is a visual essay using Guy Debord's theory of the spectacle as its central concept while focusing on the Algerian Revolution (1954 - 1962) as it tends to be represented in popular culture. In this work I want to explore the ways in which figurative language, visual images, the imaginary and facets of dramaturgy are conjured to create a spectacle of revolution; especially women's participation in it. In The Painting of the Modern Life, T.J. Clark writes that the society of the spectacle is bound up in a “massive internal extension of the capitalist market; the invasion and restructuring of whole areas of free time, private life, leisure and personal expression…. It indicates a new phase of commodity production; the marketing, the making-into-commodities of whole areas of social practice.” In this view, the spectacle coincides with Western imperialism; it's a kind of power of recuperation with the capacity to neutralize acts of resistance by converting them into images for consumption. With this in mind, the piece inquires into the possibility that [Western] popular culture distorts our participation in violent movements for change, contributing to the manufacture of isolated and unknowable female icons. An image repeated throughout is the drawing of Djamila Boupacha by Pablo Picasso. The portrait serves as the cover of the book by Simone de Beauvoir and Gisele Halimi and operates on a similar but smaller scale as the Korda image of Che Guevara. Trisha Ziff (2006) describes the proliferation and consumption of the Che image: “The image, as icon, has discarded the specific details of Guevara’s achievements and taken on a life of its own, as a potent symbol of freedom, of anti-establishment.” Her description helps to provide insight into the circulation of Picasso's drawing of Boupacha. Meanwhile, the title is inspired by a monody written for Boupacha by Italian composer Luigi Nono in 1962 and performed by soprano Sophie Boulin. The project was realized during a residency at the Santa Fe Art Institute and supported by a grant from the Joan Mitchell Foundation.