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The tradition of court jesters licensed to criticise the king exists in many cultures. It is part of a broader tolerance of satire in which the foibles and sins of the great can be safely criticised. The Shakespearian fools are typical in representing the view of the common man as he speaks truth to power. Printed cartoons stand in this tradition.
French satirical magazine Charlie Hebdo has stirred controversy over cartoons depicting Aylan Kurdi. Superficially it appears this is about the bounds of propriety, but the hard truth is that body of a three-year old refugee cannot be a holy relic that is untouchable. What is the point of being miserable over things we cannot control?
According to large sections of the media, 'we' are all Charlie now. While it is absolutely right that we stand with the victims and their families in grief and outrage at the terrible acts that took place in Paris earlier this month, predictably we have been told that we should, as a corollary, also defend people’s rights to say what they like, no matter how hurtful it may be.
First appearing in 1906, the islamic periodical Molla Nasreddin displayed a sardonic and satirical take on women's rights, the role of religion in society and government, press freedom and education. The Arab Spring is the latest expression of this forestalled progressive sentiment.
A French satirical paper was sued for portraying Muslims as terrorists and labelling them 'jerks'. The editors would have us believe it's a case of free speech versus censorship. But there's more to it than that.
Chris Johnston draws a weekly editorial illustration for Eureka Street. He is an award winning illustrator, cartoonist, and storyboard artist of many years experience. Training in architecture and classic art techniques, he now works mostly with computer and drawing tablet, and when time allows, pursues various online graphic novel projects.