Of course, Xu Ni knew that nothing would happen between him and Su Ji, but he didn’t want to say it until the last moment.Įven his grandmother and father didn’t know about this. However, this was related to Xu Ni’s privacy, so Su Ji was not in a position to say it now. However, a lot has been gained with the passage of time, Hawkins says.Regarding this matter, Su Ji and Xu Ni actually had a very reasonable explanation. Such traditional meanings are not so easily spotted by audiences today. The clown wouldn’t even have to open their mouth, they could just walk on, and everybody would know: that’s Harlequino, and he’s going to be the bumpkin.” “They would actually have certain colors for Harlequino, and it was understood. “In commedia, it became very codified,” Hawkins continues. One of them is a Venetian sea captain, the inspiration for Hawkins’s Admiral.
Many of these traditional archetypes are personified in commedia dell’arte, an Italian theatrical form that used recurring characters. You can find those elements in yourself, who you might be, and start incorporating more and more of those.” They’ve existed for centuries, and they’re not going anywhere. “There are the lovers, there is, in my case, the sea captain, there’s the greedy merchants, there’s the sly politician-type person.
“The more you read, the more you understand the history, there are all the stock characters that exist,” Hawkins explains. The art of clowning is rich in traditional archetypes. Inward inspiration isn’t the only source to draw on, however.
Photo by JB Weilepp, Ralph Rinzler Folklife Archives It’s different for everyone, as is finding one’s “inner clown.” These micro movements help convey expressions, he explained, and the paint is meant to highlight them. He asked visitors to put a hand to each cheek, feeling the individual movements of the facial muscles while talking, smiling, or frowning. “Each cheek is going to be different,” Raz narrated as Hawkins applied her makeup. In a demonstration at the Smithsonian Folklife Festival, Hawkins and fellow clown Jeff Raz illustrated the thought and effort that goes into crafting a clown’s signature look. You’ll adapt the standard stuff you can go to the store and buy, but the longer you do it the more it’s like your inner clown starts speaking to you,” she laughs. So you might not have a real clear idea when you start planning how you want to look. “It’s bringing out who you are as a funny person and letting that kind of manifest itself however that comes out. “The whole thing about clowning, it’s not putting something over who you are,” she clarifies. Although the process requires several layers, Hawkins learned early on that clowning is more about exploring who she is rather than hiding behind a caricature. For Kim Hawkins, who performs as a sea captain clown named Admiral, creating her signature face paint has been a personal journey steeped in the history of the art form. The thought process, symbolism, and history behind a clown’s makeup is far more complicated than meets the diamond-shaped eye.
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Photo by Daniel Martinez, Ralph Rinzler Folklife ArchivesĬlick on the image above to view full slideshow
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