Social Circus in Guatemala

By Jennifer Dempsey

Jennifer Dempsey writes about two different projects in Guatemala – Proyecto Payaso a clowning project tackling issues of HIV and AIDS and Gabriela Cordon at La Cambalach an arts school offering Circus to Mayan youth around lake Atitlan. La Cambalach offers opportunities for volunteering in Social Circus.

Proyecto Payaso

For almost ten years, a clown troupe based in Gautemala has been performing shows about HIV and AIDS to indigenous communities throughout Central America. Proyecto Payaso, or The Clown Project, is a non-profit organization comprised of performers – both indigenous and non-indigenous – who see clowning as a powerful way to address the issue.

“The clown is poetic, naive, innocent and can speak about anything without shame,” explained Project co-founder Stephane Gue, a clown of 15 years. “Through clowning you can open a door, you can start a debate about sexuality in all its complexity. You can talk about condoms, what is safe sex, what is important in your relationship.”

In full red nose persona, Proyecto’s head clown Anthony Savdié addressed a crowd at the XVI International AIDS Conference in Toronto. “Clowning gives you a kind of diplomatic immunity to talk about things that are quite embarrasing to talk about in public,” he said. “Even if your religion doesn’t allow you to use condoms, it’s not a question of religion, it’s a question of public health. Your body belongs to you, not to the state and not to the church.” UNAIDS estimates that 61,000 people are living with HIV in Guatemala and 2,700 deaths have occurred due to AIDS.

Proyecto Payaso collaborates with health educators to target areas in Central and Latin America in which HIV/AIDS information is lacking. USAID research found that rural and indigenous communities in Guatemala were some of the most vulnerable areas to the pandemic due to language barriers, geographical isolation and lack of educational opportunities. It also was reported that few governmental resources were dedicated to the prevention of the spread of HIV/AIDS in these areas.

Proyecto Payaso travels to these areas and uses indigenous language in their performances and in their follow-up workshops.

“We start with a show, then do a workshop, then distribute education materials and condoms, ” Gue said. “The purpose of the workshop is to break down boundaries. We realized that in Guatemala there is no access for this kind of information for indigenous communities. We want to democratize access for information.”

The Project also offers clowning workshops for indigenous youth to hone their performance skills and develop shows that address social issues.

“We feel we are making an impact with the young indigenous population we are working with,” Gue said. “The process they go through is a social transformation…to be in front of their own community, parents and friends. They have to deal with religion and with the culture. They have to fight their social condition. There was a time that the indigenous population didn’t want to recognize the problem of HIV.”

Proyecto Payaso conducts a tour almost every week to rural health clinics, schools and community centers.

Gue said, “A lot of people ask us, ‘Why don’t you work on a different issue?’ I always say HIV is about everything. It’s about poverty, it’s about migration, it’s about discrimination. By addressing AIDS you can address all issues. That’s why for me, AIDS is a human rights issue.”

Proyecto Payaso also partners with Action-Clowns in France, Association of Clowns in Spain, Healthlink Worldwide and the Irish charity Trocaire. For more information go to www.proyectopayaso.org

La Cambalach

Gabriela Cordon has had many successes in her career, but she considers La Cambalacha her “obra maestra,” or masterpiece.

“If someone had shown me in a crystal ball where we’d be today I wouldn’t have believed it,” said the 33-year old Guatemalan-American dancer and founder of La Cambalacha, an arts and education school based in San Marcos La Laguna in western Guatemala. “La Cambalacha has taught me to not make plans because any plans I make will be surpassed by La Cambalacha’s own momentum.” A Spanish word meaning “to exchange,” La Cambalacha offers training in circus, dance, theater, music and art to Mayan youth from villages around Lake Atitlan. Tucked away off a small trail at the foot of a mountain, La Cambalacha is a magical second home for more than 2,500 indigenous youth each month.

To enter La Cambalacha is to enter another world completely. Colorfully painted boulders of stilt walkers, clowns and acrobats align the trail. A heavy wooden door marked with “Arte para Todos” (Art for Everyone) lets you know you have arrived. Giggling Mayan children practice pyramids on straw mats in an open dirt arena. A Mayan boy and Australian girl rehearse a trapeze routine hanging from a jocota tree. In a mirrored dance studio, under an image of Che Guevara, Mayan teenagers learn hip hop moves from a North American volunteer. Supervised by a visiting French clown, Mayan young adults wear red noses and practice comedy routines in preparation for an AIDS awareness tour in health clinics around the country. In the ‘comedor,’ or dining area, a group of Mayan ‘tweens’ gather around an Irish volunteer to receive a Spanish/English lesson. All the while, a team of Mayan men and British volunteers work hastily in the open compound to erect a new shelter space in anticipation of the country’s rainy season.

The La Cambalacha staff is all volunteer – from its founder Cordon, to the Argentinian co-director, the English technical manager, the North American training supervisor and the rotating team of visiting teachers. Students range in age from 6 – 26 and primarily speak Kaqchikel and Tzutujil, the indigenous languages of area. Participants in La Cambalacha are selected by their dedication to the program and those showing particular promise are offered scholarships to attend workshops three to five times a week. Older students help conduct workshops in local schools and community centers, perform in tours around Guatemala and may participate in international exchanges. These students are granted a stipend of $175 per month to compensate what their families would receive from them working. For Cordon, working in the arts with a different culture is what makes La Cambalacha so rewarding and so challenging.

“The first year I started I didn’t know what I was getting myself into, working with the indigenous population, and that was probably a good thing,” she said, laughing. “I didn’t know all the obstacles. It’s a really big job trying to understand children who have had such a different background, to realize all the needs they have that are unfulfilled. These kids had never seen a circus or a ballet. They didn’t know what theater was, so they didn’t know what we were talking about. At La Cambalacha, it’s about how art can be used for social transformation, as a tool for change. I know I need to be involved in something I feel is really going to make a difference for people who need a difference made.”

Cordon was born in Guatemala and raised in Illinois until she was 13 years old. It was there she learned hip hop, contemporary and street dance. After moving back to Guatemala City, Cordon established a dance school called Dimension 8 and was declared by the press as “one of Guatemala’s best dancers.” Despite her success, Cordon became “sick of the pretensions, the cocktails, the receptions. My dance company was very profitable, we always had an audience, but I was sick of city life.”

Cordon had visited the remote mountain village of San Marcos La Laguna many times and in 2002 decided to move there. “I stepped off the boat and said this is it. I saw a little sign that said I could buy a piece of land for 10,000 quetzales and that’s exactly what I had in bank. I just did it. I think it was some divine force that made me choose this place,” she said, shrugging. That year, with a small government grant, Cordon set up La Cambalacha, intending it to be a space for professional artists to collaborate and teach kids for a few hours a week.

“But in that first year we realized what was needed was social integration through creative expression,” she said. “The first school in San Marcos was started only 40 years ago and so few people went to school back then. These kids are the first generation getting an education past elementary school. It’s a gigantic job to get pass the shyness, the shame, the silence, the low self-esteem.” With a population of approximately 3,000, San Marcos La Laguna is one of the more traditional, conservative, Catholic villages around Lake Atitlan and reactions to La Cambalacha have evolved over the years.

“There have been beautiful awakenings in both the kids and parents,” Cordon said. “At first the parents were kind of nervous about it, but now they’ll come and tell me how expressive their kids are and how they wish they had the same opportunities when they were young. Some religious fanatics do their best to encourage kids not to participate. We identify kids whose will to participate in the arts is stronger than what anyone can tell them. There have been magical moments when we get to see one of our kids really opening up to another dimension…when we see them understanding that the world isn’t so small and so closed.”

Manaces Ixcaya, 23, has been training at La Cambalacha for four years.

“In La Cambalacha I have learned to express myself and to help others overcome the fear and shame that keep these communities repressed,” he said.

“Art is like medicine,” said Juana Puzul, a 20 year old acrobat and clown who was preparing for AIDS awareness tour. “It heals and gives strength.”

Gaspar Ixcaya, a 20 year old dancer, trapeze artist, acrobat and clown, said, “I want art to take the place of violence. I want to help change Guatemala .”

Students at La Cambalacha also get exposed to other cultures through volunteers that spend anywhere from two weeks to two years at the school.

“We’ve had volunteers from Australia, England, Korea, North American, Ireland, Chile, Argentina, Canada, Spain and Germany, 26 countries in total,” she said. “People find out about us through volunteer organizations, the website and word of mouth. It blows my mind how many people contact us and come here.” Volunteers also provide much of the funding that keeps La Cambalacha going by raising money for the time they spend there. On average, volunteers pay $150 a week for room, board and all meals. Approximately 40% goes toward their costs with the other 60% going towards scholarships.

“We used to go through the whole grant thing but we got sick of the bureacracy,” she said. “I want to show other projects that you don’t need to get so wrapped up in the system to do what you need to be doing. All of our funding comes from people who know us, trust us, love us and believe in what we’re doing.”

One such believer is Tom Russell, a retired Illinois judge and part-time resident of Guatemala . Russell discovered La Cambalacha on one of his extended stays while staying in the neighboring village of Tzununa . He was so impressed by La Cambalacha that he arranged a trip for volunteers from the Salida Circus in Colorado to go last March.

“La Cambalacha is a magical place,” Russell said, “empowering Mayan kids of all ages through the arts. Over time, it is helping to bring economic, social and political justice to a people who have suffered 500 years of oppression and extreme poverty. These kids are discovering their creative voices through the arts, while growing in character, self-awareness and self-confidence. Undoubtedly, many will become community leaders and bring to their beautiful culture not only the respect it deserves, but also a strong voice in the political, artistic and social life of Guatemala.” Salida Circus parent Debra Juchem took her two sons Nathaniel, 6 and Seth, 11 to La Cambalacha for two weeks. “Visiting La Cambalacha was an incredibly moving and creatively inspiring experience,” she said. “Gabriela has simultanesouly created a positive societal and employment solution for young Mayans and a stimulating creative outlet for many international volunteers. For the young Mayan children of Lake Atitlan, La Cambalacha offers the potential of replacing a life of hard labour hauling firewood and coffee beans with a creative livelihood in the arts.”Cordon did admit that money is always concern at La Cambalacha, but said, “Our motto is we do the best we can with what we have,” and, she added with a grin, “We do a pretty damn good job.”

www.lacambalacha.org

Jennifer Dempsey is director of the Salida Circus and volunteered at La Cambalacha in March 2009.