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By Ritu Gairola Khanduri

Caricaturing tradition in India is a hugely unique heritage of political cartoons in India. Drawing at the research of newspaper cartoons because the 1870s, archival study and interviews with famous Indian cartoonists, this bold research combines old narrative with ethnographic testimony to provide a pioneering account of the position that cartoons have performed over the years in political conversation, public discourse and the refraction of beliefs primary to the construction of the Indian postcolonial nation. conserving that cartoons are greater than illustrative representations of reports, Ritu Gairola Khanduri uncovers the genuine strength of cartoons as a visible medium the place thoughts jostle, heritage is imagined and features of empathy are demarcated. putting the argument inside of a much broader context, this thought-provoking ebook highlights the historical past and tool of print media in debates on unfastened speech and democratic techniques all over the world, revealing why cartoons nonetheless subject this day

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In the process these studies contribute to the rich literature on art, popular prints, films, and comic books. The politics of seeing and sensing Even as ethnographic studies of media and, more broadly, visual experience in India are gaining ground, anthropologists and literary critics detect an “ocularcentric bias” in social science’s pictorial turn (Fabian 1983, Stoller 1989). These scholars critique privileging vision because it is a form of imperial knowledge and power. 28 My ethnography of newspaper cartoons offers a counterpoint to these critiques: cartoons usher in a visuality that is tied to a sensory experience of modernity.

This question, which also surfaced in colonial times, was evoked to distinguish the colonized ‘natives’ in their ‘lack’ of humor. This made humor one of the marks of colonial modernity, to represent the other and to claim similarity (I discuss this in Chapter 1). In the chapters that follow, the anthropological approach emphasizes local discourse as a significant context for understanding the humor of newspaper cartoons. Following this direction of analysis, anthropologists have attended to the social role of joking relationships and, drawing upon Gluckman (1954), the agency of laughter within transgressive and permissible cultural contexts of rituals.

6). In the context of the popularity of the British novel in colonial India, Priya Joshi highlights the readers’ “consumption through selection,” and their intervention through interpretations and translations (2002, p. 29). 33 The history of cartooning in India engages with these possibilities of agency in a distinct manner, emphasizing a tactical modernity that does not have to opt between either creating a tradition or indigenizing a Western form. To appreciate this distinction, three points are noteworthy.

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