July_August_2002

spspub

Cifllio~

Clowns of America International

icheyville , PA 15358

duly/August , 2002

Volume 20, Number 1


The New Calliope

The New

Call ioP-_e ____ "

THE NEW CALLIOPE is published bi-monthly:

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The New Calliope

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Clowns of America International, Inc.,

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made between 9 a.m. and 5 p.m.( EST) each Wednesday

and Thursday. Call 1 (888) 52-CLOWN.

ON THE COVER: Cheri Venturi, re-elected to

a second term as COAi President . See page

8 for election results .

-2-


he New Calliope July/August, 2002

The New

CallioP-e

ublished for members of Clowns of America International

ULY/AUGUST, 2002

COAi OFFICERS

EXECUTIVE COMMITTEE

PRF.SIDE:-(T: Cheri \·enturi, P.O. Box 367, Destrehan,

L.--\ 700-+7. Phi (985) 764-0080. cherioa ts@aol.com

EXEC. VICE PRESIDE:--..T: Paul Kleinberger II, 2 \1aple Ln. '.':.,

Loudonville. :--;y 12211. Ph. H (518) 438-0775.

\V: (518) 438-0775, FuddiDuddy @aol.com

SECRET ARY: Teresa Gretlon, 3411 Lisa Circle,

Waldorf, \ID 20601.Ph. (301) 843 -8212.

gretto n@bellatlantic .net

TRF..--\Sl'RER: Claudia Keener, 34 1 \1ilcs .\ve . :--.:.w., Warren, Oil

44483. Ph. (330) 847-8221.

SERGEA;',T-AT-:-\R\1S: Walter R. Lee, 1347 ,\va Road, Severn, \ID

6808. cathcoh@aol.com

REGIONAL VICE PRESIDENTS

Northeast: Joe Barney, 129 Nutmeg Rd. Bridgeport, CT 06601.Ph.

(203) 365 -0571. bamboo, .ele0:aol.com

North Cc ntral:James Cunningham, 2016 :-,.;_ Highland

.-\ve., Joplin. \10 64801 Ph. (417) 624-0963

animalclwn @aol.com

:\orthwcst: Albert Alter, 5848 S.E. 18th Ave., Portland,

OR 97202. Ph. (503) 211 -8576. altered 1 il:c uropa .com

\lideast:" 1\lichael B. Cox. 7705 O'Keit h Court II 1802

Richmond, V.-\ 23228 Ph.(80-+) 270-0809.

bonkerstc @'aol.com

\lidwest: \Jerilyn Barrett, 1154 Chippew a Cir., Carpentersville, II.

60 110.

Southeast: Keith Stokes. 1539 Lake Clay Dr., Lake Placid. FL

.l38 52. Ph. (863) 465 -4438 .r:a.,_(863) 465-273 I.

dcclou @htn .net

South Crntral: Linda Green, 7902 Willowick Dr., Spring. T:\ 77389.

Ph. (281) 290-0265.ro lypoly@charter.net

Southwest: Candy \\ 'ill. 32302 .\lipaz St. /1103, San Juan

Capistrano. C.-\ 92675. btrsctch41 !@'cs.com

Canada: Linda Loveday, 2154 Broadway .\ve. , Th under

Ra). Ont.,Can . P7C 5:\5. Ph. (807)939-2 160.

I ul u l 955@'yahoo.com.

Latin Countries: Pedro Santos. Box .~859. Bayamon

(iarden. Bayamon, PR 00')58. Ph. (787) 786-3759

jobt,l in @'coqui.net

21141. Ph. (• 10) 55 1-7830.wa 11y788@.erols.com

DIRECTORS

\IE\1BERSl IIP: To be appointed .

EDC C \TJON : ·Kent Sheets, .!375 St.Clai r .\ve. West, :\orth Fort

i\ !eyers, f-L:B9m. sheetskent


The New Callbpe

Letters

July/Augu&, 200'2

Case for humanitarian clowning

By Bruce Grotts

28 West St.

Cromwell, CT 06416

There has been a tremendous amount of emphasis

upon hospital clowning and all of the lives it touches. The

humanitarian aspects of this work. and the amount of good

that it does in the world, are indisputable. However, there

are other types of humanitarian clowning that many of you

may have done but about which there is little written.

Clowning in the midst of a disaster may seem like an alien

concept, but I know there are clowns out there who have

gone to disaster shelters to work their magic. twist their

balloons, and run their gags for the victims of natural and

even not so natural disasters.

Who would contest the idea that a smile is one of the

most important ingredients in the bag of tricks used by a

therapist, or a clown, or a clown-therapist, to help a disaster

victim combat the impact of post traumatic stress and begin

the process of bridging back to normalcy? I can assure you

that no one who has ever been impacted by a disaster or

worked in the disaster field would discount the importance

of a simple smile.

Recently I worked at one of the headquarters set up by a

major national disaster response organization during the

World Trade Center tragedy. There were approximately 30

people there , working in a variety of functions including

health, mental health , family services , mass care, staffing ,

logistics , etc. Their role was to provide support to the various

service centers which were providing direct assistance to

the victims. The job required seven days a wee k, 12 plus

hours per day of work and exposure to nonstop

bombardment with the news of the disaster. The potential

impact upon these hard working volunteers was profound .

Like everyone else in the country, these people wanted to

be at Ground Zero . However, despite their training, and

because of it, they were performing a necessary but

excruciatingly frustrating administrative function .

While this was not the place to introduce a brightly

colored clown suit, it isn't clothes that make the clown .

While there wasn 't the time, nor was it the place, to perform

clown gags, spontaneous and improvised humor , specific to

specific situations and always cognizant of the underlying

reasons why people were there, provided a vehicle to

relieve tension and momentary escape from the emotionally

destructive nature of the assignment. Balloon animals

secretly left on desks or presented with grandiose flourishes

provided an instant and lasting focus for a momentary

emotional escape and a smile. Gag gifts, stickers, buttons,

and ribbons extolling the virtues of the team and individual

members, brought people together who, due to the pace of

the job, enviromnenta l nature of the headquarters, and

underlying trauma, were turning inward and becoming

increasingly frustrated with the operation itself.

-4-

Being so new to clowning I cannot yet say from

experience that clowning has the power to heal. However,

this experience proved to me that clowning does have the

power to help those faced with profound and prolonged

stress combat the effects of that stress. I cannot say that

clowning prevents any individual from developing a post

traumatic stress disorder. But who is to say that it did not? I

urge every clown to contact their local disaster agency and

offer their services in time of disaster.

After 26 years, Dr. Bugg retires

By Charles T. "Dr. Bugg" Rinkel, Jr.

5921 Winwood Dr. #215

Johnston, IA 50131

The time has come for Dr. Bugg to retire a second time.

After 26 years of clowning, as a whiteface and a tramp clown,

I am down to one gig a year by choice. This particular gig has

become a tradition for that event. I will continue clowning that

event as long as they ask me.

These 26 years started out in clowning with the help of a

clown friend here and there and by experience. These

clown years received a big boost , when after 12 years of

clowning, I attended my first Clown Camp held at the

University of Wisconsin , Lacrosse , in 1988. As I told a TV

interviewer from a station in St. Paul, "I decided that after 12

years , I needed to find out what it was that I was supposed to

be doing ."These years included attending Clown Camp

again in 1991 and for some years after that and eventually

serving on staff.

In January of 1991 I entered into a purchase of service

contract with Ottumwa (Iowa) Regional Health Foundation to

clown in Ottumwa Regional Health Center three afternoons a

week and one Saturday morning a month . For this purpose I

created Dr. Bugg, a tramp clown , and put away "ltschuck ,"

my whiteface of 15 years.

From January 1994 through December 1998, I wrote a

Continued page 6


CLOWNS OF AMERICA INTERNATIONAL, INC.

GROUP LIABILITY INSURANCE APPLICATION

May/June, 2002

$4 Million Performer Liability Coverage for COAI Members

( $2 million Occurrence/ $4 million Aggregate)

Open to entertainers of all types: Clowns, Magicians, Puppeteers, Storytellers, all types of children's and

variety entertainers who are U.S. citizens performing in the United States and its recognized territories.

$90 annual premium from July 1, 2002 to June 30, 2003. This is an aggregate policy.

Alley coverage: Clown Alleys who meet the 100% COAI membership requirement may also purchase the $4

million liability coverage. This insurance covers the Alley as an organization, protecting only the Alley's assets.

For a premium of $125, coverage is provided from July 1st to June 30th of each year.

This policy does not cover individual members of the Alley. Alley members should be encouraged to purchase

their own coverage to protect them during both Alley and non-Alley performances.

Phone/Fax or questions 1-888-522-5696 or 724-632-3214, www.coai.org email: coaibmgr@hhs.net

Fax or mail the bottom portion of this form with your payment to:

COAI PO BOX C Richeyville PA 15358

PAYMENT CAN BE MADE BY CHECK/MO (PAYABLE TO COAi) OR CREDIT CARD

D YES I want COAI Group Lio.bility Coverage--July 1, 2002 to June 30, 2003 ($90)

D YES we want the Clown Alley coverage--July 1, 2002 to June 30, 2003 ($125)

* Include Alley #

--------

TOT AL ENCLOSED

Payment by:

VISA

MC

DISCOVER

CHECK or MONEY ORDER ---

Credit Card # ____ - ____ - ____ - ____ CC Expiration

-----

Signature* (Required if paying by credit card)

--------------------

PLEASE COMPLETE THE FOLLOWING INFORMATION:

NAME _______________________

COAi MEMBER# __

_ _

STREET ADDRESS/ PO BOX

---------------- -- ---------

CITY ___________ ____ ____ ST ATE ______ ZIP ____ _

PHONE-REQUIRED


The New Calliope

Letters --

From page 4

regular column , "Making rounds with Dr. Bugg," for The New

Calliope. Through the years, clowning enabled me to make

friends here and in several foreign countries. I want to thank

each of you for the many pleasures and memories that I have

of the 26 years that I have clowned.

The time has come now to step down .. I'll not be

renewing my membership in COAi or Korn Patch Klown

Alley in Des Moines. , So, you can put COAi No. 5642 to

bed. I'll miss you all. See ya down the road.

Deadlines a-comin'

By Mike Fixer

Director, Membership

Sept. 1, 2002 is the deadline for receiving nominations

for COAi's 2003 Clown of the Year and submissions for

COAi 's Excellence in Clowning recognition . Don't miss this

important deadline!

COAi Clown of the Year 2003:

For details on the nomination process see page 37 of the

May/June , 2002, issue of The New Calliope. If you have any

questions about the nomination process , contact me.

Submitted materials will only be returned by request, once

the selection and notification process has been completed.

Shipping costs will be at the expense of the requestor .

Excellence in Clowning:

Have you completed all the requirements for the

Excellence in Clowning Award? Now's the time to submit

your materials for consideration. Those who qualify will

receive this recognition at the 2003 COAi Convention in St.

Louis, MO.

Details on requirements for this honor can be found on

pages 126 and 127 of the COAi 2002 Membership

Directory. Portfolio submissions must be neatly organized

and documented in chronological order by criter ia heading

in order to be considered. Documentation received after the

Sept. 1 date will not be considered for award in 2003. All

materials will be returned to the applicants at the 2003

Convention or via mail at the request and expense of the

applicant.

Don't Delay:

Materials for both honors must be received (not

postmarked) no later than Sept. 1, 2002. Please direct all

materials to: Mike Fixer, 36 Simsbury Manor Dr., Weatogue,

CT 06089-9749

For questions or clarification on either program, reach me by

email at MFixer@ATT.Net or by phone at 860-217-0195.

Calendar

Aug. 21-25: TNT for Jesus, Georgia Baptist

Convention Cntr. Toccoa.GA. Ina: (800) 472-5695.

July/August, 2002

Sept. 2-19: South East Clown Assn. 2002

Convention , Altamonte Springs.FL. Info: Stan Stromsky

(941) 772-3472. email stromboli33@juno.com

Sept. 19-2·1: Clownfest 2002/COAI Northeast

Regional Convention , Seaside Heights, NJ. Info.: email

clownfest@aol.com

Sept. 25-29: South East Clown Assn. 2002

Convention, Altamonte Springs, FL. Info: Stan Stromsky

(941) 772-3472. ema il stromboli33@juno.com

Sept. 27-29: 2002 Buckets of Fun, Des Moines, IA.

Info.: icfunahead@aol.com

Oct 2-6 : 29th Midwest Clown Roundup, Crystal Lake,

IL. Info: Merilyn Barrett email KlownKop@aol.com or

www.midwestclowns .com

Oct. 4-6: Festival of Clowns, Mesa, AZ.. Info.: Linda

Evans Ph. 480-345-1687 email LindaTaps@cox.net or

Patty Meagher Ph. 480 -941-8947 pattym123 .@aol.com

Oct. 3-6: Northwest Festival of Clowns, Doubletree

Riverside , Boise, ID. Info.: Al Bryant (208) 323-0306 . email

Boomer1143@aol.com

Oct. 19: Mideast Clown Convention, one day

workshop, Woodside Church, 8900 Georgia Ave., Silver

Spring, MD. Info.: Bob Gretton (301) 843-8212 email

gretton@bellatlantic.net

Nov. 6-10: Mid-Atlantic Clown Association 19th annual

convention, Doubletree Hotel, Wilmington, DE, Info.: Lew

Reynolds (302) 478-5018. email: smartso@bellatlantic.net.

Nov. 10-14: W.R.C.A. Convention , Riverside Resort

Hotel & Casino, Laughlin, NV. Info.: Fred Harshberger (805)

581-4681. email: convention@clownsnthings.com

Jan. 18-19, 2003: Golden Gate Clown Happening­

.San Francisco, CA, area. Info.: Debbie Ph. (650) 365-1514

or skatesclwn@aol.com

Jan. 24-25, 2003:JoeytotheWorldGospel

Convention and Balloon Jam, Sagemont Church, Houston,

TX. Info.: Phyllis Sheffield Ph. 281-485-194.

daisylcb@aol.com

-6-


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July/August, 2002

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The New Calliope

Cheri Venturi

President

Venturi gamers

CO AI' s top spot

By Cal Olson

Cheri Venturi, of Destrehan, LA, was elected to her

second term as president of Clowns of America, Int., in the

organization's biennial elections this spring. Venturi ran

unopposed for the office.

In the only contested race for a seat on COAi's Executive

Committee, Claudia J. Keener, of Warren, OH, defeated

Clydene Dyer, of Branchville, AL, for the office of

Treasurer.

In uncontested races for Executive Committee seats:

+ Paul Kleinberger II, of Loudonville, NY, was

elected Executive Vice President. It was his first try for

national COAi office.

•.

July/August, 200'2

',\

- ..c. . '

. -• . . :' 'I

,c:::1 . .

.... -.·. i


Walter R. Lee

Sergeant-at-Arms

. I

l

i;1'.

~~~

Paul Kleinberger

Executive Vice Pres.

Teresa Gretton

Secretary

+ Teresa Gretton, of Waldorf, MD, was re-elected to a

third term. She was appointed to the office in the summer of

1996.

+ Sergeant-at-Arms Walter R. Lee, of Severn, MD,

was re-elected to his 10th term in the office.

In the lone contested race for a Director's seat (Conventions),

incumbent Patricia Roeser of Woodbury, MN,

defeated Annette Darragh, of Birmingham, AL.

In two uncontested Director's races:

+ Kent Sheets, of North Fort Meyers, FL, was elected

Director of Education. Incumbent Rex Nolen, of Kansas City,

MO, did not run.

+ Catherine Hardebeck, of St. Louis, MO, was

Kent Sheets

Director (Education)

Catherine Hardebeck

Director (Region/Alley)

Claudia J. Keener

Treasurer

Patricia Roeser

Director (Conventions)

Joe Barney

Northeast VP

James Cunningham

North Central VP

-8-


elected to her second term as Director of Alley/Regio n

Support.

July/August, 2002

Albert Alter

Northwest VP

The fourth Director (Membership) normally is filled by

COAi 's immediate Past President. If that officer is

unavailab le, the post will be filled by appointment.

Only two of 11 Regional Vice Presidencies were

contested :

+ In the Northeast,Joe Barney, of Bridgeport , CT,

defeated the incumbent , Glenda Desilets , of Milford Ct.

+ In Canada, incumbent Linda Loveday, of Thunder

Bay, ON, defeated Agi Farkas-Hibbert , of Thunder Bay.

Nine candidates for regional vice presidences ran without

opposition:

Linda Green

South Central VP

Michael Cox

Mideast VP

+ North Central: Incumbent James Cunningham,

of Jop lin, MO, was re-elected -.

+ Northwest : Incumbent Albert Alter, of Portland,

OR, was re-elected.

+ Mideast: Incumbent Michael Cox , of Richmond ,

VA, was re-elected.

+ Midwest: Merilyn Barrett, of Carpente rsville, IL,

was elected ; she served earlier on the Board. Incumbent

Patricia Bothun , of Maple Lake, MN, did not run.

+ Southeast: Incumbent Keith Stokes , of Lake

Placid, FL, was re-elected.

+ South Central: Linda Green, of Spring , TX. was

elected on her initial try for office. Incumbent Danny Kollaja ,

of Corpus Christi, did not run.

+ Southwest: Candy Will, of San Juan Capistrano ,

CA, won on her first try for national office. Incumbent Linda

Hulet, of Anaheim , CA , did not run.

+ Latin Countries : Incumbent Pedro Santos , of

Bayamon , PR, was re-elected to his 11th term in office .

+ International: Incumbent Andrew Stevens, of

Wiltshire , England , was re-elected .

Candy Will

Southwest

VP

Merilyn Barrett

Midwest VP

Linda Loveday

Canadian VP

Keith Stokes

Southeast VP

Pedro Santos

Latin Countries VP

Andrew Stevens

International VP

-9-


The New Calliope July/August, 2002

President's Q's and A's

Editor's Note: As Cheri Venturi prepared for her second

term as COAi President, The New Calliope asked her several

questions. The Q and A exchange follows:

a. Tell us something about your personal and

professional life.

A. I have had the same clown character for the past 14

years. The fun part about keeping one character is that she

never ages. She still is a perpetual two .-------.....----.------,

-year-old and getting into more

mischief with each passing year.

Although I do not always go out as a

whiteface, my character still remains

the same. I have modified my makeup

a bit for everyday pertormances but I

always use my whiteface to pertorm on

stage and meet and greet. The

favorite part of my pertormance is

stOiytelling. I would like to continue

developing that area in and out of

makeup. I am not clowning as much in

the city as I am into teaching,

performing, merchandising, and

promoting COAi on the road.

My home is still in Destrehan. about

20 minutes west of New Orleans. My

daughter, Marin, now lives in Chicago

and works for the Lyric Opera. My son,

Jason , and his wife, Jennifer , are

teachers for the Washington

Township School

District in Indianapolis. He is a math supervisor for three

middle schools and his wife is a third grade teacher. My

husband continues with the New Orleans Saints as the

Defensive Coordinator .

a. Why did you run for another term as COAi

President?

insurance program. We are picking up new members daily

because we are offering something that helps all

pertormers . Many people on the COAi Board worked long

hours to bring this together. The membership and alleys will

be seeing the benefits after our fall meetings. The Board will

be developing new and innovative ways to help

individuals as well as alleys from the program's profit. By

serving a need for our members, the insurance program will

benefit the total organization.

a. What changes have you

noticed in clowning during your

involvement in the art?

A. Ther e have been many changes in

the clown world in the past six years. For

instance, the mean age of clowns coming

into the art has shifted from the 30- and

40-year-olds to 50 and 60. There are more

women in clowning than when I started.

The focus has also changed. It has

become broader in scope to include caring

clowns as well as birthday and assisted

living clowns. Hospital clowning has grown

tremendously. There are more people

working with school programs. Makeup

has changed. We now see more of the

European look among our peers than we

did in the past. Professionalism is stressed

much more and is evident when you

attend clown conventions across the

country. The standards for volunteer

clowning are higher than they've ever been. All clowns,

whether volunteering for church, school or hospital

clowning, or working as a paid performer, are aware of

becoming the best that they can be by attending various

educational institutions or calling for help and advice. The art

form has definately grown through the electronic media.

Email has opened up many worlds of communication within

our clown community.

A. I ran for a second term because I felt there were many

areas that I was just starting to develop. I felt the first two

years were spent getting the groundwork laid for the next

two years. I enjoy working with people that are open-minded

and willing to accept challenges. I know the potential for this

organization and wanted one more term to see what we

could accomplish.

a. How is COAi's new Insurance program being

received?

A. COA i is getting an unbelievable response to the

a. Any changes in COAi?

A. The biggest change I have witnessed is going from a

"club" mentality to the "incorporated" approach . From our

bookkeeping to our contracts we are insuring that the

organization will be around for many years to come. Another

area of growth has been in the electronic communication.

With our numbers growing daily we are starting to utilize

electronic facilities to communicate within the organization. In

the near future, we will send out announcements that will

reach our membership within 24hours and move our

Continued page 12

-10-


The New Calliope

July/August, 2002

J. T. nBubba"

Sikes

Mama Clown &

Timmy Bond

Kingdom

Karacters

Bob & Theresa

Gretton

Donna Branham

Chris Sheldon

Linda's Costumes

Spears Shoes

Clown City

C&B Clown

Jewelry

Big Nose

Productions

Photography

Brian Richards

Magic

Bal loons & Clowns

Ward's Costume

Shoppe

Karen Bell's

Props

Marge's Badges

Registration

( regard less of age)

Mid-Atlantic Clown Association

proudly presents their 19th Annual Convent ion

Douhletree

Fees:

November 6 - 10, 2002

Hotel • Wihnington, DE

$125 .00 through 8/31/02

$135.00 9/1/02 through 10/31/02

$145.00 after 10/31/02

Registration fee include s dinner parties Thursday and Frirlay nights &

Saturday night awards banquet with entertainment hy

Kohl & Company

Entrance

Daily Rates Available

fee per day $25, Thursday and Friday dinners $25 each

Saturday Banquet $45

Questions? Call Lew "Smartso" Reynold!! 302-478-5018

Mary "Sunshine" Reynolds 302 -475 -9512

Or E-m ail smartso@hellatlantic.net

To register, complete form helow and send with check

made payable to MACA 2002

to Lc!w and Mary Reynolds, 1027 Faun Rd., Wilmington, DE 19803

••••*Please not~•* ***

S25 proccssiui: foe for cnnce llations before 10/01 /02, no rd uruls after that date.

All arc welcome to allcnd, however , you must be an .\lACA mcmlwr and

ha ve paid full registration to comp


he New calliope

Q's and A's --

From page 10

business twice as fast. Changes have occurred in the COAi

Board as well. The Board members are identifying areas

that need further evaluation and development. They are

continually observing the cause and effect of new programs

on the art of clowning. The most exciting change has been

by the membership. They are starting to take an active role

in COAi. By asking questions they have brought about

changes and clarifications to many programs.

a. What challenges do you see for COAi in the

immediate future?

A. The challenges that I see for COAi in the next five years

will be:

+ Staying contemporary.

+ Continuing to evaluate the organization so that it is

meeting the needs of everyone

+ Providing the membership with good educational

opportunities.

+ Developing new means of communicating with

membership

+ Motivating future generations to join the art of

clowning

+ Encouraging new blood to lead the organization

I would like to thank all those who gave me your vote of

confidence. I promise to continue working to keep COAi the

best and fastest growing clown organization in the world.

Be Safe and Be Happy,

Cheri

July/August, 2002

Ready for CHARLIE?

By Bob "Bunky" Gretton

Chairman, International Clown Week)

HAPPY INTERNATIONAL CLOWN WEEK (August 1-7)!

Hopefully, you are having a blast and promoting the clown

week. Take pictures , cut out newspaper articles, and

proclaim our special week to the world. Afterwards, take all

your activities, pictures, articles, proclamations, etc., and

organize them into a scrapbook to apply for the annual

C.H.A.R.L.I.E. Awards.

If you have an active alley that has participated , your alley

should submit a scrapbook. You should submit one as an

individual, too. The individual award was created to

recognize an outstanding clown who promotes the art of

clowning whether he or she participated with alley's activities

or set out to accomplish great things alone.

A couple of helpful hints in submitting a scrapbook:

1 ) Don't overload with pictures and avoid duplication (The

committee must review each scrapbook and the same

pictures over and over again does not impress). Remember

quality over quantity.

2) Try to get different clowns in as many pictures as

possible if it is an alley event.

3) Have action pictures taken whenever possible

showing your audience rather than all posed pictures .

4) Include as many proclamations as possible but at least

one.

Lou Jacobs honored

From Southeast Regional Vice President Toby Stokes

comes word that the late Master Clown Lou Jacobs (1901 -

1992), received a cultural award from Florida's Secretary of

State , Katherine Harris .

Says Toby: "This is the highest honor that can be

estowed on an individual in the state of Florida." The family

f the legendary Lou Jacobs accepted the award in a

resentation ceremony held at Circus Sarasota (Sarasota ,

FL), where Jacobs ' daughter , Dolly, is a headliner .

COAI

yes,yes,yes,yes,yes,yes

5) Newspaper articles on the actual events are more of a

resource than an article describing an upcoming event.

(Include the date of the article if at all possible.)

6) If an alley, list member names at each activity.

7) Remember that alley members who clown while on

vacation or out of town can be included in the scrapbook as

long as pictures and articles or proclamations depict the

purpose as Clown Week .

For more help on applying for the C.H.A.R.L.I.E. awards ,

log onto the website (www.coai.org) and read the info under

Special Programs/Clown Week/C .H.A.R .L.I.E . Awards . Also ,

there is information contained in the "files " section in the

eAlley Yahoo Group, under DOCUMENTATION .

Once scrapbooks are organized , send to Frank "Kelly"

Kelly, 654 Third Street, Ft. Wayne , Indiana , 46808-27 21.

"Kelly" will begin as new International Clown Week Chairman

and I will begin a new facet as co-chairman of Competitions . I

will continue to assist and support "Kelly" throughout the

upcoming transition year .

-12-


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The New Calliope

July/August, 2002

Clowns of America International

Application & Renewal** Form

First Name ......................... Mid Initial ....... Last Name .......................................

Street Address .......................... ............... ................................................................................

.

City ..............................................

State ......... Country ............. ZIP Code .......................

Phone (optional) .......................

........... Email (optional) ........................................

.

Date of Birth Age ............ Sex: M ...... ........ F ............

.

Clown Name .......................................

Alley Affiliation ....................................

Referred by or Sponsor (include COAI #) .............................

.................................

Annual Membership and Renewal Fees: Indicate Amount Paid ---- •

New Members U.S ...... $30 * New Members Foreign .... $35 (US Funds)

Renewals U.S ................. $25 Renewals Foreign ............... $30 (US Funds)

Lifetime ..................... $500

Family Membership -US and Foreign: $12 for second and additional members

GROUP LIABILITY INSURANCE .... $90 Yearly Premium July to June

* Full members must be at least 16 years old. Family members ... any age.

-family members do not receive The New Calliope magazine-

**For Renewals Please Show Member Number and Expiration Date**

COAI Number _ _ __ _ __ Exp. Date

Payment Method

Check Visa __ _

-- -

MasterCard - - -

Credit Card Number ____ -______ _ -_ ___ -___ _

Credit Card Exp. Date __ _ __ _

Signature

SEND APPUCATION/ RENEWAL TO:

Clowns of America International

P. 0. Box Clown Richeyville PA 15358-0532

Phone/Fax: 1-888-52clown or 724-632-3214 Web: www .coai.org

Effective July 2001

-15-


The New Calliope

July/August, 2002

The caring clown --

A visit with Snickers

By Ann "Tuttles" Sanders

225 Lake View Dr.

Toano, VA 23168

TuttlesTC@hotmall.com

If you 've ever considered working as a hospital clown ,

the experience of a Virginia joey might help you get started .

He is Willie "Bill" Grosz , of Richmond , VA, who decided to

serve as a volunteer at the CJW Chippenham Medical

Center in Richmond after retiring from 35 years with the

railroad.

Currently, Bill has nearly 500 hours of volunteer service

to his credit. Much of that time as been spent in grease

paint: In February 2001, after securing permission from the

hospital's volunteer services administrator, Bill became

"Snickers," a hospital clown.

Why the switch from Bill to Snickers?

"I thought it would be exciting to do something I really

enjoy," Bill says. "In the early 60 's I spent many years

working with a local rescue squad . I have always loved caring

for other people. The hospital has been a blessing for me

and has allowed me to make people laugh . Just being able

to bring a little joy into someone's life gives me great

pleasure."

Prior to beginning his volunteer work.Bill had to attend

he hospital 's mandatory orientation program. The training is

designed to inform all prospective volunteers as to proper

hospital etiquette, procedures governing their assigned

uties, and health, as well as safety concerns. Then,

experienced volunteers provided additional on-the-job

raining. Bill feels that, because of first being a veteran

civilian" volunteer, he gained the trust of hospital

dministrators, and that bond made the transition into

nickers possible.

Bill's sentiments are echoed by Marilyn Herbert,

hippenham's director of volunteer services.

"Bill is the only clown that we have had at Chippenham,"

he says. "However, I would not say he has opened the

oor for other clowns. As a matter of fact, I was rather

esitant to let him come in costume, and did so only

ecause he has been in our vo lunteer program for 3 1 /2

ears and I felt that I knew him well. I had also seen BHI

lowning at comm unity events and saw that he was very

ercept ive as to whether a child was frightened of him or

ot.

"It is for the protection of our patients that we restrict

people that we do not know well from our floors. Because

clowns are essentially in disguise when they are in

character ... I only feel comfortable with people that are part of

our volunteer family clowning here at the hospital. "

Bill notes that in today's uncerta in times, the rules

governing hospital volunteers are very strict -- they have to

be to protect the staff and patients .

"You can't just walk into a hospital and start clowning ," he

says. "There are proper channels that must be followed. "

Before Snickers visits the hospital, Bill alerts Marilyn so

that a notice can be posted on the community bulletin

board .This gives health care workers time to coordinate

special visits to patients who might not otherwise be on

Snickers' route . On every trip , he tries to visit the children in

Pediatrics and the Pediatrics Intensive Care Unit. Every

situation is different, depending on the patients' needs. So

some rooms can be entered and some can't.

Snickers must always check the patient's room door for

special messages , and is alert for patient care warnings. As a

clown volunteer, Snickers has more freedom to move about

the hospital in order to locate children or other patients who

need cheering up. Even in makeup, he performs his

"normal" volunteer duties, things like running errands and

picking up and delivering laboratory specimens.

When visiting patients, Snickers often performs pocket

magic or entertains with a special toy duck that sings. He also

has a toy parrot that talks back to the youngsters. Depending

on the patient's medical condition, Snickers may be required

to wear rubber gloves. He is never permitted to touch a

patient. Snickers is quick to point out that absolutely no

balloons are permitted within the hospital. He ends each visit

by distributing "I Met a Clown" stickers.

Snickers feels that a clown is always in training. He has

attended several clown schools, including Clown Camp in

Lacrosse, WI, as well as one and two -day workshops in

Maryland and Virginia. The clowns in his alley, Virginia Alley

#3, have also provided a wealth of information and support.

Even though he works solo at the hospital, Snickers'

wife Darlene ("Snood les") accompanies him to birthday

parties, company picnics, church vacation Bible schools and

a variety of other clowning venues. They started

Continued page 18

-16-


The New Callbpe

July/August, 2002

..... with patient Olivia St. Peter

... with RN Lisa Carrington

Snickers

spends

time ...

. .. with Ravinder Desi and daughter Deborah

.... with patient-greeting stuffed tiger ... with Child Life Specialist Ilona Scanlon

-17-


The New Calliope

Snickers --

From page 16

entertaining, out of makeup , at a

county fair by making balloon

sculptures and painting faces. At the

suggestion of one of their county fair

customers, they sought out and

attended an introductory clown class

that was offered at their church .

Bill notes that becoming a hospital

clown at the Chippenham was difficult,

but it has been worth the effort . He

recommends hospital clowning to

anyone who has what he terms "a

caring heart. " He feels you should

Let us know ...

Word comes to us that a COAi

member may occasionally receive their

magazine in horrible condition -- all

beat up, torn and/or generally

unreadable.

It's our experience that most of

these incidents result from mechanical

glitches in the postal system.

(Certainly , COAi isn't sending out beatup

magazines!) .

To attempt to determine just how

wide the problem is, or just where it

may be concentrated , we ask you to let

us know when your copy of The New

Calliope arrives in an unhealthy

condition.

never say no, never back up and always

do your best. Most importantly , he

says, "Remember to give God the glory

and go full speed ahead. "

Marilyn described Snickers visits

this way: "The whole hospital reacts

with pleasure to his visits. I think the

staff enjoys his efforts as much as the

patients and families. I have to smile

myself when I see the doctors returning

to the OR with a sticker that says, 'I Met

July/August , 2002

a Clown Today,' on their scrubs. Nurses

and doctors from the non-pediatric

floors will often ask him to stop by a

particular room to brighten the day for

one of their adult patients.

"Bill comes to volunteer every

week, but Snickers comes once a

quarter. We all thoroughly enjoy it. And

we are grateful to Bill for going to the

trouble to get into costume and

entertain us."

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See You There!

July 11-13: Fun-A-Rama (Formerly Fun House)

Timoniwn, MD

Oct . 19: Kapitol Klowns, Silver Spring, MD

Nov. 6-10 : Mid-Atlantic Clown Assoc ., Wilmington,DE

At the same time, if the magazine

contains pages out of sequence, or is

missing pages, let us know that , too .

We're trying to do the best we can, and

appreciate your help in solving any

problems that might arise.

Send your comments to Editor Cal

Olson via email: calolson@willinet.net

And thanks!

GOT SOMETHING TO SAY?

Your thoughts on clowning will

get lots of attention if you 'll

send them to The New Calliope

in a letter to the editor . You'll

have 6,000 readers!

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-18-


The New Calliope

July/August, 2002

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-19-


The New Calliope

The power

of

Thank You

By Bruce "Charlie" Johnson

P.O.Box 82165

Kenmore, WA 98028-0165

CharlieTheJugglingClown.com

Bruce is a current COAi Artist In Residence .

There is a lot written and discussed about clown

character in terms of developing your clown's fantasy

personality.There is another definit ion of clown

character that is even more important to your

success as an entertainer .Your clown character

is the integrity you display as a clown.

Remembering to say "Thank You" is a part of

that type of clown character.

Conf irming receipt

At the very least, a thank you for something

you've been sent in the mail is confirmation that

you have received it. I've sent things to people , and

not heard anything back. I didn't know if it had arrived .

In some cases , it was lost in the mail, and they were upset

because they thought I hadn't sent it. Most often though ,

hey had received it and forgotten to reply. A quick thank

you note puts the sender at ease.

Customer relations

Sending a thank you note is considered part of

maintaining good customer relations. Many businesses do it

routinely . After each show , I send a thank you to my contact

person . If I book the show myself , it goes to somebody in

hat family or organization. If I worked through an agency, I

send it to the person who booked the show for me. If I

booked the show as a result of a referral, I also send a thank

you to the person who referred me. I know some clowns

who send a generic thank you. One boasts that the thank

you is in the mail the day before the event. I wait until

afterwards and try to comment on something specific that

happened at the show. I find that personal touch is

important in building a relationship that can lead to repeat

bookings .

One of the things that impresses me about Lee Mullally is

July/August, 2002

the thank you notes he delivers to each U-W Clown Camp

staff membe r on the last day of instruction. They always

include specific references so I know he didn't write them at

home before arriving. I can tell that what he says is heartfelt

and not done out of habit or duty . The fact that he takes the

time to write them amidst his very busy schedule makes me

appreciate them even more.

Pos itive reinforcement

Saying thank you is a type of praise, and can be a

powerful motivator.There was a dramatic increase in the

number and variety of articles submitted to Clowning Around

during my two terms as World Clown Association Education

Director . One of the tools I used to encourage that was than k

you notes . Each month I would send a thank you to

everybody who had their first article published in the

magazine . Then I selected one of the regular contributors

and wrote them a note thanking them for their long-term

commitment to the magazine and organization. I knew from

my own experience and discussions with other writers that

written feedback to an article is rare. It is easy to wonder if

anybody is reading what you write. I heard from

some of the writers how much it meant to

them to be sent an acknowledgment of

their work . I know it means a lot to me

when somebody responds to an article

I have written and thanks me for doing

it.

Are educational articles important to

you? Is there a type of article you

would like to see more often? Is there

an author whose writing proves

particularly beneficial to you? You can

encourage them to write more of the

articles you like by sending them a thank

you . Who shou ld you write to this month?

I was a children's teacher with Bible Study Fellowship for a

year. One of the techniques I learned there was the use of

saying thank you in positive discipline . We would explain the

type of behavior we expected in our classroom , and then we

would watch for the opportunity to thank children who were

acting that way. When you reprimanded somebody for doing

something unacceptable, they often return to that behavior.

It is their method of getting attention. When meeting our

expectations was recognized as the quickest way to gain

attention , it was amazing how quick the kids were to adopt

and maintain that behavior. The application for entertainment

is to explain at the beginning of your show that you will need

some help during the show and you will pick people who are

seated , smiling , and raising their hand. Then when it is time

to pick a volunteer , you select some body who has been

doing that , and say, "You have been seated the entire time,

and I've notic.ed your beautiful smile . Thank you for being

such a good audience member . Would you like to join me on

stage to help with this next trick?"

Continued page 22

-20-


he New Calliope

July/August , 2002

Reserve Your

FREE LISTING

in the

CIRCUS

DIRECTORY"'·

A unique reference so ur ce to the world of both

Professional and Y out h/ Recrcational Circus,

listing detai led information about :

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(individual performers, street performers, and ac-ts,

including those who \Yould likc to make their services

available as coaches, trainc 1·s, rigging instructors and

artists-in -residence)

0 Circus Related Activities (Clowning)

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(including co mmunit y, schoo l and college circuses,

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and materials, safety equipment, nets, tents, costumes

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Mail, fox or e-mail your NAME, ADDRESS,

PI IONE, FA .. "'


The New Calliope

Thank you --

From age 20

How would you like audiences at your shows to act? How

can you communicate that to them? How can you find the

opportunity to thank those who do what you expect?

I was part of an alley in Southern California that was

experiencing decreased event participation. In each

month's newsletter, the president scolded people for letting

the club down by not supporting the activities. People

resented being treated that way , and participation continued

to plummet until by the end of the year only two of the 60

members were active. When new officers took over , they

decided to use a positive approach. Each newsletter

expressed thanks to those who had participated during the

previous month, related some of the fun things that had

occurred , and invited others to join the enjoyment. The

meetings included an "atta boy" game. A timer would be set

for a period ranging from five to ten minutes. Then members

could nominate somebody for the Funny Bone award in

light-hearted recognition for something good

they had done. To make a nomination , you had to deposit

ten cents in a clown bank. When the bell went off, the last

person to have been nominated won the award . At the next

meeting , they got to wear a dog chew toy bone on a

necklace. It was a fun way to raise a little money and

acknowledge member's contributions. By the end of the

year, average participation at events had reached 30 and

attendance at meetings averaged 50.

What would you like to encourage your alley members to

do? How can you motivate them by expressing thanks to

those who do that? How can you have fun while expressing

thanks?

Alley members expect their officers to thank them . A

thank you from somebody who is not an officer sometimes

means more , especially if it comes at an unexpected time.

One year , I sent a Valentine's card to each of the women in

my alley. Each card contained a note thanking them for

something they had been doing for the club . When we did a

parade , one of the ladies always parked her car near the end

of route and had a jug of water and cups in the trunk. She

told me she appreciated my note because nobody had ever

thanked her for providing drinks and she was thinking about

discontinuing the practice. To be fair to the othe rs, they did

say thank you as she handed them a cup , but since it

seemed like an automatic response , she didn't remember

that.

Being an officer in an organization is often a discouraging

task. It seems like the only time you hear from somebody is

when they have a complaint. It is a common practice to give

officers a thank you gift at the end of their term , but often by

then , it is too late. They have burned out. It is common for

somebody to drop out of an organization soon after serving

as president. Another seemingly thankless job is that of

-22-

July/August, 2002

convention chairman. A note of appreciation and

encouragement can sometimes make a big difference in

how they perceive and approach their job. If you want

officers who do a good job for you, you can help them do

that by providing them with emotional support.

Who has been making positive contributions to your alley

or organization? How can you encourage them to continue?

What unexpected way can you use to express your thanks?

One season when I was working at Raging Waters, the

secretary in the Operations Office was supposed to

announce the times of my shows using the public address

system. She had many other duties, and kept forgetting to

make the announcements. I could tell she resented it when

somebody called to remind her. One day, she remembered

without being reminded, so after my show I called to thank

her. She remembered to do it again the next day, so I made

another thank you call. After that I didn't call her each day,

but the next time I was in the office I mentioned how much I

appreciated her taking time from all her other demands to

make the announcements. I told her I could tell it really made

a difference in attendance at my shows. (That was true.) She

told me that when there were many different demands at the

same time she got depressed and frustrated because it

seemed that nobody appreciated anything she did. She felt

that the only things they noticed were what she hadn't been

able to do. She said it meant a lot to her that I took the time to

let her know I appreciated her efforts . She didn't miss making

my announcements during the rest of the season. At the

end of the season, I sent her a written thank you note , and

sent a copy to her supervisor .The next year she was

promoted , and because of the relationship I had developed

with her she helped smooth out some potentially difficult

situations. When people fee l apprec iated , they are more

willing to expend extra effort.

After each of my shows, I try to go around and personally

thank every person who had played some part in it, whether

it was running the sound or setting up the chairs . The show

is not about me, and many people contribute to it. I believe

establishing a good working relationship with them is

important.

I have a BA in Technical Theater, and was on many

techn ical crews (make up, costumes, lighting, props, and

sets) in college . I observed that some performers treated the

technical crews as slaves who had to cater to the ir demands .

Those performers did get what they demanded , but nothing

else. Other performers treated the technical crews as

assistants working together to create a good performance ,

and exp ressed their appreciation for anything that was done .

I noticed that crew members tended to go out of the ir way to

give those performers extra assistance.

As a clown, I am an easily identifiable member of a group. I

believe that each time I perform I represent all clowns .


he New Calliope

Sometimes I am the first clown the people at that

enue have worked with Their attitude towards clowns could

epend upon their experience with me. If I can create a

ood working relationship with technical people , and let

hem know I appreciate the service they provided me, the

ext clown they encounter may get improved service. So,

ven if I don't expect to return to a venue , I still want to

reate a good impression.

July/August. 2002

It is not just the technical crew that contributes to your

uccess. Kenny Ahern has a performance style based on

udience interaction. He uses a lot of audience volunteers

in his performances. They contribute to the success of his

shows. At the end, he expresses his thanks to them by

having them stand and be applauded . It always strikes me as

an especially strong moment in his shows.

Who contributes to the success of your performances?

What kind of a relationship do you have with them? How can

you let them know you appreciate their contribution?

Conclusion

Saying thank you must be sincere. Otherwise , it comes

across as manipulation, which people resent. However ,

when done creatively from your heart it can make a big

difference in your relationships with those who contribute to

your success as a clown.

Thank you for taking the time to read this article.

CloWIB honorcin.ffi dead

Clowns in the Chicago area will take time off during

International Clown Week -- on Aug. 4 -- to honor the 80-

plus persons killed in the Hagenbeck-Wallace Circus train

wreck near Hammond, IN, on June 22, 1918.

Area clowns will continue a long-stand ing tradition by

meeting at the circus workers' grave sites in Woodlawn

Cemetery in Forest Park. a Chicago suburb. Between 55

and 60 cir-cus workers are buried at the site.

The commemoration involves a march-in with all clowns

present, preferably in makeup and costume. Ten clowns are

randomly chosen to express their thoughts regarding

clowning. Optionally , flowers or balloons may be brought to

be left in a march to the main monument , where stone

elephants stand guard over a major mass grave .

All clowns are welcome to this observation -- in or out of

clown . Assembly time is 12:30 noon at the memoria l site in

Woodlawn Park , 7600 W. Cermak Rd., Forest Park.

If your magazine arrives before Aug. 4 , further

information is available from Nancy "Belle" Petritis:

petritislat@msn .com

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-23-


The I\Jew Gallbpe

July/August,

200'2

Making

teachers

behave

By Margaret "Maggie the Magical Clown" Clauder

918 Wayland Dr.

Arlington, TX 76012

funnybusiness@yahoo.com

I have been performing in aaycare centers for about 12

years now. I have had lots of experience with handling rowdy

reschoolers . I use all the skills out there including bribery , "I

nly pick helpers who are sitting on their bottoms listening

uietly." And reminders , "I'm going to be looking for the

uietest person in a minute to be my helper . Who will it be?"

My best too, though, has always been to just have a great

how that will get the children's attention. But what do you

o when you need to get the teacher's attention?

In May I performed a show in a daycare where I have been

ountless times .The children there are great , full of energy,

nd always ready with a quick laugh . I was performing one of

he best shows I perform, my Mother Goose character. I had

erformed the exact same show hundreds of times in the

ast. I knew my material cold and wasn't expecting any

roblems at all.

I tried the "giving the eye" technique . I stared at them for

several minutes as I performed . It didn't work because the

two teachers never looked up from their conversation to see

"the eye". I contemplated saying something , but I decided

against it for two reasons. I didn't wish to embarrass the

teachers in front of the other teachers and also, I thought it

would look very bad for the entertainer to reprimand a

teacher in front of her own children. Instead , the next time I

needed an audience volunteer I said, "Now let's see -- who I

am going to pick this time. My, my, you all are ALL sitting so

quietly you're making it very hard for me to choose my

helper . Why, you are even sitting quieter than your

teachers!"

Five·minutes into the show I noticed a pair of teachers

itting in the back corner of the room, carrying on a lively

onversation . I had already told the children at the beginning

hat I would be looking for several helpers during the show

nd that I always pick my helpers from the quietest children

n the room. The children were sitting like little angels, and I

m not exaggerating . In fact , most of the teachers were little

ngels too, with the exception of those two in the very back

Had the teachers been at the front of the room I could

ave gently leaned over and whispered to them to please

e quiet during the show. But, they were in the back of a

ram-packed classroom full of about 80 children . There was

o way for me to say anything to them without every person

n the room hearing it. I decided to use the "ignore" tactic ,

hich often works on children : Ignore the bad behavior , or

t least don't reward it and it takes care of itself. After 20

ore minutes the teachers were still going at it full force ,

ven louder .

I thought this "hint" would have gotten the required

response from the two teachers in the back. It did not. They

hadn't even heard me . The funny thing was though that the

other teachers were now turning around and giving these

two the eye . It was interesting , though . The teacher nearest

to these two could have said something quietly and

discreetly to the two but she chose to ignore the incident.

As I finished my show I thanked all of the children for being

such a wonderful audience and for being "SO GOOD AND

QUIET SO THAT EVERYONE COULD HEARf" The "two

teachers did not even look up when I said this! They did not

even know the show was over until the other teachers stood

up and started escorting their children out the door!

-24-

I decided to say something to the director on the way out.

But she was out of the office . I went home and fumed all the

way. Should i say somethi ng or shouldn't I? I decided to call

the center . The director was now out sick and wasn't

Continued page 26


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The New Calliope

Teachers --

From page 24

expected bacK in until the end of the week. I decided to sit

down at my trusty computer and type out a carefully worded ,

t?ctful letter. I have been clowning since 1984 and never

have I ever done such a thing. But in that many years of

clowning I have never, ever had teachers THAT rude. Oh,

have seen the occasional pair of teachers who talked for 10

minutes during a show, usually quietly between themselves .

I had never seen two teachers talk for 45 minutes non-stop

and so loud that at times I could pick out words they were

saying across a crowded room full of children.

Unfortunately I don't have a copy of the original letter , but

it went something like this :

Dear Mrs. Director:

Thank you for the opportunity to perform for your two child

care facilities . Over the years I have always enjoyed

performing for your children. They are always so sweet and

attentive when I come to your centers.

This morning I performed my Mother Goose show for

Center #1 at 9:00 a.m. It went great. The teachers and

children were absolutely wonderful and we all had a grec1.t

time , I wish I cou ld give you the same report for center #2.

We have known each other for quite some time, and I am not

a comp lainer , but I feel I needed to draw your attention to an

incident that happened today during my show in center #2 .

Two of your teachers decided to have a private conversation

during my show.

I normally woula never say a thing about something as

trivial as this. I have seen teachers talk to each other at lots of

daycare centers during shows. Today was different, though,

because they didn't just hold a quiet five-minute

conversation at the back of the room , they held a 45-minute

conversat ion! At times they were so loud that even though I

was at the other end of the room performing my show I could

pick out words they were saying to each other. I tried to give

subtle hints during the show for them to quiet down, such as

elling the children that I would be picking the quietest ones

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to be my helpers. At one point I even said, "My it will be

difficult to pick a helper. You all are even quieter than some

of the teachers!" I even observed other teachers giving

them the eye to quiet down. But, unfortunate ly they never

looked up from their conversation to get the hint.

I bring this to your attention because I know that you are

trying to instill in your children good behavior patterns. Part

of instilling good behavior in children is for the teachers

themselves to set a good example on how to behave during

a performance . I do not wish to single anyone out or name

any names . I would appreciate it if you could remind

teachers that they are setting a valuable example for their

children on how tp behave during a show. Learning listening

skills is something that their future school teachers will

greatly appreciate too!

With kindest regards ,

Margaret Clauder

-26-

I sent the letter off and did not really think another thing

about it, until today. I performed at both centers today as

Mother Nature. The first center went well, as usual. When I

got to the second center the director I had sent the letter to

was not in. Her assistant was . Neither one of us mentioned

the letter. I was not sure if she was aware of the letter at all.

The show went off without a hitch. In fact, it went smoother

than the first daycare show. I spotted the talkative teachers in

my second show and they sat quietly with their classes

smiling up at me and participating just like the children. I

never saw any of the teachers engaging in any

conversations. During the show one toddler got up and

decided to run across my stage. I continued on without a

word but no teacher seemed to want to claim him.Finally I

claimed him.

I asked, "Who does he belong to?" One teacher stood up

and I picked up the little boy and handed him to her. He sat in

her lap the rest of the show. I finished the show without any

other incident.As I was leaving the assistant director asked

me how the show went.

"Great!" I exclaimed.

"Good" , she said. "I appreciated you sending us that

letter. "

"I'm sorry I had to send it," I told her. "Oh, don 't be!" she

said. "I made copies and gave them to all the teachers. You

were exactly right in doing what you did. We want our

teachers to set good examples for our children.

I left that center with a smile on my face that will last a long

time . In the future I won't hesitate to bring incidents like this

to a director .

Gee , it's fun when you get to tell on a teacher!

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The New Calliope

July/August, 2002

Close-up

1

2

3

card trick

By Ann "Tuttles" Sanders

225 Lake View Dr.

Toano, VA 23168

TuttlesTC @hotmail.com

All you need to perform his simple yet impressive closeup

card trick is a standard deck of playing cards, a flat

surface( (such as a table or counter top), optional paper and

pencil, and an audience waiting to be entertained. With a

little pract ice and personalized patter, even those individua ls

who feel that they can't do magic, will be able to demonstrate

their conjuring skills.

Begin by handing the deck of cards to an audience

member and asking them to select 21 cards. If they so

des ire, they can also shuffle the deck. The cards they select

can be thei r favorite cards.the first 21 off the top, etc.,

whatever method of selection they choose. Adding this

feature to the trick provides you with an opportun.ity to

persona lize the trick with patter.

Next, you have the volunteer arrange the cards all facing

in the same direction and form them into a "mini' deck of 21. I

personalized this trick by having my volunteer place the 21

cards in the palm of one of their hands and cover them with

the palm of the other hand.

To add to the effect of the illusion, I place my hands, one

above and one below, those of the volunteers. I tell my

audience that I am now absorbing the magical energy from

my volunteer and am, in fact, actually reading the cards the

volunteer is holding.

You take the cards from your volunteer and deal three

cards face up, placing one beside the other in a column

fashion (Example A). These three cards will serve as the

base row.

Deal an additional card (left to right) atop the cards

already'on the table, forming the second row (Example 8).

Make sure that you place the second card atop the first, so

that you ~an identify the card already on the table . Continue

in this fashion until you have dealt all the cards, giving you

three columns with a row of seven cards in each column.

You now need someone to select any card on the table,

but not reveal to you which card they have selected. At Jhis

point, you can have them write the name of the card on a

....

1 I

4

Example A

-

2 I

5

Example B

-

3 I

6

piece of paper, fold the paper several times so that you

cannot see what has been written on it, and place it on the

table in full view of the audience. I like to do this so that the

volunteer cannot change the card they have selected, plus it

makes the outcome seem even more magical.

Have the individual tell you the column where the card

they have selected is located. When selecting the column,

you can eliminate suspicion that you are having the

volunteer reveal the selected card's identity by holding your

hand over each column and asking if the card is in that

column . Once you identify which column has the card , you

select one of the other columns , slide those cards into a pile

and place that stack face up in the palm of your hand.

You then take the column that contains the card that was

selected and slide those cards into a pile. Place them, face

up, on top of the cards already in your hand. Finally, you will

pick up the only remaining column on the table. As with the

first two columns of cards, you slide the cards into a pile, and

place them face up on the cards in your hand . What you

have done is to put the column with the chosen card in

between the other two columns.

You will need to repeat two additional times the process

of dealing the cards into three columns, identifying the

column in which the selected card is located, and picking up

the cards so that the column with the selected card is

between the other two columns

Once you have placed the cards in your hand,

think of the cards touching your palm as the

-28-


he New Calliope

Cards --

bottom of the deck. In order for the trick to work,

ou must always deal from the top.

After you pick up the cards for the third and final time,

lace them face down in the palm of your hand. The card

hat you will be revealing with be the eleventh card in the

eck. The patter you use for counting to the eleventh card

an easily be customized to fit a fheme, reveal a special

essage, or spell out a phrase. Which ever method you

hoose,· as you spell or count, deal one of the cards face

own on the table for each letter, number or word. When

ou reach the last letter or word (number eleven) turn over

hat card. Before I start the counting process, I have the

olunteer open the folded sheet of paper to reveal if we do,

in fact, have a match.

For example, I often use one of the following sentences:

"I have ten fingers and ten toes. I hope this trick works,

so here it goes. (As I say a number, I place a card face down

on the table): 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 and our card is" -­

without saying 11 simply turn the card face up.

"The reason that I can do this trick is because (start

ounting the cards, placing them face down on the table for

ach letter) I C-A-N- D-O M-A-G-1-C." On the letter "C," turn

he card face up.

I hope that you enJoy entertaining audiences with this

ard trick. On a personal note, I would like to offer special

hanks to Steve "Sparky" Fuller of Richmond , VA.for sharing

he basics of this trick with me.

July/August, 2002

makeup and costume , which is something I prefer , because

when I arrive at the venue I am then ready to start. I can take

as long as I like to prepare myself at home before leaving. I

will not forget anything.Before I started doing this, I once

arrived at a show without my wig. The show had to go on, so I

performed without it and felt dreadful, almost undressed.

Luckily, it was in an area a long way away and so no one knew

who I was, so I got away with it.

There is, however, one other snag to leaving home ready

to perform on arrival: The moment you leave the confine of

your home you are "on," and should be prepared for

anything.

If driving to the show (or in my case, party), there is one

most important thing to remember: You can no longer

scream abuse at fellow motorists or obscenities at anyone

who aggravates you. It is not good to use the recognized

hand signals, either, when some other driver does

something really stupid. It is not good for your image and you

are more likely to have problems later if the other driver's

child sees you at a show and is tipped off by the parent . This

can even apply to ogling passing attractive male/females .

One has to remember that you are a clown and probably

being watched. You are a clown whether driving·a clown car

or not. My car, although not a clown car as such, has a lot of

advertising on it, so I have to be on my best behaviour all the

time, whether in costume or not.

Having said all that, driving in clown does not mean you

can act like a clown. Far from it. You have to be the most

careful driver out that day. Otherwise your next appearance

could be in court for causing an accident. All the time you

are in makeup and costume, you are "on," and must act

accordingly.

International


view

By Andrew "KooJ


The New Callbpe

Make 111101 Rellisited-

E

U rO pea D

July/August. 2002

With the euro look the muzzle is eliminated . The biggest

majority of lip designs are done only to the bottom lip. Most

are done without the pips but some continue to use them .

Lip colors include white, red and black. If the white or red is

used, it really looks nice to outline the lip with a black make

up pencil. Powder or set the white make up at this point.

and

Character

By Steve Conley

905 W. Ridgecrest Dr.

Kingston, TN 37763

smak@bellsouth.net

I decided to group these two faces together since we

pretty much covered most of the basic steps of make-up

application. The European and character faces are really

nothing more than a subtraction or addition to the auguste

face.

European auguste

Let's begin with the European auguste face.The

European is the face of choice for my wife , Kim, and myself .

When Kim and I first began clowning we sampled just about

every face that could be done . We have been using the .

European face for several years now. For me it is som_ethmg

that I feel is a good look for someone who has had skin

problems in the past. I say that simply because there is no

base to apply . Instead of applying a flesh tone you don't

apply anything at all. It is your actual flesh that is seen.

A lot of caring clowns or hospital clowns use the European

face. They prefer the face because it is less frightening to

some children. Some prefer the face because it takes much

less time to apply the look simply because you have

eliminated one of the application steps.

As with the auguste , start with the eyes. It is true with the

European as with the auguste the design around the eyes is

only limited to your imagination. The circles, ovals and

square s are still the eye of choice. Most of the clowns who

use the euro look keep the white on the eyelid and do not

go above the eyebrow. Experiment with the different_

designs and find the look that is right for you . The white can

be applied with an eye shadow applicator , wedge sponge or

the tried and true finger method.

Use a black pencil or brush to draw in your eyebrows.

Place your eyebrow towards the top or the middle of the

white area above the eye. If you should choose to keep the

white below your actual eyebrow draw the eyebrow just

above it. Still keep the live eye when doing your eyebrows .

At this point you could do a number of things if you

choose. You could add some blush to the cheeks and

maybe some freckles .

With the euro face the nose can be just about anything

you would like. The only one that I have seen that I felt did

not fit was the painted on nose. It's really your call.

Your wig should be very simple. Something short would

be best if you choose to wear a wig . Most European clowns

do not wear a wig at all and go with their natural hair. A hat

could be a nice touch to your finished look.

Character clown

The character face is just what it sounds like. A character is

exaggerated into a clown. A character can be a police officer,

a chef, a cowboy or girl and the list goes on. The most

popular character clown by far has to be the hobo or tramp

clown .

The makeup on the hobo clown is just an extension of the

auguste face . Start with the eyes as with the auguste . I

would say that 90 percent of hobo clowns stick with a design

around the eyes in the shape of circles , ovals or half circle

above the eye. What needs to be remembered here is that

the style came from the thoughts that a hobo riding on a

train would acquire a lot of soot from the smoke that exited

from the engine . The hobo would take his hand or sleeve

and wipe the soot from his eyes . Try and mimic that look the

best you can with your white make up. Most of the clowns

who use the hobo look keep the white above the eyelid but

it would be suitable for you to stay below the eyebrow also.

As always, experiment with the different designs and find

the look that is right for you .

-30 -

The muzzle or shape around your mouth should stay

simple . Picture that same hobo on the train taking his sleeve

and wiping his mouth with it. Most muzzle designs imitate

that look. The muzzle should be white . Some clowns like to

add a little bit of black on their bottom lip. That is totally your

Continued page 32


he New Callbpe

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prizes, registration includes .one free

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For more information:

call 757-423 -3867 and visit:

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The New Calliope

Makeup--

From page 30

call and whatever looks best for you. Make sure that the

muzzle is in proportion with your face. A second opinion

would be good. You don't want it to be too big or too small.

Your flesh should be covered in the flesh tone. As with

the auguste, the flesh can vary from a litebeige to a pink

color. Apply the flesh tone to the rest of your exposed flesh

on the face. Keep in mind that you will have a beard or five

o'clock shadow so there is no need to take the flesh down

into the beard area.

Apply your flesh tone as you would the white. Get as close

to the edges of the white as you can. Some keep the sharp

line between their white and flesh while other use the

wedge sponge or their finger to feather the white into the

flesh tone. Set the white and flesh make up at this point.

Use a black pencil or brush and draw your eyebrows

towards the top or the middle of the white area above the

eye. If you keep the white below your actual eyebrow draw

the eyebrow just above it and add your live eye.

Some clowns like to use a stipple sponge when applying

the black for the beard. Dab the sponge into the makeup

and then dab it evenly on your face. Or you can apply a thin

coat of black and then pat the stipple sponge to your face.

Some like to take a black pencil and place several marks on

their face and then take their finger or wedge sponge and

work the make up over the entire chin area. The key here,

however you choose to apply the black, is to keep it thin. Try

and make it look like a five o'clock shadow. You should also

blend the black down onto the neck area, then powder the

black with a neutral powder.

Look for a nose that would stand out and be noticeable

but not gaudy. Any style of nose could be used. You can

also paint the nose if that is what you prefer.

A tattered wig and hat would be fitting to top off the hobo

look. You can also choose not to wear a wig. Make sure

whatever you use that it be fitting to the make up style. A

glamorous wig or fancy hat would never go with the look of

the hobo or tramp.

So there you have it, make up 101 revisited. I hope newer

clowns have benefited from this series of articles. One thing

to remember : My way of applying make up may end up not

being your way. There are perhaps hundreds of ways of

applying make up. New make up and application techniques

are being brought up all the time. Practice is the key and

trying new things is the way to unlock the door for the

clowns of tomorrow .

-32-

July/August, 2002

Oowns of America International

Income,

REVENUE

Membership

Alley charters

Magazine ads

Merchandise

Interest

Web page

Education

Insurance (membership)

Auction

Convention

Misc.

TOTAL

EXPENSES

Credit card charges

New Calliope Production

Editor's fee

New Calliope postage

Business Manager

Natl. office supplies

Natl. office postage

Natl. office phone

Printed matter

Merchandise

Publicity/promotion

Convention

Fall Board meeting

Spring Board meeting

Officers phone/postage

Trophies

Professional services

Clown AIR

Web page

Insurance

Income taxes

Scholarships

Directory

Equipment

Misc.

TOTAL

expense and balance statement

May 31, 2002

Apr-May, 2002

$9,727.58

200.00

7,550.00

3,481.62

757.55

909.00

10,040.00

5,155.00

4,360 .00

42,180.75

531.61

4,061 .00

5,520.00

1,703.20

4,995.66

83.71

1,932.06

505.90

658.38

3,942.40

75 .00

5,677.27

7,645.68

557.95

1,926 .59

77.00

275.00

1,031.00

2,700 .00

1,054.26

100.00

45,053.67

Natl.Bank Pa. chg. acct. 40,458 .51

Money Market accts. 48 ,676 .77

Am. Natl. Scholarship

money market 9,682 .33

Contingency reserve 131,390.00

Natl. Office operating

fund 2,000 .00

TOTAL 232,207.61

Respectfully submitted ,

Joyce Olson; Treasurer

Year to date

$74,170.21

1,100.00

30,725.00

6,465.62

6,483.03

530 .00

7,590.48

32,810.00

5,155.00

4,360.00

400.00

169,789 .34

1,814.27

20 ,305 .95

31,520.00

7,033.78

19,252 .34

1,294.48

6,026.70

3,319 .50

6,793.43

7,360.91

474.82

8,284.77

9,871.46

7,645.68

3,709.70

1,991.10

2,908.00

4,427.00

1,510.00

28,466.00

1,356 .00

3,200 .00

11,430 .64

1,054.26

100.00

191,150.89


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The New Callbpe

July/August, 2002

Opening the stage door

By Steve Kissell

1227 Manchester Ave.

Norfolk, VA 23508-1122

Five, four, three two, one, IT'S

SHOWTIME! ... But wait, hold

everything: Have you ever observed

the concert pianist rehearsing, the lead

guitarist tuning an instrument , Oi the

track star stretching before an event?

They all have something in common.

Can you guess what it is?

PREPARATION.

Have we stretched our bodies in all

areas so that if we take a spill or slip we

do not injure ourselves? Have we

stretched our vocal cords? To do that,

simply tilt your head back and sound

out vowels and various words to warm

up the voice box. Have you had some

water to drink before the performance?

Remember to bring your own bottled

water.

A good entertainer will utilize

recent local news along with the name

of the organization sponsoring the

event. Perhaps a few names can be

memorized ahead of time. Jot a few

down and put them in your performing

case where you will be able to see

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them. Your audience loves a performer

who can personalize an event. They will

be impressed that you took the time to

know where you are and that makes

them feel that your performance is not a

standard or stock one, but a special

event geared toward them. For

example, you may want to focus on

what item or event that area is famous

for. Of course, sport teams and their

records are always some favorites to

mention . Just be sure to be kind and

not too insulting ,

Another important task before

opening the stage door is what is called

the "show glow." That is who you are

and how you act before and after the

performance. Are you meeting other

performers and members of the

audience before the presentation?

Show glow is a simple smi!e or feeling

that people observe and remember

about you. They do not wish to see

someone worried, rushed or abrupt to

them. Chill out, as they say, enjoy the

journey and know that first impressions

really do count. So do your best, and

remember that you are always on, and

above all .... the microphone is NEVER

off.

Before opening the stage door , be

prepared by considering the following

-34-

items. Carry a small handkerchief in

case of emergencies, such as cuts, or

other surprises. Include this in your

entertainer emergency kit. It should

contain paper clips, black markers,

flesh-colored adhesive strips, super

glue, black tape and the like. Each of

these items will come in handy in stage

emergencies.

When possible, do your homework

beforehand. Pack additional

performing material. You never know

when you might be asked to fill in for an

unexpected or extended amount of

time. Are you prepared for a welldeserved

encore? Will you be ready?

Just imagine what a great help and

relief to the conference producer you

would be.Do you know approx imately

how long each routine lasts? Have you

practiced your timing?Check to see if

you need any extension cords. What

kind of microphone are you using, and

do you know how to operate it?Who is

introducing you? Do you have your

intro prepared? What about the

lighting? Have you marked the floor

where the audience will be able to see

you? What kind and color of backdrop

are you performing in front of? You

should be wearing a contrasting color

so that you don't appear as a floating

head.

Your last bit of preparation before

entering the stage is to pray.

Remember to thank God for the great

job that you are about to do. Thank Him

for the joy of laughter and wonder that

you are about to bring to that very

special audience. Now, open the door

and break a leg!

*1'r********

Steve Kissell is the director of

KentuckyC/ownDerby.coy and

ComedyMagicWorkshop. coy, two

events designed for family

entertainers. Please visit each site to

check out the dates and rates.


he New Calliope

July/August, 2002

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-35-


The New Callbpe

July/Augu&, 2002

He attended the Milwaukee circus parades for a number of

years .

Robert will be missed by his family and friends.

Maria 'Chiquillina' Shank

Maria Barraza "Chiquillina " Shank, 38, of Rogers.AR, and

her stillborn son, Bryan Francisco

Shank , made their last walkaround

Feb. 8 at the Cox Medical Center

in Springfield, MO .

Sally Vee 'Sassy' Johnson

Sally Vee "Sassy " Johnson , of Post Falls, ID, made her

last walkaround April 7,2002, after a 15-month battle with

cancer .

Sally is survived by her husband .Ronald E. "Honker "

Johnson , five daughters , 11 grandchildren and a great

granddaughter.

'@j

f

1 - -

t. . . . . ·. '

' '

; ~---.

~ Jf.

,· ,,.~ , ··;



She was born in Gomez Palacia,

Mexico, and was a member of the

Arkee Malarkee Clown Alley in

Rogers, where she served as

alley director and vice president.

A sweet person who loved

clowning, she will be missed by

• ----~ her many friends.

Roger 'Duffer' Kennedy

Roger "Duffer " Kennedy, 62, of Venice, FL, made his

last walkaround April 24 in an auto accident.

A member of COAi, Roger started clowning in 1968. He

was a member of Clowns Like Us Alley #303 , Englewood,

FL.

A retired banker, Roger and his wife, Susan , moved to

Venice. He received the "Volunteer of the Year " award from

Englewood Elementary School , where his wife taught. He

will be missed by family and friends .

GORDON 'Uncle Goo' TOWLE,of

Arvada, CO, made his last walkaround May 9, 2002 . He was a

victim of stomach cancer . and very dedicated to Christian

downing.

Robert 'Boppo' Stoddard

Rol'.>ert "Boppo " Stoddard , 84 , of Duncanville , TX, made

his last walkaround May 7, 2002 .

He was born May 16, 1917 , in Carbondale . PA. and is

survived by his wife of 51 years , Lou Flowers -Stoddard , two

sons , six grandchildren and eight great grand children .

Robert served in the Army Air Corps during World War 11,

was a freelance writer and performed as clowns "Boppo " and

"Honey " for 15 years . He was area director for the Texas

Clown Association and for six years edited the Joey Journal.

Salley was a member of the Wee Bee Clowns,N.W. Alley,

Coeur D'Alene, ID, and a volunteer in the KMC Smile Squad.

She was an active caring clown, working in hospitals and

throughout the community .

-36-

Sally's memorial service, at Calvary Lutheran Church in

Post Falls, was a clown service . All members of the alley were

on hand to hear Uncle Bobo give the Clown Prayer. Balloons

were released in her honor . She will be sorely missed by

family and friends.

'Mac N Tosh' -- Court jester?

By Barbara "Sparky" Bird

Electric City Clown Alley #285

Tom "Mac N Tosh " Person has been known to entertain

people in a wide variety of ways , but it seems he has found

the perfect captive

audience. As jury foreman

in a high profile trial, Tom

kept his fellow jurors

entertained by pulling out

clown tricks .

Tom twisted balloons into

animals and cracked jokes.

One day he brought in red

clown noses for the eight

jurors . The noses caught

the court attendant by

surprise . He whispered his

finding to Judge Tom

McNamara who only shook his head. "You're a sick bunch ,"

he told the jury with a chuckle .

Tom is a member of Electric City Clown Alley #285 in

Schenectady , NY, and the Telephone Pioneers of America

Clown Troupe in Albany , NY. His wife Elaine is "Val N. Tine ,"

and the couple have attracted nine of their children to the joy

of clowning , as well as a niece, two nephews and assorted

other young people .


The New Callbpe

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The New Calliope

Practice,

practice,

practice

July/August, 2002

ways and then hang it over an empty armature.

Ladies and gentlemen , and clowns of all ages , let me

state this loud and clear: The clown lives within you, not

around you. Your costume and props complement what you

do but do not make you who you are: a clown. A costume is

simply that, a costume.Fabric, which allows you to pretend to

be something. When you put on your clown garments, they

should be your clown 's clothes. But unless you know who

and what your character is, it is impossible to put on the

clothes. What practicing and living the art allows you to do is

to transition from wearing a costume to putting on your

clothes. And what an incredible difference there is in your

inner confidence as well as the presentation of your

character to your audience. ·

By Jeffrey B. McMullen

PO Box 2411

Appleton, WI 54912

JBMcMullen@aol.com

Over the past 25 years of clowning in the circus ring, at

fairs, schools, and in the living rooms around the world I have

met several thousands of clowns (and "want-to-be" clowns)

who say to me, "Gee, I wish I could do what -------------.

There is only one way I am aware of to achieve this sort of

"solidness" and that is to practice your character

development skills 24f7. Live it with passion and

commitment. Keep in mind these two specific points:

+ You never get bette r if you only practice

after you book the job .

you do," and my standard response is,

"Well, with years of practice you could , get the next job .

oo." Truth is, they can with practice. The

biggest setback I see in clowning today is

a lack of commitment to learning the craft.

All clowns want the praise, the

cceptance of the audience and payola ,

but few are willing to pay the price.

chieving success in clowning is not

aving the cash to buy a great outfit or the

ewest magic or foam props , but rather in

simple non-tangle skill called

ommitment. Commitment to practice , that

s.

To be more specific -- practicing the art

f being a clown -- developing your

haracter . Keep in mind, please , that a

lown is the most multi-faceted performer in the performing

rts. Allow me to explain. You do not watch a wonderful

allerina and then go backstage and ask the performer if

e/she would sing you a song or tell you a joke. Nor would

ou expect that of a musician or actor. And yet, audiences of

oday expect a clown to juggle , do magic, sing, tell

tories/jokes , and make a balloon animal.

Let me go on record: These are skills -- they really have

othing to do with being a clown. Granted , a clown may do

hese things but they do not make him/her a clown. Nor

oes a costume. I see it time after time . A beginner clown

oes to a clowning convention or training session and the

irst place they head after registration is the costume rack.

hey buy lots of brilliantly colored fabric sewn in all sorts of

+ You limit your talents if you only

learn just what you have to know to

So how do you start to release this inner force?

Trust me, it is there. You just need to figure out

how to bring it out. Listed below are three

simple but invaluable tools you can start to use

today to discover or rediscover the true clown

that is within each of us, that is ... if you are

willing to pay the price.

1. Discover and become the best you .

The best practice time you can have is doing

normal everyday things as your character. It is

hard in today's hurry-up-do-it-now schedule

that most of us have, to schedu le actual

practice time. Of course , that time is important

-'---' as well; however , we can all practice 24f7 if we

look creatively at our time. Try doing the

dishes, going up stairs , vacuuming , cutting the lawn, folding

clothes and so on and so on-- all in character. This is a simple

way to start to think, move and shape ~our character . This is a

great tool for experienced clowns as well.

2. Keep a box of silly items on the kitchen

table. One exercise that has proven beneficial to me, time

after time is to continually exercise the creative part/side of

my mind. I know numerous people who have naturally

creative minds. I, however, am not one of them. I have to

work at it every day. One conditioning tool I use is to keep a

box of items (comb, tooth brush, marbles, buttons, etc.) on

the kitchen table. Every time I pass that point throughout the

day, I have to stop, reach in and grab an item and use it some

way the item was not intended to be used. Example: If I reach

-38-


e New Gallbpe

the box and grab a comb, I may pretend to use it as a rake

a football field with all the fans yelling at me to hurry. This

ill is critical to allowing you to use what is around you in

eryday life in extraordinary ways , ways in which the whole

rld can become your prop.

3. Cartoons and videos. Watch and emulate the old

rtoon characters. Walk, talk and move with Elmer Fudd as

hunts Bugs Bunny, Be the Road Runner or Coyote.

w you cannot simply watch and learn, but you must literally

nd up and move with the characters. When they jump,

u jump. When they do a double take , you do a double

e. This exercise allows you to have some of the best

0vement coaches in the world at your command any time

u want. After all, as clowns we are often referred to as

ing animation. Watch, move, learn, explore and grow!

These are three simple tools you can use to discover

d define your clown character. I encourage you to spend

re time on your character development than you do any

her skill. I say this because we first must be clowns. Once

ur character is defined you can add the other skills . But be

clown who juggles, not a juggler in a clown suit.

By being the best clown you can be, you never have to

rry about trends in the industry. For true clowns still do the

me thing they have done for thousands of years: Make

ople laugh at the world they often take for granted. What

clowns from a thousand years ago and clowns of today

July/August, 2002

share in common? A solidness of understanding of who and

what they are and what their mission is. This understanding

of "inner character understanding " is only gained through

making a commitment to practice this incredible art of mirth

making. So make the commitment and enjoy the rewards!

------------------- ------------------------

From the business manager ...

By Shirley Long, COAi Business Manager

It's not too late! You can still renew your membership

and purchase liability insurance coverage. By now all of you

should have received your notice advising you of

membership renewal and liability insurance policy renewal.

Membership dues renewal notices and liability insurance

renewals for the membership year of July 2002 to July 2003

were mailed to everyone May 24, 2002 . If you have not

received your renewal , you can copy the membership

application/renewal form or the liability insurance application

in the New Calliope and mail with your payment to COAi , PO

Box C, Richeyville PA 15358 , or you can renew with your

Visa, MC or Discover online at our website www.coai.org or

you can call me with your credit card information at 1-888-

522-5696.

I would like to invite all membe rs to contact me if they

have any comments or concerns . I can be reached at 1-888-

52clown or 724-632-3214 Wednesday and Thursday from

9 :00 AM to 5:00 PM ESTor email coaibmgr@hhs.net .

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The New Calliope

How to conduct

last walkaround

By Mary "Polka Dot" Sidehammer

H.C. 64, Box 50

Ligonier, PA 15658

Death is a very sensitive subject; one not usually found

in clowning literature. But dying is a part of life, and whether it

be a child you have entertained or an adult with whom you

shared the clowning art, you may be asked to be a part of

that person's last celebration of life.

What do you do? Where do you go for source material?

Being used to providing laughter and silliness, how do you

now provide a dignified service that honors the life of the

deceased and still include a bit of humor? Having recently

been faced with the death of a fellow clown for the first time,

a dedicated group of clowns designed a solemn program

that lent decorum to the occasion , honored the deceased ,

satisfied the minister and still provided a light touch of

humor.

As guests arrived for the service, each was pinned

with a loop of black ribbon with a pompom glued to the

center. After everyone was seated , taped hymns were

played. When it came time for the actual service to begin, the

minister spoke a few words about the deceased from the

pulpit, then called us forward. To the strains of "Amazing

Grace," each of us, in clown, processed slowly and reverently

up the center asile in single file carrying lit white candles.

Upon reaching the casket , each candle was blown out and

placed in a colorful basket held by the last clown

With all the clowns standing across the front of the

sanctuary , the middle clown stepped forward and read a

prepared eulogy , followed by a poem describing the

person's life. Then each of these readings were presented

to a family member. Either or both of these readings may be

original or obtained from an already written text .

Since a clown is the personification of color, color was

the theme chosen to represent the qualities of the .

deceased . The middle clown held a change bag pre-loaded

with a 30-foot silk rainbow scarf. Each of the other clowns

held a 1'2-inch silk in individual colors of red, blue, yellow ,

orange , purple and green . Each clown spoke of the color of

the silk as it pertained to the deceased and when finished ,

dropped 1t into the change bag. The dialogue began with a

short poem:

Red and blue;yellow and green ,

These are colors we all have seen.

And they tell a story right from the start

Of what can be found in a loved one's heart.

July/August, 2002

Red is the color of love and we are all touched by each

other's love , especially that of the deceased. Blue reminds

us of the sea and water and how it supplies a basic need in

our lives, and much like the sea, the deceased met many of

our needs. Yellow is the color of the sun, and it provides us

with warmth and joy. To be in our loved one's presence was

to experience warmth and joy. Orange is bright and sparkly

and reminds us of a fountain of laughter; and we were

showered

.----------------, abundantly with

our friend 's wit.

Purple is symbolic

of the cross and

the trouble we

carry throughout

life. It also reminds

us there is always

somebody to help

us through the

rough times. All

we had to do was

• call, and our friend

was there . And

green , the color

of springtime and

new life, from

seeds to new

growth. Green

reminds us we

never know when

we might touch a

life or create a

new one . And our friend planted many seeds and touched

many hearts . And so we celebrate his life. The next time we

see a rainbow.we can think of this life, and all the joy and

laughter he shared with us. How blessed we were to have

him.

Then , the pre-loaded rainbow scarf is produced and

placed in the minister's hands. At this point , another clown

distributes long-stemmed red roses , a flowe r made with a red

pompom in the center, to the family members. Red sponge

noses could be substituted just as easily. Then the

assembled clowns return to the back of the church in single

file as the minister completes the service. As the guests file

out of the church, they are given a copy of the eulogy and

poem that was read during the service.

At the cemetery , pearl ized white , helium-fil led balloons

are given to each guest upon arrival. After the completion of

the committal service , the balloons are released to the

heavens.

There are many adaptations that can grow from this

suggested service . Whatever you include, be sensitive to

the needs of the family and celebrate the deceased's life in a

dignified manner .

-40-


he New Calliope

COAi's eAlley

Join Today

COAi's eAlley: a group email service

Receive messages electronicallv from COAi

Commu nicate ~ith COAi members

Share information and ideas

It's FREE!

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To subscribe to the service send an email to:

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Don't miss out on the sharing of great information

Subscribe Today

Have questions regarding COAi's eA!ley?

Contact Mike Fixer at

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July/August, 2002

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is taking the "Show on the Road"

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November 8 & 9, 2002

Atlanta, Georgia

At the Yaarab Temple

In addition to_the induction ceremony, the VERY FIRST COMPETITION

naming the ICHOF's Clown of the Year will be awarded in two categories:

• Professional (one who makes their living solely as a clown)

• Advocate (supplements their income part-time or donates their time and service)

To be eligible for competition in all areas you must be a member of the ICHOF.

Registration forms and rules for competition can be found on our website:

www.clownmuseum.org

For more information please

email Carrol at clmoering@juno.com

or contact the

International Clown Hall of Fame

414.319.0848

email: ichof@clownmuseum.org

-41-

$75.00 Registration (Includes awards dinner)

$40.00 Additional Tickets for awards dinner

Membership in the TCHOF is required to compete,

please pro\'idc your membership number when registering

or include $35.00 for membership

Registration forms are arnilable on line or call the ICHOF

at 414-319-0848 to have one mailed to you.


The New Callbpe July/August,

Top

Banana

2002

~--------------, Happy Harry worked together like

hand in glove. Along with George

"Mr. Gee" Galewski, the four

became the "Top Bananas." In the

1980s they were the premier clown

group in the Midwest. Two of their

most exciting responsibilities were

the children 's area at the Wisconsin

State Fair and the Milwaukee

Symphony .

sp I its I

By Judy "Perky" Cox

219 Hickory St.

Melbourne, FL 32904

Hunter "Mr . Boots" Stevens

concentrated deeply on applying clown

makeup . David "Duckweed" Cox came

through a back door . "Hey, I thought it was

time for the show." Hunter replied, "I'll be

ready in a minute. Have some fun with our guests ." Soon

Mr. Boots said , "Let's get this show started!" A burst of

applause welcomed Mr. Boots as he introduced himself and

Duckweed . Clown show magic had begun .

Long-time members of COAi know the background of

Hunter Stevens. Born in Philadelphia, he met his wife

Eleanor (Babe) during WNII while at the Great Lakes Naval

Training Station. They've lived in Milwaukee since 1946.

Now they winter in Florida. Hunter, Randy and Rod are their

three boys. Rod's two children are special joys .

In 1946, a friend asked Hunter to be a birthday party

clown. He bought a carnival-striped jacket and a big tie and

put on his "lipstick" makeup . Because of this party , he

learned he had an alter ego that wanted to do wild and crazy

things . After a couple of years , he answered an ad for a

clown convention in Delavan, WI. He received an application

to join Clowns of America and became associated with the

Milwaukee Metro Clown Club, Alley #37 . The Hunters ' dog,

"Boots," was the inspiration for his clown name.

Respectfully, a girl in a kindergarten class called him Mister.

"Mister Boots" was born!

Hunter was on the board of GOA and help reorganize it

as COAi. During his tenure he held the offices of treasurer ,

vice president , and was president of COAi from 1986 to

1988. He and Richard Snowberg were instrumental in

starting the Clown Hall of Fame, which is now in the Grand

Avenue Mall in Milwaukee.

Two of Hunter's mentors were father and son, Harold

"Happy Harry" and Bruce "Blinkey " Nelson . Mr. Boots and

I

Mr. Boots

In 1988, Hunter was part of a group

of 13 clowns invited to England by

the English Clown Club. He was

extremely impressed with their

professionalism. They have no

parade "rain days." Out pops

umbrellas , women pull out their

baby carriages , put on a plastic

shield for the babies and watch the

parade in the rain.

A memorable time came for Mr.

Boots in a nursing home . As he

spoke to a lady, she began

jabbering. Someone exclaimed, "Mary 's talking! " The woman

had been comatose for over a year . Word got out .they took a

picture of Mr. Boots and dubbed it into a video of this lady,

added the song , "He Touched Me," and narrated the

incident. They talked about how cures happen because

laughter helps people who are ailing.

The achievement Hunter 's most proud of is "Just being

a clown .... I've had lots of awards, I've been president, I've

been a founder , but all these things have to take second

place to just being a clown ." His words of wisdom : "Never

stop learning ; it's out there if you want to learn it and it's out

there if you want to do it."

David and I were privileged to be asked to work with Mr.

Boots. He said he had been a clown for a long time and was

ready to do his last gig. The birthday party of his housing

complex would be his formal goodbye to Mr. Boots . He

needed someone because his partner, Happy Harry, had

passed away. David eagerly agreed to take on his partner 's

role. The show ended with Duckweed giving Mr. Boots a

slapstick ending and saying , "This is the end of Mr. Boots ,"

and the end of the show. Applause that followed was almost

thunderous . Hands were shook , pictures taken , and

congratulations given .

Is this really the end of Mr. Boots? No, because pieces of

him will always live in the minds and heart of those he has

touched . Jack "Freckles" Anderson said, "Thank you for

being one of the tent pegs that has held COAi together . It

would not be the grand and glorious thing it is today without

your leadership in the beginning ."

-42-


he New Callbpe

July/August, 2002

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Jeddy Bear ilevlew In 2002

COAi North Central Regional Convention

October 11-13 th , 2002 in Tulsa, Oklahoma

Hosted by Klownz Around Tulsey Town

Alley 318

Featuring:

Dave Mitchell

Steve Kissell

Rex Nolan

Connie Lyons

Mastercraft Puppets

Dean Martin and others

Registration Price - $90 before A'!Pust 31.

$100 after Aug. 31 or at the door.

-43-

Registration includes Saturday night banquet, a

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For more information call Jim McGuire (479) 636-0089 or email

111 a111imu111 !11•ll'nwa quik.com


The New Calliope

Knowwhen

tosavno

By Karen "Peppermint" Reinholt

www.Pepperminttheclown.com

As performers, we receive calls for a wide variety of

entertainment venues. Accepting these jobs, most of the

time, is fairly normal and routine. However, there are

situations when there might be a question as to whether we

should accept a particular job or not. Let's look at some

situations that might arise and when we need to know when

to say no.

A mother called the other day to book a clown for her son

Sean who was turning two. As with all two-year-old

birthdays , I always ask the parent how their child is around

clowns. If they've never been around a clown before, I ask

how they reacted to Santa Claus, the Easter Bunny or other

costumed characters they might have seen. If the parent

tells me that their little one absolutely loves clowns, that's

great. If, however, the parent tells me that their child

wouldn't have anything to do with Santa or any other

costumed character , I usually gently recommend that they

wait another year.

This particular mother told me that they'd hired a clown

for her Sean's first birthday and he had reacted fine. The

clown they'd hired wore almost no makeup (a little color on

the cheeks and long eyelashes) . She'd made the decision

not to hire that same clown because she was concerned that

the older children would be bored watching the exact same

show two years in a row. So, she wanted to hire someone

else. The problem was that her son doesn't like clowns now.

She tried to show him pictures on web sites and all he'd say

was "no, Mommy, no". She also had taken him to the circus

and he screamed when he saw the clowns . I explained to

her that her son was fine last year as most one-year-olds

usually will be. They are just taking in all the excitement of

the party" atmosphere surrounding them . When they turn

two they are more aware of how different a clown looks from

"no;mal".people and some may become shy or scared. I

recommended that she wait another year to hire a clown to

entertain ..

Why did I feel it necessary to say no? First of all, I don't

want to subject a child to a situation that might cause them

fear or concern . I'm sure each of us have been in the

situation at some point where a parent is approaching us with

their child and you can see the fear in the child's eyes.

Some of these parents have a tendency to downplay or

-44-

July/August, 2002

ignore their child's reluctance to get too close . They'll ~alk

right up to us and expect their little ones to accept us without

reservations . This is difficult for some children to do. They

need to have their space respected and observe us from a

safe distance initially. When we see that look in a child's

eyes, the best thing to do is have the parents stop a short

distance away to let the child warm up to us. Or take a step

backward to give them the space they need to feel secure

while getting used to how we look. I remember one time a

father actually spanked his little boy when he held back and

didn't want to get too close to me. I quickly assured the dad

that it was perfectly okay for his son to need some space and

time to get used to me. It broke my heart!

Another reason for saying "no" to perform at Sean's party

was not wanting to subject myself to having to try to perform

in an extremely difficult type of situation. Early in my

clowning career, I booked a party for a two-year-old and didn't

think to ask if he liked clowns or not. When I arrived , he took

one look at me and ran out of the room screaming. Several

of the other two year-old guests followed his lead and ran

away with him. I spent a lot of time just trying to assure the

birthday boy that I was a nice clown and coax him back into

the living room where the other party guests were waiting . I

finally left him in the kitchen and started the party.

Eventually , he and his followers rejoined the party and were

fine. But this was one of those situations that you don't want

repeated; so you try to learn from the experience. What did I

learn? I learned to question the parents of two-year-olds at

the time they want to book the party .

But knowing when to say no isn't restricted to two-yearolds

. Let's take a look at another birthday scenario :

"I'd like to book a clown for my son's birthday" the Mom

said on the phone. "He's turning 15 and all his friends will be

here. I want this to be a surprise !" I asked if she knew

whether her son would want a clown for his birthday, or if it

was that he just really loved clowns. She had no idea; she

thought it would be a funny thing to do. I asked if she knew

whether her son's friends really liked clowns . She didn't

know.

My concern, as I explained to this mom, was that having a

clown surprise for a 15-year-old teenage boy might be

embarrassing in front of his friends. Peer pressure at that

age can be brutal. · 1 explained to her that I perform for ~"-ages

and I would be delighted to do this party, on one cond1t1on.

She would need to ask her son if it was okay. I knew this

meant it would no longer be a surprise for her son , but felt it

was imperative to get his permission for a clown to perform at

this get-together with his friends . I asked her to call me if he

said yes. She never called back.

So, how do you respond to this? Is it okay to question a

job like this? Is it okay to turn down certain events? I'd like to

look at other performance scenarios when you should

Continued page 46


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-45-

..

~


The New Calliope

.Saying no --

From page 44

think twice before saying yes to jobs like this; when you

know to say no.

The person calling wants to book a clown to paint faces,

make balloon animals, perform a show and run games for

their event. They're anticipating 200 children and they want

the clown there for two hours. My standard, light-hearted

reply, "I perform magic, not miracles," always brings a chuckle

and gives me the opening to explain what can be done with

the number of children by how many entertainers in how

much time.

Sometimes the event coordinator really doesn't know

what's possible and what's not possible. Other times, it's

their budget constraints that play a part in what they can

afford to hire. But we should never agree to a job when we

know we can't do what they're asking us to cio.

In my early years of performing, another clown booked

me to work a picnic with him. I was supposed to paint faces

while he made balloons; then we were both going to run

games and each perform a show. We were contracted to be

there for three hours. When I arrived, there were 150-plus

children there. I knew immediately that what he'd promised

to do could not be done. I didn't want to disappoint anyone,

so I stayed extra time to get all the face painting done. I did

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head to the South East Clown Association convention .

We are also graphic artists, and multi -media designers.

So we can handle all your promotional material needs.

1,000 laminated business or trading cards for only $150

this includes the following: color on Front & Back, design,

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H11/,,.,11'111l1,1111~

/.l e •ti,r,~:a

THE CLOWN

,.. A.,,.,.J W,_,,,e,,.­

-46-

July/August, 2002

help with the games , but he agreed to do the show while I

continued painting .

There are several problems that can result from staying

extra to get everyone painted. One is that you're working

extra time without getting paid. Another is that the client

might expect to get that extra time for free in the future; or

not even be aware that it was a problem, causing them to

book that way from now on. I discussed this with the

performer who booked me. Apparently, he was comfortable

with booking his events like this. ·

I personally feel that this is doing a disservice to the

company and to the entertainer(s) as well. You shpuldn't

promise the moon when you know you can't possibly deliver

it. You have several options. One is to educate the event

coordinator, letting them know what can be done with the

number of children anticipated at their event. Most of the

time, they 'll get the approval to extend the time you'll be

there or increase the number of entertainers they're willing to

hire to get the job done. Other times, adjustments will have

to be made in what you can do.

Just the other day, one of my corporate clients called. In

the past, they've hired two clowns plus three face painters

for five hours. The two clowns started with meet and greet,

then made balloons and finished up with a 30-minute

comedy magic show. The face painters worked full time to

accommodate the large number of children. This year.

unfortunately, their budget had been cut considerably.

They wanted to cut the clowns down to three hours and the

face painters down to two hours. However, they wanted the

same things done as in the past!

It is our responsibility, as the professional entertainer. to

explain why it is impossible for this to happen in situations

like this. We ended up with some compromising on both

ends. The clowns would start with meet and greet, then

perform a 45-minute show, then provide strolling

entertainment. We eliminated the balloons all together. We

added a fourth face painter and scheduled this to be done

for the last two hours of their picnic, assuming that some

people will have left by then, leaving fewer children to face

paint. In addition , I told them they would need to provide

someone from their company to be responsible to enforce

cutting the line off . That way, no one would blame the face

painters or give them a bad time. Not the best or ideal

solution , but one that we could both work with.

I would rather work with the event coordinator ahead of

time when we're planning things to make sure that their

event is the best it can be. If you agree to anything they ask,

knowing it won't work , you'll be setting yourself up for

frustrations and the children up for disappointments . Take

control and know your bus iness well enough to know when

to say no.

And, as always, have fun with your clowning!


he New Callbpe

July/August. 2002

Clowns Of America

International, Inc.

has elected to have the

National Clown Arts Project, Inc

to serve as the

COAi Northeast Regional Affiliate.

Catch the excitement as ...

• 1 G de~ Clown Celebration. ..

~z1GG2~

will now include the ...

"COAi Northeast Regional Clown Convention"

September 18 to 22, 2002 in Seaside Heights, New Jersey

For event lnfonnatlon see the accompanlng advertisements in this issue.

'ClolM>fesl" is lhe regi>teroo trademark a the NCAP, Inc. & the "COAi Nonh East Rajonol Clown Convention " is the propeny of lhe C~ N. Inc..

- - - - - •••••• • •• - - • Mail With Check to: N.C.A.P ., Inc. c/o 240 Swimming RiYfl Road #C, Colts Nock, NJ 07722-1528 - - - • • - • • • • • · •

Plea- f1:iai clearly In Ink. Qm P!!n!!D per registration form :

Official u- Only

Given Name ___________ _ Clown Name ______ _

# __ _

Address ___ ___________ ____ _____ _

Date:_ ,_ 2002

City ____ _ _______ State __ __ _ Zip ____ _

0 FREE Pre-Day

Phone ( __ ___ Email _________ __ ____ _

• FREE Gift

Pre-Training Day ..... US $ __ • Ministry • Novice O Caring Clown

0 Certificate

Adult Registration ... US $ __ • Parade Participant Q Certificate Program

FAX: 732-747-3841

Email: ClowafNt@aol.com

Junior Registration .. US $ __ Jr. Age_

COAi Membership # _ _ _ (Membemtlp Is not required to cstend.)

Pie-

Pltotocopp For AddltlOflal R~,..

-47-

Weh Site: www.C'lowuf..t.com

Produc..t bf~ Natlonal Clown Arb Protect. Inc.

In lffl8--0-0f-ca 1---.1, Inc.


The New Callbpe

America's Gr~[:]

[l~Z/u

wn Celebration. ..

Q[!l~:YGG>2

21st Annual Clownfest, it's an edu-vention!

July/Ai..gust, 2002

Our goal at Clownfest is to have something for everybody &om the very novice clown to the

seasoned professional. Clownfest has over thirty speakers and over forty-five lectures and

workshops in the clown arts to choose from. Clowns are sure to take away some great new

skills and ideas. Our schedule has a prestigious list of trainers and this is an event that will

surely enhance your clowning experience. CJownfest is designed for FUN too. No other clown

event has a big clown parade, a fireworks display and a full big top circus with so many

activities that put clown artists out in &ont with the spectators.

Lot's of FUN and lot's of education ... an edu-ventlon! We coined the phrase and we live by it.

"Together ... Brlnglng Clowning into the 21st Century!"

·Dash For 'lne Noses· Be sure to get into this ~-t

"Clownfest Have FUN Tearn.N.

RJN activity along the boardwalk on Saturday

a,fts:moon. It's"

mad dash on the sandy beach by the clowns doing some zany

activities with a ple-posterous anding. It will be a splashing RJN

time. S- clowns a.ate a ballooo, juggle soma sc:MVM wearing

kitchen mitts and more an at a riotous pace. Top off the many

race with a splash of water and a ooom-marang pie' in the puss.

Ifs sure to be a ~•/

11

F am il y FUN r,.. rrO li C

II

Join In with the audience OD the

beach on Saturday for mon FUN H folks &ollc with saf., family

style games. Clowns will bring pe.rachut. gam-, beach balls,

hoola hoope, stickers and a heart full of FUN. Enjoy thl. eupar

event, at two locations,

Have FUN, be FUN1

·etownfest

come to play.

Big Top Circus· It'• RJN at the cil'cus,

and• the big top, with a special c1n:- Gala on Saturday.

Highlighting this grand • -nt wlD be circus acts &om around the

world. S- the world famoae clrc- artists and clowns In action.

Great FUN for children of all agut

•Kazoo to You• Clowns etnrt their .tuft as they band

togeth. clown the boardwalk oa Saturday afts:moon in

the "All Clown Kazoo Band'. ltll be a humdln~r.

Rosa Bancbs BobGibbooa Ru: Nolan

Joesph Barney Richud Gottachllch Ed O'Neill

Paula Biggio Jim Howle Vincent A. Pagliano

Jim Blank Joann Ihnat RONlind Pagllano

Bono Blank Tony.I- Mute Pwuon

Tricia Bothun Michael Joeepb Eric Penson

Dale Bothun Duane Laflin Joee'RiYera

JimmyBn-n Mary Laflin f Schloeaha-

Mari)ya Cana.., Jennifar l.aeche JTSik-

IDchardC- Michael l.aeche Philip Stoae

Betty Cub Bob LittJe Carol Spaulding

Laan • Davie St •- loag Cb.-i v-turi

Leo O..ileu Dean Martin Amy Zygmont

Gl-da O..ilets John Ma- Greg Zygmont

V~O.laaey Leon Mc.Bryd• Loie Zipenon

Jennifw Gag1111· Lonaine Mcc...m.y Stan ZipG'son

Jeff Gant

David Mitchell

-Your Clowning Achievement.N •

Clawm • -t wm pr-ta 'C«tific:ate of Completion" H yoar

ach..-eat

one Jlllhlic -1

award to all tho •• that complete at 1- • t &v. claeMs,

and the parade. You will cany your accreditation

card ....d get it damped at -ch of the cla•-

and • -ts.

•etownfest on Parade• 0n Sanday attwnoon,

at 2 p.m., plan be In the traditional

'BIG Boardwalk Clou,n

Parade" with benda and - an marching OD the boardwalk.

v.-twenty thou.and ~ctators wtD be looking for YOU

NATIONAL CLOWN ARTS PROJECT, INC.

240 Swimming River Road #C, Colts Neck, NJ 07722

Clownfest

la the 8-sl•tend Tnclemark of the N.C.A.P.,lac.

www.Clownfat.com

- Clownfest@aol.com

-48-

At tlie ead of the pancle on 5-day poa will aoee the main

etap aad tan Ill poar cud b yo11r certl8cate and tliie -ameled

CC ••dee pm. Aft the c:anle wUJ 6- be - •cf la 1111 oa tile

spot ....... -- specie) clowa pmw.


he New Calliope

£,-perienu

more r,pe.a~el'!>. more d.as&e&, the GO.aGhing program.

m.a~p wmpetition, publiG perfonn.anu&, .a full big top GirGus, fire\olon:.&

.and .a thrilling do"'n p.ar.ade 111ith U>,ooo sput.ators on '5unda-f .afternoon.

C.LOWNF£'£if ir. .a jam p.aG~ mn. of learning, do\lfn perform.anur, .and FUN!

Ifs .an edu-vention.

!Z-«Mve 1our ·c.10\olnfer.t CertifiG.ate of Completion·

I>'( ·.atte:-iding r,i,- cl.asses. t\lfo publiG event& .and the p.ar.ade.

Certific.ation, GO.aGhing .and wmpetition designed for pel'!>On.al growth

is open to p.artiGip.ant& "'ith .a full regir.tr.ation onl1.

Ifs 1our Gh.anu to ulebr.ate ,md e,-plore the "'onders of do111nin9

109ether...

at ·AmenG.a's l,,r.andest c.lo\lfn £'.Mebr.ation·.

brin9in9 C.\o~nin9 into the 1.l&t l.entur•(

Register Early &S A VE

Aft• AUG. 1st

All rates are in US funds.

PRE-TRAINING DAY Sept.18 Q!!!i( •

By.JULY lat By AUG.1st

And Al Tho 0-

$ 45. $ 55. $ 60. (One Day Role)

Ministry, Caring or Novice Clown

ADULT REGISIRATION -

SEPT. 19, 20, 21, & 22 , '02

JUNIOR REGISIRATION -

• $ 95. $ 100. $120. (Day Rate $00.)

16 yean of •e- aad

• $ 65. $ 75. $ 85. (Day Rate ScO.)

yoanger

•Regular Regimatloo by July 1st ~ the J>r...trainlng Day for ~

A $10. procaaslng fee wiO be placed on all donations that are canceled befon

the cut off date of Aug. 1st. No cancellatlooa or refunct. aft• Aug. 1st, 2002.

Mau checb payable to N.C A.P., Inc. - In US ftmd!J only.

21st ANNUAL wmoN

July/August, 2002

SEPI'EMBER 19, 20, 21 & 22, 2002

PRE-TRAINING SEPT.18', 2002

SF.ASIDE HEIGHTS, NEW JERSEY

5 BIG DAYS OF CLOWN FUN!

* l'12£-TIZAINING. D,-Y FO!Z-rn£ NOVIC.£,

-rn£ MINl'i>TlZ-Y a--rn£ c.>.f2tNG. Cl.OWN

* ove.iz. 4,; 'i>f.MIN,'IZ.'i, a-WO~t\Ol"i>

* f£A11.l!Z!NG. OV£1Z- 30 'i>l'f-At:'.£1Z-'i>

* C.LOWN IN TIZAINING. f1ZOG,iz.AM

* 1'£.~O!Z,MANc.£ C.OAC-1\ING, ~G,!Z,AM

* C.0Ml'£1111ON'i> IN ~N.l.OON,

MAt:'.£-Ul' a-C.O'511.IM£ and l'NZAOM~IL11'f

* C.£!Z-TI!'"ICAf£ Of C.0Ml'\..f.11ON

* G.!ZAND AIZ-f.WO~ Dl'i>l'\..AY ON '5A11.IIZOAY

* 'i>UND,._ Y Afff.lZNOON c.LOWN l'AIZ>J)(.

The first 100 registrants will receive a

FREE commemorative souvenir gift ...

plus reserved seating at the Circus Gala.

FREE commemorative

PARADE BONUS ...

pin and a group photo

will be given to all parade participants.

** ~IG, fOl' c.llZLU'i> G,/u.A a-MOIZ-£ ...

FREE GIFT FOR YOU-

ACCOMMODATIONS­

AZfEC OCEAN RESORT

901 BOARDWALK, SEASIDE HEIGi-ITS, NJ 08751

(732) 793-3000

Special Clownfetrt pacbe- ratea for two, th... and

four days an available. Accommodations at the

Aztec (motel) an limited •o ask to be dincted to

oth•

lodging once thie motel la 6Ded..

Clownfetrt &O. ovw a doz-

matei..

www .SeasideHeightsTourism.com

- - - - - - - - - - - - - - - Mall WHh Check to: N.C.A.P., Inc. c/o 240 Swimming 81- Road #C, C..lta Neck, NJ 07722-1528 - ~ - - - · - - - - - - - - -

PleaH ft!!!i clearly in Ink. ~ l)el'IIOII i-- regisbatloo form:

Given Name

-----------------

Clown Name

-- - ------ -

Address _____________________ ________ _

City ________________ State _______ Zip ______ _

Phont: _______ Email ----------------------

Pm-Training Day ..... U, $ __ 0 Ministry O Novice O Caring Clown

Adult Registration ... US $ __

Junior Registration .. US $ __

0 Parade Participant O Certificate Program

Jr. A&, __

COAi Membership # ___ (Membership is not required to att.end.)

Pie- Photoco,,,, For Additional Reg1strat10,..

-49~

Official u .. Only

# ___ _

Date:_

,_2002

D FREE Pre-Day

• FREE Gift

D Certificate


The New Callbpe

-~,_ ~ de AJnericade!

Paqaso

......... ~~"•fo~~ - , nde

r.i2Ji1

~

tseeiebraG)~WCf

G£~~

~ ~ •~ ~~~

p.SOS

9P.Ao. Pruner, 2002. La n1arca .-erifica pagadero a N.C.A.P .• Inc.

US • En NOSOTROS Onancia solo.

(732) 793-3000

10bre un mot,,la

de la docena.

www.SeasideHeightsTourism.com

- - - • - - • - • • • • • • • • • Envie Con Cheque a: N.C.A.P., Inc. c/o 240 Swimming Riwr Road #C, Colts Neck, NJ 07722-1528 •••• • • - • • • • • • ••

EIU.Oaftdal861o

Por faWOI' lmpl'-ion claramente en tlnta. Una p,,nona por fonna de matricula:

# ___ _

El Nombre dado: _____________ __ Nombre Payaso: _________ _

La dJrecci6n: --------------------- -- ----------

e I Eatado: ___________ la Cremallera: ___ _ ___ np ______ _

El telefooo ( ) Email

------- ---------- - ----------

Pre Dia que ntnaa- NOSOlROS US $ __ 0 el Mlniriario O al Prlncipianta O Payaao qua CaJcla

CUATRO DIA MATRICUIA ADULTA • US$ __ 0 D..m. Participant• 0 al~ de Certiflc:ado

Y CUAlRO DIA MATRJCUIA MENOR - US$

Hljo. La adad

109ether ... c.lo~nin9 que trn en el ~iglo viguimo ptirmro.-

-50-

Date:_ /_ 2002

0 FREE Pre-Day

0 FREE Gift

0 Certificate

FAX: 732-747-3841

Email: ClowafNt@aoLcmn

Web Site: --.Clotnd'at.CCNB

Produc.ad bJ 11,o - 0-. Arla Pmta:t. IDC.

lnaMS--a-..Of"-ka..__ODIII,


he New Calliope

July/August, 2002

'l 1 IIE

111~111..ING lff)lltJ)

()NI~ S)llf_.l~ 11'1

1 1\ 'l,1111~

Harry Allen

Jack Anderson

Jim & Bonnie Blank

Timmy Bond

Donna Branham

Mervyn "SPOKE" Brazil

Graham Cracker & Jam

Leo & Glenda Desiltis

Jackie Gardner

''Rusty'' Gorgans

Efrain "HAPPY" Guerrero

Jim Howle

Kitty Kuhr

Jackie LeClaire

Leon McBryde

Marcella Murad

Chuck Sidlow

Carol Spaulding

Rob Torres

...... and more

J.-

7

S()lrl,11 )~1.\Srl, (jf ... ()ll N 1-lSSf)(jJJ.\rl,l()N

2()()2 (;f)N,TJ~NrJ,Jf)N

1-l.l ... rl,1-l.~lf)Nrl,I~ SI•ItINf.S, 1if ... f)llll)1-I.

s1~1•r1,,~~••1•~•1 25 - 2f), 2()()2

Hilton Orlando North, 350 North lake Bouleva rd, Altamonte Springs, Florida 32715

RESERVATIONS 407-830 -1985

Mention SECA Convention when making reservations - ROOM RATE: $69.00 single/double /trip le/quad

Reservations made after September 9, 2002 will be provided on space avai lability at the prevailing rate

Make your reservations early!

r-------------- --------------------------- -----------,

2002 SECA CONVENTION REGISTRATION i\ND MEMBERSHIP FORM

Name _ ___________________ Clown Name ___________ _

Address __ __ _____ __________ City,State _________ Zip __ _

Phone ( _________ __ E-mail ____________________ _

ls this your first SECA Convention_ ves_ no

Early Registration postmarked before July 20th

Registration postmarked after July 20th (before September 7th)

Individual Membership (prorated for new members only)

Family Membership ($6 for each additional member)

SECA member

$85

$95

Noo-SECA

SI 10

Sll5

SECA

Membership

SI2.00

S 6.00

TOTAL

After September 7th, 2002, ~istration is SI IO (SECA member) or S135 (non SECA member) AND MUST BE MADE AT THE DOOR.

Day rate is available for $45 per day with no meals included. Full registration includes 3 meals. RrfHds prior to September 14 with cancellation fee ofS20. No

I rtfunds after Se~m~r 14. Make checks payable to SECA and mail to:

Jan Livesay· SECA Trcasum - 191 1 UIU11I Duncan Road - Apex. NC 27502

I

For additional convention information, contact Stan Stromsky 94In72-3472 or e-mail stromboli33@juno.com

·----------------------------------------------------~

-51-


The New Callbpe

July/August. 2002 ·

Quartet of clowns pays respects to

workers who died in the 1918 Hagenbeck

- Wallace Ci rcus train crash.

Traditionally, Chicago -area clowns

honor these circus workers during

International Clown Week Aug . 1-7

Clowns shown at grave site memorial

(from left): Nancy "Belle" Petritis,

Bill "Pesto" St. John, Bob "Tic Toe"

Shaaf , Susy "Pancakes" Kleinwachter.

See story page 23.

Periodical postage

Paid at Bluffton, OH

Clowns of Amer ica International

Richeyville , PA 15358

July/Aug . 2002

Volume 20, Number 1

-52-

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