Complexities of editorial cartooning

feature of the newspaper. Most scholars agree that an editorial cartoon has three characteristics – the savage ability to depict in unflattering caricature; the ability to crystallise complex issues into a simple metaphor, and the cartoon’s availability, even to those who may not be especially literate or politically aware.
They may also be described as a type of visual shorthand designed to provoke, through exaggeration, some sort of response-recognition mixed with amusement at the very least, although social or political comment is often implied too.

The cartoonist presents a visual to newspaper readers that asks a tacit question on what they think, thus readers are drawn to judge a cartoon.
A cartoon could also be described as a short hand by which humourous ideas can be absorbed by the reader with minimum effort.
They comprise a one-panel, non-continuing format that expresses an independent view or observation on political happenings or social policy. An editorial cartoon can therefore pass as social commentary.
Problems though arise when one attempts to categorise this form of newspaper art. In the broadest sense, editorial cartoons are described as being made out of two principal elements – graphic art and commentary.

They are both Art and Journalism. The techniques used to create them are entrenched in the Artworld, yet the origins of the ideas they may be based on are essentially journalistic in nature.
They are the most extreme form of expression found in newspapers, as they are not bound by the norms of journalistic objectivity. It is only through editorial cartooning that a newspaper may pour scorn on elements of society considered as “undesirable”.
However, extreme they may exaggerate, editorial cartoons are almost always primarily based on fact.

An editorial cartoon depicting Prime Minister Morgan Tsvangirai for example would accentuate his facial features, perhaps not as a true reflection of the honourable politician, but because everyone, including his most loyal supporters knows he would not win a “handsome” contest anywhere in the world.
Editorial cartoons are therefore “misfits” in the print media landscape, unable to conform to norms and set standards in journalism.

It is by no means surprising that Zimbabwe Union of Journalists (ZUJ), or National Journalists and Media Awards (NJAMA) does not have a category for cartoonists under their annual awards structure.
There is little understanding or respect for editorial cartoonists or their art within the print media circles, yet as one cartoonist puts it, their art is part of “the heart of the paper, prominently featured on the editorial page where the newspaper displays its conscience”.

There are several, prominent household names in Zimbabwe synonymous with editorial cartooning such as Watson Mukutirwa, Boyd Maliki, Wellington Musapenda, Innocent Mpofu, the late Tinaye Garande and Tony Namate.
These and others have helped shape stereotypical representations of prominent people and events in Zimbabwe throughout the decades. They have featured prominently in every newspaper that has been

published in Zimbabwe. None has been accorded a national award for their efforts.
In noisy newsrooms, cartoonists are relegated to one dark corner, authorities oblivious of their need for light and a calm environment. Understandably, the exclusive nature of their work makes it difficult for management in print media houses to adequately provide necessary support.
But there can be no excuse for National Arts and Music Awards (NAMA) organisers in shunning editorial cartoonists. Editorial cartoons may also be classified under visual art. The objective when one draws an editorial cartoon is similar to when one is developing a logo – the elements included should contribute towards the overall meaning of the composition. The drawings are mostly simplified, and the level of simplification depends on one’s style. However, the ability by cartoonists to distort and exaggerate, yet retain features that guarantees recognition of characters is a skill few others can master. The development of one’s style that confers exclusive status to any work developed by any particular cartoonist takes years to take shape.

Editorial cartooning is a complex form of art that involves hours of thinking and planning. Cartoonists are not only obliged to keep up to date with current and topical news (including politics, news, sport, arts, business), they also need to have excellent interpretational abilities that allow for metaphorical representations to be developed.
Editorial cartoonists do not have to like Alick Macheso’s music for example, but they at least have to know what it is all about. The objective of editorial cartooning is in part to capture or provoke the emotion of the reader by providing a sharp opinion of a topic that he/she already knows about.

Editorial cartoons may be conformist or subversive, politically correct or totally prejudiced, but they do not have any pretensions of being neutral and objective, like for instance what the news media does.
cartoonists are given a standard box to work in the Op-Ed page, and they creatively sketch on a daily basis. Most of Zimbabwe’s contemporary editorial cartoonists have been practising their art for decades. It is therefore a wonder how music albums released a few months before the NAMAs get more recognition than these gentlemen.

Editorial cartoons are not exclusively art, neither are they wholly journalism – they are both. There is need for both realms to recognise not just the editorial cartoons existence, but also the accomplishments of their creators who have dedicated decades to crystallising events or people into thought-provoking, funny or reflective little boxes in our newspapers.