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Participant notes from Clown Congress 2025 Session proposed and documented by Carla Keen Attendees: 10-12 This session was convened because of the amount of neurodivergent (ND) folk that clowning tends to attract. I am curious about why that is, to talk about the overlap, and hear people’s experiences. Note: a ‘talking stick’ approach was used as with many neurodivergent folk in the space, there was both talking fast/over-talking combined with difficulty processing lots of info. In short: people with different needs for communication. The talking stick enabled us to stay focussed on one person, and one topic at a time. We used a nice purple pen. :D Key themes How do ND folk engage with ‘traditional’ theatrical tools/methods? Training: should there be someone available who is there solely to support ND folk? Does clown allow us to reclaim or embrace what is being said about ND people? Does the use of medication impair your clown? To be (your ND self) or not to be (your ND self)? Being yourself vs masking and the relationship to being on stage For some being on stage allows the mask to be removed, for others it makes a space for a kind of mask or character which is not themself. So, a clown state can allow for both an escape from and/or a full embodiment of your ‘true self’. But, if your ND is a way into your funny, or part of your clown, does this mean you allow yourself to be further ‘othered’? Clowns are ‘idiots’ and ‘freaks’ - they present parts of the self that are often (for whatever reason) kept hidden or used sparingly - does it help to put your ND self out as a clown? Or does it further ‘other’ a group that already struggles to occupy space? Arguably a way to embrace what is probably being said anyway…(think of the word ‘queer’, for example.) Diagnosis Is there any value in a diagnosis? You know already if you are ND. But we live in a world where social contracts make it hard, so means you have a shorthand way to communicate, enables you to advocate for yourself. Has anyone found that medication has dulled their ‘funny’? Some said yes. That ability to think fast or the impulse to say/do something, the ND spark, can sometimes leave you, which is great if you are doing practical things like producing, but feels somehow leave you feeling less like you and less able to clown as you did.  Training
Do you need someone available who is aside from the workshop able to provide care/support? Should workshop leaders provide this. OR is there the expectation that if you are at a workshop you are able to look after yourself - How do you clown if you don’t feel safe? Clown is a vulnerable state Suggestion that care can be provided by the community - that as a collective group of people clowning would be able to ‘catch you’ Clown as a concept Idea that it is calling - that like ND - you don’t choose it, it is something within that you need to do The idea of clowning - things like making yourself vulnerable, saying the unsaid, masking, are things that ND people do all the time - they are used to being ‘other’ We are just being human on stage - coming with what we have ND lots of women in particular, have ‘found’ themselves or felt seen. Lots of ND women going ‘yes this is me’ - and this mirrors the discovery of clown Participant notes from Clown Congress 2025 Clown and Theatre of the Oppressed session proposed and documented by Rosa Stourac McCreery I proposed the session because I have been researching and exploring the intersections of theatre of the oppressed practice and clowning, and if and how these forms can support each other and create different or new invitations to audiences to interact in meaningful ways which garner solidarity and can translate into real world actions. I love clowning and I love theatre of the oppressed practice, they are the cornerstones of my life, and I think they offer us so much for healthy, connected ways of being, living and working together and challenging and proposing. Up until the past few years I had thought of these forms, as well as the physical theatre and Circus based arts which are other key parts of my practice, as necessarily separate. It seemed like the more physically challenging, or stylised forms couldn’t be used within a theatre of oppressed framework because of the need for audience to interact with the content, form, and aesthetics of a theatre of the oppressed play. But, increasingly, I felt like it would be worth exploring what happens when we bring these forms together. Does it make for more dynamic theatre of the oppressed plays? Does the Clown help us to question and reflect on the oppressions being shown and how normalised they have become? Does the Clown help to bring humour to what can otherwise be heavy and depressing subjects to tackle? Is the Clown an obstruction or distraction to audiences interacting with the play? What becomes of the role of the Joker/facilitator of the of the oppressed process, when the Clown is already establishing a direct communication with the audience? All of these questions are ones that I have been exploring. I was keen to bring this exploration to Clown Congress because of the range of clowns with different experiences that were there, and also because I think that it offers us important opportunities to question the purpose of the interaction with audience when we are clowning. Are we interacting with audience just because that’s what clowns do? It’s inherent to the form? What is it we are asking of audiences when we do this? How can interaction with audiences lead to a greater readiness to build solidarity and tackle the problems we can see represented in a Clown show, linking Clown with what’s happening in the world and inside of us? The session itself I thought was really great – I was blown away by the enthusiasm people brought to the session, and how they took agency in it and made proposals. It reminded me of the fabulous laboratory models of the feminist theatre of the oppressed practices, where we support each other’s aesthetic and political development by practically exploring our ideas for the enhancement of the play we have seen by another group by offering back a version we have quickly collectively worked on. Of course there’s only so much we can explore in the time we had and as people who are just meeting for the first time. Also, some folk there did not have prior experience or knowledge of theatre of the oppressed practice. I talked briefly about other experiences I had had of mixing these forms, most recently in Zambia, Brazil and Guatemala. In Bristol, we decided to try out creating games for an audience with which they can interact which could lead to meaningful interactions, in terms of interactions that have to do with the content of the play and people taking action on the oppressions that are shown. A member of the group suggested that we choose a theme that is current and affect lots of people; the announcement about PIP benefits had been made fairly recently and of course many people were and are very worried about how this will impact. So we agreed to use that as the theme for the short pieces and games that we made. I suggested that people could make an image of the oppression as a starting point, as a way of aesthetically representing our relationship to the issues, and giving a form to work from. Of the games that were created, one was much more clearly identifiable as a game. However, it felt as if it was the performers playing it rather than so much an invitation to the audience. So there would’ve been the task of working out how to make this accessible to an audience and get them involved, and it still felt a little bit unclear about what the purpose of the involvement would be. In the case of another group, we created an image as a starting point which showed a person representing capitalist system/politicians taking money away from people for their own gain, another figure who was supposed to be a support service or advocate, but seemed inept or over capacity and ultimately helpless, to support a third person who was clearly struggling and in need of support but increasingly downtrodden. The invitation was to step in as an audience member and act in solidarity, or support. Each of the characters appealed to members of this audience to join them or to acknowledge their intention. This one got somewhat chaotic, there was clear empathy with the person who most needed support, but the capitalist figure was very pervasive and paid very little heed to everything else that was happening. In some ways, quite real. But the audience was stalwart in support of their comrade, and kind of pushed the advocate out, whilst the money man was heading off doing his own thing. The advocate figure was a bone of contention, with most people seeming to feel that they were in the way and ultimately not serving the person who most needed it and needed to be taken out of the picture. I feel in this case that the audience took roles as actively because they were very warm to the exercise and ready to interact. I do wonder how much a different audience would have got involved, or if they would just look on. The third piece felt most effective theatrically and was impactful as well as compelling the audience to act, although performers came towards the audience rather than inviting the audience into the playing space. The piece was less clearly Clown, if anything had an element of grotesque and possibly what would be called dark Clown. It consisted of someone in need of support, and someone who was there clearly to be there with them and support them, but all the elements of support were being silently, insidiously stripped away by the shrouded figures approaching as if invisible and literally peeling away the elements which represented support. It was clear that the shrouded figures who were stripping all support elements away were coming for the persons life next. However, at that point the person came into the audience asking for help and solidarity, and the audience closed in around them preventing the shouted characters from getting to them. Whilst this piece was the one which really created shudders in us as audience members and where there was a clear offer and mechanism of acting in solidarity, there was much less playfulness and Clown-based verve. It would’ve been interesting to see what would’ve happened to the piece if more of this was present in it, and how this might have changed the relationship with the audience or not. Also, I think it would be useful to think about how the piece could be a stimulus for discussion about what that kind of solidarity would look like in real world terms, and for the narrative to be developed so that there was more variety of possibilities for interaction and intervention in the narrative from the audience. As the notes from the session attest, I think through the session and as a group we asked many really useful questions, and I really appreciated the opportunity to continue to explore and interrogate these forms coming together. I think more time would be needed to develop Clown aesthetics and narrative which invite audience involvement and maintain a sense of critical thinking throughout, acknowledging the dangers of people just getting swept along and not really thinking about what they’re actually doing and why. I think there’s something interesting about the power of the performance space and an enticing character or set of actions, and the way that an audience can get carried along with that power, or may reject it because it feels unsafe for outside of their comfort zone. I think there is still so much to be explored with these questions and with more time and space to do so it would be great to continue to share discoveries and insights. They were also good questions asked in the session about the differences between impulsive, in-the-moment actions, which someone proposed was like the metaphor of the warrior, versus slower more considered actions which would take a longer period of time to achieve, for which the image of the midwife was used. This line of questioning also makes me think about what kind of process the performance sits within. Whether or not there is the possibility to develop relationship with the audience to create dialogue and involvement in a variety of ways, including after the performance thinking about how collective strategies that have been proposed in the creative moment can be harnessed and acted upon and what kind of organising needs to take place to support that.  written by Holly Stoppit  Image credit: 3 red nosed close receiving instructions for a mission / Dan Green On the 5th and 6th of April 2025, 52 clowns took over Bristol University’s drama department to explore The Future Of Clowning In Turbulent Times. Clown Congress video filmed and edited by Dan Green Dan’s video and this blog offer a flavour of what took place at Clown Congress 2025. Read on for a bit of context, a roll call of who was there, photos and descriptions of what happened and a brand new poem from Skye Lilly!  Image credit: Holly explaining how Open Space works / Dan Green What Is A Clown Congress? Clown Congress is a space for clowns of all backgrounds to come together to meet, play, chat, eat, inspire and be inspired by each other. Clown Congress 2025 was the fifth rendition, the first two iterations happened online during the pandemic, the next three happened in person in Bristol, UK. Who Was There? This year’s hosts were Robyn Hambrook (clown activist), Holly Stoppit (clown therapist) and Jan Wozniak (clown academic). We were supported by 5 Clown Congress Comrades (Anna, Holly M, Skye, Beth and Jessi), a Wellbeing Support Clown (Alice Human), a Catering Manager Clown (Lucy Heard), a Clown Photographer (Holly Tiggs) and a Clown Photographer / Filmmaker (Dan Green). Our congregation included: clown doctors, clown activists, clown therapists, clown performers, clown teachers, clown puppeteers, clown musicians, clown wannabe’s, clown elders, boss clowns, clown parents, neurodivergent clowns, queer clowns, clown academics, clown dancers and clown deniers.  Image credit: Serious conversations at Bristol Uni Drama Department / Dan Green What Did We Do? We offered warm ups and getting to know you games in the mornings before introducing the Open Space. Open Space is a radical conferencing method where the attendees set the agenda. Anyone could propose a session exploring any theme relating to our overarching questions, then the delegates could choose where they wanted to be - they could attend single sessions, move between sessions or just hang out at the tea urn and chat with whoever was around. Our Three Questions For Exploration:
 Image credit: Clowns + cake / Holly Tiggs What Happened? There was serious discussion, frivolous play, singing, dancing, lying down, feasting, lamenting, imagining and connecting. There were clowns disrupting the status quo, creating a new manifesto, rebuilding the world, making films and spilling out onto the streets of Bristol. Here follows a run-down of the session titles, a beautiful poem written by Skye Lilly and some wonderful descriptions of the event from the attendees. The Sessions There were 6 Open Space slots over the 2 days, with a mighty 24 (official) sessions called by the attendees. To give you a flavour of what happened, here is a run-down of all the sessions. There will be reports of some of these sessions coming soon. Day 1 Sessions
Day 2 Sessions
Poet Skye Lilly created this poem over the two days, in response to their experience at Clown Congress. Dan Green filmed and edited this video of Skye performing their poem, with black and white pictures he took at the Clown Congress. Syke Lilly’s Poem Poet Skye Lilly created this poem over the two days, in response to their experience at Clown Congress. Dan Green filmed and edited this video of Skye performing their poem, with black and white pictures he took at the Clown Congress. There is utopia hereIn the dusk blue tinge of sunsetting A dream within a dream within a dream Sacred laughter echos Sacred moment savoured We click to quieten the thud of convention To hear hearts beat with certain gesticulation My grandmother took steps So I could wear silly hats So I should wear silly hats And to find others that would wear silly hats That makes silly sacred That takes silly and savours it There is a seat for you If there is a space unfulfilled it will be filled for you With you I sit on tree trunks What does everyone else sit on? If the chair is pulled from underneath you We will fall, I will fall gracefully When we fall, we fall gracefully Open heartedly Come play over tea with me Come lay randomly with me For Can you go for me Can you see for me When I am invisible can you be for me With me If you say this is the thing We say "the what?" "The what?" Again We rebuild the world again and again and again And when the falling rubble is too loud We build a bigger den And say "the what?" Again We build a fort of playful silence A thought for the not so fortunate It says non violent It says what are we going to do about it? It says what Are we going to do about it?  Image credit: a lot of clowns / Dan Green How did the attendees describe Clown Congress?
“Thought provoking, heart opening, healing, loving, compassionate, inspiring, fun and delightful.” “A gathering of professional idiots and academics to share wisdom about the ancient and sacred role of mockery in modern society.” “An emergent, horizontal/self-organising and polyvocal event giving insight into the multifaceted world of clowning through workshops, practice and applied work.” “Well, as a person that didn't know anything about clowning before I would say it’s a place to learn about and explore clowning with people from a range of different experience levels.” “Radical listening to and sharing our beautiful tragic and ridiculous vulnerabilities.” “A place where a vast array of clowns come together to find common ground, share knowledge, experiment and revitalise missions for the future.” Here are some of the reports and photos from the Congress: Clown as Sacred Trickster Get Things done Through Fun Clown & Neurodivergency Clown & Grief Sammy & Suzy's Play Session How the Clownmandments & Apocolypse came to be Clown Coaching Clown Congress in Pictures To see how the British media reported Clown Congress 2025 check out Holly Stoppit's blog here. This week, people across the UK joined anti-fascist rallies to push back against a surge in far-right activity following riots in Southport. Communities across the country gathered to stand up and make it clear that hate and extremism have no place in their communities. Bristol was no different. On Wednesday 7 August, thousands gathered in outside in Old Market in response to the threat that far right groups would be targeting an immigration law firm on the street. Despite fears of violence and riot, a few of my clown community felt it was important to brings the clowns to streets. We wanted to stand up against fascists but we also wanted to use the tools, tactics and possibilities of the activist clown. Humour and clowning has a history of being powerful tools in the fight against fascism and white supremacy. An example in Whitefish, Montana; a neo-Nazi rally was planned but fell apart due to poor organisation, the local community responded not with anger or fear, but with humour. Instead of bracing for conflict, they turned the day into a celebration, donning blue wigs and waving signs like "Trolls Against Trolls." Their playful approach didn't just defuse tension—it turned the tables on the hate groups, sending a clear message that their toxic ideology couldn't find a foothold in a community that meets hate with laughter. The “Loldiers of Odin” started in Finland as a playful response to the Soldiers of Odin, a rascist citizen patrol group. They hit the streets the same nights as the patrols, dancing around with hoops, a hobby horse, and even playing in the snow to mock the idea that these patrols were making the streets "safer" by targeting immigrants, using humour to challenge their right-wing message. One of the key reasons humour is so effective in these situations is its ability to expose the absurdity of extremist ideologies. Historically, humour has been a sharp weapon against fascism because it highlights just how ridiculous these hate-filled beliefs really are. When clowns show up at neo-Nazi rallies and start mimicking their chants, they don't just entertain—they undermine the seriousness of the hate group's message. By turning their slogans into jokes, these activists make it impossible for white supremacists to maintain the intimidating image they crave. Humour also has a unique way of bringing people together. Unlike more confrontational protests, which can be intimidating, humorous actions invite participation from a broader range of people. This inclusivity transforms resistance into something joyful and communal. Whether it's turning a neo-Nazi march into a fundraiser for anti-racist causes or having clowns mock supremacist chants, these creative acts of defiance foster a sense of unity and solidarity. By making resistance fun and accessible, humour helps build stronger communities that are more resilient against hate. Inspired by these examples and our recent work with Az-oolay, five of us dressed as clowns to attend the rally. We wanted to be in service to the space and also to mock and diminish the power of the fascist messages of 'white power' and 'stop the boats'. We brandished placards that said 'Stop the Goats' 🐐 , 'White Powder' and 'Wife Power'. We stepped onto the packed street. But there wasn’t a fascist in sight, just Bristol’s incredible, diverse community. So we meandered through the crowd, handing out stickers, blowing bubbles and bringing smiles to faces with our placards. It was a powerful way to be present. As clowns we were able to meet and talk to people, connecting through humour and our shared defiance to be divided by violence and racism. It’s a long road to healing these deep wounds in our society, but the clown is offering me a powerful tool to be with it all. Photo credits: Ian Irwin, Isadora and Hester Welch
Reference: https://www.opendemocracy.net/en/transformation/why-are-nazis-so-afraid-of-clowns/ Fourteen of us answered the call to attend the Radical Love: Clowning in Conflict workshop with Police Officer Az-oolay. Each pulled by different heart strings to; ★ explore love as a way to harmonise from conflict ★ learn about the liminal space of the clown in real situations of power and conflict ★ focus on heartfelt sensations and empathy ★ research clowning as a way to disarm and disrupt the norm and shake people out of binaries ★ radically transform the impacts of trauma from state violence and oppression ★ collectively heal and support our nervous systems in challenging and difficult times ★ and acknowledge what is happening in Palestine at the moment and the power dynamic that is playing out globally across the world. I had been inspired by a news item of Police Officer Az-oolay’s work from 2021. Here was a lone clown, working on the streets of Jerusalem, meeting state oppression, violence, divided politics and nationalistic views, all with love. It was her bravery and the trajectory of her work; always towards the action, into the danger or propelled to those in need. Police Officer Az-oolay seemed to put herself directly into the conflict spaces with such bravery that I was genuinely moved. There is a playful inversion of the police officer; a wrinkled uniform, wrong-footed, over-sized shoes, garland hat and red nose. Her gentle parody of the power stances of the police is always with a lightness that often earns her a place on their side of the line. But also violence and jail time. There is already so much incredible documentation of her work I have listed some links below. After bringing her onto the Activist Clown Toolkit as a guest facilitator I extended an invitation, if she ever found herself in the UK I would love to host a workshop with her. The opportunity arrived this May. So we gathered, 14 curious humans to meet Police Officer Az-oolay, hear about her story and experience her work. The artist, Idit presents the workshop in her clown persona. Something she has always done to keep her anonymity and safety in Israel. We begin with a presentation including photos, videos and stories of the evolution of the character, now a staple in the demonstrations, protests and streets of Jerusalem and beyond. She also shares the work she has been doing since the 7 October, including pilgrimages to the borders of Gaza. Next we jump up and get moving to experience her embodied practice. They are simple and familiar exercises but with a beautiful spin related to the needs of her work. After lunch we dived into the streets of Stokes Croft, meeting the eclectic neighbourhood in the ways of Officer Az-oolay, handing out heart stickers to those who wanted it. Experiencing the work of understanding what a person or a space needs. Interacting with those who wish to play and not taking it personally if a person doesn’t want to connect to our invitations. Rejection can feel painful but the practice is to accept it as completely as being fully received. We were there to serve the space. I was so inspired by the simplicity of the exercises, and how quickly that took us gently to the streets. We had some beautiful connections with people in art galleries, some looking down at us from apartments, others driving by in cars or walking up to us to take photos and receive stickers. And we connected as a beautiful gaggle of clowns. Officer Az-oolay was so touched by the chance to work and play with others as she generally works alone. I was surprised at how much I learned in such a short time. Here are a few reflections from the session:
It was such a moving and inspiring workshop, leaving us all with a desire to meet and play again soon. In what we hope will be more peaceful times. Photos by Peta Lily, Hilary Ramsden and Robyn Hambrook
Follow Officer Az-Oolay on social Media: Instagram: @shoteretazoolay Facebook page : ישר-אל הלב مباشرة إلى القلب Straight to The Heart | Facebook Facebook Profile: Az-Oolay Attached is the link a TV article made on Police Straight to the Heart: https://youtu.be/2KhlEN9tlbY and some articles about Police Straight to the Heart that are published in English : KIOSK Magazine Send in the clown The National News Hilary and I headed to Brussels, our next stop on the Nomadic Rebel Clown Academy world domination tour. We were joined by 18 artists and activists from across Belgium and even as far as Romania. Our beautiful cohort brought their passion, curiosity and courage to play, question and create actions in the streets. They explored issues; car culture, connection to nature, anti-capitalist constructs and trash culture through beautiful moving choreographies, playful invitations and hilarious and touching interactions. We are so grateful for this work that allows us to cross borders, creating and connection clown communities through Europe. Where should we go next? These beautiful photos were taken by Kardama_pedalpxl A week in the bustling neighbourhood of Kreuzburg in Berlin; 14 participants from across Germany, the UK, Portugal, Turkey, Austria and Belgium join Hilary Ramsden and I for our second Nomadic Rebel Clown Academy. Hilary and I are developing a teaching methodology that explores the meeting point of clowning, creative activism, street arts and the politics of public space. Our first training took place in Stockholm last year. But seconds can be difficult. I spent the first couple of days comparing the process and outcomes of exercises and invitations but soon (wisely) had to let that go. Every group is different. There’s a different combination of people, experience and energy. We are in a different place, a different country with its own cultural context, its own responses to the arrival of clowns in the street. So we can just keep the teaching consistent and see what the results are. The process Our days are made up of a combination of inside and outside work. Our home is the bright, creative space, Tatwerk, with giant windows that open fully. I realise that we would never have that in UK for the fear someone would fall out. We are 3 stories up and we look into a tree, speckled with the new buds of spring. There are flats across the way and we can glimpse the lives of people inside; an unmade bed, a dining table with coffee, a sleeping cat. The Nomadic Rebel Clown Academy training process draws on diverse practices including clowning, physical theatre, dance and choreography and street performance, and it journeys the performer from the inside out. From our inner desires into action. And literally from inside the building into the outside world. We are exploring the possibilities of clowning to transform the performer, people, place and perhaps even power. Stepping outside can be a daunting so we try to make each step small and safe. On day one we begin a playful trust exercise – blind leading – as each takes their partner, whose eyes are closed, on a journey around an expansive courtyard, alive with a myriad of sounds, light, textures and smells. By doing this we ready the participants for the outside world, and set the expectations that we cannot remain in the safety and security of the inside workshop space. The approach is to locate our bodies in the street. So what is already at play in the streets? What are the rules of public space? There are legal boundaries and regulations as well as social norms governing our behaviour. This exercise puts a spotlight on these explicit and implicit rules. Through playfulness we invite the participants to test the elasticity of the rules and norm, making contact with the space and the public through play, connection or simply disrupting what is normal and expected. In such a short period of time it is impossible share the full spectrum of what clown is and how we can use it for personal and political transformational ends. So we choose exercises designed to highlight aspects of clowning we find most useful in this work including; finding the game, saying ‘yes’, making connection, play, naivety (not stupidity) and simplicity. Some games also teach us how to work together, to make collective decisions quickly or get out of our heads and into the body. Each of these lead participants towards creating collective, playful interventions in public space related to issues that are important to them. Using choreographic structures we name fishing, flocking and socking and games like ‘Let’s all’, the participants quickly create a physical score related to an issue. Diving into the costume elements we have on hand they head out to the streets near Hermannplatz to play. One group makes a commentary on cars, by drag racing idling cars in the street. Another group plays games to elect their leader, who sets up scenarios that questions coercion and control. A third group explores the housing crisis by setting off to find a home. Each group navigates public space, with those who stop to watch or film, curious and confused onlookers and others who want to avoid and don’t enjoy the disruption of their day, their journey or their work. The eternal optimism of the clown persists to help participants move past moments of rejection, with the hope of finding a meaningful interaction with the next person. The participants toolkit is expanding. We scatter our workspace with resources; stories, photos and other examples of creative actions. With this new inspiration, and new burning issues to explore, two groups of clowns enter the sprawling Alexanderplatz; one of the busiest thoroughfares in Berlin. One group remain as a tight group, moving slowly, seeking connection with passers-by; the potential for a moment, an interruption, a simple game. They are exploring ‘doing nothing’, offering a powerful counterpoint to the narratives of busyness, consumerism and movement dominant in the space. Another group of clowns are obsessed with waste. They playfully collect rubbish from people; each deposit in their bags are greeted with a cheers and delight by the clowns. Their intention was to sell the ‘rubbish’ back to the people; shedding light on the ecological cost of the packaging that surrounds our products, that is given so little thought and simply thrown away. The work is intense. The information, the explorations and each action we undertake is part of the research. On the fifth and final day we want to bring the participants back to themselves. To the changes they personally want to make in the world. The small acts devising task invites them to create an interruption, encounter, intervention or installation that expresses this deep yearning. We create a map, a journey we’ll go on as a group, stopping to watch each others action in the locations they’ve chosen. Each individual bravely steps into public space with their action and the the results are truly touching. Gathering the group and a few passers-by one clown attempts to take the perfect picture. Another participant is blindfolded. A sign around their neck invites onlookers to give them directions, physical and verbal to find their way around a park. To catch people’s attention one clown glues little notes with fish drawn on them around a busy square. A participant invites people to sit down and break bread with him, encouraging unexpected encounters in a busy subway station. In the same station, a lone clown walks up to strangers and asks them what they’re looking forward to. Each beautiful interruption invites connection. A delightful and radical reordering of public space and our everyday interactions with each other. The clown as the perfect Situationist. The disruptive force of the clown has an effect on each participant too. Wearing the red nose or in the clown state, participants shared moments their personal boundaries and expectations shifted. Perspectives were widened to take the world in and even colours became more vibrant. There is certainly a profound transformative power to the clown. Photos by Jason Krüger Ekvidi Photography and Hilary Ramsden
 Who are we centering when the clowns arrive in protest spaces? The Clown Congress began on Saturday 28 November. As we entered the room; clowns, performers, activists, facilitators, hobbyists and more for three days of play and exploration, it was against the backdrop of events in Gaza. Following weeks of bombing, Gaza had just been plunged into blackout by Israel, and to our knowledge, the opportunity for IDF to further conceal bombardments and what is becoming a genocide. For me it was difficult to land and settle while such atrocities were playing out in the world. In an Open Space session that day a group gathered to ask if there is a space for clowns in protest. And in particular, what could it look like to take clowns into the ceasefire march and rallies happening in Bristol on the same weekend. On Sunday 29 November there was going to be a ‘peace march’ from Easton to College Green, just down the road from where we were working at the Wickham. The group were keen to explore the idea of participating in the march as clowns, so 15 of us gathered to discuss and plan. I proposed a question at the start; “who are we centring when the clowns arrive in protest spaces?” This valuable question came from Amrita Dhaliwal and Nathaniel Justiniano in their essay series, When Clowns Fight Power and it led to further questions; “why come as clowns?” And then “how do we come as clowns?” “What elements of clowns and clowning are we bringing into the space?” The protests, rallies and marches for Gaza were going to be such sensitive spaces, where emotions were complex and high. So we had to ask if it is appropriate to ‘play’ in these spaces. If we don’t ‘play’ what are the clowns doing? As with all this work, and whenever I have gone into protest spaces, the conversations and speculations about how it will be, can go round and round. I’ve always found the best thing is to just do it. And from there you have a concrete experience from which to discuss its relevancy and efficacy. So we decided to go; continuing to keep our questions alive as we prepared. These were some decisions we made:
Discoveries as we rehearsed: We were exploring hugging each other, which we felt could present a strong image for any onlookers. But as 11 clowns began to hug each other on repeat, it began to feel staged and slightly mocking. So we decided to drop that, sticking instead to ‘flocking’ as a way of moving together. Finally ready we walked down into town along part of the route of the march. In typical clown fashion we walked against a tide of people leaving. We had missed the march and most people were already walking home. There was still a small crowd gathered for speeches at College Green. We came to the edge of the crowd, huddled up and then put on our clown noses, turning outward, holding our lone sign, “Clowns for Peace”. We stayed on the edge of the crowd for some time, sometimes still , sometimes moving slowly. People looked at us; some curious, some were confused but there was very little interaction. A group of film-makers with a Tik-Tok channel interviewed us asking why we were there and how we felt about what was happening. And a small group of clowns headed off to interact with the police. After about an hour we reconvened, took of our noses and headed back to the Wickham for a debrief. We had made lots of discoveries during the outing:
I also discovered an interesting tension for me. To put on my clown nose, I am inviting in connection. I felt a real need to connect, to look at people and be seen. But that came with the question, has this become about my need and my clown’s need? Am I centering myself? But making connections seems enormously important too; to see each other... to really see each other, in the way the clown allows me to look into peoples eyes and hearts. Providing another way to connect in solidarity, in shared grief. I think I found this space too sensitive for me. It was challenging to negotiate this sensitivity with a big group or a group that doesn’t know each other very well. And as a clown I feel happier in spaces where we have a clear target and can play in mockery of bad players. Did you know the Clown Congress had their very own Poet-in-Residence? The incredible wordsmith Bee Golding. These words about the Clown Congress are from her... Clown Congress was an event held in Bristol and online in October 2023, with the theme: Clowns & Identity: Exploring Difference in Clowning. Around 50 clowns from Bristol, UK and internationally gathered for 3 days of workshops, discussions and big ideas. I attended as the congress Poet-in-Residence, creating poems from participant comments, collaborative sessions and my thoughts and feelings as a poet in the space. Participants told me that my poems were "a very helpful way to help remember and digest what had gone on during the days." Ironically, two of the poems I made during the congress have been lost - clown ephemera - a lesson in letting go and playing the flop. They were really good ones too! I rescued a snippet from one of them which you'll see below, and I have notes for the other one but I'll never be able to make it again as good as it was in the moment... Big thanks to Hatty Ashton for the photos.  When I’m with the unknown – a snippet of a lost poem Incorporating post-it comments from participants at one of Holly Stoppit's Creative Clarity sessions. The actual poem from the day has been lost - clown ephemera! when I’m with the unknown I feel flutters through my middle I dissolve, I reform I fizz dissolve and fizz forget that the ground is there sometimes I speak my truth  Identity Collaborative poem exploring identity created during an open space session I come from a dirty town I didn’t feel I belonged in Women who stood on mountains and sang into the clouds Their exposed roots reaching into its edges I sit cross-legged, listening well to A spiritual goddess, singing in tongues without care Whose breath cleared the clouds so the sun shone Who cackles and mixes her cauldron well A view from the top of men with ropes clambering up A people of mental health mish mash A father who was sent away to school Suicidal grandfather and energetic aunts Parents who did not hug I want to say I don’t understand I want to say you are not here but I am I want to say I feel lost so much of the time I’ll ask the wise woman in a caravan who looks out to the sea With the sea swimming, shifting shape creatures who growl and scream and shout My brother and his friends swim in the candlelight I come from the north, the hills and the moors A black ford focus with one door that doesn’t open A house on the corner of the street with a pub at the top A dirty town I didn’t feel I belonged in  What happens when I bring my needs into the play? Incorporating post-it comments from participants at one of Holly Stoppit's Creative Clarity sessions. When I ask for my needs to be met in play it’s selfish and terrifying serious and shameful difficult, uncomfortable I feel like I will cry. What if my needs do not get met what if I get hurt or lose my head? In the asking is vulnerability playful neediness, needy playfulness like a jellyfish playing an accordion it touches many things frustration, validation, relaxation expression, expulsion, explosion freedom, love, connection comfort and refreshment trust, joy and reflection If my needs are met in play we touch bellies, which is fun we look in the mirror make ugly faces, stick out our tongues I become a two-headed snake – enabled “to play or not to play” I play and they receive I get the chance to meet their needs I get a glimpse into the others’ worlds I feel included, I feel held * (poem from a player) I didn’t know what I needed then I looked and it was there in the soup of group dynamics or underneath my chair how quiet and shy she is but she is there * When my needs are met in play with honesty and value I feel healthily congruent feeling everything more witnessed and witnessing empowered and empowering growing like life itself when my needs are met in play I find peace and what I didn’t know I needed - it’s wonderful - great things When I bring my needs into the play I really get to play I am satisfied and my needs are met  Sunday 29 October @FridayIsPoetsDay we came from somewhere and come together feeling things realistic with this precious gift this circle with the needs and numbness the flight, the fright, the freeze the yes, the no the how do we do this? I’ve been collecting insights moments with people the comfort principles and I want to tell you I am doing OK  Monday 30 October @FridayIsPoetsDay whistling through pen tops it’s a performance of me not run of the mill rich with liminality  |
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May 2026
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ABOUT ROBYN
Robyn is a Bristol-based director, teacher and performer. With over 25 years experience she is a passionate practitioner of clowning, physical theatre, circus and street arts. She has a MA in Circus Directing, a Diploma of Physical Theatre Practice and trained with a long line of inspiring teachers including Holly Stoppit, Peta Lily, Giovanni Fusetti, Bim Mason, Jon Davison, Zuma Puma, Lucy Hopkins and John Wright.
Over the past eight years she has been exploring the meeting point of clowning, activism and a deep desire to address the injustices in the world. This specialism has developed through her Masters Research ‘Small Circus Acts of Resistance’, on the streets and in protests with the Bristol Rebel Clowns and in research residencies with The Trickster Laboratory. Robyn’s Activist Clown research has led to collaborations with Jay Jordan (Laboratory of Insurrectionary Imagination, France), Clown Me In (Beirut), LM Bogad (US), Hilary Ramsden (Greece) and international Tricksters; ‘The Yes Men’ (US). During the pandemic in 2020, Robyn set up The Online Clown Academy with Holly Stoppit and developed a series of Zoom Clown Courses. Robyn’s research, started during her Masters, has been exploring the meeting point of clowning and activism, online, in the real world and with international collaborators. With this drive to explore political edges of her work she has also dived back into the world of the Bouffon; training with Jaime Mears, Bim Mason, Nathaniel Justiniano, Eric Davis, Tim Licata, Al Seed and the grand master Bouffon-himself; Philippe Gaulier. Keen to explore the intersection of clowning and politics, Robyn is driven to create collaborative, research spaces, testing and pushing the limits of the artform to create new knowledge and methodologies for her industry and strengthen partnerships for future work. Some of her most recent collaborations and teaching projects have included the Nomadic Rebel Clown Academy (5-day Activist Clown Training), The Laboratory of the Un-beautiful (Feminist Grotesque Bouffon Training for Womxn Theatre Makers) and the Clown Congress (annual gathering of clowns, activists & academics collectively exploring what it means to be a clown in this current era) |
Photo by HeardinLondon Photography
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