Editorial Cartooning Kalagayan ng Ekonomiya Satire at Sining sa Likas-Kaya

Bantugan, B. (2020). Public Opinion on the Duterte Administration’s COVID-19 Period Through Editorial Cartoons on Facebook. Asian Journal for Public Opinion Research, 8(4), 409–431. https://doi.org/10.15206/.2020.8.4.409

This study explores the images and ideas presented by the editorial cartoons that have appeared in the author’s Facebook timeline during Duterte’s enhanced community quarantine (ECQ). The study analyzed 70 editorial cartoons posted between March 14, 2020, when Duterte declared ECQ in the National Capital Region of the Philippines, and June 22, 2020, a few days before the emergency powers of Duterte expired. This study used (visual-verbal) textual analysis as the research method to surface discourses embedded in the selected editorial cartoons. The editorial cartoons were clustered according to the roles the powerful people play in the images, and the details of each image were compared and contrasted to surface nuances in representation. The 70 editorial cartoons were classified into seven categories: (1) invisible (non-suffering) persons, (2) front liners, (3) privileged homeowners, (4) priority clients, (5) judges, (6) gatekeepers, and (7) dysfunctional public officials. They gravitated towards the tragic realities that call for acts of social justice and equity, and underscore specific contexts that need to be fixed by those in power.

In the Philippines, COVID-19 brought to the foreground of public opinion contestation over nomenclature related to COVID-19, which has not happened in other countries. The government chose “enhanced community quarantine” or ECQ instead of “lockdown” in its public communication to avoid scaring people; the term “lockdown” was never used even after a month, when selected local government units within Metro Manila decided to impose a non-negotiable “stay-at-home” order after a spike in the number of infections in the previous weeks. Nevertheless,

Gumuhit Ng Editorial Cartoon Na Nagpapakita Ng Mga Suliranin Ng Mga Mangagawa Sa Pabrika Sa Panahon Ng

Used “Coronavirus lockdown strikes fear among Manila’s poor” as its headline (Aspinwall, 2020). “Flattening the curve” became a phrase that was debated in the public sphere after the Department of Health (DOH) declared that the Philippines is already “flattening the curve” of the coronavirus spread, to which a mathematician countered “it’s not flattening” (Ranada, 2020, para. 6). Recently, DOH Secretary Francisco Duque III announced that the country is already on its “second wave, ” which sparked public uproar (Calleja, 2020). The Office of the President later debunked the DOH claim (Esguerra, 2020). These cases, alongside the government’s double standard in implementing the “physical distancing” and “travel bans” during the ECQ (Baizas, 2020), led to public confusion over quarantine rules (Antonio, 2020) and earlier violent public response to Duterte’s downplaying of COVID-19. All these contribute to a hyper-activated exchange of public opinion on ECQ, which the government, threatening the declaration of martial law, claims is welcome (Kabiling, 2020).

There has been a resurgence of editorial cartoons on Facebook during the ECQ as observed by the author on his Facebook timeline – something that has not happened since Duterte took

Office. The researcher was particularly attentive to editorial cartoons because he graduated with a specialization in editorial design and from a university known to use editorial cartoons to critique centers of power inside and outside of the university. Editorial cartoons, whether part of a news publication or a personal work uploaded on social media are “intended to make readers think about current political issues” (Ohio State University, 2020, para. 1) and direct public opinion. Through the use of caricatures, stereotypes, symbols, analogies, and humor, editorial cartoons “express a recognizable point-of-view or opinion” (para. 3). In countries ruled by dictators, “editorial cartoons provide a necessary antidote to all the abuses heaped upon (people) by the powerful” (Husband, 2016, p. 1). Thus, editorial cartoons that were so rare on Facebook before Duterte’s ECQ present a case worth understanding within the context of Duterte’s “new kind of dictatorship” (Syjuco, 2018) during ECQ where his “shoot them dead” (Nortajuddin, 2020, para. 6) and “martial law” (para. 12) threats seem to be the only way to overcome “World War C(OVID-19)” (Villanueva, 2020, para. 16).

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This study explores the images and ideas presented by the editorial cartoons that have appeared in the author’s Facebook account during Duterte’s ECQ. While editorial cartoons on Duterte abound on many websites, particularly online news sites, editorial cartoons that circulate and influence public opinion by going viral are found in social media like Facebook. According to the Bradshaw and Howard’s 2019 report, “Facebook remains the most popular Internet platform among governments manipulating public opinion online (Blake, 2019, para. 1) and is believed by 46% of the active users of

To createan environment that fosters free speech where people can hear and share perspectives on all sides of an issue” (Raymond, 2019, para. 13). The other 44% believe that “Facebook fosters division in society by showing people only certain issue-oriented news items” (Raymond, 2019, para. 12). This study presents the public opinion that editorial cartoons in the author’s social network favor more during Duterte’s ECQ.

The study was guided by the power elite theory, proposed by C. Wright Mills in 1956, who asserted that “the power elite is composed of government, big business, and the military, which together constitute a ruling class that controls society and works for its own interests, not for the interests of the citizenry” (University of Minnesota, 2010, para. 6). Mills’s theory is not without its weaknesses; hence, readers of this paper must recognize that it takes on the position that “the ruling class acts as a unified force in protecting its interests” where, in fact, “corporations sometimes do oppose each other for profits and sometimes even steal secrets from each other, and governments do not always support the ruling class” (University of Minnesota, 2010, para. 11). While the current situation seems to point at the ruling class being a solid block of power, politicians will likely play with kingmakers when they can to remain in power, especially dictators who tend to desire more power than what they were initially given. That side of the power equation, while interesting and relevant, will not be part of the analysis in this paper.

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The study analyzed 70 publicly posted editorial cartoons between March 14, 2020, when Duterte declared ECQ in the National Capital Region of the Philippines, and June 22, 2020, when his emergency powers expired. The editorial cartoons that circulated in the Facebook timeline of the author were posted mostly on personal and group Facebook pages of his Facebook friends but originated from sites that were not directly linked to the researcher’s personal Facebook account. All editorial cartoons that referred to issues concerning the community quarantine period which were posted by 70 out of the author’s 4, 915 Facebook friends and were shown on his timeline during the quarantine period imposed by the Duterte administration were downloaded for analysis. Editorial cartoons not related to the quarantine were not counted and were considered irrelevant to the study. The location of the editorial cartoons downloaded, their date of posting, and the number of emoji responses, shares, and comments were recorded to identify the editorial cartoon that had the most influence on readers of the poster in the author’s network (not in the original post). There was no intent to measure and focus on reactions to the post (they were used as data anchors), regardless of the sentiments that were expressed. There were a total of 70 purposively sampled editorial cartoons downloaded. Only the cartoons that elicited the most responses per representation category surfaced are discussed in this paper in order to focus on the images that were able to stimulate the most reader responses or public opinion. A number of the samples were editorial cartoons published by Filipino news organizations like Rappler.net, Inquirer.net, Manilatoday.net, and Manilatimes.net, and editorial cartoon sites on Facebook like Kapitan Tambay, Cartoons and Philippine Politics, Sat’s Ire, and Kikomachine Komix!.

This study used (visual-verbal) textual analysis as the research method to surface messages embedded in the selected editorial cartoons, which implicate people in power. Each editorial cartoon was repeatedly read verbally and visually to determine how the “powerful” are represented as they came together or converged to send a singular message. The powerful is defined in this study as those people who are able to assert power over others, economically, socially, politically, and culturally. Editorial cartoons that depicted the powerful in a similar manner were put together in one cluster. Editorial cartoons that overlapped clusters were noted. After the clustering into distinct and overlapping categories, themes that refer to how the powerful are depicted were generated. That said, the themes were emergent and not pre-determined. For purposes of limited discussion in this paper, the editorial cartoons that elicited the most reactions from Facebook readers in the form of emoji responses of any kind, comments, and shares were isolated and explained with reference to the other editorial cartoons that belonged to their cluster to underscore the theme or category that they represent. The manner of description of each category and those that were highlighted in the context of their capacity to stimulate public response and opinion made use of critical discourse theory.

Through critical discourse analysis, the author attempted to bring to light “the dominant and subordinate discourses on offer in society

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The study analyzed 70 publicly posted editorial cartoons between March 14, 2020, when Duterte declared ECQ in the National Capital Region of the Philippines, and June 22, 2020, when his emergency powers expired. The editorial cartoons that circulated in the Facebook timeline of the author were posted mostly on personal and group Facebook pages of his Facebook friends but originated from sites that were not directly linked to the researcher’s personal Facebook account. All editorial cartoons that referred to issues concerning the community quarantine period which were posted by 70 out of the author’s 4, 915 Facebook friends and were shown on his timeline during the quarantine period imposed by the Duterte administration were downloaded for analysis. Editorial cartoons not related to the quarantine were not counted and were considered irrelevant to the study. The location of the editorial cartoons downloaded, their date of posting, and the number of emoji responses, shares, and comments were recorded to identify the editorial cartoon that had the most influence on readers of the poster in the author’s network (not in the original post). There was no intent to measure and focus on reactions to the post (they were used as data anchors), regardless of the sentiments that were expressed. There were a total of 70 purposively sampled editorial cartoons downloaded. Only the cartoons that elicited the most responses per representation category surfaced are discussed in this paper in order to focus on the images that were able to stimulate the most reader responses or public opinion. A number of the samples were editorial cartoons published by Filipino news organizations like Rappler.net, Inquirer.net, Manilatoday.net, and Manilatimes.net, and editorial cartoon sites on Facebook like Kapitan Tambay, Cartoons and Philippine Politics, Sat’s Ire, and Kikomachine Komix!.

This study used (visual-verbal) textual analysis as the research method to surface messages embedded in the selected editorial cartoons, which implicate people in power. Each editorial cartoon was repeatedly read verbally and visually to determine how the “powerful” are represented as they came together or converged to send a singular message. The powerful is defined in this study as those people who are able to assert power over others, economically, socially, politically, and culturally. Editorial cartoons that depicted the powerful in a similar manner were put together in one cluster. Editorial cartoons that overlapped clusters were noted. After the clustering into distinct and overlapping categories, themes that refer to how the powerful are depicted were generated. That said, the themes were emergent and not pre-determined. For purposes of limited discussion in this paper, the editorial cartoons that elicited the most reactions from Facebook readers in the form of emoji responses of any kind, comments, and shares were isolated and explained with reference to the other editorial cartoons that belonged to their cluster to underscore the theme or category that they represent. The manner of description of each category and those that were highlighted in the context of their capacity to stimulate public response and opinion made use of critical discourse theory.

Through critical discourse analysis, the author attempted to bring to light “the dominant and subordinate discourses on offer in society

Jungian Acausal Synchronicity, Scarab Beetles, Energized Symbolism, Narrative Power, & Political Events Situation Vs Personal Situation Fbi Synchronicity!