Is Nothing Sacred?

In clowndom, is nothing sacred? This is the question I posed to premier clowns Bruce “Charlie” Johnson, Janet Tucker, Roly Bain and others. I thought you would enjoy a synthesis of thoughts on this topic. I have heard various clown “authorities” make this statement, “Nothing is sacred in clowning.” Is this true?

Janet Tucker states that the definition of “sacred” is “entitled to reverence.” Is anything in clowning entitled to reverence? She states, “Clown makeup is not entitled to reverence.” It has changed through the years. Various cultures have various accepted norms of make-up design.

“Clown wardrobe is not entitled to reverence. Character development is not entitled to reverence.” And there is nothing sacred about clown skills. Most of these skills may be learned at community colleges and summer scouting programs.

Janet continues, “In the world of clowning, nothing is sacred that can be improved and updated to something better. Anything that is reverenced is elevated to a level of perfection that is contrary to change.” And the techniques and forms of clowning are in a continual state of improvement. So, these clowning aspects, when dissected and examined, are not found to be sacred.

Roly shares, “Nothing is sacred for the clown in that nothing and nowhere and nobody is outside his scope and remit. The highest and lowest of people...are not safe from the clown’s fooling.”

Bruce injects, “Is nothing so sacred that it won’t be used in a clown routine. No, because throughout history one of the functions of clowning has been supporting what is sacred through their humor.” Bruce notes numerous examples from Native American, Asian, and medieval clowning where clown characters were key parts of ceremonies and services.

The clown’s purpose was to help establish sacred truths through his clowning. When the audience watched a fool break a tradition, the truth that “only a fool would break that tradition” was established in their minds. “People laugh at the clowns because they know what the clowns are doing is wrong; which strengthens the feeling that it is wrong.”

Bruce continues, “Another way the Native American clowns maintain sacred order is policing the tribe for people guilty of breaking taboo. When they identify somebody... (breaking tradition)...they perform a skit in public parodying that person and their bad behavior. (i.e. alcoholism) Often this public ridicule is enough to cause the person to correct their ways out of embarrassment.”

“Some Native American ceremonies can’t start until the clowns have made everyone laugh because they believe that when you laugh you let down your defenses making you more receptive to what the spirits have to teach you.” Bruce concludes, “Is nothing sacred to a clown? Yes, to many clowns what they are involved in is very sacred!”

Bruce’s examples demonstrate that clowns have handled “sacred topics” in various cultures for centuries. Roly states, “No place is too sacred for the clown--certainly not churches! The clown belongs in the dangerous places. He belongs in the circus ring where there is nowhere to hide.”

Yet, as the clown approaches sacred places and sacred topics he must understand the mind set of the ones he clowns for. If he doesn’t; or if he assumes he is given more permission from his audience than he actually has been given, he may find himself in the same gallows as some court jesters.

I believe the relationship between the clown and the audience is sacred. The audience e entrusts itself, its beliefs, it’s traditions, and its sense of propriety to the clown. If we say “nothing is sacred”, then are we also able to say “nothing is offensive?” I don’t believe that to be true.

The clown should know where the lines of appropriateness are drawn. He may dance along the top of the fence posts of propriety,...and at times may fall over and be forgiven by his audience. But an action or gag that seems to be an outright disregard of what people hold sacred may break the relationship between audience and clown; not endearing the clown to the audience, but actually accomplishing the opposite, causing a barrier to be put up between he and his audience.

An example from church ministry clowning: Each church attender has a different concept of what is sacred in the sanctuary, and to what extent. Each church has a different congregational personality. In some liturgical churches, the concept of having a clown lead in applause of appreciation for God may seem irreverent. In the church services I’m generally a part of, we do pies! If I took pies into another church, I may not even be allowed through the doors! My plan of action would hinder the building of good will between clown and audience, so I must change my plans in order to keep the sacred trust, the friendship, of my audience.

Roly explains, “The whole subject is a tricky one because it’s judged entirely by instinct and by timing. What’s appropriate at one given moment may not be the next. What’s appropriate for me as a clown may not be remotely appropriate for another clown who tries to repeat whatever I’ve done in...a similar situation. But the best clowning exists in the relationship between the clown and his audience and that’s what’s sacred. To deny the relationship (to damage it) for the sake of exposing somebody or something that you deem not be as sacred as people (your audience) make out fails on every count--it desecrates the relationship as well as ruins your intent.”

Some of you may want to skip this next paragraph. I believe it describes poor taste, but probably needs to be shared to let some understand the depth of this debate, “Is nothing sacred?” as we consider our clowning and our relationship to our audience.

Sometime ago I met a young lady at a mime training workshop who vividly described two “clowns” who performed a stage show in Chicago called “Hats On Fire: Shoes On Fire.” In their show one clown displayed an exaggerated male private organ, simulated activities I’d prefer not to describe, then had it cut off by the other “clown” spraying the audience with fake blood. The young lady shared that the audience “loved it.” I strongly expressed that these performers were not clowns. They were stage characters. I was offended that they referred to themselves as clowns.

She shared that it was hilarious that these men in clown costume would smoke cigars, honk their car horns and yell obscenities at the public on the way to a show! I shared that it was not. She felt that I was narrow minded in this clown arena. Maybe she’s right. And maybe there is a place to draw a line. Clowning has to do with good taste. Clowning has to do with wholesomeness. Clowning is more than shock humor in a costume. The described “clowning” violates the conscience of the general public.

I consider, “What would have Lou Jacobs thought? What would Grock have thought? What would Spider Austin have thought? What would Footit & Chocolat have thought? What would Dan Rice have thought?” I believe that these clowns would’ve considered how the entire general public would’ve related and responded.

Will these prior described actions heighten the public’s view of the clown, or damage it? That is a question worth considering, for I believe that the relationship between clown and audience should be considered sacred. It should be preserved at all costs!

Each time I perform the audience attaches the title “clown” to my presentation. My performance affects each of their individual views of what clowning is all about. I’ve been entrusted with a sacred trust from those who have come before, and consider seriously what impact I will make for those who will follow after in this traditional art.

I guess I’m talking about attitude. Janet injects, “There is something about clowning that is worthy of reverence. It is something that cannot change, and will not change, because it is the very nature of clowning itself--the heart of the clown. The heart of the clown that inspires some people to dress in unusual costumes, paint their faces, and work diligently at a variety of skills in order to evoke laughter in others is worthy of reverence, and by definition, sacred to the art of clowning.”

In clowning, “Is nothing sacred?” No, many things are sacred; the good of the audience, relationship, heart. These things are to be guarded and preserved for our current audiences and for those to come.

*This article was originally published in a major clown publication about eight years ago. Thought maybe you'd appreciate seeing it listed here for you.