Mahmuda Begum Sinthia :
The July War of 2024 in Bangladesh reflected by a massive student-led uprising against Sheikh Hasina’s authoritarian regime was powerfully mirrored and chronicled through the medium of political cartoons and satire in an event known as the “Cartoons Rebellion.”
The artistic satire embodied in the cartoons of the July War and the related rebellion, such as Cartoon-e-Bidroho (Cartoons of Rebellion) and the works were showcased by Earki. Those served as a mirror reflecting the harsh truth and realities of the conflict. These cartoons created during the mass uprising of July in Bangladesh, use satire, ridicule, and bold imagery to document, critique, and shape public perception of the political events and authoritarian rule leading up to and during the uprising.
Satirical cartoons have historically functioned as an accessible and powerful form of visual commentary. They simplify complex socio-political issues and expose underlying truths through irony, humor, exaggeration, and symbolic colour use, such as red symbolising rebellion and revolution. The cartoons of the July uprising vividly chart the sequence of events, the mood of the people, the oppressive nature of the regime, and the spirit of resistance among students and citizens alike.
In this context, these artistic works do not merely parody political figures or events for entertainment but become weapons of dissent and tools for mobilisation. Their sharp satire creates a space for free expression even under severe censorship and repression, enabling communication of dissenting views, inspiring activism, and uniting the masses in a shared cause.
For example, the exhibitions and publications involving these cartoons, such as those organised by the Bangladesh Cartoonists Association, Drik Picture Library, and Earki, present a curated chronological and thematic narrative of the rebellion. Through unapologetically vivid colours and bold fonts, these cartoons visually archive the zeitgeist of a nation struggling for freedom, making the invisible visible and the oppressed voices heard.
Moreover, the role of younger cartoonists in this movement highlights a generational awakening and the evolution of political satire as a medium that adapts to contemporary struggles against authoritarianism. Their art challenges misrule, suppression, and the cultural climate of fear, embodying hope, resilience, and the possibility for change.
In essence, the cartoons of the July War rebellion like those of Earki encapsulate the fusion of artistic creativity and political truth-telling. They reflect the raw realities behind the conflict, the people’s aspirations, and the power of satire as both a historical record and an instrument of revolution, thus deeply mirroring the truth of the July War.
This artistic movement used satire as a tool not just for humour but as a sharp instrument of political critique, resistance, and historical documentation. The cartoons critically exposed the regime’s brutality, propaganda, and the socio-political tensions leading up to and during the uprising, making satire a vivid reflection of the harsh truths of that period.
In the collection and exhibition titled Satire and Ridicule: Cartoons that Demolished a Dictator (July Uprising), edited by photojournalist Shahidul Alam and showcased by the Bangladesh Cartoonists Association and Drik Picture Library, satire emerged as a transformative means of articulating dissent. The cartoons created during the July mass uprising did more than mock; they revealed the repressive nature of the regime, the misuse of the 1971 Liberation War narrative by the ruling party, and the harsh realities of police and state violence under Hasina’s government. Through vivid imagery and biting irony, cartoonists expressed the public’s growing discontent and resistance, portraying the regime’s propaganda as hollow and ineffective.
These cartoons reflected a broad spectrum of social and political issues: from the student activists’ demands captured by the slogan “Ek Dopha, Ek Dabi” (One Point, One Demand) calling for regime change, to highlighting neglected subjects such as indigenous rights violations, enforced disappearances, and extrajudicial killings. The art form creatively countered state propaganda and censorship, often turning misinformation into memes and ridicule, effectively participating in the struggle for democracy and freedom of expression.
The “Cartoons Rebellion” also symbolised a resurgence of political cartooning in Bangladesh, a medium once stifled by previous cycles of repression and censorship. The student-led uprising inspired a new generation of cartoonists who developed fresh visual languages combining satire, irony, and symbolic use of color – especially red, the colour of rebellion – to engage the public and galvanize resistance against fascism. An exhibition by Drik Gallery in August 2024 showcased such artworks, emphasising the role of cartoons as vehicles for political activism and social commentary, turning complex socio-political realities into accessible, striking narratives. This art form served as a catalyst in the “second independence of Bangladesh,” where cartoons carried the spirit of rebellion visually and emotively.
Moreover, the cartoons performed a dual role: They were an archive preserving the memory of the uprising and a weapon that challenged the regime’s narrative. In an era rife with misinformation and fake news, political cartoons wielded the power to cut through propaganda by offering undeniable visual truths. The sharp satire exposed the hypocrisy and failures of the regime, thus mobilising public opinion and encouraging collective action. The student movement’s use of satire also broke entrenched political binaries related to the liberation war legacy, disrupting the regime’s long-standing moral order that had justified its authoritarian grip.
In summary, satire during the July War of 2024 in Bangladesh was far more than mere humour; it was a mirror reflecting the stark realities of oppression, corruption, and resistance. Political cartoons documented the socio-political upheaval with a clarity that transcended verbal discourse, giving voice and visibility to the struggles of the people. The “Cartoons Rebellion” stands as a testament to the vital role of satire and art in confronting dictatorship, shaping political narratives, and inspiring democratic movements.
(The writer is writer and researcher).
