Clowns Without Borders (CWB) harnesses the power of humor to bring people together, especially in challenging environments. 

Our recent tour in Egypt exemplifies this mission perfectly and demonstrates how laughter can be a catalyst for both social cohesion and environmental awareness.

The journey began with a collaboration between CWB Artist in Residence Hannah Gaff and a talented Egyptian team, including Nelly Abd-El Maksoud, Saly Ahmed, Sami Gomaa, Tarek Ahmed, and Diaa Eldin Rayad, under the guidance of Project Manager Ahmed Moussa.

Then the Garbage Monster showed up…

Project Summary: A Creative Collaboration

CWB-USA partnered with Vassar College and Dawar Arts Egypt for the groundbreaking Theatre for Climate Justice Project to address the intersecting crises of climate change and forced displacement in Egypt.

By leveraging the power of theatre and puppetry, the team aimed to support the work of vulnerable communities, particularly refugees and asylum seekers, while addressing environmental concerns.

Through interactive workshops and captivating performances, the team explored the challenges posed by climate change, including sea-level rise, pollution, and resource scarcity. These issues disproportionately affect forcibly displaced populations who often live in overcrowded and precarious conditions. 

The Andrew W. Mellon Foundation generously supported the project through the Consortium on Forced Migration, Displacement, and Education (CFMDE).

Now let’s explore how play and laughter are potent tools for building community, fostering creativity, and addressing pressing global challenges.

Defeating the Garbage Monster

The team developed a captivating one-hour play centered on the pressing issue of pollution in the Nile River.

A central character in the play was the formidable “Garbage Monster,” a symbol of the environmental challenges facing Cairo. 

Kids with refugee or asylum seeker status from Sudan, South Sudan, Syria, Somalia, Ethiopia, Eritrea, and Yemen helped defeat the play’s Garbage Monster that was destroying their villages.

Artist Diaa Eldin Rayad shared that, “Interacting with children is one of the most enjoyable moments for me. One child told me, 

When we came to the end of the show, he collected the plastic bottles by himself without being asked to do so.

By engaging children, particularly those with refugee or asylum-seeker backgrounds, in confronting this monstrous foe, the team encouraged a sense of agency and empowerment.

And when you defeat the Garbage Monster, you, of course, need a dance party to celebrate your victory…

He Found His Voice Through Play

Workshops hosted by the team lead children to transform everyday trash into vibrant puppets of fish, crocodiles, and cobras.

The act of upcycling empowered children to become active participants in environmental conservation. This creative approach sparked imagination and ignited a sense of responsibility for action.

One particularly heartwarming story emerged from the workshops. 

Children’s voices, too frequently silenced by adversity, found expression through play and creativity through the Theatre for Climate Justice Project.

Tarek Ahmed recalls another moment when a child practiced agency and self-expression: 

“A girl decided to make the tail in her own way. After suggestions from me about how to make the tail, she told me, ‘Hmmmm…, I will draw it.’” 

Nelly Abd-El Maksoud shared how a child’s passionate creativity inspired her own creativity:

“Today there was a little girl who made the crocodile puppet. And for the first time, I experienced the feeling that someone was fully aware that she was doing something beautiful. This is a new feeling for me. She kept putting in a lot of details of her own, and I kept cutting her pieces and doing anything she wanted. She was very passionate about the puppet and had a great interest in it. She made me feel it was possible to turn the simplest things into beautiful things.”

These events highlight the transformative power of play in unlocking children’s potential and fostering self-expression.

Laughter Unleashed in Egypt

Hannah Gaff, our artist-in-residence, observed firsthand the transformative power of play. She recalls, 

“In the beginning of the workshop, two kids said they didn’t think they could make the puppets (made of plastic and garbage found on the street) and by the end they were so proud of the puppets they made, showing them off to everyone.”

And,

A newfound confidence was palpable as they brought their puppets to life, imaginations soaring.

Diaa Eldin Rayad, a member of the Egyptian team, also witnessed the magic of play unfold. He shared, “The children played with us while laughing. A 6-year-old-boy of Sudanese nationality told me, 

‘We will make a snake from a bag of chips. This is difficult!’”

Beyond the technical skill of puppet making, the children demonstrated a remarkable capacity for problem-solving and adaptation.

The workshop became a safe space where they could express themselves freely, build friendships, and develop a deeper understanding of one another.

By providing opportunities for imaginative play and collaborative creation, the team empowered children to overcome challenges, build resilience, and envision a brighter future.

Conclusion

The project brought together children from diverse backgrounds, such as Sudan and Eritrea, fostering a sense of belonging and understanding. 

The shared experience of creating, performing, and laughing helped bridge cultural divides and build a stronger community.

Funny women have played starring roles as catalysts in the transformation.

Clowns Without Borders (CWB)-USA has had all-women teams before. But we’ve only begun to explore how audiences respond to shows directed, produced, and performed entirely by women.

This post introduces you to the women who shared laughter with people of all ages in southern Turkey (May 2024) and gives you a front-row seat to the best audience reactions from the tour.

Does an All-Woman Laughter Team Matter?

We think women-led laughter matters and this blog post shares stories to underscore that idea.

Meet the Team

Five women made CWB’s Turkey Tour 2024 a smashing success. Four of them were no strangers to Turkey, and all five were familiar with clowning in areas of crisis.

Anchoring the team were Yasemin Ertorun and Çağdaş Ekin Şişman, talented performers from Istanbul’s SOS clown group. Their familiarity with the Turkish language and culture was invaluable. Gamze Akça Özcan, also of SOS, served as the tour manager, ensuring smooth operations and building on existing connections with NGOs and civil society groups in southern Turkey.

Sabine Choucair, a powerhouse Lebanese-American performer, joined from her base in Turkey. Sabine is a co-founder of Clown Me In, a community-based organization in Lebanon. Completing the team was Luz Gaxiola, who has been on CWB tours in Lebanon, Greece, and Mexico. Luz arrived from Olympia, Washington, with her accordion and clown props ready.

In just ten days, CWB’s all-female team brought laughter and joy to over 2,200 people, including roughly 1,800 children, across Hatay, Kahramanmaraş, and Islahiye, Turkey (May 8th-17th, 2024).

Now that you’ve met the team, let’s meet the audience.

Touching Hearts in Southern Turkey

Of the three million people displaced by the 2023 earthquakes, over 600,000 are still in temporary housing. Usually, that looks like rows and rows of converted metal shipping containers.

The containers are vulnerable to the cold and heat. However, a move to permanent housing is cost-prohibitive due to a shortage of safe property and the inflated cost of rent.

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.

Unexpected Guests

Clowns from Turkey and elsewhere have spent time in Hatay and nearby regions that were hardest hit by the earthquake. So some people have met clowns, while others haven’t.

“We surprised many people going about their day. They seemed shocked and amazed to find a parade of clowns and children playing music and blowing bubbles in the streets. Some people just shared a silly moment with us, and others gathered their friends and family, followed the parade, and joined us for the show.”

“One kid came at the end of the show to take a photo with Sabouny (Sabine’s clown character). She was 5 years old and didn’t want to look at the camera at all. She just wanted to be near the clown and looked at her in awe for a long moment.”

– Luz Gaxiola

“Nobody Cared Anymore” was the Transformation

CWB’s impact goes beyond eliciting laughs. We aim to transform.

“[The audience sees] four women onstage being ridiculous and being happy about how ridiculous we are, enjoying the failures and enjoying every part of the show and what we were doing…[The show] was like a celebration. We got to a point where nobody cared anymore. We were all just there, together.” 

– Sabine Choucair

“Nobody cared anymore” isn’t negative. It signifies a beautiful moment of transformation in which audience members felt liberated from societal pressures and self-consciousness. Men, women, and children alike could simply be themselves, united in a celebration of uninhibited joy.

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“There was this teenage girl who was so grumpy. From the beginning of the show, she was like, ‘Who are these clowns?’ ‘Why are there clowns coming here?’ Then, at one point, we were dancing with the girls. We were getting girls from the audience to come and do a silly dance. Then [the grumpy teenager] just decided to come onstage, take my jacket, and put the jacket on and dance with us. [There was] a shift from, ‘Who are these clowns?’ and ‘I’m not going to laugh,’ to being part of the game onstage. 

– Sabine Choucair

Seeing women of their background and identity leading in this way validates and normalizes these experiences, inspiring girls and women to embrace their unique talents and reject limitations imposed by patriarchal structures.

From Shy to “Busting Out” a Melody

Women-led play plants a seed: breaking barriers can be a positive and healthy process. Consider this story from Luz:

“After the show, this little girl showed up holding a box with a melodica in it. She was kind of shy, but she was holding it. So we started encouraging her by saying, ‘Okay, great, let’s see the melodica.’ So then she took it out, but she wasn’t playing it. She needed a few more minutes to be okay with that. So then we were like, ‘Play it!’ So she started playing it, but she was just doing little random sounds. 

“Then I, with my accordion, just started copying her. But she was a little shy, so she did that for a few minutes…and then she busted out this melody. [And we realized,] ‘Oh, you actually play this thing.’ So she started playing this melody, Bella Ciao. And I know Bella Ciao, so it was great because she was playing the melody on the melodica, and I was able to chime in here and there on the accordion. And we ended up having this really sweet duet.”

– Luz Gaxiola

The connection was between two musicians, but also between two women. Inspired by seeing a woman confidently lead and perform, the girl found the courage to express herself. The rarity of this kind of moment highlights the need for more opportunities where girls can see themselves reflected in strong, talented women, and feel empowered to pursue their dreams.

Women Calling the Shots

Sabine has an act where she playfully challenges a man who comes on stage, asking him to demonstrate both masculine and feminine moves. If he refuses, she humorously dismisses him and finds another volunteer.

“I was like, ‘Okay, you’re not going to do that? I’m not interested in you.’ So he left, and I picked somebody else and he was adorable. It was great to have him onstage. He really played along and was so happy to do that.

“Clowns are about, ‘let’s connect on a more deeper level’ and ‘Ya, I’m a woman onstage assuming my role and kicking whoever I want to kick out.’”

– Sabine Choucair

Sabine’s act is a playful yet powerful critique of rigid societal expectations of masculinity. The audience isn’t just passively entertained; they become active participants in questioning these norms. Those who embrace the challenge, like the “adorable” volunteer, demonstrate a willingness to break free from stereotypes.

Conclusion

As we reflect on CWB’s all-women team in Turkey, we see that their impact goes far beyond laughter. In a world where men have traditionally dominated clowning, CWB is flipping the script. Women-led performances challenged societal norms, proving that humor can be a powerful tool for dismantling gender stereotypes.

This is the true magic of CWB-USA: creating spaces where laughter breaks down barriers and brings people together.

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.

For adult and child immigrants, often journeying the rooftop of the train, La Bestia symbolizes risk and determination, two necessary companions for the journey north.

In this post, you’ll witness the transformative power of humor in the face of adversity through audience participation, shared fears, and moments of pure joy.

Let’s jump in!

(Quotes throughout the post are from Molly Shannon.)

A Clown Show Next to La Bestia

Our story begins at a shelter beside the tracks, a temporary haven for those traveling north. The audience was mostly men in their late teens and twenties, with some kids and a few women present. Most of the audience was from Honduras and Venezuela. 

Here, the weight of migration — the dangers faced, the loved ones left behind — hung heavy.

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.

“There was a worn-to-the-bone energy of many men there, a tautness, a closed-offness, which we were told to expect. Many are fleeing from violence, as well as encountering it along the way.”

But amidst the survival energy, there was also hope — a group of young men, eager and ready to engage, sat off to the side, ready for whatever the performance had in store.

“In the show, we are clowns journeying on La Bestia: boarding the train, jumping off the train, stopping temporarily to camp, eat, sleep, jumping back on the train at the end, all while experiencing extreme weather.”

The artists improvised, incorporating real-life sounds into their show.

“We played it that we were doing a theatrical production, with stuff going wrong with the sound: actual heavy rain, thunder, and, most notably, the actual train, La Bestia, passing by during the show. With tons and tons of weight, it made deep booming and wavy-sounding noises as it passed by.”

Because the audience was living the experience presented, their response to the show was immediate and positive. For example, the show created moments for the clowns to share their fears and invited the audience to do the same.

“We arrived at the point in the show where we talked about things that scared us in the night. After we went through our fears of spiders and bears, the audience started shouting, ‘Coyotes!,’ ‘La Migra!,’ (smugglers and immigration authorities in English) to laughs of acknowledgment and understanding.”

In another moment during the skit, a helpful shout from the audience, “You’ve just gotta jump!” underscored the dangerous reality of people’s journeys. But it also revealed the care and camaraderie toward those with shared experience.

Clowns in Mexico Make Inclusion Center Stage Two Boys Steal the Show

Emiliano Shines in the Spotlight

Emiliano, a 9-year-old deaf audience member, caught our attention.

He didn’t know how to use sign language or read, but he could engage with the show — and he did so with enthusiasm.

Prompted by the clowns to mimic rain and wind sounds, he eagerly participated and made sure he stayed in sync. His smile radiated with delight the whole time!

After the performance, Molly and Thom approached him for fashion advice, communicating visually. While Molly received a thumbs-up for her attire, Thom’s fashion sense didn’t quite get the same approval.

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Carlos Leads “Dead or Alive” Game

Carlos, another boy who was about 7 years old, eagerly joined the clowns on stage during the classic CWB skit, “Dead or Alive.”

When Carmelita (Molly) “died” and required resurrection, Carlos, brimming with excitement, eagerly led a group of children onstage.

“With the energy of everyone united and at that moment, Carlos and the other children contributed all their energy and enthusiasm to revive Carmelita.”

Death is a complex and frightening concept, especially for children. Taking part in a scenario where they can “fix” death, children gain a sense of control over a situation that feels out of control. They become the agent of change, reversing a scary outcome.

In Mexico, the Audience Carries The Clown Magic

As the performance continued, moments of magic unfolded. One instance occurred when an audience member transformed a simple prop into a whimsical adventure.

Molly took on the role of a guard, embodying a strict military demeanor as she marched around. She invited another member of the audience to join her, but the drill quickly transformed into a playful dance.

“[Then] he noticed the pile of brooms, slipped his arm gallantly through mine, and led me over to them. He picked up a broom, and I thought maybe he was going to dance with it, but then he hopped aboard it, a la witch on a broomstick style, and beckoned me to join him.”

Embracing the moment, Molly jumped on the broomstick.

“I had a real fun time playing up that I was working, on duty, I cannot, but wait, [the other performers] are sleeping, maybe just a short flight on the broomstick. So I hopped on and he took us on a swooping circle around the sleeping Thom and Vane, and I made a big deal of keeping quiet to not wake them. He dropped me back off, put the broomstick away, and sat down laughing.”

The transformative power of play is on full display in this story, with an audience member elevating the story beyond the artists’ expectations, and to the sheer delight of the audience.

Reflecting on the experience, Molly notes,

“There was something magical in him choosing to fly on a broomstick, something that I am sure he wishes was possible in his situation: a magical, easy, quick journey to wherever you are going.”

The Team

This tour had a three-person performing team and a non-performing team member.

Vanessa Nieto (Mexico) and Molly Shannon (US) most recently toured with CWB in Mexico in 2022. This was Thom Wall’s first CWB tour. Thom is a featured performer in CWB’s 25th Annual Portland Benefit Show (March 30, 2024). Majo Diaz de Riviera was indispensable in organizing the team’s logistics.

The November 7-15, 2023 tour reached 312 adults and 1,060 kids.

Conclusion

La Bestia may symbolize risk and determination, but CWB’s presence offered a flicker of light — a reminder that even on the darkest path, a moment of human connection and a shared laugh can spark healing and glimmers of hope.

In our universe, imaginative play is a tool — a bridge for people experiencing displacement caused by conflict, political turbulence, economic struggle, and environmental crisis.

El Salvador, where people face multiple causes of displacement, found itself in the spotlight of a tour in November 2023.

Join us under the big top to learn how clown energy brought play, laughter, and relief to people in El Salvador.

Families Face Multiple Causes of Displacement in El Salvador

For decades, deadly gang violence has shaped life in El Salvador. To find safety, many young people left their homes and family members to migrate north. El Salvador has also become a destination for Venezuelans escaping dangerous political and economic conditions.

Even as deaths and migration continue, arbitrary arrests of men suspected of gang activity have added to the heartache.

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.

For these reasons, CWB-USA planned a tour for November 2023.

No one anticipated that the stage was also set for another cause of displacement: Tropical Storm Pilar.

Navigating a Red Alert: Tropical Storm Pilar

Clowns Without Borders performances aren’t just fun, they’re strategic endeavors. 

When Tropical Storm Pilar hit, the red alert prompted even more caution than we’d already applied and anticipated.

Hundreds of people left their homes to seek safety from the storm.

Bringing laughter must never jeopardize people’s safety, both the journey to the performance and the gathering itself, nor inadvertently divert vital resources.

Fortunately, adapting to fresh traumas of already vulnerable groups isn’t a new dynamic for CWB. We’ve been here before. Just weeks before the El Salvador tour, we redirected a tour in Guatemala to assure audience safety during political protests.

After the storm subsided, CWB-USA artists were ready to bring the transformative power of laughter.

Sharing the Vibe: Clown Energy and Laughter

So what happened when our artists could safely gather children and families for clown shows in El Salvador?

Here are stories from the events:

Our first show was intimate, with only 32 people in attendance. All were migrant adults and children seeking refugee status and asylum.

There were lots of excited parents who were thankful to see their children so happy and taking part. A group of kids, 8 to 11 years old, said they’d, “never seen magic before.”

Aileen, 6 years old, volunteered to come on stage. With assistance, she made an egg appear out of thin air. When asked to throw the egg into a basket, she said she couldn’t do it.

CWB artists offered her space to leave the stage but also offered encouragement. She compromised by saying, “I’m going to throw it as well as I can.”

As the audience cheered her on, Aileen threw her egg.

She got it in the basket on the first try and left the stage with a huge smile on her face!

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At a school in the town of Santa Maria, Edwin, who’s 9 years old, asked where Josie was from. She said the US.

Josie asked Edwin if he had ever visited the US and he said, “No.” And added that he wasn’t able to get a visa.

Then she asked him if he’d ever seen a clown before. Edwin said, “Yes. But they weren’t as great as you and you made us laugh a lot more.”

In Panchimalco, a town that’s considered one of the most dangerous in the country, there was a special older participant named Marcerito. On stage, she shared her huge smile and youthful energy. Audience and artists alike delighted in her joy.

Clown Energy for the Back Pocket: A Special Abracadabra

You know the word “abracadabra” makes magic happen. But the clown energy on this tour intended for people to recognize the ever-present source of magic within themselves.

During each show, the audience shouted, “Mi vida es magica!” (“My life is magic.”) to conjure enchantment.

After the show, audience members would approach artists and repeat the phrase, “Mi vida es magica.” It became the anthem of the tour.

Now it’s your turn! Say it with us: “Mi vida es magica.” “Mi vida es magica!”

Jed Doherty, a CWB artist who performed in El Salvador, shares a story of a child who made the magic his own:

Conclusion

CWB-USA holds clown energy for crowd after crowd after crowd, making laughter happen amid complex realities of displacement.

Our El Salvador tour was planned in collaboration with our local partner ACNUR and Tour Leader Ricardo Bamaca (Guatemala) and featured artists Josie Mae (United States), Jed Doherty (United States), and Val Juarez (El Salvador).

Check out this Instagram reel from the El Salvador tour:

You Can Help CWB Plan the Next Tour

A gift to CWB-USA is a gift of laughter to children and families who are experiencing crisis. The laughter becomes a moment of shared joy by which children and community members build resilience.

Will you join us in spreading joy and laughter?

Picture this: Suitcases were packed, the route meticulously planned, and the artists were ready to embark on a laughter-filled journey. But just as the stage was set, Guatemala City erupted in flames amid pro-democracy protests.

The tour to Guatemala, scheduled for October 10th, 2023, seemed abruptly canceled.

Enter Ricardo Bamaca, our fearless Tour Leader from Guatemala. He evaluated the security situation, provided an alternative route, and selected an all-Guatemalan cast.

Join us as we tell a tale of love and laughter rising against the odds — and just when it was needed most.

Dedication to Laughter Looks Like This…

Thousands of protesters, mostly indigenous people, had gathered in Guatemala City beginning October 2 to bring attention to threats against election integrity.

As the situation intensified a week before the tour was to begin, CWB’s Naomi Shafer reached out to our tour partner ACNUR (La Oficina del Alto Comisionado de las Naciones Unidas para los Refugiados, or, in English: the United Nations Refugee Agency) and our Tour Leader Ricardo Bamaca to talk about security.

Just 24 hours before international artists were scheduled to fly out, ACNUR canceled all in-person programs for audience safety. International artists’ participation in public gatherings would have increased risks to audiences.

Two days later, Naomi and Ricardo evaluated the possibility of an all-Guatemalan team.

Could Clowns Without Borders (CWB) still navigate a path to laughter for migrant families in Guatemala?

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.

A Third Way to Joy

Ricardo’s dedication and swift communication with community leaders across Guatemala became the linchpin that brought laughter to life. He assessed the security risks and navigated challenges.

Ricardo gathered local talents Ronald Peralto (AKA Huesos), Juanita Domíngues (AKA Juanchita), and the returning artist Juan Pablo Flores (AKA Epi). He also charted a route for the team that included Indigenous communities outside the capital and areas along the Mexico-Guatemala border where migrants wait to cross into Mexico.

If you are interested to learn more about the conditions that lead to migration from Guatemala, check out last year’s tour post.

Clown Show Magic: Rolling From Day 1…

Over the course of 8 days, the CWB team performed 10 shows and led one workshop, touching the lives of 1042 people, mostly women and children.

However, these numbers only tickle the funny bone of the true impact of the shows.

After each clown show, the team spent time with children and adults from the audience. Expressions of gratitude were mixed with stories of displacement from as far away as Venezuela and as close as the Guatemalan highlands. 

What Crowds in Chinautla Shared

The first show of the tour took place outside of Guatemala City in a city called Chinautla. 

Chinautla is a densely populated community, largely of Maya Poqoman origin. Pottery and clay crafts are the major source of income for many. Yet, this livelihood is threatened because companies are extracting clay from the riverbanks on a large scale, also leading to environmental health and infrastructure safety issues.

The first performance of the first day was in a field close to a craft market. The audience was mostly children, but there were also adult women and men.

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Diego, 8 years old, said, “Teach me how to do magic, I would like to be a clown like you and make people laugh.” He soon got his chance: During the show, Diego got on stage and made a handkerchief disappear. The crowd gave him a big applause and his face glowed! CWB Artists introduced him as “The Magician Diego.”

After the show, a man told Epi, “I’m not a child anymore, but today I danced and laughed like when I was 5 years old. Thank you. I needed it a lot.” 

Mam Children Experienced Clown Show Magic

The next day, Team Guatemala visited a rural community with many Mam people, a subgroup of the Mayan Nation from the northwest highlands of Guatemala. 

Josué, 8 years old, said, “I’ve never seen that magic thing you did. I really liked it. I had only seen it on TV.”

María, 7 years old, said, “I really liked the clown Juanchita. It’s very cool to see how she does all the juggling tricks. I want to be like her when I grow up, to be a talented woman that everyone admires.”

At a show inside La Casa del Migrante, participants were mostly young migrant families, including complete families, heading to the United States.

The community leader who organized the presentations told the artists that most children suffer from abandonment by their parents. He said that the show feels like care, appreciation, and the gift of space to laugh, feel joy, and be a child. He said, “It’s an opportunity to heal emotional wounds.”

Conclusion

CWB artists Juanchita, Epi and Huesos connected with children and families during moments of migration, hardship, and political uncertainty.

The response? Overwhelming gratitude for celebrating the magic of play and childhood.

We are so grateful for Ricardo’s flexibility and breadth of grassroots connections. And we’re grateful for CWB artists Epi, Juanchita, and Huesos who stepped up on short notice to create an unforgettable tour!