Jan_Feb_1997

w.ns of Amer ica International
ke Jackson, Texas
nuary/February, 1997
lume 14, Number 1
•
•

January/February , 1997
cir, r; o ~_{! ___ _
THE NEW CALLIOPE is
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issue is Feb. 15, 1997.
Calf!ndat
Feb. 1: "Super Skills Saturday 97," 7:30 a.m.-4:30
p.m. San Lando United Methodist Church. Information :
P.O. Box 151561 Altamonte Springs , FL 32715 (SASE ,
please). Ph. (407) 699-1009 or (407) 830-1766.
Feb. 21-23: "Show Me" Clowns for Jesus Clown
School, Windermere Conference Center, Roach, MO. Info:
Don Anders , MO Baptist Convention, 400 E. High St.,
Jefferson City, MO. 65101. Ph. (573) 635-7931.
Feb. 21-23: Circus Magic '97, Williamsburg, VA.
Info: CM Productions ;, 1120 Jamestown! Crescent ,
Norfolk , VA. 23508-1235. PH. (757) 423-7503.
April 1-20: Annual COAi Convention , Sturbridge ,
MA. Hosts, South Shore Joeys Alley #159A. See
information in this issue.
. May 4-7: Advanced Studies 2, Kanuga ,
Hendersonville , NC. Contact Leon McBryde.Ph . (540)
473-2271. Fax: (540) 473-1230.
May 8-11: Peachey University '97, Pittsburgh, PA.
Info.: Peachey U, Box 159, Beallsville, PA 15313. Ph.
(412) 632-5447. e-mail: peacheyk@usaor .net.
May 30-June 1: Clown Fun '97, Calgary , Alta. Hosts,
Let's Clown Around Alley #191 . Info.: (403) 569-7376.
June 7-8: The greatest two-day clown seminar on
earth. Pinellas Park, FL. Contact: "Luv" Ph. (813) 546-
7325.
June 27-28: Christian Clowning Illusion, Juggling
and puppetry Convention. Bloomfield, NJ. Info: (800) 893-
5402.
Aug. 16-21 : Mooseburger Camp '97. Koinonia
Retreat Center, Annandale, MN. Info: Box 700 Maple Lake,
MN 55358. Ph. (320) 963-6277 . e-mail :
www .clowns.net/mooseburgercamp.
2 The New Calliope

January/February, 1997
Published for members of Clowns of America International, Inc.
JANUARY/FEBRUARY, 1997
COAi OFFICERS
Executive Committee
PRESIDENT: Brenda Marshall, 7128 Oldham Place, North
Richland Hills, Texas 76180. Ph (817) 281-6610
EXEC.VICE PRESIDENT: Cheri Venturi, P.O. Box 367,
Destrehan, LA 70047. Ph. (504) 764-0080.
SECRETARY: Teresa Gretton, 3411 Lisa Circle, Waldorf, MD
20601 (301) 843-8212
TREASURER: Judy Quest, 906 S. 117th Court, Omaha, NE
68154. Ph.IF (402) 334-4857.jquest@ne.uswest.net
SERGEANT-AT-ARMS: Walter R. Lee, 1347 Ava Road, Severn,
MD 21144. Ph. (410) 551-7830
DIRECTORS
MEMBERSHIP: Jack Anderson, 4560 Sussex Ave., Jacksonville,
FL 32210 Ph. (904) 388-5541.
EDUCATION: Dan Lake, 13005 Lakeridge Dr., St. Louis, MO
63138. Ph. (314) 355-0220. DANODCLWN@AOL.COM
CONVENTIONS:Trudi Sang, 10135 SW Katherine St., Tigard, OR
97223.Ph. (503) 620-3473. (414) 338-3569.
ALLEY, REGION SUPPORT: Hunter Stevens, 1342 Sylvan Way,
West Bend, WI 53095 (414) 338-3569.
REGIONAL VICE PRESIDENTS
Northeast: Mike Fixer, 365 Mather St., Unit 155,Hamden, CT
06514-3134. Ph. (203) 288-3824.
North Central: Joyce Olson, P.O. Box 379, Fremont, NE 68025.
Ph. (402) 359-4131 or (800) 441-5414.
Northwest: Andi Rothweiler, E. 803 St. Thomas Moore Way,
Spokane, WA 99208 Ph.(509) 467-6216.
Mideast: Gary Zwerin, 4125 Stagwood Dr., Raleigh, NC
27613.Ph. (919) 782-8841.
Midwest: Patricia Bothun, 27 Maple Ave. N., Box 700, Maple
Lake, MN, 55358. Ph.(612) 963-6277.
Southeast: Keith Stokes, 1539 Lake Clay Dr., Lake Placid, FL
33852. Ph. (941) 465-4438.
South Central: Kay Veale,3217 Boulder, Odessa, TX 79762. PH.
(915) 368-0746.
Southwest: Linda Hulet, 3450 P.O. Box 789, Anaheim, CA
92804. Ph. (714) 778-2931.
Canada: Kate Gregg, 964 Garnet St., Regina, Sask. S4T 2X5.
Ph. (306) 781-7288.
Latin Countries: Julio Capacetti, Calle 5 S.E. 972 La Riviera, Rio
Piedras, PR 00921.Ph. (787) 781-5783.
International: To be appointed.
STAFF
Business Manager: David Barnett, Box 570, Lake Jackson, TX
77566-0570. Ph./Fax (409) 297-6699.
barnettd@tgn.net
New Calliope Editor: Cal Olson, 2000 Outer Dr. N. #523, Sioux
City, IA 51 104. Ph./Fax (712) 239-4599.
VOLUME 14, NUMBER 1
CONTENTS
Calendar................................................. 2
Letters................................................... 4
COAi's Clown of the Year ....................... 1 O
It's time to choose your Clown Artist.. ...... 1 2
Meet the Artists ..................................... 13
Board proposes By-Laws changes ......... 20
How to get even more mileage/balloons .. 22
Contrast: a great tool for clowns .............. 23
From the President ................................ 24
Storyline magic ....... ............................... 25
Convo plans nearly complete .................. 26
Here they are: Your convention hosts ..... 27
Making rounds with Dr. Bugg .................. 29
Don't hang up!. ...................................... 30
Last walkaround ..................................... 32
'Once upon a time' ................................. 34
Competitors find changes in rules ........... 36
COAi Competition rules .......................... 38
Treasurer's report ................................... 46
ON THE COVER •• Quentin Michael
"Smlley" Cole, a fourth generation
Joey, Is COAi's Clown of the Year for
1997. His story starts on page 10.
(Photo by Rosage)
The New Calliope 3

January/February, 1997
About those JO-year-olds
By Jack "Trlkl" King
921 Duskin Dr.
El Paso, TX 79907
I have clowned around Texas, New Mexico, Central
America and Mexico and have entertained possibly
thousands of 10-year-olds and would like to add my two
cents worth to the "You're not a real clown" syndrome which
seems to be bothering a lot of my fellow joeys. -
I for one never attempt to match wits with a 10-year-old,
who perhaps in his or her younger years was frightened by
a clown and was told by the parents that "It's just a person
with clown makeup," or a 10-year-old who's trying to prove
to his "peers" that he is smarter or for whatever dozen
reasons. Nor do I try to razzle-dazzle them with my best
magic trick, either. But rather, I ignore the statement and
continue clowning.
You see, I know I'm a real clown, and I also know that
once that (or those) 10-year-olds see my show, they 'll know
Penne Peterson
9th Annual
FELIH HDLER
DRYS
June 13-15, 1997
Clinton, Iowa
Kenny Rhern
performs
"R Slippery Uniuerse"
Sewall
leads clown worship seruice
Clown parade, performances,
seminars and moref
For more information write
FeliH Rdler Memorial Rssociation
P .0. OOH 752, Clinton, IR 52733-0752
or call 319-242-1903 or 815- 772-2115
I'm a real clown, too. How do I know? Because those same
10-year-olds have either come up and shook my hand, or
hugged me, and told me so. As a wise philosopher once
said, "Actions speak louder than words."
Are you a real clown? Let your audience be the judge.
-----------------
Reaction to makeup flap
By Richard "Deslgn-O" Smith
97 Grafton St.
Shrewsbury, MA 01545
I have read The New Calliope articles about makeup
competition and have discussed some of them with many of
the clowns that competed with me recently. We have al:
come to similar conclusions. I know I can speak on behalf of
many of the clowns I have talked to when I say that we all
enjoy competing annually in whatever category we have
chosen, whether it be makeup, skits or any other field we
wish to enter. I personally expect to compete as well as
learn when I attend any of the conventions. Part of
competing is knowing the rules and being properly
prepared to be judged fairly and constructively by the COAi
judges I recognize that on occasion I too may have felt
judges were being less than fair ... At times I have also
believed that some of the judges needed to take a
refresher course. However, when a judge doesn't know the
difference between a clown and a character that is not a
clown, and gives an unwarranted award, then all one can
say is, "Whoops." None of us are perfect and we can only
hope we are all capable of learning from our mistakes.
I agree strongly that Whiteface needs to be split into
two categories ... There has been obvious favoritism with
judges picking Classic Whiteface over the Comedy
Whiteface ...
Since attending my first convention I know I have
witnessed the growth of competition. I feel the changes
from year to year have helped many of us grow, as it has
introduced us to new changes versus staying with the same
old thing. I have gone from one convention to the next
learning the rules and guidelines of what defines different
clown types. Bringing clowns from the old-fashioned look
up to the 20th Century and competing helps us all grow and
change by watching and learning from other clowns.
I believe change is always necessary to progress and
learn. I think there are many people out there that simply
need to read the guidelines to be opened to change and
recognize that judges and conventioneers don't always see
Continued on page 6
4 The New Calliope

January/February, 1997
We're BLAsTrNG Off
For Another Great
Magic Convention!
I Duane Laflin*Sammy Smith* Mark Wacie
Graham Cracker & Jam* Gary Zwe!""in
I
Prince Puppets* Ron Conley* Danny Tay1or
Mark&Tami Daniel* Albert Lavend~r ~
I
Linda Hulet *Brenda Marshall* Rrz ~~ -~
Steve Kissell* And others!
I I
! i
I
1
Circus
Workshops Exhibitor Show
* Scavenger Hunt
1 1 I * Competition
, , Free Banquet * Pre-Convention
1
I * Gala Performance Workshops
* Casino Night * Advanced Classes
~-------------------
!
~ Circus Magic '97
i I February 21-23 Williamsburg, VA
$75. If you Register Now!
I $80. After Feb 1st
· $85. At the Door
$50. 16 & Under with Adult
$30. Preconvention
Workshop (Friday)
~
'
'
! I
Make checks payable to :
CM Productions
1120 Jamestown
Crescent
Norfolk . VA 23508-1235
(757) 423-7503
Register
Today!
Name
Street
Address
City , Srate , Zip
Phone
The New Calliope 5

January/February, 1997
Letters --
From page 4
eye to eye, but we need to accept winning and losing with
grace.
(Editor's Note: See page 38 for complete rules and rule
changes for 1997 COAi competitions.)
She's got doggy partner
By Kathryn "Katie" Robinson
3319 Briar Cllff Dr.
Hollday, FL 34691
May I introduce a rather unique clown partnership,
"Rocky and Rocky's
Mama." Of course,
Rocky is the star. I
just hold the leash.
We work mostly
with veterans (I had
24 years in the Air
Force) and children ,
usually as volunteers.
Rocky will lay
down her life tor a
small child. She is a
registered Therapy
dog.
Rocky and I belong to Clowntowner Alley #242 in New
Port Richey, FL.
She shared the Spirit
By Sara "SIiiy Star" Offut
9006 E. 173rd St.
Hebron, IN 46341
Very early last year I asked several friends to do me a
favor . I wanted to enter a contest sponsored by Coke and
grocers in Indiana/
Illinois. The winners
would carry the Torch in
the relay across
America , joined by the
"Community Hero"
carriers, on its way to
the Olympics in Atlanta.
Numerous friends from
Funny Bone Clown
Alley, Calumet Clowns
and Contact Cares of
Northwest Indiana filled
in entry forms for me. In
April, I got the word that
an entry sent in by a
fellow Joey had been
selected . Then the
excitement began ....
. 1996
OlymP-iC
. Torch
.~ Relay ·
,. . . .
~-·· -""-
.. .._,_ " . .
I went to a fitness center and asked if they would
sponsor my training.They easily agreed and I started
training, right on up till the evening of June 3, when I carried
the torch in Gary, IN ... .The runners were dropped off at our
assigned locations with torch in hand. We each had time to
"Share the Spirit" before we stepped off ... l met several
Continued page 8
* Quality *
Selection

January/February, 1997
LET'S CLOWN AROtJlfD
ALLEYf#191
MAY 30, 31 & JUlfE 1, 1997
Bud "Buddy" Salloum
Ron "C.C." Daley
REGISTRATION INFORMATION
CONVENTION 'PACKAGE
(Registration & Saturday Banquet)
Postmarked by February 28, 1997
Postmarked after March 1, 1997
At Door
Youth (16 years & under)
Saturdav Banauet onlv
• All prices in Canadian funds
Featuring:
Brenda "Flower" Marshall
$80.00
90.00
95.00
70.00
$20.00
Gary "Ginx" Armstrong
Christine "Chuckie" Sopczak
LODGING INFORMATION Contact Hotel
QUALITY INN AIRPORT RATES: Single $61.00
4804 Edmonton Trail NE Double 65.00
CALGARY, Alberta Canada Each Additional 4.00
T2E 3V8
(Maximum 4 .per room)
Canada-Toll Free Reservations USA Toll Free
1-800-661-6858 1-800-221-2222
Phone (403) 276-3391 Fax (403) 230-7267
PLEASE REGISTER IIE FOR THE CLOWll FUR '97 CORVEllTIOR IIAY 30, 31 & JURE 1, 1997
-
Name
Address. ______________
_
Clown Name _____________
_
Phone (h) ______ (w) ______ _
$ ____ Registration Fee
$ Extra Banquet Tickets $20 each
$ Total enclosed
No cancellations or refunds after May 10, 1997
Cancellation fee $10 before May 9, 1997
For More Information Phone (403) 569-7376
Make checks payable to Let's Clown Around Alley #191
Ron Daley
Let's Clown Around Alley #191
A 115, 3805 Marlborough Dr NE
CALGARY, Alberta T2A 5M1
Canada
The New Calliope 7

January/February, 1997
Letters --
From page 6
joyous people and in particular a couple who talked with me.
Then the lady asked if her husband could touch the torch ... !
realized, as he discussed his thoughts on the size and
shape of the torch while moving his hands over it, that he
was blind ..
Soon I saw the carrier coming that was to light my torch.
What excitement! The crowd and I swelled with pride as my
torch was lit and I stepped off for my segment with the flame
held high for all to see. It gave us all great pride and a strong
feeling of having been a part of the 1996 Olympics.
Numerous people had a part in my opportunity.I am
grateful to them all, and thanks to Coke and the Olympic
Committee in Atlanta for providing the relay across America.
How to de-/ use that fear
By Bob "Bunky" Gretton
P.O. Box 787
Waldorf, MD 20604-0787
"I'm sorry, Bobby is afraid of clowns ... "
How many times have we all heard a parent make that
statement?
Case in point: You are working a fair. You see a family
approaching; the child spots you. He is not crying; in fact,
you see a little smile. You start to move in to meet and greet.
Bobby still looks fine. He is not crawling up Mommy's leg.
But then the parent sees you and out comes that statement
that makes you cringe.
You see the look in Bobby's eyes that says, "If Mom or
Dad say that I am afraid of clowns, I must be afraid." Maybe
the last time he cried , but he was just fine until now. Maybe
he has outgrown the fear. We are never going to know if the
parents keep telling Bobby that he is afraid. The parents
have just reinforced the fear. How can you respond to that,
and what can you say?
My wife, "Slinky," will quietly say to the parent, "We
prefer the word 'shy' rather than 'afraid' or 'scared'." By
saying it in a gentle but firm way, we have found that parents
really do not object to the "suggestion." If parents do not
seem to mind, it also gives us a chance to chat with them,
therefore allowing the child a chance to see that the clown
is really okay. We also make sure that, no matter what, we
offer something to the child , even through the parent, to
reinforce the friendliness. This may not always work, but we
should be able to educate the parents as well.
Most cases find that just a little bit of working with the
child can reinforce good communications between the
clown and child, and also between the clown and the
parents. We have had many unsure children with the
parents eventually come over and the parents actually
thank me. I feel great if I can win over a child after they have
been reminded to be afraid of me.
Funny Business
By Shirley Fugate-Hopper
6131 N.W. 12th St.
Sunrise, FL 33313
Rushing North I can't be late
The party's here ... balloons on the gate.
Back on the freeway headed South ,
No time for lunch ... to mess up my mouth.
Where is the street? Is this the address?
The house looks empty -- where are the guests ?
There they are, hidden in back,
Waiting for me so the adults can relax.
Each little face is smiling in fun ,
As a flower appears and the silk is gone.
The Birthday Child shines bright as the Star!
His party's the coolest...the best by far.
PLUS $12.00
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Large Air Volume
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THE AMUZEMETIST
(513) 294-6952
59 Spirea Drive. Dayton, Ohio 45419
)
With faces all painted, a balloon for each child ,
We sing "Happy Birthday ," then cheer with a smile
That special boy on his special day,
Then back in the clownmobile and on my way
To the freeway again and the next Specia l Child ,
To create silly fun and enchantment for a while.
What a great feeling to create joy in the heart of the
young:
The goal of a clown when the day 's work is done.
8 The New Calliope

January/February, 1997
'96 Mooseburger Camp was a hit!
Make your plans today for '97 Camp
Aug. 16 to 21, 1997
featllling Ringling Brothers Barnum and Bailey
Master Clown, Frosty Little
-Plus a Star Studded Staff including:
Pricilla Mooseburger Peachey Keene & Miss Molly
* Dave Mitchell * Jose Rivera Cheri Venturi
* Rex Nolan
Next year's plans include:
• A Real Clown Car • Firehouse Gag • Public Show
Come learn and laugh with us at the beautiful
Koinonia Retreat Center on beautiful Lake Sylvia near Annandale,
55 miles west of Minneapolis, MN.
Study the fine art of clowning and kidshow entertaining with the best in the business!
Limited Enrollment
Register Early
only
The New Calliope 9

January/February, 1997
Quentin Michael 'Smiley' Cole
COAi's Clown of the Year
Quentin Michael "Smiley'' Cole -- a man who was born
with clowning in his blood -- is COAi's 1997 Clown of the
Year.
Smiley has been a clown for 35 years, and has been
teaching clowning for a decade. He was born in Chatham
County, near Savannah, GA, in 1941. In the 1930's and
40's, Smiley's father, James Cole, worked on a farm. But
when the circus was working, Smiley's Dad worked for the
circus, including clowning. Martha, Smiley's mother, cooked
for the circus hands. They worked for the Roberts Circus
and the Clyde Beatty Circus.
month of December, for instanc~
Awards? Smiley says they'd probably fill a G.I. can:
Marine Masts of Appreciation , certificates from schools,
hospitals, chambers of commerce, and from appreciative
individuals.
Smiley graduated from the International School of
Clown Performing Arts, Inc., at the University of North
Florida in 1990. A year later he became an instructor with
Clown School , Samford University, Birmingham, AL. He's a
performer with the Peanut Circus and, with his wife,
operates a costume business (since 1983) and the Joy
A gypsy circus came through Chatham County when Smiley Clown School (since 1986),which has graduated
Smiley was nine. He ran ....----------------------, more than 100 Smiley clowns.
away with it, but three days
later, his family retrieved
him.
Smiley was 19 when
he joined the U.S.Marine
Corps as a private. He
retired 28 years later as a
lieutenant colonel, after
three tours of Vietnam and
after saving a girl from
drowning on an Okinawa
beach (for which he
received the Navy and
Marine Corps Medal).
His retirement came on
a 90 percent disability
caused by Agent Orange.
Smiley's usually in pain
(cancer and diabetes), but,
he says, "I hang in there.I
trust in the Lord, and when
I'm around kids and see
them laughing, that's
therapy to me."
His clowning career goes way back into his time in the
Marines, when he'd go into his act aboard ship, military
bases and civilian facilities in Japan, the Philippines, Guam
and Vietnam. These days, he does free shows at Camp
Lejeune, makes videos for kids to send to their fathers
overseas, visits nursing homes and hospitals, entertains
handicapped children and (sometimes with his wife, "Miss
Joy") works various paid gigs. He worked 27 shows in the
10 The New Calliope
Smiley's nomination to COAi's
highest honor was supported
by dozens of joeys who have
worked with him -- and who
love him. Here's what some of
them had to say about Smiley:
+ "He is an excellent instructor.
Performing on stage in a park
or parade,he is hilarious; or
sharing one on one, he is
patient and loving; he has
always time to share with the
beginner as well as help more
advanced clowns hone their
skills." Stephanie "The
Bag Lady" Richardson,
Raleigh, NC.
+ "Most of Smiley's
performances are
accompanied by chronic pain,
but he never lets the pain
-----' stand in the way of his
performance. He is a clown that I truly admire as a peer and
look up to as a person. He is a clown's clown, blessed with a
very special talent." Jim "Dune Buggy" Russell,
Clown School Dean and Peanut Circus Clowns
Director, Butler, GA.
"I remember a show he did for a little girl here. She was
dying of leukemia and the chemotherapy had taken nearly
all of her hair. Smiley shaved his head and did a show just
for her." Michael "Bebo" Feting, Jacksonvllle, NC.

January/February, 1997
+ "He is a man of honor, courage and commitment.
Most people are remembered for their contributions after
they die; however ,Smiley has a living memorial: Every
clown that he has trained ..." Pat "Pogo" Burns,
Jacksonville, NC.
+ "He works with a fervor reserved tor masters who
know their time is short, but their work sorely needed. He
shares and gives without question. He watches and
coaches with great care. He cares and loves without limits.
He is all the best a clown can be. "Gary "Kernal"
Shelton, New Bern, NC.
involved and caring clown?
"Being able to smile and share happiness with people,"
he says. 'There's so much bad stuff in the world,and when
you can take people's minds off that -- WOW! -- it just keeps
the heart going."
Marjorie "Verry" Smart of Havelock, NC
contributed to this artlcle.
Smiley has no intention of slowing down. And he's
keeping clowning alive in the Cole family -- all of his eight
grandchildren are joeys. "The five and 11-year-old clown
with me all the time," he says, "and the youngest one, a
year old, I just got through fixing his costume."
Smiley's a magic clown, and will do shows ranging from
45 minutes to two hours . He's also a story teller, uses
puppets, juggles and, until his health declined, was a
stiltwalker and unicycler. He's got 582 (count 'em)
walkround props.and has a reputation for making
professional props out of just about anything.
What keeps Smiley so active? What makes him such an
Smiley Cole and friends
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January/February, 1997
having a team come for an entire weekend. One alley
donated the services of the clown artist to a hospital for a
portion of the weekend. We are still very flexible. It was
wonderful that not all alleys asked for the whole $800
possible as the COAi portion of the event, because then
more events could be sponsored -- and we even had
money left over!
Note to alleys --
It's time to
choose your
ClownArtist
By Judy Quest
COAi Treasurer
It is the extreme pleasure of the COAi Board of
Directors to announce the Clown Artists in Residence for
the 1997-98 year. We are so very pleased to offer to the
alleys such a nice variety of artists from all over the country.
We invite alleys to apply to have one of these fine artists
come to your event during the time frame of July 1, 1997
through June 30, 1998.
We've had a lot of questions about this program. No,
the clown artists are not people who draw clowns! They are
the finest in our profession -- talented clowns and teachers
who are available to COAi alleys for alley, regional or
international events with COAi picking up part of the tab.
The whole idea is to make wonderful clowns available to
more of our members because money is not as much of a
barrier.
A little history of the program: During this, the first year
of the program, nine different CAIR appearances were cofunded
by alleys and COAi. The response from the
sponsoring alleys has been so very positive. The events
ranged from having an artist come to an alley meeting to
This is how it will work. All COAi alleys will receive an
application early in 1997. If interested, it is the responsibility
of the alley to contact Clown Artists (introduced in the
following several pages of The New Calliope), talk over
possible events and dates and get together an application.
Artists can be used by individual alleys, regional , national or
international events. I urge CREATIVITY! This is a wonderful
opportunity, so we really hope to see fun and innovative
use of these artists' talents.
Funding by COAi is as follows:
The payment for the clown artist will be $200 per day
with COAi paying one-half up to $300 (in other words, three
days). The sponsoring alley would pay the other half. The
Clown Artist could charge more , but the difference will be
picked up by the sponsoring alley. Days necessary for travel
would be considered days to be reimbursed if some activity
takes place (ex., traveling on a Friday with a convention
starting in the evening).
COAi will also pay one-half of the Clown Artist's travel
and per diem up to $500. Again, sponsoring alleys pay the
other half.
The Board has approved a budget of up to $800 per
event as our part of the payment. We have a total yearly
budget for this year of $8,000.
It should be noted that alleys can charge for the events
so an alley does not have to be wealthy to host a CAIR.
COAi pays the alley the amount of the grant after a contract
has been returned, but the money can be available as soon
as July 1.
This will be a competitive situation where 100 percent
COAi alleys will bid for artists and we will award programs up
to the budget amount. The benefit of the program
suggested to the membership , with consideration for
regional distribution , will help us with our determinations.
Applications must be in to me by April 1, 1997 -- and
complete! Decisions as to funding for events will be made at
the Spring Board meeting, with notification by May 1. If
there are any questions , please address them to Judy
"Dear Heart'' Quest (402) 334-4857, or any Board member.
Information about COAi's ten Clown Artists In
Residence, and of their teaching skllls, Is
contained through page 19.
12 The New Calliope

January/February, 1997
Meet the Artists --
'Lollibells'
Jackie "Lollibells" Garner took her first clown class at
UT.A. , Arlington , TX, about 10 years ago, and has
continued her studies by attending a variety of clown
seminars and conventions. Even so, she says, "I feel that
my greatest education has come from picking the brains of
every clown I have come across along the way."
She developed a state and national award-winning
clowning program for the city of Hurst, TX, Parks and
Recreation Department, teaching all aspects of clowning for
the program's first four years. In the past five years, she's
lectured at the Midwest Clown Roundup , Pinky's Clown
School, the Colonial Clown Convention in Newburn, NC,
and the Christen Clown Impact Convention in Bismarck,ND.
In 1994 she created a Gospel Seminar called "God has a
sense of humor" that she teaches to church groups
interested in developing a clown ministry.
Among the many lecture topics Jackie offers:
+ Developing a unique clown character (don't be a copy
cat).
+ The tools of a clown (props, walkaround and the art of
clowning).
+ Skit writing made easy (how to write a clown skit in 30
minutes).
+ Make them laugh (how to get in touch with your own
humor).
+ The caring clown
(hospitals, nursing
homes and street kids).
+ The sermon's on what?
(How to write a skit with a
gospel message.)
+ God has a sense of
humor (what to do when a
church calls) .
+ School show (how to
develop themes for
schools).
+ Other than birthday
parties (bachelor parties,
weddings, corporate
events and business promotions).
+ Funny business (birthday parties with story telling ,
story telling with balloons, birthday magic and games for all
ages).
Jackie Garner can be reached at 4105
Destrler Dr., Durham, NC 27703. Ph.(919) 596-
5833. Fax: (919) 598-3769.
'Simon
Randy Christensen is a clown of
many faces. As a whiteface , he's
"Micah ;" as a hobo , "Simon De
Clown," and as a character clown,
"Oxford P. Nutts."
This many-faceted joey has been
clowning since 1980. After a few years
of self-improvement , Randy began to
study variety arts methods and
traditional clowning. He attended
Clown Camp at the University of
Wisconsin-Lacrosse in the mid-80 's
and subsequently was added to the
camp 's performing staff for three
years.
Randy 's performed and/or taught
in 22 states and three foreign
countries. He's published more than
70 articles in clown, entertainment and
Christian educators' periodicals.For
De
C I
0 W n
two years , he
directed the
clown
ministry
department
for the World
Clown
Association
and for the
Fellowship of ·
Christian
Magicians for
six years. He
taught and
performed at
the Laugh­
Makers'Kid
Show
College,
Advanced Studies on the
Performance Art of Clown and Circus
Magic, and was the Grand Marshall of
Clown Fest in 1994. He oversees
programs for more than 600 children at
7 a local church, and continues
performing at public events , schools
and mall shows.
"I am firmly committed to quality
performances and clown
experiences, whether in a church
setting or non-church venue, " he
says. "I share original and traditionalbased
circus-style information that is
practical and direcUy applicable."
Randy has strong lecture material
developed on: Character
development, makeup ,
improvisation , physical
comedy ,slapstick, verbal comedy ,
clown humor, music, mime
movement, skits, stage presence,
caring clown, and age-appropriate
clowning, plus many others .
Randy Christensen can be
reached at : 216 Apollo Ave.,
Bismarck, ND 58501. Ph. (701)
258-8293.
The New Calliope 13

January/February, 1997
Meet tbe Artists --
'Boomer' and 'Minnie'
Clown Camp. She has instructed in
clowning at Clown Camp, Kellogg
Community College, Midwest Clown
Association Roundup, COAi, WCA
and ISCA. The couple began teaching
in concert in 1992, when they
originated Back 2 Back lectures.
Terry "Boomer" Bloes and Marti
"Minnie" Vast-Binder are in their fifth
year of team clown seminars and in the
second year as COAi Clown Artists in
.Residence.
These dynamic Midwesterners
have been clowning for more than 20
years each. In their first year as AIRs,
they had more requests for alley
appearances than they could
schedule -- which is one of the
reasons they wanted to participate in
the program again in 1997.
Terry, a Nebraskan, began
clowning in 1976 and became active in
his clown alley in Omaha, NE. He was a
McDonald's clown four years, has
judged in both COAi and WCA
compet itions, and served as President
of the Midwest Hall of Fame (both Terry
'Charlie'
For the second straight year,
Bruce "Charlie" Johnson has
been selected as a COAi Clown
Artist in Residence.
A graduate of California State
University Long Beach with a BA
in Technical Theater, Bruce has
been clowning since 1974.He
spent six years with American
outdoor circuses, and in 1980
introduced his juggling clown act
with the Carson & Barnes Circus.
He co-produced spot date
circuses for two years, was
principle entertainer for 11
summers at Raging Waters and
was a special events juggler for
Disneyland. He has international
performance experience: A
headliner at the 1991 World Clown
Convention in England, and the
14 The New Calliope
and Marti are members).
Marti gained her clown education
through attendance at local and
national conventions and at the
University of Wisconsin -Lacrosse
American performance rep at the first
World Clown Congress in Sweden .
Bruce has written extensively for a
variety of clown publications (including
The New
Calliope), and is
editor and
publisher of the
Clown In Times
Magazine. He is
known internationally
as a
clown
historian.and
supplements
material from his
personal library
of some 400
books with
continuing
research.
As a full-time
freelance
performer, Bruce combines
pantomime, magic, juggling, audience
"Brainstorming together , we have
continued to improve our own
clowning skills as well as our teaching
techniques," Marti says. The ir classes
offer basic hometown clowning and
comic philosophy. Classes are all
hand~ on and participatory. Among
their subjects: makeup , skits,
walkarounds, professional promotion
of your clown business, company
picnics, body movement and facial
expression, and brainstorming. In
addition, they tailor lectures to the
specific requests of groups.
To contact them: Terry's at
7753 Greenleaf Dr., Lavista, NE
68128. Ph. (402) 592-7419.
email: TBloes@aol.com. To
reach Marti: 662 Timberlane
Dr., Battle Creek, Ml 49015.
Ph. (616) 963-5334. email:
MVBlnder@aol.com.
interaction and chalk talks.Whether
performing in a theater variety show
with an audience of thousands, in a
birthday party, or one on one, Bruce
always strives to give the best possible
entertainment and to be sensitive to
the audience 's needs of the moment.
As a Clown Artist in Residence,
Bruce has more than 30 lecture topics.
His goal as an instructor "is not to create
clones , but to help each person find
their individual clown and their own
performance style. " His presentations
include both general theory that can be
applied by participants in many ways
over the years , and specific practical
suggestions that are applicable
immediately.
Bruce can be reached at
P.O. Box 82165, Kenmore, WA
98028-0165. Ph. (206) 481-
7143.

Albert The Sticker Man Stickers
January/February, 1997
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The New Calliope 15

January/February, 1997
Meet the Artists
Danny "Lanky" Kollaja has been clowning for two
decades , after a modest start. Says Danny: "Lanky was
created solely for the purpose of a High School variety
show. A clown in the audience noticed something in my
performance and invited me to an alley meeting; the rest
just has been evolutionary."
Through the succeeding years, Lanky has performed
internationally, earning Top Ten honors in both state and
national competitions. He has been conducting clown
classes annually at his local community college.
Lanky performs for restaurants , fairs, picnics and the
frequent birthday party. He has led two clown troupes on
working tours of Russia, and has served on the COAi Board
of Directors.
Danny teaches on a personal level and instructs on a
variety of subjects.
He can be reached at 4221 Winters, Corpus
Christi, TX 78415-5156. P. (512) 852-5696.
'Half Pint'
Lori "Half Pint" Hurley brings a decade of performance and teaching to
her appointment as a CAIR. She began performing singing telegrams and
birthday parties in 1986, and a year later attended the Ringling Bros. and
Barnum & Bailey Clown College. In 1989 she toured with RBB&B through
Japan, then returned to New Mexico to finish her BFA degree in music
theater and to pursue her clowning business.
In 1992 she moved to Minnesota to work for a professional children's
theater company, and began performing regularly as a clown in addition to her
full-time job. She now clowns full time, performing (with her husband) some
150 events a year and an additional 100 or more performances solo, reaching
over 25,000 children and adults.
She has conducted clowning workshops for numerous groups, and has
been teaching complete clowning curricula since 1990 to children and adults
ranging from 4 to 84 years of age. Among her subjects: Beginning and
advanced makeup, beginning juggling , beginning unicycling, improvisation,
nose-making , dealing with children's fear, creating clown routines, physical
comedy , team building, starting a clown business, creating a character, and
clown movement.
16 The New Calliope
Lori can be reached at 139 Congress St. E., St. Paul, MN
55107. Ph. (612) 298-1909. Fax: (612) 225-5674. emall:
clowns@slmplycom.net

January/February, 1997
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No artistic skills are required to paint pictures on little faces with facepainting
stamps invented by Burpo the Clown. These are no ordinary rubber stamps.
With their extra high ridges and lots of space for coloring, they are fast and
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We welcome your comments and questions. Please call us any time at
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Warning : Some inks labeled "child-safe" are not necessarily safe
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copyright© 1997 by Burpo the Clown, Inc.
1-5 stamps . $ 7.50
6-9 stamps . 6.50
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14 stamps, including pad and ink* 75
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Ink pad* . . . 4
Bottle of replacement ink* . 6
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*Please specify. red, blue or black
The New Calliope 17

January/February, 1997
Meet tbe Artists--
Mark Renfro brings a solid background
of performance and teaching
to his appointment as a Clown Artist it
Residence.
As a clown performer, Mark has
worked in a variety of venues, from the
kid-next-door's birthday party to the
stage of Radio City Music Hall. Stops
along the way include Ringling
Brothers and Barnum & Bailey, Walt
Disney World Resort, and Tokyo
Disneyland.
As an instructor, he has lectured
for COAi and WCA annual
conventions. For the past three years
he was part of the teaching team for
Clown Camp at the University.
of Wisconsin-Lacrosse, and the
RBB&B Clown College.
Mark views his work as an AIR this
way: "Teaching, especially about
something you love, is always a
challenge and always an opportunity. ,
As an AIR, I would have more
challenges and opportunities to share,
develop and grow with others who are
also exploring what it means to be a
clown."
Mark offers presentations that
cover a range of subjects, from a
discussion of the intimacy of one-toone
clowning to hands-on workshops
about parade-sized props. Each of his
classes is a balance between theory
(why we do it), and practice (how wed
it).
Mark can be reached at
4655 Wlnesanker Way,Ft.
Worth, TX 76133-5105. Ph.
(817) 294-0204.
'B.B.'
This is the second year Bob "B.B."
Widdop has been named one of
COAi's Clown Artists in Residence.
He said he sought another
appointment "because of the
response I received from being AIR" in
1996.
Bob retired from the N.E.
Telephone Co. in 1995 and became a
supervisor for the Big Apple Circus
Clown Care Unit at Boston's Children's
Hospital. He began clowning in 1985,
learning the '.¾rt from a professional
clown and from attendance at clown
schools and seminars across the
country.
A guest performer with the Cole
Brothers Circus, he has lectured and
entertained at dozens of clown
events: COAi regional conventions
and at the Big 3, Spring in the Clowns,
Mooseburger University, Clownfest,
Peachey Keene U, February Frolic
18 The New Calliope
and Telephone Pioneer Clowns.
Bob is a "busker," or street
performer, and works a variety of
venues, ranging from birthday parties
to nursing homes, and from country
clubs to sidewalks. AS Clown Artist in
residence, Bob offers four workshops,
judge credentials, MC work,
hospitality, entertainment and a stage
show. His workshops include:
+ "B.B.'s" School of Fine Hearts:
Character development, essentials
that every clown should know, tricks ot
the trade. Designed for the Caring
Clown, the course is not clown ministry
but teaches the essentials that every
clown should know. (Everything you
wanted to know about clowning but
were afraid to ask.)
+Street Performing (The Art of
Busking): Involves street art that is
thousands of years old. Crowd control,
safety, increased income and
techniques that "will help you avoid
becoming a balloon-making, facepainting
machine."
+ "B.B.'s" Balloon School:
Importance of knowing types of
balloons, kinds of pumps and how they
can be used. Entertaining will be the
main theme, more than sculpture.
+ "B.B.'s" Birthday Party: How to
create a quality party; making the sale
over the phone, promotions, time
management of the shows, the quality
of performance, and method of
payment.
Bob Widdop can be
contacted at P.O. Box 117 West
Bridgewater, MA 02379. Ph.
(508) 583-6246. email:
BBFAMENJ@AOL.COM

January/February, 1997
Meet the Artists --
'Ma In a Clown'
What are the first two words that come to mind when
Marcela "Mama Clown" Murad's name is mentioned? Face
painting, of course.
This talented Clown Artist in Residence is considered
the nation's top artist (and teacher) of face painting. She's
been clowning for 18 years and has won numerous awards
at every level -- local, regional, international. She was
featured on the cover of the November/December 1996
issue of The New Calliope, which also carried a feature on
Mama Clown and some of her face painting tips.
As an instructor for the past 13 years, Mama Clown has
traveled all over the United States, Puerto Rico, Mexico
and the Caribbean. She's shared her expertise at COAi and
WCA conventions, at the University of Wisconsin-Lacrosse
Clown Camp,
Advanced Studies in
Clowning, Clownfest
and many other
events.
In addition to her
face painting skills,
Mama Clown is an
expert in the
business of birthday
parties.
"At this time in my
life, teaching other
clowns to face paint is
what I do best and
love the most," she
says.
Mama Clown
can be reached at
230 S. 14th Ave.,
Hollywood, FL
33020. Ph. (954)
921-6605.
• One Million Liability Policy is $85 Per Year.
• NO Deductible Per Occurrence.
• Certificate of Insurance to be Sent Out From
the Master Policy.
• AvaUable to Any Clown 1n the U.S.
• Need Name and Complete Address
With a Check Made Out To:
AL FELLERMAN INSURANCE
1800 Wooddale Dr.
Woodbury, MN 55125
PH: 612-738-6686
The New Calliope 19

January/February, 1997
Board proposes
By-Laws change
Three proposed changes in the COAi By-Laws will be
considered by members attending the General
Membership Meeting during the annual convention in
Sturbridge, MA, on Wednesday, April 16. All changes were
recommended by COAi's Board of Directors, and are
regarded largely as "housekeeping" changes.
One change involves Article II, Section 2, which
currently reads: "Membership dues will be on an annual
basis commencing July 1, 1986, and will expire on the last
day of June the following year." Suggested change is to
remove the date "1986."
A second proposal is to drop Section 5 of Article Ill
involving vacancies on the Board of Directors. The section
states: "Any interim vacancy occurring for any reason on the
Board shall be filled by a majority vote of the Board at any
regular meeting of the Board."
It was felt this section conflicts with Section 9 of Article
IV involving removal of officers, which states: "If the office of
the President, Executive Vice-President , a Regional Vice­
President, Secretary, Treasurer, Sergeant-at-Arms, a
Director-at-Large or any other office becomes vacant, by
reason of death, resignation, disqualification, removal from
office or otherwise, the Board may choose such successor
or successors to complete the term of the vacant office."
A third proposed change involves Section 4 of Article V
(Annual Reports), which states: "By the fifteenth day of
January each and every year, a chartered Clown Alley must
submit to the principal place of business of the Corporation
a complete listing of all names and addresses of the
members and officer~ of the Clown Alley. All members of
the Clown Alley must be paid up members of COAi."
The proposal is to remove the words "the principal
place of business of the Corporation, " and to substitute the
words "the COAi Alley Coordinator. "
By-Laws changes can be made by a two-thirds vote of
members at a general membership meeting, provided 15
days written notice is given to the membership. Publicatio r
in The New Calliope fulfills the requirement of written
notice.
FOR SALE: Large clown prop. Jack-in-the-Box . This piece is a
knock -d own type so it can be hauled easily and reassembled at
the job site. Aprox.3 feet across the side of the cube with a
door in one side for clown "in and out" plus a trap door in th,
top for clown to pop out of during skit. Bottom on casters and
when reassembled can be pulled easily with a rope. Original
cost to produce was $500, and I want $300. Firm. No Deals. I
used it one time . If you are doing shows with other clowns, as
with a clown club, etc., this would be a great skit item as 4
or more clowns can be used. Unit is painted yellow, blue and
red. Wow your audiences. It's fun. Stan Tull, "Yoo-Hoo the
Clown," 13064 Taylor St. NE. , Blaine, MN 55434 . Ph. (612) 755-
7212.
You've attended numerous workshops and
read the books. Now you're ready for
the Next
~ Step!
April 9-13 in the Chicago area
If you want to learn the quality art of clown to
carry forth ageless truths, this workshop is for
you! Intensive hands on training for experienced
clown ministers. Specific sessions target
writing quality clown ministry material, advanced
character development and portrayal,
visualized lessons, mime techniques, stage
movement, formatting powerful presentations,
spiritual focus for ministry, and various phases
of clown ministry program performance.
Workshop leaden:
*award winning J.T. "Bubba" Sikes,
*former WCA Pres. Janet Tucker,
~ *Rev. Randy Christensen
Enrollment limited to forty.
Cost: about $140 (before housing) - For
more info. write to:
Randy Christensen, 216 Apollo Ave.,
Bismarck, ND 58501 ).;i
FAX 701-258-8293 ~
20 The New Calliope

YES!!! I want to help clowning grow! Here's
another applicant for COAI membership (fee
enclosed). I'm this Joey's proud sponsor:
Sponsor's full name
---------------
COAI Number
---------------
Clowns of America International
Membership Application
(please type or print)
January/February, 1997
NAME ........ ..................... .............................................. .................... ......... ......... ......................... ....
la5t Frst Md:jle llital
ADD RESS ................. .............. ....... ............................. ........... .......................... ................................ .
StreEt City Slate Zi> Ccx:Je
DATE OF Birth ............................... .. AGE .... .......................... SEX: M..... ........ F ........... .
CLOWN NAMES USED ........ ................................................................................... .......... .......... .
ALLEY AFFILIATION (if any) ..................... ................................. .................................... .............. .
SIGNATURE ..............................................................................
Annual membersh ip Fees:
New Members U.S.: $25
New members Foreign : $30 U.S. funds .
Renewals U.S.: $20
Renewals Foreign: $25
Lifetine: $300
Family membership U.S.and Foreign: $10 (for second and additional members of one family).
($15 of this amount is for a subscription to The New Calliope for one year, these subscriptions available
only to full members of Clowns of America International.)
Return this bill form with remittance to: Clowns of America International
Box 570
Lake Jackson, TX 77566-0570
NON -PROFIT NON-POLITICAL NON-S ECTARIAN
1. All memberships in COAi are on an annual basis, with membership dues payable in July of each year.
2. If you wish to join COAi as a new member and the date is not June, July or August, your membership
will be pro-rated for your second year.
3. Join at the membership rate indicated above. When you receive your dues notice in June of the next
year, the amount you should pay to bring your membership up to July of the following year will be
indicated on your card.
4. For example, if a U.S. resident applied for a regular COAi membership in September, 1991, he/she
would pay $25. In June, 1992, the member would receive a dues renewal notice for $12.50 to bring that
membership up to July , 1992. Thereafter , each year the annual membership fee would be billed in June
for payment by July 1. Foreign and family memberships are similarly pro-rated.
The New Calliope 21

January/February, 1997
How to get
even MORE
mileage
out of balloons
(part II)
By Ron "Ringer" Sutten
300 S.Everest Rd. #14
Newberg, OR 97132
Adding entertainment to your balloon sculpting can
make the difference between a child 's simply getting a
balloon or receiving a memory that will last a lifetime. It can
also make the difference between a one-time or repeat
performance. I first offered some ways to get more mileage
out of your balloon twisting in the September/October ,
1995 issue of The New Calliope. I'm back, with a few more
ways to liven up your twisting with a little personalized
entertainment.
1. HATS: Always popular with kids, hats are quite visual ,
too. There are many things you can do and say while
twisting hats that will add entertainment. Do you size up
your customers when making hats? Try to come up with
some creative head sizes ... how about "Triple X gigantor
large," or an"Extra E super petite?" One type of heart hat I
make requires "handlebars" on the basic helmet. The
handlebars are made into two large loops, which in turn hold
two heart-shaped balloons. If a girl has requested the heart
hat, I will sometimes stop after attaching the handlebars and
bend them to form antlers. "Here you go," I say, "a Texas
Longhorn bull hat! What? You didn't want a bull hat? How
about a Viking warrior hat?"
the balloons first before you twist them . Hand one of the
untwisted balloons to the child to hold. Hand another one
to the child next to him. This is where you get confused and
take the first balloon and switch it with the second child.
Then take that balloon and switch it with the one you're
holding. Continue to switch balloons back and forth
between the two children and yourself as you become
more and more confused. Finally give up in exasperation
and twist the creation .
4. If you use a balloon pump, have the balloon jump off
the tip of the pump as you begin to inflate it. This gets a
chuckle the first time. The second time the children really
think it's funny. The third time, it's a total crack-up. The ol'
clown in trouble syndrome strikes again!
5. When you go to tie off a balloon , get the knot stuck
around your finger tip. Try to shake it off to no avail. Finally
work it free with your other hand , only to have it get stuck on
that finger, too.
6. When making an animal that has a ''tuft'' or ball at the
end of the tail , try the pinch and squeeze method. (Pinch
the end of the balloon and squeeze the air past the pinch in
a burst.) This will make the ball appear suddenly , much to
the child 's amazement. It's even more amazing when either
you or the child blows on the tail to make the ball appear .
7. There is a spiritual application for the Huggy Bear
balloon for those who do clown ministry. As you make the
heart, explain how God loves them . As you begin to make
the bear, ask the child 's name. Tell them that the bear
represents them , and explain that God wants them to hug
onto Him just like the bear is hugging on to the heart.
8. Think of some of those corny jokes that kids love
when you're making balloon animals. For instance , when
you're making a rabbit: "What time is it when a 500 pound
rabbit sits on your watch? Time to get a new watch !"
THE IDEA IS TO HAVE FUN WITH THE KIDS. Don't let
your ballooning become a mindless production line with
little personal interaction. Even the most creative and
complex balloon creations will eventually pop, deflate or just
fade away. But the memories of that special occasion will
last for years to come.
2. When making something with a tulip twist , pretend to
get your finger stuck in the balloon. (This might not be too
difficult; half the time, I really do get my finger stuck!) Enlist
the help of a child to get your finger loose. This is a classic
"clown in trouble" syndrome, and the kids eat it up.
3. When making a multiple balloon creation, blow up all
22 The New Calliope

Contrast:
a great tool
for clowns
By Randy "Simon De Clown" Christensen
216 Apollo Ave.
Bismarck, ND 58501
A great performance tool to keep in focus is the use of
contrasts. I call this small/big comedy.
January/February, 1997
howling because his shoe is untied: Another example of
small to big.
Experiment with contrasts in costuming, props, action
and reaction, and you'll add another dimension to your
clowning.
NOTE: Randy Christensen has lectured and
performed for UW-LaCrosse Clown Camp,
Advanced Studies, and numerous other events.
COAi welcomes Randy as one of our 1997 Clown
Artists In Residence.
We understand contrasting colors.Many clowns use
contrasting colors in their costuming and facial design. They
bring a colorful cartoon
element to one's image.
Consider contrasting sizes
in wardrobe. Wear a
miniature bow tie with a
giant collar, or a tiny cap with
a giant flower in it. Wear a
giant pocket watch chain
with a miniature watch.
In stilt walking I wear
size 5 shoes and
have had many
giggling remarks from
my audience. The
great contrast from
those lengthy legs
brings laughter.
Foam props and spring snakes exemplify
small/big comedy. Something BIG is coming out of
something very small.
A number of years ago Ringling Brothers had
Mark Anthony carve a large elephant from foam so
that it could be stuffed into a clown car. The
numerous clowns unloaded, followed by the massive
expanding elephant! This is small/big comedy.
Cass Walston: Long-time COAi members mourn
the passing of Mrs. Cass Walston, Baltimore, MD, who made
her last walkaround Dec. 18, 1996, after a short illness.
Cass was the wife of Lou Walston, who was president
of COA in 1980-81, and is a lifetime member of COAi.
Cass is survived by her husband, two sons, two
daughters and six grandchildren. She will be missed.
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January/February , 1997
USA Distributor:
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(320) 963-6277
P. 0. Box 700. Maole Lake, MN 55358
'THE GOSPEL according to ROLY'
From Chri.Sunas to Easter
in Slapstick. Story and Circus
An inspirational performance by today's premier
Gospel Clown! Periormance includesix Gospel
stories (Gabriel , Christmas , Simeon, Peter. Judas
and Thomas ). Full of laughter and tears, these stories
leave us in profound silence. Perfect for home or group
use. This is proverbially for "children of all ages.·
Only s2aoo
plus 1 6 50 for shioo1ng and handling
By Brenda "Flower" Marshall
COAi President
The beginning of the new year is usually when we take
time to look back, assess where we are and then set some
goals and make resolutions to achieve those goals
sometime in the coming year. Individually I hope we are all
happy with where we are, but hungry enough to want to
continue growing and improving our clowning skills . It
seems there are a multitude of opportunities to study the
art, and I'm sure '97 will offer its share!
The COAi International Convention this April is back in
the Northeast after a long absence, and it promises to be a
great one.The folks in Massachusetts have been working
hard and the Sturbridge Host Hotel offers a perfect setting
for education, competition and especially fellowship with
clown friends. I hope to see you there.
1 1ALLIOPE
CLOWN AND MIDWAY (ft i
C
The happy sounds of the Tangley calliope!
Voll • Marches and lively runes Cassette #1021 • CD #1027
Vol 2 · more marches and lively mnes - -
Cassecce # 1022 • CD # 1028
(over 42 minutes on each volume; all selections are in the
public domain)
At your favorite supplier or direct from
Marion Roehl Recordings
3533 Stratford Drive, Vestal 115 NY 13850
Phone (607) 797 9062 / FAX (607) 797-2624
Cassettes 19.95; Compact Discs $14.95
VISA/MasterCard ok. Add $3.00 per order for mail or
$4.00 for UPS. (NY residents add 8% tax)
The new year brings a new group of Clown Artists in
Residence for COAi alleys to learn from. This group offers a
wide variety of topics, so I'm sure we soon will be receiving
some great proposals from alleys. Details of the CAIR pro­
• usn~l gram begin on page 12 of this issue of The New Calliope.
Call or wrice foe a free copy of
our complece cacalog
Your new Board of Directors worked long and hard in
November, reviewing policies and searching out ways to
meet the needs of our members. One result will be
reflected in the new COAi Rules for Competition, including
the new categories, that you'll find beginning on page 36 of
this issue of The New Calliope. We received some input
from individuals on several issues and it is imperative in
1997 that you, the members, continue to have your say.
I recently came across this story credited to Richard
Armstrong: "When fog prevents a small-boat sailor from
seeing the buoy marking the course he wants,he turns his
boat rapidly in small circles, knowing that the waves he
makes will rock the buoy in the vicinity. Then he stops,
LISTENS, and repeats the procedure until he hears the
buoy clang. By making waves, he finds where his course
lies ... Often the price of finding these guides is a willingness
to take a few risks, to 'make a few waves.' A boat that stays in
the harbor never encounters danger -- but it also never gets
anywhere!"
Competition changes, the question of instructor
certification, etc. -- hopefully, these waves will help us find
the right direction for COAi in 1997.
24 The New Calliope

Hosted by
Univ ersity of Wiscon sin-La Crosse
&

1996 Was a great year
for Clown Camp®.
Were you there?
-----
Don't be left out of the picture in 1997.
Register for Clown Camp ® today.

At Clown Camp ® You Can ... >-----------

Clown Camp® 1997
promises even more
fun and surprises
your
picture in
next year's
Clown Camp®
Brochure
TIie 1997 smmner seltetlule:
May 24-May 30, 1997
UW-La Cro sse
Carin g Clown & Tr a ditional Program
May 31-June 6, 1997
UW-La Cro sse
Tr aditional Program & Eld erho ste l
June 6-9, 1997
UW-La Crosse
Elite Program
June 21-27, 1997
UW-La Crosse
Bas ic & Tr a diti onal Program
, August 9 - 15 1997
Medicine Hat College
Bas ic & Traditional Pro ram

~totyline magic
By Steven Bender
Allas Mr.Plckle of lckle Plckle Products
Sometimes you begin to perform a new effect and an
idea occurs to you that dramatically improves the
presentation. Destination Unknown is a new effect. It's an
effect that involves showing a spectator 1 O laminated green
cards. Each card has 1 0 cities on it, for a total of 100.
Spectator is asked to think of any city and touch the card
which has his city on it. The cards are then turned over to
the white side and spectator is told to find his city and again
touch the card which has his city on it. You then tell him his
chosen city. The effect is easy to do, but a total baffler
unless you've been told how to perform it.
That's the basic effect; now for an embellishment. I
show the 1 O cards. I spread them in front of several
spectators. I don't merely ask them to pick a city. I say,
"Think of a city that you'd like to visit. Look the cities over
and once you've chosen a city, simply touch the card which
has your chosen city on it. I could have only one of you do
this, but that would make it too easy. So why don't three of
you think of cities. Don't tell one another your choice,
simply touch the card having your city on it, once you've
made your choice."
Once all three spectators have touched a card, and
they can touch all the same card or all different cards. It
makes no difference. I now point to one of the spectators
and I tell him to pick up the cards and shuffle them and
spread them out with the front side down. "Once again, I will
ask you to find your city and touch the card which has your
city on it, but do not point to the city -- simply touch the card.
And think for a moment how long it took you to locate your
city."
Once all three have touched a card.I look first at one
and then at another and I then make a statement about the
chosen cities. I don't state the city, but I give an indication
that I know precisely which city each has chosen. Let's say
the three cities selected were Las Vegas, Paris and
London.
Then I might say to Spectator One, "Are you interested
in seeing shows or games of chance? Might I say if you go at
the right time of year, you might just get a good package
including hotel, shows and air." Spectator Two: "I'm afraid
you won't find any bargains. The price of a good room is
quite high, but if you're going with someone special, the
city does have atmosphere." Spectator Three: "Do you
want to see the palace, or where the Beatles got their start?:
I now point to each spectator and name his chosen city.
"Vegas.Pa ris and London -- correct me if I'm wrong. Can
you examine the cards? By all means. Study them, look for
January/February, 1997
marks or scratches, try to understand the workings of a
clever mind. At first, I could only guess the selection of one
city, but now I've expanded my mind to uncover three
unknown cities."
That's my presentation. I don't merely work with one
person, but three. I don't immediately end the effect by
naming the city, but rather offer a teaser as I say something
about the cities. You'll find that you can make a general
statement about all of the 100 cities. It can be something
simple like, "You'll have to fly there. That's one you can
drive to. Do you want to go for the skiing? Is it Broadway that
attracts you? I guess you prefer the hot sun to a snowy
mountain." And the list can go on and on.
Unless somebody has this effect, they won't break the
code. It's an ideal puzzle that can be presented as a real feat
of mental dexterity. When I work with an effect, I try to add to
the storyline to improve the effects entertainment value. Be
creative -- embellish! After all, you are performing.
Patronize our advertisers •·
And when you do, tell 'em you
saw it in The New Calliope!
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We'll see you at:
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CLOW~ SHOES
The New Calliope 25

January/February, 1997
Final from Sturbridge --
(O nVO plans nearly complete
By Susan "Fruit" Oberg
and Harvey "Jingles" Jacobvltz
Convention Chalrclowns
The first thing is, we must get you
to Massachusetts! For those planning
to travel by air to COAi's annual
convention April 15-20, Continental is
the official convention airline. To
receive a discount, tell your travel
agent to call 1 (800) 468-7022 for
reservations.Use reference RE:Z code
ZJWF reference NRCESL, and tell
them you are a COAi clown.
We strongly advise using only
Bradley International Airport, Hartford,
CT. For shuttle service from any other
airport, you're on your own. Convention
shuttle service will pick up at
Bradley ONLY from 7 a.m. to 11 p.m.,
so make your arrangements accordingly.
If you prefer to rent a car at the airport,
we will send you information on
Enterprise Rental Car; they will be
giving a discount to our conventiongoers.
For your car reservation at
Bradley, call (860) 292-7061; at Worcester
(508) 792-4700, and at Logan,
(617) 561-4888.
To reserve your room at the
Sturbridge Host, call (800) 582-3232
or (508) 347-7393. If you need wheel
chair access, please let them know
when making your reservation. We are
booking fast, so we have made arrangements
with another hotel. It's just
across the street and in easy walking
distance. When Sturbridge Host is full,
they'll give you the number of the
second hotel.
When registering, please indicate
if you plan to participate in either the
early bird tour or a hospital visit. This information
is very important to us, so
that we may be able to provide the
buses needed. All excursions are
subject to advance interest and
payment.
26 The New Calliope
Nearby attractions? Just across the
street is the internationally famous Old
Sturbridge Village, the largest outdoor
museum in the Northeast. If you check
it off on your registration, you can get
the group rate.You may visit it any time
during the week. Keep in mind, too,
the early bird trip to the Worcester
Common Fashion Outlet and the
Nashoba Valley Winery tour and
tasting.
The Convention Committee has
been working long and hard over the
past two years to bring you the best of
the best in a COAi convention. Our
workshops, lecturers, entertainment
and dealers have been assembled to
meet your every need and taste.
Here is the tentative schedule of
COAi Convention activities:
Tuesday, April 15:
9 a.m. to 7 p.m.: Registration desk open
3 pm to 5 pm: Lectures
Makeup design: Shirley "Bellibone"Sutto n
School of Fine Hearts: Bob "B.B." Widdop
Face painting: Dotsle
5 pm to 7 pm: Dinner on your own
5 pm to 7 pm:Dealers open
7 pm to 9 pm: Welcome Address & Show
(Frosty & Company)
9 pm to 10:30 pm: Dealer Show
10:30 pm to 12: Dealer Madness (Dealers
Room open)
11 pm tc, 1 am: Hospitality Room (ElectrtcClty
Alley)
Wednesday, April 16:
9 am to 6 pm: Registration desk open
9 am to 10 am: Lectures
Beginner Balloons: Patty "PJ" Sorrell
Character Development: Pricilla
Mooseburger
Costume Design: Betty Cash
Birthday Party Business: Bob
"B.B."Widdop
10 am to 1 pm: COAi Judges· workshop
10:15 am to 11:15 am: Lectures
Juggling: (Iba)
Clown Ministry: Laura "Marmalade" Nadell
New Style Face Painting: Olivier Zegers
Happy Magic: Duane Laflin
11 :15 a.m. to 1 pm: Lunch on your own
12 noon: Lunch entertainment by Sir Andrew
1 pm lo 4 pm: COAi General membership
meeting
4 pm to 5 pm: Free time, dinner on your own
5 pm to 6 pm: Lectures
Tales of the Road: "Frosty" Little
Skit development: Leo "Dapper" Desilets
and Joe "Bamboozle" Barney
Makeup: Oscar "Clyde" Cloutier and Susan
"Fruit" Oberg
4 pm to 6 pm: Dealer room open
7 pm to 8 pm: Complimentary welcome
reception
8 pm to midnight: Theme Party dance
Midnight: Sign-up deadline for makeup and
balloon competition
Thursday, April 17:
9 am to 12 noon: Registration desk open
9 am to 10 am: Lectures
Balloon costumes: Royal Sorrell
Story telllng: Paul "Stickers· Biggio
9 am to 11 am: New Style face painting:
Olivier Zegers
9 am to 5 pm: Dealer room open
11 :15 to 2 pm: Lunch on your own
Noon: Lunch entertainment by Gary Shelton
2 pm to 6 pm: Makeup competition
6 pm to 7 pm: Dinner on your own
7 pm to 8 pm:Lectures
Any Dummy Can Vent: John Dodge
Say No to Drugs: Duane Laflin
Puppets, Why Work Alone: Kathy Dodge
Music and Character Development:
Pricilla Mooseburger
8:15 pm to 10:15 pm: Balloon competition
10:15 pm to 11:15 pm: Close Up Magic
Nighl/$5
10:15 pm to 1a.m.: Hospitality room
Midnight: Sign-up deadline for Skit competition
Friday, April 18:
9 am to 12 noon: Registration desk open
9 am to 5 pm: Dealer room open
9 am to 10 am: Lectures
Character Development: Pricilla
Mooseburaer
Wig Care: Cheri "Cheri-Oats" Venturi
Margaret's Birthday Party: Doug
Chapman & Sue Conley
10:15 am to 11:15 am: Lectures
Physical Comedy: "Frosty" Little
Don't Just Do Something - Stand There!
Paradeablllty: Peachey Keene
Advance Balloons: Lee "Leroy" Brusa
11:15 am to 1 pm: Lunch on your own
Noon: Lunch entertainment by Alexander the
King of Jesters
1 pm to 4 pm: Single Skit competition
4 pm to 5 pm: Dinner on your own
5 pm to 7 pm:COAI auction
7 pm to 11 pm: Group Skit Competition
11:15 pm to 12:15 am: Close Up Magic
Night/$5
11 pm to 1 am: Hospitality Room (Classy &
Sassy Alley #232)
Midnight: Slqn-up deadline for Paradeabillty
compet ition
Saturday, April 19:
8:30 am to 9 am: All clowns to makeup group
photo
9 am to noon: Registration desk open
9 am to 9:20 am: Parade for the public
9:30 am to 11 :30 am: Paradeability competition
(outdoors rain or shine)
12 noon to 12:30 pm: Hospital preparation, Dan
"Keestone' Stevens
12:30 pm to 3:30 pm: Hospital visitation
(optional)
Noon to 3 pm: Dealer room open (last call)
3 pm to 5 pm: Dealer breakdown and out by 5
7 pm to 11 pm: Banquet and show
11 :30 pm to 1 am: Hospitality room
Sunday, April 20:
8 am to 9 am: Church Worship Service
(optional)
9 am to 11 am: Bon voyage breakfast and
closing ceremonies
11 :45 am to 1 pm: Hotel checkout, depart for a
safe trip home.

January/February, 1997
Here they are: Your convention hosts
Bob "B.B."
Widdop has made
arrangements for
27workshops and
seminars to be
presented by top
professionals at
the convention.
Barbara "Barbie" Doll Kelleher (left)
is President of the South Shore Joeys
and is handling convention registrations.
Millie "Sparkles" Savage
(right) is making dealers arrangements.
Donna "Smiles" Reisberg (left) is
convention treasurer. Laura
"Marmalade" Nadell (right), is a
committee member involved with the
Theme Party.
Steve "Koo Koo" Cook (left), will
handle lighting and sound for competition
. Ed "Chubby Cheeks" Savage
(right), is hospitality chairperson.
Flo "Fluffo" Bergeron (left) is
making sure convention goodie bags
are hefty. Dana "Cheesecake"
Montgomery (right) is handling information
for the convention web site.
. Cl
, . f· -,_. ·.-'.. •. ,,, _·_· •._·· _·-•.
.....
..,. ._ -..
1 . . ' ,(« :' .,,_.' ~ ;
:_r _ ·'.· -p,, IQ~'.-
' ~ '
~1 ...... J
. ~
'•· '
F~-11·~
~ ___
-_-.,..,...
Committee members Patricia
"Pinky'' Craffey (left) and Arthur
"Lucky" Craffey (right) are working on
details for the awards night banquet.
News from COAi Business Office
By David "Shorty" Barnett
COAi Business Manager
Several exciting things are
happening at COAi headquarters.
First, COAi, as a service to our
members, is planning to publish every
member's name, clown name, city and
state on the web. NO STREET
ADDRESS WILL BE LISTED. You do
have the option to have your name
omitted, but the office needs to be
contacted by March 1. You must also
understand that everyone's name,
address and phone number are
already listed on other web sites.
Secondly, if you wish to use the
web to advertise your persona, COAi
can include your address and phone
number if you let us know. But in order
to pay for the extra time and space for
the ad, the charge will be $5 US per
year. It will be like a phonebook ad,
only cheaper.
Third, COAi has been working for
the last year to renumber all COAi
membership numbers. If you have a
number less than 13,000 it will not
change, but the date-related numbers
will. Renumbering was necessary to
eliminate conflict of numbers when we
begin the year 2000. Look at your
magazine label to see what your new
number will be. Starting this year, all
new cards will show the new system.
Mid-Winter Move?
Send change of address
information to COAi, Box 570,
Lake Jackson, TX 77566-0570
llll.E.PEI\SBON' ~
CLOWN BVPPUESiJ~
The Castles
Rte 101 Ste C-7C
603-679-33111
Brentwood, NH03833 1 Voice-Fax
ii
Tba Innator • $190.00 Pouch Pump- $165.00
I0"x71/2"x3 " 10lbs 7"x4"x3" -43 /4lb s
5 to 8 gr 260s per cbargc 3 10 S gr 260s per charge
.-OR LATFSJ' CATALOG SEND $1
I OUR l

January/February, 1997
1997 INTERNATIONAL CLOWN CONVENTION
Sturbridge Host Hotel Sturbridge, Massac husetts
April 15th- 20th 1997
REGISTRATION FORM
Name
----------------------------
Address
---------------------------
City ___________ State ___ Zipcode _____ _
Country Phone (__) _______ _
COAI# ls trus your first convention? __ _
Full Registration $85.00
Full registration inc/udes;Theme party, Banquet and Bon Voyage
Breaifast. Theme Costume Party is '£arty America Comes Alive."
Registration at the door and after March 1, 1997 $90.00
Single day registration/no meals included $30.00
Partial Registrations
Theme Party only/includes D.J. and horsdevo,-s $20.00
Banquet only $30.00
Break.fast only $12.00
Convention Tee-shirt $12.00
Please check # of shirts by size
S __ M __ L_XL_2X_3X __ Total#_
Day Trips Available
Sturbridge Village $11.00
City tour and Mall outlet store $ I 5 .00
Hospital trip in clown
No charge
Do you need interpretation forO Spanish'] Sign language?
Continental is the official Airlines for the 1997 Convention
To receive 5% discount over regular rate call for reservations
using reference RE:ZCode:ZJWF Reference code:NRCESL
Flight destination choice between Bradley International or
Worcester Airport. Call Continental today I (800) 468- 7022
to reserve rate
Room reservations Sturbridge Host Hotel I (800) 582-3232
TOTAL ENCLOSED
Mail checlc or money order to:
South Shore Joey's Convention 97 Barbara "Barbie Doll" Kelleher
581 Ashmont Strut Dorchester, MA 02122 (617)282-3487
$ __ _
$
----
$ ___ _
$
----
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28 The New Calliope

January/February, 1997
As I begin my fourth year of writing this column, I'd like
to look back at a couple of items.
1 / If you missed Nicki Zwerin's article, "The caring clown
-- Is this the toughest gig?" in the September/October,
1996, issue of The New Calliope, go look it up and read it
now. If you read it, go back and read it again.
In this article Nicki deals with the specific subject of
clowning with the terminally ill in a hospice setting.What she
has written applies not only to the hospice setting and not
only to those spending a lot of time clowning in hospitals
and nursing homes. What she has written applies to each
and every clown that has any contact with people, young
and old alike. Why? Because, sooner or later, you are going
to be asked to go to a home, hospital, nursing home or
hospice and visit a terminally ill patient. Yes, that translates
into, "A person who is dying."
Nicki recommends two books.One is Alan Klein's The
Healing Power of Humor. Last summer at Clown Camp
'96, Nicki told us in her class that this book is still in print and
is available at most book stores. I found it very helpful.
The other book she recommends is Delores
Kuenning's Helping People Through Grief. This one
is on my reading list to be read soon.
2. When I read my column in the September/October,
1996 issue of The New Calliope, I began stumbling and rereading
the last paragraph. I was writing about the word
"vulnerable" and its meaning. The sentence that I was
having trouble with read, "An individual who is the opposite
of the type of person described as one who could succeed
in this day and age." Mrs. Bugg says she didn't have any
trouble with it, but I sure did. If I did, maybe someone else
did, too. Let me see if I can say what I was trying to say in
that paragraph in a little simpler way. I have written the entire
paragraph. The new sentences are in bold type:
As I look at these words (from the definitions given in
the dictionaries), the ones that stand out in particular for me
are: sensitive, accessible, capable of being wounded,
assailable, exposed and weak. This led me to think of naive
and innocent. These words describe for me the
type of person whom the world says wlll fall. This
description Is Just the opposite of the type of
person that the world Is looking for. According to
the world, persons who are going to
succeed,who are going to amount to something,
must be strong, powerful and always thrusting
forward that they might advance, succeed and
overcome all obstacles that lie before them. In
spite of this the clown is secure in his/her vulnerability.
An individual secure enough to give security, meet
emotional needs, not needing a wall between themselves
and the rest of the world . An individual who brings humor
and a sense of security into our personal world and one
who can take the sticks and stones -- the hurts of the world -
- and absorb them and show us their true littleness in the
larger view.
While I was wrestling with all this, trying to make a
simpler statement, I received a letter from Dean Harris of
Pflugerville, TX. He had taken the column to his Sunday
School class on "Issues" at First United Methodist Church
and used it as a discussion starter. Several wanted to share
their reactions with me. I would like to share their reactions
with you.
Lise Wernt wrote, "The people who are in charge of
'officially' defining words tend to make the word vulnerable a
negative thing. I like how you have turned that around."
Amy Roberts commented, "The world would be a
better place if everyone had the self-confidence of a clown.
To take sneers and abuses with a smile. Self-confidence is
the key here, I think."
And then an unsigned comment: "One who is secure in
his vulnerability is one who is at peace with God. This is very
accurate. Thanks for summing it up this way."
To reach Dr. Bugg, write to Chuck Rlnkel,
302 w. Park, Ottumwa, IA 52501. Rlnkel Is a
retired United Methodist pastor and does the
Clown Care at Ottumwa Regional Health Center.
WANTED
Names of Clowns working on the
Excellence in Clowning Award:
For an upcoming article in The
New Calliope. Please contact
COAI Treasurer Judy Quest 906
S. 117th Court, Omaha, NE
68154. Ph/F (402) 334-4857.
e-Mail: jquest@ne.uswest.net
The New Calliope 29

January/February, 1997
Third in a series
Don't hang up/
change, depending on whether there will 8 or 1 O children
as compared to 25 or 30 children. How often have you
simply answered a parent's question on how much you
charge with a basic dollar amount, only to find out the party
should have been quoted at a much higher price once you
found out the details. Getting the information from the
parent before you quote the price alleviates this problem.
By Karen "Peppermint" Reinholt
Box 13187
Portland OR 97213
The phone rings and you answer. The parent asks,
"How much do you charge for birthday parties?" You answer
with a dollar amount. The parent thanks you and hangs up.
But wait, you think, I did not get a chance to tell what my
party is all about.
Does this sound familiar? Let's explore
different ways of handling the
conversations on the phone to turn them
to your advantage and increase the
percentage of parties that you book. It is all
in the way you talk to the parent on the
phone.
First of all, if a person is "shopping,"
that means they are going down the list of
entertainers in the phone book and are
looking for the best buy. Most of them do
not realize that the "best price" is not necessarily the "best
buy." They do not understand that every party is different.
How will they know if you don't tell them?
How do you get this information to the parent who calls
for a price? You take control of the phone conversation.
When they ask, "How much do you charge?", do not
assume they are referring to a birthday party. After all, they
may be calling about a large corporate event, a shopping
mall grand opening or an upcoming festival. First you must
ask, "What type of event are you planning?", which puts
you in control of the conversation, Now, they will start to
answer your questions, and in doing so, they will learn all
about what you offer.
Once you are sure they are calling for a price for a
birthday party, ask if it is for a child or an adult. Again , these
are two different types of entertaining. They will usually tell
you it is for their child, and your next question is, "boy or
girl?", and "how old?" Next, "How many children are you
inviting?"
By now you have engaged the parent in this
conversation. You know the age, boy or girl, how many
children to expect and you are on your way. This is very
important information, as your parties should be different if
you are catering to a one-year-old's party as opposed to an
eight-year-old's birthday.Also, your prices may reflect a
Another important necessity here is to know your prices
ahead of time and WRITE THEM DOWN. Take a few
minutes to figure out how much you are going to charge for
a party that is in town or close to you as opposed to a party
45 minutes to an hour away. Do you want to charge a
slightly higher fee for more children? If so, figure out where
the price differences will be. My basic fee is for a party in
town, for 1 O children or
less, for one hour. The
price goes up slightly if
they are out of town, if
there will be 11 to 15
children, 16 to 20
children, etc. There is an
added charge if I add 30
minutes of face painting.
This schedule of fees
should be written down
and taped next to your
telephone. That way,
when a parent calls and
asks your price, you have
it right in front of you. I
have been clowning for
16 years and I still have
my price list in front of me
at all times. You never
know what project you will be in the middle of when
someone calls. Your mind may be a million miles away and
suddenly you need to quote a price for an out-of-town party
for 35-40 children for two hours. If your price list is there,
you can give an intelligent answer. The worst thing is to
hem and haw when asked a question. It makes you sound
unprofessional and unsure of yourself. Do not put yourself
in that position.
All right, let's get back to the conversation. You know
whether it is a boy or girl, how old and how many guests will
be there. The next thing you need to do is let the parent
know what you will do at the party. Once they hear about
your wonderful program, they can envision it happening for
their little one's birthday.When you are finished describing
your show, you can quote your fee. If you offer any
options/choices, now is the time to explain those and their
extra fees (if applicable).
Now the parent knows all about what you do and has
had an opportunity to talk with you for a few minutes,
thereby getting a clearer picture of who you are and what
30 The New Calliope

January/February, 1997
your personality is. This would not have happened if you
had simply given them a price at the beginning of the
conversation.
Often a parent who is looking for the "best price" will
book a higher-priced entertainer once they find out what will
happen at the party. And, if they are truly checking around,
they will hear what the other entertainers offer for their price
and then truly make their decision based on best buy for
best price. But you must get your foot in the door at the
beginning of the conversation to get their attention, ask the
right questions, thereby giving yourself the opportunity to
quote them the right price .
Talking to the parent on the phone is one of the most
important parts of promoting yourself and your business.
Always remember to have a smile in your voice when
answering the phone. Too often , I hear parents tell me that
the last clown they talked with on the phone sounded
grumpy or disinterested or just plain "not funny." I am not
saying you need to crack jokes while on the phone, but
your voice must reflect the love and enthusiasm you have
for what you are doing.
Also, seriously consider a separate business phone
line. When that phone rings, you know for sure that it is a
business call and you can answer with more than "hello."
Also, if the call comes at a truly hectic time, you can let the
voice mail pick up and you can get back to the parent when
you are ready to be professional.
Another hint: If you cannot book a party because you
have a dentist appointment, or you are having lunch with a
friend or you want to go shopping that day, do not tell the
parent this information as an excuse. Simply tell the parent
you are already booked for that time and go from there. If a
parent wants you on a certain day, they are more
understanding that you are already booked at another
event instead of being told you would rather go to lunch
with a friend than entertain at their child's birthday party.
I try to never lose sight of the fact that as Peppermint I
am being invited into someone's home to help them
celebrate a very special event -- the birth of their child. I
count myself lucky to be included in this private occasion.
By treating the party from start to finish with respect and
professionalism, you will, in turn, earn their respect and
appreciation.
Talking with the parent on the phone can be lots of fun.
Never put any pressure on a parent to book. Never speak
Continued next page
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The New Calliope 31

January/February, 1997
FREE SO PAGE
BALLOON TWISTERS
CATALOG
Phone calls --
From preceding page
negatively about another entertainer. Never get upset with
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Most important is to have fun!
I welcome comments and stories about your birthday
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Houston, we have a problem child.
La~t walkatound
Robert'Rags'
Stanek
Robert "Rags" Stanek, 72,of Edina, MN, made his last
walkaround Sept. 16, 1996, when he suffered a heart
attack.
Rags spent 40 years in makeup.clowning ,teaching,
judging and competing all across the country. He joined
COA in 1968, as one of its earliest members (Number 153).
He was one of the founders of Minnesota Alley #19. He
became involved with the Aquajesters in Minneapolis in
1956, and marched in 74 Aquatennial parades.
Reported the Minneapolis Star-Tribune: "When he
wasn't marching in parades, he was visiting hospitals and
nursing homes to bring a smile to those who most needed
one."
A Communitry Resource Volunteer for more than 25
years, he taught youngsters about the history and art of
clowning.
Framed on his wall was a letter from one of those
youngsters, age 5: "Dear Clown: Thank you for coming to
our school and showing us how to be a clown. I like you
most next to God."
Rags served in the Navy during World War 11, and
worked as an engineer for Northwestern Bell Telephone for
37 years. He started the NW Bell Telephone Co. Pioneer
Clown Club.
An amateur radio enthusiast, he also raced sailboats.He
is survived by his wife, Arleen, a daughter, two brothers and
a sister. He will be missed by everyone who knew him.
32 The New Calliope

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January/February, 1997
'Once upon
a time ... ,
(Editor's Note: Cheri Venturi is a professional whiteface
clown who's developed a distinctive storytelling style. She
also owns a firm, "Cherri-Oats and Company," that sells
clown wigs and accessories.)
By Cheri "Cherri-Oats" Venturi
COAi Executive Vice President
Storytelling is a clown art that seems to be growing in
popularity. If you're considering adding this particular skill to
your repertoire, here are some tips that you might want to
consider.
First of all, if you're telling stories as a
clown, it's a little different than storytelling
in other ways, because when you walk into
a room as a clown, you have established
yourself before saying a word. You ARE a
clown. So your story is going to have to
wrap around your clown character,
involving circumstances and situations
that the clown might have experienced.
My clown is a two-year-old. Since I'm
very short, I decided they were the only
age group shorter than I was. And this age
also was the basis for the kind of stories I
tell. Of course, the best stories that you
can tell children or adults are stories out of
your past. But being only two years old, my
clown could not have a lot of past. So I had
to figure out how to use my character and
tell some stories with her.
As a result, when I tell a story, my
character has heard it, either from her
mother.her father, or an aunt or uncle or
cousin, or maybe the neighbor kid down
the block. My scary stories always come
from the older neighbor kids.
When I tell a story that I have taken from a book or a
magazine, I give the author credit by using the author's
name as my relative or friend. For example: "My Uncle Jay
O'Callahan told the story, 'Herman the Worman' ." Most
storytellers don't mind if you use their story if you give them
credit for it.
You can find stories out of your past, stories from books
out of the library. You can use music in storytelling if you can
sing (I don't.). You can use poetry (I don't use poetry
because I can't remember it!). If you do use poetry, you
have to remember each line exactly the way it is. If you are
just retelling a story, the kids don't know it exactly, so if you
forget a part, you can fill in with your imagination.
To refine your storytelling techniques, you should
practice with various groups: Nursery schools, department
stores (in the children's department.). Go in and ask them if
they would like a story hour on Saturday for about 45
minutes. This will give you the experience of telling stories
to people. You don't charge for them; you must give them
good service, but you will learn from doing it. You can also
use your family and friends to practice on. (Just remember -­
those friends might not be friends for long!) A suggestion:
Try telling your stories in clown character and then in plain
clothes. The comparison will give you a good idea where
your character should take over.
I like to use props once in a while,
but I don't like to carry a lot of things
when I'm doing a show. So I take
along as few props as I can -- magic
things that might bring the
audience back together. And
remember -- the prop is not the
story, the story is the idea of what
you are doing. The prop just helps
the story along .
Here's a story that I do for "Cherri­
Oats, my whiteface clown:
Hi! My name is Cherri-Oats, and I'm
two years old. And, and, and I go to
Kidieclowns Preschool. Yes, I do. I
ride a bus to school. You have to sit
down while the bus moves all over.
And you have to wait ti/ it stops to
get out. And I walk down the aisle:
"Hi, Sereline, Hi, Tommy, hi,
Hermione." Hermione is my best
friend. She likes me.
When school is over, I walk home.
Two houses I get to walk, because
I'm two years old. And I get to my
house, and my Mom is there. But,
one day my Mom wasn't there. The door was open thi-i-i-s
much. And I pushed it some more, and said, "Mom -- are
you there?" She wasn't there. "MOM! ARE YOU
THERE?" And I pushed it way open and said (very loud)
MOM!! ARE YOU THERE?!!!" And she heard me. And
I 've never seen my Mom run down the stairs that fast. And
she said, "What's wrong?" And I said, "Where were you?"
34 The New Calliope

January /February, 1997
Well, she was upstairs and she forgot what time it was.
So she gave me all those things like kisses all over my face.
(I pretend I don 't like them, but I really love 'em.) And then
she said, "Cherri-Oats , did you have something to eat at
school? " "Uh-huh, how did you know, Mom? " Oh, oh, I
think I forgot to use my napkin again. I know I did. Yup, I had
chocolate cake and pizza and ice cream , and I'm not hungry
for lunch , Mom.
And then she said something she NEVER says. She
said I could go play my Nintendo game! Do you know what
Nintendo is? Well, my Mom doesn't let me watch TV very
much ; she says it isn 't good for me, for my brain, so I don 't
watch TV much at all.
In the other room I grabbed that square thing, you
know, with buttons on it, that moves the TV. It's called a
remote control. It 's the thing that Daddies have that
Mommies can 't use. I got it ready and, oh, I want to show
you what was on my TV set. (Using the Magic Coloring
Book, she holds up a blank page .) I thought I was going to
cry. And then my Mom came in. She had unplugged the TV
set last night because there was a storm and lightning. I
can't touch electricity , because it's bad tor you, so she
plugged it in. I got the remote control again , and I'll show
you what I got this time (holds up a black and white picture) .
What's wrong with that? Audience: No color!
(Storyteller uses audience participation to "throw'' color
into the box, then produces a colored picture.)
Notice that the story was about my character -- things
that could happen to a little kid. My vocabulary was a twoyear-old's
, my actions, everything.
I patterned my whole little girl after my niece.I took her
shopping at K-Mart with her mother, and she threw a
tantrum. It was so funny. My sister-in-law tried to stop her.
But I said, no, let her go! I copied my character from her,
how she acts when she's tired, how she eats, talks and
plays.
You can read stories to children if it suits your character.
I can't as a two-year-old. So, any time I bring out a book for
my audience, I hold it upside down, and pretend to read.
But if you are going to read, make sure you hold the book in
one place all the time. If you are trying to show pictures and
keep moving the book, you are causing a distraction.
There will be times when you are invited to a school and
they'll say there will be about 15 people, and you wind up
with 45 kids. So always be prepared with a story you can
use with lots of people , and also a story that's right for a
small audience .
When I'm doing a show that involves a number of
activities, I prefer to start with a story. This give me a chance
to evaluate my audience. It also can calm a group of children
that have been playing before you arrived.
In addition to "solo"stories ,I also tell audience
participation stories. They are usually stories ev~ryone
knows, like "The Three Little Pigs." I try to involve as many
youngsters as I can by using some children for soundmakers.
They are cued by certain words to make their
sound; therefore , they MUST listen to the story to know
when to come in.
If the crowd is very large, I use stories where the
youngsters do various actions to cued words. If a child
wants to tell a story of their own, I ask them to tell me the
story after the show.
The final advice I have for joeys is to start telling stories
in and out of clown, so you can remember how wonderful it
is to let your imagination run free.
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little book to read to more than a half dozen or so people.
Any larger group needs a larger book.
In addition , if you 're going into a storytelling situation,
know what the noise level is going to be in your room. I
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make sure you know your audio and your audience.
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The New Calliope 35

January/February, 1997
Competitors find
changes in rules
By Leo Desllets
COAi Competition Chairman
After the 1996 COAi Convention in Puerto Rico, I took
a hard look at the competitions. I felt the makeup
competition needed some minor adjustments in two
categories.WHITEFACE and CHARACTER . THE COAi
Board, Calliope editor and I received many letters on these
two subjects , and at their Fall meeting, the Board took the
following action on these two categories:
+ Spllt the Whiteface category Into two
groups: :(a) Classic Whiteface and (b) Comedy
Whiteface.
+ Redefined the Character category, and
giving all qualified makeup Judges a refresher
course In this category.
If you are competing in either of the two Whiteface
categories , the competitor will have to make a decision in
which category he/she wishes to compete. Actually , COAi
has three different types of Whiteface clowns: Straight
Whiteface , Classic Whiteface, and Comedy Whiteface. But
they will be judged in two categories: Straight and Classic in
one, Comedy Whiteface by itself. In the rules for
competition that begin on page 38, you will find
"Competition Judging Criteria." This will help you decide in
which of the categories your character should compete.
So COAi makeup and costume competition in 1997 will
include six divisions: Classic Whiteface, Comedy Whiteface,
Auguste, Tramp/Hobo, Character, and Seniors. The overall
appearance of the clown, not just the color of the face
alone, establishes the appropriate classification. Here are
the criteria that COAi will use when judging
makeup/costume competition:
WHITEFACE CLOWNS: There are three types of
Whiteface clowns -- Straight Whiteface, Classic Whiteface
and Comedy Whiteface, but they will be judged in two
categories. Straight and Classic Whiteface will be judged
together and Comedy Whiteface by itself. Judges will be
grading the clown on how well he/she portrays this type of
clown.
CLASSIC WHITEFACE:
a. Character. Also commonly called
the Pierrott clown. An elegant clown, artistic, colorful, bright
and cheery. Its performance is highly artistic and skillful, but
done with a comedic or dramatic flair.
b. Makeup: All exposed flesh will
be covered with white makeup. Minimal lining color(s)
and/or glitter will be used to express the features of the
eyes, nose and mouth. A white skull cap would be worn in
lieu of a colored wig. The European Whiteface generally
does not wear a comedy nose, false eyelashes or large
ears.
c. Costume: Considered the "most
beautiful" of all clowns, it would be outfitted with the
traditional one or two-piece jump suit of white or colored
material to fit the character of the Classic Pierrott. The styles
may vary, but are generally roomy and well-fitted, and may
have a detachable collar. The tunic or blouse can be
straight, flared, short , medium or long with the long sleeves.
Buttons, pompons, piping and ruffles should be of a
contrasting color. The pants can be straight, flared , ruffled
or pantalooned. A clown hat should fit the clown's
character/personality (short or tall cone hat, short cup or flat
hat, or the typical Pagliacci hat). Gloves should cover the
hands and wrists and should be white or colored to fit the
wardrobe. Ballet or dancing slippers would be worn in lieu of
large comedy shoes.
Straight Whiteface
a. Character: The aristocrat of all
clowns. An elegant clown, artistic, colorful, bright and
cheery . In a setting with other clowns , the Straight
Whiteface would be in charge. Its performance is highly
artistic and skillful, but done with a comedic or dramatic flair.
When performing with the Auguste and/or Tramp/H obo,
this clown will remain in charge, setting up the routine ,
throwing rather than taking the pie, slap or kick. Although
more comical than the European Whiteface , this clown is a
bit more reserved than the impish and gregarious Auguste.
b. Makeup: All exposed flesh will
be covered with white makeup. Minimal lining color(s)
and/or glitter will be used to express the features of the
eyes, nose, and mouth. Varying styles and colors of clown
wigs are used in lieu of only the skull cap. The color of the
wig is generally chosen to accent another color in the
costume.
c. Costume: The costume will fit
well. Satins, sequins, rhinestones and theatrical fabrics
(shiny, flashy, beaded, etc.) can be used. A one or twopiece
jumper worn with a ruff is the most common Whiteface
costume. However, a two-piece suit or tuxedo style is also
acceptable. The costume, including the accessories,
should be color coordinated . Shoes can be large or small
but should be simple. Gloves should always be worn.
Comedy Whiteface
a. Character: As the Straight
Whiteface is the more "traditional" clown, the Comedy
Whiteface is today the most common Whiteface clown.
When performing with the Auguste and/or Tramp/Hobo,
this clown will usually take charge, setting up the routine,
throwing rather than taking the pie.slap or kick. Although
36 The New Calliope

January/February, 1997
more comical than the Straight Whiteface, this clown is
usually a bit more reserved than the impish and gregarious
Auguste.
b. As with the Straight Whiteface,
all exposed flesh of the face, neck and ears will be covered
in white makeup. The coloring and design of the facial
features is what differentiates it from the classic design .
Whereas the straight design is purposely kept simple, the
Comedy Whiteface design may include large false
eyelashes, a larger mouth design, a clown nose and other
features on the face. Some of these features may be
outlined in black; glitter and sparkles also are common.
Varying styles and colors of clown wigs are used in lieu of
only the skull cap. The color of the wig is generally chosen
to accent another color in the costume.
c. Costume: Although the
traditional jump suit can be worn, the Comedy Whiteface is
equally acceptable in brightly colored shirts and pants, suits
and large comedy shoes that complement the costume.
Costumes will be more "glitzy" and color coordinated than
the August costumes. White or colored gloves should be
worn. The female clown costuming does not vary greatly
from the Auguste. The Whiteface tradition of color
coordination, sparkles, glitter, ruffles and ribbons remain.
Even when using cotton fabrics, the total look would be
pretty and elegant.
The Board also decided to tighten up
Character competition by ellmlnatlng the
storybook character and clown Impersonation of
notable figures, llke Charlle Chaplln, W.C.
Flelds, Etc. One cannot use a clown
Impersonation of a notable figure anywhere due
to copyright Infringements, using somebody's
trademark, etc.
Character Clowns
A Character Clown is one who portrays an identifiable
character and/or occupation,i.e., fireman, nurse, doctor,
cowboy, hockey player, policeman, sailor, small child, etc.
Contestants must remember that this Is a clown
competition; therefore, reallstlc Impersonations
of famous personalltles are not considered
"clowns." Representations of anlmals or cartoon
characters, l.e.,dogs, cats, smurfs, etc., are also
not considered Character clowns. Rules regarding
costumes mentioned for Whiteface clowns will not
necessarily be used in judging this category. Judges will
grade the contestant on how well the costume helps to
identify the character. When judg ing this category the
judges will be evaluating the contestant's makeup
according to the appropriate makeup guidelines . You will
find yourself dlsquallfled if you are dressed like a mouse,
"Barney" with a clown face, etc., so make sure it is a clown
occupation.
These are the only changes in competition rules. The
complete and revised rules are contained in the following
pages of The New Calliope. Rules will also be available at
the COAi sign-up table at the International COAi
Convention in Sturbridge , MA, in April.
Please come out and compete, have some fun, and
watch your clown grow from the experience of competing.
If you have any comments or questions, let me know: Leo
Desilets, 1080 New Haven Ave., Unit #1 rn, Milford, CT
06460. Phone (203) 877-3869.
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The New Calliope 37

January/February, 1997
I. GENERAL
COAi Competition rules
A. National Competition Chairman
1. The Director of Conventions will appoint an
International Competition Chairman to serve as the Chief
judge at COAi annual conventions.
2. The chairman will be responsible for
maintaining current competition rules, criteria for selection
of judges, and criteria for judging of categories by means of
a standing competition committee. He/she will conduct a
judges' seminar prior to the start of competition.
3. The Chairman is the chief advisor to the
convention host alley regarding requirements and
procedures for conducting the competition. He/she will
maintain a Manual for Hosting a COAi Annual Convention
Competition. The chairman will also coordinate procuring
competition awards.
4. If the chairman is unable to attend the
convention, the Director of Conventions will appoint a
qualified COAi member to act as the Competition
Chairman/Chief Judge for that convention.
B.Awards
1. First, Second and Third Place awards for
categories listed in these rules will be presented by COAi.
In the event of a tie for any award, a duplicate award will be
sent to the winner as soon as possible by COAi.
Revised Dec. 12, 1996
the COAi Competition Chairman. To quality as a COAi
judge, members must:
a. Have been a clown for at least five
consecutive years prior to the convention.
b. Have extensive experience in
clowning through public performances, education,
teaching the art of clowning or competition. Competition
experience should include placing within the top three in
regional and/or international competitions, not necessarily
COAi competitions.
c. Have judging experience in local
and/or regional conventions/seminars.
d. Attend a judging seminar conducted
at a COAi annual convention, an ISCA judging seminar or
any other judging seminar certified by the Competition
Director on or after May 1990.
5. Members desiring to be certified as a COAi
judge must send a resume to the COAi Competition
Chairman at least six months prior to a convention.
B. Judging procedures
1. Judging will be in designated areas which will
be announced by the hosting alley.
2. Each judge will complete and sign the
appropriate score sheet. A copy of the score sheets will be
returned to the contestants prior to the end of the
convention.
2. Each person entering competition will
receive a Certificate of Participation from COAi.
3. Each contestant placing in the TOP TEN
within a competition will receive a TOP TEN Certificate and a
TOP TEN Patch with a date strip. Subsequent TOP TEN
winners will receive only a date strip.
II.JUDGING
A. Selection:
1. The COAi Competition Chairman/Chief
Judge will select all judges.
events.
2. Five judges will be utilized for all competitive
3. One judge will be a qualified COAi officer,
and four selected from qualified members at large.
4. All judges must be COAi members in good
standing and must have been certified as a COAi judge by
3. The decision of the judges will be final. The
Chief Judge has the right to disqualify participants in any
category for infractions of any competition rule or the Clown
Code of Ethics.
4.Contestants may not speak to any judge
unless in response to a question from a judge. Judges may
not talk to other judges during the competition.Unresolved
questions regarding rules and procedures will be directed
to the Chief Judge.
COMPETITION CATEGORIES
AND SPECIFIC RULES
A. Professional Conduct
1. Each clown is expected to conduct
him/herself according to the CLOWNS OF AMERICA
INTERNATIONAL CODE OF ETHICS and THE SEVEN
CLOWN COMMANDMENTS at all times.
2. Any clown whose conduct is deemed
38 The New Calliope

January/February, 1997
inappropriate or unfavorable in the competition may be
disqualified by the judges.
B. Eligibility
1. All clowns in good standing with COAi are
eligible to participate in the competition, except for
members and associate members of the host alley.
2. All contestants must be fully registered with
the convention.
3. Contestants must show their current COAi
membership card at competition registration. A current
membership list will be at the competition registration desk.
If a contestant joins COAi for the first time at the convention,
he/she must have a certificate from a COAi officer that
he/she is a new member.
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C. Makeup/Costume Competition
1. Five types of clowns will be judged in
makeup/costume competition: Classic Whiteface, Comedy
Whiteface, Auguste, Tramp, and Character. Members who
are 55 years and older may compete separately in a Seniors
Division. Clowns classed as Novelty clowns cannot
compete in makeup/costume competition . A Novelty clown
is one whose costume is primarily designed for a parade or
as a sight gag.
2. Contestants must have applied their own
makeup without anyone else's assistance.
3. Registration
a. Contestants must register for their
appropriate category no later than 12 hours or midnight
(whichever comes first) prior to the date/time of
makeup/costume competition. Contestants must list their
COAi number and city/state at registration.
b. The host alley will assign convention
registration numbers to contestants, which will be used as
the clown's number for competition.
c. A clown may enter only one makeup
category. A FIRST PLACE winner is prohibited from
entering that category for three consecutive years, but may
enter any other makeup category.
4. Competition procedures
a. All identification tags, badges, or
patches that give the contestant's name, clown name,
and/or alley/club must be removed or concealed. Failure to
do so will result in a five (5) point penalty per judge.
b. A contestant may carry a prop(s) if it is
part of his/her character (what the public normally sees with
the clown), but the prop(s) may not be demonstrated in any
way during the judging of the contestant. Failure to comply
will result in a five (5) point penalty per judge.
c. At a time designated by the host
alley, contestants must assemble and line up in numerical
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The New Calliope 39

January/February, 1997
Competition rules --
From preceding page
order in designated areas. Any contestant that arrives after
the designated time will be disqualified .
d. All contestants in a makeup category
will be paraded in front of the judges and then be judged
individually.
e. Each contestant will be called into a
judging area in front of the judges and told to turn around
slowly, and then asked to strike a pose. At no time will a
judge touch a contestant, but the contestant may be asked
questions. After judging, the contestant will be excused
from the judging area.
f. If a contestant leaves the holding area
after the parade and does not return when his/her number
is called for the individual judging, that contestant will be
disqualified.
g. During the time contestants are in
the holding area, individual judging area or in the
audience.they must conduct themselves in an orderly
manner at all times. Performing in these areas is prohibited.
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a.Makeup design
b.Makeup application
c.Costume design
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d. Costume accessories (shoes,
gloves, ties.hats, collars, vests)
e.Wig
D .. Skit Competition
1. Skit competition is divided into two (2)
categories: "Individual Skit" (limited to one person on
stage), and "Group Skit" (two or more persons on stage). If a
member or members of the audience are needed for the
skit, the skit will be considered a group skit.
2. All identification, tags, badges, or patches
which give the contestant's name and/or alley/club name
must be removed or conceealed. Failure to do so will result
in a two (2) point penalty per judge.
3. Skits must be suitable for all ages and in
keeping with clowning. They must be kept clean and
decent in both word and suggestion. Skits should not be
able to cause injury to any person, performer, or member of
the audience. Violation of these principles can cause
disqualification.
4.lt is up to the contestant to determine the
allowed use of smoke and/or pyrotechnics with the host
alley prior to the convention.
5.Competition procedures
a. Time. Contestants may have up to
one (1) minute to set up props/scenery on stage, and one
(1) minute to remove all props/scenery from the stage after
their performance. It is the contestant's responsibi lity to set
up the skit. Stage hands will be available to assist. Any skit
set-up time or breakdown time that exceeds this limit will
automatically be penalized five points for every 15 seconds
over the time limit. Contestants will have a maximum of five
(5) minutes to perform their skit. Any skit that exceeds this
limit will automatically be penalized one (1) point per judge
per second. Time starts from the completion of the Master
of Ceremony's introduction of the skit and a contestant's
entrance onto the stage, or the start of background music
and/or sound effect, which ever comes first.
b. Facilities
(1) If the competition cannot be
held in a theater setting, a portable stage 121'x18'x3'
should be made available.Specific sizes may vary based on
local facilities.
(2) Contestants must supply
their music and/or sound effects on cassette tapes properly
cued. An adequate sound system and operator will be
provided by the host alley. The operator, however, will not
be allowed to start, stop, start the tape. Once the tape is
started, no other cuing will be allowed.
(3) Stage hands will be
available to help contestants with props and scenery.Some
tables and chairs will be provided by the host alley for
contestants to use.
(4) Contestants using pies,
water, confetti, etc., must clean up the stage during one (1)
minute take-down time.If something falls or is thrown into
40 The New Calliope

January /February, 1997
the audience, it must be cleaned up after the competition
by the contestant(s) unless otherwise directed by the host
alley skit competition committee. Failure to do so will result
in a ten (10) point penalty.
c. Registration
(1) Contestant(s ) must
register for skit competition no later than 12 hours or
midnight (which ever comes first) prior to the beginning of
skit competition. All contestants' names , COAi numbers
and city and state will be required on the registration.
Contestant(s) must also indicate what facilities/equipment
are needed from the host alley at the time of registration. A
member can only register for one skit per category.
(2) Within one (1) hour after the
close of registration a computer-generated random number
will be assigned to each contestant/group which will be their
order of performance . This list will be posted at or near the
registration area.
(3) At the time of registration ,
contestant(s) will be given written information regarding the
stage facilities, sound and lighting facilities and available
props. The host alley may decide to hold a meeting to
provide this information .
d. Performance Procedures
(1) Skits will be performed in
the sequential order established after close of registration.
Contestants and all members of groups are responsible to
be in the holding area at least 15 minutes before their
performance. Contestants will be disqualified if not in the
area when prior contestant(s) take the stage .
(2) A Master of Ceremonies will
introduce the skit in accordance with directions given by the
contestant/group. MC should not make any remarks during
the competition which may influence the judges.
(3) A contestant in Individual
Skit competition may not have any assistanc e from anyone
off stage during the skit other than a sound techni cian
starting a music/sound effects tape .
(4) A member or members of a
group skit may leave and reenter the stage as long as there
is at least one clown on stage at all times.
e. Contestants/groups will be judged on the following
for a total of 200 points:
(1) Definite Beginning , Middle
and End
(2) Pace and timing
(3) Characterizations and clown
character involvement
(4) Quality and use of props
(5) Facial and body movements
(6) Costume /makeup
(7) Originality
(8) Professional behavior on
stage
(9) Audience reaction
(10) Overall effectiveness of
pres entation.
E. Paradeability
1. This competition is designed to judge a
clown 's or a group's ability to perform, entertain , or bring
laughter during a parade. Contestants may use a sight gag ,
an object or prop using signs or vocal expression. Parade
gimmicks may be carried , pushed , pulled or driven, and do
not require a setup or tear-down time. Objects used are
those that can be "reloaded" on the move.
2. Clowns wearing novelty type costumes must
participate in this competition instead of makeup/costume
competition.
3. All identification tags , badges , or patches
that give the contestants ' name and/or alley/club name
must be removed or concealed. Failure to do so will result in
a five (5) point penalty per judge.
4. Competition procedures
a. Registration
(1). Contestant(s) must register
for paradeability competition no later than 12 hours or
midnight , whichever comes first, prior to the beginning of
the competition. All contestants' names , COAi number ,
convention registration number, and city and state
will be required on the registration. Two separate
categories, individual clown and group, will be judged. A
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The New Calliope 41

January/February, 1997
Competition Rules --
From preceding page
member can register in only one category.
(2) Within one (1) hour after the
close of registration, a random number will be assigned to
each contestant/group, which will be their order of
performance. This list will be posted at or near the
registration area.
b. Parade Procedures
(1) A simulated, roped-off
parade route will be provided at least 40' long and 20' wide.
Appropriate parade music may be playing.
(2) At a time designated by the
host alley, contestants must assemble and line up in
numerical order in designated assembly area.
(3) One by one, each
contestant/group will travel down the "parade route" and
must demonstrate their parade prop or entertain at least
twice within a one (1) minute time frame. A one-point
penalty per second per judge will be awarded for failure to
cross the finish line of the parade in a one-minute time
frame. All makeup categories will be grouped together .
c. Judges will be placed along the
"parade route" and will judge on the following (total of 200
points):
(1) Act and/or prop appropriate
to type of crowd
(2) Originality
(3) Quality of parade prop(s)
and practicality
( 4) Costumes/makeup
(5) Audience/crowd appeal
F. Balloon Sculpture Competition
1. There are three categories in the Balloon
Sculpture Competition:
a. Single Balloon Sculpture -- A
sculpture using only one 145, 245, 260 or 360 balloon or
similar balloon, without the use of an adhesive.
b. Multiple Balloon Sculpture -- A
sculpture using any combination of balloons the same or
varying sizes without the aid of an adhesive.
c. Balloon Arrangement - A sculpture
and/or arrangement using a combination of balloons the
same or varying sizes with or without any other object(s).
Adhesives may be used.
2. Registration: Contestants must register for
each category at least 12 hours or midnight, whichever
comes first, prior to the beginning of the competition.
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Contestants may enter all three categories.
3. Competition procedures:
a. Contestants must be in the
competition area when competition begins. Contestants
entering late will be disqualified.
b. Contestants must furnish their own
supplies.
c. Balloons may not be inflated before
competition begins. Contestants may use inflating devices.
d. Only one (1) sculpture arrangement
may be submitted for judging per category.
e. Contestants will have fifteen minutes
in the Single and Multiple Balloon categories, and 30
minutes in the Balloon Arrangement category.
f. Sculptures that have won First Place
may not be reentered by that contestant for three
consecuti ve years.
4. Sculptures will be judged on the following
criteria (total 200 points):
a. Appearance
b. Uniformity
c. Originality
d. Use of type of balloon
e. Use of color
Judges will not enter the competition area until
all contestants have completed their sculptures and have
__, departed the area or began working in another category.

January/February, 1997
Depending upon space availability, COAi may watch the
contestants build their sculptures.
COMPETITION JUDGING CRITERIA
The following are the criteria that COAi judges will use
when judging makeup and costumes in COAi competition.
The makeup and costume competition categories are
Classic Whiteface, Comedy Whiteface, Auguste,
Tramp/Hobo, Character, and Seniors Division. The overall
appearance of the clown, not just the color of the face
alone, establishes the appropriate classification .
Whiteface Clowns:
a. Character: Also commonly called the Pierrott
clown. An elegant clown , artistic, colorful, bright and
cheery. Its performance is highly artistic and skillful , but
done with a comedic or dramatic flair.
b. Makeup: All exposed f!esh will be covered
with white makeup. Minimal lining color(s) and/or glitter will
be used to express the features of the eyes , nose, and
mouth,. A white skull cap would be worn in lieu of a colored
wig. The European Whiteface generally does not wear a
comedy nose, false eyelashes, or large ears .
c. Costume: Considered the"most beautiful " of
all clowns , it would be outfitted with the traditional one or
two-piece jumpsuit of white or colored material to fit the
character of the Classic Pierrott. The styles may vary, but are
generally roomy and well-fitted and may have a detachable
collar. The tunic or blouse can be straight, flared, short,
medium or long with the long sleeves. Buttons, pompons,
piping, and ruffles should be of a contrasting color. The
pants can be straight , flared, ruffled or pantalooned. A
clown hat should fit the clown's character/personality (short
or tall cone hat, short cup or flat hat, or the typical Pagliacci
hat). Gloves should cover the hands and wrists and should
be white or colored to fit the wardrobe. Ballet or dancing
slippers would be worn in lieu of large comedy shoes.
Straight Whiteface
a Character: The aristocrat of all clowns. An
elegant clown , artistic, colorful, bright and cheery. In a
setting with other clowns, the Straight Whiteface would be
in charge . Its performance is highly artistic and skillful, but
done with a comedic or dramatic flair. When performing with
the Auguste and/or Tramp , this clown will remain in charge,
setting up the routine, throwing rather than taking the pie,
slap or kick. Although more comical than the European
Whiteface , this clown is a bit more reserved than the impish
and gregarious Auguste.
b. Makeup: All exposed flesh will be covered
with white makeup . Minimal lining color(s) and/or glitter will
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The New Calliope 43

January/February, 1997
Competition rules --
From preceding page
be used to express the features of the eyes, nose, and
mouth . Varying styles and colors of clown wigs are used in
lieu of only the skull cap. The color of the wig is generally
chosen to accent another color in the costume.
c. Costume: The costume will fit well. Satins,
sequins, rhinestones and theatrical fabrics (shiny, flashy,
beaded, etc.) can be used. A one or two-piece jumper worn
with a ruff is the most common Whiteface costume.
However, a two-piece suit or tuxedo style is also
acceptable. The costume, including the accessories,
should be color coordinated. Shoes can be large or small
but should be simple. Gloves would always be worn.
Comedy Whiteface
a. Character: As the Straight Whiteface is the
more "traditional" clown, the grotesque Whiteface, also
known as the Comedy Whiteface, is today the most
common Whiteface clown. When performing with the
Auguste and/or Tramp, this clown will usually take charge,
setting up the routine, throwing rather than taking the pie,
slap, or kick. Although more comical than the Straight
Whiteface.this clown is usually a bit more reserved than the
impish and gregarious Auguste.
b.Makeup: As in the Straight Whiteface, all
exposed flesh of the face, neck and ears will be covered in
white makeup. The coloring and design of the facial
features are what differentiate it from the Classic design.
Whereas the Straight design is purposely kept simple, the
(Comedy) grotesque Whiteface design may include large
false eyelashes, a larger mouth design, a clown nose and
other features on the face. Some of these features may be
outlined in black; glitter and sparkles are also common.
Varying styles and colors of clown wigs are used in lieu of
only the skull cap. The color of the wig is generally chosen
to accent another color in the costume.
can be worn, the (Comedy) grotesque wnitetace 1s equally
acceptable in brightly colored shirts and pants, suits and
large comedy shoes that complement the costume.
Costumes will be more "glitzy" and color coordinated than
the Auguste costume . .White or colored gloves should be
worn. The female clown costuming does not vary much
between the Auguste and the Whiteface; the tradition of
color coordination, sparkles, glitter, ruffles and ribbon
remain. Even when using cotton fabrics, the total look will
be pretty and elegant.
Auguste
a. Character: The most comical of all clowns.
He/she is impish, gregarious and thrives on slapstick.
His/her actions are big, clumsy and awkward. He/she does
not have much in common with the Whiteface except for
the makeup and costume. His/her personality is that of a
rabble rouser. When appearing with a Whiteface, the
Auguste is the brunt of the joke. However, with the Tramp
he becomes the instigator in control of the situation.
b.Makeup: The Auguste has a highly colorful
makeup with a base color of flesh tone (pink, tan, reddish
brown) on the face and neck. The eye and muzzle area are
usually covered in white to produce a wide-eyed
expression and to accentuate the mouth design. Designs
in and around the eye area and mouth design are generally
black or red, but other lining colors, in moderation, are
acceptable. A red shadowing around the muzzle area is
generally outlined in black (or occasionally red). This clown
will normally wear a large comedy nose appropriate to the
size of the clown's face. The Auguste will always wear a wig,
but can choose from the many varied styles and colors that
will accentuate the costume and flesh tones of the
Auguste.
c. Costume: The Auguste clown has the widest
variety of costume designs to choose from, except it would
not wear the "traditional" jumpsuit of the Whiteface clown.
The Auguste clown could wear a jacket or coat, short,
medium or long, with or without tails, or go without. The
pants could be short, long or oversize. It can choose from a
wide selection of colorful plaids, stripes, polka dots, and
checks, as well as solid colors. Commonly called "the tailor's
nightmare," the colors and patterns should complement the
overall clown's appearance, whether or not they are
coordinated or matched. Theatrical fabrics or sequins are
inappropriate on the Auguste costume. He/she is usually a
notorious prankster and may need a lot of pockets to carry
gags and tricks. The costume can be complemented with
outlandish accessories like large or small ties, vests, colorful
socks, large or comical collars, suspenders and many styles
and colors of comedy clown shoes.
These and one of the many hat possibilities, like
skimmers, Irish derbies, bowlers, top hats, stovepipes,
madhatters and crushables in various bright colors will
enhance the Auguste clown character. White or colored
gloves are also worn. Although the classic European
Auguste is used in skits, it is not appropriate for COAi
competitions. Costuming does not vary much between the
Auguste and the Whiteface female clown regarding style,
but the Whiteface tradition of color coordination, sparkles,
glitter, ruffles and ribbon remain. Even when using cotton
fabrics, the total look would be pretty and elegant. The
Auguste female clown may wear mismatched colors and be
totally uncoordinated, but may also prefer to be a pretty
clown. This is acceptable. However, the Auguste must
never wear sequins and glitter or use theatrical fabrics.
These belong only to the Whiteface beauties. Large
comedy shoes should be worn. The female Auguste may
choose to be a bumbling, stumbling or slapstick personality,
much the same as the male Auguste clown.
44 The New Calliope

January/February, 1997
Tramp/Hobo
a.There are some variations in this clown
category. The classic Tramp epitomized by Emmett Kelly
and Otto Griebling of circus fame is the forlorn and
downtrodden character who has nothing and knows he will
never hav~ anything. By nature he probably will be a loner,
which is reflected in his determination to be silent, generally
not talking to anyone but his peers. His downcast
mannerisms and shuffling, burdensome movements reflect
his hard life. The vagabond, elegant or happy Tramp is the
businessman, scholar or playboy who, being fed up with his
life, walked out of society for the wanderlust of travel. He is
the king of the road, happy with what he has, and does not
expect much. His character may take on some of the
characteristics of the Auguste. This type of character was
portrayed by Red Skelton in his Freddie the Freeloader
character. Considered the only true American clown, some
believe that this character developed from the days of the
depression in the 30's when man "rode the rails" looking for
work. Other historical references indicate the Tramp
makeup goes back to vaudeville and minstrel shows of the
1800's and early 1900's. Regardless of the type of
Tramp//Hobo, he is the one who is the brunt of the joke and
will be on the receiving end of the pie, slap or kick from the
Whiteface or Auguste . Both variations of tramps will be
judged together. In addition, the "bag lady" would be
considered the female version of a Tramp/Hobo.
b. Makeup: The makeup represents the soot
deposited on the face from the coal and wood-burning
trains their originators rode. The eye and mouth areas were
wiped clean of soot in order to see and eat. White makeup
is used in the eye and mouth areas to exaggerate this
cleaning process. The upper face is a blend of flesh tones
to reflect the outdoor look . The beard line of the male is
black or shades of dark gray to reflect the soot and beard,
feathered into the upper cheeks and down under the chin.
A ruddy nose is used. A little red shading in the cheeks can
help create the sunburned look. The difference between
the types of Tramp characters is generally depicted by the
shape of the eyebrows and mouth , either down or up to
reflect sadness or happiness.
c. Costume: Usually a dark suit, tuxedo, tails or
just shirt and pants made to look old and worn for the male
and an old , worn-out dress and/or coat for the bag lady.
These could be well patched with rags or other materials,
with uneven stitching or held together with whatever
available . A dark, battered hat, tattered shoes and socks,
worn shirt and tie will exaggerate the character . Gloves are
generally old and worn . In keeping with the unemp loyed
status of the Tramp, this character would not wear
expensive watches, rings , or new belt, shoes or socks.
Character Clowns
A Character clown is one who portrays an
identifiable character and/or occupation, i.e., fireman,
nurse, doctor, cowboy , hockey player, policeman, sailor,
small child, etc. Contestants must remember that this is a
clown competition; therefore, realistic impersonations or
clown impersonations of famous personalities, i.e., Charlie
Chaplin, W.C. Fields, Col. Sanders. etc. , are not considered
"clowns." Representations of animals or cartoon characters,
i.e., dogs, cats, smurfs, etc., are also not considered
Character clown~. Rules regarding costumes ment ioned
above would not necessarily be used in judging this
category. The judges will grade the contestant on how well
the costume helps to identify the character. When judging
this category, the judges will be evaluating the contestant's
makeup according to the appropriate makeup guidelines.
Seniors Division
Contestants who are 55 years of age or older may elect
to be judged in the Seniors Division rather than other
makeup and costume categories. All types of clowns will be
judged in this category, using the criteria set for the various
types of clowns. A Senior may not enter more than one
category.
Novelty Clowns
A Novelty clown is one whose costume is primarily
designed for a parade as a sight gag. Members who want to
compete with these types of costumes must enter the
paradeability Competition.
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The New Calliope 45

January/February, 1997
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JAMBOREE
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JULY 10-13-1991
WATCH FOR MORE INFORMATION
Clowns of America International
Income, expense and balance statement
REVENUE
Membership
Alley charters
Magazine ads
Merchandise
Convention
Interest
Misc.
Cl. Hall of Fame
as of Nov. 30, 1996
OCT.- NOV. YEAR TO DATE
$8,562.72 $49,307.16
200.00 700.00
4,170.00 7,155.00
3,998.40 4,520.40
275.96
698.32
402.00
Weleome to the
Warehouse
Find
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by Robert E. Weaver
Officially authorized and dated
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Certificates, long out of
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shipped post-paid to you. This is
a great opportunity to add this
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Send to BB&MM STUDIO
P.O. Box 135
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Broken Sets Available
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of your clowning needs. We promise
Fast, Friendly SeNice ..... Give us a call.
TOTAL
REVENUE$17,207.08
EXPENSES
Returned checks 46.00
New Calliope production4,200.00
Editor fee 4,765.00
New Calliope postage 1,500.00
Computer service 2,558.71
Postage 314.49
Printed matter 163.41
Merchandise 2,998.29
Cl Hall of Fame 622.20
Publicity 173.27
Convention 181.36
Education
Prorated materials
Misc. 72.00
Fall Board meeting 3,010.48
Officers phone/postage 266.26
Trophies
Board meeting
Professional services 1,400.00
National Office 408. 75
Innovation/development 433.00
Excellence in clowning
Clown ArtisU Residence1 ,691.02
Directory
Web page
TOTALEXPENSES$24,804.24
BALANCE SHEET
Carry over from
last period $95,810.39
Total revenue 17,207.08
Total expenses 24,804.24
CerUDep. Maturity
CerUDep. Purchase
NET CASH
BALANCE 88,213.23
APPROX AMT
HELD IN CDs 95,000.00
Respectfully submitted
Judy Quest, Treasurer
$62,782.88
121.00
10,333.29
9,547.74
3,000.00
6,294.50
2,328.00
461.36
13,447.49
2,113.20
223.27
1,357.37
959.70
307.00
3,010.48
1,178.51
2,367.08
792.05
433 .00
3,441.02
$61,716.06
$87,146.41
62,782.88
61,716.06
88,213.23
95,000.00
46 The New Calliope

January /February , 1997
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The New Calliope 47

January /February, 1997
Obviously, members of the Northland Clown
Gulld Alley #217 are (you should excuse the
expression) all fired up about clowning. Even
without the vehicle, says Alley President
Sharon Barnhart, they're "ready to respond
to any activity where we can share our funny
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In activities around Kansas City, MO.
Clowns of America International
P.O. Box 570
Lake Jackson, Texas 77566-0570
Periodical Postage
Paid at Bluffton, Ohio
48 The New Calliope