• Embed Doc
  • Copy Link
  • Readcast
  • Collections
  • CommentGo Back
Download
 
1—1
The
charivari,
a mock celebration popular with medievalamateur fool societies. Illumination from
 Le Roman de Fauvel,
courtesy of the Bibliothèque Nationale, Paris.
Among the Hopi Indians of the American South-west, an ancient ritual of holy dancers and merryclowns is still performed today. TheHopi way of life might seem very foreign to most of us, but thecomic antics of its tribal clowns are remarkablyfamiliar. The dance of the "kachinas" (gods of fer-tility) is held in the plaza formed by the pueblos of the Hopi village, and lasts a full day, if not two.Early in the afternoon of the first day, as the maskedkachinas dance to musical accompaniment, theaudience at this sacred ceremony is suddenly dis-tracted by the noisy and somewhat supernatural ap-pearance of several Chk'wimkya clowns on therooftop of one of the buildings that line the plaza.The bodies of these clowns are smeared with mudfrom the sacred springs, while on their heads they wear improvised wigs made from stocking caps andrabbit fur. They accentuate their facial expressions with a black inverted
v
over each eye and u-shapedblack marks under the eyesand mouth.The clowns pretend to stepoff the edge of the roof, onefoot suspended in mid-air,then retreat in mock fear,provoking uproariouslaughter from the spectatorsbelow, who quickly lose in-terest in the dancers. Theclowns lower a long plank to the ground and attempt toslide down it headfirst, andconsiderable comic horse-play follows in which theyalmost lose their balance
— Chapter One —
Fools,Natural &Artificial
Rare 19th-century photo by H.R. Voth of Koyemsi clowns entering the plaza overthe rooftops in the traditional Hopi dance. The publication of Voth’s photographs inthe 1890s led the Hopi to restrict the taking of pictures during sacred ceremonies,and since then only sketches of the dances have appeared.
Courtesy of the Mennonite Museum & Library.
 
1—2before finally tumblingto the ground. Paradingaround the plaza, theclowns suddenly feigngreat surprise at seeingthe kachinas dancing,and immediately decideto join in. Showing littlerespect for the holinessof the occasion, theyform their own linealongside the kachinas,dancing out of step andeven chanting irreverentparodies of the kachinasongs. Inevitably, their clumsy shuffling motions deteriorate into a shoving contest in which the clownsfall all over one another.The remainder of this long ceremony consists of dancing by the kachinas, interspersed with restperiods during which the clowns entertain until the kachinas are sufficiently refreshed toresume their dancing. When the kachinas return, the clowns cease their antics, step outof character, and participate in the sacred ritual of sprinkling the dancers with corn-meal. The clowns also pass out food to the audience and exchange gifts with them.At all other times, however, the clowns have free rein to do as they please. Duringone interlude, they might entertain with ribald songs. Vulgar skits likewise provequite popular. During one session of dancing, another clown enters carrying a con-cealed wine bottle and plodding along like a feeble old man. Miming poor eyesight,he walks right up to the holy dancers and stares at them from a distance of a fewinches, oblivious to all that is going on around him. Later, he and the other clownspretend to get roaring drunk and engage in a raucous and comical conversation.Some of the intermissions will be used for games and competitions, with theclowns leading the children in barrel races and other fun-filled activities; if theclowns themselves compete, a riotous free-for-all is the likely result. As in thecircus or rodeo, the role of clowns in the ceremony is to burlesque the otherperformers, at the same time ensuring a smooth-flowing production.(1)Similar examples of ceremonial clowning no doubt existed in prehistorictimes, for the clown appears in one form or another in nearly all cultures. Theclown was not invented by a single individual, nor is he exclusively a productof Western civilization. Instead, the clown has been perpetually rediscoveredby society because as fool, jester, and trickster he meets compelling humanneeds. Historically, the figure of the clown encompasses far more than the ob-vious funny costume and painted face, for he represents a vision of the worldthat both intellectual and so-called primitive cultures have valued highly, asense of the comic meaningful to children and adults alike, and adynamic form of acting based on startling technique and inspiredimprovisation.
Rare 19th-century photo of H.R. Voth of Koyemsi stick game in Hopi
 Mixed Kachina Dance.
Courtesy of the Mennonite Library & Archives.Zuni Kachina doll, 21
5
 / 
8
” in height,depicting
mudhead 
clowns trying toclimb to top of pole. It’s a bad omenif clowns fail to reach food at top.
Courtesy of the Denver Art Museum.
 
1—3
FOOLS AND FOLLY
Throughout history, the idea of the clown has been linked with the fool. "Fool" is usually taken tomean someone lacking common sense, if not totally devoid of reason and encompasses a broad rangeof characters, including both the village idiot and the harmless eccentric. Today we might speak of theclinically diagnosed schizophrenic in the same sense. The fool's characteristic traits are very muchthose of "natural" man. Lacking social graces and blissfully operating outside the laws of logic, theclown is often seen as a child or even an animal, but only rarely as a mature adult the clown's percep-tions are too crudely structured, the use of language a parody of normal speech. Unimpressed withsacred ceremonies or the power of rulers, the clown is liable to be openly blasphemous and defiant;uninhibited in sexual matters, the clown often delights in obscene humor.The prevalence of the fool in most human cultures is paralleled by the universal myth of the trick-ster. Although associated most frequently with the legends of the North American Indian, the tricksterfigure plays an important role in the folklore of most societies. He is an instinctual creature who, likethe real-life fool, is often compared to a child or an animal: psychologist Carl Jung, for example,describes Trickster's consciousness as "corresponding to a psyche that has hardly left the animal level."(2)The mental aberration attributed to both the fool and the trickster is often mirrored in his appear-ance, his bizarre attire or grotesque deformity immediately setting him apart from his fellow man.Many fools, in fact, have been freaks of nature dwarfs or hunchbacks, for example of quite normalmentality.(3)In many cultures the trickster spirit is incarnated in an animal such as the sly fox of 
ABOVE:
Sketch of Pueblo Indian Koshare clown by Frank Bock.
LEFT:
Sketch of Pueblo Indian Koyemsi clown by Frank Bock.
of 00

Leave a Comment

You must be to leave a comment.
Submit
Characters: ...
You must be to leave a comment.
Submit
Characters: ...