Drawing the Line1

The History and Impact of Political Cartooning in Kenya

Drawing the Line

Drawing the Line2

Drawing the Line3

Drawing the LineThe history and impact of cartooning in Kenya

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Published by:

Friedrich Ebert Stiftung (FES),P.O. Box 14932,Nairobi, Kenya.Peponi Plaza, Peponi Rd.Telefax: +254-020-3748338/9Email: kenia@fes.de

and

Association of East African Cartoonists(KATUNI)P.O. Box 3613-00200,Nairobi, Kenya.Email: katuni@kenyatoons.com

(c) Friedrich Ebert Stiftung (FES)(C) Association of East african Cartoonists (KATUNI)

ISBN:April 2004

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Table of Contents

Preface 6Foreword 7

Section OneA brief history of Political Cartoons 8Role of Catoonists 14

Section TwoHistory of cartooning in Kenya 16Early Cartoons 17Juha Kalulu 19Terry Hirst and Joe Magazine 20Resident Foreign Cartoonists 22Local Cartoonists 24The Challenges of Cartooning 27The Future 29

Section ThreeThe Study 34Findings 36Conclusions 42

Directory of Local Cartoonists 42

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Preface

Friedrich Ebert StiftungKenya Office

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Foreword

By P.L.O. LumumbaSecretary, Constitution Review Commission of Kenya

The old adage “a picture is worth a thousand words” has never

been so true as in the world of cartoons. This justifies the

universal popularity of cartoons as the lingua franca of satire.

Though cartooning as a medium of communication and

expression is a relatively new phenomenon in Kenya, many a

newspaper reader has become so addicted to editorial and

thematic cartoon strips that a newspaper without either is not

considered a worthy buy.

Messages that cannot be conveyed in words for sensitivity,

political correctness or prejudice are effectively communicated

through cartoons. In a nutshell, cartoons have become the

sugar coating for the bitter but necessary message.

We appreciate the now settled role of cartoons and their creators

as the latter day conscience of the nation. Kudos to the

Association of East African Cartoonist (KATUNI) for

immortalizing the history of cartoons in the written word!

Let this initiative be not a seasonal oasis in a desert of

information but a modest beginning of what will be a vast ocean

of ‘Katunist’ message for present and future generations.

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Background

A Brief History of Political CartoonsKnife-edged and salient, there is no simpler or more effective formof journalism than the editorial or political cartoon. The message –usually critical – is instantaneous, and often funny.

Political cartoons (from cartone, the Italian word for

“pasteboard.”*) are for the most part composed of two

elements: caricature, which parodies the individual, and

allusion, which creates the situation or context into which the

individual is placed. Caricature as a Western discipline goes

back to Leonardo da Vinci’s artistic explorations of “the ideal

type of deformity”— the grotesque— which he used to better

understand the concept of ideal beauty. Over time, the principles

of form established in part by Leonardo had become so

ingrained into the method of portraiture that artists like

Agostino and Annibale Carracci rebelled against them. Intended

to be lighthearted satires, their caricaturas were, in essence,

“counter-art”.

* The Italian masters used pasteboard for rough drawings (cartoni), which were especially useful in preparing frescoes andtapestries. The word did not come to mean “an amusing sketch” until the 1840s when Prince Albert, who wanted todecorate the walls of the new Houses of Parliament in London with frescoes, opened a competition for their design. Thecartoons for the frescoes, some of them absurd in their attempts to appear heroic, were exhibited in 1843 and parodiedshortly thereafter in the English magazine Punch, thus earning the word its present meaning.

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The sketch of “A Captain of Pope Urban VIII” is representative

of the new genre in that it is a quick, impressionistic drawing

that exaggerates prominent physical characteristics to

humourous effect. At its best, it brings out the subject’s inner

self in a kind of physiognomical satire and seems to be a

comment on some facet of the Captain’s masculinity.

Caricaturas became popular with collectors, but they perceived

the “fanciful exercises” as curiosities rather than viable artistic

productions. As a result, they were not displayed publicly and

so one of the earliest modes of graphic satire remained in the

parlour and drawing room.

While caricature originated around the Mediterranean, cartoons

of a more editorial nature developed in a chillier climate. The

Protestant Reformation began in Germany, and made extensive

use of visual propaganda; the success of both Martin Luther’s

socio-religious reforms and the discipline of political cartooning

depended on a level of civilisation neither too primitive nor

too advanced. A merchant class had emerged to occupy

positions of leadership within the growing villages and towns,

which meant that a core of people existed who would respond

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to Luther’s invectives and be economically capable of resisting

the all-powerful Catholic Church. With regard to the physical

requirements of graphic art, both woodcutting and metal

engraving had become established trades, with many artists

and draughtsmen sympathetic to the cause. Finally, the factor

which probably influenced the rise of cartoons more than any

other cultural condition was a high illiteracy rate. Luther

recognised that the support of an increasingly more powerful

middle class was crucial to the success of his reforms, but in

order to lead a truly popular movement he would need the

sheer weight of the peasantry’s numbers. The distribution of

simple broadsheet posters or illustrated pamphlets throughout

population centres proved to be an effective strategy because

the images would reach a large amount of people and enjoy the

greatest possible amount of comprehension. As Barry Burden,

assistant professor of government at Harvard University, puts

it, “Satire was once the way for illiterate people to make sense

of what was going on in politics.”

An excellent example of Luther’s use of visual protest is found

in two woodcuts from the pamphlet “Passional Christi und

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Antichristi”, originally drawn by Lucas Cranach the Elder. These

two images contrast the actions of Jesus with those of the

Church hierarchy. The hegemony of religion at the time ensured

that when someone drew a Biblical episode like that of Jesus

driving the moneychangers out of the Temple, everyone would

recognise it.The artist juxtaposed the first scene with a

contemporary tableau that many people would also understand:

the Pope writes indulgences while common folk pay their hard

earned money in tribute. The two pictures clearly intend to

raise public consciousness by illustrating the premise that

changes must be made within the Church for life to ever become

more Christlike. “Passional Christi und Antichristi” also

demonstrates the artist’s use of the second element of political

cartoons-- the context of a widely-recognised story or setting—

to get his point across.

As time went on, Germanic art assimilated the Italian caricatura

and established the conventions practiced on a wide basis by

cartoonists of the 18th Century. The cartoon became a

substantial medium of commentary which took serious issues

and presented them in a manner which was not only amusing,

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and therefore more socially acceptable, but also designed to

affect the viewer’s opinion. As Western culture diversified from

its original religious foundation, new subjects became available

for discussion and subsequent ridicule; as such the appeal and

influence of cartoons on public life grew in proportion.

The American political cartoon was born in Philadelphia. This

is sometimes credited to Benjamin Franklin for his famed Join

or Die of 1974, showing a severed snake, its separate parts

labeled as colonies. But four copperplate images, a 1764–65

series, are considered the true beginning of the tradition in their

comic-but-cutting depiction of a political event, and particularly,

of Franklin himself. The series inflamed tempers during the

1764 elections and ultimately cost Franklin his seat in the

Pennsylvania Assembly, the only election he was ever to lose.

In the 18th Century the cartoonists of England, Russia,

Germany, Spain, and the United States generally declared

satirical war on Napoleon, and so effective were they that

Napoleon sent notes to the government of England requesting

their suppression, equating them with murderers.

By the mid-19th century, editorial cartoons had become regular

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features in American newspapers, and were soon followed by

sports cartoons and humourous cartoons. The effect of political

cartoons on public opinion was amply demonstrated with the

demise of William Tweed, a New York politician in the 1870s,

largely caused by the attention paid to him by cartoonist Thomas

Nast. Tweed’s exasperated response speaks to the power of

Nast’s cartoons. He demanded of his henchmen,“Stop them

damned pictures. I don’t care what the papers write about me.

My constituents can’t read. But, damn it, they can see pictures!”

In the 20th Century, the influence of cartoons was such that

Hitler and Stalin surrounded themselves with large groups of

“pocket” cartoonists who praised them extravagantly. They also

destroyed or exiled cartoonists critical of them. During the

“Battle for Britain” Englishman David Low, considered the

century’s greatest cartoonist, was put on Hitler’s “death list.”

In recent years, 29 countries have jailed or otherwise punished

newspaper cartoonists, according to the Cartoonist Relief

Network which is dedicated to the protection of the rights of

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editorial cartoonists.

The role of cartoonists

As we have seen, for half a millenium cartoonists have exposed

abuses of power, the corruption of government and the

hypocrisy of society. Cartoons provide a running commentary

on events, people, attitudes and preoccupations, and reflect

momentary shifts in public sentiment. According to one theory,

as reported by Ray Morris of York University, cartooning

depends on the political system. In totalitarian regimes the artist

is forced to praise the system and denounce its enemies. In

authoritarian regimes some dissent is allowed, and when the

regimes become brittle cartoonists mercilessly expose their rigid

foolishness. In a Western (style) democracy during peace-time,

cartoonists are watchdogs, keeping power-holders honest and

accountable. “One might then generalise that cartoonists focus

on office-holders and aspirants whom the public can hope to

defeat in an election or a popular uprising. Cartoons focus

overwhelmingly on the leaders of the party in power. Other

government and business figures are in the minority.”

According to Dr. Robert Russell, Director of Cartoonists Relief

Network and a 30-year veteran of international community

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development, human rights and humanitarian assistance “the

editorial cartoonist in most developing countries continues to

be an important and highly efficient point of national political

and policy debate.” He adds, “ As I constantly searched for

the most efficient and effective point of democratic intervention

when assigned to small Third World countries where budgets

for social development were so very small... the man on the

street could never tell me the name of any editorial writer in

their local press, but even the illiterate population always knew

who their favorite editorial cartoonist was.”

Cynthia Bailey Lee states in ‘A Semiotic Analysis of Political

Cartoons’, a study of the visual images of presidential candidates

portrayed in the editorial cartoons in the 2000 US presidential

election campaign, “political cartoons are...successful in helping

society to understand and make judgments about the extremely

complex interactions at work in political systems.”

Finally, US cartoonist Herb Block, who coined the term “Mc-

Carthyism” and attacked the infamous anti-communist

investigations of that era notes in his essay, “The Cartoon”:

“Cartooning is an irreverent form of expression...If the prime

role of a free press is to serve as critic of government, cartooning

is often the cutting edge of that criticism.”

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Section One

The historical development ofcartooning in Kenya

The history of journalism and cartooning in Kenya are closely intertwined.It is near impossible to tell the story of cartooning without going back,even if only referentially, to that of journalism. While cartooning may beriding on the back of journalism today, it can be argued that in Africa, thehistory of this art would simply dwarf that of journalism if the formerwere documented, for caricaturing is much older than journalism.

The rocks of Africa are host to millions of images caricatured

on them, literally across the continent. These go back in time

to about 12,000 years. What makes the connection between

these and later caricaturing is occasional similarity between

the way people are caricatured on the rocks and some of the

early cartoons that appear, for instance, in the Karonga

Kronikal.

Journalism in Kenya is a little over a century old, often traced

back to the founding of the East African Standard in 1902. It

is a story that can be told through the prism of a triple-M

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heritage: missionaries, mercenaries, and merchants, pretty much

in that order. The missionaries came, pioneered literacy and

publication; the mercenaries followed and furthered the course

of journalism through colonial government sponsored

publications, and finally the merchants took over, a trend that

began with the founding of Kenya’s oldest newspaper and in

spite of Africa’s history of government control of the media,

has remained largely true in the case of Kenya.

Whether early missionary sponsored newspapers carried any

caricatures is not clear since there are no records to that effect

and the copies of theses publications have since disappeared

into the mist of time. But the commercial papers, particularly

those identified with the colonial government, soon were

carrying syndicated cartoons, for the pleasure of the civil

servants.

Early Cartoons

The earliest reference to cartoons in East Africa chronicles the

circulation of caricatures among soldiers fighting in World War

I. According to Melvin E. Page, in an article titled “With Jannie

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in the Jungle: European Humour in an East African Campaign”

published in The International Journal of African Historical

Studies in 1981, “Cartoons and anecdotes circulated throughout

East Africa; at least one humour magazine, the Karonga

Kronikal, was created for and by the troops.” The purposes of

the Kronikal and other sources of humour were to boost the

morale of the soldiers and to provide an outlet for their

frustrations. Cartoons also helped define the enemy, by depicting

German soldiers comically, such as in positions impersonating

African women or as cowards hiding behind African men. In

comparing the war cartoons in Europe and those in East Africa,

Page writes: “The enemy in Europe was frequently painted in

horrific terms, a Teutonic barbarian cruelly smashing the

innocent and righteous. In East Africa, though, he was much

more amusing.” These cartoons in East Africa, however, seldom

featured Africans as subjects. What one can easily decipher is

the typical colonial stereotyping of the Africans then prevalent.

Page observes: “Even in situations where the figure of the

German was not present, the structure of the humour, rather

than the butt of the joke, often revealed this attitude toward

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Africans.”

The Kronikal, edited by Phillip Mitchell (who was later to serve

as, among other positions, the colonial governor of Kenya)

and Edmund Richards (later governor of Basutoland and

Nyasaland), was published in Livingstonia Mission in Nyasaland

(now known as Malawi). The mission was headed by a

missionary, Robert Laws, who, in setting the guidelines under

which the paper was to be published, seemed to have preferred

Britain’s Punch, as a model.

Juha Kalulu, the First Indigenous Cartoon

Indigenous cartoons in Kenya started with E.G. Gitau about

1950. A former electrician, Gitau came into cartooning literally

by accident. He had fallen off the roof of a building while laying

wires, in the process breaking his arms. No longer able to handle

heavy objects, Gitau discovered his artistic talent and started

to draw. The cartoon strip that he launched then, “Juha Kalulu”

still runs today.

“Juha Kalulu” draws from two African languages: “Juha” being

Kiswahili for a clown and “Kalulu” being Nyanja (spoken in

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Malawi) for hare. The strip features a man and his constant

companion, a dog. The main character is a wanderer roaming

the countryside often on missions that would be befitting a

clown. The comic strip, Kenya’s longest running, first appeared

in Tazama. When Tazama folded, Gitau moved the strip to

Baraza, another Swahili newspaper. While Gitau drew for these

newspapers, he also contributed cartoons to some vernacular

ones. Baraza (founded in 1939) folded just shortly before

independence. Gitau then, in 1960, moved his strip to Taifa,

launched a year earlier as a weekly, later to become a daily.

According to Gitau, the only other cartoonist during this early

period was William Agutu. When other newspapers carried

cartoons, if they were not from Agutu or Gitau, then they were

syndicated. “Juha Kalulu” thus enjoyed monopoly until the

emergence of Terry Hirst in the mid-1970s.

Terry Hirst and Joe Magazine

Terry Hirst was the first political cartoonist in Kenya. He closed

the decade of the seventies and opened up the eighties with his

Friday feature at the Daily Nation which fast gained a following.

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He specialised in depicting social scenes and the then quiet

political life in rural areas. He teamed up with Hillary Ng’weno

in the early 1970s to launch Joe Magazine, a lively monthly

magazine featuring the character “Joe” through whose eyes

the reader was exposed to a variety of social issues. Unlike

“Juha Kalulu” which never cared for social issues or politics,

Joe did not shy away from the political. The realism of Joe was

infectious; he almost had a life of his own. Unlike characters in

other cartoons, who are obviously fictional, Joe gave the

impression that he was a next-door neighbour. If something

affected ordinary people, Joe could be depended upon to speak

on your behalf, and chances were that his views would pretty

much represent what you would have said. Though the

magazine ran for only about three years, Joe provided the

inspiration for many of the cartoonists who followed. Besides

serving as a role model, Hirst unlocked the potential of cartoons

to discuss any issue. When the magazine ceased publication, it

was as if the country had lost a national celebrity. Nearly a

quarter of a century later, Joe is still remembered fondly on

Nairobi streets.

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Ng’weno later founded the weekly Nairobi Times newspaper

(later to be sold to KANU and re-christened Kenya Times),

issued every Sunday, and The Weekly Review, a weekly news

magazine issued every Friday. Nairobi Times became a launch

pad for budding cartoonists. After the collapse of Joe, Hirst

was seldom heard of in the cartoon world.

Resident Foreign Cartoonists

The cartoonists who immediately followed Joe were from

outside Kenya. Three were particularly influential: Tanzanian

Philip Ndunguru, Ugandan James Tumisiime and Ghanaian

Frank Odoi. Ndunguru joined Kenya Times in 1983, where he

introduced “Kazibure”, which became a hit with readers as a

social comic strip. “Kazibure” literally means “of no use” and

the main character spent time essentially living up to the title.

The strip connected to the social issues that had been Hirst’s

forte. Sadly, Ndunguru died in March 1986 at only 24.

James Tumisiime, an agricultural economist, joined the Daily

Nation where, besides drawing political cartoons, he wrote

humour. When Hilary Ng’weno founded Nairobi Times

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Tumisiime became an economics correspondent and later

business editor; he continued with the paper even after KANU

acquired it in 1982 and changed the name to Kenya Times. At

the Times Tumisiime drew cartoons as well. One of his most

popular characters was “Bogi Benda” who is probably best

described as an African “Andy Capp”. Tumisiime published

two comic books while still in Kenya. In 1986, he moved back

to Uganda where he has been involved in many pursuits

including serving in the Ugandan cabinet.

“Kazibure” and “Bogi Benda”, while providing continuity and

acting as an important bridge, still pale in comparison with the

robust environment that Hirst set in Joe.

Ghanaian born Frank Odoi started drawing political cartoons

for the Nation in 1979. Odoi, who now produces a series of

weekly comic strips, is one of the most socially and politically

conscious, and longest active cartoonists on the Kenyan scene.

His characters tend to be much more mature and his themes

more complex, reflective and intended for adult readership,

particularly in the comic strips, “The Mermaid of Motaba” and

“Golgoti”. His other columns include “Akokhan”, “Radi”,

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“Living World”, “Checkmate,” and “Apex”. Odoi’s work has

been published broadly in the Nordic countries and throughout

Kenya, Tanzania, and Uganda.

Like Hirst, Odoi, Tumisiime and Ndunguru have served as role

models for later Kenyan cartoonists.

Local Cartoonists

About the same time Odoi was working at the Daily Nation,

local cartoonists begun to make their presence felt. One of

the first was Koskei Kirui whose work was published in the

East African Standard. However, Koskei was to remain

largely a commentator on social subjects.

Paul “Madd” Kelemba was the first indigenous political

cartoonist to reach national prominence. Madd joined the

Nation in 1986 as the country’s first full time staff editorial

cartoonist. Prior to that, he had been caricaturing for in-

house magazines and publications in Mombasa on the

Kenyan Coast. At the Nation, Madd was primarily an op-ed

cartoonist focusing on political and social issues. According

to Sunday Nation editor John Agunda, “Maddo was...as

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naughty as ever.” He provides the clearest connection to

Hirst, as his cartoons and themes have a remarkable

semblance to those in Joe.

During the 1980’s when the first local editorial cartoons were

printed in the local dailies, the prevailing political climate

discouraged cartoonists from exploring sensitive subjects. For

example, while one could caricature ministers and provincial

commissioners, cartooning the President was out of the

question, at least in the formal media. There were such drawings

in the informal publications but these were largely underground

papers with limited circulation, such as the clandestine press of

the University of Nairobi. With the agitation for political change

in the late 1980s and early 1990s, cartoonists became bolder

and Madd is credited with being the first to caricature the then

President Daniel Arap Moi. Though the presidential caricature

has since become commonplace in Kenyan cartoons, back then

it was revolutionary.

As newspapers recognised the important contribution

cartoonists could make, more opportunities opened up. James

“Kham” Kamawira was hired as the main editorial cartoonist

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for Kenya Times, after which, he worked briefly, still as a

cartoonist, for the East African Chronicles, before settling in

at the Standard. When Madd moved to the Standard, Tanzanian

Godfrey “Gado” Mwampembwa replaced him at the Nation

and was to become one of Africa’s most internationally

celebrated cartoonists. Gado’s works have appeared in a number

of publications such as New African in the UK; Courier

International and Le Monde both in France; the Financial Mail

and New Nation both in South Africa; Washington Times, Des

Standard of Belgium, and Japan Times.

Today, most local dailies have more than one staff cartoonist

on their payrolls. For example, the Nation has a pool of six

cartoonists. The editorial cartoon is a permanent feature of

editorial pages and the popularity of the composite cartoon

commentary pioneered by Madd’s “It’s a Madd Madd World”

is testimony to local cartoonists’ talents as social and political

commentators.

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The Challenges of Cartooning

One of the challenges that Kenyan cartoonists face is finding

sufficient media through which to expose their work and exploit

their talent. With only four newspapers, of which only two, the

Nation and the East African Standard are truly mass

newspapers, the challenge for any budding cartoonist is

formidable. Although the other two dailies, Kenya Times and

People, are also mass oriented, their combined circulation is

still less than that of the Standard. The two main dailies can

use only a limited number of cartoonists. At the moment, the

Nation Group has about six cartoonists but only a few of them

publish regularly. Hardly any of the country’s numerous

magazines use cartoons. The efforts by Communication Artists

Limited (CAL), a company founded by four of the leading

cartoonists, have led to the launching of several cartoon-based

publications including The African Illustrated, and Penknife,

all of which have ceased publication after a limited number of

issues. (Penknife though has been resurrected as an inser in the

Sunday Standard).

Kenyan cartoonists have an identity crisis — whether they are

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an independent profession or part of journalism. Though they

definitely consider themselves journalists and, according to its

Secretary-General Ezekiel Mutua, are recognized as such by

the Kenya Union of Journalists, they feel that the specific title

of “Cartoonist” is not well regarded.

The problem that figures topmost in cartoonists’ minds, is that

of editorial censorship. Paul “Madd” Kelemba is concerned

that “editors will...water down cartoon commentary

development and push it back to where it was at the outset

thirty years ago.”

Though Kenyan cartoonists nowadays enjoy a relatively large

degree of freedom and the fact that no cartoonist has been

charged or sued in court is testimony to this, they are alert to

any developments that may endanger this freedom. For example

when in 2002 Parliament enacted a law curtailing press

freedoms, cartoonists organised a workshop to discuss the effect

on their work and to lobby for the law’s repeal. Another worry

is the occasional threatening phone call from individuals who

do not like the cartoonist’s portrayal of them. All top cartoonists

have reported receiving such calls at one time or another.

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The Future

Cartoonists are coming together to tackle some of these

difficulties. In addition to forming commercial entities such as

CAL, they have established the Association of East African

Cartoonists (KATUNI) which was set up in 1998. KATUNI

has partnered with organisations such as the Friedrich Ebert

Foundation in various projects including launching a website,

www.kenyatoons.com, where works of cartoonists are

displayed. The website is a boon to both established and less

known cartoonists.

KATUNI has also made a concerted effort to improve local

cartooning skills through workshops and seminars. The

association has also strived to keep cartooning relevant by

organising local and international cartoon exhibitions on issues

such as terrorism and the Constitution review process.

Where is cartooning going in Kenya? Given the reception and

development that cartoons have undergone in the last 20 years,

there future of cartoons is perceived as bright. Cartoon use in

the traditional media is on the rise and opportunities have been

identified in other fields. An increase is also perceived in demand

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for comic books/magazines, especially among young children.

More ways to depict cartoons are evolving as Kenyans move

from the newspapers to books and even the internet in search

of cartoons. A study carried out by KATUNI* showed that a

significant 36% of the populace came into contact with cartoons

through TV. This has compelled many cartoonists to view

animation as a means of widening the reach of their works.

And they feel that more young people are expressing interest

in taking up cartooning as a profession. With the efforts of

KATUNI, many feel it won’t be long before cartooning is

recognised as a distinct profession.

In other parts of the world, cartoons and comics have been

very popular as a teaching resource. In Mexico, they have been

used in bilingual courses, and throughout Asia, teachers use

comics as the first step in literacy campaigns. Malaysia’s

Creative Enterprises, through its Bambino comic magazine,

promoted poetry, moral lessons, and stories of legendary Maly

warriors; Thailand’s Department of Non-Formal Education

published comics designed to teach rural people everything from

breastfeeding to workers’ rights. The same government

* See Section 3

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department in Nepal developed comic books to teach reading,

writing, and mathematics, using stories that were dramatic,

provocative, and able to discuss serious social issues.

Japanese educational comics have had phenomenal success,

starting with “Oishimbo” (Gourmet), a serialised cartoon

published as a book in 1984. Each of its 15 volumes sold more

than one million copies. The Hong Kong-based Asiaweek (May

6,1988) said Oishimbo is a “story of a lazy newspaper reporter

who transforms himself, Superman-like, into a gourmet chef

who offers tips on cooking and sometimes pontificates on

related issues, such as the hazards of artificial flavoring.” One

of the most popular educational comic books has been The

Japanese Economy for Beginners, a four-volume work

explaining the country’s complex economic system. Each of

the first three volumes almost immediately sold 1.5 million

copies. An English-language version was published in the U.S.

The Japanese government picked up on the idea as its Economic

Planning Agency issued a comic book explaining the 1987 White

Paper on the Economy.

For years, the Chinese government issued serial picture books

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for educational and propaganda purposes. In Angola in the

1970s, a comic book was designed and distributed by the

Popular Movement for the Liberation of Angola to teach

illiterate masses the meaning of independence and the path to

it. One of India’s main comics editors, Anant Pai, started his

own magazines when it struck him that foreign comics were

damaging Indian children. Appalled at young people’s ignorance

of Indian history, mythology, and folklore, he combined a simple

format, Indian classics, and historical events in his comics, which

by 1984, included 300 titles. His comics helped with national

integration and provided a substitute for storytelling

grandparents displaced in the dissolution of the family system.

There are other examples of comics used for developmental

purposes. In Peru, a book of line drawings was distributed to

illiterate and semi-literate peasants to promote immunisation

and family planning, while Pakistan’s Aga Khan Central Health

Board did comic books to encourage people to use iodized oil

capsules for the prevention of goiter. Elsewhere, comic books

carried health messages to rural Honduran children, explained

a controversial government bill in Singapore, warned children

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about AIDS in Hong Kong, and pointed out the dangers of

smoking in Malaysia.

In the Philippines, where “komiks” are considered the national

book, they have been used in campaigns about family planning,

the Green Revolution, the exodus to the cities, pollution, drug

taking, alcoholism, stereotypes of women, and nuclear power.

Obviously, we are not talking about comics as an educational

tool in the classroom alone. That is important, but so are the

educational potentials of comics in other spheres such as

building morals, social concerns, awareness, and empathy. Thus,

inside and outside the classroom, comics can be a potent teacher

and enough documentation exists to show that they have been.

Kenyan cartoonists would do well to explore these areas as

avenues of utilsing the power of cartoons.

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Section Three

The StudySponsored by the Friedrich Ebert Foundation (FES) and carried outby KATUNI, this study broadly sought to assess the impact of editorialcartooning on the political development of Kenya. While difficult tomeasure directly, an indication of this impact could nonetheless begotten by studying cartoonists’ effect on public attitudes and thereactions of politicians/government to cartoons.

Objectives

The specific objectives of the study were:

To explore public perceptions and attitudes to cartoons;

To explore the effect of cartoons on the politics of the country.

Methodology

The study was carried out in three phases

Quantitative survey

A questionnaire with both open and closed questions was

administered to a selectively random sample of newspaper

readers. The objective of this phase of the research was to

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quantify the responses from a sample that was representative

of newspaper readership in Kenya. 700 interviews were carried

throughout the major urban towns selected for the study

included Nairobi, Mombasa, Thika, Machakos, Nakuru,

Eldoret, Kakamega, Kisumu and Kisii.

In-depth interviews

Face to face interviews were conducted with newspaper editors,

cartoonists, political and social commentators.

Focus group discussions

Two focus group discussions were conducted in Nairobi. The

two groups were split into cartoon consumers and the cartoon

artists.

In addition to the above, desk research was carried out over

the internet and particular reference was made to the work of

Levi Obonyo who was then completing a PhD dissertation on

Kenyan cartooning at Temple University in the USA.

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The FindingsThe study focussed on newspapers as the major carriers of editorialcartoons. The newspaper market is dominated by two publications,the Daily Nation and the East African Standard.

Exposure to cartoons

88 % of the respondents read newspapers daily or several time

a week. This indicated that the majority of the respondents

were in contact with editorial cartoons on a daily basis.

Most interesting sections of the newspaper

Headlines 36%

Editorial 21%

Sports 20%

Business 7%

The editorial pages (where most newspapers print the daily

editorial cartoon) were second only to the headlines as the most

interesting section of the paper.

Newspaper association with cartoonists

About 75% of the respondents correctly identified Gaddo and

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KJ as cartoonists for the Nation newspapers. 63% of the

respondents correctly listed Kham and Maddo as cartoonists

for the EA Standard.

Though self-published results of readership by one of the two

dominant newspapers have indicated a market share of 80%, a

majority of respondents could correctly identifycartoonists for

the rival publication. This indicates that cartoonists’ popularity

spans the divide.

Would cartoons make you buy a newspaper?

Almost half the respondents said their purchase decision would

be influenced by the presence of cartoons in a newspaper. This

indicates a demand for cartoons among the consumers.

Most attractive feature of cartoons

Humour 45%

Message 37%

Artistic Skills 15%

The above speaks to the effectiveness of cartoons as carriers

of political messages.

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Cartoon retention and recall

Some of the more memorable cartoons included:

“Moi dancing ndombolo”“President Kibaki’s Nose while playing Golf”“Moi and Raila as bed fellows”“A person tied to a [bicycle taxi], that hasmet the new transport regulations”

75% of the sample could remember some cartoons. It is evident

that cartoon recall was based on the humour it generated or

particular issues addressed. Some of the cartoons were

published in 2002 which demonstrates that cartoons can be

retained in memory for a long time.

Why cartoonists employ caricature

83% thought caricature served to emphasise message or to

inject an element of humour into the message. Only 8% saw it

as a personal attack on the “victim”.

Issues ignored by cartoonists

Spiritual, sexual, economic and education issues were said to

be ignored areas by cartoonists. Only 3% felt that fear of

government was a hindrance to the work of cartoonists.

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Cartoonists perceptions of their role

Cartoonists described the focus of their art as using humour

to highlight important issues and regulate the behaviour of

political leaders:

“A cartoonist uses humour to make a point.”“We draw the public’s attention to serious issues inthe political arena.”“Cartoons demystify people in power and bring themdown to a level where they can be viewed as normalhuman beings who make mistakes!”“Cartoons serve as a mouth piece for the weakermajority who cannot express themselves”

Most cartoonists felt their work was constrained by timid

newspaper editors and the cultural values in the country.

They also complained of a shotage of sufficient media

through which to expose their work and exploit their talent

“We are hopeful that we will get a new genre ofeditors”“The number of newspapers in the country is limitedand cannot effectively cater for the interest of thedifferent communities”“The editorial contents of the papers target the urbanmiddle class and hence misses out on the ruralpopulace”“Some subjects, such as sex or religion, are regardedas taboo”

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Consumer perceptions

Cartoonists’ work is described as well researched:

“I think they are great researchers.. They would notjust draw anything out of the blue”

Cartoons educate and inform:

“Cartoonists have a message because I can connect towhat they are saying.”

Cartoonists’ work is also seen as elitist:

“You must have gone through some point ofschooling”“It’s a kind of a leisure activity for the elitist groupwho are knowledgeable”

Cartoonists ar perceived as humourists:

“Cartoonists are expected to make people laugh”

Effect of cartoons

The in-depth interviews revealed that many felt cartoonists had

inspired the public to be bold and question politicians on issues

affecting their lives. They also thought cartoons had an effect

on the behaviour of politicians.

“The bolder they are the more bolder we become”“Cartoons inspire people to discuss things”“They are an effective way to communicate seriouspolitical issues without the fear of facing the law”“Cartoons have made politicians cautious and watchfulwith their words”

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Though no cartoonist reported ever being arrested, jailed or

even sued due to a published cartoon, all top cartoonists

reported receiving threatening phone calls. Newspaper and

magazine editors also reported phone calls from leaders angered

by cartoonists’ portrayals of them. One politician complained

about his consistent portrayal as a gorilla and another called

the proprietor of one of the largest circlation dailies to complain

about the cartoonist’s constant portrayal of him as a suckling

baby. Following the publication of Madd’s caricature of

President Moi in the 1990s, a former editor at the Society

magazine reported harassment from the Police.

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Conclusions“The news media...are a major instrument of social change. Theymake indispensable inputs to the psycho-political life of a transitionalsociety via the minds and hearts of its people.” Lerner (1974, p. 870)

Editorial cartooning has traditionally served as a visual means

of protest. This tradition has been carried forward by Kenyan

cartoonists beginning with Terry Hirst in the 1970s right down

to the present. Though it is difficult to establish a link between

Kenyan cartoonists’ work and a particular political event, it is

clear that cartoons have greatly influenced public attitudes

towards political leaders. Kenyan cartoonists see the focus of

their art as regulating the behaviour of political leaders and

have largely succeeded in their goal of “bringing them down to

a level where they can be viewed as normal human beings who

make mistakes!” The study also demonstrated that political

leaders were aware of the power of cartoons and have either

ameliorated their behaviour or resorted to threats in an effort

to counter it.

Editorial censorship was cited as one of the greatest

impediments to cartoonists’ work. The media’s justifiable fear

of governmental or judicial backlash (justifiable if one takes

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into account the KANU regime’s efforts to muzzle the press

through legislative and judicial means, e.g. the 2002 Media

Bill and the huge libel awards by the courts) coupled with the

fact that they target largely the urban based middle class means

that cartoonists are cut off from certain topics and audiences.

According to Levi Obonyo, who is doing a PhD dissertation

on Kenyan cartooning , cartoons have served “as commentaries

on political issues, a synthesised rendition of the...news, and a

depiction of the socio economic condition of the society.” The

public perceives cartoonists as fearless and objective, if

humourous, commentators on the behaviour of hitherto

untouchable politicians. Their use of pennames, such as Gado

and Madd, may insulate them from accusations of ethnic bias.

Even their use of caricature is not seen as an attempt at personal

ridicule. The study also demonstrated a high level of

appreciation and demand for their work.

Cartoons were also shown to be an effective means of passing

information as demonstrated by the fact that many respondents

could still remember them (and the issues they raised) even

after long periods of time.

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Arum TidiP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

Association of East AfricanCartoonists (KATUNI)P.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.comwww.kenyatoons.com

CelesteP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

Communicating Artists Ltd3rd Flr. Revlon PlazaP.O. Box 3613-00200 NbiTel: 020-341715gathara@kenyatoons.comwww.kenyatoons.com

Daniel “Hyaena” MuliP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

David “Mwalimu” KarogoP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

David Kimutai KimtumP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

Dupaul Kayuwa-mpoyiP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

FoziP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

Frank OdoiP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

GammzP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

Godfrey “Gado”MwampembwaP.O. Box NbiTel: 0733-377653gado@gado.netwww.gado.net

J. NyagaP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.comwww.kenyatoons.com

James “Kham” KhamawiraP.O. Box NbiTel: 0722-377653khamland@hotmail.com

Directory of Local Cartoonists

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John “KJ” KiarieP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.comwww.kenyatoons.com

John Paul SagalaP.O. Box 3613-00200 NbiTel: 0733-377653keeponeking@yahoo.com

Joshua NanjeroP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

KourierP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

Martin KhamallaP.O. Box 3613-00200 NbiTel: 0733-377653maddo@maddworld.netwww.maddworld.net

Patrick GatharaP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.comwww.kenyatoons.com

Paul “Madd” KelembaP.O. Box 3613-00200 NbiTel: 0733-377653maddo@maddworld.netwww.maddworld.net

Stanislus “Stano” OlondeP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

Tuf MulokwaP.O. Box 3613-00200 NbiTel: 0733-377653tufmulokwa@yahoo.com

Victor NdulaP.O. Box 3613-00200 NbiTel: 0733-377653gathara@kenyatoons.com

James Ayaga MidegaP.O. Box 147, ThikaTel: 0733-800652

John Mbugua NjathiP.O. Box 40658, NbiTel: 020-751515njathiarts@yahoo.com

Raphael Kiptoo KimosopP.O. Box 13112-00100 NbiTel: 0722-834500envoguedc@yahoo.com

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The history of cartooning in Kenya, as it is elsewhere in Africa, isindeed a work in progress. Little has been written on Kenyanjournalism, and even less on cartooning. A generation ago, Kenyahardly had any cartooning of significance. But in the last two decades,cartoonists have taken the media, by storm. Today, all the majornewspapers in Kenya feature political and comic strips. Thispublication sets out this history and also explores the impactcartooning has had on the political development of the country. Thebooklet was compiled by Patrick Gathara of the Association of EastAfrican Cartoonists (KATUNI) and funded by the Friedrich EbertFoundation (FES).

FRIEDRICHEBERT

Association of East African Cartoonists

KATuNI