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The use of humor in human rights activism is no new phenomenon with examples of it dating back to Norwegian popular resistance in World War II. Ranging from thought-provoking to humiliating, comical to satirical, humor can be manifested in such a multitude of ways that it has often been the venue of action for many human rights practitioners. Although at first thought it may seem that organizations using humor in their advocacy are doing so only for attention and publicity, this is certainly not true. The experiences of numerous years of humor have brought a deeper understanding of the effects it can have in advocacy.

Majken Jul Sørensen wrote a MA dissertation piece on the use of humor in non-violent resistance, highlighting the rise in interest regarding the dynamics of humor as an advocacy tactic. Sørensen's interviews with members of the Otpor organization have illuminated the more complex dynamics of humor. This Serbian student resistance organization utilized numerous humorous acts to help bring down Slobodan Miloševic. When asked why they chose to use humor, former Otpor members cited the ability for humor to change a culture of apathy and fear into one of solidarity. In fact, Sørensen identifies three dynamics of humor in human rights activism: facilitating outreach and mobilization, facilitating the building of a resistance mentality, and turning oppression upside down.

These three characteristics are very closely related, and any single action of humor can have multiple effects or intentions. The actions of Circa clowns in protest situations, comically reproducing actions of the police, often make both protestors and fellow policemen laugh. This is not only facilitating outreach and bringing more people into the 'dialogue', but it is also turning the oppression on its head, undermining the fear or command they hold over the protestors in a peaceful manner. On the other hand, actions do not need to be focused on gathering community support or mobilization. Banksy's paintings on the Israeli-Palestinian wall are thought-provoking and satirical, but the author does not show any active attempts at building a community of resistance from them, although it may passively have this influence as Palestinians see the graffiti image of a girl floating over the wall with a handfull of balloons. In this respect, there are shocking similarities between the work of Banksy and Otpor, both being fond of depicting clearly ridiculous images that inspire views to come to realize the preposterous sitauations in their societies.

As said earlier, the use of humor is nothing new to advocacy efforts in human rights. Sørensen mentions joke telling in NOrway during Nazi rule as a way to foster solidarity and resist oppression. The Raging Grandmas, also known as the 'Grandmothers for Peace', by singing resistance to the war in Iraq, often leading to arrests, are utilizing the same underlying theme as the Norwegian jokes did six decades before, thata everyone, even gradmothers, have their place in resistance. Even Gene Sharp includes 'Humorous skits and pranks' as one of the 198 methods of non-violent action in his 1973 book, The Politics of Non-VIolent Action (Vol. 2): The Methods of Non-Violent Action. In conclusion, although videos like that of Jack Black in "Prop 8: The Musical" are funny and gain noteworthy media attention, efforts of humor in human rights can be complex and possibly yield substantial development if utilized intelligently, and wittingly, of course. 

For further information:
Sørensen, Majken Jul. "Humour as Nonviolent Resistance to Oppression." MA Dissertation Coventry University, September 2006.
http://www.coventry.ac.uk/researchnet/external/content/1/c4/11/36/v1202125859/user/Humour%20as%20Nonviolent%20Resistance.pdf

Sharp, Gene. The Politics of Non-Violent Action, Vol. II: The Methods of Non-Violent Action. Boston: Porter Sargent, 1973.