Political Cartoons & Development Education Colm Regan ...

Political Cartoons& Development Education

Colm Regan, Scott SinclairMartyn Turner

- politicalcartoonsand developmenteducation

written and compiled by

ColmRegan, Scott Sinclair,Martyn Turner

AcknowledgementsWe would like to thank:

all the cartoonists for their work and inspiration[see page 100 for full list and page 99 for index];

Jens Robinson and Jerry Robinson and all atCartoonists & Writers Syndicate;

Christian Aid [Midlands Region], Oxfam, SCIAF [Scotland],Tollemache, Buckminster Trust, Trocaire [Ireland],UNICEF [UK]and the World Council of Churches [Geneva]for their commitment and financial support;

Judy Lingard for the artwork.

Thin Black LinesSome copies of the original Thin Black Lines are still availableIV5plus p & p from DEC Birmingham].

A powerful reminder of how we saw things in 1988 with Gorbachev andReagan centre stage, the Berlin Wall still strong and little sign of NelsonMandelas release.

Many of the cartoons sadly have not dated, raising issues about the armstrade. human rights, famine and the North/South dialogue. It also featuressections on the history of political cartoons, stereotypes, and cartoons inconflict focusing on the Falklands War and Northern Ireland.

Published by

DevelopmentEducationCentre[Birmingham]in association with

Cartoonists&WritersSyndicate, New York

Columba!- cartoon history of Latin AmericaEdited by colm Regan and Martyn Turner. published by Potatoe PressIn + i;1.40 p & p. Also available from DEC].

Nine cartoonists, many of whom are from South America, were asked tocontribute sections which build up this history.

Stimulated by the much debated voyage of Columbus five hundred years on,it provides a history which is informative, humorous and challenging.

Copies available from:Development Education Centre998 Bristol RoadSelly OakBirmingham B29 6LE, UK.

© DEC [Birmingham], 1994

C&W represent the individual cartoonistswho hold the rights for their work. [See pa9e100]

ISBN: 0 948838 30 2

Cover cartoon : Martyn Turner Printed by Genprint Ltd —8475351

Development Education Centre with Cartoonists & Writers Syndicate

Thin Black Lines Rides Again

Six years ago we published Thin Black Lines to encourage the useof cartoons in education. We felt that political cartoons presentedcomplex and challenging ideas about important world issues in anaccessible and usable way.

Judging by the success of Thin Black Lines and by the wide use ofthe cartoons from it, many of you agree with us about the value ofcartoons. This has prompted us to produce Thin Black Lines RidesAgain. We hope you like it. We've organised the book around fourcentral themes which we feel have broad application and relevance.

We still feel, however, that the value ofcartoons in education is under-developed and so we have again included a range of activities to makegood use of them. From time to time throughout the book we have alsoincluded questions to help focus discussion around the cartoons.

We are particularly pleased to present in the introduction the wordsand works of 011ieHarrington who is an extraordinary cartoonist.

Thin Black Lines Rides Again is published by the DevelopmentEducation Centre, Birmingham in association with the Cartoonists &Writers Syndicate in New York. We are especially pleased with thispartnership, and sincerely thank Jerry and Jens Robinson of C & Wfor their enthusiastic support and co-operation. Finally, we wouldlike to thank all those cartoonists whose collective brains and handshave made us all more aware, forewarned )and terrified!]. Thanks.

Contents

Introduction 4

011ieHarrington -portrait of a political cartoonist 8

The shape of the world 15

Human Rights 21"The issue is not whether torture is more important than starvation. . . human rights are universal and indivisible"

PierreSane, Secretary General,Amnesty International

Values . . . the right to imagine 22And all are treated equally 26Africa . . . the right to lifedenied 31

Responsibility.. . . pointing afinger? 37

Environment".. and on the seventh day we took over"

43

In words . . . and deeds? 44Not even the trees . . . ? 50. . . Nor the sea . . . ? 52Nor the air? 55Now we know.. . . or do we? 60

The end of an era 63"at stake . . . is something more than war over words; the battle linesare drawn between conflicting interpretations of reality . . the firstvalues efficiency and social control, the second social justice . . ."

Denis Gottlet,philosopher

New world order.. . . out of order 64Economics. . . signs of the times 69Debt . . . paying with their lives? 77Arms . . . winners . . . and losers 80Conflict. . . war no more? 84Thefuture UNrole . . . a UNitedfuture? 92

Index and Acknowledgements 99

2 Thin Black Lines Rides AgainDevelopment Eduration Centre with Cartoonists & Writers Syndicate 3

Usingpoliticalcartoonsin developmenteducationPolitical cartoons can be a particularly valuableresource for development education. At theirbest they encapsulate some very complexissues, different viewpoints, and some of thecontradictions which are a real part of manysituations. Political cartoons do not simply takesides, they offer a challenge to us all. They canmake links between issues which sometimesturn things inside out. They don't spare oursensitivities - this is their essential strength.

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Political cartoons will often provide the stimulusto stop and think, to look sideways or look afreshat a particular issue. We hope that readers ofthis book will find much to provide a focus forpersonal reflection. However, the main purposeof this section is to outline a few basic activitiesfor the use of cartoons in group discussion.

Aword ofwarning may be useful here. Ifyou seeeducation in general, or development educationin particular, as a process of endorsing certain"acceptable" ideas or viewpoints and rejectingothers, rather than as a means of exploring,discussing and debating ideas and opinions as away of encouraging people to make up their ownminds, then don't use cartoons. It is unlikelythat they will provide enough opportunity forcontrol!

Cartoons have a number of advantages as astimulus to group discussion. They often con-tain a lot of information, yet can be assimilatedquite quickly. It is possible for people with arange of knowledge of the issues [or none at all]to respond to the same stimulus, and for thediscussion to reflect different levels of experi-ence. The humour of cartoons also contributesto the group's interactions. Laughter is impor-tant, but this humour can also disarm us of ourassumptions and help us look afresh at theissues. Many of the cartoons you might chooseto use as a stimulus will be quite explicit in themain issues they bring to the group's agenda,they are, however, at the same time very openended. They provide the opportunity for a groupto explore the aspects they see as most impor-tant or most at issue.

Some basic activities The activities outlined here can be adapted to a widerange of learning situations. It is, however, impor-tant to note that we need to build up skills in usingcartoons as stimulus material.

The learning skills that can be developed by usingz material such as cartoons include:

making careful observations;

acquiring information from the cartoon;

analysing and evaluating information;

relating one's own views to those in thecartoons;

recognising the value of differentinterpretations;

empathising with the people/situationsportrayed;

forming links between the ideas in differentcartoons.

There is a sense in which cartoons can help us tolaugh at ourselves and our involvement, individu-ally and as a society, in fairly desperate situations.Perhaps we should identify this as a skill too.

Thin Black Lines Rides Again has three mainsections, each made up of smaller collections ofcartoons based on a theme. They could be usedusing the themes we have chosen, or by making yourown selection from different parts of the book.Either way it is worth adding cartoons you collectfrom newspapers about recent events.

NARANJO,

Mexico

4 Thin Black Lines Rides Again Development Education Centre with Cartoonists & Writers Syndicate 5

Thefollowing are some ideas which couldbeused with any collectionof cartoons.

Warming upWhat does it say to you?You could ask this question of any cartoon, butthere is special value in asking it about one whichis open to very wide interpretation.

The discuss on will move quite rapidly away fromthe cartoon to the interests and concerns of themembers of the group. This kind of activity isparticularly valuable when you are trying to workwith a new group, or when people in the group don'tknow each other very well. A reasonable amount oftime should be allowed for people to work on theirinitial thoughts and to share ideas.

Reading a cartoonIt may be useful to take time to discuss one or twocartoons and work on "reading" them.

Ask small groups to look closely at the details:

what is the cartoonsaying?

what differentinterpretations do they imaginecould be made?

what symbols are used?

who are the characters?

what is suggested about the context of thecartoon?

Bring the groups together to share their discussion,but steer the discussion away from the issues andfocus on how they read the cartoons.

What's the theme? What are the issues?When you introduce a theme to a group it is usefulto find ways to explore what they already knowabout it. Display a collection of cartoons [say ten]and ask the group to look at them. Working in pairsdecide what main theme [s]link them as a collection.Each pair could then choose a number of cartoons[say three] which highlight the main issues as theysee them, and make them into a poster to be sharedwith the rest of the group.

Sharing viewsAnother useful way to introduce a collection ofcartoons is to ask people to choose from those ondisplay three cartoons which they like most ... orwhich say most to them about the issues beingconsidered. They could mark these with a stickerwith their name on and then pair up with someonewho has chosen the same cartoons to discuss theirchoice. Are the reasons the same? Did they seedifferent things in the same cartoon?

This activity also has the advantage ot mixing thegroup, reviewing the whole collection and looking atsome cartoons more closely. The pairs can sharethe highlights of their discussion and introduce oneof the cartoons they chose to the rest of the group.

Questioning and asking questionsThis can be used as an introductory activity leadingto an 'agenda' of things to do further work on, or asa way of focusing on one or two cartoons to make amore detailed study of them.

Give each pair a copy of a cartoon mounted on alarge sheet of paper and ask them to write aroundthe edge, as many questions as they can relating tothe cartoon. This encourages a close look at detailas well as at the cartoon as a whole. It is notnecessary to be able to answer the questions; theprocess of asking them will provide a good stimulusto the discussion when the pair share their workwith other groups.

Another approach which would encourage moredetailed study of one cartoon is for you to pose thequestions for the group to consider. This can helpfocus on the detailed context of a particular situa-tion and encourage insight into the ways in whichsymbolism is used by cartoonists.

Headlining ... changing the contextAsk pairs to choose a cartoon around which theythen develop a headline and/or short article. Iftheyuse different headlines does it influence how thecartoon comes over?

The pairs could then share their article with the restof the group. It may be useful to choose differentcartoons and therefore raise a wide range of issues,or you might choose the same one and explore thedifferent ways in which it is viewed.

RankingThis is a very effective activity to encourage groupsto consider a small collection of cartoons [say nine]in detail. Give each group nine cartoons and askthem to order them from those they feel raise themost important issues to those that raise the leastimportant. Alternatively you could ask pairs torank the cartoons in terms of those they like most/least.

Ranking can enable a full discussion because thetask makes sure everyone has been involved inthinking about the issues and then highlighting themain points to share with other groups.

An issue agendaCartoons can be a very useful stimulus for motivat-ing a group to plan further work. This gives anopportunity to find out more about the startingpoints in a group - the assumptions and under-standing individuals bring to new areas of work.

Using a collection of cartoons on a particular themeyou could ask questions such as:

What issues do they refer to?

How do they reflectdifferent approaches toissues suchas development,environment.peace?

Who might disagree with the views of thecahoonists? Why?

Questions such as these make a useful start tobuilding up an agenda. It is also vital to ask aboutother relevant issues not shown in the cartoons.The discussion could then be focused by suggestingthat each group draws up a list of questions aboutthe issues which need to be followed up.

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011ieHarringtonportraitof a politicalcartoonist

"An we're gonna clean up this country startin' wit' you!"

Oliver Wendell Harrington was born in Valhalla,New York, on Valentine's Day in 1912. His father,Herbert, was an escaped slave from North Carolina,and his mother, Eugenia, was a Jewish musicstudent originally from Hungary.

"InAmerica, are the most creatively inventive,technicallydeveloped, prolificcartoonists in theworld today. At least that is my own unbiasedopinion. Theirmastery did not come about as agiftfrom heaven, or even from the benedictionsofhighrankingpoliticiansthoughyou may some-times be given that impression. The truth of thematter is that this comes about as a result ofcertaintime-provennatural laws which indicatethat when human beings of many differentcultures and experiences are joined together inone society, the result is a more creative andmoreproductive society.

This is recognised, rather superficially I amafraid, when one talks about thegreatAmericanmeltingpot. IrishAmericans, GreekAmericans,German,Lithuanian, French and PolishAmeri-cans arepart of the mix, but AfricanAmericanscanforget about it.

Fortunatelyfor my own mental health, I workeda kind of self therapy while I tried to open thedoors of countless art editors where the wordsNOBLACKSALLOWEDwere hanging. Forabout60 years I have been locked out, black balled,Jim Crowed, or whatever terminology is cur-rentlyfashionable. Allof the terms simply meanthat the American cartoon industry shut itsdoors on me with a bang."

8 Thin Black Lines Rides AgainDevelopment Education Centre with Cartoonists & Writers Syndicate 9

"Hey, I hear that the cops been ordered not to shoot up us black kids 'tillAFTER the Olympics!"

011ieHarrington attended an unsegregated school inthe South Bronx, where a racist schoolteacher wasresponsible for starting his career as a cartoonist.

"Our teacher was a Miss McCoy, a tall, pastyfaced vixen who seemed to have devoted all herattention to her weird hair-do. I always felt oddlyapprehensive in herpresence, watchful and alert.Was this the birthof intuition? I have heard itsaidin similar circumstances that it was probablyparanoia. All I can say to that is - in the case ofblackfolks - thank godfor paranoia.

One brightmorning Miss McCoyordered us - thetwo black kids - to thefront of class. Pausingforseveralseconds, she pointed hercheaplyjewelledfinger [with what I think she considered a verydramatic gesture] at the trash basket and said,'Never, never forget. These two belong in thattrash basket.' The white kids giggled ratherhesitantly and thenfell about inpeals of laughter.Forthose kids it must have been theirfirst triponthe racist drug.

I stumbled backwards in shocked resentment,aware of the growing pain in my chest. The otherkid only grinned, but I noticed that his eyes hadsuddenly narrowed. It was several days beforeImanaged topull myself together. Gradually Ifeltthe urge to draw littlecaricaturesof Miss McCoyin the margins of my notebook;Miss McCoybeingrammed into our local butcher's meat grindingapparatus; Miss McCoy being run ouer by thespeeding engines on the nearbyNew YorkCentralRailroadtracks. One, which I worked all througharithmetic class, really grabbed me. It showedMiss McCoydisappearing between thejaws of aparticularly enthusiastic tiger. I began to realisethat each drawing lifted my wounded spirits a bithigher. I did littlesketches of the people aroundme, notfrom lifeas I learned todo in art class, butfrom memory. Miss McCoynever caught me at it,but I began to dream of being a cartoonist."

10 Thin Black Lines Rides AgainDevelopment Education antre with Cartoonists & Writers Syndicate 11

"Annual Marathon, Man are you kiddin'? These folks are ansuterin' a newspaper ad for a coupl'a job openings downtown!"

After he finished high school, 011ieHarrington dis-covered Harlem and met many of the leading figuresof the Harlem Renaissance. In 1933 he began hischronicle of the life of an ordinary man living inHarlem. He claimed "not much imagination wasneeded for the job. 1 simply recorded the almostunbelievable but hilarious chaos around me andcame up with a character." This character wasBootsie. He featured in a cartoon panel that eventu-ally appeared in the Amsterdam News. the Balti-more Afro-American, and the Pittsburgh Courier.During the thirty years he drew Bootsie, 011ieHarrington used the cartoon to reflect the lives andconcerns of "ordinary" African Americans.

Although many of the Bootsie cartoons were funny,humour was not an end in itself. 011ieHarrington'swork may be described as a social documentary. Heobserved life, recording details of speech, dress andactivity in the African American community. Be-cause he was not an outsider making these observa-tions, Harrington's Bootsie has unique credibility.Given the longevity and popularity of the feature, itsreaders must have enjoyed the mirror of their livesprovided by these cartoons.

NEWS ITEM:Postal authorities in line with the President's "WINNABLENUCLEARWAR theonj assured the public that mail deliveries wouldbe maintained regardless of prevailing conditions,

011ieHarrington studied at the National Academy ofDesign and graduated from Yale in 1939 with abachelor of fine arts degree. During World War IIheserved as a war correspondent for PittsburghCourier in North Africa and Europe. After hisdischarge, he had a variety of jobs - journalist,cartoonist, book illustrator and baseball outfielder- until he became director of public relations for theNational Association for the Advan cement ofColoredPeople in 1948.

He was angry and appalled at the treatment ofAfrican American veterans of World War II by thecountry which they had defended. In his NAACPposition, he worked diligently in the South longbefore sit-ins publicised the need for justice forminorities there. Because of his outspoken efforts,opponents began to label him as a Communist. In1951 he was warned by a friend who was an ArmyIntelligence agent that for his own safety, he shouldleave the country. Because he was concernedabout the future of the NAACPas well as his ownsafety, three weeks later he was bound for Europe.Except for a two week trip to the US in 1972, he didnot return to his homeland again until he washonoured with an exhibition at the Museum ofAfrican American History in Detroit in 1991.

the first time, he was able to work in colour whichadded yet another dimension to his ability to ex-press himself. On the personal level, he marriedHelma Richter, an economist, and they had a son,Oliver Jr.

The unification of Germany and the end of the ColdWar brought yet another dimension to 011ieHarrington's life. He can visit his homeland freelyand has expressed his hope that his son will someday attend an American university.

Some critics have characterised cartoon art asephemeral, a lesser form of art than painting orsculpture. 011ieHarrington's work cannot be dis-missed so easily. His cartoons reflect their timesfrom the viewpoint of an unusually talented andperceptive man. His own experiences, temperedwith resilience and determination, provide a re-markable lens through which he views the world.Humour and outrage blend to challenge those whosee his cartoons.

This piece has been adapted from aspeech given by 011ieHarrington atthe Ohio State University's Festivalof Cartoon Art in 1992, and fromProfessor Lucy Shelton Caswell'sbiographical sketch from Cartoonsand Ethnicity.

Many thanks to OSU for permissionto use the texts and from 011ieHarrington for permission to reprintthe cartoons. Oliver Harrington con-tinues to live and work in Berlin.

Paris was a welcoming city for American expatriatesin the 1950's and 011ieHarrington enjoyed a widecommunity of friends and continued to paint anddraw Bootsie. He travelled to Berlin in 1961 to meetwith publishers interested in having him illustratea series ofbooks reprinting classic American litera-ture. While he was there, the Berlin Wall waserected and, since he lacked the proper visas, hewas unable to leave East Berlin.

He lost everything for the second time in his life andhe responded to this challenge by beginning a newexistence. After his American contracts for Bootsiewere terminated in 1963, he found new outlets forhis work in several magazines, especiallyEulenspiegel, and in the People's Daily World, aNewYork City tabloid. Harrington's pen and brushhave been described as 'weapons of combat' as hereframed and enlarged the targets for his wit. For


Cartoonistsat risk

One cartoon can be more offensive than a thousandwords. Recent articles byJoe Szabo in Witty Worldand Steve Platt in the New Statesman have cata-logued a history of political fury, often about asingle drawing, making the cartoonist the focus ofmuch anger and often putting them in personaldanger. In Thin Black Lines we featured the workof Naji al-Aliwho was shot in London at the time wewere compiling the book. Hanzala, the characterwho featured in many of his cartoons, despite "his"irmocence upset a wide spectrum of political inter-ests in the Middle East.

Joe Szabo writes - "Since the birth of politicalcartooning,there has been resentment towards thegenre and its cultivators. In the late 1800s, theAmerican Thomas Nast's cartoons landed one cor-rupt New York politician in jail. Although Nastreceived many threats on his life, he actually suf-fered no physical harm. Notso,for a group of Polishcartoonists, who were executed on May 27th, 1944for drawing against NaziFascism. Turkish cartoon-ist Sema Underger's cartoons were ripped off thewall and partially destroyed by fundamentalists,while Tw-hanSelcuk of the same country was tor-tured by the militaryjunta there in 1970.

Somehow, wegot used tothefact thatfacing violencehad been a calculated risk for courageous cartoon-ists in the past. Accepting the same in the 90s ismuch more difficult,but the coldfact is that cartoon-ists and their editors still get imprisoned, tortured,and even killed today for doing theirjobs."

Political fears about the potential influence of car-toons have prompted many attempts to restrict theactivities of cartoonists. All too often this hasinvolved infringing their human rights and threat-ened their personal safety. There have also beennumerous attempts to restrict cartoonists, for ex-ample in Philadelphia legislation was introduced in1903 banning caricatures ofpoliticians; e.g. depict-ing them as animals. However, vegetables, whichwere not covered by the legislation, can be equallyeffective! - see Thin Black Lines

In a section on stereotyping Thin Black Linesfeatures ways in which cartooning can become partof the arrnoury of propaganda "dehumanising theenemy , for example during the Falklands War.Whatever our perspective we need to gain greaterinsight into why political cartoons are so effectiveand use them to generate awareness of contempo-rary issues.

PLANTU,

Fran

The shape of the worldThe cartoons in this first collection all feature the globe. They add to asimilar collection in the original Thin Black Lines. They lend themselvesto many of the activities suggested in the introduction but they also makea good starting point for an activity to get people to have a go at drawingtheir own cartoons. Less emphasis should be placed on artistic skill thanon attempting to sum up a notion of how people see the world, or focus ona particular issue. Alternatively, people could work in groups to build upideas . . . or perhaps to draw the world as they imagine it might be seenby someone else, for example different political leaders.

Some questions to help focus discussion:

What words would you use to describe the global situations portrayed?

What threats to the future do the cartoons highlight?

Which threats to our common future do you think are the mostserious?

14 Thin Black Lines Rides AgainDevelopment Education Centre with Cartoonists & Wriiers Syndicate 15

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Development Education Centre with Cartoonists & Writers Syndicate 19Thin Black Lines Rides Again18

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HumanRightsThey invaded Kuwait, so we had no choice. Hussein had to be slopped, hisrecord on human rights spoke for itself. Aristide was overthrown but thingswere not as simple in Haiti. What's happening in East Timor is appalling butdiplomacy and persuasion must be used. And then there was [is?] Somalia,Bosnia, Northern Ireland . . . it's a good job we have our armies to protect ourrights.

Human rights begins at breakfast . . and continues with the dishes, the lunch,the dinner, the clothes line, job-sharing and equal opportunities.

Brazilian trade unionist s continue to be assassinated alongside the street kidsand the Indians; hunger continues amongst the poor in Africa and unemploy-ment makes a mockery of being born free and equal but . . . the work of theBrazilian trade union movement, Amnesty International, public compassionand generosity and community support also continue.

TURNER,

Ireland


Thin Black Lines Rides Again2223

Values ... the rightto imagine

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Some questions to help focus discussion:

From amongst this collection of cartoons about human rightswhich do you like most/least? Explain your choice.

According to these cartoonists, what are today's biggest threats tohuman rights?

Make a list of the human rights issues highlighted by thesecartoons.

From your understanding of these cartoons, who is abusing whoserights?

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Responsibility... pointingafinger?

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EnvironmentWe are in a car, racing at 70 mph towards the edge of the cliff. Everybone in our body and every brain cell is screaming "Use the brakes, usethe brakes". But the growth imperative is still seductively whisperingin our ear "No, use the accelerator".*

Reports and conferences come and go. Forests, plants, animals,oceans, lakes, come and are gone. Each week New Yorkers use up asmuch energy in commuting as all Africans use in a whole year. Humanneeds get confused with human wants [to say nothing about humangreed]. Green is the colour of the decade but brown is taking over ourmaps.

We may have fewer trees, less pure water, a gaping hole in the ozonelayer, gross over consumption alongside horrific under consump-tion but we still have our cartoonists.

[EThanks are due to Fr Sean McDonagh for this comment.]

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Ireland


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46 ThinBfack Lines Rides Again47Development Education Centre with Cartoonists (St.Writers Spilt-Envy

4E1! VOIC Cul-IATYOU'REDoft4G- To THE

EKVittothorr

BOERGER,

Japan

tiVAL? PALOMO,

Mexico

SAVEIRE

mow17

McDONALD,

Honduras

Devetopment Education Centre with Cartoonists & Writers Syndicate 49

Some questions to helpfocus discussion:

What threats to the environment do the cartoons highlight?

Make a list of the cartoons in this section which raise issueswhich involve: 11you, 21the government, 31business people and41international organisations.

Draw your own environmental issues cartoon.


DE

ANGELIS,

Italy

?f9=,

fnc• ..)F\JC:;:c

JAVAD,

Iran

DE

ANGELIS,

Italy

ARCADIO,

Costa

Rica

Development Education Centre with Cartoonists & Writers Syndicate 51

MENA,

Spain

-4424ehart-

Not even the trees. .

r_,....•••'"r (9.k

:sf r:

k 42

Ft-1-, - Ql.zr 41'' -,-.--- c- ,

•F-- it •.0.-_,Itift_.„,!Ei.€!_,.: %V%li--,:7- - :%-d., -..<.., ,,e" I:..i . g •

----fr". 1.1-.'. ------,,r-Th - 7:11, - a is. Ihibav Ici -i -ea. - ---".---% ---'-41T.-4'(-P' .„.......v;214- • 1, 417;41.--a.rstnir -;dTr"an111tr>1-4 _'•:43'it a t ansille taCI Vir, ; INC.• id 2....3/4',...t.• IVO: 4.1,7-

Als::.,,,,T------,..arirtrie7-...zatz:ftsreas;;:.."-Ir.

141... at-rairi ---,, :. ....111/4. vk .11111, V): A at..-....,,,,,,,......-.....,....i,-t...gra-3,-JA„.--:—.—,0%..„.„,„....,..,...,...fr....sit:is_.......„.....„.,a ........

‘....r,e.siey.„...". ..-.--,..>.:.....r-.1050--ScfrOMP `C.141,0 "V .. ‘• Illiiiii. V- •" ••••••killhea Ni,..\ • t. v -••%44.....bt..........r.r, '''" •:•••• "Ne.d'Irk Qf

,,a;I:.7 r %) -•

41...:‘,4•1%,„:‘....‘,....„6„'4,1Ps4s.all it- 'MO.naitU """lati4: "Ilie,,,,-1.4*.° VICIT. .c .7101Zie,fa :

(/)

*4411111)21.7. t.:AiiiinteiSr Aiicite...fi- 1,13C4:71,-S-4"."...1411 Li-JIsso......7:N.• c .4, '

„1 5114AIN'TEASYTONig.AWN/104—


53Development Education Centre wilh Carloonisis& Wafers Syndicale52 Thin Black Lines Rides Again

A

Li

.(stkitAI.EROiTilUi.W11015Rc5P115515,POPTkE5i,TAING5ANY0/7!

Jr; E>PHEsiy.E. airis VERYSPEcIAL

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GABLE,

Canada

LANGER,

Argentina

. . . Northesea. . . ?

RAESIDE,

Canada

AESIDE,

Canada

??.teigtt-ni11767el!

iDEINCIMITTRSOM

Thin Black Lines Rides AgainDevelopment Education Centre with Cartoonists & Writers Syndicate54 55

Nor the air?.;:at

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. ..tamomnalu•SINMEN-I.

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5756 Thin Mack Lines Rides AgainDevelopment Education Centre with Cartoonists & Writers Syndicate

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CUMMINGS,

Canada

58 Thin Black Lines Rides Again 59Development Education Centre with Cartoonists & Writers Syndicate

EWK,

Sweden

egcusk ,'Our I IN,Nl<

,5-etha.11 NARMyou ,A80:JrTHE 1)1PLE7IONIRE OZONE I-AS,ER

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tistof.attict<txt trzSTARTINGTO GETSUNNY/

61Development Education Centre with Cartoonists & Writers Syndicate60 Thin Black Lines Rides Again

RNER,

Northern

Irela

Now we know . . . ordo we?

LIPINSKI,

Poland

DLUHO,

Hungary

The end of an era?Some people even went so far as to claim that it was the "end of history"as we had known it. With the collapse of communism and the apparenttriumph of capitalism worldwide, the world had been turned upsidedown and we were now facing a whole new order of things.

Curiously, in many parts of Africa, Latin America and Asia, as well asamongst many groups and regions in the industrial world, the messagedid not seem to have gotten through. Things went on much as they hadbefore [and still do today] -wealth flowed from poor to rich; power did notget redistributed; poverty grew and the struggle for human dignitycontinued apace.

The New World Order appeared to be a lot like the old world order and,despite the loss of an odd leader or two, they appeared to remain incontrol.

But maybe we just expect too much '

GABLE,

Canada


Development Education Centre with Cartoonists (St.Writers Syndicate64 65Thin Black Lines Rides Again

New worldorder.. . . out of order

WRUNGUPF0RJ993

A wil RO"P \iaRRRR

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et 0 clic1c

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, 16 71:0111111,5141enitrcZ

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Austria

KIRSCHEN,

Isreal

wardaggyEggE

r•

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VertqX2tStzulAvaN4 -"IC"‘ alLan.‘71::::

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66 ThinBlack Lines Rides AgainDevelopmentEducation Centrewith Cartoonists& WritersSyndicate 67


Development Education Centre with Cartoonists St,Writers Syndicate

Economics. . . signs of the times

OVANOVIC,

Yu•os

frOMINIMIMNR

OPE/Nita a tiq\DEilvj ali\PAE(ctrip jte \143NWIMAptRM 00 A7A11111AlAimavc\;,;vg\D r;1,1A,DEIt!I?, ikL3p2A4mlit/u4AA114tt,\‘4\JApitT4DEThfr roPINuilFA''''' OP pnAD- itiDEIPANto,D,# N4,,,,. A,.m4DEINjpepiov wt,e4p4zdApAt,IT,,,,!;,DE,NwAsiso,,,,si ,^4ApemitoopoLop4v4n,40w dAPANMANf,

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PAXIMADENopcsMADE11JAPAmADE11,1,;74VMApoloiVA0 NW' INe‘We.:47,4'At m N0 InNAMPENJA4

PLANTU,

France

OLYEST-CEGOILSVOng ENCORE

c TRODVEK/ COMMIEMETEATE,k, AUSOURLHui ?

/

C“.5

kn-u_

McDONALD,

Hondura

MAXIMO,

Spain

SoRRECCMRAKYoutLHAVEToIYAKEWA(TGAAANEWRCDONAIDS!

McDonaldsin Moscow

HERELES' VIJOIMIRlunciLENIN

70 ThinBlack Lines Rides AgainDevelopment Education Centre with Cartoonists & Writers Syndicate 71


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r- - I

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Development Education Centre with Cartoonists & Writers Syndicate

75Development Education Centre with Cartoonists & Writers Syndicate

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Russia

VLAPIIiiiR

MOCHALOV

MUCHMD,ACTOR?

_r ,

itan'Af ACC//,44/MOCHALOV,

Russia

ARCADIO,

Costa

Rica

Debt . . . paying with theirlives?

CUMMINGS,

Canada

PLANTU,

France

ARCADIO,

Costa

Rica

Ao I AsK NrsELF-

156n- ir WOWfimEroz FeAcE?2

,get'1V+Zig GUATEMALA

el4pi

EIFORFANklir; FREE-CF'ADE


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Arms . . . winners. . . and losers

srillatrijiwam

CUMMINGSCANADA


83Development Education Centre with Cartoonists & Writers SyndicateThin Black Lines Rides Again82

URN

-

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0 co

CD cc

WINOMMITIMMIN

tr Nthlit 'OURSANDTANKsANDMtSSILESTANISREDUNDANTgrilE nNist-1opvi oat voR...

Some questions to helpfocus discussion:

Identify the issues/places shown in these cartoons.

What are the similarities /dissimilarities between the "old"and "new" world orders as shown in the cartoons?

Who do you think are the "winners" and the "losers"?

In your opinion, do the cartoonists show today's mostimportant issues?

Conflict. . . war no more?

puE rolit OVERWIELMAIOStaINT0Fwasna IN THEWORLAWE WOULDLIKE 10 OFFERYOUA CHANCETO LEW-YOL1RFRUSTRATIONSWITHA .

InRECTIONTS

ChooSe the Calamityat Your lihing•

`'Igs r® FInd the label with Yourtavorifte Oppreator OppteoGee.(6 Af ix label I

spciec provi estCry

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I

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ftLAWIF-RS

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CRIME

BASEBALL OWNERS

FIXMpELHRE

WC CraboSc

AFRTEA30ATILLION ProPi EARE IN DANGEROF STARVATION..

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EMERGE NCy RELIEFI5 NEEPEE. _

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HRENDT,

Netherlands

co


Mk_

w74.:.t .;•.•- vatirsi-

1,416e4isk;et

t 9-17'j

A

-

Pollution in the Gulf


ARCADIO,

Costa

Rica

cr5,---o)sr401

No-F1YZONEGABLE,

Canada

QthtATTACleilLthe14DEICKAUISs

AoRE.i.s.SCNOFSZDAMWASSUN

cF&cgs voistEst-gvNGcfEY.L9fl1;NDWAYCFRuNITEDSiAltsor-AW.R\CPAGI

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Ireland

dig TidaFATHEROFALLBATTLES

Ow:EERH48},FRANcE

BEL6/041UNITEDIfINal

ETC

TOM,

Netherlands

TURNER,

Ireland

/11111,1_

88 Thin Black Lines Rides AgainDevelopment Education Centre with Cartoonists et Writers Syndicate 89

90 Thin Black Lines Rides AgainDevelopment Education Centre with Cartoonists & Writers SyndicaM 91

TAYO.

Nigeria

Will democracy exlinguish II?

ISAAC,

Philippines

ARCADIO,

Costa

Rica

ARCACIOIA NACIONSail JoseCOSTARICA

rAdAL3MIZIERs

ItisTERI

tifSNPSOUTHAFRICAN

MEMORIAL FEDLER,

South

Africa

Molence

Volens

\4olence45'Violence Vklence

Violence c0

Viole nceLiolence V;defry2

SOUTHAFRICA'S KEYCITIES

Thefuture UNrole. . . a UNitedfuture?

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X

MITCHELL,

Australia

TURNER,

Ireland

11.k..viv

..... *H.*,

RAESIDE,

Canada

COMEIN.1"NEREAKESTILL

, PLENTYOFSEKIS

92 Thin Black Lines Rides AgainDevelopment Education Centre watt Cartoonists 8cWriters Syndicate 93

HANEL,

Germany

Development Education Centre with Cartoonists & Writers Syndicate 9594 Thin Black Lines Rides Again

WE HAVEUklactimoGAIrnsyti..

MOIR,

Australia

TOMASCHOFF,

Germany

/ ;Citti€A802 TrtEGOOD 04-D DASYS u.q+04

( uJE ))ea..e -rn PooKof okc,Awsn, TO GC

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Australia

MOIR,

Australia

ONE- oF THeSE

DAYS yoO'Ite' GOWC,'ft CF ZVST 715V

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Development Education Centre with Cartoonists & Waters Syndicate

URNER,

Irelan.

TURNER,

Ireland

HENG,

Singapore

THERI4cORICISCOMINGIRERI.IgORICISZANG!

,

TURNER,

Ireland


Index of Cartoonists

AISL1N

ALALI

AMMER

ARCADIO

BALLESTA

BANEGAS

BAS

BATELLIER

BEHRENDT

BOB

BOERGER

CALDERON

CALOI

CESC

CHAPPATTE

CHEREPANOV

CUMMINGS

DE ANGELIS

DE LATORRE Q

DLUHO

EWK

FEDLER

GABLE

GOMAA

GRAFF

HAGEN

HAM

HANEL

HARRINGTON

HELIOFLORES

HENG

ISAAC

JAVAD

JENO

JEZEK

JOVANOVIC

KAL

KAMBIZ

KAZANEVSKY

KHAKHANOW

K1RSCHEN

19, 29*, 31, 38

14

65, 66, 71, 91

18, 41, 45, 51, 53, 71,73, 76*, 86, 90, 91

28

79

18, 22, 30, 40, 44*,64, 89

38

81, 85

57, 83

46

71

20

48

33, 46

70

17, 27, 47*, 58, 61, 77, 81

48, 51

27

62

16, 36 50, 56, 59, 61

90, 91

26, 28, 53, 63, 64, 67*,87, 93

33

18

54

17

15, 95*

8-13*

79

65, 71, 74*, 97, 98

17, 61, 73, 90

25*, 51, 55, 77

19

24

23, 69

33, 35, 40, 59, 70, 84, 85,89

28

43

39

65

KOSTAS

LANGER

LEAHY

LIPINSKI

MAXIMO

McDONALD

MENA

MITCHELL

MOCHALOV

MOIR

NARANJO

NICOLIELO

OGUNBADEJO

OMAR

PALMA

PALOMO

PANCHO

PETRICIC

PLANTU

PURI

RAESIDE

RAMIREZ

RAUCH

SERGUEI

SIGNE

SKAUGE

SMIRNOV

STEINER

STRELSOW

TAN

TAYO

TESLER

TOM

TOMASCHOFF

TROG

TURGUT

TURNER

ZLATKOVSKY

66

5, 45, 48, 53, 72

27

62

25, 70

39, 49, 70, 72, 79, 86

51, 57

34, 38, 78, 83, 92

75*

30, 34, 40, 68*, 94*

4, 5, 24, 78, 82*

78

78

87

96

18, 47, 53, 72

68

23

14, 29, 70, 77, 93, 97

74

36, 41, 52*, 58*, 93

19

55

61

7, 30, 32*, 41, 51, 65

16, 45, 54, 69

17, 22, 80

27, 28

23

27

91

24

17, 35, 50, 68, 73, 88

95

60

29, 83

26, 37, 42, 60, 81, 83,88, 89, 92, 97, 98*

35

r More than one cartoon on that page]

Development Education Centre with Cartoonists & Writers Syndicate 99

AcknowledgementsWe would like to thank thefollowing cartoonists and their newspapers:

AISLIN,The Gazette, Montreal, CanadaALALI, LebanonAMMER, Weiner Zeitung, Vienna, AustriaARCADIO, La Nacion and The Tico Times, San Jose, Costa RicaBALLESTA,Madrid, SpainBANEGAS, La Prensa, San Pedro Paul, HondurasBAS, Tachydromos, Athens, GreeceBATELLIER,Le Matin, Paris, FranceBEHRENDT, NetherlandsBOB, Het Nieuwsblad, Brussels, BelgiumBOERGER, The Daily Yomiuri, Tokyo, JapanCALDERON, El Norte, Nuevo Leon, MexicoCALOI, Buenos Aires, ArgentinaCESC, Barcelona, SpainCHAPPATIE, L'Hebdo and La Suisse, Geneva, SwitzerlandCHEREPANOV, Krokodil, Moscow, RussiaCUMMINGS,Winnipeg Free Press, Winnipeg, CanadaDE ANGELIS, II Popolo, Rome, ItalyDE LATORRE Q, Ya, Madrid, SpainDLUHO, Nepszava, Budapest, HungaryEWK, Aftonbladet, Stockholm, SwedenFEDLER, The Star, Johannesburg, South AfricaGABLE, Globe and Mail, Toronto, CanadaGOMAA,Al Alam Al Youm, Cairo, EgyptGRAFF, Dagbladet, Oslo, NorwayHAGEN, Verdens Gang, Oslo, NorwayHAM, Espoo, FinlandHANEL, Frankfurter Allgemeine, Frankfurt, GermanyHELIOFLORES, El Universal, Mexico City, MexicoHENG, Lianhe Zaobao, Singapore, SingaporeISAAC, Bulletin Today, Manila, PhilippinesJAVAD, Abrar and Tanz-O-Caricature, Tehran, IranJENO, HungaryJEZEK, ItalyJOVANOVIC, Komunist, Belgrade, [Yugoslavia]KAL,Baltimore Sun, Baltimore, USAKAMBIZ,Nebelspalter, Basel, SwitzerlandKAZANEVSKY,UkraineKHAKHANOW,RussiaKIRSCHEN, The Jerusalem Report, Jerusalem, IsraelKOSTAS, Ta Nea, Athens, GreeceLANGER, Humor, Buenos Aires, ArgentinaLEAHY,Courier-Mail, Brisbane, AustraliaLIPINSKI,Szpilki, Warsaw, PolandMAXIMO,El Pais, Madrid, SpainMcDONALD,Diario El Heraldo, San Pedro Sula Honduras

MENA,ABC, Madrid, SpainMITCHELL,The Australian, Sydney, AustraliaMOCHALOV,Krokodil and New Times, Moscow, RussiaMOIR, Morning Herald, Sydney, AustraliaNARANJO, El Universal, Mexico City, MexicoNICOLIELO, Sao Paulo, BrazilOGUNBADEJO, The African Guardian, Lagos, NigeriaOMAR,Akhbar El-Yom, Cairo, Egypt

PALMA,Expresso, Lisbon, PortugalPALOMO,La Jornada, Mexico City, MexicoPANCHO, Le Monde, Paris, FrancePETRICIC, Belgrade, [Yugoslavia]PLANTU,Le Monde, Paris, FrancePURI, The Statesman, New Delhi, IndiaRAESIDE, Times - Colonist, Victoria, B.C., CanadaRAMIREZ, La Prensa, Mexico City, MexicoRAUCH, Die Zeit, Hamburg, GermanySERGUEI, Le Monde, Paris, FranceSIGNE, Philadelphia Daily News, USASKAUGE, Klassekampen, Oslo, NorwaySMIRNOV, RussiaSTEINER, The Washington Times, USASTRELSOW, RussiaTAN, Cumhuriyet, Istanbul, TurkeyTAYO,West African, Lagos, NigeriaTESLER, Moscow, RussiaTOM, Trouw, Amsterdam, NetherlandsTOMASCHOFF, Rheinische Post, Dusseldorf, GermanyTROG, The Observer, London, EnglandTURGUT, Milliyet Gazatesi, Istanbul, TurkeyTURNER, The Irish Times. Dublin, IrelandZLATKOVSKY,Moscow News, Moscow, Russia

To obtain permission to reproduce cartoons other than for use as a stimulusfor discussion with your own course groups, please write to:

Cartoonists & Writers Syndicate67 Riverside DriveNew York 10024

Fax No. 010 1 212 595 4218

100 Thin Black Lines Rides Again Development Education Centre with Cartoonists et.Writers Syndicate

Thin Black Lines Rides Again, provides a second collection ofcartoons on development, environment and justice issues

from around the world. It can be used to supportdevelopment education work in schools,

colleges and with adult groups.

4n

Development Education Centre [Birmingham]

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