Talking Movies: From Zap to Zapiro – Episode 1

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Welcome to Talking Movies, I’m Spling. This week we begin Episode 1 of From Zap to Zapiro…

So Zapiro, it is such an honour to have you on Talking Movies and I have been following your work for since I can remember and as a political commentator and national treasure I am so pleased to be able to have this conversation with you about the documentary The Showerhead, but of course also your career in a more broad overview. Welcome.

As a lifelong cinephile and political junkie, I find myself utterly captivated by the riveting conversation between Spling and Zapiro in this episode of Talking Movies. Their discussion on Zapiro’s extraordinary career as a political cartoonist, particularly his insights into The Showerhead, is nothing short of fascinating.

Thank you. Thank you. Great to be with you and I often hear your reviews.

Well, yes, I heard that and I needed to hear it from you yourself because I wasn’t quite sure whether to believe it or not. I mean, wonderful to hear that. So what inspired you to become a political cartoonist?

From an early age, I’ve had a passion for becoming a cartoonist. To be more specific, I didn’t initially envision myself as a political cartoonist. Instead, my dream was to create comic art. As a child, I was particularly captivated by Giles, both the character and the books, with their intriguing cover designs being a special favorite.

As a devoted admirer, I’ve always appreciated the subtle nuances in Giles’ body language, the humorous gestures, and the various incidents that unfolded. I’ve even attempted to capture these elements through my sketches, always keeping him in mind. However, it wasn’t until later that I realized the political implications, although Giles was a soft-spoken political figure with leanings towards the left. As my comprehension grew, so did my recognition of the complex political undertones he embodied.

After that, I found inspiration from Tintin, Peanuts, and many others. When I was a teenager, David Marais’ political cartoons particularly resonated with me. These cartoons were often overlooked in national conversations during the apartheid era. Although they may not have been as polished as some other cartoonists, they deserve more recognition when discussing cartoonists of that time.

To me, he was head and shoulders above the others in terms of his crazy head, journalistic training, lefty kind of approach. So for me, he’s my political inspiration in cartooning.

I grew up with Giles and Tintin. It must have been such a thrill for you to see your own work appearing alongside the likes of Giles…

Absolutely, I drew strong inspiration from both Giles and Tintin when creating my annuals and special editions. In fact, recalling aspects of both was quite natural to me. Currently, I’m working on my 29th annual edition and have completed four specials as well. That adds up to a significant number of books! My cover designs differ from Giles’ as these are more like sitcoms for cartoons. The large signature is something I inherited from Giles. Additionally, I started including all my annual editions on the back of each new one I published, which was an idea inspired by Tintin.

What’s the biggest change you’ve noticed if you compare your earlier work with more contemporary cartoons?

Back in the 80s, as I began creating cartoons, a lot of us in the alternative and political cartooning scene found our work heavily inspired, not by the mainstream, but by our peers and the unique genres we were part of.

For my part, I’ve been delving into User-Defined Functions (UDF) and non-traditional media. It seems many of us were significantly impacted by the satirical English graphic artists who weren’t primarily known for editorial cartoons back then. One notable example is Gerald Scarfe, whose work later transitioned to editorials.

As a follower, I appreciate the raw power and extreme caricatures in the works of artists like Ralph Steadman and Gerald Scarfe. Among British artists, Derek Bauer was an exceptional exponent of this style, with a passion for Steadman’s work. What set him apart was not only his mastery of the genre but also his remarkable graphic talent, far surpassing that of most of us in the field.

Over time, it seemed like his unique approach emerged naturally. I suppose the main distinction between us was that I treated politics with genuine importance, while he didn’t. Tragically, he passed away prematurely. He was an exceptional graphic artist – arguably the best we’ve ever had. However, I found myself deeply engrossed in politics. And as I attempted to imitate Scarfe, Steadman, Derek Bauer, and others, I discovered that I could replicate their style reasonably well.

In simpler terms, I managed to convey my ideas in a raw manner, but it lacked depth and complexity. If I were aiming for a sitcom-style animation instead of a more conceptual one, my approach wouldn’t have fit well within that genre.

1) People find images relatable. During my time studying in America, I was significantly impacted by certain cartoonists I had previously known. I began to observe them more closely. Their comic styles, which were more approachable for the average reader and could effectively engage someone, while still being subtle in their subversion, left a strong impression on me. However, the style wasn’t as aggressive.

In my work, I’ve blended a unique mix of comical elements, underground comic influences, and my traditional style. The result is a creation that I believe caters better to the average reader, regardless if it’s a serious or humorous message I’m conveying.

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2024-09-21 12:43