Laurent Soucaille wrote on 2 March 2026 for the New African Magazine that “African press cartoonists are making greater use of social media. While this allows them to escape certain forms of censorship, they are still subject to threats.“
These are difficult times for cartoonists and press caricaturists concludes a report published on 2 March 2026 under the authority of UNESCO and compiled by various press freedom organisations, including Cartooning for Peace and Reporters Without Borders. The report highlights violations of the right to caricature, even in countries that were previously considered ‘free’, foremost among them the United States. Of course, the most serious violations are found in the Middle East, Russia and China, not to mention the specific cases of Gaza and Ukraine. The situation has deteriorated particularly badly in Turkey and India, the authors lament.
In Africa, the situation is more mixed: a multitude of online media outlets have emerged in recent years, opening up new space for cartoonists, while opportunities are becoming scarcer in the traditional press. ‘In addition, many cartoonists have been able to use social media as a means of dissemination, notably by creating memes,’ notes Kenyan journalist Patrick Gathara, himself a cartoonist.
However, he acknowledges that over the past two years, the situation for African cartoonists has become tense, particularly in East and Southern Africa. In Kenya, in December 2024, the mysterious disappearance of Kibet Bull, who was released a month later, ‘marked a dangerous escalation in the state’s response to online reaction’. The case of the cartoonist, who was admittedly not very complimentary towards President William Ruto, ‘fits into a broader context of abductions targeting online influencers during a period of heightened political tension’.
Other cases are symptomatic, such as that of Jimmy Spire, known as ‘Ssentongo’, in Uganda. The cartoonist echoed a campaign denouncing the deterioration of public services in Kampala, attracting both the hostility of the authorities and the support of human rights defenders in his country and in the West. The cartoonist became both an influential civil society actor and a journalist vulnerable to pressure and threats.
The report also mentions Congolese cartoonist Kayene, who died in Rwanda in 2024. ‘His case highlights the precarious situation of cartoonists working across borders in a region where protection frameworks for artists at risk remain weak, informal and unreliable,’ comments Patrick Gathara.
In South Africa, legal and institutional pressures are the main threat. In a country where freedom of expression is protected, cartoonists are less exposed to violence but remain vulnerable to defamation lawsuits, political intimidation, editorial caution or ‘fabricated public outrage’.
This phenomenon affects many countries around the world, where the intended effect of cartoons aimed at a select readership is exaggerated and distorted on social media. ‘It takes a lot of determination to be a satirical cartoonist today. It’s no longer enough to have talent and ideas, you also need the energy to defend them and endure being insulted and vilified by thousands of internet users,’ says Riss, editor-in-chief of Charlie Hebdo, the French satirical weekly magazine.
With regard to North Africa, it is not surprising that the report expresses concern about threats to press freedom, and therefore to cartoonists, in Egypt. ‘Pre-trial detention is becoming a new weapon for the regime to silence those who inform and debate, through the abuse of anti-terrorism laws,’ the report states indignantly.
Across the continent, the document – which does not claim to be exhaustive – summarises three major trends that characterise a ‘rapidly changing’ landscape. First, cartoonists are increasingly seen as political actors. From Kenya to Nigeria to Zimbabwe, ‘the majority of political elites view visual satire as a form of mobilisation rather than commentary’.
As online youth movements organise, cartoons often become ‘symbols of rallying, making cartoonists early and visible targets of repression,’ the report summarises.
Secondly, it notes that ‘soft censorship’ is developing more rapidly than open violence; while kidnappings and threats persist, governments and institutions are increasingly turning to bureaucratic or reputation-damaging tools. These threats relate to accreditations, take the form of investigations by professional bodies, bans and suspensions of newspapers, defamation lawsuits and online smear campaigns. Not to mention very broad interpretations of laws relating to ‘insults’ or ‘cybercrime’. As a result, “these more discreet control mechanisms create a climate of fear and self-censorship while avoiding the scrutiny of the rest of the world, which is more sensitive to physical repression. ”
Thirdly, the report points out, digital platforms have both increased the reach and the risks. Most African cartoonists now publish mainly on social media. While this allows them to bypass traditional editorial filters, it also exposes them to direct state surveillance, harassment by bots and political control. In this context, ‘virality promotes influence, but also vulnerability’ for press cartoonists.
By publishing mainly on social media, African cartoonists bypass traditional editorial filters, but are nonetheless exposed to direct state surveillance, harassment by bots and political control.
For earlier posts re cartoonists see: https://humanrightsdefenders.blog/tag/cartoons/
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