Palhaçaria Feminina Magazine

Biennial • V.4 2018

Palhaçaria Feminina Magazine 1

 EXPEDIENT

Periodicity
Biennial

Editor/author
Michelle Silveira da Silva

Address
Rua Firmina Sirena Vitalli, 100D,
Bairro Seminário, Chapecó, SC
CEP 89813 – 388

Person in charge
Michelle Silveira da Silva Photo:
(49) 98866 4884 Palhaça Ferrugem
Archive
[email protected]
palhacariafeminina.blogspot.com

Cover photo
Lucas Alvarez

________________________________________________________________________

R327 Revista palhaçaria feminina = Palhaçaria feminina magazine. / Michelle

Silveira da Silva. – v. 1, n. 1 (set. 2012) - . - Chapecó, 2012 -

Bilingue
Bienal

ISSN 2596-0237

1. Mulheres na arte. 2. Artes cênicas e recreativas. 3. Criação

(literária, artística, etc). 4. Palhaças. 5. Circo. I. Silva, Michelle Silveira
II. Palhaçaria feminina magazine.
CDD 790
_______________________________________________________________________
Ficha catalográfica elaborada por Karina Ramos – CRB 14/1056

2 Palhaçaria Feminina Magazine

 EDITORIaL

With great joy and struggle, we accomplished the 4th

Edition of the Palhaçaria Feminina Magazine. As long as
we were contemplated in the Public Edict for Promotion
and Circulation of Artistic Languages of Chapecó, Santa
Catarina, Brazil, we saw the opportunity to continue this
project of record, so significant for women’s clownwork
2012 in Brazil and in the world.
Before writing this presentation, I reread the three
presentations of the previous magazines, and the growth
and maturation that this project is going through is
visible, thanks to the exchanges, the sharing, the ideas
that cross each other and dialogue between woman
clowns in meeting, festival, exhibition, spectacle and
workshops in Brazil. All those moments in which we
meet are possibilities of empowering one another.
In the pages that follow we will find articles, reports,
specials, extras and interviews, everything written by
woman clowns who are increasingly mobilized to occupy
the spaces they want and deserve in art, clownery and life.
Beautiful and sensitive discoveries are revealed and
shared with the reader, and we hope that all this precious
material that is presented here will serve as inspiration for
those who are starting out and for those who are in the
“daily struggle” to be an artist and clown in our diverse,
2014 rich and so currently troubled country.
Let the clowning allow us to laugh and reflect before
so much ignorance, violence, neglect and almost
hopelessness. Let the clowning light the flame of joy,
clean the dust that covers all the mirrors where we try to
see ourselves reflected, and may our capacity to love be
a powerful engine to rescue hope, strength and faith in
humanity.

Michelle Silveira da Silva - Editor

2015

Michelle S. da Silva Wendy Sampaio Miguel Vassali Karina Ramos

Editor Translator Graphic Designer Librarian

Palhaçaria Feminina Magazine 3

SUMMARY

N A R R AT I V E S

A Letter to my Grandma
Mariana Gabriel 06

Birth of me
Karla Concá 08

Clowns without bonders

Aline Moreno 10

Clowning, the heritage

of joy Cia Traço 12

Black clowning:
representativeness and
decolonization Clown Woman - Nara Oliveira
Drica Santos 14

E X T R A S
PA P E R S

From real life to fiction:

Female Clowning
biographical film references
self-poetic and Wanderings
for women/clown women
Manuela Castelo Branco 18 Michelle Cabral 42

Reflections on Barrica Striptease to the contrary

poráguaabaixo show by Ana Fuchs 44
Michelle Silveira
Jennifer J. de Jesus 22 Santa Catarina’s Network of
Clown Women
Bia Alvarez 46
LAUGHTER THAT INHABITS
THE WOMB OF THE EARTH More Meetings, please…
Personal clownery in a feminine, Andrea Macera
feminist, ritualistic, political, and Sarah Monteath dos Santos 48
wild perspective
Felícia de Castro 26
I N T E R V I E W
Women Clowns: Historical
trails of women’s clownery
in Brazil Interview
Sarah Monteat dos Santos 30 with Julie Goel 62

4 Palhaçaria Feminina Magazine

S P E C I A L
Meetings
THE IMPORTANCE OF
FEMALE COMEDY FESTI-
VALS About “Esse Monte
de Mulher Palhaça”
Ana Piu 52

MY FIRST MEETING
About Encontro
Internacional de Palhaças
de São Paulo
Dani Majzoub 53

CLOWN WOMEN OF THE

WORLD Meeting of clown
women of Brasília
Ester Monteiro 54

MINAS About “Mulheres

Inusitadas de Narizes –
Encontro de Mulheres
Palhaças de Uberlândia”
Giovanna Parra 55 Ferrugem Clown Woman
Robson Rodrigues
do Nascimento
Show Your Grace Clown Woman
Lia Motta 56

CLOWNERY – International
Festival of Clown Women
of Recife
Enne Marx e Nara Menezes 57
E S P E C I A L
Circus
Clown Woman at the
Square Festival Clown women under the
Laís e Thaís Oliveira 58 circus canvas
Ermínia Silva 34
OF THE ART OF MEETING
Meeting of Clowns of Matusquella and the Circa
Joinville Brasilina
Bia Alvarez 59 Manuela Castelo Branco 36

Clown woman Ferrugem

A special about the and circo Grock
Portuguese Women Clowns Gena Leão 38
Eva Ribeiro
e Catarina Mota 66 Clown Pipoca and Cia
teatral Turma do Biribinha
BEING MEXICAN WOMEN Seliana Silva 39
CLOWNS A special with
women clowns from Mexico Clown Barrica and
Darina Robles e a Rede Biriba Theater
de Palhaças Mexicanas 70 Michelle Silveira da Silva 40

Palhaçaria Feminina Magazine 5

NARRATIVES

A Letter
to my
Grandma
Ay, ay, ay, ay film professionals on cinema who
Canta y no llores became friends and family.
Porque cantando se alegran Yes, your daughter, Daisinha, is
Cielito lindo, los corazones starting to love Xamego!
She has even tried to imitate your
Those were the verses we sang, voice, to remember your acts!
weren’t they, my grandma? And my gluttonous father, he still
Me at the piano and you singing! misses your roast beef and the
Palhaça Birota And with every her ay, ay strident, I feijoada... and also those of our
Mariana Gabriel would burst into laughter! sambinhas that made the joy of our
And I waited anxiously for her ay, lives!
PHo t o s
ay, ays... That’s missing you on this round,
Esau EzGz
Grandma!
I miss you, Grandma Eliza! Uncle Aristeu, great guitarist, is
Longing that tightens the chest! quieter than before. I think he
misses you, his son Alexandre...
You were a clown, a clown man, the We all know, right?
Xamego! The truth is that I have discovered
She is a filmmaker, journalist So far, we know, the first woman stories and passages of your
and clown. Director of the short clown in Brazil. trajectory that I had not imagined.
film Iara do Paraitinga, of the Did you know that? And with every novelty, I felt
documentaries Circo Paraki more and more proud of you, my
(Paraki Circus), Mar Português I am referring here to the clown of grandmother!
(Portuguese Sea) (recorded in
the modern circus, the eccentric, From this research project was born
which was the great attraction of the blog of the clown Xamego and
Lisbon, screened at ESPN Brazil)
circuses in the late 20th century. the documentary “Minha avó era
and Minha avó era palhaço
I say yes! From what we know, you palhaço” (My grandmother was a
(My grandmother was a clown), were a pioneer! clown).
contemplated at the Funarte You know? It was at the beginning A movie that has traveled Brazil.
Carequinha Award, in 2014. of 2014, we did a great research Until now, there have been 77
She worked as a journalist and on your life after the project were exhibitions in 8 Brazilian states
producer from 2007 to 2015, on contemplated by the Funarte Caixa and the federal district: Bahia, São
ESPN Brazil and on the Manos Carequinha Award of promotion Paulo, Rio de Janeiro, Pernambuco,
e Minas program of TV Cultura. to the Circus - announcement Goiás, Rio Grande do Sul, Paraná,
Today she takes up the story of that no longer exists and that Minas Gerais, Brasília... And we
her maternal family, which is offered important projects about have invitations until October 2018!
traditional circus, Alves family, of a cultural memory of our country. It looks like magic, charm... I do not
the Great Guarany Circus. I say we dived, because there were even know!
[email protected] by my side my parents and great Our “caravan” - yes, because we

6 Palhaçaria Feminina Magazine

always go in family and after the I imagine that you know how these
movie sessions, we have a chat with times are...
the public - it looks like the Guarany Our debates range from the
Circus, of your father João Alves, my question of the memory of Brazilian
great-grandfather, who rode by train circus, of black protagonism in
for our beautiful country in the the arts, of women’s issues, to the
golden age of the circus in Brazil. question of women’s clownery and
Gone from the beginning of the last comedy, or gender discussions...
century. For you to have an idea, we had
We have already made a public of an impressive conversation with
more than 4,500 people. students from the São Paulo
Do you believe it? Culture Factories in Vila Nova
Not even us! Cachoeirinha, northern area,
The film is shown in circus and children aged from 10 to 13 years.
theater festivals, cultural centers, at Recall Nelson Mandela, we talked
SESCs, sessions in historic cinemas, about racial prejudice... A victory,
public squares, schools for children, grandma! There still is prejudice,
universities, centers for cohabitation but we are beginning to talk about
for the elderly, even at maternity... it more openly. The film and
Grandma, we occupied a wall of a your history has contributed and
church! In fact, you will not believe provided moments of reflection on
it! these important subjects.
Yes! It was in the church that you And I need to tell you!
attended, Our Lady of the Rosary You know that last Tuesday I lived
Church of Penha. The Church of another magical moment...
the Blacks. I took part in the III International
We remembered you all the time. Meeting of Women clowns!
The candles we lit together! My Yes, grandma! There are lots of
mother, me and you! women clowns now!
We prayed a lot for you that day! It Women clowns are at the forefront
was our holy place, wasn’t it? of a beautiful movement... We are
These are memorable, unthinkable building our dramaturgy, plunging
passages! into our universes, thinking of
As the session in Belo Horizonte, woman grace... A collective process,
at the “Theater Festival Negro a national and international
Benjamim de Oliveira”... In honor of network too... There are women
Uncle Benjamim, as you referred to from Mexico, from Colombia... I
him, known as the first black clown say we are, grandma, because I’m a
in Brazil. clown too!
The staff opened the event saying It really is! And with great pride!
“Salve, Maria Eliza Alves dos Reis”! And you are a reference to me!
You believe it, my dear grandma! And last Tuesday I lived our magical
Being honored at an event where moment!
the patron is Uncle Benjamim, I sang with you and with Xamego
whom you admired so much! I cried - together in one figure - our
a lot that day!... I always get very beautiful Cielito!
emotional! With right to a lot of ay, ay, ay!!!
In Ouro Preto, there are children I’ll try to stop crying when I watch
from Circo da Gente, a social the movie.
project, showing a spectacle with the I will remember how much we
Xameguinhas, in your honor. Here laughed and had fun together!
in São Paulo, there is an incredible I will keep this message from our
group willing to set up an exhibition singing: Canta y no llores!
about you, they want to reconstitute I think you know all this and you’re
your Xamego costumes! with me all the time, aren’t you?
Oh, so many things! Many I am sure you are!
developments, grandma! Long live you, my grandmother!
Not mentioning the chats, which are Long live Xamego!
a revolution! Long live women’s clownery!
We are living in difficult times, but
of a lot of struggle at the country And say hello to Tita, to grandpa, to
and at the world. For those who Bisô, to uncle Toninho and to Bisa
lived 98 years and faced two wars, Brígida!

Palhaçaria Feminina Magazine 7

NARRATIVES

Birth
of me
When talking about clownery, pre-existing traditional dramaturgical
clowning or any other term connected space leads us to personal processes
to this technique, for some people of creation where the core of what we
still comes only the figure of the male mean does not necessarily correspond
gender, the clown. to a beginning, a middle and an end
From the 90’s, very recent, and identifiable in a logic, but can go
speaking of Brazil where I intend to through the whole spectacle. What
situate myself, this scenario of man would be closer to the thinking of
as the central figure of the clownery the concept of “Rhizome” within the
begins to change and the clown women “theory of knowledge” in the thinking
emerge on all sides: in the theater, on of Gilles Deleuze and Félix Guattari
TV, at festivals, in cabarets, on the than in Aristotle’s thought of the
street, in hospitals... dramaturgical concept of “Hero and
An occupation of the feminine his trajectory”.
gender in the rigid phallic place of the And in this place we come across
Palhaça Indiana da Silva masculine universe arises. And like any several types of female representation:
Karla Conca system change, used to being the same
for many years, it is natural to cause
- classic, tidy
- conventional, traditional
PHo t o s doubts, outbursts, misunderstandings, - unusual
Bruna Leal e and annoyances. - messy, revolutionary
Claudia Bernett Every change is expansive. It happens - exalted and free...
from the micro to the macro. We What really matters in this case is the
then arrived at the inclusion of the presence of the clown woman in her
genre beyond physical appearance, state of strength and representation.
we immerse ourselves in writing, in What she comes to say is of personal
I am Karla Concá, clown, actress,
dramaturgy. choice, within the perspective of her
director and creator of the Síndrome
And in this question we have choices, life or not of the moment.
de Clown (Clown Syndrome) project,
not just a tradition... Point to us! Most clown women talk about
a teacher of clownwork, founder This is the positive side of not having relevant issues to the feminine world,
and member of the group As Marias a whole tradition behind us demanding which has generated some discomfort
da Graça since 1991. The group is a pattern. mainly by men. I make use of the word
composed by Geni Viegas, Samantha We can use both ready-made “mainly”, because sometimes we find
Anciães and Vera Ribeiro. I am dramaturgy, already pre-existing in the women who also bother about this,
currently part of a collective “Profanas circus market, as we create our own and it is natural within a very strong
Palhaças de Cabaré!” (Profane dramaturgy. And this has been the path patriarchal system. There is a lot to be
Clowns of Cabaret!). Created in chosen by a large percentage of clown agreed upon.
2017, in Rio de Janeiro, by several women, which is still a strong feminine The sleeping beauty still wanders
clowns with the intention of uniting, characteristic... the resignification! among us!
exchanging and welcoming ourselves Working from a new concept, that of I can not write a text about female
in our guidelines. own creation. dramaturgy in the most important
[email protected] An authentic form of existing in a magazine Palhaçaria Feminina, which

8 Palhaçaria Feminina Magazine

 I know, without mentioning here a few dramaturgy of our own, because we
phrases that we women still hear from the still go through this aesthetic type of
clown men, in the middle of 2018, about acceptance by society, and we also go
our way of acting. through many other violence, which
Here are them: makes us want to talk about them on
- “If you continue to talk like this about the scene.
yourself, you will end up exhausting your Since we are not a character, we are
repertoire.” ourselves suspended, in a preserved
Karla’s comment: As if a woman’s nucleus, then we will talk about
repertory could run out. ourselves and our contexts. No?
- “You girls are very aggressive!” I believe that men also have their
Karla’s comment: Usually this talk comes contexts to be told but prefer not to
when the clown woman scene has been touch them. OK! It’s all right.
talking about some kind of violence that Women and Men are different:
the woman suffers, be it physical, verbal or moods, concepts, choices, goals...
just patriarchal. What is laughable to one is different
- “You just know how to talk about you?” from what is laughable to another.
Karla’s comment: Yes, the point is that we As a teacher, director, playwright,
know how to talk about ourselves and we lecturer on this subject, I always have
have no problem talking about ourselves. the public in my mind.
- “The number of clown woman is I think it is fundamental and cathartic
increasing a lot and women are being very for the female audience to attend a
ferocious in their numbers and they lose show and identify themselves with
the subtlety of humor.” what they are seeing, without being
Karla’s comment: Well, I invite you who just a consumer of laughter that leads
are reading this article now, to draw by the to a place of emotional vulnerability.
memory and remember the gags, reruns, One of the beauties of women’s
comic effects or numbers of tradition dramaturgy for me is to free the “public
of the clownery where men act. Let’s woman” from her framed dogma and
remember. How are women treated in from her restricted daily life and lead
these contexts? her to new possibilities, choices and
Stolen kisses, butts being called of thoughts, with the opportunity to
inspirations, putting the woman always on rethink her life.
lower planes, whether for comparison or In my shows as a director and co-
in the place of stupidity and being invasive author, I intensify the personality of
over our bodies. the clown woman I am directing, so
Children do not, these always preserved, that what comes out of it as a text or
because children clowns, at this moment, action is used by any audience that
have to have the “subtlety in the mood”. watches it, whether male or female.
The ferocious in this case is in whom? But the fact that it is a text spoken and
In the dramaturgy of women talking written by a woman, the identification
about themselves, in their various by the female audience is direct,
situations within a patriarchal system or in making the laughter immediate. What
a circus dramaturgical tradition, in which will not necessarily happen with the
the woman is inserted as a consumer of a laughter of the male audience, the
laugh against herself ? immediacy gives space for about 5 to
And the last sentence, this time coming 10 minutes later.
from one clown woman to another: I direct fat, old, black, white,
- “You’re too fat and messy to be a clown young women... and we always have
woman!” something to say.
Karla’s comment: Because of this Everything that comes into our
misleading thought, we need to have a minds must be respected1.

1
I invite you to read the article: “Palhaçaria Feminina: Trajetória de investigação e construção dramatúrgica de espetáculos dirigidos
por Karla Concá” (Female Clowning: Trajectory of investigation and dramaturgical construction of shows directed by Karla Concá).
This article was written by Ana Borges and I and it talks about the process of female dramaturgy from four shows directed by me.
It was published at the International Seminário Internacional Fazendo Gênero 11 & 13th Women’s Worlds Congress (Electronic
Records), Florianópolis, Santa Catarina, Brazil, 2017, ISSN 2179-510X) Access: <http://www.wwc2017.eventos.dype.com.br/resources/
anais/1503793078_[_7688911.pdf>. Ana Borges is the clown Maroquinha, she is from Minas Gerais, currently living in Rio de Janeiro
with the show “Contrata-se!” (We are hiring!) directed by me in co-authoring with her. She is also responsible for the theoretical part
of the first module of the workshop that I minister and has been adopting my methodology of work inside the workshops.

Palhaçaria Feminina Magazine 9

 NARRATIVES

Clowns
Without
Bonders
With Palhaços Sem Fronteiras journey of what in the future would
Brasil, she coordinates and works on be the Palhaços Sem Fronteiras,
humanitarian projects in unstable and it became clear that circus and
areas around the world. clowning could be an important tool
“Clowning in the conflict area?” in supporting populations affected
“Laughter in the war?” “After a by war trauma.
hurricane?” These are questions I In 2018, we will celebrate 25
hear recurring. years of existence. Currently, the
Palhaça Donatella In general, people think that organization has an international
Aline Moreno everyone only needs food, water and headquarters in Spain, Clowns
home, which, to a certain extent, is Without Borders International,
PHo t o s
Ricardo Avellar true. But we all need affection, even and is present in 15 countries.
more so in a world ruled by material, Palhaços Sem Fronteiras Brasil is
in which we forget the immaterial, the first member of Latin America.
that feeds our soul. And art is a kind And I am Aline Moreno, founder,
of this food. president and clown woman of the
When someone goes through a organization in the country.
trauma, be it war or catastrophe, he/ Yes, there is going to be a clown
Aline Moreno, actress, clown and she tears apart. And the clownery woman in the conflict area.
founder of Palhaços Sem Fronteiras and the circus are a powerful In our first year in Brazil, we shared
Brasil (Clowns Without Borders emotional regenerator. That is why I the laughter through seven projects
Brazil). Formed by the schools fell in love with the craft performed in four Latin American countries
Célia Helena (São Paulo), Escuela by Palhaços Sem Fronteiras. For you and territories: Riso Doce, Ocupa
Internacional de Teatro Berty Tovías to travel with me in this story, I will Riso, Refugiados, Quilombos do Vale
(International School of Theater tell you how it all began: do Ribeira, Jornada em El Salvador,
Berty Tovías) (Spain) and ESLIPA At Christmas, 1992, Tortell Project São Martinho and Project
(Escola Livre de Palhaços/Rio de Poltrona received a call from a Colômbia, in areas of exclusion,
Janeiro [Free School of Clowns]). group of children from a school high social inequality, affected by
She works at Cia. Le Plat du Jour, at in Barcelona. The proposal was environmental disasters or civil war.
Cia. Cromossomos and is one of the for him to perform at the refugee All projects carried out with great
articulators of the Rede de Palhaças camps of the former Yugoslavia, courage – which literally means
(Network of Clown Women). which was then at war. On February “acting with the heart”.
[email protected] 23rd, they set out for the initiation Our work is committed to

10 Palhaçaria Feminina Magazine

Human Rights, in a world where the within the system, we will create
construction of walls is instigated. And this rule until one day it will be true
our great desire is to build bridges. everywhere.
Bridges of communication, so that we To conclude, I would like to tell
contemplate ourselves with the eyes of you a story of how we can contribute
empathy. to the female issue being clowns.
Personally, I feel that developing this When we arrived in Nicaragua,
project expands me as a human being. in 2016, one of the requests of the
After the experiences I lived and that local organization was to talk about
I have lived in the field, I could see chauvinism. Latin America as a
that nothing is separated, the Western whole has a very high feminicide
Sahara, the Rio Doce, Nicaragua, and index. Then we, from the spectacle
that everything is part of a whole, of the organization, explained that our
same planet. And I feel responsible for shows were not pedagogical, but
it, whether in Syria or on the street of that we could somehow approach
my house. Living with people in extreme the subject through the language of
situations made me see how ridiculous circus and clowning. The result was
all this is in the world, exclusion, a simple scene in the middle of the
social differences, war, and all forms of show.
negligence and damage, all irresponsible A clown man who played juggling
acts. This all sounds like a big joke to was interrupted by a clown woman,
me. And it is precisely the resistance who asked to play juggling. The
of laughter that holds me back in this clown man replied that women could
barbaric world. not play juggling. At that moment
As for being a woman and a clown, the two clown women come up and said
stories are many. How many times have I “Sí, se puede” (Yes, you can). And
heard that I could not be a clown, or that all the children said no. The clown
the front is no place for a woman? Well, woman, in a trick, steals the clown
let me tell you something. When we, man juggling, and at that moment all
clown women, acrobats, jugglers, trapeze the children said “Sí, se puede” (Yes,
artists, paradistas, occupy the scene, in you can). She plays happily, looks at
places where women and girls often can the clown man and said “Let’s play
not even think of other possibilities of together?” And so the scene ends.
life, we open paths. When these women Yes, we can. We want to build
see us there, they see other paths. That is a history of playing together:
what moves us. women, men, adults, children,
Daily, we face various chauvinism Muslims, Catholics, whites, blacks,
situations, and so one of our values, in indigenous, Easterners, Westerners,
Clowns Without Borders, is gender everyone.
equity. As long as this is not a rule We want a story without borders.

Palhaçaria Feminina Magazine 11

 NARRATIVES

Clowning,
the heritage
of joy
They say that when two people laugh take the clownery to areas of
together, their souls embrace. But when indigenous in Alagoas, Santa Catarina
many people laugh together, their souls and Mato Grosso do Sul. We have been
celebrate. And it had been to celebrate in areas of land reclamation. Areas
Cia Traço life that the clownery (in its many frightened by the vigil of gunslingers.
facets) always existed. Areas of scarcity of food and water.
PHo t o s This art glows the glitter in each Areas where beef is worth more
Diogo G. Andrade, person, chanting a transgressing than human life. We have seen areas
Chris Mayer e Elenice laugh. Laughter frees worlds. Laughter called “indigenous reservations” that
do Nascimento knocks down walls. Laughter widens reminded us of Palestinian refugee
borders, bringing different peoples camps2. The contact with this Brazilian
and cultures closer together. Laughter reality was enough to fill our eyes with
Débora de Matos (Esmeralda) and Greice encourages dreams. Laughter equals us tears and touch our hearts.
Miotello (Gretta Panschetta). They have before life. In many of these territories women
worked as clowns since 2003. Together We are Traço of life and Pallasas lead their people. They are warriors.
with Egon Seidler (Jubi) they coordinate en Rebeldía. We danced alongside Empowered. Leadership in resistance.
the Traço Cia. De Teatro. They are trained different peoples in different processes Ready to fight for herself, for her
with Iván Prado, Sue Morison, Ângela of struggle and resistance – a dance in ancestry, for her lands, for her children,
de Castro, Chacovachi, Ricardo Puccetti, laughter, a prayer in joy. for the perpetuation of her ethnicity.
Pepe Nuñez, Esio Magalhães, Marianne Many peoples. Many peoples In 2017, on a return to Dourados
Consentino, Adelvane Néia, Patrícia waiting. Many peoples massacred. (Mato Grosso do Sul, Brazil) and to
Santos... With Traço, they investigate Many welcoming peoples. Many Casa dos Ventos, we asked Fabi (cultural
the expansion of artistic territories peoples tired of waiting. Many peoples activist and manager) to mediate our
through clowning and street theater. They strong and wise. Many peoples to fight visit in an area of indigenous recovery
coordinate and integrate the Project (A) for, even if facing death, it is the only land to carry out a Pallasos en Rebeldía
Gentes do Riso (Agents/Folk of Laughter) hope of continuing to exist. Many action, leading the laughter in the form
and the Mostra Traço de Bolso – o riso peoples fighting for their territories, of a struggle and hope.
corre solto... (Traço Pocket Show - laughter sacred lands where time stands still, The winds blew, promoting an
runs free...) And they are partners of the eternized. The same time that, in the unexpected gathering. When we
Associação Cultural e de Cooperação lands here, makes us quickly forget. noticed there were Débora, Egon,
Internacional Pallasos en Rebeldía Terra meu corpo / Água meu sangue / Greice, Isis and Dodô along with Fabi
(Cultural Association and International Ar pensamento / Fogo meu espírito.1 and Dani, a kaiowá leadership and
Cooperation Pallasos em Rebeldía). Since 2014, we, from Traço along daughter of the main leadership of
[email protected] with the family Pallasos en Rebeldía, the retaking Guyra Kanby’i. Dani was

12 Palhaçaria Feminina Magazine

 passing through the Casa dos Ventos. The in our dreams. We lived many years
next morning, along with Dani, Fabi and each day. Sacred dances. Guarani Pray.
other activists from the region, we headed Kaiowá Pray. Terena Waters. Toré
towards the recovery land. (music) Kariri-Xocó. Sacred woods.
We spent the day, listening to some of Smell of urucum. Traits of Jenipapo.
their stories. It was at the prayer house that Necklaces. Maracas. Cocares. Pawi.
the leadership asked us to do our work and Fire.
it was so. A shared joy! And after all, how to get home? How
In the end, every person in that prayer to follow creation processes? How to
house made a speech of gratitude and deal with the sense of “insignificance”
farewell. An indigenous boy, as in a in facing life and artistic work? How
testimony, said that he found himself can we not allow the ordinary everyday
wondering how long he have not laughed life let us forget the different “worlds”
that way, and for a long time they have not that we crossed and pass through
laughed together either. Every talk came us? How not to fight? How to be a
as a hug, a breeze that perpetuated that woman? How to be a mother? How
encounter. to be a clown woman? How to be a
It was time to leave and we felt a certain warrior of art and love?
tension in the air, due to the confetti that We are no longer the same and we
colored the ground of red earth. Some do not even want to be. So it took a
people had already told us that we could lot of work – scenes, interventions,
not leave the confetti on the floor of the encounters, and the creation of a
prayer house. So we knew that was the new show – so Traço would continue
time to pick up the trail of our passage. to breathe. “Provisoriamente não
When we started cleaning the confetti, cantaremos o amor” (We will not sing
the leadership of the tribe (Dani’s father) love provisionally). A song of love that
instantly demanded that we shall leave was born from the gathering of all the
them there as an “inheritance” of joy. lands that we brought under our feet,
In recent years, we have visited 14 in the costumes, in the suitcases. It
villages and indigenous recovery lands. springs from a root like a cry, released
Wherever we passed, we left laughter and by many voices3. It grows in a trunk
joy as a means of supporting the processes that rips the sky, like a space to not
of struggle and resistance. In the suitcase, forget. To overflow. To share. To water
we brought eternalized memories: us as Cia. and flourish in art. And so,
candlelight dinners in canvas huts; nights with our red noses we follow... painting
of stories, dances and songs; meals on the face to celebrate life and to fight
shared platters; medicines that still work for a world that does not stop turning.

1
Song that we learned together with the Kariri-Xocó People, Alagoas, Brazil. Our translation: Earth my body / Water my blood / Air
thought / Fire my spirit.
2
Different peoples in a small territory, besieged and crowded, ignoring historical, political and cultural diversities.
3
A collective creation: Débora de Matos, Egon Seidler, Greice Miotell in the loving arrangement of Iván Prado, with the assistance of
Gabriela Leite, the modeling of Ana Pi and Zilá Muniz, the glow of Dodô Giovanetti, the image of Diogo G. Andrade, the movement
of Duran Sodré and the embrace of the family Sabuká Kariri-Xocó.

Palhaçaria Feminina Magazine 13

 NARRATIVES

Black
clowning:
representativeness
and decolonization
Since college I had an interest in of clowning through exchange
the language of clownery. Later on with the Associação de Mulheres
I had the opportunity to work on Palhaças As Marias da Graça. The
the initiation of clowning with the proposal was to investigate scenic
Cia. Traço2, in Florianópolis, Santa procedures of clownery that, along
Catarina, Brazil. A more in-depth with my experience as an actress/
contact emerged in July 2012 at the storyteller, could boost my insertion
workshop Bota a palhaça pra fora in the practices of woman clownery,
(Put the clown out) by Karla Concá in addition to creating a show of
Palhaça Curalina
and Vera Ribeiro from the group storytelling whose resources were
Drica Santos1 As Maria da Graça3 at the women’s minimal, from a material point of
theater meeting Vértice Brasil 2012 view, and based on the figure of the
PHOT o S – T(i)erra Firme. At that time, actress and her play, that is, from
Chris Mayer Storytelling already influenced my the discovery and meeting with my
work as an actress. I glimpsed in the clown.
language of the clown the possibility When I began the process of
of deepening my play with the researching for the “birth” of my
audience; exercise the ability to seek clown, I noticed that the practice
in the scenic act the rapid response to emerged in an intense way, a
unpredictability. After this contact connection with my ancestry, my
with the work of As Marias da Graça, deepest emotions and feelings. At the
as a group of clown women, these time, I was in the transition phase of
became a significant reference in my hair (release from the smoothed part
path as an actress in search of my and assumed my afro hair). And how
clown. much is said in the clowning world:
So I wrote the project Bota a palhaça the smallest mask in the world did
pra fora de vez (Put the clown out once not hide me, but it revealed me. And
and for all) that was contemplated by so my own gags emerged and a strong
the Edital Bolsa Interações Estéticas relationship with my hair started.
– Residências artísticas em pontos The presence of my great aunts,
de cultura 2012, FUNARTE. The my grandmother and my mother
project proposed the creation of a were visible in my solutions and
storytelling show in the language improvisations on the scene. What

14 Palhaçaria Feminina Magazine

emerged objectively in my clown was their hairs in the past; it was a
operationalized by the subjectivity of my significant memory that crossed my
black body. After I had created I realized creative process. The combs became
what was happening to me. an essential object that my clown
The name itself: Curalina came from a carried. All the action of the spectacle
dream I had during the creative process. I was revolving around the relationship
dreamed about my great aunt Durvalina with the combs and my hair. And
(sister of my grandmother), who died the question that accompanied me
in 2004, I had a strong connection with was how could I transposed that to
her since I was a child and I felt that the give me strength in the scene, how to
name of my clown should be this or else reconfigure what was oppressor (hot
it should relate to her. When I returned iron comb, or “comb combing me”)
to the rehearsal room, they asked me to for a potentiation of my comic figure.
share a comic childhood fact; and so a I think Curalina is the “shadow”
link with a familiar childhood nickname that accompanies me; I feel how
related to this comic fact of my life arose. much it potentiates my voice, in the
It was then that when I returned to the broadest sense of the word; the voice
rehearsal I approached my teacher and of an actress who believes in the
director Karla Concá and announced theater and what it can do for us, the
with excitement my name: Curalina. voice of Drica, woman, who allows
There was a recognition from the herself to revisit her body, the voice
director and everyone present that this of black Drica who rediscute the term
was really my name as a clown; it was “Afro” inscribed in what she is; finally
unanimous the sense of fairness, for I had the range of voices that constitute
tried other names that seemed not to fit. us as “living beings”. As I said, in the
The choice of my garments also carried clowning universe we listen a lot that
an ancestral attribute; it had to do with working on Clown’s procedures is to
the dresses of my great aunts, as well as undress, that the nose is a mask that
the interest in “oldy things and people” reveals and does not hide. In fact,
(as my clown used to say), including working the clown for me was and is
the manner of speaking and the words that. Curalina is this naked being of
that I used during improvisations, those myself.
were words that they used to say. And There is a question that arose,
the relation with the comb was another in November 2016, regarding the
strong attribute of the comic figure ridiculous issue and the gags of my
that emerged. My grandmother and hair, at a table titled Debates sobre
her sisters used to wear combs on their estéticas afro-brasileiras: experiências
heads, or with the so-called hot iron sobre a criação de narrativas na cena
and vaseline, much used to straighten teatral brasileira (Debates on Afro-

1
Drica Santos – Clown Woman, Actress, Researcher and Teacher. She has a Doctor and a Master
degree in Theater by PPGT/UDESC, also graduated in Art Education (Certified in Performing Arts)
by UDESC. http://lattes.cnpq.br/3579310772715634. In her work as an actress there are references
such as: Toni Edson, Guillermo Cacacce, Fátima Lima, Matteo Bonfitto, Tiche Vianna, Julia Varley,
André Carreira, Eugenio Barba, Serge Ouaknine, Renato Ferracini, Norberto Presta, Grupo Piolin,
Cia. Traço, Ivan Prado, Chaco Vacchi, Miguel Rubio Zapata, Jean Jacques Lemetre, Karla Concá [As
Marias da Graça], Andrea Macera, Clara Lee, Nola Era, among others. In addition to managing her
work as a clown and working as an independent production actress, she has currently collaborated
with the (Em) Companhia de Mulheres – Coletivo de Pesquisa Teatral Feminista (Company of
Women – Collective of Feminist Theatrical Research). Her poetic researches have the following axes:
political negritude and poetics, acting frontiers in Storytelling, and she has recently combined the
language of the clown with storytelling research. [email protected]
2
The Traço Cia. De Teatro was founded in 2001, in the city of Florianópolis, Santa Catarina. In
its artistic trajectory, the clown technique is the main pedagogical resource of shaping, training
and creation. Along with this technique, investigations of the street theater and the popular comic
theater collaborate to the scenic research of the company.
3
With 26 years of work, and based in Rio de Janeiro, the Association of Women Clowns As
Marias da Graça is set in a point of culture of strong reference in the cultural and theatrical context
of the country. They are women who work the laughter and chose the art of clowning to express the
feminine routine. They thus interfere, in the traditional view of this artistic universe.
4
Substitute Professor at the Department of Performing Arts at the State University of Santa
Catarina (UDESC). She is a Master in Theater, with a dissertation defended on the Dramaturgia da
Dança dos Orixás - prática artística de Augusto Omolú. PhD student in Theater by the Postgraduate
Program in Theater PPGT-UDESC. Her research focuses on: Theater Theories and Practices,
working on the following themes: dramaturgy, black theater, African identity and diaspora. <http:
//lattes.cnpq.br/4004929606438427>.

Palhaçaria Feminina Magazine 15

 Brazilian aesthetics: experiences in mind, I realized the force that Gomes (2008)6, for whom the hair is
on the creation of narratives in the the social “agreements” carry out in not only seen as part of the individual
Brazilian theater scene), an event of our subjectivities and that there is and biological body, but above all,
the initiative of Professor Julianna an arduous work of recognizing and as a social body and language; as a
Rosa de Souza4 of the Department rebuilding amid the colonial mimic vehicle of expression and symbol of
of Performing Arts of UDESC, project that we are immersed and thus cultural resistance.
Florianópolis, Santa Catarina, Brazil, emancipate in fact, in the routine of Nilma Lino Gomes (2008) affirms
with the Coletivo Nega5. It was a table theater and life; I see that clownery that based on her study in which
of reflection on theater, blackness has been my strong ally in this issue. she analyzed the action and the
and resistance. Currently, I see that what I establish activities developed in the ethnic
The question was that if my with my hair is qualitatively different. salons of Belo Horizonte from the
relationship with my hair could not I used to start the spectacle as if my manipulation of curly hair, based
favor the ridicule of Afro hair, getting hair bothered me to tell the story on the hairstyles of African ethnic
the opposite sense of identification, because it fell in front of my eyes origin, recreated and reinterpreted,
overcoming stereotypes and and also because it was hard to comb as forms of aesthetic expression and
appreciation of black aesthetics. and nowadays the initial gag is that black identity. The author (GOMES,
In general, at the time, when my my Black Power gives me strength of 2008) states that awareness of the
clown and the show were conceived, concentration to tell the story and the positive possibilities of her hair
I questioned how my relationship combs are my allies and my gifts from offers a remarkable contribution
with my hair would be in different my ancestors (from my grandmother, to the process of black body
contexts; I was apprehensive, but, from my great aunt, etc.). Of course rehabilitation and to the reversion of
at the same time, it was/is part of it is part of a wave of struggle for the the negative representations present
me, the prospect of working with aesthetics of Afro hair that has been in the imaginary inherited from a
clownery is that it is impossible coined lately. Many people debate it racist culture. In this way, the work
to deceive yourself; because it is for fear that it is for mere fashion. In with Curalina came and has come
necessary to go down deep in your any case, I consider very pertinent developing a poetic path that marks
own ridicule so that the beauty of this appreciation of black aesthetics the passage from the negative sense
the clown man/woman is made. of the hair as a strong element of of mockery to the positive sense of
Therefore, I recognized more and strengthening our subjectivities as ridicule, that is, Afro hair seen as “bad”
more my sad hate relationship with blacks and of identity reconstruction. and pejoratively where the vision
my hair. The movements that came I am still trying to reflect on how far of beautiful is the standard of white
up in rehearsals with the comb were the Curalina figure reinforces or values beauty, for a view of non-standard as
often combing with anger and the stereotypes. What is the difference the true beauty of itself, where social
memory of pain by combing my hair. between ridicule and mockery in structures are questioned, where a
Later, with the presentations I noticed the comic and clownery universe? I revolutionary praxis of blackness can
I had to work this out with myself. realize that from my experience with be concretized poetically.
Understanding and transforming the storytelling and the conception of Therefore, I have been building
hate relationship and where it came my clown I envision a rich path of a space of construction of my
from (relationships structured by self-liberation from the damage that autonomy as negratriz7 (blactress)
racism). I knew it had to do with the the racist logics, that inhabited and ; and I am currently strengthening
non-acceptance of my own hair and it still inhabit me, do with my black this space for reflection within
was very strong for the work with my identities. The relationship of the the universe of female clownery.
clown, because this “non-acceptance” clown Curalina and her hair became Seeking to decolonize thoughts and
comes from the racist colonial logics a symbol of this emancipation, being attitudes in bodies and contexts,
that cross me; that is, I really needed part of one of the paths of struggle and bringing the importance of
to get rid of the fetters of values that that has been coined lately by black representation for clownery,
say my hair is “bad hair”. With this researchers, as Professor Nilma Lino as well.

5
The Coletivo Nega (Negras Experimentações Grupo de Artes / Black Experiments Arts Group), the only group of Black Theater in Santa Catarina,
Brazil. Its existence and actions extrapolate, however, the theatrical scope and they are amplified in the cultural construction of the black art in Santa
Catarina. To accomplish this construction, actors and actresses (now composed only of young black women, the group has already integrated male
artists throughout its seven years of existence) of the Coletivo Nega are formed to develop an intimate dialogue with the society in Santa Catarina
on topics of interest of the state’s black population. The Coletivo Nega was created seven years ago from an extension project created by Professor
Dr Fátima Costa de Lima at the State University of Santa Catarina (UDESC), seeking to fill the lack of representation for the black population in
the theater field. Influenced by the TEN (Teatro Experimental do Negro / Black Experimental Theater) founded by Abdias Nascimento 68 years
ago, in Rio de Janeiro. Currently, with the support of the extension project, but independent of professors, the group works with the management
and collective creation with Rita R.I., Fernanda Rachel, Thuanny Paes, Michele Mafra, Franco and Sarah Motta and aims to value the theatrical
productions of black artists, with emphasis on black women. Source: <https://www.facebook.com/pg/coletivonega>.
6
GOMES, Nilma L. Sem perder a raiz: Corpo e cabelo como símbolos da identidade negra. Minas Gerais: Autêntica, 2008.
7
The neologism created here is coined as a metaphor to express my inevitably specificity as a black actress who reflects on her own work in theater
and clowning. More information see: SANTOS, Adriana Patricia. Dos guetos que habito: negritudes em procedimentos poéticos cênicos. Tese
(Doutorado) PPGT-UDESC, Florianópolis, 2017.

16 Palhaçaria Feminina Magazine

Palhaçaria
Revista Palhaçaria
Feminina Feminina
Magazine 17
 PAPER

Diverse,
but not
sparse
Female
Clowning
Self-poetic and Wanderings
Manuela Castelo Branco
de Oliveira Cardoso1
[email protected]

PHo t o s
Randal Andrade

18 Palhaçaria Feminina Magazine

 This article reflects on nomadism, tradition, itinerancy and wandering to talk about the
challenges and provocations in being a clown woman in the Brazilian context, which is a
context historically carried out by men, but that is undergoing sensible changes.
Ermínia Silva, one of the most important and respected memorialists of the Brazilian
circus, together with Luis Carlos de Abreu, in many of her books, try to recover some of these
stories from circuses and circus families in Brazil, also reflecting on the circus while spectacle,
tradition and renewal, as well as investigating how such knowledge was, were, is passed on
from parents to children, or daughters. Or not. In 2010, Ermínia came to the festival2 that
I organize in Brasília, to launch Respeitável Público... O Circo em Cena (2009). In this book,
according to the authors:

For a part of circus researchers and memorialists, Englishman Philip Astley, a retired cavalry
sergeant who, since 1768, had performed with his company on equestrian events, was responsible
for the “creation” of a circular lane and creator of a new spectacle. The composition of the physical
and architectural space, where the presentations took place, was around a dirt track surrounded
by wooden protection, in which overlapping small grandstands, similar to cabins, covered with
wood, as were most of the fair stalls of that period, coupled with small sheds. The rest of the
enclosure was formed by bleachers or galleries, very close to the runway. [...] At first, it made only
equestrian presentations, altered later with the introduction of numbers of artists - generically
denominated of acrobats (saltimbancos) by appearing in the streets, squares and fair theaters,
1
Manuela has been a
clown and researcher but also there were artists of the closed Italian theaters, Elizabethan theaters, arenas, horse racing
in clowning since 1998. track, gypsies, jugglers, puppeteers, dancers, singers, musicians, heirs of the commedia dell’arte,
Since 2008 she has acrobats (solo and air), comedians in general - who presented themselves in the between acts, with
been a teacher at the the purpose of printing rhythm to the presentations and giving a different entertainment to the
Escola de Música de
public. They also performed in pantomimes, in comic equestrian scenes. Later, these pantomimes
Brasília, DF, working
the Opera Studio will be presented in the circuses, being denominated of pantomimes circenses. This redefinition
discipline, where of the presentation of these traveling artists is considered the basis of the modern circus. In 1779,
she directs opera Astley began building a permanent, wooden, covered site, the Royal Astley Arts Amphitheater,
performances. She is which opened in 1782. That same year, a former Astley artist, Charles Hughes, set up another
the creator of CiRcA company, set up at close range of Astley’s amphitheater. For the first time appeared the name of
Brasilina, the first
“circus” in the modern world, the Royal Circus (our translation) (SILVA & ABREU, 2009, p.
women’s ring in Brazil.
46-47).
2
Ermínia was our
special guest for the And it keeps going:
program Palhaças
Em Tese (Clowns in
Thus Astley’s “recreated” model of spectacle united the basic opposites of theatricality, the comic
Thesis), which is one
of the activities that and the dramatic; associated the theatrical representation, dance, music, dolls, magic, pantomime
integrates the festival and the clown with the acrobatics of solo and air with or without apparatuses, the balance, the
that I have organized equestrian tests and the training of animals in the same space. This is the basis of the circus that
in Brasilia since 2008, has migrated to different countries, organizing different circuses, marking established singular
called the Encontro de relationships with the specific cultural and social realities of each region or country. The oral
Palhaças de Brasília, transmission of knowledge and the union of basic points of theatricality and corporal dexterity
which from 2016 are also part of the history of the formation of what is called “circus dynasties” (our translation)
onwards became (SILVA & ABREU, 2009: 47).
known as the Festival
Palhaças do Mundo.
Ermínia Silva is heiress of one of these dynasties3, is heiress of this circus tradition, although
3
Ermínia is the
daughter of “Seu
she does not appear in the ring. In the same way, we, clown women, are also heirs to this
Barry”, artist and circus context, and to that tradition, and we are living a particularly complex and sensitive moment
businessman, Barry in relation to the sexual and social division of labor, the social and symbolic oppression of
Charles Silva (1931- patriarchy. Therefore, I want to believe that the researchers in the passages just presented
2012), third generation did not expand these gender issues because they were being universalistic when dealing with
of two important circus
the gender of the artists who made up these companies of saltimbancos. From where I can
families in Brazil:
Wassilnovich (current imagine that there were women in that context. But in what roles, and performing what skills?
Silva) and Riego I imagine gypsies, jugglers, puppeteers, dancers, singers, musicians, heiress actresses of the
4
‘Family-circus’ -
commedia dell’arte, acrobats and comics in general.
binomial used to For the researchers, the Brazilian traditional circus, or the ‘family-circus’ , was able to
designate the Brazilian
incorporate very well the notion of ‘family tradition’ in the process of socialization, formation
traditional circus,
since it was eminently and learning of the circus knowledge and actions in front of the knowledge and doings ‘outside’
composed of foreign the canvas (SILVA & ABREU, 2009). In this regard, circus women had a very different life
families in Tupiniquin from women ‘outside’ the canvas. They were women of nomadic and spectacular life. Although
lands.

Palhaçaria Feminina Magazine 19

 much has been said about an oral tradition, or rather, about a process of revitalisation of
knowledge and acts by orality, it did not imply that circuses were illiterate or uneducated. In
its immense majority and for a long period, the teaching of language was internally carried
out inside the circus, and above all, due to the nomadism that distinguished them from other
professions, and different forms of social and family organization. It was only in mid-1948
that primary school enrollment for circus children in public or private schools in Brazil was
established (SILVA & ABREU, 2009).
In this context, in the circus life the issues of nomadism and spectacularity arose as two
important principles of the whole family and professional life of these groups. Nomadism
in the circus brought a series of small revolutions in their way of making and living the art
they produced. It has constantly been, and is rightly updated also by the nomadic, changeable
character they have assumed since before Astley or Hughes. I see in this nomadism, as a
practice of roaming, the essential characteristic of the porosity that made the circus always
update itself. A permeability that occurred in several directions, but which, in terms of gender,
had its delicacies in relation to the clowning.
Likewise, the spectacularity has certainly brought to circus women ‘behavioral and symbolic
exceptions’ in relation to the social rules normally directed at women on ‘outside’ the canvas.
Spectacularity, understanding it as a basic necessity of the professional life of these women
also guaranteed their stay in the ring. But which part of the spectacle are they going to star in?
And what does this spectacularity, or the understanding of what is spectacular in a woman,
contribute to the continuity of the circus tradition, which in a way, regulated activities for
women promoting a clear gender division of labor? It is not about coming here and judging
the past. You can not judge time. But it was in this counterpoint between the solid (tradition)
and the liquid (experimentation, adaptability, mutability) that clown women “exploded”.
Neither exactly solid nor exactly liquid. At first essentially wandering. Sparkling. Clown
women escaped from the circus solidity and embarked on the fluidity of contemporary
theater, the contemporary circus, and finally arose.
Bringing to a discussion the ideas of philosophers such as Zygmunt Bauman (2001)5, and
Marshall Berman (1992)6, who, when looking at modernity, found a spirit of disintegration,
rupture, speed and liquidity; we bring to the discussion José Sterza Justo, a contemporary
researcher who supported by these authors, looks at the wanderers, the maverick, the truck
drivers, for more than 20 years, and for whom:

The metaphor of air or gaseous state may be more appropriate to characterize the
volatility of the present world, the abolition of time and space. Despite the greater
malleability of the liquid to the solid, the gaseous state is much more than nomadic,
it is erratic. The liquid remains in any way subjected to gravity, to a settlement with
a river imprisoned to its bed or the seas contained between the continents. The
gaseous state dilutes the liquid itself, evaporates the water, removing the gravitation
that holds the earth, to a territory. It is true that liquids, such as gaseous ones, can be
retained underground, but the property of expanding the gases is incomparably greater
because they can fill any space, even including that of the atmosphere. (our translation)
( JUSTO, 2011, 32).

So every time I think about this ‘bursting’ of clown women I see ourselves in an erratic,
luminous sense. But without much continuity. It comes and explodes. I wonder whether
the female comedy – in addition to the clown women – is also recurring in a historically
erratic way... Underground, and explosive like some gases. Thus, seeing us, seeing myself,
at the eminence of the disintegration, of the ruin again, of the invisibility by the luminous
dispersion, causes me deep uneasiness. Invoking the idea of ruin, I want to relate it definitively
and poetically, aligning it with the thought of Maria Zambrano, Spanish thinker, essayist and
philosopher, who says:

What are the ruins? Something deteriorated, no doubt, somewhat collapsed. However,
not every collapse is a ruin. In the perception of the ruins we feel something that is not,
a guest that is gone: someone just left when we entered, something still floating in the
air and something also remained. We would not dare to remain alone among the ruins,
for everything would be inhabited, it would be inhabited not more by shadows, but
something more indefinable.
Why? Because the ruins are a category of history and allude to something very intimate

20 Palhaçaria Feminina Magazine

 of our life. They are the abasement of this action that defines man among all others:
to build. Building, making history. That is, a double edification: architectural and
historical. Architecture and history are solidary and in the background they were born
with the same impetus and the same need (our translation) (ZAMBRANO, 2010,
page 03).

And it follows:

As you edify, try to fulfill your dreams. And under dreams, always encourages hope.
The motor hope of history. And so, in the ruins, what we see and feel is a trapped
hope, that when what we now see broken is intact perhaps it was not so present: it
had not reached with its presence what it achieves with its absence. And this, that
absence surpasses in intensity and strength the presence, it is the unmistakable sign
that something has reached the category of “ruin” (our translation) (ZAMBRANO,
2010, page 03).

Female clowning has dialogued directly, historically, with this ‘present absence’ that goes
beyond the time and presence of clowning, clowns, buffoons, storytellers, jugglers and court
jester. In a ruin we know someone was there. We do not know exactly who, we do not know
exactly when. But we know someone was there before us. And we awoke, eventually, to the
hope of a meeting. From this comes a stifled sensation that the forerunners of our7 clowning
are hidden, buried, invisible by time and by the patriarchal system of Western history, which
has kept us scattered, wandering, silenced, or underground. So, perhaps, so often, we feel
that female clownery still seems to be an authorship, self-poetic phenomenon, made by
women who wander among the ruins of traditional clowning. Not saying that the traditional
5
See more in: Modernidade
clowning is in ruins, or is a ruin itself, but for clown women like me, who travel for feminine
Líquida. Baumann, Zygmunt.
Ed. Zahar, 2001.
references, the feeling of ruin is frequent. Eventually, we see the ruin, we perceive the ruin.
A more critical-feminist look at this more solid, historical, traditional clowning makes us
6
See more in: Tudo que é Sólido
perceive female comedy as a somewhat spectral entity. Beyond the sense of ruin, there is a
se Desmancha no Ar. Bernan,
Marshall. Companhia das Letras, dimension of wandering, what makes us feel lost on the journey, in doubt as to whether or
1992. not we should follow the trajectory made by clown men, the comedy made by clown men, the
dramaturgy done by clown men, the technique developed by clown men, the masks or types
7
Because I feel totally inserted in
it, in a female clownery. developed by clown men. Anyway...
8
Here are some Brazilian Moreover, in recent years, and I believe that much due to the agglutination movement that
clown women festivals, with clown women’s festivals have provoked, and that still are presente everywhere in Brazil8, I
the respective states where they envision that now we are finally starting to run liquid, and not more eminently erratic. As in
take place and years of creation: condensation, where gaseous becomes liquid. However, wandering exists, persists, has been
Esse Monte de Mulher Palhaças and is necessary. Diverse, but not sparse9. In condensation and intimate communication. That
(2005, Rio de Janeiro), Encontro
de Palhaças de Brasília – Festival
will be the difference. We set ourselves in moviment... and now in a collective movement, that
Palhaças do Mundo (2008, I can start calling ‘rolê’10, the ‘clown women rolê’. At the root of this liquefied re-agglutination,
Distrito Federal), PalhaçAria for me, is the strengthening of feminism in the world. In my view, there will be no way out
(2012, Pernambuco), Encontro without the analyzes, the lessons, the ideas, and even the logic of feminist confrontation,
Internacional de Palhaças de which is artivism, for female clowning. We began to see each other and ourselves as a group.
São Paulo (2014, São Paulo),
Recognizing ourselves as individuals, and, I want to believe, recognizing ourselves as collective.
Festival Palhaça na Praça
(2015, Minas Gerais), Mostra Would you come with us?
Tua Graça Palhaça (2016, Rio
Grande do Sul), Mostra de Arte
e Comicidade Feminina (2017,
Mato Grosso), Encontro de
REFERENCES
Palhaças de Belém (2017, Pará), JUSTO, José Sterza. Andarilhos e Trecheiros: errância e nomadismo na contemporaneidade.
Encontro de Palhaças e Circenses
do Vale do Paraíba (2018, São
Maringá, EDUEM, 2011
Paulo), Encontro de Mulheres BAUMANN, Zygmunt. Modernidade Líquida. Rio de Janeiro, Ed. Zahar, 2001.
Palhaças do Amapá (2018,
Amapá). BERNAN, Marshall. Tudo que é Sólido se Desmancha no Ar. São Paulo, Companhia das
9
“Diverse, but not sparse” is Letras, 1992.
the motto created from the
14º Encontro de Feminista
SILVA, Ermínia& ABREU, Luís Alberto de. Respeitável Público... O Circo em Cena. Rio
Latinoamericano e do Caribe, de Janeiro: FUNARTE, 2009.
held in Montevideo, in 2017.
ZAMBRANO, María. Uma metáfora da esperança: as ruínas. Desterro: Sopro, n. 37,
10
Translator’s note: “rolê” is a Cultura e Barbárie, out./2010. Disponível em: <http://www.culturaebarbarie.org/sopro/
Brazilian slang referring to a arquivo/zambrano.html>.
stroll, also to a meeting, which
often is related to an event.

Palhaçaria Feminina Magazine 21

 PAPER

Reflections on
Barrica
poráguaabaixo
show by
Michelle Silveira
Jennifer Jacomini de Jesus
[email protected]

F ot os
Photos Palhaça Barrica: Renato Teixeira, Piti Tomé and personal archive
Photo Jennifer: Drica Santos

22 Palhaçaria Feminina Magazine

 Emphasizing the relevance of this magazine for the establishment of discussions,
reflections and exchange of experiences on the craft of female clowns and recognizing
it as an important space for registration, training and dissemination, I share the excerpt
from an academic research conducted by me between 2014 and 2015 which had as
object of investigation the spectacle Barrica poráguaabaixo, created by the organizer
of this publication, Michelle Silveira da Silva, the clown Barrica. I hope to bring the
practices of female clowns together, to foster communication networks and thus to
contribute to the expansion and strengthening of the references on female comics.
Born in São Sepé, a countryside town in the state of Rio Grande do Sul, Michelle
is an actress, director and teacher, bachelor in Interpretation (2003) and Theater
Direction (2004) by the Federal University of Santa Maria. She is currently working
on the Doutor Risonhos hospital clown project, teaches theater and clownwork at the
Cultural Foundation of Chapecó, in Santa Catarina, and publishes a blog with the same
name for the magazine Feminine Clown.
To provoke reflection from laughter is certainly one of the challenges to clowns. As an
artist who reveals the reverse of things, the ridicule of human existence and the absurdity
of situations, it is essential that the clown can stand in the face of social realities, which
implies certain creative choices. These are some points that I want to reflect on from
Michelle’s show.
Perhaps the main difficulty experienced by the clowns is to discover the laughable
aspects of the feminine universe, which in a way contributes to reinforce the false
impression that this is an exclusively male trade. About this aspect, Michelle argues
that the insertion of women into the clownery is a recent phenomenon, and therefore,
these artists still lack references, qualification, preparation and training. She argues that
“às vezes, alguns homens acham que as mulheres não são capazes” (sometimes, some
men feel that women are not capable) (SILVA, 2014) and argues that overcoming this
Jennifer Jacomini is an art
educator, actress, clown and prejudice requires time and practice, since clowning is a profession of constant learning.
researcher. Technician (2008), The Italian Franca Rame, actress, playwright and feminist activist, who credits comedy
Bachelor’s degree (2010) and and laughter with a social function, in defending an authentically feminine comic
Graduated (2012) in Theater creation, comments that the process of initiation of women in the clownery usually
by UFMG, Master (2016) and castrates femininity through constructions which use masculine references for the
PhD in Theater by UDESC construction of clothing, voice and corporeality (RAME, 2004).
with research on the ONG
Palhaços Sem Fronteiras (NGO Michelle says that she also went through the experience of creating a masculine
Clowns Without Borders). archetype at the beginning of her clowning career. This influence arose from the
She graduated in 2015 from characterization of his character, wearing a jacket and a wig. According to her “era uma
the Escola de Palhaços do figura meio andrógina. (...) chamava Messiê Barrica, era meio homem, meio mulher, não
Circo da Dona Bilica (Dona tinha muito essa diferenciação” (she was a half-androgynous figure. (...) called Messiê
Bilica Circus Clown School) in Barrica, was half man, half woman, did not have much differentiation). The actress
Florianópolis, Santa Catarina, identifies that it was from the change in costume, in the outfit of a swimsuit, that she
Brazil. She studied clownery began to explore more feminine aspects of her clown.
with Ramon Merlo, Caroline
Although she identifies some differences in themes in the creation of male and female
Dream, Nola Rae, Ju Balsa,
Márcio Douglas, Elena Donzel, clowning, she realizes similarities in language. According to her: “o que é principal e
Neto Donegá, Silvia Leblon, que liga os dois é que eles são um reflexo da humanidade, são o espelho da humanidade.
Adriana Morales, Cláudia E isso cabe tanto ao homem quanto à mulher, já que ambos são seres humanos.” (What
Sachs, Naomi Silman, Michelle is main and what binds the two is that they are a reflection of humanity, they are the
Silveira, Rodrigo Robleño, mirror of humanity. And that fits both the man and the woman, since both are human
Gardi Hutter, Pepe Nuñez, beings) (SILVA, 2014).
Fernando Cavarozzi, Esio Although the principles underlying the practices of both clown men and clown women
Magalhães, Ricardo Puccetti,
are the same, I emphasize the importance of the political space that differences provide
João Carlos Artigos, Richard
and reaffirm the impossibility of alienating these issues. Not bringing this discussion
Riguetti, Teófanes Silveira,
Iván Prado, Lila Monti, Amir to the scene is also contributing to the maintenance of the invisibility of historically
Haddad, Fernando Escrich, disadvantaged groups. However, caution is needed with definitions that preclude flow,
Alice Viveiros de Castro, permeability between fields and political and cultural intersections.
Cristiano Pena and Evandro It is worth reminding that the seek for equality presupposes a need for visibility
Heringer.

Palhaçaria Feminina Magazine 23

 and a guarantee of spaces of power that are not only limited to the artistic, but also
present in the reconfigurations of the family nucleus, in the professional insertion, in
the conception of the couple, in the re-signification of the social roles, at last, in all fields
where there is presence – or search for the presence – of the woman.
In Michelle’s case, she found, through clownery, freedom to express herself, as
the actress herself acknowledges: “A palhaça Barrica é minha caricatura: física, de
pensamento e de sentimento. Tudo em mim levado ao extremo. A Barrica é a boba da
corte, a louca, e muitas vezes fala pela Michelle aquilo que o sistema não permite a ela
que fale, ou a reprime. Mas como Barrica é boba, pode falar tudo e as pessoas ainda
acham graça” (Barrica clown is my caricature: physical, thinking and feeling. Everything
in me taken to the extreme. Barrica is the court jester, the crazy, and often speaks for
Michelle what the system does not allow her to speak, or represses. But as Barrica is silly,
she can say everything and people still find grace) (SILVA apud ZANOTELLI, 2009).
It was through this consent that, from a critical slant, the actress transformed into
creative materiality for the clown her own situation of exclusion, questioning the
idealized beauty standards imposed on women in society. On this issue she comments:
“Eu aceito aquilo que eu sou e eu exponho aquilo que eu sou. Isso é um ato político,
porque muitas pessoas não se aceitam como são e sofrem com isso.” (I accept what I
am and I expose what I am. This is a political act because many people do not accept
themselves as they are and suffer from it.) (SILVA, 2014).
The play Barrica poráguaabaixo premiered in 2009 and was built from a short scene,
based on the actress’s own physical, psychological and behavioral characteristics,
interacting with the audience and playing with the stage objects. In the show, Michelle
uses strategies and features that disrupt stereotypes of the feminine and demonstrates
that women, as well as men, can also play with sexual, grotesque and eschatological
themes, and elicit laughter from it, exploiting cliché of femininity, breaking paradigms
and revealing defects. I can mention as an example a scene from the show in which
she appears with a flying fabric, improvise a belly dance choreography and then, when
the public expects the performance of an excellent dancer, Barrica confesses to have
participated only in a first class. At another scene, she appears with a bouquet of flowers
with which she dusts her armpits and sex, implying that she is excessively stinky and
leads the performance to the grotesque from the exaggeration, causing a comic emphasis.
There are other times when eschatology is approached, such as when the clown puts on
her shoes and complains of the odor exhaled by her shoes: “It does not bathe!” or when
she confers her own breath, before greeting an audience participant.
Michelle explains that her physical appearance was for some time a cause of suffering
and that directly interfered in the construction of her clown: “Meu clown nasceu
chorando. Nosso nascimento se dava dentro de um processo de iniciação bem delicado.
Iríamos usar a máscara, o nariz, e para usar a máscara é preciso um ritual de iniciação a
ela, e pra mim foi dolorido. Eu não sabia lidar com o meu ridículo, isso me doía e quando
tive que colocar uma roupa que evidenciava minha grande barriga gorda, comecei a
chorar” (My clown was born crying. Our birth took place in a very delicate process
of initiation. We would use the mask, the nose, and to use the mask it takes a ritual of
initiation to it, and for me it was painful. I did not know how to handle my ridicule, it
hurt me and when I had to put on a suit that showed my big fat belly, I started to cry)
(SILVA apud ZANOTELLI, 2009).
Michelle’s attitude of using her corpulence as a creative tool in the context of a
prejudiced society was a choice that, as she relates, originated from the perception of
the activist dimension that this act could represent: “Eu fui fazer um evento e teve um
momento em que eu fui desfilar e eu tirei o meu casaco e fiquei com a barriga de fora. E
a mulherada ficou louca: “Êêêê!!!”, gritava e aplaudia. E, naquele momento, eu percebi
que expor a minha condição física, de ser gorda, era uma coisa política, entende? No
sentido de que existem muitas gordas e que elas não se aceitam e que sofrem, porque
existe muito preconceito, existem dificuldades, existe um padrão que nos aprisiona.
Aquilo que se projeta, o que a propaganda projeta, o que a mulher tem que ser. Se ela

24 Palhaçaria Feminina Magazine

não for, ela não é uma mulher ideal. E toda mulher quer ser uma mulher ideal. Toda
pessoa quer ser a pessoa ideal, né?” (“I went to do an event and there was a moment
when I paraded on the catwalk and I took off my coat and I got the belly out. And
the women got mad: “That’s it!” They shouted and applauded. And at that moment, I
realized that exposing my physical condition, being fat, was a political thing, you know?
In the sense that there are many fat women and they do not accept themselves and they
suffer because there is a lot of prejudice, there are difficulties, there is a pattern that
imprisons us. What is projected, what the advertisement projects, what the woman has
to be. If she is not so, she is not an ideal woman. And every woman wants to be an ideal
woman. Every person wants to be the ideal person, right?) (SILVA, 2014).
Michelle attributes a political character to the office of clowning in the sense of the
possibility of exploring her own limits, starting with self-acceptance and exposure of her
own vulnerabilities. According to her: “você assumir a sua humanidade, a sua ignorância,
a sua fragilidade. Você não quer esconder algo. Poder mostrar, expor e aceitar. Isso pra
mim já tem uma conotação muito importante, enquanto a gente vive em uma sociedade
que tenta esconder, mascarar, em que você tem que ser o melhor, em que você tem que
ter êxito.” (you (have to) assume your humanity, your ignorance, your fragility. You
don’t want to hide something. (You have) To be able to show, expose and accept. This
for me already has a very important connotation, as long as we live in a society that
tries to hide, to mask, in which you have to be the best, in which you have to succeed.)
(SILVA, 2014).
In her show, the artist approaches, satirically, the social behavior of the difficulty
of accepting obesity, which generates hostility and prejudice towards fat individuals.
The clown does so in an irreverent, amusing and sarcastic way, maximizing situations
experienced by Michelle because of her plump form to a degree so high that makes it
absurd and comical. Through the exaggeration of events commonly experienced by fat
people, she constructs a series of funny scenes, such as: difficulty getting up from the
floor due to her own weight, getting stuck in a float or stuck in a garment, frustrated
attempts at weight loss, tachycardia due to the practice of physical exercises, pouring
water out of a plastic swimming pool when bathing in it. From these small occurrences,
the artist explores the laughable, taking advantage of each situation and showing their
ridicule.
Michelle’s appropriation of her own body causes her femininity not to be given to
objectification; instead, it becomes a form of resistance to her, and serves as a tool of
criticism. The actress transforms the eroticization and excessive idealization of the
woman’s body into a laughing matter, and thus criticizes and deconstructs patterns,
revealing their incoherence.
By focusing on obesity, by laughing and mocking her own inadequacy to socially
valued aesthetic standards, Michelle is rightly enhancing a concern and criticizing
intolerance, lack of acceptance and rejection of fat people. She finds an effective
alternative to bringing up a social issue that needs to be considered and discussed. I
therefore recognize in her creative action a collaboration in fomenting the debate and
stimulating changes in attitude towards the recognition and appreciation of women in
welcoming differences through empathy and amusement.

REFERENCES
RAME, Franca. A mulher-palhaço, a bufa, a jogralesa. In: FO, Dario. Manual mínimo
do ator. Tradução: Lucas Baldovino e Carlos David Szlak. 3ª edição São Paulo: Editora
Senac São Paulo, 2004, p. 341-361.
SILVA, Michelle Silveira da. Entrevista concedida a Jennifer Jacomini. Florianópolis,
14 de setembro de 2014. Arquivo .mp3 (77 min.).
ZANOTELLI, Juliano. Um amor de clown. Chapecó: 19 de outubro de 2009.
Disponível em: <http://julianozanotelli.blogspot.com.br/2009/10/um-amor-de-
clown.html>. Acesso: 29 de dezembro de 2015.

Palhaçaria Feminina Magazine 25

 PAPER

LAUGHTER
THAT INHABITS
THE WOMB
OF THE EARTH
Personal clownery in a
feminine, feminist,
ritualistic, political,
and wild perspective
Felícia de Castro
[email protected]

PHotos
Dayse Cardoso
e Nti Uirá

26 Palhaçaria Feminina Magazine

Felícia de Castro is a mother, I recently received a letter from a participant of the Vivência Palhaças, Bem-
actress, clown, creator and Vindas Sois Vós, a women’s circle turned since 2009:
researcher of ritual-art, of
songs, dances and imaginaries “[...]When I heard/hear you talking about your trajectory, I feel
of Brazilian cultures, and of that I enter the time of the harvest of a growing that was taken
personal clownery aligned with care of with a lot of zeal and wholeness and the fruit reveals
the ritualities of the feminine. it. The harvest, in the times of my grandparents, it was also a
Master in Performing Arts distribution. You distribute fruits and sow in the workshops. I
from the Federal University left work full of seeds. Seedies in the soul, in the heart, in the
of Bahia. She started in the eyes, in the skin, in the feet, in the breath, in the hand with time,
art of clowning in 1999 by with the tasks and with the joy. Maybe you have the dimension
Lume Teatro. The clownery of it. Perhaps, most likely, you have not...[...]”.
revolutionized her career as an
actress, opening investigations No, I really do not have a dimension. There are many testimonials and so
into acting, and generating many returns of reverberations in life after the Vivência that is immeasurable
various collective movements in the dimension of experiences. I reckon that the clowning is something great
Salvador. Currently she has in and in my own life was a watershed. So it is with a lot of respect for the women
her repertoire the shows Rosário and the dimensions that guide us and make the work happen that I will try to
e Jardim, and two solos in the share a little of what has happened. From my personal search as a woman, an
process of creation. She wrote autonomous and creative artist, and from my development for eighteen years
Ventos que Animam a Terra - as a clown woman, experiencing very diverse, artistic, cultural, therapeutic
Voz e Criação na Trajetória do and spiritual experiences, I began to gather women’s circles. Initially only
espetáculo Rosário in which she acting clown women, but soon the work became wider and necessary and we
reflects her artistic practice and
were expanding the circle to all women. This Vivência (experience) has been
the ten years of creation of the
solo show Rosário e Jardim. The weaving as a sharing of what I have been walking, seeking, falling in love.
work was her dissertation of The strength of this work comes from what I developed in training alone
master degree in the Program and in the group Palhaços Para Sempre1, from my initiation of clown in the
of Post-Graduation in Arts at VIII Retiro de Iniciação ao Palhaço (Initiation Retreat to the Clown) and the
Federal University of Bahia. Sentido Cômico do Corpo (Comic Sense of the Body), in 1999, with Ricardo
She created in 2008 the course Puccetti and Carlos Simioni, and from the courses I took with Lume Teatro
Palhaças, bem-vindas sois after the Retreat, and from what has been added of experiences and personal
vós – O Riso que Habita O imaginaries. I deeply honor this source with respect and (ir)reverence, always
Ventre da Terra, for practical
seeking and trying to inspire autonomy in research and creation, how we have
study of female comedy. For
18 years she has taught courses been taught, and how clownwork teaches. Each one is the creator of her life
and assistance on clowning, and her art, and yet she is her own healer.
creation, physical theater As a result of this trajectory, a central dynamic that I have been researching
and voice, based on personal for years and I continue to share, are the Caretas2 (Grimaces), an experience
practice. Her work focuses that was born in my body touched by the Butoh, by the clowning and the
on the creation and artistic coexistence with the “Mateus”, clowns of the Reisado de Congo do Cariri
research, and the development Cearense (Congo Reisado of the Cariri of Ceará). This exercise opens
of creator artists, bringing the doors and windows in the body, it has the vital importance of turning our
characteristic of being processes
viscerality, and leads me to enter the tragicomic aspect of all things and the
of creative autonomy, self-
investigation and overcoming fine line between these two dimensions. I have loved this research. And what
limits. we do is seek all this in the body that reveals so many depths. Along with
these practices, Brazilian dances lead us, inspire, open... And we find strangers,
beings, bodies, dances, voices, cries, songs, figures. Powerful creation path for
1
The group Palhaços para Sempre was clown women.
created in 2000 by me, Demian Reis,
Flavia Marco Antonio, João Lima and Every meeting with women is a revelation of incredible worlds that were
João Porto Dias, to research the art of buried. All of us, unfortunately and inevitably, bring the wounds and bruises
the clown and the art of the actor.
of violence, oppression and sexual domestication. Our body was the first
2
The word in italics are terms used or territory to be colonized. We also bring, some more, some less, painful scars
created in the group Vivência Palhaças,
Bem Vindas Sois Vós. from the massacre against childhood. Guilt, shame, and lack of awareness of

Palhaçaria Feminina Magazine 27

 what actually harms us leads to psychic self-destruction. Our political act is
the courage to face our depths, decolonize this body and be who we are at its
maximum power. Subverting the order. Thus, I look at female clownery and I
wonder what is the role of our bodies and ourselves as women in our political,
artistic and spiritual practices.
One of the exercises of the Retreat that I emphasize, and that is also key for
me to this day, is the Dance of Emotions, which is to perceive the sensations/
emotions in the body and to “be danced”3 by them, in recognition that our
muscles are moved by sensations/emotions. This “be moved” by the flows
of emotions in the body generates personal actions and a very deep contact
with ourselves. The emotions accessed in the musculature are portals for
many memories, information and new sensations and it is a challenge for the
oppressed bodies. Breathing and getting in touch with your own emotions is
revolutionary, healing and freeing. And the clownery is in essence breathing
and dancing of emotions.
So this is what happens in the Vivência Palhaças, Bem-Vindas Sois Vós.
Well, what is our role as clown women? Get these inner feminine worlds to
surface. This circle of feminine clownery challenges, with a great laugh that
comes from our vulva, this patriarchal, macho, capitalist, inhuman and racist
system. In this way, the creation, as overflowing as it is female, asserts itself,
and in this affirmation we sharpen our art and move toward some cures. We
have risen Goddesses of Laughter, we have risen from the wild underground
of our natures, from under the earth, We are the dirty goddesses4. This is the
sacred clown woman that I have sought in me.
One of the great discoveries created in this course was the dynamics
developed with the clay promoting a deep contact with our mother. It is to
be blessed by the earth in a rite that connects us to our womb and to give
birth to our dirty goddess clown women with a “make-up” of mud, releasing
the oppressed and standardized woman. The contact with this element has
a great reverberation in ourselves. Following the path of finding ourselves
in terms of the classical types of Western clownery, the Jester, the Auguste
and the White clown, this Journey, dug the body’s innards, our grotesque, til
touching our deep purity and powerful vulnerability. We meet the ancestral
comic woman who inhabits us and she brings us into contact with our
magical child. In the longest courses we work the access to the White clown
starting from the archetype of the woman warrior. All this happens from the
humor that part of the body and the stimulation of strong sensory states.
The contact with nature is paramount in Vivência and greatly enhances
these states. The access to other states of consciousness brings the lucidity
about our processes and powerful creativity. The spiritual here is present
materially and concretely: we move energies, move bodies, create and give
present meaning to our rites.
The ritual-axis of the workshop is Baubo, the ancient goddess of the womb,
and the concept of “sacred obscene”, stated by Clarissa Pinkola Estes, in the
already classic book Women who run with the wolves. Far from the current
pejorative sense, it traces obscenity as an aspect of sacred sexuality and good-
humored sexual wisdom. There were goddesses of obscenity in the ancient
matriarchal cultures and cults devoted to them were facing an irreverent
female sexuality. Far from being derogatory, they devoted themselves to
illustrating parts of the unconscious that are still mysterious and unknown
today. The very word obscene in English comes from the ancient Hebrew ob
meaning witch. Baubo is one of those goddesses whose history was buried
and we found only a few fragments. She was not just a fertility goddess, as
the male version of the facts framed. There is a savage remnant of Baubo
in Greek mythology, in the story of Demeter, the earth-mother, who had

28 Palhaçaria Feminina Magazine

gone into a deep depression for having lost her daughter. Persephone had
been abducted by God Hades. The Earth Mother’s grief for not being able
to find her daughter anywhere did everything she had created withering,
drying, dying. And who made Demeter smile, laugh and helped her find her
daughter back was Baubo, the little womb goddess which appeared dancing
in a very funny and obscene way. A magical female, who had no head, her
nipples were her eyes, and her vulva was her mouth. This mouth telling
pungent jokes took Demeter from her sadness and the world returned to
sprout.
Anyone who imagines what this little mouth of Baubo told Demeter, tell
me, because this story has deeply inspired my body and is now turning my
first solo show as a clown, “Tudo o Que Você Precisa é Amor” (All You Need
is Love). In the workshops, articulating laughter, sexuality, breathing and
pleasure, which is the very expression of life in women, and I believe, a hidden
secret of clowning, I was intuitively inspired by Baubo and stimulating,
through the dynamics developed in this work, the contact with the comic
ancestry that inhabits each of us. Through a lot of dancing, the psychic and
physical dive in the grotesque dimension (which suggests a proximity to the
earth), and ritualities of the feminine, we touched our clown. This is the way
to do the Journey, in which we enter the Cave of Laughter, with the physical
eyes initially closed, but with the eyes of the womb and ovaries open and in
total state of perception, as the old sorcerers said about the great perceiving
power of these organs, beyond reproduction. We are oracles, women!
Joining women and clowning is of overwhelming power because both need
a free body to happen and inevitably go for it. Because both want to happen,
to explode, to transcend. Because both have the pleasure (the spontaneous,
not what we have been taught5), as a guide and source of knowledge. When
together, woman and clowning, one feeds and sets the other on fire, as in the
circles of women who come together to take care and empower themselves.
This is how we get stronger and trust our own perceptions again. We follow
the sisterhood and immunity from laughter and irreverence that protects
us, defies the order, and all forms of oppression. Welcome are you. Alive we
want each other.

BIBLIOGRAFIA
CIBELE. Oficinas de Ginecologia Política e Autônoma. Salvador Bahia,
2017/2018.
ESTÉS, C. P. Mulheres que Correm com os Lobos: mitos e histórias do
arquétipo da mulher selvagem. Rio de Janeiro: Rocco, 1996.
LORDE, Audre. Usos do Erótico: O Erótico como Poder. New York: The
Crossing Press Feminist Series, 1984.

3
I absorbed the term “Ser dançada” (Be danced) in a course with master Butoh, Tadashi
Endo, in Rio de Janeiro, Brazil, in 2006.
4
Term brought by Clarissa Pinkola Estes, in the book Women who run with the
wolves, in which it calls attention to the understanding of the English word “dirt” as
the meaning of soil, dust, earth, and not just the vulgar sense of filth that is has for us
Brazilians.
5
This question of vital pleasure as a source of liberation and knowledge is brought in by
Audre Lorde, a Caribbean-American writer, poet and activist. She described herself as
Black, Lesbian, Feminist, also “Warrior” and “Mother”. She has written several essays on
issues such as racism, feminism, sexuality.

Palhaçaria Feminina Magazine 29

 PAPER

Women
Clowns
Historical trails of women’s
clownery in Brazil
Graduated in Philosophy by the Federal University of
Pernambuco, in 2009, Masters degree in Aesthetics and
Scenic Poetics by the Paulista State University “Júlio
de Mesquita Filho”, in 2014, with the dissertation
Sarah Monteat
“Women Clowns: Historical Path of Female Clowning
dos Santos in Brazil”, under the guidance of Professor Dr.
PHo t o s Erminia Silva. Acting in the Theater of Mafalda
Alícia Peres in the organization of the International Meeting of
Women Clowns of São Paulo.

30 Palhaçaria Feminina Magazine

 During the course of Philosophy at UFPE, I noticed the importance
of laughter in countless reflections throughout history, the plastic
arts, the theater and the human sciences. However, despite its great
presence in different fields such as mythology, philosophy, theater,
literature, fine arts or even psychology, I realized that laughter
had always been presented from the male point of view and male
protagonism.
Entering the texts of philosophy that encompass laughter, between
Bergson and Hegel, I began to observe and develop interest in clown
figure and began to deepen the readings in the history of the theater
and the circus.
In 2011, I decided to continue the search for laughter and clowns
in the area of the performing arts. Where I found few records of the
female presence in this art, especially in the circus environment and
decided to focus the readings on this theme.
During the research, started in 2012 at the Paulista State University
“Júlio de Mesquita Filho” and guided by the professor Dr. Erminia
Silva, I found out that despite women perform comedic roles such
as caipiras, caricatures and clownesses (Silva, 2009), in the circus
spectacle, when it comes to the clown, they had to present themselves
under the men’s clothes of the character, keeping the secret of the
city. To our surprise, this situation was not restricted to the Brazilian
context, as the French researcher Tristan Rémy pointed out, citing a
few female names in this art (1945).
On the readings about the Brazilian context, Alice Viveiros de Castro
cites as an example the performance of Elisa Alves, daughter of João
Alves, owner of Circo Guarani (2005) who has long been acting as the
clown Xamego. Caricature artist, Elisa Alves had to replace her brother,
who was the clown of the circus, as long as she kept secrets about her
genre.
In spite of this performance, the great majority of the female
presence found in the circus routine were called supporting performer
or clownettes, considered by some circus artists, historians and
researchers to be a “nothing comical” role (CASTRO, 2005, p.221);
( JUNQUEIRA, 2012, p. 48), whose function would be to “prepare
the scene for the clown who, in the end, was funny”, as the circus
artist Hudi Rocha states (SANTOS, 2014, p. 49).
Thus, when we realized that the participation and the construction
of women in this art began to change from the appearance of the
circus schools in the 80s, we made the cut for the city of São Paulo,
from the circus schools that emerged in this period. Then, we
performed a survey of the women clowns, clowns, artists and trainers
who started this art from these institutions. As the theme became
more comprehensive, we delimited the number of interviews to be
conducted and, with a questionnaire script to guide the interviews
and about 15 names (between women and men, because we were
interested in both sides of the story), we began the fieldwork to
conduct the interviews.
Every person interviewed, new discoveries enchanted us more
and more, with the difficult task of limiting the time and having a
welcoming conversation, seeking to return, increasingly, the focus on
the pre-established script.

Palhaçaria Feminina Magazine 31

 Therefore, among artists and researchers, we came to the information
that the movement of circus schools in Brazil emerged from the 1980s,
and its main goal was to train a new generation of artists, since the
children of circus artists started to be sent to the so-called “formal”
teaching, in search of other professional paths, allowing many circus
artists to pass on their knowledge to off-the-canvas artists. As an
example of these initiatives, stand out the Piolin Academy of Circense
Arts and Circus School Picadeiro set in São Paulo, in the 1980s. On
the one hand, if some traditional circus artists did not welcome the
presence of these institutions, on the other hand, some artists, even
suffering retaliation from their relatives and friends, assumed the
transmission of knowledge in these spaces, especially regarding the
teaching the art of the clown (ROGER AVANZI, apud. La Mínima,
2012, p.17); ( JOSÉ WILSON, 2012, p.15).
As a result of these initiatives, women have gained access to the
teaching of this art, contributing to the emergence of new types and
constructions of clowns, which are permeated by diverse reflections,
especially the gender issues arising from the female conquests, as
states the artist Juliana Gontijo. (SANTOS, 2014, p.28).
In that way, we consider that, the opening of some circus artists
for this new form of transmission of knowledge and the increasing
access of women to the formation of clown, the emergence of several
issues that currently reflect the search for diffusion and consolidation
of Brazilian women’s clownery that now embraces a new space that
encompasses genres, transgender and non-gender, allowing women
who venture in this activity, not to be limited to the male reproduction
of the character or to the so-called “female” universe.
Women’s freedom to learn and transmit this art allowed them to live
new themes and the possibility of introducing themselves and being
recognized as women, artists and, above all, as clowns in this art.

REFERENCES

AVANZI, Roger. La Mínima. In. La Mínima em cena: Registro de Repertório

de 1997 a 2012. São Paulo: SESI-SP editora, 2012. Pgs. 17-19.
CASTRO, Alice Viveiros de. O Elogio da Bobagem: Palhaços no Brasil e no
mundo. Rio de Janeiro: Família Bastos, 2005.
JUNQUEIRA, Mariana Rabelo. Da Graça ao Riso: contribuições de uma
palhaça sobre a palhaçaria feminina. Dissertação (Mestrado). Defendida no
departamento de Artes cênicas, UNIRIO, Rio de Janeiro. Orientador: Paulo
Merísio, em 2012.
LEITE, José Wilson. “La Mínima”. In. La Minima em cena: Registro de
Repertório de 1997 a 2012. São Paulo: SESI-SP editora, 2012.
RÉMY, Tristan. Les femmes-clowns et les femmes-augustes. In: Les Clowns.
França: Editíons Grasset & Fasquelle. 1945.
SANTOS, Sarah Monteath. Mulheres Palhaças: Percursos históricos da
palhaçaria feminina no Brasil. Dissertação (mestrado). Universidade Estadual
Paulista “Júlio de Mesquita Filho”- Instituto de Artes. São Paulo: 2014.
Orientadora: Profª.Drª.Erminia Silva.
SILVA, Erminia. Respeitável Público... O Circo em cena. Rio de Janeiro:
FUNARTE, 2009.
SILVA, Guy. Le Cirque dans tous ses éclats. Paris: Le Castor Astral, 2000.

32 Palhaçaria Feminina Magazine

Special
US

Palhaçaria
Revista Palhaçaria
Feminina Feminina
Magazine 33
 CLOWN
WOMEN UNDER
THE CIRCUS
CANVAS
Ermínia Silva
[email protected]

Doctor Ermínia Silva, fourth I was invited to write about the from circus schools and/or other
generation of circus in Brazil. experiences of four artist clown training venues have not attended,
Master’s Degree in History at women. The idea was that they worked or set out to establish
UNICAMP. Published books: Circo- would tell their experiences/ working or learning relationships
Teatro – Benjamim de Oliveira e training/learning under the canvas, with the so-called canvas traveling
a teatralidade circense no Brasil. in itinerant circuses – also called circuses. Therefore, talking about
Available online: <https://goo. “traditional”. I was inspired by the the narratives of these four clown
gl/x23WrM, 2010>. Respeitável narratives of artists in this field women and their training/learning
público... O circo em cena, with Luís and their processes of formation in processes becomes relevant.
Alberto de Abreu. Available online: the circus arts, particularly of their I do not treat men and women as
<https://goo.gl/eZ5WrB 2010>. clowns. conceptually defined genders from
E-BOOK (along with Celso Amâncio Why did the subject matter me? the heteronormative perspective,
de Melo Filho) Palhaços excêntricos which in my view generates
Until the end of the 1970s and
musicais. Available online: <http:// prejudice, homophobia and racism.
the beginning of the next decade,
goo.gl/2l8A05>. E-BOOK (along For me, each body is: a multitude
women were recognized as artists
with Daniel de Carvalho Lopes) of becomings, marks, more marks...
who represented the male clown
Circos e Palhaços no Rio de Janeiro: Our female bodies crowd passed/
character. That is to say, there was
Império. Available online: <https:// undergo many submissions, but
not the female clown under the
goo.gl/ECbZeY>. She is co-organizer in each historical period, in their
canvas. From the beginning of the
of the website www.circonteudo. singularities, they were always
1980s, but especially during the
com.br, along with Daniel Lopes; warriors and fought, each in her
following decade, with the diversity
co-leader of the Research Group own way, their ways of producing
of ways of training/learning outside
CIRCUS - Grupo de Estudo e themselves.
the circus family groups – such as
Pesquisa das Atividades Circenses
schools, social circus, workshops, This also happened throughout
(Study Group and Research of Circus-
self-taught, etc. – began the the circus historical process. The
like Activities) (along with Marco
process of constitution/training crowd of female bodies, up to the
Antonio Coelho Bortoleto, Faculdade
of artist women, who built their 1980s under the canvas, played
de Educação Física (Physical
clowns characters –now the clown comedic roles, such as the grotesque
Education College) – Unicamp);
women. A crowd of female bodies hillbilly (as an example), but were
winner of the Prêmio Governador
broke through these lands, and the not recognized or called as clowns.
do Estado para a Cultura (Governor
process of constitution of the clown When we find women playing
of the State Award for Culture),
woman was consolidated. this role, like rule they dress as a
Government of the State of São Paulo
But it is important here that male clown. Most itinerant canvas
and Secretary of Culture, 2017.
most artists who have graduated circuses – men and women – did

34 Palhaçaria Feminina Magazine

not admit (and some still do not constantly transformed, hybrid and
admit) that this character had its mixed with a multiplicity of other
female version. knowledge, dialoguing with each
That is why I mobilized before period, society, culture, city, plaza,
these four multitudes of female street...
bodies, transvestites and warriors. The masters who received them
Warriors, not because men have not and themselves are makers of circus
gone through similar processes, but arts stories, then expanding with
warriors for we know how difficult the various experiences reported,
it is for us, women, to overcome are new in their kinds and methods
certain barriers and have the of training as artists, differing from
courage to face them. those circuses that were produced
The four clown women below, in into the means of organization
their narratives, not only challenged of circus-family work. In all
the female production of the clown, historical periods they are, as were
but went into the space where the “canvases”, makers of this art
“clown was a man thing”. and therefore holders of analogous
Gena Leão, Manuela Castelo characteristics, at the same time as
Branco and Michelle Silveira da they differed; they are the bearers
Silva, went inside the traveling of a transversal work, which is not
circuses. The owners of the circuses a privilege of any art, but in the
that have opened to receive them as case of the circus arts, transversality
clown women and to amplify their has been the main way of living
processes of formation deserve and producing. Even the itinerant
all our respect and admiration. canvas, circus families – identified
Manuela and Gena not only by many as traditional – are also,
constituted their characters, but today, new historical subjects
also became circus owners of producing circus languages,
spectacles and acted as a school, because, as they are in tune with
which is even more challenging. their time, they passed/undergo
Seliana Silva approaches a circus- significant modifications.
like who was born on the canvas, Gena, Manuela, Michelle and
he said he was a representant of the Seliana understood the importance
traditional, but the moment they of experiencing, living and affecting
met he is not under the canvas, themselves as canvas learners, and
because he had reinvented the way then producing diversities in ways of
of being an artist. producing artists and clown women.
I did not say the name of the Only when we open ourselves in the
circus owners, so that you would be experiences of the meetings, we do
curious to know the four and their affect ourselves. So the artists were
masters, but mainly to understand produced, so the clown women
how we are effectively crowds in were produced, who at no time can
themselves, under the exercise of be thought of as only one self, but a
any gender. singular me-us, always constituting
The artistic production (of many itself as plural, as collective, not one
others) of the four is the result on but one with.
of constant dialogue, contagion, The good thing is that
debates, anthropophagy. This experiencing and affecting oneself
all refers to a long time, an is for the rest of one’s life. Their
important feature in all historical experiences under thee canvas were
process of circus formation from not the only afflictions, but they
centuries ago, to this day. Some certainly produced marks on their
call it a dialogue with tradition, crowd bodies for other meetings
but I understand this concept as of permanent education in their
knowledge and practices that are making themselves.

Palhaçaria Feminina Magazine 35

 MATUSQUELLA
AND THE CIRcA
BRASILINA
Manuela Castelo Branco
[email protected]

Photos Thiago Sabino

In 2011 I founded CiRcA Brasilina, in the Federal District in 2013

a multicultural canvas, oriented to with the project Circulando com
female protagonism in art. CiRcA CiRcA Brasilina (Circling with
executes, produces, proposes, CiRcA Brasilina), where we bought
strengthens cultural projects of a second canvas, smaller and
different artistic languages, where more nomadic canvas, which was
women are the main axis. The CiRcA assembled exclusively by women,
was also born of the need to provide adventure partners. In the sequence,
a space for a circus so that clown the greater canvas was only set up for
women could act. From a personal CiRcA activities such as the Festival
point of view, as a clown woman, Palhaças do Mundo – Encontro de
I felt the need to experience some Palhaças de Brasília, CiRcA Acústica
of the challenges, the everyday, and Pipocando Poesia (Popping
the business issues, the dynamics Poetry). Other activities are set up
of living on a circus canvas. I lived like circus-rentals and alike.
in a trailer for a year. I constituted In 2014 CiRcA was installed in
and managed a considerable Unipaz, the greater canvas, in a
heritage, and an agenda of weekly perspective of fixed occupation,
presentations, circus show, musical, with frequent use and in partnership
book launches and birthday parties. with social and cultural projects
It was a very busy period (2012- of the institution. It is there so far.
2013). The smaller canvas is still available
Then we made a short circulation for assembly and disassembly.

36 Palhaçaria Feminina Magazine

Anyway, in any of the situations The organization of the numbers,
where the canvas was set up, entrances, the swap functions, the
especially the smallest one and food court, the speed of actions and
during the period of movement the game in the ring and a daily care
where it was set up exclusively by of the canvas, verifying the tension
women, we received many looks of the strings that give support, the
and comments of admiration firmness of the knots, and the care
and ‘incomprehension’ in this with the scene materials.
respect. The canvas set up was Another circus where I had the
a spectacle apart. I remember opportunity to make a presentation
those moments with tenderness. was at Circo Laheto, Goiás, Brazil,
Before, however, I had two more where I performed with magical
meaningful experiences, where I entrances and music. At Circo
introduced myself in two circuses Laheto, the focus is another, not
and I could see from inside exactly artistic, in the sense of
what I had only seen from the clowning, but above all social.
outside. Yes, we are talking about Laheto is a social-circus. My
belonging. The first experience connection with it deepened from
I had in a ring was with Circo 2014, when I was in Goiânia, Goiás,
Estoril, in 2009, when it was for a whole month to attend Sue
set up in Sobradinho, Federal Morrison’s workshop inside the
District, and where there was a festival Na Ponta do Nariz (At the
dwarf clown, the Chuvisquinho. Tip of the Nose). In exchange for
Another experience was in 2011 the lodging, I composed with some
at Circo Grock (Rio Grande do entrances the spectacles of the Circo
Norte). Being friend of the circus Laheto.
owner family, Gena Leão and Particularly in relation to the
Nill Moura, they invited me to experiences I had with clown men,
spend a whole month with them. I had everything. It is sensible how
Making presentations, learning much they have been changing
numbers, exchanging experiences since our radicality, in positioning
and knowledge. I learned to ourselves more vehemently, as clown
walk the tightrope, some magic, women. Yes, I’ve been ‘kicked’ out of
and I lived a daily life drawn squares, in street activities, as I felt
from presentations on and off welcomed by my monsiers Carlos
the canvas. We rehearsed and Simioni and Ricardo Pucetti, and by
presented some classic clown Nil Moura – whom I do not know
entries: Caveirão entrance, plate how to thank for their kindness. Nor
balance, final cage number. In can I forget the special conversations
addition, I made entries with and debates that I had with Caco
magic and songs, which Gena Mattos and Ésio Magalhães. There i
and Nill later commented on for salso the admiration for the work of
me to improve. Luis Carlos Vasconcelos, the clown
It was Gena who named my Xuxu, that enchants me with the
canvas CiRcA Brasilina. Gena popular and lyrical rhizoma, and
was the provocation necessary with which so many times I feel to
for me to venture into CiRcA belong. I have seen many ‘macho
and understand the necessity of clowns’ perceive themselves as such
its existence. I can say without and try to ‘improve’, change.
a doubt that much of what I Yes, the revival of female clownwork
learned about the everyday life of puts us all in a situation of transit,
a family circus, I learned in Grock. change and much learning.

Palhaçaria Feminina Magazine 37

 CLOWN WOMAN
FERRUGEM AND
CIRCO GROCK
Gena Leão
[email protected]

Photos from personal archive

My first experience was in the Gran all over Brazil, besides the traditional a different way of working, I would
Circo Popular of Brazil, in 1997, doing circus work, we make a motivational work in one place alone and my
the Warm Up before the show started. spectacle aimed at companies, schools husband in another one. This gave an
I traveled with the circus from Natal, and universities, with Nil Moura empowerment to my clown, we were
Rio Grande do Norte, to Salvador, (husband) and Lion Nathan (son). hired as a duo, and in the second year,
Bahia, passing through João Pessoa, At the time of my initiation, I found it I was already working alone. That was
Paraíba, and Pernambuco. Together difficult to work with clowns, because very remarkable!
with the clown Chupetin, Oscar the woman was not well accepted in the Another experience was when
Spinola, and the clown Espaguete, riding arena, as a clown. For five years, we were called in to take a test to
Nil Moura, we made the project in order not to lose more contracts, I participate in the Brazilian film O
Circo Escola, when we took the circus had to dress as a clown (male), because Homem que desafiou o Diabo, we
spectacles to the schools. the woman still did not have space, did not have time to participate,
In 2003 I participated in the special as a professional. Many thought it our schedule was full, because it was
show for the opening of the new show was a man who performed the clown soon after when we came back from
season at Circus Knie, Switzerland, Ferrugem, and I let them think so they Germany and created the Circo Grock
with other invited artists. Returning could have more work. Today we see a and the circus school. So the director
to Natal, I worked at Circo Trampolim lot of street clown women and theater had tests with several clowns and after
and soon after, we set up the Circo clown women, but clown women in two months the production of the film
Teatro Cara Melada, in partnership circus are few, this is due to, in the called us again, because he wanted to
with Federal University of Rio Grande space men have, perhaps, as a tradition know our work, and after he saw us, he
do Norte, an extension project of the or custom, to play male and female was enchanted. So it was a very good
Câmara Cascudo Museum. role, in clown comedies. After working experience to steady my work, to learn
Then I returned to Europe where in Brazil and abroad, in circuses, I feel a little more about other language to
I worked for three years at Europa recognized and respected in the circus make laugh through the big screen.
Park, the largest art and entertainment world. Another defining moment for me was
complex in Europe, situated in the I would like to share some experiences when we had a TV show, “Pintando o
city of Rust, Germany. I performed that I have lived and that besides 7” with Espaguete, where Ferrugem
at Circus Revue, located within this scoring me a lot, have helped me a lot had to improvise live, this was a school,
complex. Coming back from this as a clown woman. right at the beginning of my clown, still
season in Germany, I returned to Brazil Something challenging for me was as a clown man.
and created the first circus school perform speaking in another language. But my great school was a lot of
in Rio Grande do Norte, the EPAC I worked in a German show, doing animation of parties, events, circus
(Escola Potiguar das Artes do Circo – double with my husband, and I was school project... and life! In pursuit
Potiguar School of the Arts of Circus) called by the director who told me of survival only with my clown, all the
and Circo Grock, where I work until that he would separate us because time! I love being three: Luzia Efigênia,
now with daily and itinerant shows he realized that each one of us had Gena Leão and the Clown Ferrugem.

38 Palhaçaria Feminina Magazine

CLOWN
PIPOCA AND
CIA TEATRAL
TURMA DO
BIRIBINHA
Seliana Silva
[email protected]

Photos from personal archive

I spent my childhood and adolescence would still have good results, it was which I try to balance them with the
believing that I would be a doctor. when we made the decision to leave personality of the clown, I think Pipoca
I never had a penchant for art, or at home and go live with the Companhia is playing. In “O reencontro de palhaços”
least never noticed it in me, but when de Circo de Teatro Tubinho. Total (The reencounter of clowns) Pipoca is
I started a theater course at school, I change in our lives, I was with a baby a plot partner of the clown Biribinha,
knew that it was what I wanted, since of three months, an eight-year-old son the only female figure among three
then I faced many difficulties and and a husband full of enthusiasm and clowns.
disbelief of some people, but I thought joy to be “coming back” to his origin, In “PALHASSADAMUZIKADA”,
with myself: - There are things only you even if only for six months. Tubinho’s Pipoca assumes the figure of White
can do to be yourself! So I decided to be repertoire is as great as his generosity. Clown, the oppressor who plays with
US, Seliana: Mother, Wife, Housewife, We do feel welcomed and willing to the clown Auguste, Biribinha, but my
Producer, Actress and CLOWN! live with the community. Although I biggest challenge as an artist is in “Eu
I started my career as a clown did not perform on stage, it was a great Sem Você Não Sou Ninguém”, when
through the master Biribinha, artistic experience for me. Regarding I need to hide my clown to take on
Teófanes Silveira. As in the traditional my learning with Biribinha, we are the figure of the clown BIRIBINHA,
family circus, I started as an assistant partners in everything. He is open to which is in scene in the form of Marote
observing the techniques, the mood my opinions and I am to his, I think doll. A very delicate work with a
and the “wiles” of the traditional circus that is why the transfer is more fluid. laboratory of almost 14 years of tuning
clown. However, when I was invited to He is my great incentive, even though and learning and for 11 years we have
work with Cia. Turma do Biribinha, sometimes I do not believe in myself, united our ideals and our lives have
the canvas was no longer used by the he is there placing the greatest faith, so become one, treading a journey full of
company for presentations or even we can balance ourselves in every way. love and resistance.
circulation. I confess that I am a stubborn student
I currently work at Circo Teatro
sometimes, but he is a patient teacher.
In 2017, after 30 years, the company Biribinha, as well as Companhia Teatral.
decided to raise the canvas bringing In the beginning it was difficult, In 2016, besides the present of being a
the format of Circus Theater, featuring since bringing the clown to the surface mother for the second time, I also had
comedies and dramas, the format of is not so simple when you are side by the great pleasure of experiencing for
the spectacles was different, the focus side with a master of almost 60 years six months the experience of attending
was now on street theater combined of career, as is the case of the clown all the shows of Companhia de Circo
with clown entries and eccentric musical Biribinha. Gradually I found myself de Teatro do Tubinho in three cities
numbers (these were also passed on to me in the art of clowning and also finding in the countryside of São Paulo, Rio
by Hiran Silveira, brother of Biribinha), my space working on different lines Claro, Brotas and Jaú as a resident of
in which I work as an actress in the of Comedy. I have tried being White the circus.
majority. For me, as an artist, this is Clown, Auguste, Shrew, Naive and My Clown made me meet and know
being the most intense and enriching comic counterpoint. how far I can go. I hope I can always
experience of my life. In the repertoire shows of the contribute and somehow add to the
Before that, we needed a new touch, company, Pipoca, my clown, lives Big Goal – Grace.
a confirmation that this line of circus very different situations and emotions Long Live the Clownery!

Palhaçaria Feminina Magazine 39

 CLOWN
BARRICA AND
BIRIBA THEATER
Michelle Silveira da Silva
[email protected]

Photos from personal archive

In 2009, after attending almost all the family and collective dynamics
the shows at Circo Teatro do Biriba, of the circus, I performed in shows
during the season in the city of such as comic actress, stage set,
Chapecó, Santa Catarina, Brazil, dressing room, publicity, box office,
I got in touch with the owner of clown, among many things that the
the circus, Geraldo Passos, and structure of the circus requires. The
put my work at the disposal of the seven months were intense and of
Company. To my surprise, I was great learning about the theater
accepted into the cast and with them circus, the mambembe life, the
I traveled for seven months through circus challenges, the history of the
the state of Santa Catarina, Paraná company, the way of working, the
and Mato Grosso do Sul. I had been repertoire, the performance and the
building my career as a clown since coexistence.
2001, when I performed my first The relationship with people who
clown workshop in Santa Maria, Rio were already part of the company
Grande do Sul, Brazil. was more challenging than the
My experience was initially linked relationship with the men. The fact
to the academy, then I began to I was a newcomer in that universe
perform theatrical presentations, and not being of circus tradition,
street interventions and alternative generated some conflicts and
spaces and also to work with mistrust between the colleagues,
training. The circus was a new which did not happen at any
experience, curious and enriching for moment with the owner of the
me. During the period when I was circus and his family, who received
part of the Teatro Biriba company, me in a very loving way. In the case
I acted in different ways, helping of the Teatro Biriba, as in other

40 Palhaçaria Feminina Magazine

circus theaters that act in the same Geraldo: - You’re too old not to know
format, the central figure of the plays what your dream is!
is the clown. The other characters
Me: (I got up from the table, went
are coadjuvantes and stairs for the
to the dessert buffet to get a piece of
“comic painted face “, as Geraldo
pudding, thinking of my dream..)
used to refer to his clown. This is the
figure who leads the show, it is to see Geraldo: - I know what your dream
the clown that people go to the circus, is. That Barrica becomes worldwide
the others understand this position known. I also dream it for you and
and all of them are fundamental in that’s why I let you go!
the dramatic structure of the show. I,
as a clown, have always been received Me: (I sighed excitedly and affirmed
with much affection and admiration my dream).
by the Clown Biriba, who always Letting go did not mean I was stuck
made a point of praising, valuing and in the circus, but it meant that I had
encouraging my work. So much was the blessing of the one I so often
this admiration that Geraldo gave me called master.
a space to present a comic number Having lived this experience
of Barrica on Saturdays during the was a watershed in my work as a
break of the show. clown and as an artist. Besides the
This attitude made me very happy knowledge I acquired regarding
and allowed me to continue my solo circus and theater circus, applied
creation and my clown during my techniques, circus dramaturgy,
stay at the circus. Of course, that coexistence in collectives, assembly
at Circo do Biriba, the clown will and disassembly of the canvas
always be the Biriba. And I always and changes of the square, the
knew that. When I glimpsed the relationship with the public and the
possibility of pursuing my career by places where we settled, I learned
myself, carrying in my suitcase all that a lot of being human, of being an
unique experience I had, I decided to artist in difficult times, of not to stop
say goodbye. This decision was not dreaming, of recognizing our reality
easy, it was received with sadness by and transforming it, of strength and
Geraldo and his family, but in one of faith in the future, of the challenges
the trips this dialogue happened and faced in group relationships and
I will never forget: the joy and companionship that we
find in those who have a generous
Geraldo: - What is your dream?
heart, how could not be different in
Me: - I don’t know! a family of clowns.

Palhaçaria Feminina Magazine 41

 From real
life to fiction:
biographical film references
for women/clown women

Michelle Cabral
Photos from personal archive

Michelle Cabral was born In the creative process of clown biographical film portrays the story
in São Luís. She has worked woman many materials can serve of the American businesswoman
in the Maranhão artistic scene as a reference or starting point for and inventor Joy Mangano, who
since the 1990s. Clown woman, poetic creation. A song can access in fiction is interpreted by actress
actress and theater director, our emotional memory and inner Jennifer Lawrence. The script
she is a teaching artist in the
sensations, also serving for the sound written by David O. Russell and
course of Theater Degree of the
Department of Performing Arts,
composition of a show or number, Annie Mumolo presents this woman
at the Federal University of as well as photography, objects, whose inventive creativity will turn
Maranhão (UFMA). She started interviews or books, to name a few her into a great business woman.
her circus activities in 1996, examples of subjects that we have for Joy is a brilliant young woman,
when he met the circus artist research. who lives a very troubled personal
Irê Amaro, who left the canvas The cinema is also one of these life. She is divorced and has two
circus and settled in São Luís. materials that can be an important children. The ex-husband lives in
With Irê Amaro, she learned the support for study, because the
technique of leggings, acrobatics
the basement of her house while her
language of the cinema brings an mother lives upstairs and spends
and the art of traditional
clowning. This learning resulted
inspiring power serving as reference all day watching soap operas. Her
in the creation, 22 years ago, of for the artistic creation. father, divorced from her mother
the clown Palita Presepada. The In this sense, we bring in this essay 17 years ago, also lives in the same
play of her clown adds traditional the suggestion of two films which house. Creative from childhood,
circus skits, acrobatics, and street scripts based on real cases, make us Joy invents a miracle cleaning wipe
theater techniques combined laugh and cry, showing that life can that turns into a sales phenomenon
with the body techniques of comic sometimes be spectacular. The films and makes her one of the most
composition and the study of mentioned here bring real cases successful businesswomen in the
female comedy. She is the founder United States.
of women who have made history
of Cia. MiraMundo Produções
Culturais where currently she is a
and who can be inspiring to think This is one of those movies that
member of the cast of three circus the politics behind being a clown make us revisit those old sheltered
shows, all in repertoire. woman. dreams, forgotten in the difficulties
Our first nomination is the of life and the lies we tell ourselves
C O N TA C T American film “Joy” of 2015. to give them up. The story of the
[email protected] Directed by David O. Russell, the daily struggle of a real woman with

42 Palhaçaria Feminina Magazine

a context very close to the lives of children. But everything begins to
so many others can be a stimulus change by her husband’s refusal to let
to think the scene and the game her go back to work, so she struggles
of the clown woman in a context not only for individual rights but also
of empowerment facing their own for the rights of all women.
limitations. The most interesting is that in the
Our second film nomination film, the great rival in the fight for
is a very recent production “Die the right to vote for women is not
göttliche Ordnung” (The Divine a man’s voice, but it is a woman who
Order), of 2017. Feature film favor maintaining the customs and
produced by the director and discriminatory traditions, which
scriptwriter Petra Volpe portrays causes a reflection on sisterhood and
the history of women’s suffrage in class conflict, since the reproduction of
Switzerland in 1971. The script gender oppression may also come from
based on real events ranges from the woman herself, already so deprived
drama, comedy, fiction and reality. of her rights.
The characters who lead the The film enchants us not only by
narrative are women of different the history and female protagonism,
generations who enchant us with but also by the aesthetics of the 1970s
their strength and tricks to break with its colors and style. The profiling
with prejudice and machismo and of the characters faithful to the period
win the right to vote for all women of events, also serves as an inspiration
in the country. because it features costumes and
In the film, the life of the peasant props beautifully arranged in different
Nora (played by Marie Leuenberger) profiles of women.
was not affected by the wave of social I hope these tips can bring ideas,
revolutions unleashed in Europe in reflections and inspiration to think
the late 1960s. Inside Switzerland, of a female comedy and a circus scene
she lives in peace and submissive that portrays our diversity of being and
to the husband, taking care of her making you laugh.

Palhaçaria Feminina Magazine 43

 striptease
TO THE CONTRARY
Ana Fuchs
Photos by Gerônimo Bergmann e Guto Muniz

Ana Fuchs - PhD student at the Federal Being a clown woman is stripping When I was born, under the care of
University of Rio Grande do Sul, where she naked in front of you and the other. Ana Elvira Wuo, I wore a plaid dress
develops studies on female clownery. She is
It is to show all the facets that we are that clearly revealed the first physical,
graduated in Performing Arts and Master in
Education by the same institution. She has been able to recognize in ourselves - from energetic and emotional record I
working with the language of clownery since the best to the worst! It is to open was able to access and recognize for
2000 when she graduated in a specific clown our fragility, our pride, our failure the composition of my clown. It was
course developed by the actress and researcher and our ridicule. It is also, to reveal something that passed between the
Ana Elvira Wuo. During the following years, our capacity for grace in the face of naive, the childish, with an air of
she continued her training through courses with
other professionals in the area, such as Parlapatões
the ills we carry, it is to create poetry mischief. As the work was developing
(São Paulo, Brazil), Alex Casalli (Bahia, Brazil), with your own body, to provoke and and the composition of my solo
Ricardo Puccetti (São Paulo, Brazil), Pepe provoque yourself in a movement of constituting, I felt the need to invest
Nunes (Spain), Avner Eisenberg (USA), Leris seeing and giving yourself to see. This in something more elaborate to the
Colombaione (Italy), Ivan Prado (Spain), Lily is the structure that moves the creative scene. I drew my costume and sent it
Curcio (Argentina), Andréa Macera (São Paulo,
Brazil) and Raquel Socolovski (Argentina).
processes of constitution of the to the seamstress. I think the drawing
She took part in research activities with groups of clown, which has at its core the search did not help much, because the final
clowns in Porto Alegre, Rio Grande do Sul, Brazil. for a personal and artistic meaning. It product distanced itself somewhat
She created and performed in the clown show is under this look that I would like to from the initial design! In my mind,
Sedushow that appeared in several places of the think about the costumes. it was a dress with tulip skirt. I ended
city. In 2010 she started to develop the solo show
The costume is, at first, as we put up in a micro dress in a balloon
AMOSTRA GRÁTIS (FREE SAMPLE). The
work has already participated in several festivals the show to the other. From it we skirt, almost a Chinese lamp. And it
among them 11th SESC FESTCLOWN Festival can reveal the funny, the ridiculous, was interesting!!! It emphasized my
Internacional de Palhaços (International Festival the strange of our body. In the same fluffiness, showed my thick thighs,
of Clowns) (Brasília, D.C, Brazil, 2013), 3rd Na and pointed to the sweet figure that
way it can be an extension of our
Ponta do Nariz (Goiânia, Goiás, Brazil, 2013), was glimpsed in the first registers
4th PALHAÇADA (Clownery) (Goiânia, actions and potentiate the meanings
Goiás, Brazil, 2012), 12th Festival Cenas Curtas they carry. The costume reveals us, of my mask. In my hair I wanted a
Cine-Horto (Cine-Horto Short Film Festival) undresses us before the other, like a hat, but under the watchful eye of
and 4th Breves Cenas de Manaus (Short Scenes striptease to the contrary! Wearing as a costume designer (thanks Cris
of Manaus). Creator and member of the group a way to undress, as a way of presenting Lissot) we opted for the white dove!
AS GRACIOSAS CIA DE PALHAÇAS, More cute impossible!!!
which has in its repertoire in addition to the
the speeches that pass through our
solos of the actresses the work of double 1, 2, 3 bodies. The costume can also be a Here I began the work with Lily
ECHÁ, directed by Lily Curcio. Professor of way of accessing ourselves. From Curcio who put me in the face of a
Theater at the Federal University of Rio Grande looking at us and recognizing what very strong emotional and physical
do Sul Application College, where she develops the inhabits us, so that these elements are record. I discovered or assumed all
research “The clown in the school context”.
placed in favor of the mask and the my capacity for fury and evil. If on
[email protected]
construction of our figures. the one hand it was embarrassing,

44 Palhaçaria Feminina Magazine

on the other hand it was liberating. and I felt very comfortable with the
I was faced with a potent energy new costumes. I discovered many
state, which I was denied (and I possibilities of actions mainly with
denied) in an education with very the hair, but it was not clear yet
strong markers of female behavior. what was the state that sustained my
In contact with this energetic state figure. There I went after someone
the first image that came to mind who could hold my hand or throw
was of me as a soldier of war. This me into the sea. During the II Mostra
image guided the composition of the tua Graça Palhaça, produced by
costumes and the figure of the show dear friend and sister Lia Motta, I
that I do in double with the Odette met Andréa Macera who led me on
Simonette and that gave rise to our this journey. We did some meetings
group AS GRACIOSAS Cia. de and another record began to sketch
palhaças. I replaced the white dove in (it was probably already present,
my hair for a helmet on my head and but I was not aware). Something
a raven on my shoulder. uncompensated and nonsense has
The question that immediately arisen in my horizon of actions and
stood before me was: but is it the that transits among the other records
same clown? People asked me, I already known.
wondered. And now what am I? I still do not know if I am august
Am I white clown? Am I auguste? or white. I am Generosa, Inha to
Am I sweet and sassy or furious and the intimates, I am that range of
aggressive? To be or not to be, that’s records that I was able to access,
the question? Carrying this doubt to recognize, to welcome and to
and with a crazy desire to reinvent take to the plane of the mask. The
myself, I decided to start from the construction of the clown woman
costume for a new personal search. figure, at the same time as it is a
Something that transited between therapeutic process, in the sense
the two records that I had already of looking back at ourselves to
experienced and recognized (because find the possibilities of the comic,
there must be many others that I am is an artistic work that requires
not able to see at this time). I decided the elaboration of these personal
to make a tailleur, because after all, discoveries in the plane of the mask,
I’ve heard all my life that a woman it is through the mask that we act
of class wears a tailleur. I completed in front of the other, in this process
with a wish, smooth bobbed hair wig, the costume becomes our second
beautiful and ridiculous. I found the skin! Not to cover or cover up, but
ridiculous beauty. I was sitting there to undress us by revealing.

Palhaçaria Feminina Magazine 45

 Santa Catarina’s
Network of Clown
Women
Bia Alvarez • Joinville/SC
Photos by Chris Mayer

AFrom the 2º Encontro de Palhaç@s assisting in our office, debating work and
(2nd Meeting of Clown Women), held finding ways together.
in Joinville, Santa Catarina, Brazil, Promptly accepted by all of those
which took place during the month of groups, many suggestions arose and as a
December, 2017, the desire arose for a first action together we decided to hold
greater approximation and articulation a two-day meeting and elected the city
of the Clown Women who live in the of Florianópolis, Santa Catarina, as a
state of Santa Catarina. Rafaela Catarina meeting point for this first face-to-face
Kinas, Clown Woman, resident of the meeting.
city of Canelinha, Santa Catarina, who In this first two-day meeting, we met at
participated in the two Encontros de the headquarters of A Morada Cênica, a
Palhaç@s, held in Joinville, she gave collaborative space that has as one of the
voice to this desire by creating a group on organizers Caline Detoni, also Clown
Whatsapp, adding all the clown women, Woman. Clown women from different
as well as she was, were in this second cities of our state gathered and there
meeting and shared the desire she felt for were very rich moments of meeting,
herself and others with whom she talked, socializing, getting to know each other
making, from this initial speech, and the and recognizing each other. In these days,
creation of the group, an invitation for we start with the spaces of interaction,
all of us, Clown Women living in the not forgetting also the spaces to look for
state of Santa Catarina, to create a space some guidelines that have been serving
of closeness where we could talk about as a model for our collective and hear
our yearnings, needs, where we would be from Michelle Silveira, Clown Barrica,

46 Palhaçaria Feminina Magazine

from Chapecó, Santa Catarina, and Woman who is in that group has the
Drica Santos, Clown Curalina, from freedom to add others that she gets to
Florianópolis, Santa Catarina, about the know in her journey.
Rede Brasileiras de Palhaças (Brazilian After the first two-day meeting the
Network of Clown Women), of which Network held a round of conversation
both are part. at the Convenção de Malabarismo e
It was clear that the desire and the Circo de Florianópolis ( Juggling and
initial urgency is to be together and Circus Convention of Florianópolis),
empowering ourselves in some way and an event organized by Cris Villar,
for that we defined that we would do at Clown Woman from Florianópolis,
least two annual meetings in different Santa Catarina, that year and a
places of the state of Santa Catarina, meeting at the headquarters of Cia
in this format, where the interaction Traço de Teatro from Florianópolis,
and reaching of the greatest number of Santa Catarina, for a conversation
Clown Women can go up settling as with the presence of Karla Concá of
practice. the group As Marias da Graça, from
We also understand that any Clown Rio de Janeiro, the first group of
Woman who lives in the state of Santa clown women in Brazil and member
Catarina is part of this collective that we of the Rede Brasileira de Palhaças.
now call the Rede Catarina de Palhaças We created and maintain a fanpage
(Santa Catarina’s Network of Clown to facilitate the contact and the
Women). In addition, we took in this diffusion of actions and amplitude
first meeting some action guidelines of the unfolding. We are in collective
that little by little we are practicing construction, without hierarchy, or
within the time and possibility of each roles instituted. Rede Catarina de
women inserted, trying to exercise a Palhaças has been constituted as an
non-centralized way of management, open space for strengthening for any
where each one contributes in the way and every Clown Woman resident in
that can and wishes for the network the state of Santa Catarina.
continue to strengthen and build with Are you woman? Are you a clown
the necessary fluidity. woman? Meet the Rede Catarina de
The Whatsapp group continues to be Palhaças and come and build this space
our main communication tool, any and with us!
every Clown Woman of Santa Catarina
is very welcome, just as any Clown Facebook: @redecatarinadepalhacas

Palhaçaria Feminina Magazine 47

 More
Meetings,
please…
Andrea Macera
Sarah Monteath dos Santos
Photos from personal archive

Andrea Macera After my visit to the meeting “Esse Women Clowns in the city, which
Actress since 1986, clown since 1997 Monte de Mulher Palhaça” (This had as its starting point the National
and director since 1999. She founded Bunch of Women Clowns) (Rio Pre-meeting of Women Clowns, in
in 2005 the Teatro da Mafalda, de Janeiro) with my solo “Sobre December 2013, and featured tables,
which at the end of 2013 performed Tomates, Tamancos e Tesoura” movies, workshops, parades, shows
and produced the “NATIONAL (About Tomatoes, Clogs and and the course School of Women
PRE-MEETING OF WOMEN Scissors) in 2009, I began to realize Clowns, which became a major
CLOWNS - SP”. In 2014, she the need to reflect on the growing project, launched in 2017, as the first
launched the first edition of the role of women clowns, their themes, School of Women Clowns in Brazil.
International Meeting of Women their creations and everything that The Meeting was extended to
Clowns of São Paulo, which has its II surrounds this beautiful story, so the international level and its first
Edition in 2016. In 2017, produces short and at the same time so urgent, edition in 2014, brought an intense
the III Edition of the International so eager for a place worthy in the programming, retaking the idea
Meeting and the creation of the School history of comedy. All these were of a Network of women clowns.
of Women Clowns. associated with the lack of space for Started in 2010, the Network aims
women clowns in various events, to discuss, gather and expand the
Sarah Monteath dos Santos workshops, festivals and gatherings exchange of experiences between
Graduated in Philosophy by the of this field, to the detriment of the artists and producers of meetings
Federal University of Pernambuco, male performance and presence in and festivals of women clowns in
in 2009, Masters degree in Aesthetics the same art. Brazil. Thus, in the first edition of the
and Scenic Poetics by the Paulista This situation has widened myself Meeting we seek to give the Network
State University “Júlio de Mesquita the desire to promote a reflection a greater importance, seeking to
Filho”, in 2014, with the dissertation on the role of the woman clown, gather and broaden the discussions
“Women Clowns: Historical Path her stories, her references, her about the understanding of feminine
of Female Clowning in Brazil”, formation, her labor market and, protagonism in this art, besides
under the guidance of Professor Dr. mainly, to think about the Meeting fomenting the creation of meetings
Erminia Silva. Acting in the Theater of our masters of laughter with her on this subject in Brazil. For me,
of Mafalda in the organization of successors. the Network has also appeared as
the International Meeting of Women a necessary cultural policy in the
Another important point was to
Clowns of São Paulo and the School of current context in which we find
notice the absence of meetings focused
Women Clowns. ourselves about the woman issues.
exclusively on women comedy in São
Paulo. As a consequence, I started The exchange of experiences
the production of the Meeting of achieved through the Meeting

48 Palhaçaria Feminina Magazine

allowed, in addition to the diffusion
and exchange of knowledge,
the contact with many woman
references in this art that, for so
long, bequeathed to women a place
of always-beautiful-supporting. We
discovered, at each contact with our
masters, the power of the woman
presence in the arena and in the
universe of women clownery in other
places as well, we were revealing the
passage of the ‘always-beautiful’
supporting to the protagonists of
laughter.
It is important to emphasize that
the reflection starts from the place of
equality between men and women,
thus, realizing that the women
numbers were in the background
in the meetings of so-called mixed
clowns throughout Brazil, there
are several initiatives that sought
to establish a connection with this
exchange of knowledge, promoting
and redefining the woman presence
in this field. It is important to
emphasize that the meeting has, in
its programming, with Cabaretrans,
an initiative unprecedented in Brazil
that seeks to value and give space for
the presence of men, as long as they
play with the female universe, as
well as women who have a figure or
number that works the male comedy.
In 2015 we made a leap, we could
not carry out the second edition of
the International Meeting due to
financial difficulties. And we ended
up resuming the production and
the holding of the second National

Palhaçaria Feminina Magazine 49

 Meeting. Still independently, but
very rich and huge too, almost out
of our arms this son is asserting
himself in the city, being nominated
for the Governor of the State Award
in 2017, which proves that we are
on the right track not only in the
affirmation of its importance as well
as the construction of a Meeting that
values relations, the empowerment
of women and the development of
their humanity.
In this way, in idealizing the
International Meeting of Women
Clowns of São Paulo, I sought,
in addition to consolidating the
feminine performance in the
field, to spread this ideal of (ac)
knowledge(ment) of women and the
sharing of techniques.
So, I would like to finish by
mentioning other initiatives
throughout Brazil that are a source
of inspiration for us: Esse Monte
de Mulher Palhaça (This Bunch of
Women Clowns) (Rio de Janeiro),
Meeting of Women Clowns of
Brasília (Brasília - DF), Woman
Clown at the Park (Belo Horizonte),
Mostra sua Graça Palhaça (Show
your grace, Woman Clown) (Rio
Grande do Sul), Women Clownery
- International Meeting of Women
Clowns (Recife/Pernambuco),
Meeting Asphalt Circus (São
Paulo). Anyway, the feminine space
in this art has been conquered, but
still there is much ground for many
others that will come and take space
in this Network.

50 Palhaçaria
Revista Palhaçaria
FemininaFeminina
Magazine
 Special
MEETINGS

Be inside some of the Meetings and Each meeting is carried out with
Festivals of woman clowning and a lot of struggle, and it is seen
comedy that happen in Brazil, by the that even before these difficulties,
look of woman artists/clowns who the artists are mobilized so
organize or participate in the event. that these rich moments of
These meetings are inexhaustible women’s learning, exchange
sources of power and are responsible for and empowerment continue to
the great movement that woman clowns happen.
have done in Brazil and beyond the We continue to strive for art to
borders of this country. be more valued in our country,
Even with all the difficulties resulting for more and more cultural
from the precarious cultural policies policies according to the needs of
in our country that are presented artists and the community, more
in the process of production and investment from all sectors of
realization of these events, the strength society and more respect for our
and determination of each of these craft.
women, organizers and participants, is
commendable. Michelle Silveira da Silva

Palhaçaria Feminina Magazine 51

 THE IMPORTANCE
OF FEMALE COMEDY
FESTIVALS
About “Esse Monte de Mulher Palhaça”
(This Bunch of Clown Woman)

Ana Piu • Campinas, São Paulo

[email protected]

Photos by Mariana Rocha

Taking a first step to open the patterns and dynamics fruit of a with the Festival PalhaçAria do Recife
way deserves admiration, respect, patriarchal mentality and practice. (CloWnery Festival of Recife), Bia
reverence. What is admirable Being in a state of grace is to be full. Alvarez of the Encontro de Palhaç@s
about this group of female Carioca Our inner girl is radiant to play herself de Joinville (Meeting of Clowns of
clown women: Geni Viegas, Karla and play with her emotions, frailties, Joinville), Michelle Silveira, from
Concá, Samantha Anciães and Vera repressed and allowed desires. The Chapecó, Santa Catarina, and
Ribeiro, is that the relationship is Female Comedy with a focus on the promoter of this magazine, Thaís and
of horizontality among each other art of clowning is an opportunity to Laís Oliveira, from Belo Horizonte,
and with the feminine ‘clownish’ be reborn together, each one with its among others. That same year we met
community. Accompanying particularity, to know that we are not again in São Paulo at the Encontro
and participating in an Festival the only ones to tread this exciting Internacional de Mulheres Palhaças
Internacional de Comicidade artistic and humanist path. We have (International Meeting of Clown
Feminina (International Festival of the opportunity to free ourselves Women) organized by Andrea
Feminine Comedy) as “Esse Monte together by doing a “xôôôôô” for Macera.
de Mulher Palhaça” (This Bunch of competition and comparisons that Summarizing and concluding:
Clown Woman) is to reassure us that can choke and suffocate. the movement is there with these
the choice we have made in turning In 2016 I participated in the and another women who go on and
our art a choice of life and livelihood Festival by giving a workshop on emancipate themselves through their
is not entirely misplaced. In short, “Dramaturgy and Comedy” with the artistic and professional expression.
every festival I take part always purpose of thinking about the artistic It is an honor to be a part of this
confirms that there are some crazy work: What do we want to bring to movement. From these meetings
women and crazy men who lead their the scene, within the archetype of the the project “AR DULCE AR” was
lives with the seriousness of following clownwork? How do we intend to re- born with the clown Maffalda dos
their dreams, their missions. signify and write our stories through Reis (Geni Viegas) and Bell Trana
The particularity of a Meeting or comedy? d’Tall (Ana Piu) with the direction of
Festival of Female Comedy is that we At this meeting I found some Leonardo Magno Tonon and artistic
have the opportunity to affirm and beloved clown women, such as Lia assistance of Adelvane Neia, which
strengthen our femininity in a way Mota, who organized in Porto Alegre theme is violence against the woman.
that is just ours. Blessed art of clowning the Mostra a Tua Graça Palhaça Thank you, Brazil with its diversities,
that allows us to be everything and (Show Your Grace Clown Woman). which allows us to find our family.
not be anyone in particular! Being Other people I met at the time: The path is open. Now it is tread
stupid, silly, neurotic, lovely, gloomy, Matusquella, who organizes Palhaças it with sisterhood from the heart.
sensual and beautiful in a clumsy do Mundo em Brasília (Clowns of “Arigatô danka you verys mercis plenos
and funny way. Deconstructing old the World in Brasília), Nara Menezes de gratidones haux haux!”

52 Palhaçaria Feminina Magazine

MY FIRST
MEETING
About Encontro Internacional
de Palhaças de São Paulo
(International Meeting of
Clown Women of São Paulo)

Dani Majzoub • São José dos Campos

[email protected]

Photos from personal archive

Morning of May 6th, 2014. I left my At the hostel, where I was staying, Mixed feelings, despair and joy! In
native land, São José dos Campos, São I came across clown women from all the end it worked! There is no wrong.
Paulo, Brazil, towards São Paulo, capital. over Brazil and from other countries. And the feeling of all together, women
I was not selected for the course “Escola I felt shy, as it was a bit difficult for a of struggle and resistance, was the
de Mulheres Palhaças” (School of Clown beginner clown to come out from the great feeling of the meeting for me. I
Women), promoted by the Oficinas countryside and have a first contact thank Andrea Macera who showed me
Culturais (Cultural Workshops) of with names that until then I had only another world.
the State of São Paulo and taught by heard of. Masters. Andrea welcomes me Based on and inspired by the I
Andrea Macera, but even so I decided without distinction, we are all the same, Encontro Internacional de Palhaças de
to go in the first class in the hope that we have the same goal. This comforted São Paulo (First International Meeting
someone would give up. When I arrived me. I met incredible clown women of Clown Women of São Paulo), in
at the headquarters of the cultural during the stay, I was moved to see the March 2018, I held the I Encontro de
workshop Amácio Mazzaropi, I work and the resistance of the woman Palhaças e Circenses do Vale do Paraíba
realized that some people did not go to in this art until then marked by men (I Meeting of Circus and Clown
the first day and soon I noticed myself
like reference. It was important to know Women of the Vale do Paraíba). During
in the room, warming myself up for the
that clown women are uniting around the week of the meeting we had more
beginning of the course. Andrea starts
the world with the aim of providing than 40 women artists from all over
her class and I, completely lost, did not
reflection and change on the clownish, Brazil, we held cabarets, workshops, a
understand what a course for clown
with regard to female comedy. chat about the importance of women
women was like. Gradually I became
aware of the importance of knowing In the presentation of my number, in art and a procession through the
the peculiarities of the woman’s comedy on that October 12, at Cabaré das city center of São José dos Campos,
in clownery. It was a watershed for me. Neófitas, directed by Adelvane Néia, a historical moment in the Valley,
Andrea informed us about the meeting a renowned Brazilian clown woman, because nothing like that, with just
of clown women that she was producing the “primate clown women” (the most women, had happened there. I could
in São Paulo, the first, and invited us to experienced) were there, in the same feel and experience the strength of the
participate in the program. My heart line as us, to watch us and support us woman as an artist, clown and circus,
pounded. I knew I was entering another like new clowns. Olivia, my clown, puts all together. Long live the network of
phase, which, as a clown woman, had me in situation of improvisation and female clownery. Long live the Vale do
not yet experienced. total play with the generous audience. Paraíba, here also has clown women!

Palhaçaria Feminina Magazine 53

 CLOWN
WOMEN OF
THE WORLD
Meetingof clown
women of Brasília
Ester Monteiro • Taquaruçu/TO
[email protected]

Photos by Thiago Sabino

Yes, I left Tocantins and moved parades in the issues of the meeting,
my ‘boroca’1, in it I put everything such as: the Bra Dodge Ball game,
that could be used in this meeting, where clown women played Dodge
a wooden leg, juggling, costumes, Ball game with only bras and alluding
my mother, my grandmother and an and a pun on the symbolic event in
enormous desire to share with these the history of women’s liberation;
clown women that I so admire. ‘women biciclown’, where the clown
I participated in 2016 and in 2017 women did a procession riding
of the Encontro Palhaças do Mundo/ bicycles, creating a space where
DF (Meeting of the World/DC), and riding was allowed, making a subtle
it was very transformative, because allusion to the political situation of
we really know that these meetings the country, among others.
exist so that we can strengthen and The games always come with some
learn from women so important in message that brings the feminine
female comedy, and I also know the sense and empowerment and the
difficulty of having these meetings ways to run the state of CLOWN,
and festivals of clown women, so it and so we stayed there, playing and
1
Boroca is a way of was an experience that I saw would practicing a ‘uterine politics’3, which
calling our suitcase be necessary for the construction of is one of the things that I most like in
where we keep Tapioca2. the meetings, is the direct exchange
everything we like
most in life, in my case Arriving at the meeting I was we have with these teachers, masters,
is my arsenal of clown. greeted with affection by the clown and we can use the same tools as
2
Name of my clown. women that were there and by the clown women of the world. Also
3
‘Uterine politics’ is an festival. I was invited by Michelle we had the meeting of the network
expression I learned Silveira (Barrica) to participate in of clown women, where we can talk
from the actress/ the cabaret and this was incredible more about the work we develops in
director/clown Karla our regions.
Concá, it is how she for me because I was ready for any
refers to the way we invitation that could happen there, it The importance of being in these
communicate with was sensational the patience and the
each other, saying
meetings even though we are not
that our politics is
affection that existed there. selected is to be strengthening and
not interim but rather Manuela Castelo Branco, clown updating ourselves, understanding
uterine, from the inside more how female clowning and
out.
Matusquella, Encontro Palhaças do
Mundo creator, had a great idea to this comedy works, that is so
bring popular games and different overwhelming and libertarian.

54 Palhaçaria Feminina Magazine

MINAS
About Mulheres Inusitadas
de Narizes – Encontro
de Mulheres Palhaças de
Uberlândia
(Unusual Women with Noses – Meeting
of Clown Women of Uberlândia)

Giovanna Parra • Uberlândia/MG

[email protected]

Photos from personal archive

MINAS – Mulheres Inusitadas and a mask researcher, and

de Narizes - Encontro de Mulheres Amanda Aloysa, founding member
Palhaças de Uberlândia (Unusual of Trupe de Truões and researcher
Women with Noses – Meeting of of clownery.
Clown Women of Uberlândia) The event was aimed at the
– had its first edition in August, exchange between clown women
2017, thanks to the support of the from the city and region,
Federal University of Uberlândia, dissemination of female comedy
which through its Culture’s and space for clown women to
Direction supported this meeting. show their work. Even many
Throughout the event we had students of Theater from the
many actions such as shows, round Federal University of Uberlândia
of conversation, two workshops researching clowning, the focus of
(one in Patos de Minas, Minas the Woman as a clown had never
Gerais, and another in Uberlândia, been discussed, with that many
Minas Gerais), an interview with students did not know how to
great clown women, thus managing continue developing their work,
to reach an audience of artists and even they having reference of
the community in general. We had Clown Women in the graduation
the presence of invited guests Karla course. It was reflecting on this
Concá, a founding member of the that the idea came up to make
group As Marias da Graça; Ana this event totally free to help the
Elvira Wuo, professor of Theater at training and development of the
Federal University of Uberlândia research for many women. In the
and researcher of clownery; Vilma year 2018, the event is heading for
Campos Leite, also a professor at its second edition, which is taking
Federal University of Uberlândia place in the second semester.

Palhaçaria Feminina Magazine 55

 MOSTRA
TUA GRAÇA
PALHAÇA
(Show Your Grace
Clown Woman)
Lia Motta • Porto Alegre/RS
[email protected]
Photos from personal archive

What are clowns for? Or more performing a show of clown women. tread, while the children ran around
precisely the clown women? What In the second edition, however, the us or were breastfed by their clown
are the clownery festivals for? What show brought together 34 clown mothers.
to do with this work beyond the women from different parts of Brazil The Mostra Tua Graça of 2017 was
scene? and a clown woman from Mexico. danced and very much breathed, it
These are just some of the thousands The exchange, the formation and the was a scene of laughter and healing, of
of questions that surround me with debate about our craft have always laughter and complicity, of laughter
every new project, workshop, show, been the key to the realization of and strengthening of women, of
partnership and so on. So it is with these meetings, but one issue was the clown women, of the excluded.
the Mostra Tua Graça Palhaça (Show north for the second edition of the For seven intense days we worked,
Your Grace Clown Woman). Why Mostra: “What is the social function exercised our craft of clowns, but
perform a show only performed by of clown men and clown women? Who also our office as caretakers. We took
clown women among so many other do we serve and for what purpose?” care of each other, we listened to us,
events with this theme that already In the second edition of the Mostra, we hugged each other, we looked
happen in Brazil? trying to answer these questions, with power and love, we embraced
The Mostra Tua Graça Palhaça had we spread through various spaces and laughed a lot, and we made the
two editions, the first was in March inside and outside the theater trying audience laugh, and we cried a lot,
2016 and the second in March 2017, to be with more people, seeking to for we were moved by every vast
both held without sponsorship. In understand the dimension of our look of life and desire that crossed
the first edition it was just a meeting craft that almost does not fit in this ours. The questions still follow me,
of four clown women in order to economic system where the human and I hope they will always follow,
take a collective action in honor serves only to generate profit and not but some answers also come to
of the international women’s day, its primary purpose of being human. accompany me:
and it was also a way to give more So we went to the women’s prison, We clown women exist for the world
visibility to the work of four clown we went to the hospitals, down the to be more full of grace and less hard,
women working alone on the scene, street, we went to the theater to hear our office overflows the clownery,
each one doing their own season in and speak of black representation, our existence is revolutionary, and
any corner of the city did not arouse we went to meet minor offenders, our revolution is graceful, loving,
the same interest in the public and we sat around and talked about our powerful, generous and welcoming as
in the media than the four gathered work and the paths we still have to it is proper to our nature.

56 Palhaçaria Feminina Magazine

PALHAÇARIA
Festival Internacional
de Palhaças do Recife
(CLOWNERY – International
Festival of Clown Women
of Recife)
Enne Marx e Nara Menezes • Recife/PE
[email protected] e [email protected]

Photos by Lana Pinho

The PalhaçAria (CloWnery) Festival, expanding and becoming more and an experience that belongs only to
created and conceived by Cia Animée more expressive, read by the number them, in that one hour and a half
(Recife, Pernambuco, Brazil), is in of reference festivals dedicated to of presentations and experiments,
its fourth edition and was created the genre. These festivals are part allowing space for error, a minefield
from the restlessness of the actresses/ of a Network of artistic exchange of fruitful explosions that makes any
clowns Enne Marx and Nara Menezes and create an international circuit artist grow. The Cabarets also open
(Band of clown women As Levianas/ of shows, bringing to the stage and space for a rich exchange between
Cia Animée), in city of Recife, a street a language that privileges “all professionals of excellence and
festival dedicated to female clownery, audiences”. Brazil is the country that beginner clown women, resulting in
highlighting women’s humor and today has the largest number of clown delicious nights of laughter.
nuances, updating language research women festivals.
and supporting the culture of laughter With each edition, the Festival
With constant research in the seeks to innovate in proposals and
based on the professionalization of language of the clown, we consider
clown women. captivates the community of Recife
that female clowning is part of with the implementation of other
The event brings together solo the contemporary context of the actions beyond that expected, such as
and group works exhibition, at the performing arts and dynamizes the Courting on the street and the creation
invitation of the curators, and promotes cultural scene with great dramaturgic of an interaction space (with food
the training through Workshops, emphasis, putting in check the female and drink) and a store with several
Forum for discussion of relevant reality of life, questioning the very products for artists and general public.
topics to the world of clowning and fact of being a woman, laughing The Festival also seeks to aggregate
interchange. An important space for of everyday problems and taking the universities with the participation
national and international discussion advantage of themes that are peculiar of students of Scenic Arts in some
through the meeting of clown women to our universe. actions. With the encouragement
from different regions and countries, The PalhaçAria Festival seeks to place of Funculture/Government of
who stay in the city during the event, the clown woman on the international the State of Pernambuco and the
the PalhaçAria Festival deals with the route of festivals and events that bring important partnerships of the Bureau
subject in great style and provokes together artists around the language, of Culture/City Hall of Recife,
women’s space in art – to make them provoking also the collaboration Centro de Formação e Pesquisa das
laugh and think. between the participants, generating Artes Cênicas Apolo/Hermilo (Apolo/
Feminine clowning has become powerful relationships in the creative Hermilo Performing Arts Research
prominent all over the world and field. and Training Center) and Sesc
today it becomes an independent In all the editions, the Festival creates Pernambuco, the PalhaçAria Festival
and consolidated expression. With two original shows joining several is currently an important agglutinating
the constitution of an audience short numbers in the realization event of the arts, which sediments the
and each year gaining more space of the Cabarets of varieties. Here, city of Recife as a cultural pole also for
in the arts, this movement has been clown women and audiences live the clownery world.

Palhaçaria Feminina Magazine 57

 FESTIVAL PALHAÇA
NA PRAÇA
(Clown Woman at the
Square Festival)
Laís e Thaís Oliveira • Cia Gêmea • Belo Horizonte/MG
[email protected]

Photos by Ronaldo Ribeiro

The festival “Palhaça na Praça” With the growth of the last

(Clown Woman at the Square) edition, we decided to postpone the
was created with the intention of fourth edition to 2019 and be able
encouraging more clown women to handle all demand for production
to perform in the public space so that the Festival reaches more
and create this moment of change public and guarantees the quality
and exchange between the clown to receive the clown women of the
women sharing with the audience programming.
the trajectory, research and artistic The festival is held by Cia Gêmea,
repertoire of the clown woman. We a circus-theater company that was
have already held three editions, born in the city of Confins, in
2015, 2016 and 2017, in the city Minas Gerais, Brazil. The company
of Belo Horizonte, Minas Gerais, has been working for six years in
and performed independently, the the city of Confins, Belo Horizonte
festival gathered around 6 thousand and other cities of Minas Gerais,
people, including artists, cultural with projects that stimulate the
producers, volunteers and the public. occupation of public spaces, the
In fact, because we believe in the formation of public, and the
street as a democratic space lacking training of interested parties in
in art and feminine presence, we are the circus arts through workshops.
each time more convinced that this The company was created in
festival is for women of courage who 2012, but prior to its creation, the
face the challenge of meeting the members were already participating
most varied public and showing all in cultural projects aimed at the
their power as a “Clown Woman in population’s access to cultural
the Square”. assets.
In addition, the festival was an To integrate the program schedule
important tool to create bridges of the Festival, we select the
between clown women from artists according to whom you are
different regions of Brazil and interested, and if you are willing
stimulating the study and practice of to come, if you are reading is an
the clowning done by the women of interested person send your material
Belo Horizonte, Brazil, and region. by e-mail: [email protected]

58 Palhaçaria Feminina Magazine

OF THE ART
OF MEETING
Encontro de Palhaç@s de Joinville
(Meeting of Clowns of Joinville)

Bia Alvarez • Joinville/SC

[email protected]

Photo by Ale Mello

The Encontro de Palhaç@s de Joinville not have any more elaborate production
(Meeting of Clowns of Joinville) was support.
born in 2016 in a very spontaneous way, Thinking about what moved us from
based essentially on the human need to the beginning, we decided to hold the
meet. In a post-presentation meeting, in event in a fully collaborative way. This
the city of Florianópolis, Santa Catarina, happened from April 21 to 24, 2016, the
I hung out with many Clown Women I Encontro de Palhaç@s de Joinville, with
and Clown Men of that city and during 15 shows from four different states of
the conversation the desire was to be Brazil: Santa Catarina, Rio Grande do
together watching our works, exercising Sul, Paraná and Rio de Janeiro. We have
this place of the meeting. As a Cultural the local support of the groups Essaé Cia
Producer in Joinville, Santa Catarina, and Circo Lúdico, with the support of
the city where I live, I proposed that AJOTE (Associação Joinvilense de Teatro
we should organize a weekend with – Joinville Association of Theater) and
four shows, dividing all production AMORABI (Associação de Moradores e
assignments in an egalitarian way, and Amigos do Bairro Itinga – Association
I was willing to take care of the local of Residents and Friends of the Itinga
production. Neighborhood). Outside artists were
At that moment we were in four Clown received in a solidarity housing system,
Women and Clown Men co-creating and after paying the fixed production
what would become the I Encontro de expenses, we equally divided all the
Palhaç@s de Joinville (I Meeting OF entries of the box office and hat, the only
Clowns of Joinville): Rhaisa Muniz, financial resources that we raised that
Drica Santos, Marcio Momesso, from year.
Florianópolis, Santa Catarina, and me, All the artists involved worked in some
from Joinville, Santa Catarina. We set a way on the dynamics of building this
date and began the production of this movement to meet. We opened spaces
“meeting”, and what happens thereafter for debates about female clowning
is something that is beyond the and street art, what put us in a place
explicable universe with the common of listening and very rich exchange
logic. The news of this meeting began to between Clown Women and Clown
spread and, to my surprise, astonishment Men, among artists who are taking their
and joy, I began to receive contacts from craft to the street and to the theater. At
other people from all corners of the the end of this first Meeting I felt that
country, who also wanted to be here we had inhabited and built a very special
sharing these moments and my biggest environment, besides the realization and
fright was the maintenance of everyone’s an event, we made a meeting starting
desire to come even knowing that we did from the collective desires to meet.

Palhaçaria Feminina Magazine 59

 Moved by this same energy I started the with my perception and world, who
realization of the II Encontro de Palhaç@s believes in the meetings, in the real and
de Joinville (II Meeting of Clowns of direct relations as a form of a movement
Photo by Susane Sabino
Joinville). For this second edition the of humanitarian evolution. In this way, I
female protagonism was very much in realize that the most striking feature of
evidence, in a meeting of mixed clowns, the Encontro de Palhaç@s de Joinville,
but entirely thought on gender equality, which I intend to maintain as long as I
thus guaranteeing that the process of clown am responsible for its organization, is the
women has its granted space of speech, establishment of an environment of open
appropriation of the space also by right. The and frank dialogue, of the feminine and
exchange was extremely rich, an opportunity the masculine, opening up a listening
for Clown Men to be talking directly with space that the exclusively women’s
this universe that is the same and often seems festivals have been building so well until
so diverse, the human truth of the Clown then. For being a woman and a clown,
Woman and the Clown Man. I understand that it is important to
The place of the meeting was made, this time maintain this space, that we have arrived
with a clear cut of gender, offering a specific at a possible moment and fortunately I
day with the exhibition of the film “Achei o have been living it with the experience of
meu nariz” (I found my nose), with direction these two Meetings of Clowns.
of Barbara Amádio, Diana Magalhães and The II Encontro de Palhaç@s de Joinville
Jacqueline Durans, from Rio de Janeiro, on (II Meeting of Clowns of Joinville) was
female Clownery, and of the series “Palhaças held from December 2 to 10, 2017, with
do Mundo” (Clowns of the World), with 17 shows, three performances, a comedy
the presence of Manuela Castelo Branco, cabaret, procession, film screening and
from Distrito Federal, director of the series, discussion rounds. There were nine days
conducting a debate about the series and of intense programming, of coexistence
statements by the directors of some of the and meeting, with important supports
most important female comedy festivals in such as SESC and Plataforma Eu Faço
the country, such as As Marias da Graça, Cultura, among others that guaranteed
Rio de Janeiro, directors of the Festival Esse the possibility of a greater support of
Monte de Mulher Palhaça and Manuela production. The realization of this II
Castelo Branco director of the Festival Encontro de Palhaç@s nourished me even
Palhaças do Mundo de Brasília (Festival more in the sense that the art of clowning
Clown Women of the World of Brasília) is, in essence, the art of relationship and
where, with the presence of many Clown that the main function of this Meeting
Men in the audience, we had a moment to is to open space for these dynamics and
reflect, together, on the presence of woman relationship, with the public also, but,
in the clownery, as well as the importance essentially, with artists and their ways
of the realization of festivals exclusively for of acting in the world, women, men,
women, among other issues in this sense. transgenders and so many more, desiring
I feel that to think of these Meetings as and sowing this space of listening so that
a meeting and not as a festival has a very at some point we have only the Clownery
symbolic character, that dialogues with the as the essential art of crossing through
origin from where it was born in 2016 and laughter and lovely relationship.

60 Palhaçaria Feminina Magazine

 A
Special
series of
illustrations on
signs
and CLOWN
WOMAN,
by Driely Alves.

Palhaçaria Feminina Magazine 61

 INTERVIEW

Humor is
intrinsic1to my
survival .
62 Palhaçaria Feminina Magazine
 Julie Goell

Julie Goell was born in Brooklyn on April 19, 1951, she was
a comedian, musician, puppeteer, mime and longtime woman
clown on the international stage. She had worked with music,
cinema, television, theater, was an excellent teacher and a
lover of Commedia Dell’Arte. She passed away on December
12, 2016, in Peaks Island, as a result of a neurodegenerative
disease that gradually robbed her ability to run, walk, talk, but
according to reports it was not able to steal her good humor and
ability to reinvent herself.

In the year 2009, I had the great pleasure of meeting Julie Goell. At the time,
we were participating in the Festival Anjos do Picadeiro that took place in the
city of Florianópolis, Santa Catarina, Brazil.
Julie was of impressive delicacy and gentleness. I had the opportunity to
watch her spectacle and I was able to accompany her on walks, popsicles
shopping, conversations, corridors and boat trips to get to know the island.
(of Florianópolis) better.
I admired her performance very much, I was delighted as she animated as
many objects on the scene as a child playing to give life to things. A long time
passed until I get to know that Julie had health problems, I had no idea how
serious her condition was, and then I contacted her and her husband, Avner,
and asked her if she would like to give us an interview. I was very happy with
the answer, as Avner said, “Julie would love to be interviewed.”
I sent her the questions and soon received her answers, “short and sweet”, as
she herself said. After a while I understood that Julie was really very weak from
her illness and certainly answered so many questions with great difficulty, but
with the generosity and sweetness so peculiar to her and her clown.
Julie passed away in December 2016 but left her contribution to our
magazine! Here is a record of affection and recognition to this great artist
who was and always will be JULIE GOEL.

1
I suggest you read the following articles to learn more about the history, difficulties
and achievements of Julie Goell: https://www.pressherald.com/2013/05/12/tears-of-a-
P Hot os clown_2013-05-12/ and https://www.pressherald.com/2016/12/12/julie-goell-clown-puppeteer-
Steve DiBartolomeo beloved-peaks-island-community-member-dies-at-65/

Palhaçaria Feminina Magazine 63

 Michelle - Julie, I would like to know how and when
did you begin your job with the clowns language?
Julie - At age twenty-five I was performing mime in the
streets of Rome, Italy. The mime being silent just wasn’t
enough. I put on a red nose and never looked back.

Michelle - What were your influence in preparing

your work as woman clown?
Julie - My influences were hard to come by. Back then
there was Lucille Ball and Carol Burnette and a pair of
other TV personalities. We had no idea what a female
clown or mime would look like, and had to extrapolate a
look for ourselves.

Michelle - I read that you have experience with theater,

commedia dell’arte, physical comedy, puppets, music,
and another artistic languages. I would like to know
how these languages intersect each other in your work
as woman clown? How did they intersect each other in
your craft?
Julie- I used the string bass in “Carmen the Mopera” and
have always incorporated little puppet buddies of some
kind or another as they make convenient relationships
when needed. As for commedia, I based Escamillo on
Capitano.

Michelle - I read an article wrote by Ana Carolina

Sauwen – wrote to our magazine, issue number 3
– about the experience that she had working with
Avner, where they work hard over a technique called
“Eccentric Performing”. This technique was developed
by Avner and you, Julie. Can you tell us more about
this?
Julie - You can read all about Eccentric Performing
in my new book, Life in a Clown House, available at
Avnertheeccentric.com website or at amazon.com

Michelle - I watched your play “Carmen the Mopera”,

in Brazil 2009. I realized that you don’t use the red nose
as a sign, like some others american clowns. I would
like to know what defines the clown to you, beyond a
sign, such as a nose or exaggerated clothes?
Julie - To me the clown is defined by her relationship to
the world as she defines it.

Michelle - After we know your job as actress, comic

actress and woman clown, I would like to know how do
you understand the craft of woman clown throughout
history and today? How do you see this unfolding, this

64 Palhaçaria Feminina Magazine

 great movement of women clowns around the world?
Julie - As we understand ourselves better we can begin
to understand who we are as clowns. And there will be
more of us, mark my words.

Michelle - Julie, in Brazil we use the term “PalhaçA”

to call a woman that is a clown. On our magazine, we
are translating it by “woman clown”. But we would like
to know how do you call your work: woman clown,
clown, queer clown or any other term? And also, we
would like to know how do you feel this movement and
how this appears on your work as woman clown?
Julie - I call my clown Julie. I don’t differentiate between
male and female clowns. Sure, I had plenty of problems
along the way clowning. It has been defined as a male art
form. It is up to us to change this perception.

Michelle - Did you face any difficulties in your career

as a “woman clown”? Do you want to share some of
these difficulties with us? Or have you always had good
reception on this matter?
Julie - My only difficulty was overcoming the assumption
that I couldn’t possibly be funny.

Michelle - Dear Julie, finishing, could you let a

message to the women clowns that are beginning their
careers, encouraging, making aware of this noble craft
to be a woman clown.
Julie - To those women who are beginning their career,
I would say, just be yourself.
Michelle - Julie, thank you once again. I wish we
could see each other soon. I will always be rooting for
you. See ya! Hugs from Clown Barrica and Palhaçaria
Feminina Magazine.

e,
“Dear Michell .
lu c k w it h y our magazine a n d c a n ’t w rite much.
Best
w e e t - a s I am very ill
Short and s

Best wishes,
Julie”

Palhaçaria Feminina Magazine 65

 A special about
the Portuguese
Women Clowns
Organized by Eva Ribeiro1 and Catarina Mota2
Photos from personal archive

With an explosive awakening of by a lent woman clown, this time

the art of clowning, the last two from Spain, Eva Sarmiento, a family
decades have also led many women of clowns – men and women – visit
clowns to affirm the unique nature day centers and homes in Lisbon
of their art in Portugal. and Porto. The project has a team
United by genre and by strength of 11 elements, four Men Clowns
of the transforming language they and seven Women Clowns. Also the
use, Portuguese women clowns are projects Remédios do riso (Laughter
usually researchers and creative Remedies), Rugas de Riso (Laughing
women who, in parallel to their Wrinkles) and the Palhaços d´Opital
work as clowns, are also actresses, (Clowns O’hospital) have mixed
storytellers, teachers, musicians, teams with a strong feminine
filmmakers, biologists, farmers... presence. The spaces of artistic
presentation for their works spread
In Portugal the art of woman
a little throughout the country and
clown as a tool for social work is also
in this matter, the art of clowning,
quite remarkable and already quite
has reachd a place of importance
ingrained. Of these social projects
with the general public.
we can highlight the fundamental
role of women clowns. Let us see Designed now by events such as
the example of Operação Nariz circus festivals, street theater and,
Vermelho (Operation Red Nose) the notoriously, for the emergence
largest organization of this kind in of meetings and shows dedicated
Portugal and which was founded by exclusively to this language.
the woman clown Beatriz Quintella, However, there are still few
who, “borrowed” from Brazil, in financing and cultural structures
Portugal decided to install and to invest in the works of national
launch this incredible ‘Operation’. women clowns. The specificity of
This institution over the years has language and the joviality of the
hosted many women clowns in their movement still cause strangeness
team and nowadays has a total of 28 to programmers not knowing yet
men clowns and in the group there well where to “shelve” their crazy
are eight women clowns. and sensitive creations. The street
is still unknown territory for
In Visita (The Visit), also founded

66 Palhaçaria Feminina Magazine

 most Portuguese women clowns. Most of them prefer the stages
to meet the audience. Fleeing to this rule, there are clowns to ask
you in marriage (“Aceitas?” (Accepted?), Marta Costa) or to create
moments of ecstasy of pure improvisation absurd like Safaneta, in
1
Passionate about her red nose since 2006, she spectacles strongly marked by the interaction and the game with
has been learning to be reborn in her clown, the public.
to laugh at herself and the world. She thanks Characterizing itself as an art that by nature is distinguished by
to the mastery of national figures like Pedro sharing and meeting, in Portugal men clowns and women clowns
Correia, Jorge Paxeco and Pedro Fabião and cultivate the concept of a large family.
international ones like Jesus Jara, Virigina
Imaz, Celia Ruiz, Alex Navarro and Caroline
Events such as the Encontro de Palhaços de Vila do Conde (Vila
Dream, Jeff Johnson, Johny Melville, Tom do Conde’s Clown Meeting), Semana dos Palhaços (Clowns’ Week),
Roos, Silvia Leblon, Adelvane Néia, John PalhaçARTE (Clown+ART) and Gargalhadas na Lua (Laughing
Beale, Eric Davis (Red Bastard) and the on the Moon) aim not only to offer the art of clowning to their
clown Tomate. She studies physical theater communities, but also to bring together professionals to foster this
at the Jacques Lecoq School in Paris. She also network of national and international dissemination.
guides courses where she shares her deep belief Amidst these Meetings, “born” by Maria Simões and the Descalças
in the transforming art of clowning and loves
Cooperativa Cultural (Barefeet Cultural Cooperative), comes the
to visit people where the isolation feels through
unique Bolina - International Festival of Women Clowns that in its
the project A Visita (The Visit). She organizes
with the Company Madame Nez Rouge
first edition in 2015 took place in the coast of the Island of Terceira
Clown’s Nights in Lisbon and Porto and a in the Azores, gathering more than 40 women clowns from different
series of Shows devoted to female clowning and countries.
national comedy. Biennial, the festival had its second edition in 2017 in Castelo de
Vide in mainland Portugal.It traded the sea for donkey rides and
2
I work as an actress, puppeteer and woman again challenged national and international women clowns to meet
clown. I graduated in the Professional Course with and to the community to show the uniqueness of the red nose
of Scenography, Costumes and Props of the
in its artistic, communitarian and pedagogical aspects.
Professional School of Arts. From 2011 to
2015 I, together with the actress and woman These Meetings also encouraged support and solidarity among the
clown Eva Ribeiro, the female clowning women clowns in an attempt to strengthen these women and their
Cia. Madame Nez Rouge, with which I projects. For this purpose it was created the International Network
created and performed several clown shows of Women Clowns, where women clowns of many nationalities
in Portugal, France and Argentina. I have have now been connected and in constant and direct interaction.
been working as an actress, puppeteer and
Pioneer in the art of clowning, an inspirational figure, not only
manipulator of objects in collaboration with
for women, but also for hundreds of young people who every year
Cia. Alma d’arame since 2012. Throughout
my career I have worked with companies such
embrace the circus art at Chapitô Professional School, stands out
as Echo Echo Dance Theater Company, Lua Teresa Ricou, better known as Tété woman clown. It was also her that
Cheia Teatro para Todos (Full Moon Theater in 2008 launched the Women Clowns’ Cycle, shows of spectacles,
for All), PIA (Artistic Intervention Projects), among other activities, all designed to make known the work of
Companhia Caótica (Chaotic Company), international women clowns. On the stage of the tent artists such as
Associação Fosso de Orquestra (Fosso Orchestra Pepa Plana, Laura Herts, Marta Carbayo, Gardi Hutter, Charlotte
Association), Teatro do Elefante (Elephant Saliou, and others have passed. In 2014 the Cycle was dedicated to
Theater), among others. I had training with the Portuguese women clowns, in homage to its precursor Tété.
companies and artists such as Pepe Nunez,
Inspired and nourished by the detail in the exploration of their
José Carlos Barros, João Calixto, Amândio
Anastácio, Miguel Moreira, Karim Dakroub,
personal universe, the Portuguese women clowns surprise us when
Cia. Philippe Genty, Agnés Limbos, Ana Piu, we talk about the drama of their spectacles.
José Carlos Garcia, Nuno Nunes, Catarina Most women clowns invest deeply in a poetic and intimate look,
Câmara, Tom Roos, Rob Marchand, Nuno addressing themes such as loneliness, dream, aging, communication
Pino Custódio, Teatro the band, among etc., where through the stories that succeed them we can realize the
many others. In 2015 I had my premier messages of utopia and the transformation of the human being.
solo “Chou!”, which I presented in Portugal, Approaching the ridiculous sensitively these spectacles are poetic
Uruguay and Brazil, also debuting my Be
and brave since they are the result of a cultural baggage that we are
Master of Your Nose project. Since 2016 I
only able to understand looking at the reality of the Portuguese
have been part of the artistic project of social
solidarity A Visita (The Visit).
woman and their history of the last decades.
When already in America or even in Brazil the women gave the

Palhaçaria Feminina Magazine 67

 cry of “Ipiranga”, here in this small country MARIA SIMÕES • Castelo de Vide
bathed by the Atlantic, people still lived in [email protected]
the reality of the New State and fascism “Being a woman clown is a difficult and responsible exercise
that lasted until 1974. There were decades of extreme freedom. It is living in a constant tightrope
of stark repression and censorship in a of emotions, always alert, always available to play with
society subjected to colonialist thought, everything with everyone and with myself. Being a woman
where the main concerns did not include clown is still a good reason to live a very long life. And it is to
free Feminine thought. thank every day the wonderful smiles that give me the people
I meet. The biggest challenge as a woman clown is suddenly
In this context in which the humor in
touching hearts. And keep that song alive as I get older! Three
Portugal was reduced to the comedy of indispensable items for my clown: a handmade clown nose
customs, sum up the Christian morality (in my face or hidden in my pocket), a suitcase, something
that always forced the Portuguese woman on my head (from a hairpin to my hat) to protect myself. My
to the modesty. The Portuguese woman clown dreams of real utopias, a world made of peace, frank joy,
could be a housewife in the city or a peasant equality among all people, happy lives, many smiles, beautiful
midwife, nevertheless she was always in silences.”
charge of the house and the education of
the children, away from the public sphere EVA SARMIENTO • Madrid
and social decisions. Needless to say, there [email protected]
was no room for laughter or humor that
“Being a woman clown is the greatest freedom in the world!
would place women as the protagonist of It is to have fun to amuse, it is the place where I am best with
their own themes. myself. The biggest challenge as a woman clown is to show
From this baggage comes our cultural and know how to play the truth always. Three indispensable
identity that gives wings to the imagination objects for my clown: a hat, a lipstick, and a discreet small
of the new generation of women clowns. bottle of soap bubbles. My clown dreams of being a wonderful
Since the suicide of a woman who seeks woman clown.”
love and notoriety (Madame Kill, Eva
Ribeiro) or a woman waiting for a man ANABELA MIRA • Peniche
who stubbornly does not arrive (With love, [email protected]
waxed paper and marker, Susana Cecílio) “Being a woman clown is everything that is nothing.
or even the vision of a woman who bends The biggest challenge as a woman clown is to have all the
over the meanders of power to which we techniques and time to be ‘just’ alive. Three objects that are
are silently confronted daily (The Chair, indispensable to my clown: a nose that rests well, shoes with
Anabela Mira). style and much desire to be with the public. My clown dreams
In the clothes and scenery we almost of what comes to her in the moment.”
always realize that these women speak
of a very Portuguese universe, filled with MARTA COSTA • Porto
loneliness, in private spaces, marked by the [email protected]
idea of hard work or by a certain melancholy “Being a woman clown is to be able to laugh at myself, to
so characteristically ours. They talk about like making mistakes and take pleasure in fall, to make others
the search for marriage or for solitude... laugh. The biggest challenge as a woman clown is to make
of an empty house, the household chores someone cry laughing, and thus contribute to the toning of
or just the neighbor’s chicken – which is your abs and facial muscles! Three indispensable objects to my
always better than mine, (My neighbor’s clown: a broom, a ‘naperon’ (crochet cloth) and two balloons.
chicken, Graça Ochoa). My clown dreams of being able to turn on the light of a dark
They are women who heal and heal room with two palms.”
each other, who transform and transform
around them, they give life and they are SUSANA CECÍLIO • Lisboa
reborn in a transgressive poetry that brings [email protected]
with it the laughter of freedom for the “Being a woman clown is to accept: myself, the other, the
Portuguese woman. objects, to accept: ridicule and imperfection. The biggest
They are Women, Artists, Portuguese, challenge as a woman clown is to be in the here and now to
Women Clowns... they are what they say, yes! Three indispensable objects to my clown, paper and
dream to be. marker. My clown dreams of traveling, having lots of friends
and eating oranges.”

68 Palhaçaria Feminina Magazine

 TERESA RICOU • Lisboa
[email protected]
“Being a woman clown is a very serious thing! The
biggest challenge I meet as a woman clown is to keep
the flame burning! Three indispensable objects to my
clown: suitcase, chicken and shoes. My clown dreams
of getting back on track!”

GRAÇA OCHOA • Setúbal

[email protected]
“Being a woman clown is putting the world upside
down. The biggest challenge is to make the other,
the public, dream, poeticize... see the world upside
down. Three indispensable objects to my clown
could be, perhaps the hat, but in fact I do not have,
they vary, they were once a broom, a bread, a cabbage,
a plastic bag with her belongings. My clown dreams
of utopia.”

TANIA SAFANETA • Sintra

[email protected]
“Being a woman clown is my life purpose and a ‘state’,
a magnificent energy of simply Being. Playing was my
dream that came true, it is what I love to do. The biggest
challenge as a woman clown is whenever I step in, it’s
a challenge. Now the biggest, biggest, hum... The TIC
TAC has no sense of time. Often! Three indispensable
objects to my clown? She walks with many objects,
but they are all expendable. My clown dreams of not
losing the ability to dream and to continue to provide
HUMAN BEINGS and creatures alike, more absurd
moments than life, but with a good analgesic.”

EVA RIBEIRO • Porto

[email protected]
“Being a woman clown is to celebrate life among
human beings by fragility and imperfection, to be
the freedom and to desire the impossible. The biggest
challenge as a woman clown is to denounce the
bestiality of the human being and to remember the
love. To be able to make laughter a powerful weapon
of transformation. Three indispensable objects to my
clown: a musical instrument, my shoes, my duster. My
clown dreams of being eternal.”

CATARINA MOTA • Setúbal

[email protected]
“Being a woman clown is looking at the world with
compassion and humanity, presenting anywhere to
any public and learning a lot and always. The biggest
challenge as a woman clown is to put egos aside and let
the essential and simple be the focal point of my world.
Three indispensable objects to my clown are lately a
nose, a broom and an empty stage. My clown dreams of
being loved by everyone.”

Palhaçaria Feminina Magazine 69

 BEING MEXICAN
WOMEN CLOWNS
A special with women
clowns from Mexico
By Darina Robles1
and the Rede de Palhaças Mexicanas
(Mexican Women Clowns Network)

“Sometimes life is not easy”, it is one of the recurring phrases of my clown,

Atanasia. I know, like Atanasia, that life is sometimes not easy, but it is
wonderful. Atanasia and I know that being a woman clown is sometimes not
easy, but it is wonderful.
I started to want to be a woman clown in the year 1999 thanks to a book I
found in a French library: “Clowns et Farceurs”. When I read the book, my
heart was beating fast, I realized, and I wondered laughing: Do you want to be
a clown? My heart beat stronger than ever, and with complete astonishment
I promised it earnestly: we’ll be woman clown. Returning to my hometown,
Mexico City, I did not know where to start. I felt like an apprentice woman
clown thrown into space flight. Would I find my clown in outer space?
In Mexico I did not know any clowns, I only had the presentation card
of the children’s party clown Mágico Margarito who when heard from me:
“Margarito, I want to be a clown!” contacted me with the clowns movement
of children’s parties. At the same time, I found workshops for clowns at
festivals and other workshops that would complement my training as a
woman clown. I conducted an investigation into indigenous communities in
my country, about their scenic art and humorous characters. Little by little
I would meet the few people who were like me in Mexico in the quest to be
a clown. I started participating in the spring movement of hospital clowns.
In the journey of finding my clown, I would be happy to survive the
challenges of navigating a profession under construction. I ignored it when
I was told that women can not make people laugh; I was not discouraged
when I was told that I should have studied Bachelors degree in circus or
theater, rather than art history, to be a woman clown; I resisted when my
father refused to accept that I was a clown and introduced me to his friends
as a ‘clon’.
In 2004, I was able to carry out my intuition that, after all, I could be a
professional woman clown. I started training at École Philippe Gaulier. With
my master Philippe, I found my woman clown, Atanasia. She was not in

70 Palhaçaria Feminina Magazine

 outer space, but in my heart, in my pleasure and in my beautiful and vulnerable
humanity. On the last day of class, I asked my guru Philippe an advice for
Atanasia, he told me: You are on the right path, now may the complicity with the
public help Atanasia continue the encounter with your humor and language.
So I started with the creation of numbers and then a spectacle. I wrote for
Atanasia, directed and presented ourselves in all the spaces that invited us:
chains, nursing homes, hospitals, psychiatric hospitals, Zapatista communities,
street children, small independent theater forums etc. I also started sharing my
learning through my “Where’s my clown?” workshop. And so the wonderful
years passed.
In 2016 I had the great joy to participate in the II International Meeting of
Women Clowns of São Paulo/Brazil with my spectacle “The creation of the
world” and my workshop “Where’s my clown?”. I have met, my now clowning
sisters, my woman clown’s heart companions. Returning to Mexico City in
2017, I called, at the request of Andrea Macera, the Mexican women clowns to
form the Mexican Women Clowns Network.
My language as a woman clown was inspired by my indigenous roots. Learning
about the humor and worldview of the indigenous communities of Mexico, I
learned about their community organization and tequio. Tequio is a job, a
knowledge, a follow-up that you give to your community for being part of it,
even if you are a migrant. For me, calling the creation of the Mexican Women
Clowns Network and cultivating it is to give my tequio to my community, to my
community of Mexican women clowns. We are a very small community, but very
passionate about our work.
The beginning of the network was to locate us, to get to know each other,
we made Varietés (Cabaret), a visit to a hospital and then a picnic. We meet
and talk about what our woman clown needs most and what the network can
help to channel it. Thus, from the first meeting Paola Avilés invited us to have
her cultural space called Laboratorio Cracovia 32 (<http://www.cracovia32.
1
Theatrical and social woman com/>) be our home, a nest for the Network. Our next actions will be aimed at
clown with a degree in Art
supporting us in our creative processes. So we will have a Varieté fixed bimonthly
History. Founder and clown
with a creative laboratory; with which, in each Varieté of the Mexican Women
of the Compañía Atanasia,
Llaven nü Nomad Festival of
Clowns Network, we will present spectacles worked together in our laboratory.
Intercultural Clown and Center In the same way, we want to have workshops and international guests to help us
of Laughology. She is a member cultivate our languages and women clowns.
of the French-Mexican company “The Mexican Women Clowns Network is very important to me. It was a very
Trasatlancirque (2011). good idea to gather clowns of different trajectories and disciplines: children’s parties,
Founder of the Mexican Women hospital, scenic, circus. It is an excellent opportunity to promote the work of all, to get
Clown Network. Training to know each other and to become known; support what each of us does and continue
at École Philippe Gaulier,
to explore with our women clowns. The world is our scenario.”, Chispola.
France (2004-2005). She has
performed clowning workshops I think listening is one of the best virtues as a woman clown. Listening to my
with: Avner Eisenberg, Cal clownish heart, I concluded that for women clowns, for the art of making people
McCrystal, Daniele Finzi laugh and move, to take care of ourselves and the world and to be happy to live
Pasca, Gardi Hutter, Jennifer in it, it is indispensable in every society that there are women clowns and the
Miller, Leo Bassi, Ricardo best way is to unite and support locally and worldwide the professionalization
Pucceti, among others. She has of our artistic work, with loving and maternal accompaniment. First of all, a
performed in Mexico, Brazil, thousand thanks to the Palhaçaria Feminina Magazine, Michelle Silveira and
Colombia, Scotland, France, the Brazilian women clowns.
USA, Peru, Sweden, Tokyo,
Uruguay, Zimbabwe. Since In order to make this collaboration, I asked the women clowns of the Mexican
2010, she has given the workshop Network to share a few words about being a woman clown. My story ends here
“Where’s my clown?” in Mexico and continues with my fellow women clowns, reports about female clownwork
and other countries. E-mail: in Mexico, which I wish to continue in other editions of the Palhaçaria Feminina
[email protected] Magazine.

Palhaçaria Feminina Magazine 71

 MARÍA ELENA
ROMERO HERNÁNDEZ
Woman Clown Chispola
[email protected]
“My clown is myself. I learned to accept
that I am a very ridiculous person and
that learning is with me at all times, it
gave me as a clown: acceptance and self-
love. When I tried not to be ridiculous,
it was more ridiculous and I understood
that this is me. I do not fight more against
it and now I enjoy it, although it has cost
me a lot of work.”

NOHEMÍ ESPINOSA LUNA

Woman Clown Nohemí Espinosa
[email protected]
“As a woman clown, Josephine Backer
was a great inspiration. When I saw
her, I told myself: I want to have this
madness, I want to have this audacity.
The thunderous madness of that woman
on stage enchanted me, and I think of
that when I make a number, I want the
audience to see the madness that is inside
me.”

DANIELA SÁNCHEZ REZA

Woman Clown Lolita Bolita
[email protected]
“What I love most about being a woman
clown is being able to make a mistake
and laugh at myself, to be and share a
moment together, sharing the desire to
live and pursue our dreams, to be as happy
as possible! New cultures, friends and
incredible artists (and good hats in my
street performances).”

IRAZEMA HERNÁNDEZ
Woman Clown Ira
[email protected]
“Meeting the clown was the connection
I needed to interact with the world. It
allowed me to recognize myself and find
the pleasure of humor, of laughter, of
wonder, of curiosity, of error, of failure
and clumsiness, of my clumsiness. It
allowed me to create spaces of trust and
play so that, for a moment, people can
enjoy, laugh, express themselves and be
surprised.”

72 Palhaçaria Feminina Magazine

 SABINA GUZMÁN PIAZZA
Woman Clown Pachouli
[email protected]
“Once my mother asked me: What do you
want to be when you grow up, Sabi? To which I
replied: Aztec. I remember the first time I saw the
Mexican dancers, I was a little girl and the image
of the dance was etched in my head. So, on my
mother’s question, it was easy for me to respond. I
was hoping to get those dreams out of my mouth.
From this memory was born my character. I am
someone who does not exist anymore. This is very
tragicomic. However, it is a way of seeing life, you
can recreate things from the imaginary or the past.
The Aztec gods come to life.”

FABIOLA VARGAS • Woman Clown Lola

[email protected]
“Lola taught me a lot: to see with my heart, to
continue to surprise myself with small things, a
smile, the joy of a child when she sees how to
play with bubbles, a hug, that doing crazy things
that make people happy is what better we can
do, that we all have a gift, something special that
we can share and that if we all give it, however
small we think we are, it will be transformed
into something immense and wonderful: A
revolution of love.”

GLORIA D. NUÑEZ VAZQUEZ

Woman Clown Esferita
[email protected]
“I love to see the human being laughing.
Enjoying and sharing the little things with which
we laugh and are happy.”

SOPA DE CLOWN
Nubia Alfonso and Anamaría Moctezuma
Nubi and Tita
[email protected]
“If I could explain in words why I’m clown, then
I would not be one.” Nubia Alfonso
“Many years ago I attended a course of clowns
and was told to wear a red nose. I went downtown
not knowing exactly where to buy it, when I was
walking down the street, a man suddenly passed
me and asked me: Don’t you buy clown noses? I
bought only one, which is what I use so far, I tried
other noses, but I didn’t like anyone.” Anamaría
Moctezuma

Palhaçaria Feminina Magazine 73

 PAOLA AVILES • La pao yasa ve uste
[email protected]
“For me, being a clown means walking the path of my authentic
self. I do not think being a clown is more or less than any other
profession. I wish every job had a little clown to cheer up at any
moment. I really like my comedic occurrences. Many do, others I
just laugh at how absurd it is to think such a thing. Being a clown
introduced me to the best travel companion of my life.”

LAS GRAMELOTS
Vanessa Nieto Terrazas, Karen Tlahuizo, Claudia Vélez
Women Clowns Bracho, Son, Maravilla
[email protected]
“The most important thing for us, producers and implementers, is
to be able to contact people from the vulnerability and availability
that clown training gives us, we love that people find a space for
laughter and reflection at the same time and also why not a little
crying and an open heart.”

PERLA DELGADO • Cascabel

[email protected]
“Being a clown, besides an academic or theatrical definition, is to
find the beauty of the world and the human being and share it with
love and joy. It is making friends with fear and failure. It is to have
the power to stop time and just matter the moment and the people
with whom you are. It is freedom, it is to celebrate life, to love, to
share and to smile.”

ADRIANA MEDINA • Adri

[email protected]
“The Clown is for me a deep space to look at myself and share
with the other. Embracing the vulnerability from which the most
powerful force emerges, I build my characters and play with my
Clown. I allow the joy of existing to arise! I find myself through an
unconditional embrace, where I can share with the other and play
in the mirrors, look at each other and move together and play!”

PATTY VÁZQUEZ • Doctora Simplycita

[email protected]
“It is the magic of Being... it is the magic of dreaming... it is the
magic of healing. For me, the clowning arrived late (although I
was always a clown, I did not practice in a professional way) and
it came to give a fifty therapist a turn to the possibilities of being
an instrument for healing confused hearts... Being a clown was the
best choice of my life.”

VAINILLA NAVARRO
[email protected]
“For me, the clown (from the verb to clown, from the noun clown)
is a space of connections of love, of gratitude to life, of sharing the
simple certainty of being alive with others. An infinite playing
space.”

74 Palhaçaria Feminina Magazine

 Foto:
Nti Uirá

“Hail, clown woman full of grace,

the Lord laughs with thee,
blessed are thou among humans
and blessed is the fruit of thy laugh, our glow.
Holy clown woman mother of emotion,
Pray for us those who’ve lost the grace to laugh,
Now and at all times.
Amem”

A gift from Robson Siqueira to Felícia de Castro

Palhaçaria Feminina Magazine 75

 Execution Sponsorship Support

This Project was contemplated by the TENDER PROTOCOL

032/2017 for PROMOTION AND CIRCULATION OF THE ARTISTIC
LANGUAGES OF THE MUNICIPALITY OF CHAPECÓ
76 Palhaçaria Feminina Magazine