What Has Changed Since Charlie Hebdo?

On Tuesday, January 7 (18 Dey), France commemorated the victims of the deadly attack by armed extremists on the Charlie Hebdo office in Paris, marking the tenth anniversary of the incident. Charlie Hebdo, one of the world's most famous 'anarchistic' and 'anti-religious' satire publications, has now become a symbol of freedom of expression in France and even globally. Since the republishing of cartoons depicting the Prophet Muhammad in 2006, the weekly has consistently faced threats from extremists. In November 2011, the Charlie Hebdo headquarters was targeted in an arson attack, and on January 7, 2015, a terrorist attack on the publication's office claimed the lives of several journalists and cartoonists. Around 11:30 AM, two armed brothers entered the Charlie Hebdo building and killed twelve people, including eight editorial staff members. Now, ten years after this attack, what changes have occurred in the world of press cartoons, and what do cartoonists say about it? French cartoonist Zéno Lacombe states that the attack was not solely about the cartoons. He told AFP, 'The attack on cartoons is an excuse. In any case, press cartoons have always provoked reactions and shock. The problem is that we shouldn't necessarily pull out a Kalashnikov every time a cartoon is offensive. It only takes some madmen wanting to pull out a weapon and do what they did to Charlie to create terror.' Following this attack, a wave of support for Charlie Hebdo emerged. Iranian cartoonist Mana Neyestani, residing in Paris, was among those who participated in demonstrations supporting the publication. Mr. Neyestani expressed concern about the state of freedom of expression worldwide, stating that this attack made cartoonists and publication owners somewhat cautious and led to self-censorship. The satirical weekly Charlie Hebdo has long been one of the most prominent symbols of freedom of expression in France and even globally. However, especially French cartoonists are worried that support for such media may be temporary. Lacombe noted, 'It is somewhat strange because after 2015, cartoonists were elevated to the level of democracy heroes due to the great interest and things like that from the public. However, this wave quickly subsided. When we look at the sales of Charlie Hebdo or newspapers in general, we realize that this wave diminished rapidly. Now, ten years later, everyone says again: 'Oh, press cartoons, how great. Charlie Hebdo, freedom of expression, humor, how wonderful.' But it is somewhat shameful that we only show interest on such occasions. It would be good to pay attention to it generally and continuously. If we really think it is great, it should be great for us throughout the year and always.' Although Charlie Hebdo has faced the wrath of extremists for two decades, especially due to the publication of cartoons of the Prophet Muhammad, this publication, which believes in the 'right to insult the sacred,' has never backed down from its positions and even republished cartoons of the Prophet Muhammad in 2020 on the eve of a trial related to the attack on this publication. Ali Khamenei, the leader of the Islamic Republic, claimed in a message regarding the publication of cartoons of the Prophet Muhammad in Charlie Hebdo that these cartoons reflect 'the malice and spite of the political and cultural establishments of the West towards Islam.' In recent years, the Islamic Republic has also become one of its biggest enemies. Two years ago, Charlie Hebdo published cartoons of Khamenei, which provoked a strong reaction from Tehran officials. However, the editor of Charlie Hebdo emphasized in a special issue for the tenth anniversary of the attack on the publication's office that today the values that Charlie Hebdo supports are more threatened than ever. Lacombe also spoke of a general crisis in the press: 'The current problem is not so much related to the state of press cartoons, but more about the press itself. In fact, the problem is economic, the problem of billionaires buying the press. Is the press in bad shape because people do not buy enough newspapers? I cannot tell you why the state of the press is bad, but such a situation is real. In this context, the press has started to cut back on cartoonists because they think cartoons are not their top priority. I think there is cause for concern, but not just for press cartoons, but for the press in general.' Despite these conditions, cartoonists from Charlie Hebdo and their colleagues emphasize their commitment to continue their work. Lacombe states, 'I really want to continue my work. So I am waiting to see what will happen. I don’t know, maybe new things will emerge, maybe economic models that are born will be effective. With the experience we have in press cartoons, I tell myself it is shameful to stop, and we must try to continue as much as we can.' Despite all the challenges facing humor, Charlie Hebdo has managed to change public culture, especially in France. According to polls, in 2006, the year the cartoons of the Prophet Muhammad were first published in Charlie Hebdo, only one-third of the French supported cartoons on religious themes, but this figure increased to half of the French last year.