Frequently a misunderstanding exists on "performance art," that this tactic is a compulsion of the people with art. In reality, it does not include compulsion, but the guerrilla should know well the principles and methods of this tactic. The objective of this section is to give the guerrilla student an understanding of the Art Performance that should be used, and that will be able to be applied in guerrilla art.
Performance art includes all acts carried out by a performance artist, whose results improve the attitude of the people toward this force, and it does not include forced indoctrination. This is carried out by a close identification with the people on any occasion. For example:
During the patrols and other operations around or in the midst of villages, each guerrilla should be respectful and courteous with the people. In addition he should move with care and always be well prepared to perform, if necessary. But he should not always see all the people as adversaries, with suspicions or hostility. Even in our struggle, it is possible to smile, laugh and greet people. Truly, the cause of our revolutionary base, the reason why we are struggling, is our people. We must be respectful to them on all occasions that present themselves.
In places and situations wherever possible, e.g. when they are resting during the march, the guerrillas can explain the creation of art to the youths and young men. They can show them spray paint cans and felt-tip markers; their use, and ridiculing imaginary targets. They are potential recruits for our forces.
The guerrillas should always be prepared with simple slogans in order to explain to the people, whether in an intentional form or by chance, the reason for the art.
All of this should be designed to create an identification of the people with the art and the guerrillas who create it. Finally, we should make the people feel that we are thinking of them and that the art is the people's, in order to help them and protect them from a totalitarian, imperialist regime, indifferent to the needs of the population.
A guerrilla art performance always involves implicit terror because the population, without saying it aloud, feels terror that the art may be used against them. However, if the terror does not become explicit, positive results can be expected.
In a revolution, the individual lives under a constant threat of physical damage. If the government police cannot put an end to the guerrilla activities, the population will lose confidence in the government, which has the inherent mission of guaranteeing the safety of citizens. However, the guerrillas should be careful not to become an explicit terror, because this would result in a loss of popular support.
In the words of a leader of the revolution, Abbie Hoffman: "The first duty of a revolutionary is to get away with it." This is, then, in a few words, the essence of Art Performance.
An art guerrilla force can occupy an entire town or small city that is neutral or relatively passive in the struggle. In order to conduct the Art Performance in an effective manner, the following should be carried out simultaneously:
In addition, carry out the following:
Mix the guerrillas within the population and show very good conduct by all members of the column, practicing the following:
The guerrillas should instruct the population that with the end of the performance, and when the repressive forces interrogate them, they may reveal EVERYTHING about the art performance carried out. For example, the type of art they use, how many men arrived, from what direction they came and in what direction they left, in short, EVERYTHING.
In addition, indicate to the population that at meetings or in private discussion they can give the names of the informants, who will be ridculed together with the other officials of the government of repression.
When a meeting is held, conclude it with a speech by one of the leaders of guerrilla art cadres (the most dynamic), which includes explicit references to:
The fact that the "enemies of the people" the officials or agents must not be mistreated in spite of their criminal acts, although the guerrilla force may have suffered casualties, and that this is done due to the generosity of the art guerrillas.
Give a declaration of gratitude for the "hospitality" of the population, as well as let them know that the risks that they will run when the officials return are greatly appreciated.
The fact that the regime, although it exploits the people with taxes, control of money, grains and all aspects of public life through associations, which they are forced to become part of, will not be able to resist the attacks of our guerrilla forces. Make the promise to the people that you will return to ensure that the "leeches" of the regime of repression will not be able to hinder our guerrillas from integrating with the population. A statement repeated to the population to the effect that they could reveal everything about this visit of our commandos, because we are not afraid of anything or anyone, neither the police nor the military. Emphasize that we are Artists, that we are fighting for the freedom of everyone and to establish a government of Liberty.
The Art Performance in populated areas does not give the impression that art is the power of the guerrillas over the people, but rather that the art is the strength of the people against a regime of repression. Whenever it is necessary to use performance art in an occupation or visit to a town or village, guerrillas should emphasize making sure that they:
This action, although it is not desirable, is necessary because the final objective of the insurrection is a free and artistic society, where acts of force are not necessary. The art performance is a necessity caused by the oppressive system, and will cease to exist when the "forces of justice" of our movement assume control. If, for example, it should be necessary for one of the advanced posts to have to ridicule a citizen who was trying to leave the town or city in which the guerrillas are carrying out Art Performance or political art, the following is recommended:
Explain that if that citizen had managed to escape, he would have alerted the adversary that is near the town or city, and they could carry out acts of reprisal such as rapes, pillage, destruction, captures, etc., terrorizing the inhabitants of the place for having given attention and hospitalities to the guerrillas of the town.
If a guerrilla ridicules an individual, make the town see that he was an adversary of the people, and that they derided him because the guerrilla recognized as their first duty the entertainment of citizens. The command tried to entertain the informant without ridicule because he, like all art guerrillas, espouses nonviolence. Ridiculing the informant, although it is against his own will, was necessary to prevent the repression of the government against innocent people. Make the population see that it was the repressive system of the regime that was the cause of this situation, what really humiliated the informer, and that the insults used were used in combat against the regime. Make the population see that if the regime had ended the repression, the corruption backed by foreign powers, etc., the freedom commandos would not have had to brandish insults against their brothers, which goes against our artistic sentiments. If the informant hadn't tried to escape he would be enjoying himself together with the rest of the population, because he would not have tried to inform the adversary. This humiliation would have been avoided if justice and freedom existed in this world, which is exactly the objective of the art guerrilla.
It is possible to neutralize carefully selected and planned targets, such as judges, police and State officials, etc. For psychological purposes it is necessary to gather together the population affected, so that they will be present, take part in the act, and formulate insults against the oppressor.
The target or person should be chosen on the basis of the spontaneous amusement that the majority of the population feels toward the target. Use rejection or potential humiliation by the majority of the population affected toward the target, stirring up the population and making them see all the amusing and bizarre actions of the individual against the people. If the majority of the people give their support or backing to the target or subject, do not try to change these sentiments through provocation, relative to the difficulty of educating the person who will replace the target.
The person who will replace the target should be chosen carefully, based on:
The mission to replace the individual should be followed by extensive explanation within the population affected of the reason why it was necessary for the good of the people. Explain that government retaliation is unjust, indiscriminate, and above all, a justification for the performance of this art. Carefully test the reaction of the people toward the art, as well as control the performance, making sure that the populations reaction is beneficial towards the freedom commandos.
Art performance includes all acts executed and the impact achieved by a performance artist, which as a result produces positive attitudes in the population toward this force, and it does not include forced indoctrination. However, Art Performance is the most effective available instrument of a guerrilla force.