This article summarises the ways in which Image Theatre, a practice originally developed by Augusto Boal which continues to be developed in the hands of applied theatre practitioners and critical arts educators worldwide, can be used as a pedagogical and dramaturgical system of decolonisation at the level of communities and individuals. Through reference to two examples from my own work, I argue in this article that Image Theatre is a unique cultural practice that can be used to facilitate counter-discursive stories that are shaped by participants' invitation to play in the space between aesthetic representation and social reality. In this way, Image Theatre may invoke an in-between space similar to the post-colonial concept of hybridity which offers educators a way of transforming and reinventing meaning as well as creating new strategies for decolonising practice.