At 4A Arts, we often talk about our mission being rooted in many things, including the right to pleasure. We believe human beings should be able to enjoy life, not just slog through it. Why shouldn’t the “point” of life be to enjoy our fleeting time walking on terra firma? Even the most tyrannical among us seeks leisure and enjoyment. And of course we believe creativity in many forms leads to that enjoyment…making art, experiencing art, living art. 

But of course creativity is not just an “end” but also the “means.” A term I’ve recently learned is “tactical frivolity:” the use of humor, playfulness, and absurdity in protest to challenge political power structures. Digging further, I’ve also seen the term “laughtivism” referring to similarly clever protests. 

Current events in the United States have inspired the Portland chicken protester, inflatable costumes decorating “No Kings” rallies, and the balloon pigs in front of Chicago’s Trump Tower. But even before the Trump Administration (both the first and the current), creative protests have taken place throughout history thanks to clever folks figuring out ways to undermine and embarrass those in power. Some have been extremely successful in bringing change to the people. Three examples spring to mind (but there are so very many more.)

A little over a decade ago, some small communities in North Macedonia were fed up with the innumerable potholes that were disrupting their lives. The potholes, of course, represented the extreme corruption in the country at that time. 

But instead of going through the normal channels complaining to politicians and attending meetings, local activists teamed up with the Contemporary Art Center in Skopje, to take a different approach. Neighbors-turned-activists staged creative displays around potholes. 

In one instance, folks threw a “birthday party” for a pothole, complete with cake, balloons and streamers. Later, next to a particularly large pothole, a few fishermen set up seats and “fished” in the pothole. 

The media loved it. And within a week, the potholes were filled.

During a dinner speech in 2000, President George W. Bush quipped, “This is an impressive crowd, the haves and the have-mores. Some people call you elite. I call you my base.”

When it came time for Bush to campaign for re-election, this inspired and fueled Billionaires for Bush, an organization made up of activists performing guerilla theatre and creative media actions dramatizing economic inequality and political corruption. 

In an effort to draw attention to what they saw as Bush’s rampant cow-towing to moneyed interests, the group would sing clever songs, dress in top hats and monocles to parody popular takes on how wealth dressed, and take every opportunity to mock corrupt elected officials in “say-the-opposite-of-what-you-believe” tactics. The organization was deflated after Bush’s reelection in 2004, but lived on with “Billionaires for Wealthcare” during healthcare debates of 2009.

In response to the visit by President Bush to Buckingham Palace in 2003 (largely in protest of the Iraq War), a group of activists formed the “Clandestine Insurgent Rebel Clown Army.” Taking part in such nonviolent acts as duck-walking behind the Queen’s Royal Guard, army-crawling and “hiding” behind singular leaves they held, and delivering satirical messages to Queen’s Guards, the “Clown Army” took part in numerous anti-war and anti-capitalist demonstrations throughout the 2000’s. 

Adaptations have seen off-shoot Clown Armies counter-marching alongside the Boston Men’s March to Abolish Abortion, where protestors dressed in rainbow wigs and tie-dyed shirts drowned out speakers with kazoos. 

According to Otpor! Founder, Srdja Popovic, creative dissident who fought against former Serbian president Milosevic, authoritarians rely on fear to control the masses. But when activists rely on humor, they’re cool, attractive, and overcome fear.

Furthermore, according to Canvas, a nonprofit focused on nonviolence, fascists, bullies, and autocrats want to seem strong and heroic while attracting more followers, and controlling their media coverage. So when silliness intercedes, the bullies are at a loss of action. If they ignore the protesters, they look weak. There are bad optics in cracking down on clowns or people dancing. It also attracts media attention since, let’s face it, a chicken protesting makes for great visuals and clickbait. Further, the cognitive dissonance inspires people to think differently.

But perhaps most importantly, the bond created by shared creativity and joy brings people together and attracts followers. Solidarity is built through creativity, as we all know, and as 4A Arts strives to amplify. This is why we believe supporting creative expression isn’t just about art for art’s sake; it’s about equipping people with the tools to challenge power, build community, and yes, find joy in the fight.