Latin America disposes of a rich history of performance art with artists frequently using their practice as a tool to express, to react to, or to push for change in the political arena. Using a critical and decolonial perspective, this course introduces students not only to the local histories of performance art, but also guides them to explore their own practice as a political instrument concerned with their particular social, political, cultural, or personal circumstances. Through the study of key artists such as Marta Minujín, Lukas Avendaño, Ana Mendieta, or Regina José Galindo, practical exercises as well as selected readings, participants will learn about political performative strategies such as protest and the use of public space, ritualism, satire, cabaret, and digital possibilities. We will review how those strategies are used to convey key concerns of Latin American performance art such as colonialism, political violence, racism, feminism, and more. Participants are invited to experiment - in a sage space - with key concepts through exercises according to their own circumstances and interests and to engage in active discussion towards shared pieces and materials. All of those elements aim to equip participants with a structure that will help them - as creators, spectators, curators, or researchers - to gain a deeper understanding of Latin American performance art and to recognize the possibilities of performance art as a political tool.