EXPLOITATION IN THE CIRCUS

My goal with this site is to analyse the inner-workings of clowning and reflect on its connections to exterior Western society. That means that it is essential that I address the more negative, harmful aspects of the artwork, as well.

Have you ever noticed the somewhat suspicious nature of some clown appearances? Bright red lips, exaggerated bulbous noses, and afro wigs? A lot of these designs are eerily similar to what we might have seen with minstrel makeup from the 19th-20th centuries, and that isn't a coincidence whatsoever.

Minstrel shows had become a part of circus acts. This application of minstrelsy in circuses proceeded to influence the looks and characteristics of European-American clowns we know today. Non-Black audiences found delight in watching heinous stereotypes be paraded around for their entertainment.

These performances acted as tools to further demonise, objectify, and ridicule Black Americans. In Blackness Under The Big Top, by Christian Joseph, it is stated that "...the circus was able to develop, reinforce, and refigure dominant conceptions of African Americans as animalistic and subhuman." Throughout this piece, Joseph continues to explain how American society had been built to prioritise the wants, needs, and entertainment niches of White audiences, and this is fundamentally correct.

Clowns are not some form of infallible, goofy figure that are completely separated from the beliefs of their creators or actors. If you've ever heard the phrase 'art is always political', you are likely familiar with this concept. It does not matter that clowns are viewed as just silly and lighthearted; they are created by real people with real biases and bigotries, and it needs to be called out.

In fact, the extent to which Black Americans and other marginalised Americans were exploited in circuses is a nauseatingly extreme amount. 'Freak shows' were, for a very long time, an essential aspect of circuses. Side-shows, dedicated to putting marginalised people on display, such as those with disabilities or who happened to be of colour, were a massive success. Most involvement of Black and African Americans in these shows were through human trafficking, as they were either sold or kidnapped as children.

It should also be discussed that 'the pornography of disability' was exploited in these side shows. Able-bodied audiences enjoyed viewing individuals that were 'different' or 'exotic' to them, which included being visibly disabled. This lack of familiarity turned into an absurd, disgusting fascination. Audiences saw these individuals as fundamentally beneath them and nothing more than a parlour trick. This is very similar to what I discussed earlier about jesters; audiences are drawn to what they believe is deserving of ridicule. And, in this case, what was deserving of ridicule was anybody that did not fit the idea of an able-bodied White European-American.