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CARTOONISTS - FOOT SOLDIERS OF DEMOCRACY
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Acclaimed director Radu Mihaileanu (The Concert, The Source, Train of Life, Live and Become) teams up with
Plantu, a cartoonist with French daily newspaper Le Monde for the last 40 years, to tell the story of 12
cartoonists from all over the world for democracy. The risks they run every day - often finding themselves in
the front line - and the reactions and debates they provoke give us a subtle insight into the state of freedom
of expression and democracy in the world today.
SYNOPSIS
12 loveable lunatics, capturing the comic and tragic in all four corners of the earth: cartoonists who risk their lives
to defend democracy, with a smile on their faces and a pencil as their only weapon. They are French, Tunisian,
Russian, American, Burkinabese, Chinese, Mexican, Algerian, Ivorian, Venezuelan, Israeli and Palestinian.
AN INTERVIEW WITH STÉPHANIE VALLOATTO director
"This film surveys the state of democracy in the world through the experiences of twelve daring and funny
cartoonists defending the freedom of expression in their respective countries—France, China, USA,
Venezuela, Mexico, Algeria, Tunisia, Israel, Palestine, Ivory Coast, Burkina Faso—by drawing about themes
as strong as religion, economics, finance, politics, war... The cartoonists permanently test the degree of
democracy in their country and put themselves in the frontline: they are the foot soldiers of democracy."
Can you tell us how this project began?
This documentary project originates in the friendship between Radu Mihaileanu, filmmaker and producer,
and Plantu, a cartoonist for Le Monde newspaper for over 40 years now. Mutual admiration and shared
values led them to come up with the idea of a film about cartoonists' combat for democracy. Having seen
my latest documentary, a portrait of writer and journalist Philippe Labro, Radu Mihaileanu asked me,
through his co-writer Alain-Michel Blanc, to direct a film about cartoonists, these foot soldiers of
democracy, all over the world.
Before we settled down to write, we did research together, worked on the subject and selected a dozen
cartoonists, out of about a hundred, as the most representative of the world's problems—political or
military dictatorships, economic pressures, mafia, religion.
With Cyrille Blanc, the film's coproducer and lighting cameraman, we filmed encounters with cartoonists
in France and the USA, which allowed us to edit a teaser and extracts to present to the film's potential
partners. Also, while filming these meetings in New York City, we submitted the project to the Media
Department of the UN. They immediately agreed to support the project.
Frédérique Dumas at Orange Studio was the first person to say yes to us. Without her, this film wouldn't
exist. Subsequently, Radu Mihaileanu presented the project with great commitment and power of
persuasion to his cinema contacts. We worked together as a team to get the project off the ground.
What are the film's central themes?
The film pays tribute to the male and female cartoonists who are journalists, artists, humorists and
combatants all wrapped up in one: a lesson in humanity and courage for every one of us.
It is a film-manifesto for the freedom of expression, self-determination and the right to democracy. We
worked as a small crew (director, cameraman, soundman, fixer and assistant), immersed in the
cartoonists' daily lives.
These are foot soldiers armed only with humor. Do you think that humor can move forward the
democratic agenda?
Cartoonists wield humor as a way to poke fun at or denounce society's ills while making their readers laugh.
It's also a lesson in self-deprecation. No politician or business leader who takes a cartoon seriously and is
unable to laugh at themselves is a liberal. Humor in cartoons is a powerful weapon that unsettles the
political, economic or military apparatus and can even start it rocking. The experiences of the Syrian
cartoonist show how much Bashar al-Assad's regime hates being lampooned. Syrian cartoonist Ali Ferzat
was abducted with a bag over his head and beaten up. His fingers were broken so he could no longer
express himself, as an example to others who might be tempted to make fun of Assad and his regime. The
Venezuelan cartoonist, Rayma, drew a cartoon with the caption, A humorless government is not
democratic, referring to Chavez' regime.
As you say, freedom of expression is at risk in every country, including France. The film spotlights the
taboos that every society covers up. Do you think these cartoonists denounce our secret taboos?
Every society has taboos, and it's a cartoonist's job to strip them bare, whether they are linked to the
country's culture (sex, religion...) or, more dangerously, decreed by political authorities, the military,
religious fundamentalists or big business. The artist's struggle then is to keep drawing and keep
circumventing these decrees to further the cause of democracy.
In Russia, for example, the No. 1 taboo is Putin and the Kremlin. It's incredibly risky. The Russian
cartoonist Zlatkovsky risks a jail sentence or even being murdered if he ventures onto that territory.
Can you describe your encounter with Ai Weiwei, the Chinese artist who has personal experience of
incarceration?
Meeting Ai Weiwei was unplanned, and unthinkable even because he is one of the most famous artists
opposing the regime in China. He has been imprisoned and is under constant surveillance. The encounter
was facilitated by Chinese cartoonist Pi San, who made an animated film, Sunflower Seeds (a reference to
Ai Weiwei's latest installation) to denounce the artist's arrest and government censorship.
When we were in Beijing, Pi San called Ai Weiwei to suggest we meet. He accepted, but with a certain
number of conditions: "At my house, no more than 20 minutes, and no questions about my arrest." When
I arrived outside his house with my crew, we saw surveillance cameras everywhere and police cars parked
in the street. We followed Pi San in, and Ai Weiwei introduced us to his staff. Very quickly, the two artists
got talking about art in China and the means they have chosen to speak out about Chinese society.
Ai Weiwei is a very wise man, whose every word is weighed for most impact as he describes censorship
and oppression at every level of society. He is not a cartoonist, but his viewpoint complements that of Pi
San.
When you follow the news, do you think the lives of these cartoonists are under threat? And freedom
of expression generally?
Looking at current affairs internationally—wars, economic pressures, labor struggles—and given that
cartoonists give their point of view on them, their lives can be in danger, especially in autocratic regimes
(Russia, Venezuela, China, Tunisia). More broadly, freedom of expression is under threat in every country,
including our co-called democracies. As Plantu says, he doesn't risk being sent to jail or assassinated, but
the pressure on the cartoonist and newspaper is constant.
Did you or your crew ever feel threatened during the shoot? Did you encounter obstacles in bringing
the project to fruition?
Our preparations for the "sensitive" countries were crucial. Nadège Verrier, our unit manager, did an
amazing job of obtaining permits to film in every country and finding local "fixers" to guide us. Preparing
our schedules in Russia, China and Venezuela was complicated because we couldn't leave traces in the
cartoonists' inboxes, which the authorities might access and examine. Sensitive words like "democracy"
and "freedom of expression" are not to be used in emails because they trigger an alarm with the
authorities.
Fortunately, I'd already met Zlatkovsky in 2012 at the Saint-Just le Martel festival, but we kept email
correspondence to a minimum. As a result, I had no idea of the schedule when we arrived in Moscow.
With Pi San, I communicated only by Skype with the fixer in Beijing. She went to see Pi San in 798 Art
District to organize shooting dates with him. As in Russia, the schedule was determined locally. With
Rayma, the Venezuelan cartoonist, we couldn't communicate by email, so we spoke 2-3 times on Skype,
which isn't under such close surveillance but we still had to avoid using certain keywords.
Through François Zimeray, France's former Human Rights Ambassador, we had contacts in every French
embassy. Given the sensitive nature of our subject matter, it was crucial to anticipate problems so that
we didn't put the cartoonists we were filming or our film crew at risk, and so that we got out with our
equipment and footage.
Our fixers were very familiar with local practices and languages and we made a point of following their
recommendations. We were always on the alert. In Russia, it is illegal to film near the Kremlin or Duma. In
Venezuela, filming is a risky business because abductions and assassinations are daily occurrences. Our
fixer has been abducted twice. Rayma, the cartoonist, rarely leaves her home and runs the risk of being
assaulted and arrested if she is recognized by pro-Chavez militias. In China, we rented all our equipment
locally to avoid drawing attention to ourselves. We never filmed Pi San in his home, only in the Art
District.
What kind of reception do you think the film will be given in the cartoonists' countries? Will they be in
danger or will the film help to protect them?
Before we began shooting, Radu Mihaileanu, Cyrille Blanc, Plantu and I discussed how filming their daily
lives and interviewing them for a film might endanger the cartoonists. We asked Rayma, Nadia Khiari,
Zlatkovsky and Slim directly and they assured us that it was crucial for them to speak out and show the
reality of the situation in their respective countries. They even said that appearing in this film would
protect them because they would be seen and heard in many countries and by international
organizations, especially NGOs. Their governments would no longer be able to persecute them.
The film highlights a desire to dialogue with younger generations, passing on expertise and a taste for
freedom. Do you think that the future is in safe hands?
That was an essential aspect for the producers and me: raising awareness among younger generations of
the fragility of democracy through the cartoonists' experiences. The power of a cartoon in the press is
that it is more accessible and appealing than a daily newspaper op-ed piece.
One of the film's aims is to show young people the importance of having a voice, an opinion, which
involves having the courage of one's convictions in defending freedom of expression. It is apparent that
younger people are often scared to speak their minds or step out of line in societies where, as Pi San says,
people are formatted. The cartoonists' message to youth is fundamental: dare to have an opinion.
The film's message is one of hope?
It's a very positive film that makes us feel alive and makes us want to join the fight. More than a message
of hope, the contributions of our cartoonists demonstrate the importance of daring to make a difference,
and that anything is possible with a sense of humor.
Can you tell us a little more about Cartooning for Peace?
In October 2006, after the Muhammad cartoons controversy, Plantu and former UN Secretary-General
Kofi Annan created Cartooning for Peace, bringing together press cartoonists to reflect on the editorial
responsibility for published images. Twelve of the most famous cartoonists—Christians, Jews, Muslims,
agnostics and atheists among them—participated, with the aim of defending cartoonists' freedom of
expression.
Now, the organization has over 100 members from all four corners of the world. Plantu is in close contact
with them, offering support and help in moments of difficulty. He organizes several meetings a year in
France and overseas. There is real solidarity among cartoonists. When one is threatened, the others
provide protection and assistance. In the case of Syrian cartoonist Ali Ferzat, now living in exile in Kuwait,
many of them produced cartoons supporting him and denouncing the barbarity of the regime.
Stéphanie Valloatto, director - Biography
After many years spent studying Law and Political Science, Stéphanie Valloatto turned to directing movies
in order to recount the world in pictures. Over fifteen years, she has written and directed a dozen
documentaries (26' and 52') for TV (France 3, France 5, TV5...), always with humanist themes: human
rights in a maritime environment (Robin des mers), the importance of origins and memory (Le Passeur de
mémoire), human adventures around the world (Le cœur de l’homme, patrimoine de l’humanité), a
portrait of Philippe Labro "between shadow and light" for France 5's Empreintes series... She has also cowritten with Fred Fougea and Alain-Michel Blanc Le Premier Homme, a docu-drama recounting the new
history of our origins (to be shown on M6 in 2015). Cartoonists - Foot Soldiers of Democracy is her first
documentary feature, co-written with Radu Mihaileanu.
AN INTERVIEW WITH RADU MIHAILEANU, producer and co-writer
"For me, Cartoonists - Foot Soldiers of Democracy is more than a film, it is a cause worth fighting for."
Can you tell us how this project started?
It all began with a wonderful friendship, with Plantu, the cartoonist
at French daily Le Monde. It's a friendship that dates back to 1998,
when I had just finished my film Train of Life and he submitted a
proposal for the poster. We got on very well and, one day, he told
me about his organization Cartooning for Peace and these marvelous
cartoonists.
Through Plantu, I encountered artists who were brilliant, funny,
naive, brave, sometimes reckless and constantly in danger. Poetry
runs through their work and their lives. They could all be the heroes
of novels. I said to myself, these are characters out of a movie and
we should make a film about them.
Taking the example of Mikhaïl Zlatkovsky, the Russian cartoonist
who has won awards worldwide, he now only publishes in the
foreign press because he has frequently been banned and censored,
dating back to Brezhnev's day. To earn a living, he works nights as an
unlicensed taxi driver. There are plenty of similar examples. I wanted
to understand their work and lives because, through them, we
access the context of their countries. This film is full of powerful,
funny, profound stories of individual lives, but it is also a geopolitical
map of the world. Through the cartoonist's story, we discover the
situation in a particular country.
Can you tell us more about Cartooning for Peace?
It's a wonderful organization formed in 2006 by Plantu and Kofi Annan, when he was UN SecretaryGeneral. It defends wonderful values, reminding cartoonists that they are not alone in the world, not
isolated. A total of 109 cartoonists from all four corners of the world offer each other mutual support. If
you are in danger, they help you and vice-versa.
What are the central themes of the documentary? What message do you want to send out?
For me, Cartoonists - Foot Soldiers of Democracy is more than a film, it is a cause worth fighting for. I am
very sad to see democracy prostrating itself every day all over the world. A film is a drop in the ocean, but
without freedom of expression, without these nutty, funny foot soldiers defending our territory every
day, tomorrow we would all be gagged. This film is about magnificent, unacknowledged, humble,
determined combatants fighting the powerful with a pencil as their only weapon.
Citizens all over the world seem discouraged, disillusioned with politics and the press. They think there is
no way out, no hope, and that the world bobbles along a predestined path. I think the complete opposite.
These cartoonists who risk their lives every day with courage and panache are genuine heroes. They
sometimes seem naïve to me. I tell them, "You do realize that every day a stroke of your pen could get
you killed or thrown in jail?" They know it and, at the same time, refuse to think about it.
Do you think that humor can be a force for democracy?
I think that humor is an essential part of life, and that it can make dictatorships quiver. Since the origins of
humanity, dictators have detested humor, which calls into question and shatters the "absolute truths" of
their ideologies.
Humor is also a way of subtly getting across to younger generations that democracy is something that is
both strong and fragile, and must be defended at all times. Since the lure of totalitarianism and
dictatorship is based on ignorance, only intelligence and humor can fight them. Even in France.
As you say, every country faces threats to the freedom of expression. This film seems to highlight the
taboos of every society. Do you agree that these cartoonists denounce those taboos?
It's a film about taboos and saying the unthinkable. Cartoonists explore sensitive subjects by pushing back
the boundaries of freedom. Freedom means bringing everything under discussion, opening everything up
to debate and putting things in motion. Freedom, like ideas, cannot stand still. The film surveys a range of
issues: ideological, economic, financial, religious, the mafia, questions of society, poverty, women's rights,
corruption, wars, and so on. Through its cartoonists, each country explores its own problems.
I was struck by the example of the Mexican cartoonist Boligán who emigrated from Cuba and says, "When
I arrived in Mexico, I was told there were three forbidden subjects that I must never draw: the President,
the army and the virgin of Guadalupe. I put them at the top of my agenda." That, for me, is a modern
hero.
Talking of modern heroes, can you tell us about your meeting with Ai Weiwei?
It was a fortuitous encounter in every sense. We were only supposed to meet Pi San, one of China's
greatest cartoonists, and we lucked out because he is one of Ai Weiwei best friends. Ai Weiwei was
imprisoned for his art, which the government considered provocative. He kindly agreed to let us film him
in a marvelous conversation with Pi San about freedom and democracy. Pi San said something that had a
profound effect on me and resonates for every country: "Young people often ask me what they can say
and what they cannot say. I reply, who dares, knows."
When you follow the news, do you think that the lives of all these cartoonists are in danger? And more
broadly, freedom of expression?
Actually, yes, I think that around the world, freedom of expression is under threat because of selfcensorship and a powerful wave of political correctness. It can be felt at every level. As for the
cartoonists, there are all kinds of pressures, and each cartoonist is often in danger, on the verge of being
arrested or attacked.
Take the example of the Mexican cartoonist caricaturing the drug cartels. He could catch a bullet in the
head at any time. Pi San days that he is not concerned about his physical freedom but refuses to
compromise his inner freedom. He knows that by putting this philosophy into practice, by continuing to
draw, he could wind up in jail. Nadia Khiari, aka Willis from Tunis, takes huge risks by championing
women's rights. Just like Rayma in Venezuela, challenging the Maduro regime through her cartoons.
Freedom of expression is in danger, and not only in supposedly dictatorial countries. It can be more
insidious closer to home. Plantu has faced 3 lawsuits in 40 years, and threats and pressure of all kinds.
In response to this danger, we must fight. That's the aim of the film—to say that we reject restrictions on
the freedom of expression. My father was a journalist. I fight tooth and nail for his profession, but it
transcends journalism. Above all, I fight for panache against cowardice.
Did the crew feel threatened during the shoot? What obstacles did you have to overcome to complete
the project?
In every country, filming was meticulously organized so that the crew would not be put in danger.
France's embassies were very helpful, but it wasn't always easy. I can't say any more, to avoid putting
those who helped us in danger.
More importantly, we first had to think of the cartoonists we were filming and advise them that the film
would be shown worldwide, which could exacerbate certain dangers. All those who accepted are aware of
that risk, and some believe that the film will offer them a form of protection.
And what kind of reception do you expect the film to be given in the cartoonists' home countries?
Unfortunately, it won't be released in some countries because of censorship, but I hope that, in those
countries, it will be pirated—a practice I otherwise oppose—and used as a tool in the fight for democracy.
I also hope that the film will garner enough publicity to protect the cartoonists in their respective
countries.
The film sets out to dialogue with younger generations and pass on expertise and the taste for freedom.
Is the future in safe hands?
This film is a learning tool, a useful way to start a conversation with the younger generations, who clearly
want to speak out, shape their futures and their societies. The film is saying, democracy belongs to you.
Like the cartoonists, you must protect it as if it were a precious object. It is in your hands.
I think, therefore, that these cartoonists are wonderful role models. We're organizing a national cartoon
competition called There, you see, that sucks for young people to express what's wrong with society, from
relationships to religion via politics, racism, the economy, friendship, or whatever. It's better to express it
through words or a drawing than through violence or keeping silent. To express is to exist. By expressing
themselves, they will build a better world.
The film's message is one of hope?
Absolutely. Every time I see the movie, I come out buzzing with energy and thinking that if they can do it, I
can do it. I can fight with humor, intelligence and panache. If they can do it with danger around every
corner, why shouldn't I, awash with freedom, be able to do it?
I had dreams of this film being a modern tragicomedy—profound, very visual and totally cinematic. I had
dreams of it being a fabulous tribute to people whom most people haven't heard of, and to their fight for
the freedom of expression. I had dreams of the film being selected for the Cannes Festival and of these
Foot Soldiers emerging from the shadows to be acclaimed as heroes on the red carpet. That mythical
procession might, I hope, also protect these people, who don't realize that every day they protect us by
protecting democracy.
I had dreams of you all seeing this film one day. And I hope that it will inspire dreams of your own.
THE CARTOONISTS
PLANTU
Name: Jean Plantureux
Pen name: Plantu
Nationality: French
Hometown: Paris
Eye color: Blue
Profession: Editorial cartoonist
Publication(s): Le Monde, L'Express
His battle: Shining a light on shadows
In this he trusts: Humor and depth
40 years and counting on the front page of Le Monde. Chairman and co-founder of Cartooning for Peace.
Plantu is our guide in the cartoon world, joining up the dots between the other cartoonists.
SLIM
Name: Menouar Merabtène
Pen name: Slim
Nationality: Algerian
Hometown: Algiers
Eye color: Brown
Profession: Cartoonist and comic book illustrator
Publication(s): Le Soir d'Algérie
His battle: Against fundamentalists and obscurantism – For freedom
In this he trusts: Humor
Slim was the first Algerian cartoonist to dare caricature a president, President Chadli in 1984.
The day it was published, the 80,000 copies of the newspaper were pulped.
In 1992, the fundamentalists' election victory gave Slim plenty of material for his cartoons.
But the assassination of President Boudiaf and journalist friends drove him into exile in Morocco from where
he continues to be a thorn in the fundamentalists' side.
RAYMA SUPRANI
Name: Rayma Suprani
Pen name: Rayma
Nationality: Venezuelan
Hometown: Caracas
Eye color: Brown
Profession: Cartoonist
Publication(s): El Universal
Her battle: Against the regime in power in her country
In this she trusts: Humor
Cartoonist for El Universal, regularly threatened because of her satirical depictions of the regime.
Only travels with caution to avoid unnecessary risks.
When the new Constitution banned depictions of the President's face, she drew a banana wearing a crown,
which was immediately recognized by the whole country as Chavez. For Rayma, the new president, Maduro,
changes nothing. The fight goes on.
BOLIGÁN
Name: Angel Boligán
Pen name: Boligán
Nationality: Cuban
Hometown: Mexico City
Eye color: Brown
Profession: Cartoonist
Publication(s): El Universal – Conosca Más
His battle: The President, the army, the Virgin of Guadalupe, drug cartels
In this he trusts: Raising every issue affecting society, including the greatest
taboos
Born in Cuba, immigrated to Mexico, where he was advised always to avoid three particular subjects: the
President, the army and the Virgin of Guadalupe.
They went straight to the top of his agenda and he has drawn them every day since.
Today, he also tackles drug cartels responsible for 15,000 deaths a year in Mexico.
ZLATKOVSKY
Name: Mikhail Zlatkovsky
Pen name: Zlatkovsky
Nationality: Russian
Hometown: Moscow
Eye color: Blue
Profession: Political cartoonist
Publication(s): Noyve Izvestia
His battle: The great themes of liberty and democracy
In this he trusts: Epic frescoes
The best-known cartoonist in Russia, winner of hundreds of international awards. The only one who dares to draw Putin.
As he was in Brezhnev's day, he is now banned from publishing his work. To make ends meet, he has even
worked as an unlicensed nighttime taxi driver.
KICHKA
Name: Michel Kichka
Pen name: Kichka
Nationality: Belgian-Israeli
Hometown: Jerusalem
Eye color: Blue
Profession: Political cartoonist
Publication(s): Several international publications,
Courrier International, Herald Tribune, L'Arche, on
i24 News, various websites and TV5 Monde
His battle: Ariel Sharon, PLO and Hamas
In this he trusts: Humor and impartiality
Kichka is one of the greatest cartoon exponents in Israel.
He is of the second generation after the Holocaust. He is convinced that cartoonists have a common goal:
telling it straight. He is good friends with his Palestinian colleague, Boukhari.
BOUKHARI
Name: Baha Boukhari
Pen name: Boukhari
Nationality: Palestinian
Hometown: Ramallah
Eye color: Blue
Profession: Cartoonist
Publication(s): Al Ayyam
His battle: Acts of violence by Israel or Hamas
In this he trusts: Keying in to public opinion
Boukhari published his first cartoon in 1964. He frequently takes part in debates in Jerusalem.
He senses ambivalence in the treatment of the Israeli-Palestinian conflict. He firmly believes in peace and is
convinced that one day they will all learn to live together.
PI SAN
Name: Wang Bo
Pen name: Pi San
Nationality: Chinese
Hometown: Beijing
Eye color: Brown
Profession: Animation cartoonist, director of Hutoon Company
Media: Huttoon Co.
His battle: Everyday injustice in China, censorship, indoctrination at school,
political authoritarianism, his "inner freedom"
In this he trusts: Internet and the cartoons he makes
Through his animated cartoons for grown-ups, aired only on the internet, he tries to denounce injustices in
modern China, preserving what he calls his "inner freedom" in the face of daily censorship.
NADIA KHIARI
aka Willis from Tunis
Name: Nadia Khiari
Pen name: Willis from Tunis
Nationality: Tunisian
Hometown: Tunis
Eye color: Brown
Profession: Cartoonist - Illustrator
Publication(s): Freelance
Her battle: Fundamentalists, politicians who hijacked the revolution,
opponents of human rights and freedom of expression
In this she trusts: Internet and social networks
Willis is the name of Nadia Khiari's famous cat, which became a symbol of the Tunisian revolution.
To maintain her freedom, she only publishes on internet. Her Facebook page has 30,000 followers.
Willis' enemies: Fundamentalists, politicians who hijacked the revolution, opponents of women's rights, and
those who cause bloodshed.
DANZIGER
Name: Jeff Danziger
Pen name: Danziger
Nationality: American
Hometown: New York City
Eye color: Brown
Profession: Cartoonist, former intelligence officer, published by the New
York Times syndicate
Publication(s): hundreds, including The New York Times, The Washington
Post, The Wall Street Journal, Le Monde, International Mail, China Daily
His battle: G.W. Bush, economic censorship, the barbarity of war
In this he trusts: Self-censorship
An intelligence officer and linguist during the Vietnam war. Published by the New York Times syndicate
covering a hundred or so publications.
One of the leading opponents of G.W. Bush, he also fights economic censorship (media stockholders) and the
barbarity of war (Iraq, Afghanistan, etc).
Behind the headline-grabbing cartoons is a man full of humor and mischievousness.
ZOHORÉ
Name: Lassane Zohoré
Pen name: Zohoré
Nationality: Ivorian
Hometown: Abidjan
Eye color: Brown
Profession: Cartoonist, founder of Gbich magazine and Tâche d'Encre
association, comic book author
Publication(s): Gbich
His battle: The duty to draw in a country where 60% of the population is illiterate.
In this he trusts: Defusing the socio-political situation through laughter
Cartoonist and founder of Gbich mag with attitude. For Zohoré, drawing is a duty he imposes on himself when
the death squads and civil war are raging to give another point of view and cheer up the population.
GLEZ
Name: Damien Glez
Pen name: Glez
Nationality: French-Burkinabese
Hometown: Ouagadougou
Eye color: Brown
Profession: Cartoonist – Editor of Le Journal du jeudi
Publication(s): Le Journal du Jeudi
His battle: Abuse of power by government
In this he trusts: Informing a predominantly illiterate population through
cartoons in the press
Half-French, half-Burkinabese cartoonist. Editor of the first African satirical magazine, Le Journal du Jeudi. In
Africa, where 60% of the population is illiterate, he believes cartoons play an even greater role than anywhere
else. On the front page of Le Journal du Jeudi, Glez frequently depicts President Blaise Campaoré in caricatures
instantly recognizable to the population.
CARTOONING FOR PEACE
In October 2005, a section of the Arab world furiously protested the publication of twelve caricatures of
Muhammad by Danish cartoonists in Jyllands-Posten in Copenhagen.
On October 16, 2006, Kofi Annan, the Nobel Peace Prize-winner and then UN Secretary-General, and
Plantu, a cartoonist working for Le Monde and L'Express, organized a conference at the United Nations in
New York, titled Unlearning Intolerance. Twelve of the most famous cartoonists from around the world—
Christians, Jews, Muslims, agnostics and atheists—met to discuss the role of editorial cartoons as a means
of expression and communication.
Out of this conference came Cartooning for Peace / Dessins pour la paix, an international network of
cartoonists committed to using humor to fight for the respect of cultures and freedoms.
Cartooning for Peace also allows professional cartoonists of all nationalities to reach out to a large
audience in order to facilitate a dialogue about freedom of expression and the recognition of cartoonists
as journalists.
According to Plantu, "Wherever there are walls of separation and walls of incomprehension, there will
always be cartoonists to crack them, circumvent them and, eventually, make them transparent. Today,
109 cartoonists of 46 different nationalities have joined Cartooning for Peace.
Cartooning for Peace
80, boulevard Auguste Blanqui
75013 Paris, France
+33 1 57 28 27 58
www.cartooningforpeace.org
Press contact: [email protected]