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Questioning the accustomed lesser evil electoral politics, the boring rallies, the bursts of direct action, and frustrated tears, a new cohort of political actors have emerged with a new series of playful approaches. They have turned to a uniquely distinct form of community building and performance. During the summer of , from Edinburgh to South Central LA, the image of clowns rummaging through the streets found its way into the public consciousness.
In Rize , African-American clowns occupy the streets where riots shook the summers of and and urban life offers little but a generous dose of grief and oppression.
Rize details a subculture inspired by Tommy Johnson Tommy the Clown who started a new movement in dance in as a response to the riots. It involves a highly physical form of dance which modulates between timeless tribal and urban hip-hop steps to offer an alternately despairing, angry, and joyous form of clowning.
As an alternative to the state-programmed default of gang life, drugs, violence, and prisons, kids form troupes of their own who paint their faces like warriors to share space and dance. Yet, the G8 is this meeting among great powers. We see it as a grim event. The power of the state intersecting with the power of markets getting together to make decisions for the next year. But they are not telling the whole story.
These eight men are gonna get together and make that policy. And yet it looks very benevolent. During the protests, images of a policeman crossing clubs with a black blocker were seen on the front of newspapers around the UK. So we wanted to interrupt the flow of this imagery. We interrupted what I refer to as the hegemonologue coming from the media, which relentlessly depicted the protestor as terrorist and Bob G.