Punks: Modern Clowns

Clowns have long filled an important role in society. These are not the clowns of birthday parties, nor even the clowns of horror films. These clowns have played a role in the rituals and festivals of almost every culture ("clown – History,” ). These clowns are not well known in America, leaving us with the current definition referring to a clown as “One who jokes and plays tricks” (clown – American Heritage Dictionary). This understanding of a clown as a person who plays tricks for children is detrimental to the role of a clown in rituals. Clowns are allowed to break social taboos, giving them license to do almost anything. The role of clowning has been taken up by punk, with it's sometimes grotesque themes (Van Ham, 2009).

Punk has explored various extremes since it's beginnings. The early shows, based on Van Ham's descriptions, were just as vulgar as modern shows. Time has not dampened the attitudes or costumes of the performances, as indicated by the outlandish and lewd costumes of GWAR at their recent show in Seattle. The extreme attitudes and wild ideas propagated by punk appeals to young and older alike, even though they may not be fully aware of the ritual beginnings of such extreme actions. The clowns of old used symbolic inversion as part of purifying rituals. Similar actions are seen in punk shows, and the social distrust of punk is similar to the distrust of the carnival (Van Ham, 2009). These similarities suggest that, while punk can fill the role of sacred clowning, it is not applicable to all of punk.

The Journal of Popular Culture is a semi-monthly peer reviewed publication of the Popular Culture Association (Hoppenstand). It's target audience, based on the sophistication level of the articles, consists of college educated students and professionals. Word choices in Van Ham's article such as “liminal” and “licentiousness” suggest a target audience that is either well educated, or willing to use a dictionary. The Journal of Popular Culture is the official publication of the Popular Culture Association, therefore clearly aimed at those interested in popular culture. The obvious audience includes students and instructors in classes dealing with popular culture, as well as researchers studying it. It is interesting to consider that, though it is dealing with popular culture, the populace is not it's intended audience. It is rather a study of the populace by people who may not normally be categorized as part of common people.

In the article “Reading Early Punk as Secularized Sacred Clowning,” Van Ham explores the clowning spirit in punk culture. He begins by describing the sacred clown, and explaining the useful role of sacred inversion. He describes the tolerance of society for these sacred clowns to break many taboos. He finds the apocalyptic tone of early punk similar to death and rebirth themes historically used by sacred clowns. He sees early punk, through it's denial of the previous decade's rock, to be a reincarnation of it. His conclusion is that early punks filled the role of the clowns of the past, by departing in their shows from what would normally be tolerated.

Van Ham presented his conclusions in a logical and sensible manner. He provided numerous scholarly references to back up his views, and maintained an objective tone throughout. His writing style is clear and concise, and easy enough to read for the target audience. The main ideas were clearly presented in the opening, developed well in the body of the work, and reiterated in the summary. The overall main concept presented is that early punk resembles sacred clowning.

Whether called clowns, fools, or jesters, the concept of clowning has existed throughout time. In this modern age, the clowns are more focused on happy times. Punk performers have filled a role similar to that of ritual and carnival clowns. Their focus on dark, apocalyptic themes apply to society today as did the antics of sacred clowns of old.