Psychological manipulation tactics are deployed by totalitarian governments, cult leaders and narcissistic domestic abusers with the sole aim of dominance, power and control – as Orwell (2021, p.315) writes in 1984, ‘the object of power is power’. The ‘desire for total control… is the common denominator in all forms of tyranny’ (Herman, 2023, p.111) and this paper posits that the same tactics are replicated by all oppressors, but on different scales; inclusive of one-to-one abuse occurring in domestic settings, medium-scale influence in destructive cults and nation-wide manipulation in totalitarian states. As Lifton (2019, p.2) states, ‘totalistic movements are cultlike and cults are totalistic’; similarly, Ross (2014, p.123) describes cults as totalitarian, adding that ‘many destructive cult leaders seem to be deeply narcissistic personalities’; finally, Hassan (2024, p.82) highlights how domestic abuse survivors often describe their relationship as ‘a cult with one follower and one leader’. Weiwei (2022, p.287) eloquently links the domestic to the governmental, and emphasises the importance of autonomy in relationships, when he writes in 1000 Years of Joys and Sorrows on the abuse of power, ‘never love a person or a country that you don’t have the freedom to leave’.
This paper will first examine the control mechanism deployed by authoritarian leaders on different scales, who create a milieu of confusion to erode critical thinking capabilities and establish a co-dependent relationship allowing them to impose a dictatorial belief system, before erasing the autonomous identity of the individual and imposing the oppressor’s dictated identity. Although propagandist material, such as art, literature and other communications, may be deployed to reinforce the oppression, the nature of these works is antithetic to the meaning of “creativity” which, conversely, ‘can represent an antidote to the coercive control and limiting nature of cults’ (Parsons et al., 2021). We will then discuss how artists are uniquely placed to expose and challenge oppressors, whilst exploring the therapeutic potential of the arts to support the recovery of victims.
Emelife (2022) describes the disruptive potential of art, which uses beauty to lure the audience before intervening with our ‘histories of dominance and subordination’. We will discuss how this assertion is exemplified by artists, including Kruger (2021, p.18), who exposes control mechanisms through ‘a graphic form of public address’ which questions ‘oppression, the concentration of capital, and the abuse of power’. Similarly, in 1984, Orwell exposes the control tactics deployed by totalitarian regimes, narrating the experience of a fictional victim, Winston Smith, at the hands of the totalitarian leadership. We will also examine Weiwei’s personal experience of the Chinese Communist Party dictatorship, and his documentation of their human rights abuses with works including S.A.C.R.E.D (2011-2013). Finally, we will discuss the therapeutic value of work by artists, including Rowlands, whose project Gaslit engaged survivors of domestic abuse, and Kiaba, a cult-survivor who works with victims of religious trauma, to help them heal by processing and communicating their experiences through visual language. This paper concludes that the arts can play a powerful role in facilitating the development of a new self, and reclamation of world, which Herman (2023, p.286) describes as the final stage of recovery from trauma.
Domestic Abuse Cycle
Idealisation
The psychological abuse tactics deployed on a domestic scale by narcissistic abusers follows a typical cycle of idealisation, devaluation and discard, followed by reconnection, when the cycle restarts. “Love-bombing” is a period of idealisation where the abuser ensnares their victim with showers of affection, such as gifts or “future faking”, which involves promising future commitments (Durvasula, 2024, p.55) – this process is very similar to the period of indoctrination implemented by cults or the electoral campaigns of political parties and candidates. Hassan (2024, p.102) describes the initial period after joining a destructive cult as a “honeymoon phase”. In this phase, the oppressor is on a charm offensive with the aim of trapping the victim in the abusive relationship before the psychological harm and cruelty occurs – this is intended to create a milieu of confusion and reduce the likelihood of rejection when the abuse of power begins.
Devaluation
The next stage, devaluation, involves tactics intended to undermine self-confidence such as ‘backhanded compliments or subtle insults’ known as “negging” (Sagredos, 2023, p.87), as well as criticism, jokes at your expense, derogatory names, belittling your accomplishments, humiliation and contempt towards your feelings (Byham, 2022, pp.79-93). Hassan (2024, p.127) describes a similar process in cults, when they attack and humiliate individuals in front of the wider group with accusations that ‘they are seriously flawed – incompetent, mentally ill or spiritually fallen’. In totalitarian regimes, this process involves forced confessions of supposed “sins”, where the victim is ‘forced to betray… a vital core of themselves’ (Lifton, 2014, pp.66-69). Weiwei (2022, p.208) explains that under the Chinese Communist Party totalitarian regime ‘humiliation is often presented as an honour that you are fortunate to receive’. The function of these devaluation tactics is to erode the self-worth of the victim, devalue their autonomous identity and create a co-dependent relationship which further asserts the oppressor’s authority as a flawless, “God-like” leader. Lifton (2019, p.91) explains how this tactic of ‘ideological totalism does even greater violence to the human potential’ by evoking destructive emotions and psychological constrictions which deprive people of imagination and the imperfections and ambivalences which ‘help to define the human condition’. Devaluation is a dehumanising process which strips individuals of their unique identity and the creative freedom to define themselves on their own terms.
Discard
The third stage of the cycle is the discard phase. In a domestic setting this includes ‘neglectful behaviour’ such as silent treatment, withholding affection, ignoring or isolating and ‘preventing you from having basic needs met (such as food, clothing, or medical needs)’ (Byham, 2022, p.91). Ross (2014, p.158) describes how this process of manipulation in cults involves ‘sleep deprivation, dietary controls, intimidation, implied threats, or inducement of unreasonable fears.’ Weiwei (2022, p.317) describes similar treatment during his imprisonment; he wasn’t given his usual medications, the lack of regular meals would leave him ‘faint with hunger’ and intolerable living conditions left him suffering from Insomnia. The discard phase of the cycle further devalues the individual’s identity by generating feelings of worthlessness and unworthiness, priming victims for the manipulation tactic known as “bread crumbing” whereby “crumbs” of affection are given between incidents of escalating abuse, to keep the victim hooked and hopeful of an improvement in living conditions and treatment (Durvasula, 2024, p.56). Orwell alludes to the deprivation process in his novel, Animal Farm, when the totalitarian leader, Napoleon, denounces the luxuries which the animals had been encouraged to dream of during the “Love-Bombing” phase of their indoctrination, such as ‘stalls with electric light and hot and cold water, and the three-day week’ (2022, p.102). Orwell narrates how the “future faking” tactic is used to keep the animals hopeful, whilst suffering through harsh and unbearable living conditions, which made them sick and, because of their sickness, more vulnerable to abuse. Boxer the horse, being sent to the Glue Factory by Napoleon, instead of receiving veterinary treatment when he can no longer work, is a perfect metaphor for narcissistic discard by an authoritarian leader (1984, 2022, p.97).
Psychological Manipulation Tactics
Alternating Cruelty and Kindness
A hallmark of the psychological abuse enacted by oppressors is treating victims with alternating cruelty and kindness – this has a destabilising impact contributing to the milieu of confusion. Sagredos (2023, p.165) explains how it ‘creates an addictive attachment for the victim… [who] blames themselves and makes excuses for their abuser’s behaviour’. Steven Hassan (2024, pp.121-123) describes how in a cult setting this tactic is used to exploit more labour, resources and commitment from cult members, leading them ‘to always blame themselves and simply work harder… this misuse of rewards and punishment fosters dependency and helplessness’. Whereas Lifton (2014, p.72) explains how in Totalitarian regimes, ‘the unexpected show of kindness, usually occurring just when the prisoner is reaching his breaking point, breaks the impasse between him and the environment’. Orwell (2021, p.299) perfectly illustrates this tactic in 1984, during the torture scene when Winston Smith ‘clung to O’Brien like a baby, curiously comforted by the heavy arm round his shoulders. He had the feeling that O’Brien was his protector’. The use of the domesticised simile is particularly astute because it emphasises the personal and emotional nature of the abuse by the totalitarian state, as well as Winston’s infantile vulnerability in the power dynamic.
Kruger (2021, p.51) is another artist who has exposed these alternating patterns of behaviour through her graphic art. The monochrome colour scheme of her work emphasises the “black and white” nature of the binaries, whilst her insightful choice of messaging; ‘THIS IS ABOUT LOVING AND LONGING. ABOUT SHAMING AND HATING. ABOUT THE PROMISES OF KINDNESS AND THE PLEASURES OF DOING DAMAGE. THIS IS ABOUT CRAZY DESIRE AND HAVING A GIFT FOR CRUELTY… ABOUT THE FICKLENESS OF RENOWN. ABOUT WHO GETS WHAT AND WHO OWNS WHAT’ alludes to the egotistical nature of such abuse of power, specifically exposing how image, reputation and ownership lie at the core of narcissistic abuse.
Barbara Kruger: Thinking of You. I Mean Me. I Mean You. (Installation View), 2024
Eroding Critical Thinking Capacities
The milieu of confusion contributes to the erosion of critical thinking capacities, which allows oppressors to maintain power and control. This psychological manipulation tactic is essential to preserve their dominance as the hypocrisies of their cruel behaviour become more overt, the abuse becomes more severe, and the “crumbs” of affection become fewer. As Ross (2014, p.218) writes, ‘those dominated in abusive or controlling relationships may be so completely under the influence of another person that they appear to have lost the ability to think independently’. Hassan (2024, p.99) explains how overloading the mind with incoherent information will trigger a numbing effect - a protective mechanism where ‘people become very open to suggestion’ – in this passive state the victim ‘loses the ability to think independently and function autonomously’ (Ross, 2014, p.439). Conversely, Gene Sharp explains in From Dictatorship to Democracy, how ‘as soon as their people become enlightened, [the dictator’s] tricks no longer work’ (2012, p.28). Without clarity of thought and understanding, or the ability to critically appraise the oppressor’s actions, victims will remain submissive and unable to challenge the dictatorial belief system. Critical thinking can be impeded by providing constantly contradictory messages, distorting or re-telling of historical facts, restricting access to information and dissemination of propaganda.
Orwell (2022, p.78) explores the retelling of historical facts in Animal Farm – when the totalitarian leadership convinces the animals ‘that their memories had been at fault’, to ensure adherence to the false truths they are peddling to support the fabricated narrative of the regime. This serves a dual function, it allows the oppressor to create a flawless image of their leadership, whilst also contributing to the milieu of confusion. Hassan (2024, p.116) explains how the same tactic is used in cults ‘to deliberately create dissonance in people’ and further exploit them. In a domestic setting, this tactic is known as “Gaslighting” which ‘operates through a systematic pattern of generating doubt about your experiences, memory, perception, judgement, and emotions’ (Durvasula, 2024, p.43) – a domestic abuser may deny they said or did something to create the milieu of confusion which destabilises their victim, rendering them more vulnerable to further abuse.
Restricting access to information and external communications is another method by which oppressors reduce the critical thinking capacities of their victims. Lifton (2014, p.411) writes about how the Chinese Communist Party’s Thought Reform is dependent ‘on the maintenance of a closed system of communication’ which Orwell (2020, p.15) calls ‘an artificial universe in which you have no standards of comparison’ - by limiting access to information, and therefore knowledge, victims are disempowered making them more vulnerable to the control of their thoughts, emotions and actions. Hassan (2024, p.118) explains how in totalistic cults, the members have restricted access to external media and are encouraged to consume only the cult’s own propaganda, whilst also being ‘kept so busy that they don’t have free time to think and seek outside answers to questions’. In a domestic setting, this tactic can manifest as the abuser isolating their victim by restricting access to friends or family members who might criticise the abuser’s actions or question the power dynamic within the relationship. This milieu control helps to maintain the oppressor’s power by eroding the autonomous identity of the victim, as Lifton (2014, p.421) explains, they are ‘deprived of the combination of external information and inner reflection which anyone requires to test the realities of [their] environment and to maintain a measure of identity separate from it’. The aim of the oppressor is to erase autonomous thought, erode individual expression and impose their dictated identity.
Contradicting Messages
Providing constantly contradicting messages is another strategy deployed by oppressors to cultivate the milieu of confusion. In a domestic setting, this often manifests as constantly shifting expectations – where the abuser makes a demand of their victim, but after it has been met, shifting the goalposts [SH1] or claiming that their demand was something different. In a cult setting, contradictory messages can be delivered by repeatedly promoting and demoting cult members on whims or by assigning ‘impossibly high goals’ and forcing them to ‘confess their impurity when they inevitably fail’ (Hassan, 2024, p.143). Sharp (2012, p.23) explains how dictators use this strategy of saying one thing and meaning another to create a sense of confusion which maintains their power and authority - ‘Hitler often called for peace, by which he meant submission to his will’. This tactic is epitomised by Orwell’s (2021, p.255-258) ‘Doublethink’ which is ‘the power of holding two contradictory beliefs in one’s mind simultaneously and accepting them’– for example, ‘The Ministry of Peace concerns itself with lies, the Ministry of Love with torture and the Ministry of Plenty with starvation’.
Restriction and Reduction of Language
A tactic frequently deployed by oppressors to dictate a victim’s thoughts is restriction or reduction of language. Montell (2021, p.77) describes language as the ‘ultimate power tool’ of cult leaders which enables them ‘to inflict unforgettable violence on their followers without personally laying a finger on them’. Hassan (2024, p.120) writes about the use of ‘totalistic’ cultish language, which condenses complex situations into simplistic labels that ‘govern how members think in any situation’. Montell (2021, page 85) elaborates, ‘pithy mottos are effective because they alleviate cognitive dissonance’ allowing cult members to ‘hold two conflicting beliefs at the same time’. Lifton (2019, p.81) explains, ‘the language of the totalist environment is characterised by the thought-terminating cliché’ – whereby complex and nuanced issues are compressed into ready-made phrases, with the aim of limiting thought or ideological analysis. Lifton (2014, p.429) gives the example of the phrase “bourgeois mentality” which was used in Chinese Thought Reform to critically dismiss ‘the quest for individual expression’ or different perspectives and political beliefs – the derogatory term is used to shame and shut down freedom of thought or expression of autonomous identity. Slogans are still a common tactic of propagandists, notable examples being Donald Trump’s ‘Make America Great Again’ and Boris Johnson’s ‘Take Back Control’ and ‘Get Brexit Done’ slogans - which are easily memorised and expressed, but reductive phrases designed to be parroted by supporters without the need for in-depth or critical analysis of meaning.
Orwell (2021, p.62) explores this psychological manipulation tactic with ‘Newspeak’ - ‘the only language in the world whose vocabulary gets smaller every year’ - the intention behind destroying words, with all their ‘vagueness’ and ‘useless shades of meaning’ is to increase thought control by reducing the capacity for linguistic exploration and expression. In a domestic abuse setting, the control of language can manifest as restricting the topic of conversation or forbidding expression of certain ideas which trigger feelings of boredom or rage in the abuser. Durvasula (2024, p.56) describes the transactional intimacy of narcissistic abusers who ‘give time or closeness only when there is a tangible payout’, for example, a victim may be told not to discuss mental or physical health issues because they are disinteresting to the abuser (2024, p.108). This teaches the victim that their needs and interests are invalid and that they should only discuss or think about topics which are of concern to the abuser.
Erosion of Autonomous Identity
Our ability to express our authentic identity is what makes us individuals and is an integral part of our humanity, as Weiwei (2022, p.363) explains, losing the capacity for free expression ‘would mean losing the motivation to recognise the value of life and make choices accordingly’. The aim of an oppressor is to strip an individual of their autonomous identity and ensure adherence to their will by permanently imprinting their vision upon the victim (Lifton, 2019, p.59). Orwell (2021, p.306) narrates this process in 1984, when Winston Smith is told by his abuser, ‘we shall squeeze you empty and then we shall fill you with ourselves’. Hunter (2020, p.71) explains how control of appearance and attire has been used by totalitarian states to impose a dictated identity, for example, both Western dress and traditional cheongsam dresses were banned during the Chinese Cultural Revolution. Hassan (2024, p.131) describes how attire is often imposed in a destructive cult, in addition to changing the victim’s haircut and name. In a domestic setting, “negging” or degrading comments can be used to body shame and dictate ‘attire choices, further perpetuating the victim’s vulnerability’ (Sagredos, 2023, p.53). Losing the ability to express oneself freely through both language and appearance strips an individual of their autonomous identity - Durvasula (2024, p.253) explains that this loss of identity is not the victim’s choice but a survival mechanism, ‘these relationships require you to reshape your identity to survive’.
Speaking Their Truth - Reclamation of Self Through Art
Regardless of the scale of the oppressive regime, after experiencing what Scarry describes as the loss of ‘world, self, and voice’ (Kruger, 2021, p.174) – the reclamation of autonomous identity can seem like an insurmountable challenge for victims, who commonly develop a form of PTSD which ‘invades and erodes the personality’ (Herman, 2023, p.125). Herman (2023) explains how empowerment is the key to recovery and emphasises that those who discover some meaning from their traumatic experiences, such as taking social action, are likely to most successfully recover. Survivors who find the courage to tell their story publicly can play a key role in raising awareness of abuse of power. The arts can play a pivotal role both in this creative story-telling and by helping victims to heal from their experiences.
Protest art can be considered an act of social justice, which challenges overriding cultural doctrines – this is especially important in contexts where, due to lack of knowledge and understanding of psychological manipulation tactics, social judgement of victims is extremely harsh (Herman, 2023, p.168). Weiwei (2022, p.350), has been commendable in exposing human rights abuses in China through his creative work – stating that his blacklisting by the Chinese Communist Party, ‘stemmed directly from my understanding of art as a form of social intervention, promoting the values of justice and equality’. Weiwei works at the intersection of art and politics, considering himself to be both an activist and artist. He has used his art to document his imprisonment and raise awareness of human rights abuses, whilst also ridiculing the actions of the totalitarian regime. In 2012, after his release he installed webcams in his home ‘and began a live feed on weiweicam.com that displayed every second of my daily activities’ (Weiwei, 2022, p.342). By voluntarily re-creating the surveillance state of his confinement, he took ownership of the control mechanism, thereby making a mockery of the justification of “public security” measures and satirising the actions of the oppressor. In 2011-2013, he also created S.A.C.R.E.D a series of large sculptures which documented his experience of incarceration. (Weiwei, 2022, p.345).
One of six containers that comprise Ai Weiwei’s work S.A.C.R.E.D, 2015
Weiwei’s seminal installation, ‘Sunflower Seeds’ (2010) can also be interpreted as a critique of the Chinese Communist party by celebrating the value of the autonomous individual - as the Chinese critic Fu Xiaodong writes, ‘with one hundred million handmade sunflower seeds, Ai Weiwei has, in the most patient and extreme way possible, asserted the independence of each individual’ (Weiwei, 2022, p.286).
Ai Weiwei: Sunflower Seeds, 2010
The arts can also help victims of oppression heal from traumatic experiences. Herman (2023) emphasises the importance of telling the story of the trauma, explaining how ‘at times the patient may spontaneously switch to nonverbal methods of communication, such as painting and drawing’ when describing unbearable moments of abuse. In this way, the arts can provide a vocabulary for expression of emotion which is too difficult to put into words. A research study by Parsons et al. (2021) has shown how ‘creative arts can play an important role for cult survivors in surviving, transcending and healing’ by facilitating reconnection with pre-cult personality and helping victims to form a post-cult identity. One former cult member who participated in the workshop found that the ‘personal control over the art-making process enabled both a release of emotion and increase of self-awareness’, whilst other participants found that ‘the arts had enabled them to transcend their restrictions either in the moment or later in life’ (Parsons et al., 2021).
Ross (2014, p.237) advises the use of ‘open-ended and thought-provoking questions’ about future plans when conversing with cult members, to facilitate idea generation and critical thinking, whilst emphasising the need to be neither judgemental nor argumentative. The arts provide the perfect medium for self-exploration which respects ‘individual expression and the personal process of discovery’ (Ross, 2014, p.501). Kiaba (2021) writes about how art allowed her to process her experience of religious trauma and communicate when her cult’s restriction of language had inhibited her ability to express her thoughts and emotions. She describes how engaging in an art practice can ‘give us a much needed relief from the overwhelm that we feel in post-cult life’ whilst helping to ‘redefine our identities’.
Rowlands is an artist who works with victims of narcissistic abuse – in 2020, she delivered a series of workshops, in collaboration with a Clinical Psychologist. Her intention was to both ‘raise awareness of the three stages of the narcissistic abuse cycle’ and to help victims through healing, textiles workshops (Rowlands, no date). Her exhibition, Gaslit: shining a light on narcissistic abuse displayed the works created during the workshops, which included weighted, patchwork blankets - ‘a metaphor for both the restrictive nature of abusive relationships as well as the warmth and comfort which the victim may feel within the relationship’ (Olliffe, 2021).
Veronica Rowlands: Quilted Blanket, 2021
The weighted blankets are a particularly compelling metaphor for narcissistic abuse because they are simultaneously comforting and restrictive, alluding to the difficulties which victims face in leaving abusers. The familiar is often comforting, even if it’s harmful to us – which contributes to victims staying trapped in abusive relationships. Rowlands’ collaborative work impactfully, but compassionately, raises awareness of the abuse mechanism by giving voice to the personal stories of survivors. The collaborative nature of the artwork emphasises the power of the collective and the importance of community when healing from the isolation of trauma - ‘the group re-creates a sense of belonging… bears witness and affirms’ (Herman, 2023, p.313).
Herman (2023, p.311) concludes that a survivor’s ‘view of life may be tragic, but for that very reason she has learned to cherish laughter’. Joy is our greatest act of defiance, and the arts bring joy and beauty to people’s lives. Durvasula (2024, p.239) explains how ‘allowing yourself to experience joy is a highly effective form of narcissistic resistance’, encouraging victims to notice ‘passing moments of beauty’ to support healing from their trauma.
The arts can play a pivotal role in exposing abuse of power by raising awareness of psychological manipulation tactics, as well as supporting victim’s recovery by facilitating self-expression, reclamation of identity and the experience of beauty and joy.
Acknowledgements
With thanks to my supervisor, Gia Milinovich for her guidance and feedback on my research paper and to my course tutor, Jonathan Kearney for his ongoing support and to my moral support kitties, Boudicca and Guinevere.
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[SH1]Not sure that shifting the goal posts needs quote marks
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