Eastern and Western restraints on press freedom

Dilem, an Algerian cartoonist under attack by the President and the country’s army chiefs, discussed a more stereotypical – but nevertheless founded – vision of press freedom in Muslim-ruled countries. He went as far as saying that all the Muslim-ruled countries lacked democratic press freedom and were poorly led (referring to a problem in the managerial methods of the Muslim leaders, not the culture itself).

Dilem, currently facing 24 trials, explained how any cartoon depicting Islam could potentially be punished by death penalty, and how seemingly trivial details (worms in a general’s cap) can lead to prosecution.

On the other hand, cartoons by Erer, the only woman, a cartoonist from Turkey, illustrated the “amazing liberty that we can’t even imagine” in countries like Turkey, said Plantu, the French cartoonist for Le Monde who set up Cartooning for Peace. Granted, in Turkey, Islam is not the State’s imposed religion.

Faced with harsh exposes of press freedom restrictions in the Middle East or Algeria, cartoonists from Western Europe could only acknowledge their privileged position; “I feel like a spoiled child” said the Danish cartoonist Graabek.

But this apparent freedom of expression may lead to even more subversive forms of censorship. Interestingly, one might have thought that the Muhammad cartoon scandal had gradually been forgotten, especially with the recent acquittal of Charlie Hebdo’s cartoonist Cabu (present at the debate, in middle of picture). But nearly all cartoonists referred to the Mohammed cartoons scandal as a key event in the evolution of press freedom – in the adverse direction. Whether North or South of the Mediterranean, editors and content deciders are much more careful – not to say conservative – in their choices.

Graabaek, who showed some cartoons poking fun at themes relating to sexism, skin color, second-hand smoking and religion, said that these themes are gradually getting harder to make fun of. For example, with the expansion of the European Union eastwards, a strip about sex traffic from Eastern Europe to the West could well be refused for publication. Not politically correct enough – more precisely, not politically correct enough anymore.

Jul, a young French artist for Charlie Hebdo, hit upon another facet of press restrictions in Western Europe. Unlike traditional restrictions, which are often political, Jul points his finger towards big businesses and “the weight of advertisers” in the written press (see Newsroom Barometer).

“There is a form of economic censorship,” said Jul. “We can hit on political figures in France but for corporate bosses it’s very difficult.”

The burden of the press’ dependence on advertisers is especially heavy for regional papers. These tacit taboos don’t only relate to religion or the politically correct. A French regional paper in a wine or sausage-producing region will have a hard time ever publishing a critical piece about those industries or their products. To an extent, subversive press restrictions in the West are even more detrimental to cartoonists’ civic duty, as the restraints result from self-imposed or constructed taboos – Jul refers to the “fabrication of conformism” by editors and advertisers.

Total freedom of expression?

Do the press cartoonists consider themselves as journalists? Perhaps. Certainly, as do or should journalists, they consider they are fulfilling a civic duty, and that their essential goal is to produce “a cartoon that can do good,” summed up Plantu.

To fulfill that purpose, should freedom of expression be absolute though?

Perhaps unsurprisingly, many of the cartoonists advocated total freedom of expression. Jul most emphatically: “it is essential that the principle of absolute freedom of expression prevails.” He pertinently argued that editors who censor respectful but aggressive content, on the basis that “it won’t please them,” are in fact undermining the power of speech and response of those portrayed in the caricatures. Especially in a day and age when anybody has the publishing capacity to speak in their own defense.

Graabaek also defended total freedom of expression. On the subject of the Muhammad cartoon scandal though, he asks why should non-Muslims, pagans, abide by Coranic, Muslim-specific, regulations. At the same time, he reminded that he didn’t root for either form of extremism.

Kichka, who works in Tel-Aviv, also believed in total freedom of expression. He responded that “we should be able to (publish anything)”, but not without an unspoken reserve. In fact, many of the cartoonists actually had a nuanced opinion on the subject.

“Freedom of expression means spilling ink, not spilling blood,” read one of Kichka’s more recent cartoons, depicting a morose artist at work. As for Dilem, he wouldn’t have published a cartoon had it imperiled the lives of others – even if he recognized that the Muhammad cartoons were in fact exploited to stimulate violence.

This maybe also answers Graabek's question, why should we abide by rules which are neither ours nor meant for us? “Nobody deserves to die for a drawing,” said Dilem.

The power of political press cartoons

Cartoons can be understood internationally, as they go beyond the language barrier, said Rana Lurie, an American who has worked for French papers and has been a soldier in Israel. For Lurie, the act of cartooning was important but not sufficient. He “wanted to take a physical part in the action,” and took advantage of his position to do so, meeting with and interviewing dozens of political leaders and elites throughout the world, trying to learn more about their hidden intents.

Cartoons have “an extremely pacifying power,” said Jul. Jul recalled how cartoons, through their humorous appeal, already helped him in real-life situations: captured by armed men, a caricature of the group’s chief eased the atmosphere, eventually leading to the artists’ release.

Of course, “this power can’t be exaggerated,” reminded Jul, alluding to a caricature of his torturers drawn by French Resistant Jean Moulin – which did little to help him out.

Khalil, a Palestinian cartoonist critical of both Israel and Palestine, was more reserved about the positive effect of political cartoons. When Hamas and Fatah entered a civil war, he believed that his cartoons may have helped to end it.  But “did I succeed? I don’t know.”

He does know why he draws though, and maybe this matters most. “I try, it’s a duty. For the sake of freedom.”

Cartooning for Peace

Cartooning for Peace was conceived by Plantu (left). In January 2006, after meeting an approving UN Secretary General Kofi Annan, Plantu began organizing Cartooning for Peace, a discussion and exhibit gathering for press cartoonists from around the world. Since then, Cartooning for Peace has hosted artists and prompted debates in New York (October 2006), Geneva, Paris, and the fourth edition is scheduled to take place in Brussels, starting on May 3 to coincide with World Press Freedom Day.

The exhibit was sponsored by, among others, Reporters Without Borders, Le Monde and the UN.

All cartoons from Cartooning for Peace website.

Source: Editors Weblog - Cartooning for Peace