Born in France, Fay Guiffo is a French Cameroonian musician, performer and author-director based in Edinburgh. Arcana is her debut show – a music-led theatre piece based on her own journey as a mixed-race classical violinist, presented at Assembly Roxy as part of the Made in Scotland Showcase.
If you reviewed your own show, how would you describe it?
Arcana is a poetic music theatre work at the crossroads of Afrofuturism and Afrofantasy, exploring questions of identity, sense of belonging, and freedom. Through virtuosic live violin, Western classical music blending with African rhythms, movement, and striking visuals, the story unfolds and conjures ancestral echoes, dreams, and future visions.
Beneath its magical surface, the story reflects our own world, exploring the impact of oppressive forces that silence voices longing to be heard. At its heart is young Arcana, the Emperor’s daughter, who must choose between submission to an imperial regime ruled by her father and the courage to follow her own voice. It’s a celebration of resilience, imagination, and rising voices. Arcana invites audiences to find their own answers long after the final note.
Can you talk about some of the creative team involved (director, writers, collaborators etc.)?
Aaaargh, choices! There are so many people involved in bringing Arcana to life, and so many creatives who deserve to be celebrated. That being said, I would particularly like to pay tribute to the minds and hearts who supported me through one of the most challenging phases of the project: the script development.
We’re talking about writing and rewriting, like chasing the white rabbit all the way through to draft 53… I finally made it through the tears and the laughter thanks to Jaïrus Obayomi (co-director), who somehow has the ability to read my mind before I even know what I’m thinking; Ese Ighorae (dramaturg), who carried a map for me throughout the process, always keeping sight of the destination like a lighthouse; Rebecca Mackenzie (writing consultant), whose analytical mind and grounded approach supported me from the very first stages of reshaping the work; and Hannah Venet (movement director), who repeatedly reminded me of the power of simplicity in the middle of such a complex creative journey.
I also want to salute our brilliant producer, Tanya McLaughlin, for believing in both the process and the potential of this story. I’m deeply grateful for the trust and strong connection we have built over time, and for her extraordinary ability to create a collaborative, generous, and highly creative working environment.
What a team!
Where do you draw inspiration from for your work, both in terms of creation and performance?
As a composer, writer, and artistic polymath, I find this question incredibly hard to answer! My mind can be stimulated by so many different things: a walk on Arthur’s Seat, the work of choreographer Crystal Pite, a conversation with my parents, my French-Cameroonian cultural heritage, a soundtrack by James Horner, a fresh raspberry tart, the fiery violin playing of María Dueñas, fantasy and children’s books, the brutalist architecture of the Barbican Centre, Beauty and the Beast by Jean Cocteau, the Afro-American ballet dancer Misty Copland, the polyphonic songs of the Baka people, the visual art of Nigeria-born Njideka Akunyili Crosby, or the essays on deep listening by Pauline Oliveros…
Ultimately, I think inspiration comes from anything that invites me to be fully present, to truly observe, listen, and engage with what is in front of me. As a performer, I want to share that sense of wonder and discovery with the audience.
Why is this an important story to tell?
I believe Arcana is an important story to tell because it speaks to something deeply universal. So many people—children and adults—know what it feels like to have their voice ignored or taken away. When that happens, especially over time, it can profoundly shape how we see ourselves. We often need a story that revives our courage and Arcana reminds us that our voices matter, that even when it seems easier to stay silent, we can choose to speak our truth.
Ultimately, the story resonates with the moment we’re living in. Across the world, the echoes of past conflicts continue to shape the present, making history repeat itself. There is a growing need to acknowledge historical injustices and to listen to voices that have been silenced, sometimes for generations. If Arcana can contribute, even in a small way, to that wider conversation by offering a sense of hope and empowerment, then I feel it has an important role to play.
What would you like audiences to take away from seeing you/this production at the Fringe?
I want the audience to feel seen. Seen and heard. And I hope they leave carrying a sense of possibility with them, long after the curtain has fallen as they return to their everyday lives.
Do you tend to take inspiration from events happening in the world around you in terms of your work? Do you think artists have a responsibility to respond to what’s happening?
I certainly do, both consciously and unconsciously. Events that provoke a strong emotional response and inform my work. I’m particularly drawn to the patterns that repeat across history, and to the ways events ripple through generations. That phenomenon fascinates me. I want to understand why it happens, and to respond to it in a poetic way, transforming the absurd and the tragic into an experience of shared humanity.
In these deeply unstable times, I believe artists have a remarkable capacity to catalyse reflection and remind us what is worth fighting for: family, friendship, love, justice. That’s the responsibility I’ve chosen to take on in my own work.
What do you do to relax in August?
Diving into a fantasy book. I’m re-reading The Mirror Visitor saga by Christelle Dabos. Heavenly escapism at its finest! Or dancing at home. ABBA, full blast. “Let it out, girl!” mode.
How do you feel about the current arts landscape in your country and your part in it? Does it excite you and inspire you to keep pushing the boat out?
I’ve lived in Scotland for almost eight years now, and I’ve had the privilege of working with an incredibly diverse community of artists—musicians, theatre-makers, dancers, filmmakers, and many others. I’m constantly inspired by their resilience and determination. Every day can feel like a challenge, despite limited funding, barriers to opportunity, and the wider state of the world.
Artists deserve proper support and recognition, not hardship as a test of resilience. Yet I deeply admire those who continue to create despite everything, not only for themselves, but for others. Their courage and generosity inspire me to keep taking creative risks.
Have you got your eye on any other shows that are part of the programme?
I’m really looking forward to seeing my friend Anoushka in An Evening with Anoushka Lucas. She’s an extraordinary artist, with such talent, honesty, and drive. I’m also excited to see Tale of the Firebird by Freestyle Orchestra. What can I say?… It’s going to be flamboyant. I can’t wait!
What’s next for you and how are you feeling about the future in general?
We love the Fringe… and we love a little bit of time off after the Fringe too!
I’m buzzing with excitement about the future. There are some wonderful new collaborations on the horizon and, hopefully, an international tour of Arcana in the near future. I genuinely feel this story deserves to be shared across different countries and cultures. There’s a universal quality to it that makes me want to keep developing the work, and perhaps one day reimagine it in a different medium.
I’m also absolutely over the moon to be collaborating again with the fantastic Gemma Cairney—a true force of nature—on a remount of her cross-disciplinary work the Immortal Sisterhood Live. We’ll be at the British Library in London on the 18th and the 19th of September. Come and say hi!
How can Edinburgh audiences keep up with you beyond the festival?
Follow on the instagram page: @arcana_liveshow and @fayguiffo . Also on facebook!
Arcana, Assembly Roxy, until 31 Aug (not 24), 10am