In a world where satire and humour can cut through the noise of social discourse, Nigar Nazar stands as a pioneering force. As Pakistan’s first female Muslim cartoonist, she has used her pen to amplify women’s voices, address climate change, and challenge societal norms. Through her iconic character, Gogi, she has engaged audiences with humour, wit, and sharp observations about Pakistani society. In this exclusive interview, Nigar shares her journey, the inspiration behind Gogi, and her vision for the future of women’s empowerment through art.
MT: Nigar, could you tell us a bit about your background? How did you find your way into this field?
NN: First of all, thank you very much for this opportunity. I appreciate the chance to share my story, especially about Gogi—the young, confident, modern, and often misunderstood character who wants to conquer the world!
My journey into cartooning started with a childhood love for comic books. I was studying pre-medical, but my heart was always in drawing and fine arts. I kept doodling, which seemed to run in my family. Some of my aunts and uncles were into painting and fabric art, so creativity was in our blood. Eventually, I asked myself, What am I doing in pre-medical? I had good marks, even got a scholarship, but it wasn’t my calling. I took a U-turn and embraced cartooning.
MT: How did you launch Gogi? I remember it being a regular feature in newspapers like Dawn, The Muslim, and later The News?
NN: When I started, there was no formal training for comic artists in Pakistan. Political and editorial cartooning existed, but comic art for storytelling was almost non-existent. People told me, Just draw a cartoon and show it to me. But how? There were no guidelines!
So, I taught myself. I combined my love for drawing with a knack for humour, and that’s how Gogi came to life. Initially, Gogi was all about fun, light-hearted humour, and daily observations. But as I matured, so did my work. I realized humour could carry powerful messages, so I began using cartoons to highlight social issues.
Gogi—the young, confident, modern, and often misunderstood character who wants to conquer the world!
MT: How did Gogi evolve from a fun comic strip to something more meaningful?
NN: I remember when I first started adding messages to my cartoons, my kids weren’t happy! They said, Mama, cartoons should be funny, not preachy! But I wasn’t giving lectures; I was weaving subtle messages into the humour.
One defining moment was when a friend at UNICEF told me they had never been able to communicate their critical health and hygiene guidelines in a way that truly engaged people. I took on the challenge. Later that comic was published in multiple languages across Pakistan, and UNICEF lost count of how many editions were printed. This also taught me how cartoons can impact us.
MT: You mentioned Gogi was often “misunderstood.” What did you mean by that?
NN: Gogi didn’t fit the traditional image of a Pakist-ani woman. She had a bob haircut, wore modern clothes, and kept up with fashion trends. She wasn’t meant to conform—she was meant to challenge norms. Some people saw her as too modern, too outspoken. But I told them, Read more, get to know her, and you’ll see she’s relatable. Over time, people from all walks of life embraced her.
MT: Your work has championed women’s empowerment. What are some of your notable projects in this area?
NN: Many! My first impactful projects were painting messages on public buses to highlight women’s issues. The first bus was about harassment, and at the time, there was no harassment law in Pakistan. At universities, I show my work often to young women, especially those aiming to be entrepreneurs. One of my most famous cartoons shows women carrying heavy water pitchers on their heads while Gogi carries books. It became a bestseller at international fairs, resonating with people across cultures.
MT: Where do you see Gogi’s role in today’s Pakistan?
NN: Gogi is an agent of change. She represents financial empowerment, physical self-defense, and the right to dream big. One of my cartoons that was exhibited in Spain showed Gogi sitting on the back of a scooter, driven by her maid. It was such a simple but powerful image of breaking stereotypes.
She is not just about feminism—she has a heart. She believes in love, kindness, and growth. I’m also introducing a male character to balance perspectives because empowerment isn’t just about women fighting alone; it’s about creating an inclu-sive society.
Cartoons can change minds. They can start conversations. I always say, If you can turn something serious into a joke that makes people think, you’ve got it made.
MT: What advice would you give to young girls who want to be cartoonists but feel there’s no future in it?
NN: I won’t sugarcoat it—it’s not easy. You need strong draftsmanship and the ability to turn grim realities into humor. But if you have that spark, it’s worth pursuing.
