Clowning but Not: A Clown’s Approach to Drama for People with Intellectual and Physical Disabilities

Abstract

Even without the red nose and costume, clowning has much to offer when used as an approach to teaching creative drama to people with intellectual and physical disabilities. Clown humour and animated play encourage creativity, movement, and self-expression. With a clown-like approach, markers for success change and become more relevant to the level at which participants are working. Using a clown approach allows participants to expand their capacities by releasing the fear of not accomplishing their goals. In fact, slipping up and failing at tasks are good reasons for the group to laugh and relax. In my experience in setting up drama programs at the Manitoba Developmental Centre, I discovered the value of the clown’s flop. By embracing failure, participants were more able to enjoy taking risks. Non-verbal communication skills and object transformation, common to clown play, also created new possibilities for the participants’ creativity and expression. As a result, they were able to move, play, and communicate in unexpected ways and put on a performance for 300 people. The community of therapeutic clowns—including Karen Ridd, Joan Barrington, and organizations like the Dr. Clown Foundation—engages a similar approach to working with the public. They embrace failure and succeed at bringing joy through humour, clown antics, and play.