Events

WILMA is a riveting solo performance that traces how racism, classism, and linguistic erasure are taught, felt, and repeated. Situated in the Yucatán Peninsula, Mexico, a girl raised in a classist household is forbidden to learn the Mayan language—an education shaped by ethno-phobic discourse that makes exclusion seem normal.

When a devastating hurricane hits and emergency alerts are broadcast in Mayan, she is forced into a crisis of survival. Confronted with the language she was denied, she must now navigate the crisis without it. WILMA examines how privilege and exclusion are not only imposed, but learned, normalised, and embodied over a lifetime.

A powerful and necessary piece of contemporary theatre that unsettles, moves and confronts the audience head-on.

— El Financiero (translated from Spanish)

An immersive, hypnotic solo performance with the force of a hurricane.

— Entretenia (translated from Spanish)

A bold and visceral work that transforms personal memory into political resistance..

— Proceso (translated from Spanish)

Winner of the Best Solo Show from the Association of Critics and Journalists in Mexico (ACTP) and Outstanding International Touring Production from the Dora Mavor Moore Award (Canada)

There will be a dialogue with the artists after the 8pm performance on 15 January 2027, with speech to text interpretation available upon request. Please email your request to info@singaporefringe.com by 9 December 2026.

Artist Statement

Growing up in Yucatán, Mexico, I was surrounded by the living legacy of Maya culture, although colonial histories have distanced many of us from its embodied knowledge. My artistic research in Indonesia transformed my practice as I recognised profound resonances between Indonesian ritual performance traditions and the Mayan worldview. This encounter led me to question the colonial narratives that have separated many Latin Americans from their ancestral ways of understanding the body, ritual, and community, becoming the foundation of my ongoing investigation into the decolonisation of the Latin American body.

Through autobiographical performance, I explore how personal memory intersects with colonial histories, classism, ethnophobia, and the enduring cult of whiteness that continues to shape many Latin American societies. I believe theatre can be a space where personal histories begin to heal and where the intimate becomes universal. Like a hurricane crossing the Pacific, I hope WILMA carries memory from one shore to another, leaving each shore transformed through dialogue, recognition and healing.