This post focuses on one particular community in the region: Los Órganos.

The photos and stories from this performance are full of color and energy. We couldn’t, in our right minds (loosely defined), not share them with you.

May these photos and stories brighten your day!

All quotes are from CWB Artist Leora Sapon-Shevin.

Laughter Becomes Lifeblood in Los Órganos (‘The Organs’)

Los Órganos is in Acapulco, but it is not a tourist area. 

Children grow up surrounded by violence, drug activity, and criminal groups. There is danger all around and there are few safe places to laugh and play. 

Hurricane Otis’s fury wasn’t limited to homes and municipal buildings. It also unleashed a wave of waste, generating the equivalent of two years’ worth of garbage in just 3 hours. Los Órganos bore the brunt of this environmental nightmare.

You love to laugh — and you know how much laughter has helped you through difficult moments.

You can give the gift of laughter to a child in crisis every month with a donation of just $11 monthly.

CWB Offers A New Story to Tell 

On a covered basketball court, families filled the space.

The clowns set up microphones while people waited in line to receive academic scholarships so they could afford to continue studying after the hurricane.

As the music started, kids and their parents were eager to see what would happen next.

“I went around dancing and making eye contact to see who would dance with me. I caught the eye of a little girl, about 8 years old, sitting with her grandmother with a blank look on her face and her mouth open. Her grandmother smiled at me and motioned for me to come closer. 

“Eventually I left, and she went back to her blank stillness.

“Later in the show, I brought her up on stage and she kept her eyes on me, holding my hand. When I’d leave her for a few moments, I would find her standing still and staring. But as soon as I looked at her again, she would follow me — eventually pretending to be a frog, dancing like the sun, or flying like a seagull.”

Leora’s attention offered the girl a memory filled with the warmth of feeling special and cared for in front of her family and community.

Getting Reacquainted at the Clown Show

Next, a CWB artist encountered a familiar face at the event.

“An old classmate of Gil’s, a juggler, brought his family to the show, which he said he enjoyed very much.

“He had fled Acapulco because of violence, leaving his children and wife behind. After Otis, he returned to his family and their severely damaged home.”

Gil’s classmate might now have a new chapter in his own story — one filled with hope and the resilience of community.

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Beyond the Storm Clouds: A New Chapter for Children in Acapulco

“A little boy, less than 5, approached Darina to tell her about his hurricane experience. ‘My tree fell down and my toys were full of mud, the electricity went out too!’

“Darina asked him more questions. ‘Did you enjoy the show?’ ‘Yes!’”

The clown show experience might rewrite the storm story for the children of Los Órganos, offering them an alternate perspective.

Imagination Takes Over: From Lost Toys to Found Fun

With a nudge from CWB, adults and children of Los Órganos embraced new experiences and opened the door to wonder. 

Facing lost toys and a disrupted world, they discovered everyday objects could become endless sources of fun.

Would You Say Yes to This Fun?

Who needs fancy equipment when you have a hat and a willing participant?

“When Alex was trying to find someone to toss him his hat so that he could catch it on his head, he asked a woman who said that she couldn’t do it because she was pregnant. He told her it was okay, that she could do it seated.

Tambourine Takeover! One Woman’s Rhythm Ignites the Crowd

“Lars invited a woman up to the front to play the tambourine, which she did, smiling. 

“After a few minutes, she said, ‘Let’s get everyone to participate, no?’ giving the show new and palpable energy.”

The woman’s enthusiasm was contagious, and everyone’s experience became more vibrant and joyful.

Unlocking Imagination Through Clowning

Laughter wasn’t the only gift CWB brought to Los Órganos, Acapulco. The performances sparked something more profound: a reflection on what’s possible.

“Christian, a university student studying to be a teacher, took part in the act with the whip. Afterward, with a huge smile on his face, he thanked us. 

The performances unlocked imaginations and opened doors to new possibilities and ways of seeing the world. Even the familiar could now be a potential source of wonder and joy.

The Team

This tour had a five-person performing team, Leora Sapon-Shevin (US), Alex Pizano (Mexico), Gilberto Valenzuela (Mexico), Lars Uribe (Mexico), and Darina Robles (Mexico), all of whom are seasoned CWB performing artists. 

Our tour partners were Universidad Autónoma de Guerrero, Congreso del Estado de Guerrero, Sabiduría del Payaso, Banyasos, Clowncidencias, and Llaven Nü.

Over 2,100 adults and children were touched by our 13-show tour between November 30th and December 9th, 2023.

Conclusion

The once-ordinary basketball court became a vibrant stage, filled with music, laughter, and a joyous celebration of life that will echo in hearts for years to come.

Faced with the wreckage of Hurricane Otis, CWB brought more than just laughter. They planted seeds of hope and ignited the spark of imagination.

The Clowns Without Borders (CWB) team from Zimbabwe, June 2023, included Cedrick Msongelwa (Zimbabwe), Nathaniel Allenby (USA), Rachel Wansker (USA), and Thandolwenkosi Ndlovu (Zimbabwe).

The artists had the high honor of being the first clowns many children had ever met. And they brought a range of talents with them: juggling, comedy — and puppetry.

In this post, you’ll explore the use of puppets to defend the right to play, hear how children responded to their first clown and puppet shows, and learn how the people of Zimbabwe inspired each artist.

Ready to join the puppet party? Let’s go!

Clowns and Puppets: Joyful Protectors of The Right to Play

Do you remember the magic of your first puppet show?

At a show in Domboshava, Zimbabwe, Fredrick found himself face to face with Shemp, a puppet with super-soft purple fur and a gentle expression.

Cautious at first, Fredrick quickly realized Shemp was his friend. When the puppet came closer, Fredrick reached out and touched him and gave him a sweet kiss. It was a moment that played out, again and again, every day of the tour.

Rachel Wansker takes the right to play seriously.

She used her trauma-informed training to lead the team in creating and performing puppet shows, which included direct interaction with kids like Fredrick. The puppet shows built trust with children, enhancing their experience.

You love to laugh — and you know how much laughter has helped you through difficult moments.

You can give the gift of laughter to a child in crisis every month with a donation of just $11 monthly.

Now that you know what happened at the shows, let’s meet the artists in the spotlight.

Cadrick Msongelwa: Bringing the Zimbabwean Spirit to Life

Cadrick Msongelwa is an award-winning theatre actor, clown, and teaching artist based in Harare, Zimbabwe. He holds certificates from Dell’Arte International, Zimbabwe Theatre Academy, and Schools Playwrights and Actors Academy. His unique focus on movement brings a captivating presence to local and international performances.

Cadrick’s Unforgettable Moment

Cadrick will never forget bringing joy and laughter to his African brothers and sisters during the Day of the African Child celebration. He says, “I am also an African child, so I not only celebrated the displaced children and youth at Tongogara Refugee camp, but I celebrated myself too. It brought me so much joy to hear unified laughter from a crowd of about 3,000 people.”

Bringing Laughter to the World

Cadrick’s experience in Zimbabwe has inspired him to share his talents with displaced communities beyond Zimbabwe and Africa. He aspires to clown globally, exploring the universal language of laughter and spreading joy worldwide.

Find Cadrick on Instagram @Cadrickhekhe.

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Nathaniel Allenby: Inspiring Lives Through Juggling and Entertainment

Nathaniel Allenby is the founder of Cirque Quirk and a seasoned entertainer with 17 years of experience performing in various countries. Hailing from Aurora, Oregon, a European cycling adventure ignited his artistic passion. Watch him juggle 8 balls and conquer 11-foot stilts!

Priceless Memories

The energetic response from the audience fueled Nathaniel’s performances and created a beautiful connection. He shares, “When I went out onto the stage alone and started my act, the kids would laugh at various bits, but as soon as I would start juggling, they would erupt with excitement about what I was doing. The energetic response was a beautiful form of reciprocity.”

A Shift of Thinking

Inspired by his connection with audiences in Zimbabwe, Nathaniel plans to make many changes in his life. He definitely wants to perform again for children and families who are displaced or who have never experienced a clown show.

Find Nathaniel on Instagram @Cirquequirk.

Rachel Wansker: Igniting Joy Through Puppetry and Clowning

Rachel Wansker is an actor, puppeteer, clown, and educator from Atlanta. She holds a degree in Theatre and Performance Studies and a Professional Training Certificate from Dell’Arte International and has performed with 16 professional theater and television companies in five countries. Rachel now lives in London where she continues to work as a performer and serve the refugee community.

Rachel’s Unforgettable Moment

Rachel will never forget the giant parade through the camp on the Day of the African Child. “Kids all around us played with us while we celebrated with them. I had a special moment where my puppet and a child of about 6 years old were blowing kisses back and forth.”

Breaking New Ground

In Zimbabwe, Rachel gained confidence in herself as a leader, and was reminded of her skills and experience as a performer and as a humanitarian. Rachel aims to continue using her puppetry, teaching, and leadership skills to make a positive impact.

Find Rachel on Instagram @wanskermonster.

Thandolwenkosi Ndlovu: Spreading Love and Laughter

Thandolwenkosi (Thando) Ndlovu is a talented Zimbabwean theater actress and clown. She currently volunteers at the Bulawayo Theatre in Bulawayo, Zimbabwe and also writes scripts. She describes herself as “short, dark, beautiful, and definitely funny.”

Moments of Marvel

Thando cherishes the pre and post-show interactions with the children. “In the rural areas of Chimanimani and Chipinge, most of the children were seeing the puppets and bubbles for the first time, hence their faces would beam with excitement and curiosity. Those moments of marvel have a special place in my heart.”

Cultivating Artistic Excellence

Thando will keep clowning and creating beautiful memories for people in need — in Zimbabwe and beyond. She’s especially eager to continue her studies, visit more rural schools, and collaborate with more organizations such as Clowns Without Borders-USA. Her goal is to be useful, kind, and share the love!

Find Thando on Facebook @thando.kimmy.

Conclusion

A big round of applause for the children and families of Zimbabwe and the CWB artists who defend their right to play! A big thank you to our fearless tour producer, Teddy Mangawa, and our partners, Zimbabwe Theatre Academy and the Ministry of Refugees.

A total of 4,960 people attended 11 shows and one workshop. Each event was a special celebration of love and laughter and filled with joyful energy.

Want to see more photos from the tour? Check out the montage below!

The history of women and femme-identifying clowns is richer than some may imagine. What follows is only a smattering.

Early History

Women were jugglers and acrobats in the courts of ancient Egypt, as depicted in tomb paintings from around the year 2000 BCE. They portrayed comic roles in ancient Greek theater, including Phylax comic theater, dating back to the 5th century BCE. Women were even fools and jesters for European aristocracy until the 16th century AD, when the church began condemning their roles in theater and comic entertainment by deeming it immodest. “Jest books,” or books of jokes and quips written by men, became popular during this time, redefining the role of a woman in comedy by her ability to laugh at a man’s jokes rather than tell a joke herself.

Female comics turned to the stage with commedia dell’arte, a campy, comical theater form that was free from theological regulation. It was through this medium, originating in the 16th century, that the modern “clown” began to take shape.

The 18th century saw the birth of what we call “circus,” beginning with Phillip Astley’s Royal Amphitheater in London, in 1773. In 1846, The Royal Amphitheater provided a venue for the first performances, and subsequent newspaper mentions, of “female clowns.” Twelve years later, Amelia Butler was considered the first female circus clown in the United States. More names begin to trickle in: Mlle. Emille with Alhambra Circus (1863); Mlle. Silvia Christoff, “The World’s Only Female Clown (1867); and Ada Isaacs (1869) were the toast of Europe for over a decade. By the end of the 19th century, women were proving that they could indeed tell a joke.

Circus and Vaudeville

From 1895–1899 circuses held bidding wars over lady clowns. In 1895, Evetta Matthews (sometimes billed as Evetta Williams) was hired by the Barnum & Bailey show to be a “lady clown” headliner, a previously unheard of stunt. Evetta stated, “I believe that a woman can do anything for living that a man can do, and do it just as well as a man. All my people laughed at me when I told them that I was going into the ring as a clown. But they do not laugh now, when they see that I can keep an engagement all the time and earn as much or more money than they can in other branches of the business.” The tour was such a success that other circuses began to compete over how many lady clowns they could have on their bills, some boasting as many as four. The gender imbalance remained, since some large circuses at that time had 30 clowns or more.

The English music halls of and the American circuit provided other venues for female comics. Some dressed as, or presented themselves as men, even centering their routines on proper ways to treat women. They dubbed themselves “mashers” and were the godparents of modern drag kings. Others were literal mothers to famous comics. Silent comic Buster Keaton’s mother, Myra, was the first female professional saxophone player and also a champion physical comedienne.

Vaudeville gave way to the dawn of film, and women began to own the screen as well as the stage. One such comedienne, Gale Henry (also known as the inspiration for the character Olive Oyl, formed her own silent film company in 1916 and eventually starred in over 236 comedies from 1913–1933. Her films were ahead of their time, dealing with gender roles, exploring the possibilities of women running the city fire department (Her First Flame, 1919), and running a detective agency (The Detectress, 1919).

Movies and Television

The advent of sound brought the dawn of television. Lucille Ball, Carol Burnett, and Gilda Radner are just a few drops in the proverbial ocean of commediennes who found fame on TV. Phyllis Diller, a stand-up comic who became a household name through television, wore gloves to designate herself as a clown. She stated “I had to wear gloves because all clowns wear gloves.”

These pioneers set the stage for the women clowns of today. Just to name a few: Iryna Ivanytska has gained world acclaim, with her wild wig and fuzzy shoes, as lead clown “Boom” in the theatrical clown show “Aga-Boom”. Pepa Plana of Catalonia helped develop Cirque du Soleil’s “Amaluna”. Her theater shows range from clown interpretations of classic works of literature to political statements on human migration. Gardi Hutter of Switzerland is famous for her washer-woman clown, and specializes in characterizing “female non-virtues,” tossing poise and beauty aside while still conveying a sense of artistry. Amanda Crockett is a physical comic based in Chicago, Illinois, who incorporates juggling and trapeze into her acts, and is a definitive modern vaudevillian.

There are as many women of comedy as there are stars in the sky. We continue to prove that we, indeed, are funny, and always have been.

The UNHCR estimates there are 68.5 million forcibly displaced people worldwide: 40 million internally displaced people (IDP); 25.4 million refugees; and 3.1 million asylum seekers. There are also an estimated 10 million stateless people, or people who are denied nationality. In these terms, “displacement” means someone who is forcibly moved or removed due to armed conflict, violence, human rights violations or natural/human-made disasters. Displacement mobilizes CWB into action because our tours respond to people experiencing crisis. When a project partner asks us to come share laughter, we do our best to oblige. But as global politics shift and change, late-20th century and early-21st century displacement has started to take on a distinct quality: protraction.

Is displacement changing?

Thanks to our news cycle in the United States, it’s easy to picture acute crises like earthquakes or bombings. It’s more difficult to conceptualize protracted displacement caused by intersecting problems like lack of water resources due to agricultural mismanagement and climate change, or civil war resulting from the legacy of colonialism. The UNHCR defines protracted displacement as displacement for five years or more, yet from 1974–2014 fewer than one refugee crisis in 40 was resolved within three years. In fact, more than 80 percent of all refugee crises lasted for 10 years or more.

How does CWB respond to protracted displacement?

CWB frequently interacts with communities experiencing protracted displacement, including our 2018 tours to Colombia (Coastal Tour and The Department of Cauca), Lebanon and Myanmar. The media image of refugee camps does not reflect reality for many people experiencing protracted displacement. It’s an increasingly urban and dispersed phenomenon, with (in 2015) at least 59 percent of all refugees living in urban settings. The increasing frequency and length of protracted displacement results in migrant and IDP situations that challenge preconceived ideas of what a crisis looks like. For example, many refugee camps are essentially settled, with established systems of support both formal and informal. But does that mean people no longer live in crisis? What kind of role does laughter and levity play in situations that feel intractable instead of sudden?

We’ve found that, along with planned performances, CWB tours help carve out space for communities to come together over joy. Communities constantly build their own resilience, but play and silliness help reinforce an opportunity to forge connections within protracted displacement.

There is no exhaustion like the one that comes at the end of a long day hard at work in clown training. Clowning has a particular way of exercising performers both physically and emotionally because in many ways it is both an art and sport.

You might not immediately think of clowns at athletes, but traditionally circus clowns would often perform alongside the acrobats in the troupe, executing some of the same skills but with a unique twist that only a clown can bring. Clowning is a very physical form of theatre and requires a high level of physical dexterity, awareness, and control. Additionally, the long hours and fast-paced schedule of a clowning career (particularly in the circus), require stamina and strength. Modern clown training is easily comparable to physical theatre or modern dance, both practices that utilize body movement to tell a story or convey a mood, and may even use similar exercises, games, and movement-improvisational work. The parallels between clown and dance have not gone unnoticed. Charlie Chaplin was once called “the greatest ballet dancer that ever lived” when he received his honorary Oscar. The ability to communicate a story with one’s body requires nuanced control of your body and facial muscles. Physical awareness and expressiveness take time, sweat, and practice. For some, that can mean a rigorous regiment of daily training to gain strength and physical ability. Famous Russian ballet dancer, Mikhail Baryshnikov once said, “Get used to pain. It’s part of a dancer’s life.”

One way that clowning differs from most dance is what Clown Theorist Jacques LeCoq called “the flop” or the moment the clown fails. If the clown is attempting an acrobatic stunt or a beautifully executed dance move, the flop often constitutes a fall or intentional use of incorrect form to complete an intricate or dangerous physical task. Falling and failing are fundamental parts of clowning, and although they appear to be chaos, they are approached very carefully. Just as in the principles of stage combat or stunt work, when falling, it is important to be in total control before you can safely appear to be out of control. Falling can take practice and time to perfect. A long day of falling is sure to leave a clown-in-training tired and sporting a new bruise or two.

In an era of more subtle, theatrical clowning gaining in prominence, not all clown routines are equally physically performative and taxing. However, clowning also takes a high level of emotional energy. Many teachers continue to develop LeCoq’s clown theories of finding each performer’s personal clown, following creative impulse, and staying strongly connected to an audience using the partial mask of a clown nose to both hide and reveal the performer who wears it. This methodology can leave the performer feeling very personally vulnerable, meanwhile staying connected to the audience can be both exhilarating and overwhelming. Many training programs emphasize honesty in clowning. Even when the clowning experience is not traumatic, being a proxy for a whole audience and honestly, openly, and physically expressing one’s experience can be exhausting.

At the end of a long day, a clown-in-training may feel like they have run a marathon, fallen off a chair, and attended a particularly moving therapy session. Though this may be exhausting, the feeling of using your whole body and emotional range, particularly when it is working towards the goal of laughter and joy, is particularly satisfying.

It is the personal satisfaction, sense of accomplishment, and cathartic release of emotion that are hallmarks of the workshops facilitated by Clowns Without Borders performers. Whether you are attending a workshop like “Find Your Funny” at the Omega Institute in New York, or are a refugee living in a refugee camp for the indefinite long-term, the workshop principles remain the same. People are encouraged to learn new physical skills. They are encouraged to build community with others through simple moments of joy that build into exuberant laughter. It’s like remembering a great secret you once forgot: That people can and do stay connected when bonds are formed in laughter.

The indigenous community residing in Chiapas were oppressed in poverty and brutalized by the government of the time because of the land on which they live. The region where they reside and have for hundreds of years, is rich in minerals, water, and crops such coffee and cacao, but the indigenous people are among poorest and most marginalized in Mexico. Chiapas is a jewel, but the people and region have been taken advantage of by power, politics, and trade agreements. The Zapatista Revolution began in 1994 and was the locals way of saying, ‘we want autonomy.’ They succeeded in becoming autonomous, but at significant cost.

Rudi Galindo, a long-time volunteer, professional clown, and colleague of founder Moshe Cohen, is leading the team returning Chiapas this January for CWB-USA’s 100th project. Rudi has been traveling to share levity and moments joyful play, every year for nearly two decades. He is compelled to return and give the gift of laughter and to keep a promise.

Many years ago, on a trip to Chiapas, Rudi and another volunteer, David Lichtenstein, went to a displacement camp for the indigenous people seeking escape from recent massacres at the hands of the military. It was a wet and cold January. Thick mud coated the land. Rudi and David kept falling in the muck and mire as they performed for the audience in the displacement camp. Afterward, at the show’s end, they took their noses off and collected props preparing to exit. A hyper-emotional woman came up to Rudi and spoke rapidly to him in the indigenous language. She was anxious and animated, and Rudi called for someone to translate. What the woman said impressed upon his soul forever. She exclaimed, “I’m frightened that you’re going to leave. I feel so much safer when you are here! Because everyone is laughing and at peace, so we all forgot to be afraid. Please, do not go!” It was tearful for everyone, Rudi and David included.

Rudi was so moved that he vowed to come back, and return he has, every year since 1995.

The Zapatista Revolution is quiet now, and while it may not be over, the guns are no longer pointed, and the people of Chiapas have found a new normal. In their autonomy, they work hard to administer government and services. They have taken the concept of education and applied it on a larger scale–both for children and adults. Human rights for all is the cornerstone of their governance. They govern by respecting the earth, each other, the woman and the child. This remarkable place is unique, and if you travel there, it seems as if you’ve left Mexico and entered a different world. It’s a place where the people look noticeably different from Mexicans and where their mannerisms, language, and culture distinguish them as indigenous. It is a place where Rudi is forever connected to the people.

We encourage you to ally with the people of Chiapas, too. You can follow our milestone project updates, photos, and videos on our social media pages and explore with the clowns. Visit our page about Mexico to delve into the library of information about our past work in Chiapas.

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