For the people, a party’s symbol and its political campaigns communicatea promise. Immediately after the elections, as a reminder of this responsibility,a local television channel ran a clip of black and white images ofthe winning candidates and their party workers with a popular old songplaying in the background: Jo wada kiya wo nibhana pare ga. The promisemade will need to be fulfilled.referencessaima zaidi1. gombrich, e.h. ‘Aims and Limits of Iconology’. In Symbolic Images: Studies in the Artof the Renaissance. Phaidon Press Limited, Oxford 1972 (p. 12).2. lupton, ellen and miller, abbott ‘Modern Hieroglyphs’. In Design WritingResearch Writing on Graphic Design. Kiosk, 1996. Phaidon Press Limited, London,1999 (p. 44).3. heller, steven ‘Hitler’s Children: Nazi Iconography in Contemporary GraphicDesign’. Looking Closer 2: Critical Writings on Graphic Design. Edited by Michael Beirut,William Drentel, Steven Heller and D. K. Holland. Allworth Press, New York. Copublishedwith the American Institute of Graphic Arts, 1997 (pp. 201–202).4. cirlot, j.e. A Dictionary of Symbols. Routledge and Keganpaul Limited, London,Second Edition 1971 (pp. 322–323).5. wilder, andrew The Pakistani Voter: Electoral Politics & Voting Behaviour in the Punjab.Oxford University Press, Karachi, 1999.6. dadi, iftikhar ‘Political Posters in Karachi, 1988–1999’. South Asian PopularCulture, 5:1 2008, (pp. 11–30).7. cirlot A Dictionary of Symbols, op. cit., (pp. 19–20).8. dadi ‘Political Posters in Karachi, 1988–1999’, op. cit., Ibid.9. sontag, susan ‘Posters: Advertisement, Art, Political Artifact, Commodity’.Looking Closer 3: Classic Writings on Graphic Design. Edited by Michael Bierut, JessicaHelfland, Steven Heller and Rick Poynor (pp. 196–218).10. stefan r. ‘The Rise and Fall of the Chinese Propaganda Poster’. In ChinesePropaganda Posters. Taschen, 2003 (p. 16).11. charlton, hannah Introduction in Che Guevara The Revolutionary and Icon. Editedby Trisha Ziff. V&A Publications, London, 2006 (pp. 7–11).12. margolin, victor American Graphic Design for Social Change. CommunicatingDesign: Essays in Visual Communication (ed.) Teal Triggs. B.T. Batsford Limited,London, 1995 (p. 42).13. mangum, megan ‘Hands Talk’. In ‘Trace’ AIGA Journal of Design V1/N3 2001. Voice.Codrington, Andrea (ed.) New York, (p. 71).14. dadi ‘Political Posters in Karachi, 1988–1999’, op. cit.15. gromala, diane j. ‘Solidarity: Subversive Codes in the Production of PoliticalChange’. Communicating Design: Essays in Visual Communication (ed.) Teal Triggs. B.T.Batsford Limited, London, 1995 (pp. 46–54).16. www. http://www.maviyane.com/17. beirut, michael ‘India Switches Brands’. Design Observer. http://do3.rubystudio.com/archives/entry.html?id=152 (05.17.04).18. Ibid., comment posted by William Drenttel on 05.19.04.19. sontag ‘Posters: Advertisement, Art, Political Artifact, Commodity’, op. cit.List of Political Parties and Symbols allocated to them in General Elections (2002,1997, 1993, 1990, 1988) http//www.ecp.gov.pk/content/PWS.htmhttp://www.ecp.gov.pk/content/Symbol-allotted.pdf\\The author acknowledges the help of Qamar-uz Zaman, Provincial Election Commissioner,(Karachi) and Saquib Hanif.Figures 42&43. Posters printed by the ElectionCommission of Pakistan outside a polling station.Figure 44. Poster listing the codes of conduct forthe voters. The headline reads ‘Making the electionsa success is a democratic responsibility’.Figure 46. Another poster depicting ‘The correctprocedure to stamp the ballot paper’.Figures 45&47. The ballot paper being issuedby a polling officer after confirmation of thevoter’s identity through the national identitycard and fingerprinting before the vote is cast.Figure 48. The translucent ballot box containingthe cast ballot papers. These boxes werecolour-coded, green covers for the Nationaland white for the Provincial assemblies.42.43.240<strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Reader #1 · Summer <strong>2011</strong> · 30
44.45.46.47.48.the art of the possible24131 · <strong>Prince</strong> <strong>Claus</strong> <strong>Fund</strong> Reader #3 · Summer <strong>2011</strong>
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