Clowns and the circus are not commonly known to represent the arts and theatre but I must ask the question, why not? Behind the goofy falls and the impressive skills, the circus and clowns actually probe deeper into the socio-political issues in world than we might first expect. After talking to a Finn Carragher (aged 21) from Northern Ireland, I managed to get a more complete picture of the clown and circus industry and the unexpected political stance that the circus takes. Is this political provocation an important aspect in the industry? If so, why?
Finn explains more about his craft and the intentions fuelling the circus he works for. Last year a group organised by Tumble Circus, calling themselves ‘Clown Devilment’ addressed an issue that they saw as prominent to the lives of the Irish people. In the heat of July 2016 a group of clowns marched down the streets of Belfast donning their pink tights and red nose to protest the Irish governments financing of parades commission. Besides the pink tights their jackets are clearly there to mimic those from the parades commission - this political dress contrasting heavily with the oversized humorous shoes.
Finn explains to me the common view that the distribution of funds from the Irish government going to the parades commission disadvantaged other areas in need of funding such as the language learning in schools. The timing of the march came after crucial arts funding, Irish language and Catholic based activities were cut across Ireland; as Finns says ‘funding marches not the arts’. Not only do the group want to point out the lack of alternate funding but also the disparity between funding to protestant schemes over other schemes which the Catholic community would find more salient. With Irelands turbulent and recent history unhappiness over the funding of protestant groups and activities is common and the [insert] is widespread. As these clowns marched along the busy streets the performance would then develop as policemen would jump out of a van and attack the clowns with rubber batons.
Although the batons are only fake and the victims only clowns the comparison to the very real violence faced in Ireland in this area was clear. The reference to the violence seen in Northern Ireland from this performance resonates with the times where the police presence in the streets of Northern Ireland was a familiar sight. Children laughed at the comic scene, clearly appreciating the entertainment reminiscent of Punch and Judy whilst their parents are able to see the much darker message that was clearly intended. The clear irony of a statement march against the funding of a marching agenda hit home. From this exploration, we can see that it is this culture that is influencing the political sphere, what some would say is an unlikely connection between entertainment and politics. However, vice versa the political decisions, in this case in Ireland, are directly influencing the material that the clowns and circus industry use to entertain. Despite the fact that these policies are being used to provoke and poke fun, it is hard to deny the influence that the policies are having on the industry. So, are these public stunts, as you could call them, being well received by the public? Are they portraying the more serious underlying message that they intend to or does it fall on deaf ears by an audience who only want to be entertained? Does using humour as a means of provocation work effectively in reality?
I ask him about the reaction from the public from the specific clown march against the Parades Commission. Like all art forms, he informs me, the reactions are always going to be mixed. Definitely for the older generation, the scenes of the violence and police brutality that they themselves endured throughout many years of political and social unrest can understandably be upsetting. Although the performance involving the clowns impersonating police officers may raise eyebrows from the public, on the other side of the argument it can be viewed as a rightful expression of the unhappiness with current issues faced in society. They defend their march as a way of creating awareness around this issue, an issue that they believe should turn heads in the hope to enable the change from the government spending that they desire.
(Finn Carragher, age 21 from Belfast)
The iconic mask worn in the phantom of the opera is exchanged by a smaller, rounder, and certainly redder one for this performance.