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Further into Imperfecta Living Curiosities: Agency and Exploitation of the Teratological Body Curiosity draws us to the monstrous. But seeing is believing: whether in a book, a museum, or in a show, for centuries people have flocked to see “monsters” for themselves. In the 19th century, many people born with non-normative bodies performed as “freaks” in circus sideshows. Circuses became a sensation and they served as a forerunner to the modern entertainment industry. This exhibit explores the lives of the performers and showmen whose livelihoods depended on the public’s curiosity about seeing wondrous bodies for themselves. Seeing is Believing: Visualizing the Teratological Body When it comes to the wondrous, seeing is believing. From this page, you can explore some of the ways that “monsters” have been depicted over the centuries. Woodcuts in early modern texts, preservation in medical museums, and photography all have been used to display people. These technologies allowed one person’s image to travel across the world and allowed their subjects to “survive” beyond death. What Does It Mean to be "Other?" What does it mean to be a “monster?” What does it mean to be “normal?” These are not objective categories. They have changed meaning throughout history as people have become exposed to a wider diversity of nature, people, and ideas. From this path, you can explore some types of “Otherness” that have, throughout history, challenged apparently objective categories and shaped the direction of science.

The Perils of Reform

During the Progressive Era (1890-1920), “cleaning up” society became a major goal of reformers. Reformers attacked government corruption, sought to expand public education, and worked to eradicate the "immoralities" of urban life. Progressive Era reformers attacked places like the Bowery in New York City. To reformers, they were dens of gambling, drinking, and home to scandalous “dime museums” where many people with non-normative bodies performed for shocked and titillated audiences.

For these performers, however, the dime museums were an important source of income. Reformers were successful in shutting down some dime museums, but did not provide another source of employment for the now out-of-work performers. People with non-normative bodies often faced limitations on what types of work they could do. Additionally, laws protecting against discrimination in hiring did not yet exist. Though the intentions of Progressive Era reformers were often noble, the results sometimes made peoples' lives more difficult.

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Contents of this path:
1. The "Hottentot Venus" Saartje Baartman (sometimes called Sarah Baartman) was born in South Africa in 1789. At the age of 21, she was brought to England by her employer who wanted to display her for profit on the stages of London. Baartman’s body was considered wondrous because of the large size of her pudenda and she was called the “Hottentot Venus.” “Hottentot” was the Dutch colonial term for the Khoi people and “Venus” referred to the Roman goddess of love.
3. "Freak Shows"
4. The Perils of Reform
6. The End of the Show

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Dime Museum