On Clowns & Anti-Black Racism

Hey! Quick introduction, I am Clownfred, and I am a white person who grew up in a predominantly white area within Canada. I am not a clown professionally, but I chose a clown as my internet persona for a variety of reasons. This page is to acknowledge modern clowning and its ties to minstrelsy and racism, as well as to keep informational articles on the subject. Given my background, I am not an authority by any means and I strongly suggest you do your own research!

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Clowning has a very long history, and some form of clown-like figure is present in almost every culture worldwide. It has existed for thousands of years in many different forms; the clowns in Kachina Dances performed by the indigenous Hopi people in what is now Arizona, the Harlequin character of the Commedia dell'Arte in Italy, the Phra Bhun character of dance dramas of Thailand, the circus clowns of England, and many others. This page specifically will talk about the last example, as they have had the biggest influence on the modern American idea of what a 'clown' is.

Circus Clown History

The earliest circus recorded was created by Philip Astley in 1768. It was run in England and featured what is regarded as the first circus clown act, 'Billy Buttons'. The act was based on the old tale of a tailor trying and failing repeatedly to ride a horse. Early circus clowns typically wore white makeup, likely descended from the white makeup used by the clown blanc character in France. Features such as eyebrows and lips were outlined or highlighted so that expressions were visible from a large distance, such as in a crowd.

Blackface was not uncommon in the 18th century. Famous in his time, Charles Dibdin performed frequently as a blackface clown much before minstrelsy hit its peak in the 19th century. His son went on to become the mentor for the first famous circus clown, Joseph Grimaldi. Grimaldi was born in 1778 and was trained in comedic stageplay from the age of 2. He's often called 'the father of modern clowning', and popularized the 'Whiteface' clown role, overtaking the Harlequin role. Grimaldi also did more minor blackface roles in numerous plays. He passed in 1837.

The first shows generally considered minstrel shows were performed in the late 1830s, just around when Grimaldi died. They were especially popular in America, still in the throes of the trans-Atlantic slave trade. Minstrel shows were predominantly performed by white people in blackface and existed to mock black people and perpetuate racist stereotypes for the laughter of white audiences. They portrayed black people as an 'other' and an outcast to be ridiculed and disrespected. Clowns also often played roles as comedic social outcasts. The circus has always heavily involved disabled people and made mockeries and spectacles of them as well. With that connection, circus clowns and minstrel shows gradually converged. Features such as large 'afro' wigs, exaggerated lips and eyes, oversized or torn clothing, and large shoes became staples of the modern clown appearance.

'Tramp' Clowns

The 'tramp' and 'hobo' clown archetypes arose in the 1870s, created to mock African Americans made homeless by the American Civil War. The makeup most often associated with the characters was based directly on blackface minstrel show clowns.

Auguste Clowns & 'Chocolat'

The first largely successful Auguste clown went under the name 'Chocolat', portrayed by Rafael Padilla (though his last name was decided upon after his death, and was taken from the maiden name of the Spanish family that enslaved him). He was born around 1865-1868 to parents both enslaved in Spanish-owned slave plantations in Cuba. He later became separated and was adopted by an older woman, who sold him as a boy to an aristocrat Spanish family that enslaved as well as cruelly beat and abused Rafael. After escaping four years later, he was hired by the clown Tony Grice. He did several circus shows and acts and became extremely popular. His most popular act was as Chocolat in the duo 'Foottit et Chocolat'. At the peak of his fame, he was the most popular black entertainer in France. Unfortunately, as his popularity waned, so too did the acknowledgements of his important role in clown history. When Rafael passed from a heart attack in 1917, he was buried in a mass grave in the Protestant cemetery of Bordeaux, a burial typical of poor or homeless people at the time.

You can learn more about Rafael here.

Today

While minstrel shows are no longer popular, I think it is important to acknowledge that the modern clown still has its ties to anti-black racism and racist stereotypes. Anti-black racism didn't end following the Jim Crow era, and ignoring the influence of minstrelsy on modern clowning only perpetuates white supremacy. That being said, clowning does still have hundreds of years of its own history independent of minstrelsy! I recommend checking out clownbonk's page for more on general clown history.

"...there are aspects of the blackface mask that trickle down into what the clown looks like today. So, maybe avoid the big lips, avoid the afro hair, the big feet. I know that the 'hobo' clown was explicitly used to make fun of homeless enslaved black people after the emancipation. Maybe don't do that. In terms of how to be completely anti-racist in America, I don't think you can. Most things in this country are racist, it is simply a matter of how we decide to respond to them and what you do in your everyday life to uplift black people."

Clowns Are Still R*cist | How Blackface Minstrelsy Shaped The American Circus by Dainty Funk

Things you can do:

• - Research and learn about clowns and clown history
• - Listen to black voices on the subject, seek out resources from black people
• - Listen to criticism on your style of clowning if received, and learn and change from it
• - Create your own style, avoid features tied to minstrelsy (big highlighted lip makeup, afro hair, large feet or shoes)
• - If you are non-black, avoid the 'hobo' or 'tramp' clown entirely

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