Category Archives: Clowns Without Borders

Clowns Without Borders Myanmar 2009

These photos are from the international Clowns Without Borders project in Myanmar in 2009. We focused on reaching children and their families in the Delta recovering from the Nargis Cyclone. Performers from Australia, Belgium, France, Myanmar, Sweden and the United States participated in 4 separate journeys across the region.  To read about the project, please head over to this page.

 

 

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Clowns Without Borders. Siloé Show. Cali.Colombia.April 2013

Cali, Colombia. April 2013

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My introduction to Cali, the third largest city in Colombia, is a late night ride from the airport into town, a twenty-minute ride amongst the palm trees, a pleasant tropical shirtsleeve warmth to the night. I know we are arriving when I see the first set of traffic lights approaching. What surprises is me is that we go right through the red light with barely a slow down, and a few other cars alongside are doing the same. I express my amazement and Connie, who is driving, explains how after 11 pm, the police encourage this driving behavior, for safety’s sake. I decide to avoid the topic of what kind of safety are we talking about here, robbery, car-jacking, worse??  From the annals, I recall a scene, riding to the airport outside Rio de Janeiro. After going through a series of intersections and driving up the highway onramp, the driver lets out a big sigh of relief. She reveals that we just passed through a particularly dangerous area famous for robbing cars stuck in traffic.

Connie and Ilana, the founders of a one-year old organization called CaliClown, Payasos Humanitarios are welcoming me to their town, one that really only gets a little dangerous in certain areas at night…unless you go to the wrong part of town…. These two experienced clownesses are leading the nascent hospital clowning group in town. As Payasos Humanitarios,  they have also adopted the mission to bring performances into displaced people’s communities, something my work with Clowns Without Borders has familiarized me with.  According to the iDMC (internally displaced monitoring center) there are currently between 4.9 and 5.5 million tinternally displaced persons in Colombia depending on whom you talk to. It’s the second largest of IDP’s in the world, and constitutes about ten percent of the population.

As we fly through red lights in the increasingly urban environment, Ilana is giving me a clearer picture of the situation around Cali, the colonias full of displaced persons who squat empty land with makeshift housing, creating entire neighborhoods, much like the favellas around Rio, and many cities of the world, many which share similar levels of poverty.  In certain parts of the world, there are heavy criminal undercurrents, and gang territorialism is prevalent in these areas of town.

Ilana tells me a story of a woman getting murdered for crossing the imaginary borders of gang-controlled territories in a part of town. The woman had been shopping, and her normal store being out of a certain product, she had gone on to the next store. She was murdered in her apartment.  One of the neighboring gang members decided to make a point of finding out where she lived and went to find her, knocked on her door, and shot her. I am open jawed hearing this, as I always have imagined that the territorialism was about controlling who sold what, drugs/protection etc, I share my incredulity with Ilana, “but the woman was just walking through the neighborhood, why would they?…”  Ilana replies that indeed, it is hard to believe, “maybe it’s just because the want to and they can.”

During our twenty minute ride, police corruption is also a topic though our discussion mostly resides on the relatively benign topic of bribing police to get out of traffic fines…I remember a bribing the policeman incident in Sudan, on a CWB project. Something about the driver not having the right permit to drive foreigners around… that project was certainly a bit different in nature that this one, although both involve Internally Displaced Persons, or IDPs for short. In both situations, the IDPs are being caused by civil war. In Sudan, we were an international team of 7 bringing shows into 8 or 10 large IDP camps. Here in Cali, I am alone, with a much simpler task, to do one show at the end of a week’s workshop with the Cali Clown group. We will play in an open-air amphitheater at the top of the hill in Siloé, a.k.a. Colonia 22, one of the toughest spots in town. Then the next day, we will also go to the local hospital to do a little show for the children.

This is my second foray into Colombia, the first three years prior, to perform in Mimame, a big mime festival in Medellin and in parallel teach a workshop a the Clown Encuentro, the main yearly gathering of clown community of Colombia. The Encuentro was dedicated to “humanitarian” clowning, and on the last day, a large group of the clowns traveled in a festive open air bus to las quatras esquinas, the four corners of Medellin, into the marginalized parts of town, very similar in nature to Cali’s Siloé. In the late afternoon, at the third esquina, we find ourselves in an area of town, where there are camouflaged soldiers with machine guns hanging lining the street, one every 50 or 100 feet.

The bus stops, and we are told to that we are going to parade our way through town past the market. Which we do with good fun, offering live music, bubbles and good natured colorful interactions in the marketplace. We keep going and we travel down a little hill into a small quaint plaza with a church.  There our guide is unsure which way to go, and the main organizing man isn’t there. The clowns are asking each other which way to go, which is a funny number in itself, but no one knows our exact destination, so we stall.  I shake off a little unease, what with all the camouflage men around wondering what part of town we are in. As clowns will do, we start playing around again, and I join a small group posing for photographs with one of the soldiers, who is having a great time with it all, after first locking and strapping up his weapon.

Suddenly, the organizer of the day shows up, and quickly becomes rather frantic, gesturing rather wildly that we should gather quickly. And poof, we are vamoosing on, in quick-pace formation, towards our unknown destination, in no small hurry to distance ourselves from the plaza. Later I learn that that is the most dangerous intersection in all of Medellin. I’m more than a little peeved for a number of minutes. After all safety is a primary concern with any kind of humanitarian action and ays ago in a CWB kind of discussion, I’m assured that everything is well planned out. Well, I don’t think we were in any great danger, it being broad daylight and no lack of nearby soldiers, still…

As we are entering a small older section of Cali, Ilana tells me that we are partnering with the local neighborhood associations for our show in Siloé, and that we are enthusiastically expected.

The Siloé Visit

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Met by Gualas outside the Cultural Center.  After 5 days of workshop preparation, it’s time for our trip to nearby Siloé. Nearby distance wise, but a world apart, a battered favella with a distinct reputation as unsafe and gang infested. So we gather outside the brick facade of the downtown cultural center, where arriving.cultcent.siloe.2013.lothe guards are more concerned with theft then killings and sometimes diligently inspect your bags going in and coming out looking to make sure nothing get’s stolen from the cultural center….once in a while the register the number of a camera. After 5 days, the ones who recognize me are not so interested in my bag but on that last day, they wished to register my ukulele, but as their was no number, they were quite content with spelling the strange sounding name ukulele…

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We’re a happy bunch, about 12 performers and just as many guests piling into two battered converted red pickups  better known as gualas. Ubiquitous in a variety of configurations throughout the developing world, pick-ups, customized for transporting many passengers…Where ever it may be in the world, they have one thing in common, deep mileage.  I’m enjoying the look of these, one has Ferrari stickers on the bumper, the other has Porsche engraved on the chrome radiator grilll.  A pool ball gearshift handle in one…

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Riding into Siloé past markets and shops then suddenly angles shift and we are climbing rapidly along a narrow winding street. At certain street corners, small bands of young men are hanging around. I have been hearing stories about territorialism, not only gangs controlling who inside.guala.siloe.losells what where, but even residents risking their lives if they cross the imaginary boundaries.  These guys look none too friendly, and their wary eyes follow our journey up towards the top of the hill. I choose to keep my camera in the backpack though many images, impressions calling for photographic attention, especially the curiosity in the faces peering out from barred windows.  There is such intensity and longing in some of the faces, and occasionally, a clown nose influenced changes, transformations from questioned fear to pure delight.  Our dilapidated gualas are full of smiles, joking, and laughter riding waves as we head into forbidden territories.

Man on crutches

Finally we stop, near what seems to be the top of the hill. It’s an odd T shaped intersection, curve in the road, with a cement walkway leading off from the road along the hillside.  There are little houses sandwiched into every free space and it is quickly clear that there are no building codes being followed in this zone.  Three young men are standing in the road watching as we unload from the gualas. There is an intensity in their eyes, none too inviting, combined with a wide eyed curiosity as they recognize the clown noses. I’m standing maybe 5 feet away, and in a flash, I have made eye contact with them.

Clearly they are curious as to what this band of clowns might be up to, and with the eye contact, It’s become a clowns without borders moment, so I engage into clowndom and approach them with a coin in hand… One of the men is on crutches, one leg of his jeans pinned up above his knee and I decide to offer my slight of hand moment to him. A quick coin disappearance followed by sneezing it out of my nose is received with quickly muted laughter by the man on crutches, youthful interest from another, and suspicion in the third who  is quickly requesting to see it again. A wave of tension rises in our connection, I sense a sudden distrust as if I my tricksterdom is meant to be a mockery. That they might be the brunt of some joke. Maybe I’m being paranoid, or perhaps I’ve surfed into the danger zone. In any case it’s not the usual enthusiastic vibe as they await my next offering.

This time when I disappear the coin and reveal my hand empty, I start to move my hand to reach behind his ear. In that moment, I realize that perhaps this is not such a good idea to be reaching towards this guys face.  OH, sometimes I am such an idiot!  Anyhow, I’m committed now, so I groove into friendly eye contact reassuring him that yes indeed, I am about to reach behind your ear but not to worry…and he doesn’t. Surprise,  I don’t pull out the expected coin from his ear, instead it is my mini harmonica.  When I start to play a little tune on it, the man with the crutches laughs and smiles at his two cohorts who return a slightly leaden good cheer, and they saunter away from me up the street.  I feel as if we have passed some kind of litmus test and declared non toxic…I turn back to the group who have been gathering as they spill out of the gualas.  Ilana and Connie are talking to a few people, a few people from the barrio and one of the drivers. The assemblage of red-noses faces with excited voices and bright eyed energy gathers as Diego introduces himself to us.  He is our contact from the non-profit cultural network of barios (neighborhoods) that make up Siloé.  They organize neighborhood activities, health clinics and much more than I can remember, and they have invited and arranged our performance today.

Diego stands above us just off the steep street on a flat rough cement and earth area that narrows into a little walkway between tall stucco houses. He beckons us to join him then explains that we are going to take a little walk through the neighborhood to reach the hillside amphitheater. And indeed we do, as the walkway hugs the hillside, with dwellings and terraces hanging just above, and more stacked below us. Sometimes the houses look like any normal small Cali house would, and sometimes the house is more a shack made of scavenged patched together materials. Dogs are barking on all sides.  For a short stretch, two, a big one and a little ferocious comical mutt. menace us with loud barks and barred teeth from an outcropping just above our heads. Faces keep peering out from barred windows and doorways. I catch eyes with big and small people, smiling, inviting them to follow us to the show, but there is no movement, no kids coming out, running along.

Occasionally there is break in the houses and I am treated to an exhilarating view of Cali opening up below.  It’s surprising how high up we are. jaime.malabar.siloe.2013.loOur pathway through the narrow maze suddenly opens up into a large open cement plaza, with a stretch of landscaped hills side above, and a steep plunge off view of Cali off the edge of the plaza. A oasis of urban development amongst the rebels. There are a half-dozen kids playing a pick-up football (soccer) game and further on, a number of groups of women talking. There certainly isn’t any crowd on hand waiting to greet the clowns.  We all are immediately attracted to the railing to take in the spectacle of Cali spreading out beneath us. That’s when I see, just below my feet, the big cement amphitheater sitting, built into the hillside, completely empty, not a soul waiting for our scheduled show.

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A coin manipulation for three kids quickly turns into 15 faces crowding in for a look. A quick mini-show, with occasional glimpses to see

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the other clowns playing around, photo taking, looking down.  We gather for a little pow-wow as to what to do. Diego recommends that we do a passe-calle, a parade of sorts, around the neighborhood to announce our presence, and gather people to come watch the show.  So we assemble the troops and take off, following Diego down past the amphitheater, on a narrow set of aged cement stairs onto a little hillside pathway that takes us into a stretch of terraced housing before we turn onto a horizontal stretch lounging the hillside, houses above and below….

We are having fun with the procession. There are bubbles floating off, spontaneous games emerging, loud yells announcing, “espectaculo..payasos…circo….”  Eager kids faces pop up, and a few doors even open. Sudden recall transports me fifteen years back on the CWB trail to a hillside colonia on the edge of St Cristobal, in Chiapas, where our passe-calle was met with a slightly louder enthusiasm… But we are having fun now, and it’s a sweet treat to watch moments of nosey waves that elicit smiles from behind the protective bars, and guarded bright exchanges emerging.  A grandmother and her two small grandchildren, the elder woman starting to chuckle, and 4-5 year olds smiles brightening.  Our passe-calle leads us back up another set of stairs directly to stage level on the other side of the amphitheater.

amphitheater.siloe.1.loWe are at the edge of the stage, which really looks like a vast concrete expanse from where we stand. We have a little huddle. I put on myshow-general hat, assessing the open space, and the scattered audience of 50 maybe 70.  Physically speaking, it’s a large space to fill up with energy.  It’s a tall task for this gang lacking vast experience.  Still there is an aliveness amongst us, we have been building up to this moment for 5 days, and everyone is ready. I call out a slightly adjusted show, axing most of the opening processional number which no longer makes any sense.

We start with a group cluster shuffle towards the stage, then smaller groups of 4-5 emerge to take excursions up the tall concrete steps into the audience. They all have mischief up their sleeves, showering confetti or bubbles on selected targets. The kids are loving it. I worry a bit, the place is immense and there is what seems like dead time as the groups cross the vast stage. But the audience is into it, happy to be guessing just what they might be up to. After the excursions, the meat of the show, a  series of small group routines that have come out of improvisations in the workshops.

Add in a few of my Mr. YooWho routines, with Connie and Ilana creating the red thread with a running gag. They keep coming out between the routines, with different walks, hiding behind opened sheets of newspapers, using funny peeks and reveals to each time announce the big upcoming ‘la magia’ (magic) number. By the end of the show, they exuberantly deliver a completely ridiculous magic trick that nevertheless delights the audience.

We don’t go out blazing in glory basking in waves of applause, but we are rewarded as a little avalanche of kids come tumbling down out of the amphitheater seats to greet us after the show. They are excited, happily embracing the clowns and slapping high fives. I pull out my camera to capture a bit of their joyous demeanor. We pose for group photos with the kids in celebrative moods.

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Overall the show went great, graced with a wealth of smiles and laughter.  I spot numerous instances of little bodies rolling over in laughter, and friends poking each other with big smiles. I’m a proud teacher as my students rise up to the task connecting with their audiences’ funny bones.amphitheater.siloe.kids.4.lo

It is only on the path back to the gualas that Ilana tells me what Diego had shared with her earlier. That last night there had been a gunfight in the neighborhood streets. That was why so few people came out, because people were afraid and no one was willing to venture out. It explained a lot of course, and also resolved a puzzle in my head. During the show, Diego , standing in the stands, was mostly looking away from the show, scanning the hillside.  He had looked juan.carlos.siloe.2013.loconcerned about something, a keen lookout scouting for danger. I had wondered why, but quickly slipped back into YooWho land. But now, walking back to the gualas, Ilana’s explanation clarifies so much.

As the car fills up, everyone in a good mood, I catch myself in a mind vortex reflecting on today’s experience, and last night’s fight, the nature of the project, how challenging it is to bring in shows and activities to these hard to reach places. I leave it alone to join the joyous mood in our little clown cabin as the car starts moving and suddenly tilts at a much steeper angle Somehow the way down the hill goes by so much faster than our journey upwards, and before I know it, we are back at the cultural center.  We have a closing circle in the open brick patio of the cultural center with the water sounds of the nearby fountain gently serenading the positive words as the talking stick, a little Burmese bell, travels around the circle.

The question of the next steps, what should CaliClown plan, how to activate in the region as Payasos Humanitarios. There is no obvious pathway. In Colombia, the safety issues are complex, widespread.  When one looks beyond the cities and the gangs to the civil war conflict zones, It doesn’t get any simpler there…. I suggest to Connie and Ilana that perhaps that reaching the kids through the schools might be a possibility. Create a show and tour in the schools. Who knows? It’s certainly a possibility Connie and Ilana say

Currently as I write this, over the Colombian border, in Ecuador, a group of siyoowho.soleo.cali.2013.lox clowns are performing in refugee camps. It’s a collaboration between Clowns Without Borders, USA and Narices Rojas (Red Noses), an Ecuadorian clown organization. Two Americans and 4 Ecuadorians have created a show together, and the UNHCR is taking care of all the logistics to bring them to all the camps along the border.

The first reports are in today, and the shows are going great, the kids are loving it!!!

Many thanks to all the wonderful folks who are donating to Clowns Without Borders and making all this possible !!!

Log. Kosovo. 1999. Clowns Without Borders

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photos by Phillipe Martinez

Kosovo 2000. Payasos Sin Fronteras/Clowns Without Borders project in Mitrovica, Kosovo

 

 

 

 

Two Clowns, 70 Kilos of props and costumes. 12 shows in 9 days.

This trip to Kosovo was in conjunction with a two month cooperative project between the Danish Refugee Council and Payasos Sin Fronteras. The main thrust involved two PSF animators, a circus artist (Leo) and a social psychologist(Maria Jose), conducting workshops with teachers and activists in two divided towns, Mitrovica and Pea ( in Albanian or Mitrovice and Pec in Serbian). Tortell Poltrona and Moshe Cohen (the clowns ) travelled for the last 10 days of this project to perform in various communities of Kosovo/a. The clowns performed in Albanian, Serb and Roma/Hashkali (gypsy) communities, almost always separately. The performances took place in cultural center theaters, collective centers (refugee camps) , communities and once in between immense olive green tents serving as schoolrooms in Cabra.

The expedition relied on the cooperation of several humanitarian groups : Danish Refugee Council, The American Friends Service Committee, Triangle Generation Humanitaire and Enfants du Monde. These groups organized the shows, transportation and logistics. The clowns just showed up with their props and were whisked away in a variety of new 4 wheel drive vehicles to the performances.

Log

November 2000. Mitrovica, Kosovo. The town with the famous bridge that divides the town into two ethnic enclaves, Serbian and Albanian citizens of Kosova (Albanian)/Kosovo (Serbian).

By 4 pm it is dusk this time of year in Kosovo/a. It is Kosovo in Serbian and on the maps, but Kosova in the hearts of the Albanians, 90 % of the country’s inhabitants. The roads are full of white SUVs, Military vehicles, tons of European luxury cars, often without license plates (stolen), tiny farm tractors pulling wooden trailer beds, sometimes horses pulling. The driving is a little calmer than last year when there was no police force out, but there is still something of a destruction derby attitude dominating the local drivers’ actions. The UNMIK police, in their red and white SUVs are now setting up radar traps on the major roads and fining people 80DM (German Marks-the currency in use) for failing to wear seatbelts. They are cracking down on drivers without licenses. Vehicle owners are being forced to register their vehicles and somehow the UN is registering most of the stolen vehicles and giving them new license plates.

We enjoy good weather the entire time although winteresque temperatures start appearing late during our stay. Our apartment, rented from an Albanian woman, faces what is called the “Confidence Zone” in Mitrovica, a strip of land on the South side of the bridge with several highrises that are mostly full of United Nations and UNMIK offices. The bridge is heavily guarded with checkpoints and zig zag barricades. We show ID’s to the camouflaged flack-jacketed French Marines whenever we cross, first upon entering the confidence zone, then a more scrupulous check when one arrives at the bridge checkpoint. Strangely they want to see your Humanitarian agency ID badge more than a passport, yet all the humanitarian agencies laminate their own badges. So much for security. Our Clown badges have a PSF logo clown face instead of our photos, but only once during our stay does a soldier even notice that.

The first show that we play is in the House of Friends, right near the bridge in Mitrovica, run by a staff of 4 Albanians and funded by the AFSC. This is a gathering place for Albanian kids living in the North, a lot of whom live in 3 20-floor round high-rise apartment buildings just on the other side of the river. The kids are transported in KFOR armored bus to school at 7am and back home at 7pm. So they spend the time out of school at the house of friends.

The shows are a little rough theatrically speaking but the kids don’t notice and there is plenty of laughter and excitement. There have been several rehearsals at Tortell’s house near Barcelona a few weeks earlier. We have put together a Ukulele/ Saxophone version of my ‘I’m Going Down the Road” song as well as an adaptation of the Colombiani’s Shakespeare routine. Tortell plays Mark Antonio and I play Julius Caesar. My crown is a huge funnel, my cape a towel and my scepter is a broom. It is a funny routine with Tortell spraying water in my face when I ask him how is the weather. It is raining, he says, ‘Shum shi’ in Albanian. We get volunteers to play the roles, and then we reverse roles and the whole thing ends up with us shooting spurts of water at each other.

Wednesday Nov 8

Working with Julien from Enfants Du Monde, we travel to two collective centers, one in a Northern Serbian province, Leposavic, housing a group of Hashkali refugees; and one in the Albanian South: Plementina, where a large group of Roma people live. We have been told how they are disliked by both sides. The Serbians consider the gypsies as second-class citizens and the Albanians believe that they collaborated with the Serbs, and some did. In any case they are sequestered and living in refugee camp conditions. The first show we play in the local cultural center for both the Hashkali kids and the local school kids. Later after the show the Hashkali kids are the last to leave, only a small fraction of the 500 plus crowd and I go down and shake all their polite hands amongst earnest smiles.

We decide to eat lunch in Leposavic and tumble into the never ending country cafe wait that has us on the road at two for a three O’clock show with more than an hour’s drive ahead.

Plementina collective center, a real refugee camp right past the Norwegian KFOR headquarters, is on a small country road nearing Pristina. Just before the camp we pass a village of destroyed crumbling houses. These are where the people in the camps used to live. For some reason, mainly because they are gypsies, no one is rebuilding these structures. We arrive to an already assembled crowd waiting in a temporary schoolroom. Tortell has brought a Taraf de Haidooks (Romanian gypsy) CD, and rushes into the room where he puts the music on the CD player. They are all excited by the music. We get ready to do the show. We play this schoolroom, a darkened low ceilinged box. There are a good 250 kids and adults behind the school desks, a sea of faces glinting out of the dark. Electricity cuts are frequent in Kosovo and we play that show with the light of one outdoor halogen light powered by generator. We are very well received. The real show though took place in the tiny one-desk Enfants du Monde office that Tortell and I turn into a dressing room. Juggling prop preparation, costume changing and no electricity. Tortell has the miner’s lamp backpacker’s special, I’m using a taped mini-mag flashlight held in my mouth until the emergency fluorescent lamp thankfully shows up. Apart from a few tiny kids who get scared by Tortell’s makeup, the show is magical. A parent thanks me afterwards telling me that it is the first joyful activity to reach them in the 16 months that they had been there.

Thursday Nov 9 and Friday Nov 10

Working with Phillipe from Triangle Generation Humanitaire for two days. The first in the towns of Cabra and Skenderaj. This area is the birthplace of UCK movement and thus suffered greatly under Serbian repression. Indeed, the village of Cabra (pronounced Chabra) was not only burnt down but then bulldozed to the ground. There are no remnants or bare skeletons of former houses, everything has been leveled. We see maybe ten new houses in varying phases of construction, red brick and cement, two story houses eventually with tile roofs. All across Kosovo/a the landscape is full of houses in various stages of reconstruction.

This is the show we play in the lot in between the two temporary classrooms. We share the stage (actually a dirt lot where Tortell puts down a large circle of red and white striped tape on the ground to define the playing area) with a whole production of local talent and a local girl’s folkloric singing group; 20 girls in traditional white costumes with brocaded gold vests. The local school kids have learned songs. There is a dramatic performance involving five actors who thrust the microphone between them like relay runners with the baton.

The afternoon show in Skenderaj is in the cultural center theatre, one that holds 500 people. We play however to an overcapacity crowd, stacked and squished standing room both on the main floor and the balcony. The show is open to the public and has been well advertised. Like this morning, local kids will perform after our show. The stage is frenetically full of mostly jittery high school kids all preparing their cool moves for their big moment on the stage. There is a constant frenzy to the backstage that makes it more than difficult for us to concentrate getting ready for the show. It is a wild one as far as crowd energy, so many people and most of them teenagers. Tortell and I keep tight reins on the audience making sure that there is always enough momentum to keep the ship rolling. It is relatively smooth sailings and there are some incredible outbursts of laughter. Tortell does his flea jumping into the bag routine, a classic routine where audience members throw the flea to him on stage where he catches it in a plastic bag with a big snapping sound. He finds the flea on my head as I end my sponge ball and volunteer magic number. He keeps going into the audience with the flea than rushing up on stage to catch it. About the fourth time it doesn’t make it and Tortell goes rushing into a hair inspecting lazzi searching for the flea. In Skenderaj they are just wild to want to throw the flea and when it gets lost and Tortell starts climbing over people in the audience it is that wonder roar of laughter lighting up the whole place. By the Shakespeare number though we can sense that hormone excessiveness reaching it’s capacity and we are quick through the routine and turn the stage over to the local kids. The traditional singing group from the morning are backstage too and adjust into a long wait stance as a lip-synch number gets started. A big chance to express for the local teens and cheering friends..

The next day we switch sides to play in Serbian Zubin Potok, in a separate Northern Municipality, only ten minutes and a big fat roadblock from Cabra. We play in a well kept Cultural Center theatre. It took Phillipe over ten months to negotiate the use with the CC director. Phillipe has since made an unused part of the Cultural Center into an extremely popular youth center. This is the second event that he has organized there. We are honored by the presence of Rade Radovich who is one of Serbia’s most famous musicians, who has written many of the popular melodies and turns out to be a great accordion player. He has come back to his native town to help out as the music teacher. Tortell plays his Sopranino sax with Rave as I do a preshow butoh dance improvisation warm-up, a nice cultural injection into the theater. Tortell invites Rade to play music for us with the phrase “Please Maestro.” WE do both shows together and eat lunch along with the UN head of culture, Svetlana Pancheva, a warm Bulgarian woman who insists that if there is one thing that we must do before we leave Kosovo, we must see the nearby lake. We never get the chance.

Saturday Nov 11

Mette, from Danish refugee council takes us to perform at the school in Klina, near Pea, an Albanian area of great destruction and rebuilding. The town is full reconstruction projects, of KFOR and UNMIK vehicles and activity. We perform behind the school but as it is Saturday, school is not in session. Due to miscommunications and a lack of informed public, our afternoon show becomes more of an informal session on a small stage in front of the cultural center.

Sunday Nov 12

We had received a copy of the e-mail that the director of the Pristina theater sent to Leo. How the steps are blocked by the demonstrators, and that our show on Sunday night will be cancelled. So instead, Phillipe from Triangle is taking us to perform up at the Rom camp in Zitkovac, right next to the lead mines north of Mitrovica. We welcome the opportunity, and are actually glad to be playing there instead of the big-city theater As we drive out past the bridge, through Northern Serbians side of town towards the camp.tortell.bus.kid.zitkovac.lo Phillipe briefs us on the situation at Zitkovac,noting that the rations that the WFP (World Food Program) give out are far from adequate to last the month they are supposed to. Anything and everything that is given to them they sell on the open market for food.

We play in an ocean of open dirt next to the road that joins on one side, a huge white inflated World Food Program storage tent, the size of a small airplane hangar, gated and locked down.  On the other side 50 meters to the right is the refugee camp, a large grouping of UNHCR winterized tents with smoking stove popes popping through the slants of UNHCR stenciled canvas. There is a constant procession of women with Jerri cans from the camp to a water spigot coming out of the WFP compound.

Our backdrop is a graveyard of rusted buses planted in the ground at odd angles and in various stages of decomposition.  At 3pm the sun is already dipping behind the nearby mountain peaks and the air is turning frigid. We perform for a very enthusiastic grouping of 70 or 80 Roma. Many of the kids are barefooted and few have warm clothes in evidence. There are signs of malnutrition in the kids skin, and later, Maria says that she saw several infants with distended stomachs.

They were bright, engaged spectators with sometimes mischievous smiles soaking up our antics.  After the show, after we had surrounded by a crowd of children demanding money, specifically asking for German Marks. Perhaps, since they have seen me throwing stacks of coins into the air, they think I am rich man. Despite my best good humored efforts, I am unable to convince them that I used Portuguese 50 Escudo coins, not Deutsch Marks, and that they are virtually worthless here.

Tortell and I are shocked by the rather aggressive demanding not-so-little voices. We are used to shaking hands, greeting smiling laughing kids with great warmth surrounding us. But here there is a sense of urgency in their demands, and we have the feeling that we can’t get out of there fast enough. We had been warned to be vigilant with our props, and as the show ends, everything is quickly loaded in the back of the jeep. In retrospect, one can’t blame them at all.  They are taking this golden opportunity of rich strangers in their camp to ask for their fair share.

These are the roughest conditions that we encounter. Tortell and I find it difficult to stomach and leave a little shell-shocked and quite surprised. They live all of ten minutes away from the cafes of a well-stocked humanitarian economy. The next days we are telling every humanitarian group that we encounter about their situation.ztcovac.yoowho.cigarbox.lo

Monday/Tuesday Nov 13-14

WE are sunk into a demonstration quagmire that grinds our clown operation to a halt. It turns out that the Danish Red Cross’s security procedures are about the strictest in Kosovo and when we meet with our contact on Monday morning……

It is a very strange feeling watching the demonstrators leaving their positions on the bridge. The soldiers in riot gear with transparent shields on one side of the barricade and the dispersing crowd on the other.  As they walk underneath our apartment window, Tortell and I scan the crowd, a generally young and jovial bunch full of adolescent bravado humor.  The general strike had been called for noon to three. It feels more like a national celebrative holiday than the call for the release of the Albanians still being held in Serbian jails, reputed to be around some 800 people, the great majority men.  We spot plenty of name brand American dress styling and the shaved haircuts, young men parading amongst friends, jovially calling out as they spot each other.  Groups of teenage boy flirt with the girls as younger school kids play running around in chaotic fashion.  The older generations are more somber, purposeful in their walk, group discussing as they head back to the main highway blockade.

Both Tortell and I have lingering feelings of sadness and frustration following our performance in the gypsy camp yesterday. It was a difficult show in a difficult place. We had no idea of what the situation there would be like, and it was far worse than any place we had visited in Kosovo.  It seems that the Rom population are the most neglected of all, disrespected by both the Albanians and the Serbs.  The conditions of the camp certainly suggest that.

It all seems to be galaxies away the day after, as Tortell and I stand on the balcony of our little apartment, overlooking a sea of stolen luxury cars in the streets. The cars are mostly Mercedes but a fair portion of Audis and BMWs.  Tortell counts the number of sunroofs, avidly discoursing on how his car at home doesn’t have a sunroof even though he does have air-conditioning.  But these cars all have sunroofs, “they don’t just steal, they steal the best.”  The word is that all the cars have been stolen from the wealthier European countries.

It’s already late afternoon and we are both on edge, having spent the day doing not much at all. Motivated after what we witnessed yesterday, wishing to go perform, knowing that there are a dozen places that would love our visit but we are stuck spending the day idle because ‘the security situation’ makes any movement beyond our little enclave “too risky.” Ironic because everywhere one looks, there are unused police and UN vehicles parked on the streets and in lots. WE are stuck in a demonstration quagmire that has ground our clown operation to a halt.

It all started this morning when the Danish Red Cross’s Sevin, our contact person from Pristina is a half hour late to the 10am rendezvous at the internet cafe. She is to take us to today’s 2 shows. This is the first time that anyone has been late for an appointment so we are a little concerned.  She’s on the phone as she gets out of the big Toyota jeep and puts down the phone just long enough to introduce herself before walking away continuing her conversation on her cell phone. Not exactly a great beginning. Not a word about the delay, a “Hi, nice to meet you, or a ” sorry I’m late” or anything else.  Tortell and I look at each other in surprise. The driver, Mustapha, seems caught in the middle.  He can no doubt read our faces, so he comes over to talk to us. He doesn’t say much, expressing regret about being late, before walking away and getting back into the jeep.  I have a bad feeling and remark on the brevity of Mustapha’s interaction to Tortell. He replies that is not the driver’s job, but that clearly the driver feels our unease.

Sevin comes back and insists on going into the restaurant to discuss “the news” about some unexpected situation.   We go inside Pinocchio’s, which is completely empty except for a table full of waiters smoking cigarettes.  The place has a very cheap Casablanca feel as dim shadows light the place. Power outage. Sevin calls over to two other waiters standing by the kitchen talking, and he gives her a ‘be right there’ hand signal.  Then she starts explaining that she is sorry about being late but that everything is backed up today. The waiters have not come over as promised, and Sevin turns towards them and shouts “waiter” with militaristic macho that has my mouth flopping open in surprise at her sudden ferocity. She literally barks at the waiter.  When he tells her that he can’t serve her food because the cook isn’t here yet, she berates him to a degree that I find embarrassing.  She puts the macho Albanian men we have encountered to shame.  Tortell privately suggests (in Spanish) that maybe the big city girl thinks herself superior to the provincials.  In any case it does not bode well for the morning.

Then she tells us the news: there are demonstrations scheduled for today from noon to 3 and then drops the bomb with a foreshadow as strong as her makeup: That we must postpone the shows.  There is a barrage of power, a boss-like attitude in how she addresses us that is extremely irritating. Tortell and I, but mostly I, with my native English, demand explanations.  She tells us that the demonstrations might start early and might go later and that they (her and Mustapha) can absolutely not take the chance of missing their five pm Pristina curfew.  I try to argue for at least one show, as our first show is scheduled for noon, but she says that her boss has told her to cancel. She again explains how the demonstrations might start early, and might end late, which would prevent her from returning to Pristina by her 5pm curfew.  We are caught in a bureaucratic web, or perhaps just hers, it is hard to tell.  But it is clear that she is just doing her job and our mission is a task, a job to be done, like repairing a water pipe

We clearly express our displeasure after which Sevin apologizes, declaring her delight at the prospect of the children’s joy, and how she has gone out of her way to buy food for the kids in the schools. I don’t know what to think anymore, but I am sure that she did not buy the food with her own money.  We make one last desperate attempt to remedy the situation, explaining that we are leaving on Thursday, that there will not be another chance go to the schools.  Evidently there is nothing to do, she refuses our request to call to her boss to discuss the situation. It turns out that the Danish Red Cross’s security procedures are about the strictest in Kosovo

I inquire about tomorrow, as we are supposed to perform in two other schools that they, Danish Red Cross, support. Sevin says that demonstrations are called for tomorrow as well, but that she won’t know anything for certain until this afternoon.  We exchange phone numbers.  She insists that we call her before 4 pm. She does not offer to call us to let us know.

Tortell and I decide to take a long walk through Mitrovica with the Triangle office as the eventual destination.  I am feeling a little powerless, stuck. We scan the market for presents to bring home but there is really nothing of interest.  We walk down the main street towards the Triangle office.  We pass a photographer’s shop that has patriotic photos in the window.  There is even one of an UCK soldier at a party with a huge dagger out in the action of stabbing a Serbian soldier.  It is of course a staged photo in celebration of victory, and strange enough for me to want to take a picture of it.  As I adjust my camera (pre-digital days,) the woman inside the store rushes to stick another laminated photo in front of it, a much tamer photo of two UCK soldiers with their arms around a woman.  The camera clicks as the photo slips in.  I am unsure of just which photo I got.

We have a discussion at the Triangle office with Florence, as Phillipe is not there.  She is leaving Kosovo soon and we get off on a tangent about the Saharan refugees as she is discussing a potential contract there.  That has Tortell’s attention as he has been there several times and has great contacts there.  There is even a group of Saharan clowns that Payasos Sin Fronteras has trained.  The atmosphere in the office is far different than this morning’s discussions with Sevin, which puts us in a better mood.  Florence tells us to drop by later if we have nothing for tomorrow as surely they can organize something locally.  I recall and mention a contact with a disabled school that we had made our first day. An alternative work plan for tomorrow is potentially established.

As we walk back to the center of town towards the bridge, we see all the shop and restaurants closing up for the demonstration.  We watch the action from our balcony that looks out towards the police station and the bridge.  A parade barrier has been established across the road leading to the bridge.  A line of soldiers positioned behind it.  Another group of soldiers with riot shields sets up a second line of defense.  Twenty feet further back, the road is barricaded by a line of tanks.  A camouflage helicopter hovers overhead.  A stream of Albanians are walking below our balcony in the street headed for the bridge and soon a crowd of at least 1000 people are against the barricades.  It is a quiet standoff as the crowd talk amongst themselves for fifteen or twenty minutes.  Nothing threatening is happening; no shouting, arm waving or sloganeering.  After an unseen signal, they start dispersing, some lingering, a great deal walking down the street below the balcony, past the bakery under our feet.  They are heading back towards the blockaded intersection further down the main street on the road to Pristina.

Tortell and I decide to head out to lunch.  Most everything is closed tight including the Internet Cafe and adjoining restaurant, Pinocchio. The Elita behind it though is open and full of lunching United Nations officials and other humanitarian types.  They are deep in their own worlds solving problems over well-garnished plates.  We decide to do the same and Tortell wants wine. Lunch or dinner, he says, “what’s the difference, I will be ready for a good siesta.”  We try to figure out our logistics as to what is possible for tomorrow.  It is hard to make any calls without knowing whether there will be demonstrations or not tomorrow and whether we will be working with the Red Cross. Things have been pre-organized.  We have our hands tied.

At 2pm I use Tortell’s cell phone to call Sevin in Pristina.  She tells me that she won’t know anything for sure until after three o’clock and asks me to call back then.  She doesn’t offer to call me when she finds something out. I try to concretize telephone logistics with Tortell as he is planning to take a good nap.  He retorts in slight anger that if they want us to do anything in their schools then they can damn well call us. Then he adds that it is his personal phone, not that of Payasos, that it costs a fortune to use in Kosovo, and slips it into his pocket.  I cannot blame him for feeling that way, not to mention that he has a good bit more of the wine bottle than me.  We agree to figure things out later, and as I write he is still asleep in the room next door.  The sun has left for the day, and the blue sky is lightening towards transparency. White fluff clouds suggest the possibility of a nice sunset.

The bridge has reopened and the soldiers have gone back to their barracks.  Security remains a good deal heavier than in the past week but they are still moving at the same lackadaisical pace.  While Tortell naps, I am typing this story, and just now, I hear the loud sounds of a never-ending column of tanks rolling down the asphalt.  We have seen all kinds of strange armored vehicles today: camouflage jeeps, a variety of humvees and tanks that look full of soldiers inside the open back doors. There has also been massive police presence.

There could hardly be a more international gathering of police forces then is present in Kosovo, men from Morocco, Zambia, Nigeria, The Arab Emirates, Poland, and this morning’s Jordanian duo. This morning, as we waited for Sevin standing on the quiet steps to Pinocchio’s patio, a pair of policemen approached me.  One has a big belly sheltered in the customary blue sweater uniform, the other man bigger and trimmer in blue camouflage costume, the full suit and big black boots.

The fat one, the boss, asks me ” Where is restaurant?” in a rather demanding tone.  I scan their faces and take in the country flag badge with the country name below: Jordan.  I hesitate for an instant, so he asks me again even more insistent “ Restaurant, restaurant.  Eat food!  Eat!” adding sign language with hands stuffing invisible food into his mouth.  He treats me as if I were an idiot, incapable of understanding the word restaurant.  If they used a different word in Kosovo/a, then I might understand his attempts to spell it out so clear and quickly.  There is certainly no hint of politeness in is manner

I find it a rather bizarre moment. My hesitation in answering is motivated only by seeking the most polite way to point out the obvious. Is the policeman that oblique?  Getting out of his car, he had to at least walk some 20 or 30 yards to reach me. Or even ten. Wouldn’t he look around?  I am literally standing right under a sign, a 4 foot wide wooden sign that clearly says “restaurant” in white letters. It’s less than two feet above my head.  If one looks behind me, beyond the steps, there is a cafe balcony full of empty chairs and tables.

I answer him in English and point up to the sign and tell him that there is another restaurant, the Elita, right next door.  I say it in a matter of fact manner looking right at him.  He looks past me and then to the left where I have indicated the Elita.  He harrumphs off.  He does not bother to thank me as he walks away. I try to catch his expression, what is his reaction??  Either he masks any surprise that the restaurant is right there or else he is living in a very different world than mine.

I look up from my laptop. A quick sky scan from my window yields two thin layers of pink amongst masses of grey clouds over honking horns.  The writing has gobbled up the last of this day.  The street has gone back to normal near quiet and it is time to take a walk, go to the internet café, and if there is electricity, check my email and see if anyone has won in the US elections yet.

1000 Noses Project.Buddha Nose Photos

 

 

 

For the past little while,Clowns Sans Frontières, France, the French Clowns Without Borders, have been preparing an action, the 1000 Noses. On November 17 and 18th, they will be putting clown noses on over 700 statues in downtown Paris !!!  They have also put up a blog to celebrate the event. You too can join in the fun.  They are calling for collaborators around the world to do the same thing !!! Yes, that could mean you-go put clown noses on statues in your town on Nov 17th and 18th, and take pictures.  Please also upload your photos onto a blog that they have dedicated to this project!  Here’s the address for anyone planning to participate:
contact@1000nr.fr
It should be great fun !!!

I’m bummed as I will be teaching a workshop that weekend at the Neumuhle Meditation Center, not exactly the center of the urban statue-dom. However, In the spirit, I have been taking photos the past few days. I was in the town of Bielefeld (Germany), and took an excursion to the city castle where there is a statue…problem was it was a little taller than me. My friends and I played with photos of my trying to climb up the statue, had some fun but no great photos. Lo and behold, when I turned around and looked at the ivy wall, I saw a well neglected statue hiding amongst the ivy in a little alcove.
Then, or should I say Zen, in the spirit of sacred mischief, I decided to see what the Buddha might look like with a clown nose…

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The Clown Protest…Perhaps it started with Wavy Gravy….

My Google Alerts for the word clown brings me to an interesting post in the 972 Blog about activists dressing up as clowns for the weekly protest against the occupation in the West Bank. Here’s the link. Suddenly the soldiers are not quite as interested in arresting the protesters, as they most likely don’t want to be photographed that way…The article gives a wonderful human face to those protesting, and the interesting thing, is that the protesters are not demonstrating with anger, but with sweetness according to the author.

Wavy Gravy, famed Woodstock MC, hippie icon, temple of accumulated error,  tells the story about how he began to go to protest rallies in the 70s dressed as clown, or as the easter bunny or Santa Claus, because all of the sudden the police weren’t so interested in being photographed beating up a clown, or Santa Claus. It is actually the story of how he transformed from the fool to the clown. AS a result of police brutality in the demonstrations against the Vietnam war of those times, Wavy had suffered tremendous back injuries and started to visit the children in the hospital on a daily basis to tell stories, share some humor with them. This is the early 70’s. When friends heard about this, someone had the idea to give him clown accoutrements and he started visiting the children as clown (this is before Patch Adams, before the Clown Care Unit got started in the same direction.) One day he went to demonstration in Berkeley People’s Park straight from the hospital in his clown gear, and to his great delight, he discovered that the police didn’t want to get near him, which started Wavy on the long beautiful road that he still travels….

Cudos to all those who follow this path these days in clown rebel armies around the world.

Updates from Yangon, Burma. Clowns Without Borders project.

 Background
Children’s Training Schools in Myanmar are state run institutions that house children whom have been arrested by the state and placed in detention. These children are orphans, street kids, children ‘in conflict’ with the law ranging in age from 7 to 18. These children, for the most part, do not have freedom of movement, or access to artistic and creative activities.

About the Project

The goal of this project is to re-activate the workshops with the children, training local theater artists to conduct the workshops in the training schools. The initial project is centered in Yangon. There is a desire to expand the project both in outreach capacities and in duration, however given the uncertainty of the future situation in Myanmar, the choice is to start small and expand if possible.In March, Moshe Cohen will travel to Burma and spend two weeks there working with the local theater group Thukhuma Khayathe.  During this time he will:

Week 1
Conduct workshops for Thukhuma Khayathe actors focusing on acting/clowning skills
Create a show with them, and perform it in each of the 4 training schools

Week 2
Offer workshops to the children in each of the 4 training schools, training actors to teach workshops in the schools.

Updates are in reverse chronological order

Update March 25th, 2012

An airplane ride this afternoon will take me out of the dusty heat of Yangon into the polished aluminum modernity of the Singapore airport and onwards towards Europe and privileged ways of life.  This last week, we returned to all the Yangon Children’s Training Schools to offer workshops. The children welcomed our return with grinning smiles, and dived into the exercises opening up a lot of fun, laughter, focused play and great times.  Our plan, to bring artistic and creative activities into the Training Schools where there are none, proved to be a big success.

We worked with 30 children at a time, and with five of us teaching: Su Su, Thè Thè, May, Soe, from Thukhuma Khayeethe and myself. I was introducing workshop techniques that I have used frequently to the Burmese artists. Using the clowning to offer an opportunity to the children to open up personal expression, and to release a bit of their daily tensions. The workshops offered them moments to play important and powerful, as well as chance play frustration, and sometimes fear. I only wished that we could accommodate more children in a workshop as most schools have more children than we could fit into the time allotted. The children had a great time as they explored their creative zone. We often went over our hour-long plan.

Asking the children what they liked about the show, and if they like the idea of being funny was a nice way to invite them into the workshop activities. After a little warm-up, a few focus exercises we explored deep voice and the idea of doing something funny. We explored a bit of mime, starting with the venerable fixed point-your hand doesn’t move but your body does (hint: bend your elbow.) It was a great way to introduce elements of the show that the children said they want to try-the moment when we ran into the invisible wall, the tug of war with the invisible rope. There was a recurring focus on playing their funny where many children found their delight.. A lot of gleeful smiles went along with great moments of focus and concentration, and other moments where exploring their funny, the children came up with great imaginative improvisations.

We worked with 30 children at a time, and with five of us teaching: Su Su, Thè Thè, May, Soe, from Thukhuma Khayeethe and myself. I was introducing workshop techiniques that I have used frequently to the Burmese artists. Using the clowning to offer an opportunity to the children to open up personal expression, and to release a bit of their daily tensions. The workshops offered them moments to play important and powerful, as well as chance play frustration, and sometimes fear. I only wished that we could accommodate more children in a workshop as most schools have more children than we could fit into the time allotted.

Our last school visit, Kyeike Wine, was a little more difficult. We worked with older boys, and they clearly were not as interested in the funny as we were. As I started to witness a disconnect in the first session, I realized that we hadn’t quite thought out the workshop plan well enough. Adolescent boys, especially this tough crowd, were not interested in being funny. So I quickly switched gears, and started teaching them to juggle, improvising in the moment using small rocks as juggling balls. Now this was interesting, at least for about 7 minutes, and when I started to see signs of disconnect, I launched plan B, which was to have Su Su and Thè Thè, launch into several simple acrobatic duo holds. I was glad to see a number of children so interested in trying to juggle that they ignored the change of focus and continued their juggling.

Thukhuma Khayeethe will continue to visit the schools to offer workshops to the children. CWB-USA is funding the next two months of workshops, AND, if you feel so inclined to help support this effort, you can donate funds to CWB, and specify that you would like them to be used for the Burma Project.

Update from Moshe March 18, 2012

The first thing I hear at Nget Awe San Children’s Training School are young male  militaristic call and response voices.  It is only after our show for some 450 boys, almost all in identical blue t-shirts that I clearly understand the nature of the voices. The boys have assembled into orderly groups, one boy heading each group, calling out to them as they respond in unison before leaving the large open-air pavilion in orderly rows, arms either swinging, or crossed across their chest. They leave behind a generous heaping of echoes of laughter as indeed they have a great time during our performance. It’s extremely hot in this rather arid section of the country where the main activity I am told is harvesting bamboo, though I do see, as we travel the last half hour over a dusty red earth road, quite a few rubber tree expanses.

One thing is for sure, during the last 3 days, the children have been laughing a lot. We have done six shows now, in 4 training schools, a woman’s vocational school, and a foster home that houses former street children. The kids are having a great time, loving the injection of humor into these institutions I have been working with five artists from Thukhuma Khayeethe (Arts Travelers), the local theater group who have been collaborating with the French and Swedish Clowns Without Borders groups. We have been working hard, though we joke about it being soft work, as indeed it is compared to the normal livelihoods in Burma, but there certainly hasn’t been any lack of effort, dedication and results.

We started with four days of workshops and creation focusing mainly on clown technique and developing one’s personal clown. Working with 6 paper shopping bags (courtesy of rainbow grocery and whole foods), some elementary mime, a hint of acrobatics, juggling and magic, we have concocted an hour-long show that is quite full of the funny, and the children have been loving our offerings.

The situation in some of the schools is better than others.  In a few of them, there is certainly a sense of daily difficulty, and in others, the children seem better off. A couple of times, there has been a need to break through an invisible wall to reach the children’s funny bones, but once it opens, a lot of delight is in the air.

The trip out to the Nget Awe San training school was particularly memorable. Not only is it our biggest show (450 boys), but also the school is located in the election district where Aung San Suu Kyi is running for parliament so we there were NLD stands and posters along the way. It is such a contrast to when I was here two years ago, and no one would even dare say her name out loud for fear of being thrown in jail.

My two weeks here is part of a longer 3-year project with the Swedish and French CWB’s to increase Thukhuma Khayeethe’s capacities in clown performance and teaching abilities. There has been great progress in the actor’s clowning abilities this past week. That I can give feedback after each show has allowed the actors to really develop, as the best teacher in clowning is the audience. The show includes quite a bit of group clowning as well as three duos: Than and May do a professor’s nightmare rope magic routine, SuSu and TheThe have developed a routine around some very simple acrobatics, and Soe Mya Thu and I with a juggling routine involving balls and rings. It is wonderful to witness the laughter in these schools where the children don’t necessarily get to have such a good time.

I am looking forward to the week ahead when we will return to all the schools to offer workshops to many of the children. I will again be training the Thukhama Khayeethe actors as we go along, this time in how to teach workshops, focusing especially on using clowning exercises to release pent up tensions, and emotional energies through humorous expression.

Update March 16th. Workshops with Thukhama Khayeethe

I have just completed 4 days of workshop and show creation with Thukhama Khayeethe, and tomorrow we take the show on the road into the Children’s Training schools-6 shows in the next 3 days.   These schools are really institutions for children at the margins of the Burmese society, street kids, orphans and kids in ‘conflict with the law’, that the government has placed in these schools.  The work has been great, and the actors are quickly developing their clowning capacities. The show is bringing humor into skills they already have developed in acrobatics, magic and juggling, as well as improvisations around character relationships and mime that I have been introducing–so looking forward to seeing the smiles on the children’s faces. Next week we will plunge into offering workshops in the training schools, and developing Thukhama Khayeethe’s teaching skills.  As one might expect, there is a great sense of teamwork and fun that pervades the time we are spending together, and no doubt we will be sharing that with the children.

About the Project

The goal of this project is to re-activate the workshops with the children, training local theater artists to conduct the workshops in the training schools. The initial project is centered in Yangon. There is a desire to expand the project both in outreach capacities and in duration, however given the uncertainty of the future situation in Myanmar, the choice is to start small and expand if possible.In March, Moshe Cohen will travel to Burma and spend two weeks there working with the local theater group Thukhuma Khayathe.  During this time he will:

Week 1
Conduct workshops for Thukhuma Khayathe actors focusing on acting/clowning skills
Create a show with them, and perform it in each of the 4 training schools

Week 2
Conduct workshops for Thukhuma Khayathe actors focusing on training actors to teach workshops in the schools.
Offer workshops to the children in each of the 4 training schools

 

Clowns Without Borders Show @Malikha Girl’s Training School.Yangon. Burma. March 14, 2012

It’s been 10 days since our wonder and laughter full show at the Malikha Girl’s Training School.  Here’s a slideshow,   a few photos from the show, followed by a series from the moment before we left as I was standing near their dormitory area. Bittersweet feelings fill me looking at their happiness in that moment, meeting my camera lens from their world so clearly separated from mine….

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