During the July Uprising, cartoonists played a crucial role in unmasking authoritarianism. Despite facing imprisonment under the controversial Digital Security Act, they fearlessly used their art to expose corruption and injustice. Their caricatures served as a potent tool, cutting through censorship to reveal truths beyond words alone.
Even post-movement, political cartooning in Bangladesh faces limitations, particularly during elections. Some cartoons now lean towards promoting specific parties rather than critiquing the system. This raises the question of why there is a lack of interest among cartoonists in addressing election-related issues through their art.
To delve into this matter, we interviewed four cartoonists to explore their dedication to political cartoons amidst challenges and uncertainties.
In many countries, political leaders communicate diplomatically, providing fodder for cartoonists to uncover hidden meanings and contradictions. However, in Bangladesh, there are constraints on what can be said and how, shaping the tone and content of political satire.
Mehedi Haque, Senior Cartoonist at The Daily New Age and Executive Editor of UNMAD, shed light on the current risks faced by cartoonists.
According to Mehedi, political cartooning in Bangladesh has evolved into a form of public accountability, demanding courage and a delicate balance between expression and safety.
Despite facing legal risks, cartoonists in Bangladesh encounter a culture of pressure, surveillance, and public animosity. Morshed Mishu, Cartoonist and Assistant Editor at UNMAD, highlighted the challenge of finding creative inspiration amidst a political reality that seems so exaggerated already.
Natasha Jahan from The Business Standard expressed emotional fatigue, lamenting the disappointment in the current atmosphere and the shifting dynamics of those once respected.
Zahidul Haque Apu, a Freelance Cartoonist and Senior Manager of Content at Hoichoi Bangladesh, pointed out a lack of recognition for cartoonists’ contributions as a demotivating factor, leading to dwindling participation in election-related cartoons.
Despite the hurdles, each artist shared personal anecdotes of how their drawings encapsulated their emotions and the political climate.
When discussing the progress in the space for political cartooning, there was a tempered sense of optimism tinged with caution. Mehedi noted a prevalence of self-censorship among Bangladeshi cartoonists due to potential risks, resulting in fewer cartoons addressing recent political events.
Natasha observed a relatively calmer environment during the recent election compared to past scenarios.
Apu acknowledged a slight opening in the space for expression but questioned its extent of utilization.
Morshed Mishu emphasized the high cost of expression, requiring an aggressive approach that invites backlash, leading him to refrain from drawing political cartoons currently.
In conclusion, the expansion of the formal space for expression contrasts with the persistent psychological, social, and professional risks faced by political cartoonists in Bangladesh. The pivotal question remains not about the permission to speak out but rather the safety in expressing what truly needs to be articulated.
