This article analyses the Stockholm Pride parade as an effective contemporary political stage, built on laughter and festivity. Taking its political point of departure in what is seen as being highly private and intimate, sexuality and the sexed body, the parade turns upside down one of the most central ideas of modernity: the dichotomy of public and private. Combining the theory of carnival laughter with queer theory, the article illustrates the way in which humour and politics work together in this contemporary blend of politics and popular culture.

This article discusses irony, parody, and satire in the oral-literary tradition of Finnish working-class youth during the first decades of the twentieth century. The most important research material is Valistaja (The Enlightener, 1914–1925), a handwritten newspaper produced by young working-class people in the industrial town of Karkkila in southern Finland. This research material provides examples of different kinds of parody: ideological parody is directed against both political opponents and the texts representing their ideology; generic parody involves playing with linguistic norms and generic conventions. Parody and satire provided means for exposing the cruelty and cowardice of the anti-Bolshevik Whites, the hypocrisy of the Church, and the conservatism of the older generation of workers. The ironic expressions reflect the experiences and tensions among groups of young people in Karkkila.

This article will demonstrate how jokes are used to foster the perception of community among workers on the shopfloor of a garment workshop in Hanoi, Vietnam. Although jokes cannot be considered as overt resistance on the part of workers, by containing an element of collective reality and desire a sense of collectivity among the workers is heightened. The article will analyse two jokes in their embedded contexts to highlight the importance of humour in the workers' struggle against management.

During World War I, the rank and file of the Australian Imperial Force utilized humour in their social protests against both their officers and the military regimen. This paper looks at the expression of this humour through a variety of mediums and explores the value of humour in providing an outlet through which these men could vent their anger at the military system. It further seeks to highlight how the adoption of humour in social protests became a secure part of the Australian soldiers' “working” identity and how this was sustained throughout the war by the masculine image of the soldier. Further to this, the paper examines the decline in the use of humour in social protest amongst war veterans in the postwar era and its replacement by a more sombre attitude towards protests.

This article draws on ethnographic research to analyse the role of humour in the process of collective identity formation within autonomous anti-capitalist groups in Madrid. Autonomous groups embrace the principles of horizontality, openness, diversity, participatory democracy, self-organization, and direct action, so defining themselves in contradistinction to more “vertical” movement organizations of the institutional left. The process of collective-identity formation involves both generating a sense of internal cohesion, and projecting an alternative identity. Autonomous groups in Madrid face a double challenge, for they must integrate ideologically heterogeneous activists, and they must define themselves as being alternatives to the much more consolidated groups of the institutional left. I shall analyse the different ways in which humour is used to address both those challenges: to sustain groups over time, to defuse tensions and try to resolve conflict, for myth-making, and to integrate marginal group members. I will also discuss the role humour plays in charismatic leadership and its use in the projection of an alternative political identity in direct actions. Finally, I will discuss the contested nature of humour as a political tool in the context of the Madrid network.