Continuing our explorations and the development of our activist clowning methodology The Nomadic Rebel Clown Academy travelled to Bern, Switzerland. Or, to be more precise to a quiet corner in farmland near Belp (a short train ride from the city), where we spent 7 intensive days immersed in sunshine, river waters, games and exercises that took us from being 23 individual clowns and activists to becoming a cohesive and supportive group who listened, observed, played and worked together to create actions, small and large, of resistance and rebellion.

I’ve motored from Athens across Italy and the landscape becomes softer, greener and more manicured. Getting into farmland of the outskirts of Bern I drive to Belp railway station where Robyn is waiting. She’s travelled by train from Bristol via London and Paris. We’ve not seen each other in person for a few months and we’re excited to be facilitating another Nomadic Rebel Clown Academy together. Excited to be developing our methodology that explores ways of working with current political issues and injustices through the embodied lens of clowning.

We drive through increasingly narrow lanes between open pastures with cows and farmhouses until we get close to the Aare River.  A left-hand turn brings us in front of a huge meadow surrounded by hedges of tall trees and at the end of the short drive a one-storey building with a covered porch running along one side. Gruppenhaus Aare Husi. Fittingly this had been previously a holiday place for the Rote Falken (Red Falcons) a socialist childrens’ organisation which emerged during the first and 2nd World wars[1]

People were in the meadow, already playing games, laughing and enjoying the warm sunshine.

This was to be our home for the next 7 days.

Robyn and I had arrived early, before the beginning of our workshop so that we could participate in part of the 2 days pre-workshop sessions that the team from Bern and Vienna (Lauritz, Joscha and Chiara) had prepared; 1 day of getting to know each other, 1 day of basic clown training. This was an exciting idea for us, because it meant that we could dive straight into our methodology on our Day One, secure in the knowledge that people would already be familiar with each other and familiar with some of the basic elements in clown training such as playfulness, listening, awareness of the audience and…patience!

Robyn and I spent Saturday evening meeting everyone, and eating the first of many delicious and nutritious meals prepared by resident chef, Robin, also a clown but for this week, focussing on lovingly preparing food for us all.

On Sunday Robyn and I were able to observe clown training facilitated by the Bern team, a rare and wonderful opportunity for us to watch with a little more distance – outside the position of the facilitator who needs to be keeping all eyes on participants, individual and group needs, outside the process of the individual clowns and the dynamics emerging and developing on stage and in a position to really experience the enthusiasm of the spectators who are also clown trainees. This is an additional lens through which to see the process of clown training develop, and important to anyone who facilitates and works with individuals and groups in these processes, yet so we don’t create time-space for these opportunities.

A plenary meeting was held at the end of each day, where everyone had the opportunity to express thoughts and feelings of the days work-play. This afforded another opportunity for getting to know each other: understanding how each of us responds and processes the different elements of the day, how each person speaks, their gestures and facial expressions, their hesitations and questionings. An different embodied process of getting closer to each other.

 Following this Robyn and I gave presentations which gave introductions to our own work and background plus the wider context for our rebel clown work-play processes.

Who are we and what are we doing here? [And do we need our red noses?]

 Day One of the Academy is always a gentle introduction to clown games and exercises, ways for all of us to get to know how we work, as individuals, in pairs, small groups and a large group. We focus on listening, on reflections after each exercise and on building our feelings of trust and support for each other as we gradually shed some of our outer self-layers to reveal our clownish ways. For this workshop Robyn and I wanted to emphasise early on certain elements which we consider to be crucial for working together in public spaces – saying ‘yes’ (or no!), the fixed point and finding the game.

 The later afternoon was reserved for some discussion in pairs and small groups of political issues that concern us and that we wanted to address in our clown work during  the week.

 I’m always keen to get out into public space, feeling that although studio time is crucial for creating trust, awareness, support and collaboration, the sooner we can get used to being in that unpredictable everydayness of the world outside the better. [Shall we take our red noses?]

As activists, performers we love to do; eager to act, to get going and it can be hard to wait, to try and understand the contexts in which we want to act. Observation  - watching, listening to the environment, our surroundings, to human and non-human behaviour and interaction is crucial for our work as clowns and activists. In addition to legal regulations[2] there are numerous social and cultural norms and etiquettes that inform our everyday behaviours: Where can we walk or run? Where can we be still? How do we move through spaces? Thus Day Two morning saw us exploring the rather sleepy town of Belp as observers.  

Listening: CANTO A LA REBELION - SKA-P
https://open.spotify.com/track/3Omx1tugYI03ULA1zcLCj6?si=e720578d4ea34362 

RESEARCH: WATCHING, LISTENING  Who else is here and what are they doing?
[Are we wearing red noses?]

But even before we could begin we had been observed and we had our first encounter and audience: a group of curious school students on their playtime approached our group as we were gathering together in a corner of the park. They pushed one friend forward to ask what we were doing and were genuinely interested to hear about our work. It is always amazing (and somewhat reassuring) to know that we are observed and discussed.  More often than not it is the younger members of the public who notice something not aligned with the everyday patterns and rhythms of the city. Perhaps they are still attuned to small changes that happen around them, and just by gathering as a larger group in that space we had interrupted the usual patterns and routines of the park. Their curiosity was still alive and strong enough to overcome feelings of shyness and embarassment. They still wanted to ask questions: What are you doing? Why?

 Having satisfied their curiosity and awakened our own we set off in pairs to explore the town. We looked at the configuration and use of public spaces, of traffic and roads, and buildings. We watched behaviours in and around the town. We made notes, took photographs, listened and watched, walked and talked.

 REFLECTION & CREATION

Back at Aare Huis, reflections included individual wrtings, conversations in pairs and larger groups. After lunch and work on group choreography and cooperation, the afternoon focussed on creating small actions inspired and brought alive by the morning’s explorations. Four clown groups gathered costumes and created choreography exploring themes of property, normalised bodies, quiet spaces and structure & lines. They would take these actions into Belp the following morning. [And not a red nose in sight]

Are we allowed to lie down on the ground? What happens when we do that? Where can bicycles rest? Where are we allowed to sit? What happens when we stand still? When we move differently through spaces? When we don’t follow the normal routines of consumerism and expected behaviours? What is ‘public space’ Where are the boundaries (literal and metaphorical) between public and private space?  

 DANCE SONG: REBEL GIRL - BIKINI KILL https://open.spotify.com/artist/0gvHPdYxlU94W7V5MSIlFe?si=ZIzf3bEDRKCPmATcWXVUeg

 Are we seen? By whom?  
[I’m bringing my red nose, just in case]

GETTING OUT THERE: ACTIONS 1
We had been observed once again, this time by adults, official ones in uniform – the local police. And it was not curiosity that prompted them to appear but control and authority: what are you doing here? Many of us are familiar with this and find that a truthful., albeit general generic answer usually works best: We’re working on an art project. Even so, such interventions from authority can be dangerous for those of us who are used to being targeted as outsiders and unwelcome visitors and there were some uncomfortable moments until we reassured the police that we were not planning an (immediate) overthrow of the state.

After regrouping and some mutual reassurances we began the work: each group tried out their action in two different places in town. We then took turns to watch each group. All the actions revealed wonderfully nuanced attention to detail and to the peculiar restrictions and etiquettes that influence our everyday behaviours as we live our lives in public spaces.

Small changes, treading softly

 We saw how interruptions and small transgressions in the rhythms and patterns of everyday life can encourage us to question behaviours and assumptions that frequently prevent us from making encounters with others, from including others. We also experienced what happens when we question authority, whether that authority appears in uniform, or as car drivers impatient for pedestrians to cross the road, or as passers-by suspicious of our intentions. We begin to look at the world from different perspectives, slightly askance, sideways on. 

 Can we transform our worlds with small interruptions and actions such as these? Can we create changes for a more just society only by moving differently through public spaces? Where can such small actions and transgressions lead us? [And what happens when we wear a red nose?]

Back at Aare Huis we spent plenty of time on reflections about the work: as individuals and in each group. How did we feel as we gently interrupted the patterns and behaviours in those spaces? What did we see and feel as we watched each other? Were we noticed? If so, how did people respond? How are we perceived as clowns? Are we ignored? Seen as entertainment? What happens if we don’t entertain as expected?

 We had a wealth of material to consider, from our observations on Day Two and the work on Day Three – what had worked, what was surprising, how did we deal with being ignored, or rejected? What thoughts and feelings emerged from watching each other working?

 After lunch we introduced working with bouffon, which in a way is the antithesis of the naïve, innocent clown who wants to please. The bouffon is knowing and aware of the powers and systems that oppress them (and us), with a cunning glint in the eyes that reveals their intention to destroy authority with laughter. With the bouffon we see the beginnings of the rebel in the clown.

 Rich material began to emerge from parodying not only the usual targets of authority (such as police and politicians) but also from parodying behaviours and beliefs that we hold sacred. Since we know more closely what we value the work can become more uncomfortable for us, revealing a deeper, finely tuned level of critique. that can potentially be more incisive and funny than the typical, brushstroke parodies of policemen and politicians.

GETTING OUT THERE: ACTIONS 2 In the big city with the big demonstrations
 [we will never be ready]
 [even with the red nose!]

The organising team had told us at the beginning of our collaboration that they wanted to create actions for May 1st, (the following day) to join the annual workers demonstration in Bern. Accordingly our work and discussions in the later afternoon focussed on what kinds of actions would be created and their subsequent creation. Three themed groups emerged: Tourists who were oblivious to International Workers Day; CEOs recruiting low-paid workers and a Police Support Team. 

We aim to be strict about timings in our scheduling of exercises and games and this extends even more so to preparations for larger actions. Underpinning our Quick-Quick Slow methodology is that sense of not becoming fixed on creating the perfect, slickest show – this will never happen there will always be something to adjust and improve and the best way to do this is out there on the streets – let’s find out what works (and what doesn’t) and we will find that there will always be something we hadn’t considered that will lead us along a new path of discovery. [And maybe we will be wearing a red nose] 

 We travelled to Bern, gathered in the park to put on costumes, make-up and have a brief warm up before venturing into the busy streets to join the legal demonstration.

Frequently we really want to get to the destination (in this case the demonstration) so that we can ‘perform’ our actions, but in doing this we sometimes miss opportunities to connect and play with spectators and other members of the public as we go.  On the other hand, we can easily get distracted with games on the journey that mean we lose sight of the actions we had planned. Somehow and somewhere we need to find a balance. And sometimes our ideas and aims shift as we make our journey. But we can only make these discoveries out on the street. The groups experienced different challenges, surprises and revelations as they worked: it was further to walk that we had expected, the audience (bystanders, people in cafes, demonstrators, police and security) was alternately walking, completely still, moving swiftly and certainly not paying attention to us! The Police Support Group had to rush ahead at times to find different police lines, the Tourist group could work more in one or two places.

DANCE SONG: LOUIE, LOUIE - THE KINGSMEN  (an example of creating something great but less than perfect) [3]
https://open.spotify.com/track/0iA3xXSkSCiJywKyo1UKjQ?si=6ab9b81034a04551 

We regrouped back in the park to decide whether we wanted to join the illegal demonstration that would be starting out in a different location of the city. The CEO Recruiters group hadn’t quite found their rhythm during the legal demonstration but they decided to continue experimenting and with great energy and determination they suddenly found themselves in the prefect place: in front of the illegal demonstration being the oppressors and capitalists that we were demonstrating against. Drawing on the play and choreography of the previous days they found an effective simplicity in moving towards and away from the demonstrators, always in view and clearly being driven back by the power of the masses. A beautiful metaphor! And a fantastic lesson in not giving up at the first hurdles but instead to continue to experiment and improvise until something develops – and it will!

The Police Support group continued to ‘support’ the police on this second demonstration, creating humorous and playful actions – as individuals and in pairs – exploring the delicate dynamics between parody, permission and cooperation.

[And FINALLY we got to wear red noses]

DANCE SONG: PEOPLE HAVE THE POWER - PATTI SMITH
https://open.spotify.com/track/4GbnjrrobeVLCl1FQ5C0OY?si=ba1be7db2f0e4091 

 REFLECTION & EVALUATION: cerebrations & celebrationsWe had reserved the Fifth day for review, reflection and evaluation. This was done as individuals and shared and reviewed in the each of the 4 action groups. And later in the final plenary we all shared feelings and thoughts emerging from the reflections. Many questions arose: How to conserve energy? What about wearing make-up? When do we need to stay with the group and when can we improvise on our own? Do we follow the crowds or do we find somewhere to place ourselves and stay?  Is it ok to be friendly with the police? [And what about the red nose???]

An important part of the afternoon was the creation of ritual visualizations of our individual dreams and hopes for the world, beyond Aare Huis and the farmlands of Belp, and for us in our different everyday worlds where we might need support and inspiration to give us energy for the next steps.

Leaving the group house and each other was a slow process. After such an intensive time of work together we had to take care to nurture the new relationships and dynamics that were developing, to remember that dancing with and for each other is as important as demonstrating with and for each other - yes, the personal is still political. We left with many questions as well as renewed energy for the times ahead, because we know they will be challenging.  

DANCE SONG: I wanna dance with somebody - WHITNEY HOUSTON
https://open.spotify.com/track/2tUBqZG2AbRi7Q0BIrVrEj?si=61b9a0b646bd4518

[1] The Aare-Hüsi is closely linked to the history of the Red Falcons in Bern and Switzerland. It was built in the 1930s by the Kinderfreunde Bern (Friends of Children of Bern) as a summer house for the Red Falcons' children's and youth groups. Even today, the Hüsi remains an important and beloved place for the Red Falcons of Bern. The Children's Friends and the Red Falcons emerged in the interwar labor movement in German-speaking countries. In 1922, Anny Klawa-Morf and Albert Hofer founded the first Children's Friends groups in Switzerland in Bern and Biel.  The name "Red Falcons" was chosen for these children's groups.The goal was to offer working-class children a change from the poverty-stricken and often precarious situation in the city. The young proletarian children were to get some fresh air and find balance in nature and community. A basic idea was and still is that young people themselves take responsibility for the groups. The Red Falcons are still active in Bern today, carrying the legacy of their founders into the present day. They meet regularly on Saturday afternoons and spend long weekends and summer holidays together. Their focus is on participation, collectivity, and justice.

[2] Which vary from country to country – thus providing opportunities for questioning and even ‘ignorant’ transgression.
[3] p.74-75 Duncombe, S. & Lambert, S. The Art of Activism

Photos by Robyn Hambrook, Hilary Ramsden & Lauritz Mori

These musings led me back to the writing of Lewis Hyde who wrote “Trickster Makes this World” and this thought-provoking podcast, ‘When Trickster Changes Sides’. Both reference how indigenous societies would ritualise their destruction in order to renew. They emphasise the sacred role of the trickster to challenge and refresh culture.

Historically, tricksters have been seen as essential figures: a chaotic, destructive force for change that arrives to renew the old, but not necessarily on our terms. Ancient cultures; from the ritualised mockery of Ancient Greece and the inverted celebrations of Carnival, to the role of the ‘ritual police’ among the Pueblo Indian Tribes of the southwestern United States, knew that keeping the trickster close, fed, and given a stage, was vital. By ritualising disruption, cultures could harness its power without allowing it to bring the whole system down.

So if all systems, societies and communities must embrace periodic, controlled chaos to avoid stagnation but we have lost our spiritual avenues for ritualised destruction and mockery, does that sacred task now fall on the clowns?

Could we see our role as clowns; who turn rules on their heads, who transgresses and brings joy, where one expects only pain; as a sacred one. Can we be the ones who bring balance, renewal and innovation. And if so, how?

I brought these ideas to the Clown Congress; proposing a session called “Clown Trickster As Sacred Disruptor”.

The session began with this introduction to these musings and then an invitation for us to start with mockery. In pairs, one person was invited to mock the other and to discover all the ways we can do that. What emerged was a mix of mirroring, parody and sarcasm. Some really enjoyed the play, others felt like it was mean because it felt unnecessary in this particular space, while others noted the layers of mockery as some leant into firstly mocking themselves, in order to give the other something to mock them about. This exercise also raised the question; are we punching up or punching down? This question led the exploration in the next section.

We created four groups. Two groups played recognisable power structures; the police and the church exploring spaces where the trickster could play and mock authority. The other two groups created scenarios to mock something which is sacred and important to us. Here the trickster was playing in and around a funeral and child birth.

After a period of play we watched each of the groups.

A group of clowns played at mocking a military parade and a dictator. With my experience of clowning in protest, this was familiar territory. Here the naive clowns were trying their hardest to participate but getting it wrong and, importantly, getting in the way.

Another group were based in a church at a funeral. Here a clown chorus that chimed in alongside the priest, and offered dead flowers. There seemed to be catharsis in the transgressive play.

The mockery of our sacred spaces began to edge into the realm of the Bouffon; the figure who holds a mirror up to society, reflecting our own absurdities back at us.

Each group played lightly with sacred moments: childbirth and a humanist funeral, yet the scenes felt irreverent, challenging the sanctity of our most deeply held ideas and beliefs. Though edgy, this play was also funny, and strangely fruitful,  a space where the clown (or here, the bouffon) could thrive. By gently mocking, by testing the elasticity of what we consider sacred, even rigidly so, they invited us to laugh at ourselves. And in that laughter, something powerful emerged: regeneration through play.

This session ended but some questions still linger for me:

• Who should we mock, and why?
• When does mockery become rebellion, offence, or catharsis?
• Could disruption support ritual, rather than just mock it?

I'm excited to keep researching in this space with a new appreciation for the possibilities of the Bouffon to help me explore these further.