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 Comments are closed.
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AuthorCreative research into the meeting point of clowning and activism Archives
May 2025
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ABOUT ROBYN
Robyn is a Bristol-based director, teacher and performer. With over 20 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 five years she has been exploring the meeting point of clowning 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) |