Welcome To The Seductive, Voyeuristic World Of Sideshows !
Banners play an important role in appealing to the fantasy and curiosity of the passer-by.
Often, the banner depictions are far more spectacular than the acts themselves. Appearing first in
the 18th century with European balladeers, banners became popular among travelling
performance groups. By 1870, the United States Tent & Awning Company was established in the
United States; in 1915, Algerm W. Millard & John Bulsterbaum began producing banners for
Coney Island attractions. They created a style of painting which would become the prototype for
other artists in the discipline. A cartoonish, stylized illustration is painted with a single frame,
with the name or description of the act lettered on a scroll. A bright orange background was used
for readability at a distance (yellow was considered bad luck !), and slits were cut into the canvas
to reduce wind resistance. An "alive" bullet on the banner is essential in ensuring the
authenticity of a performance.
Since 1915, banner painting on Coney Island has evolved into a distinctive dialect within
the language of banner art. All banners produced consist of a bright orange background with a
white outline framing the illustration. The name or description of the act is lettered in red with
light blue shadows on a yellow scroll. Recently, New York artist Marie Roberts collaborated with
Dick Svagan of Coney Island Circus Sideshows in recreating the banners for the sideshows. Unlike
Fred Johnson's "Popeye," which is rendered realistically with a sense of depth, Roberts chose to
follow the Coney style of illustration which is less realistic and detailed, more cartoon-like and
abstract. She also chose to paint characters of different ethnic backgrounds, reflecting the multi-
cultural aspect of Coney Island. Viewing the banners, one can sense the affection and respect the
painters had for their subjects. Each performer is depicted as a confident, positive individual;
this respect for diversity and individuality is one of the essential elements of Coney Island.
The visual language and dialects of Coney Island are as diverse and colourful as the people
who live there. They are driven by the carnival and beach culture and everything is designed to
attract, to sell. But ultimately, people visit Coney Island to have fun, and the art communicates
that spirit. It is extravagant and superficial, but there is a sincerity and humanity which
underlies this colourful madness. Coney Island is Camp in pure form. Its love for human nature is
celebrated in grand style for all to enjoy, and this tradition keeps Coney Island alive. Though it is
but a whisper of its former self, the show will go on and Coney will continue to teach America how
to laugh.
Go to PART II
