During the July Uprising, cartoonists played a crucial role in unmasking authoritarianism. Many of them were imprisoned under the contentious Digital Security Act during the oppressive regime. Despite the risks, these artists persisted in using their creations to shed light on corruption, absurdity, and injustice. Through their caricatures, they effectively bypassed fear and censorship to convey truths that words alone often cannot articulate.
However, even post-uprising, the realm of political cartooning in Bangladesh remains restricted, particularly during election periods. Some cartoons now serve more as tools for promoting specific political parties rather than critiquing the system. With a plethora of political events unfolding, a lingering question persists: why is there a lack of interest among cartoonists in addressing election-related issues through their art?
To delve into this matter, we engaged with four cartoonists to grasp their enthusiasm for political cartoons and what drives their dedication to this demanding field, despite its uncertainties.
In many nations, political leaders speak in measured and diplomatic tones, enabling cartoonists to derive satire from the underlying implications and contradictions within those carefully crafted words. When leaders are more straightforward, the cartoonist’s task becomes simpler and more immediate. Nonetheless, in Bangladesh, the space for expression remains constricted. The limits on what can be articulated and how it can be conveyed continue to govern both the tone and scope of political satire.
Mehedi Haque, Senior Cartoonist at The Daily New Age and Executive Editor of UNMAD, candidly discussed the current risks involved in his work.
His sentiments mirror a broader truth: political cartooning in Bangladesh has transcended mere artistry to become an act of public accountability, necessitating bravery, self-restraint, and a delicate balance between expression and safety.
“My newspaper often faces legal notices or direct calls concerning my cartoons. However, neither my newspaper nor I am swayed by these pressures. We stand by what we believe is right. There are various other pressures too, like concerns from friends and family over potential dangers due to my profession, and constant attempts by paid commentators to disparage me on social media. Yet, I seldom pay heed to these,” Mehedi elaborated.
For many cartoonists, the challenges extend beyond legal threats to encompass a broader culture of pressure, surveillance, and public animosity.
Morshed Mishu, Cartoonist and Assistant Editor at UNMAD, highlighted a distinct predicament – creative fatigue stemming from the political reality itself. “I struggle to recall the last time I created a political cartoon. I believe it was after the attack on Nur. Since then, I have refrained from drawing any cartoons related to the ongoing election. Their statements and actions seem so exaggerated that there is little left for me to depict. Political cartoons typically thrive on multiple layers, angles, perspectives, and subtle commentary, but in this scenario, everything appears too overt.”
Natasha Jahan, an artist at The Business Standard, expressed emotional exhaustion. “Honestly, I feel disheartened. I am not the same person as before. The prevailing atmosphere is truly dispiriting. Individuals whom I once held in high regard, everyone has changed. Whom do I hold accountable now? Whom do I blame? I believe it’s our fault – we placed our trust in the wrong individuals. Nevertheless, I try not to be entirely self-driven. I endeavor little by little. However, the envisioned progression in cartoons has not materialized. That particular environment is no longer discernible.”
Zahidul Haque Apu, a Freelance Cartoonist and Senior Manager of Content at Hoichoi Bangladesh, pointed out another structural hurdle. “I do not regularly or professionally sketch political cartoons. Perhaps some cartoonists lost interest due to the lack of recognition for their contributions. Artists, whether political or not, anticipate acknowledgment akin to musicians or writers. When that acknowledgment is absent, motivation wanes. This might explain the low participation of political cartoonists in this election, despite having numerous talented individuals producing exceptional work.”
Beyond motivation and recognition, political cartoonists in Bangladesh continue to navigate a landscape fraught with risks – legal, social, and personal. Natasha Jahan highlighted how criticism frequently turns personal.
Morshed Mishu detailed the constant labeling that ensues after critiquing political matters.
Even subtle pressures can significantly influence artistic decisions.
Despite these constraints, each artist recounted works that resonate deeply on a personal level – instances where their illustrations encapsulated their emotions and the political atmosphere of the era.
“There are numerous notable works, but in the context of election cartoons, I would mention one from 2014, following the Awami League’s triumph. In that cartoon, the ballot box was depicted as Aladdin’s lamp, with the Chief Election Commissioner emerging from it like a genie, declaring the victory,” shared Mehedi.
For Morshed Mishu, three pieces stood out. “These three cartoons best reflect my stance against the injustices perpetrated by various entities. One was inspired by the attack
