In the midst of controversies sparked by cartoons depicting the Prophet Muhammad (peace be upon Him), Donald Rumsfeld, and -in an episode of the cult TV comic strip South Park- the Virgin Mary, the artistic merits of these creations have been forgotten amidst heated debate about their meaning. As well as the end of free speech (as argued by some), do these cartoons also herald the end of satirical illustration?
Before the explosive ‘bomb in the turban’ illustration, cartoons achieved their greatest standing and esthetic peak during the periods immediately preceding, during, and after the French Revolution. Subsequent generations of scholars studying the arts, politics and philosophy have pored over satirical masterpieces by the likes of Spanish artist Francisco José de Goya y Lucientes, that have stood the test of time both in terms of estheticism and the poignancy of their social commentary. Many of the artists active during this period risked careers and their own necks in order to mock individuals and ideas. Two hundred years into the future, and not much has changed.
When the War on Terror began in the wake of 9/11, the enemy was taken to be a network of Islamic extremists who were intent on destroying the west. Today, the enemy, (as seen by the west) is a conveniently amalgamated form. Propaganda is furiously at work, creating an enemy that is a religious, fanatical terrorist without compassion. And as these thought processes are digested, (as all good propaganda is) it is not surprising that contemporary cartoons published in Western media reflect this vision.
In defending his decision to commission the notorious (or glorious, depending on your perspective) cartoons published in the Jyllands-Posten, the paper’s editor, Flemming Rose, said that by including Islam under the banner of what it was OK to satirize, “The cartoons are including, rather than excluding, Muslims.”
But the furor surrounding the publication of those images in the Posten and other Western media have been seized upon by politicians and religious groups to further drive a wedge between Western Muslims and their fellow nationals.
The images themselves were publicized at an extremely sensitive time in Western-Islamic relations, so the resulting tremor reverberating mainly around Africa and the Middle East should have come as no surprise to anyone, least of all those who decided to publish the images.
Cartoonist’s freedom of expression is coming under attack from a number of avenues. This includes moderates intent on averting a violent backlash; extremist members of religious groups; and politicians who would use cartoons to incite the mob and accrue political capital. Meanwhile it is cartoonists themselves who stand to suffer the most as a result of the furor.
Selling cartoons is as difficult job, only here the maxim, ‘Any publicity is good publicity’ does not apply. When the storm finally blows over, and assuming there are still some cartoonists left looking for work, a cartoonist’s lot is going to be even tougher.
As demonstrated by the February 16 posting in Cagle’s web log, in which Cagle interviews many leading cartoonists for their opinions about the current state of the industry, timid editors frightened of upsetting their financiers or losing their jobs by creating a scandal, will be the final nail in the coffin for cartoonists attempting to continue the tradition of satire.
Thankfully, we can rely on the French to obstinately uphold the tradition they started.
