đŞđ¤Ąđ¤šClown makeup and its rich history, theater and passion often hiding culture and racism in its later roots .đŞđ¤Ąđ¤š
đ¤ĄThe performance of clowning goes as far as ancient Egypt 2400 to 2500 bc. Priests and performers known as âPygmyâ, often bald headed wearing leopard skins and masks, respected for their role in society.
đŞSeeing them in Ancient Greece & Rome known as Buffoons performed in farces, using makeup to exaggerate expressions, often mocking characters for tricks.
đMedieval Court Jesters from the 5thâ15th Century, Traveling actors combined the roles of acrobats and fools, evolving into entertainers in royal courts. Also historically known for the perfect role where one can mock the king in power and gather information without hardly any punishment.
đCommedia dell'arte in the 16th Century, Italian theater introduced stock characters like Harlequin and Pierrot, which are ancestors of modern clowns. Often depicted with blue Mohawk, white painted face and the groundwork for modern clown aesthetic.
đ¤šđżđ¤šđťAround the 17th century is where the art of clowning began to include minstrel scenes, black face with exaggerated colorful Afros, facial features and new sterotypes And 1874 birthed the âtrampâ clown, frequently depicting poor African Americans unhoused by the Civil War. To affirm a superiority they believed they were entitled to.
đ¤ĄFour types of clown stereotypesđ¤Ą
1) đ¤Whiteface clown aka the "boss" clown, they wear white makeup representing authority, intelligence, and sophistication. They often wear refined costumes, such as a neat Pierrot outfit.
Theirs is many subtypes of the white face clown including
đThe Classic (European) Whiteface,sometimes called the 'most majestic and beautiful' of the Whitefaces; an elegant clown, like the Pierrot or Harlequin of commedia dell'arte;
đThe Straight Whiteface, similar to the Classic but more colorful, more cheerful; and
đThe Grotesque Whiteface, similar to the Straight Whiteface in color and cheer, but zanier, with exaggerated features and clothes.
đThe Mime, also an elegant clown, known of course for not speaking but emoting through body language and facial expressions.
đFamous Whiteface clowns include Frosty Little, Bozo the Clown and Ronald McDonald.đ
2) âĽď¸Auguste clown, The lovable, clumsy "red clown" who acts as the foil to the Whiteface. They use flesh-toned or pinkish makeup, with exaggerated features, and are the recipients of pies-in-the-face or slapstick antics.
âĽď¸ The classic Auguste appearance is the opposite of the Whiteface, with prominent fleshtones and black-and-white features, a large ball-shaped nose, and mismatched costumes including oversized neckties, very small hats.
âĽď¸ Famous Augustes include Cookie (from the Bozo Show) and Coco.
3)đCharacter clown: a performer portrays a specific occupation, archetype, or "character," such as a doctor, chef, or firefighter. Wearing things like glasses, mustaches and beards to freckles, warts, big ears or strange haircuts.
đThe most prevalent character clown in the American circus is the hobo, tramp or bum clown.
4)đ¤đ¤Hobo/Tramp clown is a type of character that is forlorn, downtrodden, or happy-go-lucky. They typically feature dirt-like makeup, ragged clothing, and a depressed or optimistic demeanor. The one who is often the butt of the joke, Tramp originated with the hobos who rode the rails during the Great Depression.
Their are three types of hobo clowns broken down here
đ¤đ¤The Classic Tramp, forlorn and downtrodden, shuffling through life with a rain cloud over his head.
đ¤đ¤The Hobo or Vagabond, his manners are often elegant and refined, he's happy to be free of society.
đ¤đ¤The Bag Lady, a female version of the Tramp or Hobo
đ¤đ¤Tramps have been made famous by such luminaries as Charlie Chaplin, Emmett Kelley, and Red Skelton.
đŞWhere racism comes into it.đŞ
đ¤đ¤ In the 1800s Minstrel Shows and clown acts were closely linked, with performances intendedďżźto ridicule Black culture through exaggerated features, tattered clothing, and dehumanizing stereotypes. Including Tramp Clowns Created by white actors James McIntyre and Tom Heath in 1874,
đ¤đ¤ the "tramp clown" or hobo character was a direct portrayal of African Americans depicted as homeless, lazy, or foolish following the Civil War.Performance Elements: The white makeup around the mouth for tramp clowns was specifically adopted from blackface minstrelsy to mock the appearance of African Americans.
đ¤đ¤The "Jim Crow" character in minstrel shows was often performed in the style of a clown, blurring the lines between the two forms of performance.Derogatory Caricatures: These clowns, often with white or red face paint, white gloves and clothes to emphasize the darkness in their painted skin perpetuated harmful stereotypes that African Americans were uneducated, impoverished, and unintelligent, helping to reinforce white supremacy during the post-Civil War era.
đ¤đ¤The performance had been so deeply engrained into American culture influencing famous characters like Mikey mouse, the nanny character from Tom and Jerry.
Simply asking What is the difference between clowns, jesters and blackface?
đ¤ĄClowns are Traditional/Circus performances for Entertainment, comedy, and slapstick humor, often aimed at children. Makeup/Style: Features stylized face paint (whiteface, Auguste, or tramp) intended to create a character rather than imitate a specific race.Behavior: Often involves slapstick, innocence, or ineptitude. Clowns react and perform, make fun of themselves, and are more physically baphoons.
đJesters are is historically a court entertainer who uses wit, satire, and social commentary to mock others, often working alone. Jesters talk, mock and deliver news to the people above them. Jesters specialty is an intellectual wit, and not racially targeted.
đ¤šđż blackface/hobo and tramp clowns are intentionally designed to target specific races by amplifying unique features physically to represent them in a degrading, stereotyping way. Makeup being as dark as night, large Afro hair, big noses, lips, shoes and intentional self deprecating humor to humiliate someone culturally.
Sometimes black face and clowning intertwined through uses of props, style and acting. Whether intentional or not.
Not every clown is rooted in racism and not every performer is racist but doing the art of clowning I think itâs important to know your history and your intentions be genuine.