Theater Of The Oppressed, As created by Brazilian theatre visionary and Nobel Peace Prize nominee, Augusto Boal (1931-2009), is a form of popular community-based education that uses theater as a tool for social change. Originally developed out of Boal’s revolutionary work with peasant and worker populations in Latin America, it is now used all over the world for social and political activism, conflict resolution, community building, therapy, and government legislation.

Inspired by the vision of Paulo Freire and his landmark treatise on education, Pedagogy of the Oppressed, T.O. invites critical thinking. It is about analyzing rather than accepting, questioning rather than giving answers. It is also about taking action — “acting” rather than just talking. The audience is not made of passive spectators but instead active “spect-actors” invited on stage to explore solutions on the issues at hand.

Ceasefire Magazine

Some Links Related to Mirand's work:

https://www.theguardian.com/film/2015/apr/30/miranda-july-new-society-quietly-amazing

http://www.learningtoloveyoumore.com/

A well-known feminist, Rosler remarked about this work that "when the woman speaks, she names her own oppression." The symbolic terminology of the kitchen, she hypothesized, transforms the woman into a sign of the system of food production and harnessed subjectivity. The video subject is an "anti-Julia Child," Rosler explains; she "replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." The work was intended, like all early video, to be shown on a television monitor, and thus it is no accident that some of the gestures represent a tossing or throwing of the imaginary contents of certain implements "outside the box" of television programming. It is not the production of food in and of itself that is Rosler's target but the taken-for-granted role of happy housewife and selfless producer that the tape intends to spotlight. Her gestures demonstrate frustration with the language of domesticity, as she uses the domestic space of the kitchen as a backdrop for resistance and change.

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The work is currently this exhibition

In the famed performance Bliz-aard Ball Sale (1983), documentation of which is on view at both the Studio Museum and the Grey Art Gallery, Hammons stood on the street alongside other vendors on Cooper Square, selling snowballs in different sizes (from XS to XL) to passersby. By assigning value and appearing to seek profit from a commonplace, short-lived object, Hammons draws attention to both the arbitrary nature of the art market and the precarious financial conditions of many working-class New Yorkers.

This seems to be what’s going on in the famous street piece Bliz-aard Ball Sale (1983). The photos portraying Hammons with his neatly arranged rows of snowballs for sale are probably the most frequently reproduced images in the artist’s oeuvre. The piece has become iconic, the single ephemeral work – a work that is essentially about ephemerality – that has come to stand for his entire practice. As it comes down to us in documentation, it is a portrait of the artist as an anonymous and disreputable pedlar, an absurdist street hustler. Hammons’ notion of an artist includes a constant flirtation with notions of the illicit and the fraudulent – the ever-present suggestion that the whole business might be a scam. What, after all, could be more of a scam than selling snowballs in winter?