PHIL IPPINE CARTO O NS:

Political
Caricature of
the American
Era
By : A lf re d M cC oy & A lfr ed o Ro ce
s
Table of Contents:
01 Historical Background of the Authors

02 Historical Background of the Document

03 Contribution of the Document

04 Selected Caricatures in Excerpt of the Authors

 Historical
Background
of the
Authors
Alfred
Alfred Mccoy was born on June 8, 1945 at Concord,

McCoy Massachusetts, United States.

He is an American and educator at University of

Wisconsin at Madison where he is also the director of
Center for Southeast Asian Studies.

McCoy did not create any political caricatures, but his

interest in them urged him to compile such caricatures
from various sources to produce a single collection.

He studied Philippine political caricatures to

understand the social and political contexts of the
Philippines during the American period and later
worked with Alfredo Reyes Roces, his co-author
of Philippine Cartoons: Political Caricatures of
the American Era.
Alfredo
Roces
Alfredo Roces is a Filipino Postwar &
Contemporary painter who was born in April 29,
1932.

Artist-writer from the known clan Roces in

Philippine print media.

Known journalist in the Manila times.

 Historical
Background
of the
Document
 Political Caricatures of the
American
Philippine Political Cartoons Eraduring the American
gained full expression
Era. Filipino artists recorded national attitudes toward the coming of the
Americans as well as the changing mores and times. While the 377
cartoons compiled in this book speak for themselves, historian Alfred
Mccoy's extensive research in Philippine and American archives
provides a comprehensive background not only to the cartoons but to the
turbulent period as well.
Achievement
s:
• Philippine Catholic Mass Award

• Best Book of the Year for 1985

• Philippine National Book Award

for History (1986)
• Gintong Aklat Award (Manila)

• Special Citation for History

(1987)
 Political cartoons and caricature are rather recent
art form which veered away from the classical arts
by exaggerating human features and poking its
subjects.
• Wherein such art genre and technique became
part of the print media as a form of social and
political commentary.

• Cartoon became an effective tool of publicizing

opinions through heavy use of symbolism. Which is
different from verbose written editorial.

• It captures the imagination of the readers. It

inevitably shape the public opinion and is worthy
of historical examination.
Contributio
n of the
Document
 In the Philippines, the presence of political cartoons has been seen early.
Nepomuceno (2012) argued that commentaries in newspapers are valid
historical instruments, as they are corroborated by official documents and can
be used to see the opinions and views of people on policies that are rooted in
government policies.

The book of McCoy and Roces (1986) was the first to legitimize cartoons as sources of Filipino
thoughts and views, focusing on anti-American sentiments and condemnation of the ruling
class.

Political cartoons serve as primers for engaging in the

prevailing opinions of that time. One positive effect of a
political cartoon is that it becomes the representation of the
current conditions of our country - it lets us see the problem.

Future generations will be able to have a glimpse of

the past Philippine society through these cartoons. It
also serves as a study and reference tool for further
generations.
Through the use of political cartoons, people get to
visualize politics and appreciate the representations
which are within their worldview.

• Classify historical information.

• Represent the feelings and thoughts of

the people.

• Way to discuss political and social

issues using art.
 Selected
Caricatures
in Excerpt
of the
Author
A public post is not
a hereditary
crown...
A public post is not a hereditary
crown...
The first example shown was published in
The Independent on May 20, 1916.

The cartoon shows a politician from Tondo, named Dr.

Santos, passing his crown to his brother-in-law, Dr.
Barcelona. A Filipino guy (as depicted wearing salakot
and barong tagalog) was trying to stop Santos, telling the
latter to stop giving Barcelona the crown because it is
not his to begin with.
War against the
Speculators!
 War against the
Speculators!
Here, we see a Filipino child who
The second cartoon was also stole a skinny chicken because he had
published by The nothing to eat. The police officer was
Independent on 16th June relentlessly pursuing the said child. A
1917. This was drawn by man wearing a salakot, labeled Juan
Fernando Amorsolo and was de la Cruz was grabbing the officer,
aimed as a commentary on telling him to leave the small-time
the workings of Manila pickpockets and thieves and to turn at
Police at that period. the great thieves instead. He was
pointing to huge warehouse
containing bulks of rice, milk, and
grocery products.
Death
Cars
Death Cars
The third cartoon was a commentary on the
unprecedented cases of colorum automobiles in
the city streets.

The Free Press denounces the proliferation of

illegal taxis called colorums.

The Philippine Free Press published this

commentary when fatal accidents involving
colorum vehicles and taxis occured too often
already.
Flaming Youth
Flaming Youth
This fourth cartoon depicts a cinema. A
blown-up police officer was at the screen
saying that couples are not allowed to neck
and make love in the theater. Two youngsters
looked horrified while an older couple
seemed amused.
UNCLE SAM RIDING A
Uncle Sam riding a
chariot
The last Here, we see the McCoy, in his caption
cartoon was caricature of Uncle to the said cartoon,
published by Sam riding a chariot says that this cartoon
The pulled by Filipinos was based on an event
Independent wearing school in 1907 when William
on 27th uniforms. The Howard Taft was
November, Filipino boys were brought to Manila pier
1915. carrying American riding a chariot pulled
objects like baseball by students of Liceo de
bats, whiskey, and Manila.
boxing gloves.
 GROUP 5

Mendoza, Al Francis
B.
Muñoz, Jeya Mae B.
Nacis, Loren Grace P.
Obero, James Harold
T.
Thank you!
Quiros, Alexis R.