how shall i judge; venus

How shall I judge? That is the question especially when looking through a lens that’s systematically designed to negate the full human experience of black women, to be specific those of that identify as ADOS (African Descendants​ ​of Slaves). The feminist performance criticism is exclusionary stemming from the perspective white women with privilege. Jill Dolan is very passive in acknowledging her lack of inclusion, highlighting her “white fragility” with good intentions and claims of future plans to do better. “The intent, by extension is to effect a larger cultural change in the ideological and material condition of women and men.” (pg. 18​       ​ Dolan. ​           ​) Dolan encourages spectorship to be used through the American feminism lens. She goes further to describe and categorize the American feminism in the following categories: liberal, cultural, and materialist.The problem however is that there’s a missing narrative that is significantly different and habitually absent although in existence. In a sense this is where universal ethics can provide a greater sense of empathy for feminist spectators that are not of color. The application of universal ethics in this context is simply remaining mindful and practicing the morals of respect, trustworthiness, and justice. Meaning ignoring and or editing a specific marginalized group out of progressive conversations and literature is immoral. Alice Walker one of the pioneers to coin the term “womanism/ womanist” has a famous quote describing the movement; “Womanist to feminist is as purple is to lavender.”  Women across the spectrum experience the injustices of being in a patriarchal society, the intersectionality of black women in particular however show an overwhelming depth of disparities systematically. Toward A Black Feminist Criticism ​ by Barbara Smith does provide a rather inclusive model typically used for art literature, yet for the purpose of this argument its been translated and modified to provide a black feminist/ womanist spectator critic of theatre performance. This approach includes the following ideologies: that the art embodies the realization of sex, race, class, and politics; there is a direct result of the specific political, social, economic experience the character is obliged to share; the theatre art goes beyond the confines of white/male literary structures; the black woman has moments of discovering and acknowledging her evolving identity, the craftswoman is highly innovative with her style and content, the creator must be constantly aware of the political implications of her work and would assert the connections between it and the political situation of black women, the goal of the criticism applied is to overturn previous assumptions and expose its actual dimensions of the black women's non monolithic lived experience. The play Venus ​ ​by Suzan- Lori Parks in this essay will be critiqued with the ideals outlined by Barbara Smith that I have translated for theatre art performance. In comparison to Jill Dolan’s feminist spectator cric model the goal is to highlight the significant differences a spectator in the audience and cast will have when going between an American feminist critique and a Black feminist/ womanist critique. While also identifying circumstantial similarities in movements that are represented in the play.  

Venus ​is based off the true events of Saartjie Baartman, a woman enslaved as a girl from South Africa and taken to England to perform in the circus in the freak show. Her significant feature was her rather large and distinctive buttocks that mesmerized spectators. Parks takes her audience on a voyage through reverse chronological order, beginning with Baartman’s death. Suzan-Lori Parks’ playwriting style constantly defies the white/male literacy structure, when she unapologetically writes in the phonetics that capture the commonalities of the African American vernacular. I suspect that when being innovative and bold like Parks, you must insure that the audience and reader is not exerting energy  trying to decipher the style of storytelling, instead of being invested and connected to the story.​ Parks takes artistic responsibility by providing a​ detailed  ​Author’s Notes,​ a guide to the written and performed story. ​ ​She contributes significant playwriting, literature, and screenwriting representative of the ADOS community. Infusing several elements of her identity in her body of work, not only challenges how we see theatre she challenges who the theatre is about. Similar to how Dolan describes the goals of an American feminist, ​ “​ ​ Liberal feminist efforts are responsible for a wider visibility of women playwrights…​ and the creation of richer roles of women performers.” Parks continues to get the audience (spectators) acquainted with her style with the choice of double casting and mixing gender roles. The original production of​ Venus​ director, Stan Wojewodski Jr. enhances this innovative choice when casting the original production with Sandra Shipley, a white woman from London whom was cast as THE BROTHER/ THE MOTHER SHOWMAN/ THE GRADE-SCHOOL CHUM. How shall I watch a white woman profit from exploiting and abusing a black woman? 

Venus​ certainly is written with rich roles for women in a culturally truthful manner and that highlights the resilience of one black woman told by a womanist. Parks is not trying assimilate or force the white/male model be a creative fit. According to Dolan American feminist sacrifice their voice in order to maintain their economic status and be a part of the mainstream capitalist system. “Many working women playwrights vehemently resist feminist appellation because to survive economically their plays must be produced widely in commercial venues.” (​pg. 4, Dolan) Unfortunately this utilitarianism approach does not gain traction in the fight for equality. It’s obvious liberal feminist in this context have to choose between the lesser of two evils. Commit to creating unapologetic feminist work and risk being outcast or buy into the “slowly but surely” method of make a living. The representation of the female presence while implementing the male model however is counter productive and proves misogyny doesn’t have a gender. So not only is the American liberal feminist non inclusive it so seems to be ineffective. “Little changes, even as stronger women characters are written into their plays… to which they write is still based on the male model.” ​(pg. 5, Dolan)         

In contrast, womanism can be perceived and practiced with the following values in mind; one is consciously finding the balance between feminine and masculine energy, actively honoring and healing from post-traumatic slave syndrome* (PTSD). Furthermore, womanism celebrates the fluidity of black women's sexuality and choice. There is also an encouraged practice of spirituality and operating from a higher sense of self. Feminist often describe personal liberation happening within a separation from men. Cultural feminism encourages an exchange of position and power; “... nature universality by suggesting the female gender values take the role of male gender values.”  Another relevant difference that’s historic in nature ADOS women have voluntary and involuntary assumed both male and female gender roles values. Yet society seldomly esteems these culturally collective and individual efforts. American history has a reputation of emasculating, oversexualizing, and portraying black men to be inferior. It is safe to say that there is a shared misrepresentation that black women bare in society. 

In this production of ​Venus ​actress, Sandra’s roles call for her to be the antagonist, this creates a world where the feminist and womanist exist in opposition. The power dynamics throughout the show are presented inequitable but accurate to the times. From the initial moment until the end the audience spectates the adversity, mistreatment, modes of survival and several other nuances that makes Baartman’s story one of an untraditional heroine. THE BROTHER/ THE MOTHER SHOWMAN is an example of Jill Dolan’s male model symbolically being performed in opposition to THE VENUS HOTTENTOT who obviously doesn’t have the same autonomy or authority. Race is an undeniable factor that must be acknowledged by the spectator in addition to THE VENUS being a woman. The black feminist/ feminist critical spectator lens of  sex, race, class and politics gives a clear view of the legalization practiced to dehumanize black women. This connection is made in ​Venus​, there is a lack of build into this moment which suggest a tone of casualness.  

“THE BROTHER: Tomorrow I’ll buy you the town. For now, lift up your skirt. There. That’s good. (She lifts her skirt showing her ass. He gropes her.)” ( pg.33, Parks)​  

Venus tells a story of the lack of rights of black women through the life journey of Sarrtije from enslavement to death. Another reason why the black feminist/ womanist critique is a necessity is because makes it evident that the advancement of black women's right is absent in Dolan’s approach. History reflects everyone in the ADOS community during the 1800’s were viewed as property or the help, meaning no rights at all. THE VENUS doesn’t have the rights to her own body since she was formerly enslaved. The audience spectators and cast spectators meet THE GIRL as a servant while she cleans in Scene 31 THE BROTHER and THE MAN discuss her future as a transactional. The following text further supports just how limited this black woman’s rights are;  

“THE GIRL: Do I have a choice? I’d like to think on it 
THE BROTHER: What’s there to think on?...” ( ​pg. 27, Parks)  

Suzan-Lori Parks paints a picture for the audience spectators to see that this world belongs to the dominant culture. This conclusion can be made based on the persons that make the decisions that drive the action throughout the play. The persons that have the resources to make a proposition that can change the marginalized character’s life. Since THE VENUS does not have the legal right to steward her body, she is sexually abused and trafficked, and subjected to poor health care. THE VENUS endures these extreme forms of exploitation for the entertainment of the cast spectators. THE CHORUS commonly throughout the play takes the position of the cast spectator, eventually other characters develop a relationship with THE VENUS but their always a spectator first. The incidents of sexual abuse start with her being a girl, as she is summoned to the freak show and is groped she responds:  

THE GIRL: I dont 
THE BROTHER: Relax… 
THE GIRL: … I dont like it here. 

The cast spectators are immune to public abuse imposed on THE VENUS this direct response of these acts being normalized encourages an interesting temperament from THE VENUS. She is under the impression that she too, can have ownership of this world that doesn’t belong to her by way of her contributions. There is a essence of pride that she expresses to the CHORUS, reiterating language she just learned like “mint”. Embodying the title presented to her of “African Dancing Princess”, however this same endearing term is not used for more than a tactic of manipulation and a racial microaggression to her African ethnicity. 

“THE GIRL:... I’ve come to here to get rich. Im an exotic dancer. Very well-known at home. My manager is at this moment securing us a proper room. We’re planning to construct a mint, he and me together.”(pg. 30, Parks). 

In this same moment the audience spectator is witnessing the discrete action of THE GIRL being sexually trekked. The title of the scene is “She Looks Fresh Off the Boat” upon her arrival speaks proper proving herself to be an appropriate choice. After all she’s still under the assumption that she’s going be compensated her worth. Furthermore THE GIRL is under the pretenses that she’s in a business relationship with the manager meaning there are boundaries. The hint of intimacy is suggestive that there is a romantic interest, only continuing to complicate the dynamics. THE CHORUS OF THE 8TH WONDERS informs the audience spectator that her expectations above will not even be slightly fulfilled. 

THE CHORUS of the 8TH WONDERS: ... We could stand here and tell her some lies or the bald truth: that her lifell go from rough to worse. Or we could say nothing at all. What difference will it make? She sunk. There’s no escape from this place. ( ​pg. 29, Parks) 

The extent of the sexual abuse THE VENUS endures in the play provokes the audience spectators to join the cast spectators in being immune to her sexual exploitation. Parks challenges the audience spectator one step further with the character THE NEGRO RESURRECTIONIST that cites actual documents and accounts from the real Saartijie Baartman. In doing this Parks honors the black feminist/ womanist spectator critique by making a direct political connection that impacted a black woman. There is not the same type of depth available in Dolans critique, she even recognizes how cultural American feminism is thought to be inherently racist and classist. Simply due to the failure to consider and include the experiences of other women not apart of the dominant culture and how their lives also share a narrative of womanhood.  

THE NEGRO RESURRECTIONIST: … Historical Extract: Category: Newspaper Advertisements AN ADVERTISING BILL: Daniel Lyons… London 1809… 

Parties of 12 and upwards, may be accommodated with a Private exhibition of the HOTTENTOT between 7 and 8 o’clock in the evening…. The HOTTENTOT may also be viewed by single parties with no advance notice from 10 in the morning until 10 in the evening. Monday-Saturday No advance notice is necessary. ( 53, Venus, Parks) 

Shortly after THE VENUS is made into the infamous spectacle for the audience spectators and the cast spectators to take witness to. THE MOTHER-SHOWMAN leads in committing and welcoming others to participate in a violent act of kicking and dehumanizing THE HOTTENTOT. THE MOTHER SHOWMAN’s selling point is that THE VENUS is used to being kicked back in her home according to THE MOTHER SHOWMAN its a traditional custom.  

THE MOTHER-SHOWMAN:... Paw her folks. Hands on. Go on have yr pleasure. Her heathen shame is real… ( The spectators paw The Venus) ( ​pg. 55,Parks​.)  

Naturally as the play continues there is cause and effect to the lifestyle THE VENUS is subjected to. The encounters THE VENUS has with the professional medical practitioners and scholars of science outlined in the play address greater ancient old problem around health care. THE VENUS deals with not having the right to proper health care at all because of her status in society. In the play we learn that the doctor who she later has an intimate relationship with possibly transmitted chlamydia to her and didn’t provide any treatment. Instead THE BARON DOCTOR presses charges against her after consulting with THE GRADE SCHOOL CHUM. Research suspects that Baartman’s death was caused by alcoholism, and/ or a sexual transmitted disease. Parks enhances the dramatic moments with elements of sensory as the cast spectator describes THE VENUS smell:  

WITNESS # 1:... She looked, well, naked, kin I say that? The whole place smelled of shit… (76, Venus, Parks). Later he has the medical professional and love declares her STD and legally imprisons her for it with the support of the cast spectators 

THE BARON DOCTEUR: Shes- Shes got the clap. 
THE GRADE SCHOOL CHUM: The clap? From you? 
THE BARON DOCETUR: Perhaps. ( ​pg. 145,Parks)… 
THE BARON DOCETUR: Clap her to the jail for that? 
(The Spectators applaud) ( ​148,Parks)  

THE VENUS deals with an nonclinical abortion twice while being the mistress to THE BARON DOCTEUR who goes from a primary spectator to physician then researcher that capitalizes on THE VENUS’ rarity for self-profit. But first he aborts his illegitimate seed and what feels like an representation of love for her.  

THE VENUS 
THE BARON DOCTEUR 
(She pregnant.) 
(Rest.) 

THE BARON DOCTEUR:God. Is there anything we can do about it?... I’ve got various equipments in there we could figure something out. 

THE VENUS: Where I come from its cause for celebration. 
THE BARON DOCTEUR: A simple yes or no will do, Girl.  
THE VENUS: Yes. (​pg. 130, Parks​)   

Prior to the second pregnancy THE VENUS discloses to THE BARON DOCTEUR that the men in the lab are sexually harassing her and masturbating with THE BARON DOCTEUR in the room. “The Anatomist waits patiently for him to resume, then, turning their backs to The Venus, they steal looks at her over their shoulder and jerk off.” (pg. 121, Parks​​) He is passive of the complaint and belittles her expressed disapproval. THE VENUS is learning the protection of love is not available to her even at her most vulnerable moments her humanity and emotional life is denied. 

THE VENUS: They touch me sometimes. When yr not looking. 
THE BARON DOCTEUS: How could they not? Touching you is- well its their job.  

The entire cast participates as spectators of THE VENUS and none of the characters ever truly dedicate or make good on their commitments to her. She has a deeper desire to want to be loved by those she has given herself to sexually, mentally, emotionally and physically.  She wants to be loved for being who she was and accepted for trying to be what they wanted.  

THE VENUS:... I could wash off my mark. I came here black. Give me the chance to leave here white. (​pg. 82, Parks)  …. 
THE VENUS: Indecent? …  
THE VENUS: Never. No. I am just me. 

Black women being empowered to define themselves and take ownership of the non-monolithic narrative is liberating and taps into a sense of freedom that they have been robbed of. Often this action leads to a sense of danger according to black feminist critique. It is said that Saarjite was given the opportunity to free herself from the harsh sex trafficking industry and declined. Realistically she was socially and classically conditioned to a particular lifestyle where fascination could easily be confused with love. THE VENUS ends the show transitioning from a caged cell to the afterlife with a full realization of who she is even though if she didn’t get the chance to fully live in her truth.  

“THE VENUS: Tail end of the tale for there must be uh end. Is that Venus Black Godness was shameless, she sinned or else completely unknowing thuh Godfearin ways, she stood Showing her ass off in her ion cage. When death met love Love Death deathed Love and left love tuh rot Au natural end for Thuh Miss Hottentot.” (​ pg. 162, Parks) 

Black women historically have been misrepresented, excluded and abused for the benefits of others in society. This is a separate experience that is worth a category in itself when creating a feminist spectator critique. Dolan’s model negates so many social dynamics like race, and class that it appears to be an inadequate formula when viewing performance art about black women. Thankfully there are contributors like Barbara Smith that have considered the artistry and the creator when outlining the ideologies behind the black feminist/ womanist critique. The discussion on how Dolan’s model advances women's rights is irrelevant considering all women weren’t a priority in theory. If anything plays like ​Venus​ highlight the lack of rights and greater systemic disparities black women experience in society. Suzan- Lori Parks certainly created a piece of theater performance that allows spectators to be challenged by normalization of oversexualizing black women in reality. While also writing a story of black woman that was failed by society but not forgotten for enduring the journey that resonates with an experienced truth of black women.