7.4 Performance and propaganda
4 min read•august 13, 2024
Propaganda and performance have a powerful connection. Performances can emotionally sway audiences, making them ideal for spreading ideological messages. From Nazi rallies to , propaganda has used performance to influence beliefs and actions.
Ethical concerns arise when performances deceive audiences or undermine open societies. Artists may sacrifice integrity to comply with propaganda demands. While effective for swaying emotions, propagandistic performances can leave audiences feeling betrayed and resistant to genuine art.
Propaganda and Performance
Defining Propaganda and Its Relationship to Performance
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- Propaganda is a systematic form of purposeful persuasion that attempts to influence the emotions, attitudes, opinions, and actions of a targeted audience for ideological, political or commercial purposes
- Propaganda often presents facts selectively (perhaps lying by omission) to encourage a particular synthesis or perception
- Uses loaded messages to produce an emotional rather than a rational response to the information presented
- Performance, with its ability to emotionally move an audience through storytelling, spectacle, and the embodiment of ideas, can be a powerful vehicle to disseminate propaganda
- Influences the opinions, beliefs and actions of a targeted group
- Propagandistic performances often aim to benefit the sponsor of the message, either directly or indirectly
- Serves the sponsor's interests rather than the public interest or encouraging independent thought and discourse
Historical and Contemporary Examples of Propagandistic Performance
- Nazi Germany extensively used performance to spread antisemitic and nationalist propaganda leading up to and during WWII
- Rallies, marches, and mass spectacle events united the German people behind Hitler's fascist ideology
- was the official artistic doctrine to glorify communist values and political agenda from the 1930s-1980s in the Soviet Union
- Manifested in theatre, dance, and other performance arts
- The U.S. government sponsored performances and funded artistic projects during the Cold War period as "soft power" propaganda
- Promoted the American way of life and democratic values internationally
- North Korea's annual Arirang Festival, or Mass Games, serve as a large-scale propaganda spectacle
- Demonstrates social regimentation and loyalty to the state and the ruling family through gymnastics and artistic performances
- Terrorist and extremist organizations have used performance to spread fear and their radical ideological propaganda
- Public executions, marches, and video recordings of acts of violence or destruction
Performance as Propaganda
Emotional Manipulation and Persuasive Techniques
- Propagandistic performances often use emotionally manipulative techniques to influence the audience's beliefs
- One-sided storytelling presents a biased perspective as truth
- places blame on targeted groups to incite prejudice and conflict
- exaggerates threats to create anxiety and a desire for strong leadership
- Performances serving propaganda frequently exploit the trust and emotional influence performers have over an audience
- Inculcates beliefs that may go against the audience's own self-interests
- Propaganda in performance can inflame an audience's emotions in the moment
- But may leave them feeling betrayed and resistant to genuine art or truthful messages afterwards
Sacrificing Artistic Integrity for Ideological Compliance
- Artists and performers serving propagandistic aims may have to sacrifice their creative integrity
- Required to comply with the ideological message and demands of the sponsoring entity
- Artistic works are judged primarily by their adherence to and effectiveness in communicating the official propaganda
- Rather than their aesthetic quality, truthfulness, or authentic expression
- Propaganda can lead to formulaic, repetitive performances that reinforce doctrine
- Deviation, experimentation and nuance is discouraged
Ethics of Performance Propaganda
Deceiving and Misleading the Audience
- Propagandistic performances often intentionally spread biased or false information
- Deceives the audience and discourages critical thinking
- Propaganda tells only partial truths or outright lies
- Presents skewed data and uses hyperbolic language
- Fabricates or misrepresents facts to suit its agenda
- Performers may knowingly or unknowingly participate in disseminating dishonest propaganda
- But are nonetheless culpable in misleading the public
Undermining Open Society and Human Rights
- Propaganda in performance can contribute to the creation of a closed society
- Authoritarian power structures and ideologies go unchallenged
- Dissenting voices are suppressed
- Human rights are violated
- Propagandistic performances often serve as a vehicle for authoritarian or totalitarian control
- Mobilizes the public to support the ruling regime and official narratives
- Stifles free thought, open debate and diverse viewpoints
- The repetition of propaganda through performance normalizes extreme ideologies
- Desensitizes the public to rhetoric and policies that marginalize and oppress certain groups
- Paves the way for discrimination, state violence and genocide
Key Terms to Review (22)
Audience Agency: Audience agency refers to the ability of spectators to actively participate in, interpret, and influence the performance experience rather than being passive observers. This concept highlights the dynamic relationship between performers and their audience, emphasizing that viewers can shape the narrative, meaning, and impact of a performance through their reactions and engagement.
Bertolt Brecht: Bertolt Brecht was a German playwright, poet, and theatre director known for his influential ideas on performance and theatre, especially in relation to political and social issues. He developed the concept of 'epic theatre,' which aimed to provoke critical thinking and social change rather than simply entertain. Brecht believed that theatre should be a tool for propaganda, using alienation effects to challenge audiences and encourage them to question societal norms.
Civil rights movement theatre: Civil rights movement theatre refers to a form of performance that emerged during the American civil rights movement in the 1950s and 1960s, using theatrical techniques to address social issues, advocate for racial equality, and promote civil rights. This type of theatre served as a powerful tool for both educating audiences about racial injustices and galvanizing public opinion in favor of civil rights, often blending dramatic storytelling with elements of activism and propaganda.
Cold war era performances: Cold War era performances refer to artistic and theatrical works produced during the geopolitical tension between the Soviet Union and the United States from roughly 1947 to 1991. These performances often served as a means of propaganda, reflecting political ideologies, national identities, and social issues while influencing public opinion and fostering cultural exchanges between opposing sides. Through various forms of performance, artists critiqued, celebrated, or examined the complexities of life during this period, contributing to both domestic and international dialogues.
Cultural Appropriation: Cultural appropriation is the act of taking or borrowing elements from one culture, particularly by members of a dominant culture, without understanding or respecting the original context, meaning, or significance. This practice often leads to the commodification and distortion of marginalized cultures, raising important discussions around power dynamics, representation, and ethical responsibility in artistic expression.
Digital storytelling: Digital storytelling is the use of digital media tools to create and share narratives, combining elements like images, audio, video, and text to convey a message or story. This method allows individuals and groups to express their experiences, beliefs, and emotions in powerful ways, making it particularly effective in social movements, personal expression, and cultural commentary.
Discourse theory: Discourse theory is a framework for understanding how language, communication, and social practices shape and construct meaning within society. It emphasizes that discourse is not just about the content of communication but also about the power dynamics and social contexts that influence how messages are interpreted and acted upon. This theory connects to performance and propaganda by examining how these elements create narratives and shape public perception.
Emotional Appeal: Emotional appeal is a persuasive technique that aims to evoke an emotional response from an audience to influence their beliefs or actions. This strategy plays a crucial role in performance and propaganda, as it connects the audience to the message on a personal level, making it more impactful and memorable.
Erving Goffman: Erving Goffman was a Canadian sociologist and a key figure in the field of performance studies, particularly known for his work on the presentation of self in everyday life. His ideas emphasize the notion that social interactions are performed, suggesting that individuals manage their impressions in various social contexts, which connects deeply to concepts of identity, roles, and societal norms.
Fear mongering: Fear mongering is the act of deliberately provoking fear or anxiety in others, often through misleading or exaggerated information, to manipulate their beliefs or behaviors. This tactic is frequently used in propaganda to incite emotional responses, create a sense of urgency, or influence public opinion on political, social, or economic issues.
Feminist performance art: Feminist performance art is a form of artistic expression that uses live performances to address and challenge societal norms related to gender and sexuality, often highlighting women's experiences and issues. This art form engages with various disciplines, allowing artists to critique power structures, perform identity, and incite social change through the lens of feminism.
Multimedia installations: Multimedia installations are art forms that combine various media elements, such as video, sound, performance, and digital technology, to create immersive experiences for the audience. These installations often challenge traditional boundaries of performance by incorporating interactivity and viewer engagement, transforming the space into a dynamic environment where art and technology intersect.
Nazi propaganda theatre: Nazi propaganda theatre refers to the theatrical productions and performances employed by the Nazi regime in Germany during the 1930s and 1940s to disseminate its ideologies and promote its political agenda. These performances were designed to manipulate public perception, foster nationalistic sentiment, and reinforce anti-Semitic beliefs, often using dramatic storytelling and visual spectacle to engage audiences emotionally and psychologically.
North Korean Mass Games: North Korean Mass Games are large-scale performances involving thousands of participants, showcasing synchronized gymnastics, dance, and elaborate displays that promote national pride and the ideologies of the state. These events serve as a powerful tool for propaganda, using performance art to celebrate the leadership of the Kim dynasty and reinforce the regime's narrative.
Performance theory: Performance theory is a framework that examines the ways in which individuals and groups express themselves through various forms of performance. It emphasizes the role of context, audience, and intention in shaping the meanings and interpretations of performances, highlighting how these aspects intersect with cultural, social, and political dynamics.
Performative activism: Performative activism refers to actions taken by individuals or organizations that are intended to demonstrate support for a social cause, primarily through visible gestures rather than substantive change or engagement. These acts often prioritize public perception and social media presence over genuine advocacy, leading to criticisms of authenticity and effectiveness in addressing the issues at hand.
Political theatre: Political theatre refers to performances that intentionally engage with political issues, aiming to provoke thought, critique power structures, and inspire social change. This form of theatre often serves as a platform for marginalized voices and addresses current events, societal injustices, or historical contexts, making it a powerful tool for propaganda and public discourse.
Rhetorical devices: Rhetorical devices are techniques used in language and speech to persuade, inform, or engage an audience. These devices enhance the effectiveness of communication by creating emphasis, adding clarity, and evoking emotional responses. In contexts where performance and propaganda intersect, rhetorical devices can manipulate perceptions and influence public opinion, often playing a critical role in shaping narratives.
Scapegoating: Scapegoating is the practice of unfairly blaming an individual or group for problems or negative outcomes, often as a way to divert attention from the real causes. This phenomenon plays a significant role in propaganda, where leaders or institutions utilize scapegoating to manipulate public perception and consolidate power by creating a common enemy, fostering unity among supporters, and distracting from their own shortcomings.
Soviet Socialist Realism: Soviet Socialist Realism was an artistic and literary movement that emerged in the Soviet Union in the 1930s, characterized by the promotion of socialist ideals and the glorification of the working class. This movement aimed to depict reality in a way that aligned with the principles of socialism, emphasizing optimistic portrayals of life under communism while serving as a tool for propaganda. Through accessible and relatable narratives, it sought to inspire the masses and reinforce state ideologies.
Street performance: Street performance refers to live performances conducted in public spaces, often featuring artists such as musicians, dancers, magicians, and actors. This art form is notable for its accessibility, as it invites spontaneous engagement from passersby and fosters a direct connection between the performer and the audience. Street performance can serve as a powerful medium for expression, making it a significant tool in both propagating messages and promoting social change.
Symbolic representation: Symbolic representation refers to the use of symbols, images, or performances to convey complex ideas, beliefs, or messages that resonate with an audience. This type of representation enables individuals and groups to communicate concepts that may not be easily articulated through words alone, often evoking emotional responses and influencing perceptions. In contexts where power dynamics and ideologies are at play, symbolic representation can serve as a tool for both political engagement and persuasive communication.