The article written by Marian Ferreirra and Dominique Devine seeks to sheds light to the origins and power of the pedagogical theoretic frame of Augusto Boal’s the Theatre of the oppressed. To demonstrate the importance of the Theatre of the oppressed as a unique tool for indigenous people to become educated empowered to protect their human right. Thus, the primary argument from the authors is that the Theatre of the Oppressed is a pedagogical tool that creates a framework that can build a cohesive network of Indigenous populations across the world are able to solve their specific human rights issues such as land rights. Although the Theatre of the Oppressed Originated in Brazil, and spread due to Augusto Boal’s efforts it has become a global educational tool for the betterment of the lives of all Indigenous people. Theatre of the Oppressed as an educational tool that allows students, individuals participating to live and act the human rights issues faced by Indigenous s people to promote better understanding.
The authors build a concise argument for the use of The Theatre of the Oppressed. By giving a critical analysis of the origins, effects and examples. The authors build a cohesive map that clearly connects the use of the Theatre of the Oppressed as a social pedagogical tool. The authors provide evidence that students performed theatre as a way to battle the status quo of violence and military rule in Latin America. Highlighting the importance of the Theatre of the Oppressed as a tool created, utilized and acted out by the most disfranchised to gain power through expressing their oppression through acting in the face of military dictatorships. Formostly the authors make the connection between human rights issues facing indigenous people in Brazil to China, recognizing the issues are similar in a local and international scale.
The article connects to the course in a critical manner as it demonstrates the power of grass root movements and the importance of being able to communicate. With other groups who are facing the same human rights issues across oceans and state borders. Specifically because the arena of human rights defies state borders, and oceans; by working together from a grass root level indigenous groups and other people interested in the human rights of indigenous people. Are able to use the Theatre of the Oppressed as a catalyst to create a community founded on improving, understanding, and promoting human rights from Latin America to Asia.