Drawing clowns in training and their fabulously talented teachers for a solid week (three

It is all Jehan’s fault. My friend Jehan -- one of the most astonishing belly dancers I have ever known -- one day she said, “come down to Sideshows and you can draw during clown class”. I didn’t expect a lot, but I am always up for adventure. As Glen Heroy, the founder of Coney Island Clown Skool, came out and started explaining the problem he was giving his student I became intrigued. It was a simple classic improv; this one built around a hat found in the back of an old car (a story that grows in detail each time this assignment is given). Each clown came out and gave the hat a different quality: weight, smell, sound, personality, fear… each one inventive and full of story. The expressions and emotions they conveyed came in a vast variety of gestures and forms, speeds and stillness’s. It was truly fun and quite a challenge to draw. I drew with my favorite fast media, pastels on black paper, and years of drawing dancers I think paid off in capturing fleeting moments. I later sent the drawings to Glen, and he said come to Clown Skool and draw! I couldn’t turn that down. And man did we seriously need a diversion that November right after the election!

Residencies at Coney Island Clown Skool!

Drawing clowns in training and their fabulously talented teachers for a solid week (three times so far) is quite an experience! Who knew it took so much to be a really fine clown?

Members of the Class of 2026, Left to right Sir Cus, Sarah, Benny, Chuckie, Velvet and Bambi.

Rolly Polly exercise

I saw the rolling exercise two different years. The first year I drew it from the end of the mat as the clowns rolled toward me trying to make different shapes and gestures. The next year I drew them from up on the grandstands in the theater, where the shapes were easier to see and formed beautiful images.

Graduation Certificates for the Class of 2024.

Do It again exercise

The Do It Again exercise comprised a few moments of movement to music, and then the teachers and others said, “what is missing here?” sometimes it was speed, sometimes sharpness or taking up space. The second time I drew the movement darker on top of the first movements so you can see the contrast and invention of the clowns.