UNIDENTIFIED UNUSUAL CIRCASSIAN GIRL BIG AFRO LEGS CROSSED CDV ANTIQUE PHOTO

Description

CARTE DE VISITE (CDV) OF A CIRCASSIAN GIRL.
SIZE. Approximately 4 x 2 7/16 inches.
CONDITION. Photo: Oval-ish mark at upper left corner. Other smaller spots and marks. Faded at bottom. Mount: Wear at corners. Some soiling on front and back. Back also has a circular area at upper right: part of it has soiling, part of it has missing surface layer.
APPEARANCE. Very good and deep tones, except at bottom where faded. Nice pose.
CIRCASSIAN BEAUTIES. "The combination of the popular issues of slavery, the Orient, racial ideology, and sexual titillation gave the reports of Circassian women sufficient notoriety at the time that the circus leader P. T. Barnum decided to capitalize on this interest. He displayed a "Circassian Beauty" at his American Museum in 1865. Barnum's Circassian beauties were young women with tall, teased hairstyles, rather like the Afro style of the 1970s. Actual Circassian hairstyles bore no resemblance to Barnum's fantasy. Barnum's first 'Circassian' was marketed under the name 'Zalumma Agra' and was exhibited at his American Museum in New York from 1864. Barnum had written to John Greenwood, his agent in Europe, asking him to purchase a beautiful Circassian girl to exhibit, or at least to hire a girl who could 'pass for' one. However, it seems that 'Zalumma Agra' was probably a local girl hired by the show, as were later 'Circassians.' Barnum also produced a booklet about another of his Circassians, Zoe Meleke, who was portrayed as an ideally beautiful and refined woman who had escaped a life of sexual slavery. The portrayal of a white woman as a rescued slave at the time of the American Civil War played on the racial connotations of slavery at the time. It has been argued that the distinctive hairstyle affiliates the side-show Circassian with African identity, and thus, resonates oddly yet resoundingly with the rest of her identifying significations: her racial purity, her sexual enslavement, her position as colonial subject; her beauty. The Circassian blended elements of white Victorian True Womanhood with traits of the enslaved African American woman in one curiosity. The trend spread, with supposedly Circassian women featured in dime museums and travelling medicine shows, sometimes known as 'Moss-haired girls.' They were typically identified by the distinctive hairstyle, which was held in place by the use of beer. They also often performed in pseudo-oriental costume. Many postcards of Circassians also circulated. Though Barnum's original women were portrayed as proud and genteel, later images of Circassians often emphasised erotic poses and revealing costumes. As the original fad faded, the 'Circassians' started to add to their appeal by performing traditional circus tricks such as sword swallowing." (source Wikipeida
There is a fascinating essay titled
A Freakish Whiteness: The Circassian Lady and the Caucasian Fantasy
, by Gregory Fried, on the Mirror of Race website. An excerpt: "And so Barnum invented the 'Circassian Lady,' or sometimes the 'Circassian Beauty,' as a sideshow performer of a particular kind. The type included a number of key features: the woman must be pretty, or even beautiful, by Victorian standards; she would wear exotic clothing, generally more revealing than that worn by European and American woman of that era; she might display striking jewelry and other ornaments, such as strings of pearls or richly embroidered clothes. And the most telling feature of all: the big hair. This extraordinary hairdo was entirely Barnum’s invention, but it stuck as one of the defining markers of the “Circassian” woman, no matter what circus or sideshow put a Circassian performer on the stage: a huge mass of hair, washed in beer and teased to a frizzy cloud resembling what might remind someone today of an Afro from the 1960s or 1970s."