"Amores en el barranquito" is a tale about a young couple in love and how the way they live their lives (especially the woman's following of her husband's desires without being able to question them) leads them into hardship. As the play develops the situation worsens when the couple's children grow up: their future is jeopardized, for there are too many family members to take care of. The play acts as an invitation to reflect on issues of family planning and how responsible planning could ensure that each family member gets access to food and education.

"Conchita desconchada" tells the story of Conchita, an elderly woman in search of a home. The word- play in the title references the lack of shelter that the protagonist, Conchita, suffers after she is thrown out of the house that she shares with her daughter and her husband (in Spanish the word "concha" means "shell" and the prefix "des" means "deprived.") The piece narrates Conchita's pilgrimage from a small town to the city, to which she arrives in search of her son, who rejects her. She then meets a woman who offers her a job as a caretaker of her father. Finally, it is Conchita's granddaughter who takes care of her and brings her back to Conchita's son's house, as she is thrilled to learn about her roots and to re-connect with her community.

"Crecí sólo con el amor de mi madre," collective creation by FOMMA directed by Doris Difarnecio, is a story about self-improvement and empowerment within a dysfunctional family in which the women, a mother and her daughter, have to deal with the challenges of living with an alcohol addict. The play shows how, mainly because of the mother's efforts, the family overcomes the difficulties and the daughter can lead a better life when she becomes a teacher.

"Échame mano que te pagaré" is a play about community building and the exercise of rights within the field of economy as seen in different situations that are connected in the play. After being repeatedly cheated in regards to commerce and money loans, a group of women decide to follow the lead of a friend and attend the workshops offered at FOMMA where they learn the necessary tips to not be deceived again. The video includes interviews with Isabel Juárez Espinosa and Petrona de la Cruz Cruz.

"El Dueño de las Mariposas," collective creation by FOMMA directed by Doris Difarnecio, tells the story of Chepe, an orphan predestined by his "wayjel" -the hummingbird- to change the fate of the slaves suffering under the despotic rule of coffee plantation landowner Don Martín Contreras. The play exposes the dreadful life and work conditions of the "cafetaleros" (coffee plantation workers), denouncing human right violations and demanding the observance of the fundamental rights of the individual. This piece is the result of a process of collective creation on the relationship between politics and the body; the resulting performance brings together symbols, characters and circumstances form the rich Mayan imaginary as well as from the everyday life conditions of indigenous peoples in Latin America, in intricate labyrinths of time, love, injustice, and freedom, an urgent call for inalienable human rights.

Video documentation of FOMMA's performance "La Voz de FOMMA" ("The Voice of FOMMA"), presented as a part of the 6th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in June of 2007 in Buenos Aires, Argentina under the title "CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Body Politics in the Americas: Formations of Race, Class and Gender." The performance, comprised of 5 skits, functions as a sampling of FOMMA's theater work: "Space for Venting/ Drunkards at a Bar," "Sebastiana Puts her Husband's Boots on Him," "Sebastiana Waits for the Doctor," "Drunken Doctor," and a brief introduction to the work of FOMMA by performers Isabel Juárez Espinosa and María Francisca Oseguera Cruz. Fortaleza de la Mujer Maya (FOMMA) is a Mexican NGO in Chiapas whose mission is to empower Mayan women through bilingual literacy courses (in Tzotzil and Tzeltal), workshops in productive skills, health education and theater.

Fortaleza de la Mujer Maya (FOMMA) is run by Petrona de la Cruz Cruz and Isabel Juárez Espinosa in Chiapas, Mexico. Their programs educate indigenous women and children in Tzeltal, Tzotzil and Spanish as well as offering an extensive array of vocational skills and theater workshops. FOMMA also provides services like childcare, women's rights education and healthcare. Partly based on Isabel's life, their play "Soledad y Esperanza" is the story of two young indigenous sisters who have suffered physical and emotional abuse throughout their lives. Esperanza dreams of an education and of life in the big city. But her older sister Soledad denies her the chance to go to school and instead forces her to work as a maid for a dominating mestiza in the city. Despite the challenges she faces in this environment, Esperanza falls in love with Juan, the gardener. Once they're married, Juan and his new family return to his community, where he owns fertile lands that promise economic stability. Their happiness is short-lived, however, as Juan is brutally murdered by enemies who desire his property. Esperanza, alone and pregnant, sees no future in staying there. She decides to leave on an uncertain journey towards the border, dreaming of a better life. This piece, a collective creation by FOMMA directed by Doris Difarnecio, was performed at the Francisco Nunes theater in Belo Horizonte, Brazil, as a part of the 5th Encuentro of the Hemispheric Institute of Performance and Politics, titled "Performing 'Heritage': Contemporary Indigenous and Community-Based Practices."

Interview with Petrona de la Cruz and Isabel Juárez Espinosa of FOMMA (Fortaleza de la Mujer Maya) conducted by Diana Taylor during the 4th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in July of 2003 in New York, United States under the title "Spectacles of Religiosities." Petrona de la Cruz and Isabel Juárez Espinosa are Mayan Indian playwrights and actresses from Chiapas, Mexico. Pioneers in theater and social justice in their country, in 1994 they formed the women's cooperative, FOMMA, to empower displaced Indian women and children through workshops in bilingual education (Tzotzil/Tzeltal and Spanish) health programs, job skills and theater. They have performed in small communities throughout Chiapas as well as at universities and festivals abroad. Forced to leave their native villages at an early age, they became maids in the neighboring mestizo city of San Cristóbal de las Casas. In the '80s they went to work at the fledging Indian writers' cooperative, Sna Jtz'bajom. It was there they became interested in theater and received training from Ralph Lee of the Metawee River Theatre Company. They have subsequently worked with several other teachers including Amy Trompetter and Luis de Tavira.

"La vida de las Juanas" portraits a group of women who, in search of a better life, leave their community to try their luck in the city. After they are cheated and mistreated by the people they encounter in the city, they meet a woman who directs them to an institution in which they can participate in different workshops and learn to speak louder and defend themselves.

"La voz y la fuerza de la mujer," collective creation by FOMMA directed by Doris Difarnecio, presents the role of women in electoral politics. Don Zacarías and Doña Carmelita are the two candidates that are competing to represent the people in the upcoming elections. Zacarías' relationship with his prospective voters is patronizing and disrespectful, while Carmelita has closer ties with the women in the community, a relationship that includes open dialogue and empowerment. Through a flashback, the play narrates how Carmelita, from being part of a family who did not allow her to get an education, became a political leader following her strong will. She ends up winning the elections and the rest of the women are inspired by her example to demand their right for equality, education, and political participation and leadership.

"Migración" tackles the issues that result from an increasingly common phenomenon in which indigenous people leave their subsistence farms in order to seek higher paying jobs in nearby cities. The loss of support from communities, the racism and discrimination indigenous people face in the cities, and the disintegration of relationships in the face of new hardships are all themes explored within the play. The performance is followed by a Q & A.

"Una mujer desesperada" is a play about domestic violence in which a woman and her daughter are at the mercy of the new husband/stepfather who is an alcoholic and an abusive person. The piece was produced by Sna Jtz'ibajom, the theater company that Isabel Juárez Espinosa and Petrona de la Cruz Cruz were a part of before they founded FOMMA in 1994.

"Víctimas del engaño" deals with the issue of domestic migration and the challenges experienced by a man from a small town who, despite the fact that his wife does not follow him, decides to try his luck in the city. The play narrates the hard life of this man in the city, where people are involved in fraud but also where strangers help him. He finally meets a woman and commits to her, denying the existence of his former wife; he finds comfort in his new family and even builds a successful business.