In this chapter, I query how Caribbean performances and the ways they theorize through practice and embodiment add to our understanding of utopia and its relationship to the shipwreck. In the vein of Aimé Césaire’s Une tempête (1969), Teatro Buendía’s Otra tempestad reconsiders colonialism through a transcultural amalgamation of Afro-Cuban myths, orishas, rituals and Shakespeare’s The Tempest—itself a hybrid of naufragio, romantic comedy, myth, allegory, and pastoral. The deliberate arrangement of texts, bodies, music, space, tone, and affects in Otra tempestad marks and disorients the power relationships between various cultural sources of colonizer and colonized. The performance restages colonialism as a shipwreck, as an orchestrated disaster that violently thrusts together and entangles the worlds of the natives and would-be colonizers. Otra tempestad wields the shipwreck to process coloniality through active reception and meaning making with its audiences.