by Ray Heitzmann
Editor's Note: Today's political cartoons can lead us into the politics of the past--which can, in turn, lead us right back to today's politics.
The coming presidential election provides a unique opportunity for educators to pursue Bradley Commission suggestions for developing History's Habits of the Mind. The use of the political (aka editorial or historical) cartoon offers the chance to challenge the student to think critically in the history classroom.
This technique has wonderful appeal because of its flexibility in meeting a wide range of instructional objectives. It lends itself nicely to initiating classroom discussion, illustrating lectures, promoting high level questions, and providing a basis for test items. With regard to the last, the growing number of political cartoons on standardized tests has created a renewed interest in building students' interpretative skills. Finally, the humor of the cartoon adds to its instructional power and in no way depreciates its intellectual value.
The word cartoon, while an imprecise term, means an interpretive picture which makes use of symbolism and most often bold and humorous exaggeration to present a message or point of view concerning people, events or situations. The cartoon conveys its message quickly--sometimes subtly, sometimes brashly--but generally gets its point across to more people than do signed editorials.
Guidance in selection of cartoons is provided by Allan Nevins and Frank Weitenkampf in their A Century of Political Cartoons, which outlines the requirements of a "really good political cartoon." The first requirement "wit or humor" is usually obtained by "exaggeration and should be slick and not merely done for comic effect." Surely, most contemporary cartoons meet this criterion, as did the classics of Thomas Nast, Joseph Keppler and others.
Secondly, the cartoon must have a foundation in truth--that is, the characters must be recognizable to the viewer and the point of the drawing must have some basis in fact even if it has a philosophical bias. Caricature recognition plagues every artist--while Nast's Tweed, John T. McCitcheon's Teddy Roosevelt and David Levine's LBJ are instantly understood, Herbert L. Block's (Herblock's) Ford takes longer for the viewer to associate with the former president. The success of the cartoon is intimately tied to the recognizability of the caricature. Herblock's Nixon was identifiable to the extent that the late president was reported to have said "I have to erase that Herblock image."
The third requirement is moral purpose--"without moral earnestness no cartoonist is likely to give his work the quality of universality or permanency." Unfortunately, some of our contemporary cartoonists seem more interested in a "quick laugh" with an offensive, heavy-handed and negative cartoon. Adding comic relief to the editorial page satisfies only one criterion; the political cartoon has a more significant purpose.
Mastering Cartoon Interpretation
Students enjoy lessons built around political cartoons, particularly those producing "comic relief." Unfortunately, researchers have found and teachers report that students have severe difficulty interpreting political cartoons.
Teachers should consider political cartoon interpretation as a basic skill. However, it requires a strategy focusing upon mastering each smaller component necessary to overall interpretative competence. These subskills include:
- Identifying and characterizing the publication
- Explaining the caption
- Identifying the artist
- Recognizing the use of caricatures
- Describing the use of stereotypes
- Understanding that cartoons may contain stereotyping that does not reflect reality
- Comprehending historical references and images
- Explaining the issue in question
- Appreciating the use of humor and exaggeration
- Interpreting the message or viewpoint
- Comparing the messages of two or more cartoons
- Judging the cartoonist's bias in relation to one's own point of view
- Drawing a cartoon using the appropriate techniques to express one's own point of view (stick figures acceptable)
- Recognizing the cartoon's editorial function.
A teacher might begin using these subskills by showing the class a realistic image--a photograph, a sketch--of a well-known personality and a caricature of the same individual. Then ask the students to compare the two and determine what is exaggerated and what is realistic. By definition, a caricature is the use of exaggeration in a cartoon to aid the viewer's recognition of the person. It often expresses an opinion. After examining the caricature, the group should note what is distorted or exaggerated, and decide whether the illustration shows the person favorably or unfavorably and what about the illustration makes it so.
Students can then try their hand at caricature. They should choose a well-known public figure and draw a caricature of the person. As follow-up, they can provide samples of caricatures from magazines and newspapers that they consider humorous and enjoyable. Throughout the year teachers should reinforce this subskill.
The historical cartoon is a valuable primary source reflecting the thinking of the artist or publisher or readers of that time. This type of cartoon will require significant background to maximize students' opportunities for correct interpretation. An excellent procedure to test comprehension is to provide the cartoon and ask the students to provide the caption!
Teachers of history are fortunate that although a young country, America has a rich and colorful political cartoon heritage that provides a wonderful treasure for the history instructor.
An annotated bibliography follows:
- Brooks, C., (Annual) Best Editorial Cartoons, Gretna, LA: Pelican Publishing Company.
An excellent and inexpensive compilation of cartoons from over one hundred cartoonists in the United States and Canada. The collection focuses on the major issues of the year and provides the instructor and students varying cartoonists' viewpoints depending upon their politics and location. The excellent quality of the yearly volumes has remained consistent.
- Heitzmann, Wm. R., 50 Political Cartoons for Teaching U.S. History, 1975: The Social Studies School Service, P. 0. Box 802, Culver City, CA 90232-0802, ph: 800-421-4246; FAX: 800-944-5432; email: access@SocialStudies.com; WWW: http://SocialStudies.com
A series of 8-1/2" x 1 1 " posters containing cartoons from Ben Franklin's "Unite or Die" to Edmund Valtman's "Later--My Brother is Watching" (a commentary on detente). The series, designed to be used from elementary school through graduate school, contains on the reverse side of each poster background information about the cartoon and suggestions for its use. It is the only series of its kind designed specifically for teachers.
- Nevins, A., and F. Weitenkampf. 1944. A Century of Political Cartoons. New York: Charles Scribner Sons. (Republished by Octagon books.)
A well-chosen collection of cartoons by an eminent historian and a prominent librarian, covering 1800 to 1 900. The cartoons are introduced by an excellent essay analyzing American cartoon development as well as commenting on the objects of the cartoonists. If one could choose only one collection of America's classic cartoons, this would be it; excellent for copying (with permission).
- Understanding Editorial Cartoons. Knowledge Unlimited., P. 0. Box 52, Madison, WI 53701.
A well-done filmstrip that explores the techniques of the political cartoon explaining such things as caricature, stereotype, satire, symbolism, and chiaroscuro. Several fine examples from contemporary cartoonists are shown to illustrate each of the above. This organization annually conducts a contest for school students.
Prof. Ray Heitzmann teaches history at Villanova University in Pennsylvania. He is a frequent writer and lecturer on history and political cartoons.