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Posts Tagged ‘Art’

I was originally just going to note on my blog how prescient my talk with Selena turn out to be, but I ran it by my editor at MIL and she was interested in seeing a polished write up. Below is what I threw together. Really, I never cease to be amazed by the dark, absurd comedy of modern politics.

When I interviewed Selena McMahan, a professional clown, for More Intelligent Life a few months ago, she suggested that governments could benefit from having more clowns around. Not the troupes of oblivious blowhards found caucusing in many nations’ capitals, but actual self-aware performers. “The clowns that are in government don’t know that they’re clowns,” McMahan laughed. “If there were professional clowns whose job it was to give some perspective, I think that could be really interesting and could possibly make government more effective.” Voters and politicians have since put her ideas to the test.

In Brazil’s federal elections on October 3rd, a clown won the most votes of any candidate elected to the lower house of Congress this year, and the second most ever. Francisco Oliveira Silva, better known by his stage name “Tiririca” (which means “grumpy” in Portuguese slang), is a 45-year-old political novice who grew up in the poor north-eastern state of Ceará. He began selling cotton candy in the circus at age eight and eventually worked his way up to hosting a nationally televised comedy show. As Tiririca, Silva clowned around in many colourful campaign ads.

Will Tiririca expose the hypocrisy and corruption in Brazil’s congress? It’s unlikely. Despite the 1.3m votes he tallied, it is not clear whether Silva is even eligible for congress. A recent article in the Brazilian magazine Epoca cast doubt on the candidate’s ability to read, which is a legal prerequisite for holding office in a country where 10% of the population is illiterate. Even if Silva’s victory survives the electoral court proceedings, his time in office may amount to little more than a bad joke. As Reuters ominously notes, “his candidacy may not have been as spontaneous or innocent as it might appear.” Given that Tiririca benefited from a well-financed campaign, it is safe to assume he will be as beholden to special interests as the other clowns in Brasilia

A more incisive use of clowning took place on Capitol Hill in September, when Stephen Colbert testified before a House judiciary subcommittee meeting on immigrant reform.

Click here to read the rest of the post, see Colbert’s surreal testimony, or make a comment.

Photo credit: axelsrose (via Flickr)

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I lived on the same dormitory floor as Selena during my freshman year of college. Although we didn’t see each other as much as we did when we lived on either side of the floor’s co-ed bathroom, we remained friendly enough during the next three years that Selena made a point of adding me to an email list she wrote to during the year she spent after graduation literally clowning around. With periodic intermissions, she has kept clowning–and emailing me–ever since. After her most recent adventures, I asked my editor if I could interview her for MIL. The  product of our two-hour-long conversation is below.

Selena McMahan’s life as an international clown began when she won the liberal-arts equivalent of an internship at Goldman Sachs: the Watson Fellowship, a no-strings-attached $25,000 grant to travel the world for a year pursuing, well, whatever. Soon after graduating from Bowdoin College in the summer of 2005, McMahan used her award to tour nine countries on four continents—putting on clown shows at every stop. (The Watson may offer little in terms of future earning power, but every year it gives some 40 students from America’s elite small colleges a lifetime’s worth of stories.)

Her Watson year marked the beginning of what has become a one-woman circus. Upon returning to New York City, where McMahan had lived before college, she began volunteering with the American chapter of Clowns Without Borders (CWB). McMahan’s first trip with the organisation was to the FEMA trailer parks of hurricane-devastated New Orleans in 2007. Most recently, she took her clown show on tour in Ethiopia. Shortly after returning from CWB’s annual meeting of international chapters in Berlin, McMahan spoke with More Intelligent Life from her apartment in France, where she first studied the art of the clown and where she lives now. We discussed the perception and politics of clowning around the world.

More Intelligent Life: Is there a difference between the way clowns are viewed in America and Europe?

Selena McMahan: Clowning is something that is more respected in European theatre traditionally. In the States, it’s starting to change now. It didn’t used to be that way in the States. If you look at Charlie Chaplin, “I Love Lucy”—there’s been huge clowns in the US. But recently clowning has become more circus clown and birthday clown—something not very valued or artistic. In Europe that hasn’t happened, or not to the same extent.

MIL: You recently completed a two-year diploma programme in physical theatre. I get the sense that you do not have a very high opinion of the amateur clowns one might find at a children’s birthday party.

SM: Right. In America a lot of what’s happened with birthday clowning is really big make-up that’s designed to be seen in a circus tent of 7,000 people or more. People started dressing up like clowns in a circus, but in a birthday party in someone’s living room. A circus clown in a living room is scary. The make-up is not meant for that environment. I think that’s why a lot of people are afraid of clowns and we have a bad reputation now. It’s about finding a costume that goes with the clown suitable for that environment.

MIL: Like the blog that grew out of it, your Watson Fellowship project was called the Contemporary Clown Circuit. Can you explain what that phrase means?

SM: It felt to me that in this day and age the interesting place for clowns is in a real-life setting. It’s not in the theatre. It’s not on movies and TV. It’s in the world. The role of the clown is to be the person who can question the authority, who can question the status quo. That’s childlike but at the same time is extremely wise. By this balance of being extremely naïve and wise but with a different kind of logic, clowns have permission to do things that other people never could. A typical example is that a court jester can make fun of the king.

MIL: Can you give a contemporary example of clowns questioning authority or satirising political power?

Click here to leave a comment and read Selena’s answer about staging shows in the military state of Myanmar, clowns in government, and being an artist in Europe.

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“Climate change means culture change.” That is the message Dutch sculptor Ap Verheggen is trying to communicate via CoolEmotion, a project he co-founded with the support of the World Wildlife Fund (WWF). The first sculptures created by the project’s team of artists—two massive, stylized dogsled whips—were installed in March on an iceberg currently located just off the coast of Uummannaq, Greenland. This exhibition, and similar installations planned for Northern Canada and Siberia, attempt to raise public awareness of the effects climate change is having on the increasingly endangered, icy culture of the far north.

Much of the discussion about climate change has focused on the science and economics of the environmental challenge. Far less attention has been paid to how it will radically alter the lives of some isolated northern communities. (more…)

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Green is the new Gold

My editor chose not to feature the video that inspired this MIL post, so I’ve linked to it at the bottom. Environmentalism, sports, and art–what’s not to like? Leave any comments here.

Despite having hosted the Winter Olympics twice before, only on Sunday did Canada succeed in winning a gold medal on its own snow-covered soil. The medal itself, earned by Alexandre Bilodeau, a champion mogul skier, also represented a unique environmental achievement in Olympic history, as it was made in part from recycled materials. Specifically, the medal included metal salvaged from the circuit boards of electronic devices, otherwise known as e-waste.

Bilodeau’s medal—along with the other 614 Olympic medals and 399 to be awarded at the subsequent Paralympic Games—helps to both highlight and combat the growing environmental problem posed by e-waste. Electronic devices that were once considered luxury items are becoming as commonplace and personal as toothbrushes. Because they contain toxic heavy metals such as lead, cadmium and beryllium—as well as recyclable metal and plastic components—safely disposing this flood of phones, computers and televisions when they break or become obsolete is a challenge.

By teaming up with Teck Resources, a Canadian mining company, the creators of this year’s Olympic medals—Omer Arbel and Corrine Hunt, both Canadian designers—have brought new attention to the issue and prevented 6.8 metric tonnes of e-waste from ending up in landfills.

London, the site of the 2012 summer games, is expected to feature green medals modelled on Vancouver’s example. Organisers of the London games are spinning their entire “One Planet Olympics” around the idea of global sustainability (which is evidently the the third “pillar” of the Olympic Movement, along with sport and culture).

But Vancouver’s medals still leave room for improvement. Weighing in between 500 and 576 grams each, the medals are the heaviest in Olympic history. Less than 2% of each medal’s weight is derived from gold, silver and copper recycled from electronic devices. London’s medals could certainly do better (could this be another Olympic competition?), but this is a winning start.

To learn more about the aesthetic and environmental design of the Vancouver Winter Olympic medals, check out this video from Dell–which is apparently happy to see that some of the e-waste it produces is being put to good use.

Photo credit: RobMan170 (via Flickr)

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