by Mike Rhode
Soon after the Charlie Hebdo massacre, the Cartoonists Rights Network International began a fundraising campaign. I reached out to Nikahang "Nik" Kowsar at the time, but for one reason or another, his interview stalled in cyberlimbo. Sadly, Nik's thoughts will remain relevant for the foreseeable future. Since this interview was conducted in February, we've seen American writers of PEN sharply disagree about whether to give a courage award for Charlie Hebdo's cartoonists and presumed attempted murders at a Mohammad cartoon contest in Texas.
What type of comic work or cartooning do you do?
I do editorial cartoons, as well as running
Toonistan.com, that's an online platform made for helping non-cartoonists making their own cartoons.
How do you do it? Traditional pen and ink, computer or a combination?
I use felt tip pens, scan with my iPhone using Scanner Pro app, and color the work with Photoshop, so it's a combination of all.
When (within a decade is fine) and where were you born?
I was born in 1969 in Tehran, Iran. I'm technically Canadian, but a US resident. Canadian cartoonists helped me get out of Iran.
Why are you in Washington now? What neighborhood or area do you live in?
I think Washington is the most relevant place on earth to work in relation with politics on Iran, and I've been running a Persian citizen journalism platform since 2009, and living in DC and the DC metro area since 2010. I'm now living not that far from JFK's "Eternal Flame" in Arlington.
What is your training and/or education in cartooning?
I studied Geology, and started drawing cartoons and caricature after buying a collection of
David Levine's artwork when I was 21. A year later I was hired by
Golagha Magazine, Iran's top satirical publication at the time and started working with professionals, that helped me get better with the trade. I also attended painting classes in Iran.I studied Journalism in Canada after leaving Iran.
I was in love with David Levine's lines and views, discovered
Pat Oliphant and
Kal through papers and magazine that reached the University library in Tehran. I also was influenced by Iranian cartoonists such as
Iraj Zareh, Ahmad Arabani, Ahmad Sakhavarz and
Afshin Sabouki. The last two are now residing in Canada.
If you could, what in your career would you do-over or change?
I would have started again by taking sketching courses and quitting Geology! I would have loved to study Journalism and Design simultaneously and work harder. I would also get more sleep!
What work are you best-known for?
The
Crocodile cartoon I drew in 2000, that lead to a National Security crisis in Iran and was the cause of a 4-day protest by the clergy in Qum, and hundreds of thousands of people attending
Friday prayers chanting for my death. I had portrayed a crocodile, shedding "Crocodile Tears" strangling a journalist with its tale. Crocodile in Persian is "Temsah" that rhymed with the name of the cleric I had try to mock, who was Ayatollah
Mesbah (aka Professor Mesbah
). He was, and is, a pro-violence high ranking cleric who had made allegations against Iranian journalists. He also alleged that a CIA operative was in Tehran at the time, with a big suitcase full of US dollars to bribe Iranian journalists against Islam. This was a few weeks before the parliamentary elections in Iran. Many responded, and my response was that cartoon. I was arrested and spent 6 days at the notorious Evin prison, and was literally kicked out after the backlash of my arrest had become bigger than the parliamentary elections. I was on the covers of newspapers and a distraction for political parties for a week.Because of that single cartoon, the Ayatollah is called Professor Temsah (Crocodile), and I always wear Lacoste shirts to remind myself of the cartoon that totally changed my life.I have received death threats, and lived in exile as a refugee since 2003. Canada was my safe haven at that time, and my family joined me in 2007.
What work are you most proud of?
I was part of the group that founded the Iranian Cartoon House and we started the classes that became a center to discover talent. Many of those young kids are now seasoned and experienced artists; some are working as professional cartoonists and animators. It was great seeing two of them in San Francisco a few weeks ago.My work in the late 90's and after had impact on the newspaper readers and editorial became very popular in Iran, where I had to work for 3 different newspapers a day. I somehow became my own competition. We have very great cartoonists in Iran, and possibly I was a good communicator who was helpful in creating jobs for many of those highly talented but shy artists. Cartooning became a serious business in those years and politicians used to respond to this sort of critique. That also turned me into a target of the Islamist hardliners.At last, being with Cartoonists Rights Network International is something I'm really proud of. I was once their client, and now a member of the board, trying to find ways and means to support cartoonists who have experienced hard situations and need their voices to be heard.
What would you like to do or work on in the future?
I love to find enough funds to turn
Toonistan.com to a tool for masses, to give them a voice through cartoons, and help local and national campaigns against dictators. This cannot happen without technical help of brilliant cartoonists. I would also love to create a safer situation for my colleagues in Islamic countries to who are under threat and have to self censor themselves in fear of radical Islamist retribution.
What do you do when you're in a rut or have writer's block?
I watch movies. I also have a Fibromyalgia block! Sometimes I can't even draw a line without pain. Fibromyalgia attacks or flares really block anything...mind, muscles, wrist...I think I can't take anything for granted anymore!
What do you think will be the future of your field?
It's been a really hard decade for editorial cartoonists, but I think millions of people have understood the impact of cartoons and I hope publishers learn from the masses as well and hire more cartoonists.In the digital age, we have to find a way to connect better and deeper and possibly mixing cartoons with applications that could also give audiences a chance to communicate with us and other people would give a new meaning to our profession.
What local cons do you attend? The Small Press Expo, Intervention, or others? Any comments about attending them?
I usually attend meetings or events at the Newseum, National Press Club and sessions at a number of think tanks in DC.
What's your favorite thing about DC?
It's a beautiful place. I love the National Mall, museums, theaters, Georgetown, National Airport, and the monuments. DC is not only a historical place, but you sense the history in the making.
Least favorite?
Ummm...some taxi drivers who expect you to be a devoted Radical Muslim and discuss matters that you hate! I'm a Muslim lite! I drink alcohol and love bacon and avoid people who tell me what I should do or be!I've met many cab drivers who were in love with Iran's former president, Mahmoud Ahmadinejad. I told one that if he loves Mahmoud that much, he should leave DC immediately, go to Iran and work for him! He changed the subject after I made that suggestion!
What monument or museum do like to take visitors to?
I love Lincoln Memorial for many reasons. The Smithsonian Air and Space Museum and the Udvar-Hazy center near Dulles, remind me of the days I hoped to become a pilot! National History Museum gets me back to the days I studied mineralogy and paleontology. And as a journalist, who could not love the Newseum? I've also taken friends to the Library of Congress and the Congress.
How about a favorite local restaurant?
For meat loving times, Ray's Hell Burger and Ruth's Chris Steak House.
For Pizza, Pupatella in Arlington.
And for Iranian cuisine, Amoo’s House of Kabob in McLean.
For fast food, I cannot love Moby Dick House of Kabob enough.
Do you have a website or blog?
I'm not a journalist, but I should probably note that Nik recently turned the tables and interviewed me for the CRNI on “Supporting Mohammad Saba'aneh,” the Palestinian cartoonist who also ran afoul of Islamic cartooning.
