, not curses. The story of The Hottentot Venus gives a historic account of how their shape is admired around the world!
Second, it’s important that Saartjie’s story is remembered and celebrated because for too long the worldwide admiration of black women’s bodies has been treated like a secret. But now I’m putting the secret on full-blast!
NG: I’ve often heard it said that history repeats itself. Do you see a repeat of the negativity that Saartjie was subjected to in media today?
H: Somewhat. It’s true that in urban and pop culture “the big booty” is more accepted. But, it’s done in a way that is very sexually explicit and perverted. My goal is to change that and give the ‘power of the booty’ a more cultural and historical context.
NG: Whatever happened to Saartjie? Why do you think that she was forgotten?
H: I’m sure Europeans would like to forget this story because of how they treated this young African woman. But they always give us hints of their adoration of black women’s bodies in their cartoons and comics. Anytime they draw a woman of desire, she is built like a sister. Remember Jessica Rabbit from Who Framed Roger Rabbit? Definitely a sister!
NG: When one has as many talents and projects going on as you do, it is akin to having many children.
H: Yes, this is my baby!
NG: When was this “baby” conceived?
H: She’s been in the “womb” for about two years now and she’s about to be born on June 5, 2006!
NG: What place does she hold in your heart? What is your relationship with her? Do you find yourself over-protective because of her unique nature?
H: I am very over-protective of her because once I expose her to the world she will be subjected to manipulation, prejudice, hate, jealously and envy. People will want to kidnap her and clone her.
NG: I would imagine that in putting this exhibit together, there were some challenges that had to be overcome with some of the models. When you approached women about posing for “Venus,” what were some of the reactions that you received?
H: It was a serious struggle at first; mainly because in Atlanta, most of these women get approached by men that are trying to get them to do porn or dance in strip clubs. So, many women are extremely skeptical. Then, even when I was able to get past that obstacle, I had to deal with that fact that many of these women had low self-esteem and didn’t like their own bodies.
NG: How did you convince the models to pose?
H: I had to do a lot of counseling and straight up begging!
NG: Have you seen any significant changes in any of the models after they saw the finished product?
H: Yes, after we did the shoots, 100% of the ladies felt better about their bodies. They were glad they did it and even felt empowered.
NG: As an educator, I have often seen the reaction of young people when they are in an art gallery and see a piece of art that contains nudity. For parents and educators who might have the desire for their young people to view this exhibit, what can they do to effectively navigate them away from those reactions and insure that they somehow grasp the exhibits mission and message?
H: Well, there will always be people that don’t appreciate nude art, especially those dealing with youth. It’s interesting because I’ve never heard anyone complain about the nude Greek and Roman statues in history books. Anyway, I would say the most effective way to expose young people to this exhibit is to teach the history first, then have a discussion about images of beauty and black women in the media today. After that, then, they would be better prepared to appreciate this exhibit.
NG: You state in your press kit that the mission of this exhibit is to change mindsets and dispel myths regarding the bodies of full-figured African-American women. That is a monumental undertaking. Aside from the powerful visual images, what mechanisms do you have in place to accomplish your vision for this exhibit?
H: It’s really been a difficult task because I’m only one man. I’ve been reaching out to various media outlets and people to create strategic partnerships and get sponsors. Hey, if you know anybody that can help, please give him, or her, my number or email address!
NG: What cities will the exhibit be going to?
H: I’ve had offers in New York and Los Angeles thus far, so those cities are first on my list.
NG: Was it hard to convince curators to take the exhibit on?
H: I’m blessed because it hasn’t been hard to get these opportunities. It seems as though people really want this exhibit in their city.
NG: As the creator of this exhibit, at the end of the day what will dictate to you whether or not it was a success?
H: “The Venus Revolution” is already successful because I created this exhibit series to empower my voluptuous sisters and let them know how beautiful they truly are. And from the responses that I’ve been getting from women across the country, that mission has been accomplished.
