Bandits, Poetry, and Cartooning
Abstract
This chapter explores the intersection of humor, banditry, and visual anthropology through the innovative combination of haiku poetry and cartooning as a methodological approach. Building on the etymological roots of "haiku"—"hai" meaning humorous and "ku" meaning verse—and the exaggerated, simplified features of cartooning, the project bridges aesthetic representation and academic analysis. These mediums serve as tools to amplify and distill the core ideas of each chapter, challenging the rigidity of scientific discourse and crafting what Jablonka (2024) describes as a "truth-literature" distinct from fiction or grey literature.
The project examines the aesthetic and political dimensions of banditry, a paradoxical figure oscillating between marginalization and complicity in state-building processes. Drawing on the works of Hobsbawm (2000), Dabove (2017), and Zavala (2022), banditry is explored as both a rejection of societal oppression and a contributor to power dynamics, highlighting its cultural resonance from historical figures like Robin Hood to contemporary representations such as Pablo Escobar and 'El Chapo.' The chapter emphasizes the intertwined nature of power and criminality, illustrating how political authority often adopts criminal forms while disavowing them.
Visual storytelling, through cartoons and haikus, offers a means to critique and reflect on the ambivalent roles of banditry and governance. By capturing emotions often overlooked in academic discourse, this approach facilitates a deeper engagement with the lived realities of criminality and violence. It invites the reader to view banditry not only as a symptom of societal crises but as a mirror to the inherent contradictions in authority and resistance. The playful yet incisive use of caricature disrupts conventional narratives, enabling reversibility and improbability, as discussed by Bergson (2002) and Dundes (1987).
The chapter also introduces a recurring visual character—a hat-wearing, faceless figure embodying the duality of the everyman and the bandit. This character connects the diverse themes of the book, serving as both a witness and a critique of the narratives of power, politics, and conflict. Through humor, the figure underscores the importance of addressing violence not only intellectually but also through corporeal and emotional expressions, including drawing, poetry, and even dancing.
By incorporating humor and visual methodologies, this chapter advocates for a renewed understanding of power, criminality, and conflict. It seeks to bridge the gap between scientific rigor and creative expression, proposing that humor, as a subversive and empathetic force, offers fresh critiques and insights into the complexities of human experience.