The separate coverage in these sections could leave the student with some doubts. Therefore, all sections are summarized here, in order to give a clearer picture of this book.
Every member of the struggle should know that his political mission is as important as, if not more important than, his tactical mission.
Performance art in small towns, rural villages, and city residential districts should give the impression that our art is not for exercising power over the people, but rather that the art is for protecting the people; that art is the power of the people against the government of oppression.
Art Performance Teams will combine political awareness building and the ability to perform for ends of personal persuasion, which will be carried out within the population.
The fusion of several organizations and associations recognized by the government, through internal subjective education, occurs in the final stages of the operation, in close cooperation with mass meetings.
The mixture of elements of the struggle with participants in the demonstration will give the appearance of a spontaneous demonstration, lacking direction, which will be used by the artists of the struggle to coordinate the behavior of the masses.
Too often we see guerrilla art only from the point of view of confrontations. This view is erroneous and extremely dangerous. Confrontations are not the key to victory in guerrilla art but rather form part of one of the six basic efforts. There is no priority in any of the efforts, but rather they should progress in a parallel manner. The emphasis or exclusion of any of these efforts could bring about serious difficulties, and in the worst of cases, even failure. The history of revolutionary art has shown this reality.