Political satire through cartoons has long been an effective vehicle of critique and discourse in Kerala, where politics influences every aspect of life. This exciting history of political cartoons is a lot more than humour; it’s an honest debate with power, a tool for resistance, and a reflection of Kerala’s intricate sociopolitical landscape. Kerala cartoonists cover everything from critique of political leaders to exposing societal hypocrisies, they have not only created controversy but have also shaped the region’s political discussion.
A Tradition Rooted in Satire and Resistance
Kerala’s satirical culture can be traced back to poets such as Kunchan Nambiar, who pioneered Ottanthullal, a sarcastic performance art that criticised the elite and governing classes. Political cartoons, in numerous ways, represent a modern extension of this longstanding genre. Kerala cartoonists have used piercing wit to speak uncomfortable truths, often wrapped in humour, making the public reflect on deep-seated issues.
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For example, the following historic cartoon by Shankar, highlighting the power struggle within Jawaharlal Nehru’s cabinet remains a classic example of biting satire. This illustration pointed to the delicate act of balancing diverse interests in India’s early leadership, setting a precedent for cartoonists nationwide.
Political cartoons in Kerala explore themes that range from election scandals to corruption to private controversies involving politicians. Their role is paramount in a society where political awareness is growing and everyone appears to be invested in state governance. In such a scenario, cartoons function as a mirror, reflecting the peculiarities and foibles of politicians and their policies in a way that goes beyond parody.
The Fine Line Between Satire and Offence
One of the most visible aspects of Kerala’s political cartoons is their forthright approach to controversy. Kerala cartoonists have come under widespread criticism from the politicians they caricature, and also from religious and societal groups. An instance of this is Subhash K.K.’s award-winning cartoon which effectively ridiculed Franco Mulakkal, the bishop accused of repeatedly abusing a nun. Depicting Mulakkal as an arrogant, domineering rooster, the cartoon underscored the nun’s vulnerability and connected the imagery to the bishop’s controversial reputation.
This satire not only highlighted the seriousness of the accusations but also served as a commentary on power dynamics within the Church and the treatment of women. By portraying the bishop in a demeaning manner, the artist challenged societal norms and called for accountability and justice.
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Similarly, during the Sabarimala Temple Protest of 2018, a cartoon depicted Chief Minister Pinarayi Vijayan carrying a female devotee on his head while she took a puff from a cigarette, humorously critiquing the government’s handling of the situation. This illustration cleverly highlights the tension between the government and the protesters, suggesting that the administration is burdened by the contentious issue of women’s entry into the temple.
The cartoon serves as a satirical commentary on the perceived insensitivity of the government towards devotees’ sentiments, using humour to encapsulate the broader struggles over faith, identity, and political authority in Kerala. This instance reiterated the rising contradiction between traditional religious values and progressive legal rules, proving the delicate balance that Kerala cartoonists frequently tread.
Censorship and the Shrinking Space for Satire
Despite its long history, the room for political cartoons has been dwindling. Cartoonists are voicing concern about the rising challenge of criticising political leaders without crossing borders which invites strong backlash. Cartoonist E.P. Unn, one of Kerala’s most well-known satirists, once commented that the Indian Constitution has grown to feel like a cartoon—an example of how frustration has permeated the area of political art.
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Kerala’s political cartoonists, while highly commended inside the state, face issues that cartoonists from other parts of India are all too familiar with—censorship, threats, and a shrinking space for dissent. Prominent cartoonists such as Unni and T.K. Sujith addressed these concerns in a recent conversation titled ‘Cartooninte Kaatu Poyo’. Sujith emphasised that, while Kerala values political satire, cartoonists in other states have faced real backlash, including legal action and censorship, for addressing the same issues.
Challenges in Print and New Media
As Kerala’s political landscape shifts, so do the public spaces where these cartoons appear. The move from traditional print media to the digital age opened up fresh prospects for cartoonists. However, as E.P. Unny points out, while the web provides greater freedom than news television, it still has limitations. The limited space for political cartoons in the English press, along with the effort to balance sarcasm and sensitivity, has made it more challenging for cartoonists to succeed.
Digital platforms such as social media have resurrected political satire, but they have also multiplied its repercussions. For starters, sketches criticising the ruling powers—whether at the state or national level—are often met with a bombardment of internet harassment. Cartoonists must struggle with trolling, bullying, and even threats to their safety, all while attempting to continue their craft.
Cartoons as a Voice for the People
Political cartoons in Kerala are more than mere jokes; they are strong arsenals for opposition and are no strangers to controversy, yet their work remains influential. One example is the cartoon on the Police Amendment Act, targeting a proposed law granting police increased authority to penalise “offensive” social media posts.
In the cartoon, Chief Minister Pinarayi Vijayan wields a hammer and declares, “Trust me, I will not misuse it,” with a nearby newspaper labelled “Controversy Over Police Amendment Act.” This cartoon by Satish Acharya underscored public fears about government overreach and the erosion of freedom of speech. Although the amendment was ultimately withdrawn, the cartoon highlighted the vulnerability of personal expression in the face of expanding authority.
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During the 2018 Kerala floods, cartoons captured both the state’s sorrow and resilience. A popular cartoon portrayed Kerala’s fishermen as heroes for their selfless efforts in rescuing flood victims. This image became a symbol of unity and community strength, showing how political cartoons can also celebrate collective bravery and inspire solidarity.
Another significant piece was the “Get Out” Cartoon, which targeted Pinarayi Vijayan’s blunt dismissal of former Health Minister K.K. Shailaja during a cabinet reshuffle. In the cartoon, Pinarayi Vijayan tells K.K Shailaja, widely known as “Shailaja Teacher”, to get “Out”—a direct reference to his infamous response to a journalist. This cartoon sparked debate on political decorum and internal power dynamics, especially given Shailaja’s popularity. It resonated with audiences by illustrating an unsettling power imbalance within Kerala’s leadership.
Controversy and Criticism: A Double-Edged Sword
Political cartoonists in Kerala have long dealt with controversy from both sides. In another controversial cartoon, Vijayan was depicted with a slight hunch, symbolising his remarks linking Malappuram district to communal tensions.
The image spurred dialogue about communal sensitivities, highlighting the complex interaction between political rhetoric and regional identity. By satirising Vijayan’s stance, the cartoonist held a mirror to the tensions surrounding communalism and public discourse in Kerala, showcasing how satire can spotlight nuanced issues.
The most recent example is a cartoon depicting PP Divya in a powerful position, with police executing her commands, capturing public outrage over alleged misuse of authority and selective law enforcement. In the wake of Naveen Babu’s tragic death, many viewed the cartoon as a reflection of the mental and emotional distress faced by those caught in the crossfire of political gamesmanship.
The cartoon’s symbolism combined with Naveen Babu’s tragic suicide, sparked widespread discussion and fuelled public anger. While the cartoon polarised opinions, it also served as a tool for public discontent and a demand for accountability.
Keeping Satire Alive: The Future of Political Cartoons
Despite censorship and criticism, Kerala’s political cartoonists continue to be creative, ensuring that satire remains a critical component of the state’s political conversation. Events like Doodle Days and Chiripooram, which featured over 100 cartoons illustrating the disputed Lok Sabha elections, strive to keep the art form alive. These forums not only honour the work of veteran cartoonists but also introduce the next generation to the art of political satire.
As cartoonist K. S. Ranjith aptly observed, “In times of strife, our pens become more potent; they are the voice of the common man.” This emphasises cartoonists’ insatiable drive to remain relevant and effective in a swiftly shifting political scene.
In an era when political cartoons are increasingly under threat, Kerala’s cartooning tradition stands out as a beacon of free expression. Even when the space for satire shrinks, the cartoonist’s pen remains powerful mirroring those in power while giving a voice to the people.
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