Revolutions are usually thought to be impossible until they occur; then they are thought to have been inevitable.In recent years we have seen a number of revolutionary or significant changes of regime, in places such as the former USSR and East Germany, in the Philippines and South Africa,and at the core of many of these changes has been nonviolent political action (NVPA). There has been little recognition by the mass media, however, of the key role that nonviolence has played, despite its role in overthrowing even totalitarian regimes and police states. Rather, the revolutions have been attributed to charismatic leaders like Gorbachev, Yeltsin or Mandela, or to some ill-defined people power. Yet, even a cursory study of these changes of regime indicate that rather than simple, short coups by a charismatic few, most were the result of sustained, systematic mass campaigns of nonviolent action, occasionally in momentous surges, but more often in a thousand, small, daily rebellions by ordinary people at a grassroots level, that like a pressure cooker, does build towards an inevitable boil-over.

Anthropogenic global warming (AGW) is regarded as the planet's gravest problem by world leaders as diverse as UN secretary-general Ban KiMoon (Stunner, 2014) and former US President Barak Obama (Park, 2015). However, the necessary mass mitigation actions are yet to happen, partly because traditional scientific and political communication is not adequate alone for this unprecedented challenge (Ockwell et al., 2009; Leiserowitz, 2006). The arts can effectively raise awareness of the problems; stimulate solutions-based reflection, discussion and action at individual and community levels; and bring beauty and optimism to a disturbing issue (Curtis et al., 2012; Branagan, 2013: 176-216). This paper describes my 2015 exhibition Global Warning which attempted to achieve these outcomes. I provide my reflections on what I hoped to represent through the artworks in this exhibition, how I created them and the impact that I hoped to achieve.

This paper uses Australian case studies to demonstrate the use of humour in social justice and eco-pax movements. Drawing from the literature and from personal experience in activist street-theatre over more than twenty years, the author discusses the rationale and motivations behind humorous activism, and notes audience reactions and impacts on participants. Using non-violence theory within the multidisciplinary paradigm of Peace Studies, he describes how activists use humour to enliven popular education, and to create liminal atmospheres conducive to non-violent conversion. Humorous activism creates common ground and complements other modes of activism. It is inclusive, drawing in audiences and adherents and attracting media attention. It simplifies and enhances communication, and allows activists to release emotions such as rage and frustration, while at the same time providing positive, enjoyable experiences for audiences. It can empower and inspire audiences, and bring a healthy balance and diversity to activism.