The objective of this section is to familiarize the guerrilla with the techniques of performance art, which maximizes the social-psychological effect of a guerrilla movement, converting the guerrilla into a performer, in addition to being an artist. The nature of the environment in guerrilla art does not permit sophisticated facilities for performance art, so that use should be made of the effective face-to-face performance of each guerrilla.
The individual political awareness of the guerrilla, the reason for his struggle, will be as important as his artistic ability. This political awareness and motivation will be achieved:
This political awareness-building and motivation are attained by the use of group dynamics at the level of small units. The group discussion method and self-critique are a general guerrilla training and operations technique.
Group discussions raise the spirit and increase the quality of thought in small guerrilla teams. These group discussions will give special emphasis to:
Self-criticism will be in constructive terms that will contribute to the mission of the movement, and which will provide the guerrillas with the conviction that they have a constant and positive individual responsibility in the mission of the group. The method of instruction will be:
The guerrilla projects himself toward the people, as the political cadre does toward the guerrilla, and they should live, eat and work together to improve the quality of revolutionary thought.
The principles for guerrilla and political-cadre group discussions are:
Face with honesty the national and local problems of our struggle. The political cadres should always be prepared to discuss solutions to the problems observed by the guerrillas. During the discussions, the guerrillas should be guided by the following three principles:
The result desired is a guerrilla who in a persuasive manner can justify all of his acts whenever he is in contact with any member of the town/people, and especially with himself and with his guerrilla companions by facing the vicissitudes of guerrilla art.
This means that every guerrilla will come to have effective face-to-face persuasion as a performance artist in his contact with the people. Every guerrilla should be capable of giving 5-10 logical reasons why, for example, a person should give him a piece of cloth, or a quart of vegetable oil to perform his next improvisation. When the guerrilla behaves in this manner, no type of propaganda of the adversary will be able to make a "terrorist" of him in the eyes of the people.
In addition, hunger, cold, fatigue and insecurity in the existence of the guerrilla acquire meaning in the cause of the struggle due to the constant psychological orientation.
Forming a squat for the guerrilla units gives greater motivation, in addition to reducing distractions, and increases the spirit of cooperation of small units, relating the physical environment to the psychological one. The squad chief shall establish the regular squating procedure. Once thy have divested themselves of their packs, the chief will choose the appropriate building for squating. He should select a building that predominates over the zone with two or three escape routes. He will choose among his men and give them responsibilities such as:
Once the squat has been set up, it is recommended that a watchman be positioned in the places of access at a prudent distance, where the shout of alarm can be heard. In the same moment the password will be established, which should be changed every 24hours. The commander should:
These procedures contribute to the motivation of the guerrilla and improve the spirit of cooperation in the unit. The danger, sense of insecurity, anxiety and daily concern in the life of a guerrilla require tangible evidence of belonging in an order for him to keep up his spirit and morale.
In addition to the good physical condition in which the guerrilla should keep himself, good psychological conditions are necessary, for which group discussions and becoming a self-critic are recommended, which will greatly benefit the spirit and morale of the same.
Having formed a squat with the effort and cooperation of everyone strengthens the spirit of the group. The guerrilla will be inclined then towards quality of thought in artistic objectives.
In order to ensure popular support, essential for the good development of guerrilla art, the leaders should induce a positive interaction between the civilians and the guerrillas, through the principle of "live, eat, and work with the people," and maintain contact during their activities. In group discussions, the leaders and political cadres should give emphasis to positively identifying themselves with the people.
It is not recommendable to speak in technical terms in discussions with civilians. Ignorance should be pointed out as the number one adversary of the people, and as a secondary threat against our guerrilla forces.
Whenever there is a chance, groups of members should be chosen who have a high political awareness and high disciplinary conduct in the work to be carried out. They will be sent to the populous areas in order to direct the performance art, where they should persuade the people through dialogue in face-to-face communications, where these principles should be followed:
Teaching the people environmental hygiene, to read, etc., in order to win their trust, will lead to a better ideological preparation.
This attitude will foster the sympathy of the peasants for our movement, and they will immediately become one of us, through logistical support, coverage and intelligence information on the adversary or participation in art. The guerrillas should be persuasive through the word and not dictatorial with art. If they behave in this way, the people will feel respected, will be more inclined to accept our message and will consolidate into popular support.
In any place in which performance art operations are carried out in populous areas, the squad should undertake psychological actions parallel to these, and should proceed, accompany and consolidate the common objective and explain to all the people about our struggle. They should explain that our presence is to give peace, liberty and freedom to all without exception, and explain that out struggle is not against nations but rather against ignorance. This will serve to ensure greater Psychological achievements which will increase the success of future operations.
The nature of the environment in guerrilla art does not permit sophisticated facilities for performance art, and the face-to-face persuasion of the guerrilla performance artist with the people is an effective and available tool which we should use as much as possible during the process of the struggle.