I love cartoons. Loving cartoons as a Black woman means understanding I'll rarely see (or hear) myself on screen, which is unfortunate, as I've been a cartoon junkie since watching The Flintstones in syndication every day after school. My addiction fed on The Jetsons, Josie and The Pussycats, Jem, King of the Hill, and Baby Blues. I know William Fontaine de la Tour Dauterive's home state (Louisiana), I remember what television show featured The Simpsons in mini-vignettes throughout the show (The Tracey Ullman Show), and I can tell you Jem's alter ego's name (Jerrica). Pepper Ann? Don't even get me started on my love for Disney's Pepper Ann. She's like, one in a million.
I binge watch F is For Family and count the minutes until the next Rick and Morty episode, Every character on Bob's Burgers is my favorite. But if you asked me which cartoons feature Black voice actors, I'd have to pause to think. After five minutes of drumming my thumbs on my desk, a name appears: The Boondocks, which ended its original run in 2014 and featured the vocal talents of Regina King and the late John Witherspoon.
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Few cartoons feature Black women as actors in supporting roles, let alone starring roles. Supporting characters of color pop up, often as part of B or C storylines, but rare is the animated show both starring characters of color and voiced by actors of color.
It's 2020, and diversity still hasn't reached cartoons, which brings us to the Apu problem. This controversy started when Indian Americans started vocally rejecting the stereotypical depiction of The Simpsons' convenience store-owning Apu Nahasapeemapetilon. That the person portraying Apu was white actor Hank Azaria made the depiction even more painful.
A few months later, COVID-19 reached America, further highlighting the racial disparities in this country, particularly when it comes to labor and healthcare. Then, on May 25, George Floyd was killed by police. In the space of 8 minutes and 46 seconds, the American society at large realized something some of us had known for a long time: difficult conversations about race need to occur.
Slate elaborates: By playing a Black preteen girl as a white woman (no matter how well-meaning), she "was engaging in an act of erasure of Black people" when she pushed aside the character's Black heritage when she took the role. The role, now the center of headlines, will now go to a woman of color, and serve to elevate both the role and the actor.
Emily Flake began cartooning for The New Yorker in 2008 and has had more than a hundred cartoons published in the magazine since. Her cartoons, essays, and illustrations have also appeared in Mad, the New York Times, the New Statesman, the Wall Street Journal, the Globe and Mail, and in many other publications. She is the author of Mama Tried and her newest book, That Was Awkward: The Art and Etiquette of the Awkward Hug, published by Viking in 2019.
Samantha Vuignier is the Sales Director at Cartoon Collections. She has over 20 years experience in commercial image licensing at both Corbis and Conde Nast where she went from Photo Editor to Associate Director of The Conde Nast Archive. In this role Samantha was responsible for all file preparation for The New Yorker Encyclopedia of Cartoons, as well as file production on all cartoons for The New Yorker Store and The Cartoon Bank.
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The first cartoon I ever drew wound up in our school's newsletter back in 7th grade. It was simply one of my friends, who played basketball, standing at the free throw line and everyone is yelling at him to shoot the ball as he cries out, "Don't yell at me!" Pretty lame, right? But I was 12 and that was funny to me.
Initially, I got a bunch of hate mail. Readers wrote that the cartoon was racist, it wasn't well-drawn, it wasn't funny, etc. I wrote back to every single one, explaining that I was Native and that this cartoon was based on how I see the world as a Native. They responded with, "Oh, you're Native? Well, that's okay then."
I don't feel I should be responsible and represent all Natives because each tribe is different with its own history. I think mainstream America often depicts us as one even though there were well over 1000 tribes before the Europeans came. I base my cartoons on my knowledge of other tribes as well as my own. I try to "educate" my readers about certain tribes and certain dates in Native American history that should have been told already.
I censor myself all the time. I could easily offend everyone who isn't Native with my cartoons, but why do that? I want as many people to read the cartoon as possible so they can get a little bit from it to start conversations going about Native issues.
I first headed up to Standing Rock out of curiosity and, seriously, because I had nothing else to do at the time. So I drove there and found that much of what I saw on Facebook about the cause was not true. I arrived August 27, 2016 with supplies, and by day three, I started drawing what I witnessed that particular day and posted those drawings on Facebook. Soon I was getting a lot of likes and shares, which was important to me because there was hardly ANY media coverage and when there was, the Bismark newspaper was grossly biased against the Water Protectors. I felt that I was actually doing something to help the movement and I enjoyed every minute I was up there. We may have lost that battle, but it set a precedent for all who were there to go back to our respective communities and speak out against fracking, pipelines, water rights and anything else affecting our Native communities.
It's hard to say which cartoon is the most popular as each person has their reasons for even liking specific ones. My personal favorites usually have only a few words to them. The simpler, the better.
I like speaking at schools and colleges about my cartoons because then I can explain what it is I do and why I do it. I show different cartoons that I think are important and would benefit that particular audience, and then I set out to "educate" that audience as best I can, using humorous stories.
Like with any deadline, I often wait until the last minute, but I usually have ideas in my head by Wednesday, draw them and turn them in for print the following week. I pay close attention to my surroundings, so it is easy to see the funny in most things, like Trump. Ha ha.
I think my message would be that we as Native peoples, are still here and have no plans to go anywhere. I would like to see more representation of Natives in history books. We need to have our story told. This land came at a price and I simply want that fact acknowledged. I feel I am, in a most subtle way, addressing some of these concerns through my art.
I do feel my work is even more important now than ever, both for open-minded egalitarian readers as well as conservatives who seem to be most offended by my work. I would like to think I am starting to bridge the gap between the two so that real discussion starts to take place.
Hundreds of thousands of educational cartoons for kids, toddlers, and preschoolers are available on various streaming services, television, and the Internet. Knowing which educational cartoons are the best is challenging, with many options.
In the same survey, 86 percent of parents reported being satisfied with how their toddler or preschooler uses technology. The parents cited benefits such as child development and literacy and language skills as the reasons for their satisfaction. More than half of the parents said they believe that technology supports school readiness and impacts success in school.
The survey results underscore the importance of technology in early childhood education. Technology can be a valuable tool for supporting cognitive development, providing access to educational content, and fostering social-emotional learning.
When I was a kid, the only way to watch cartoons was on Saturday morning. My brother and I would get up early, rush through our cereal, and plop in front of the TV for hours of entertainment. Cartoons were always geared towards kids, with simple storylines and bright colors.
While being aware of these potential pitfalls is essential, it is also important to remember that technology can be used positively. For example, many educational apps and websites can help to promote learning and creativity. When used in moderation, technology can be a valuable tool for children and families.
Recent headlines in the news make it look like these services are doing something about it. But the fact that these issues persist and continue happening makes you wonder if they are actively trying to improve their service or make it look like they are trying to improve.
Entertainment cartoons are designed purely for amusement, while educational cartoons teach children about a particular topic or subject. While there are some clear distinctions between the two types, there are also several gray areas.
Entertainment cartoons can often be educational, teaching children about important life lessons or moral values. Similarly, educational cartoons can sometimes be entertaining, with funny characters and exciting plots. However, the majority of entertainment cartoons do not have any educational value whatsoever, while the majority of educational cartoons do not contain a whole lot of entertainment value.
While any list of the best educational cartoons is inherently biased, as parents of toddlers and preschoolers, we have spent countless hours educating ourselves and looking for appropriate educational cartoons for our kids.
It is appropriate that we are upfront about our recommendations. You are reading this article on kokotree.com; we are the creator of the Kokotree cartoons, educational videos for preschoolers, and streaming services. 152ee80cbc