... Especially during times of trials and tribulations. 

Ahead of ARTRA’s Comics & Caricatures Edition launch, founder and editor-in-chief Azara Jaleel on wit & satire and the power of humour.

Q ARTRA Magazine is set to launch its 65th edition - Comics & Caricatures; what inspired this edition?
Simple, my love for humour inspired this edition. Whilst laughter is certainly the best medicine, evoking laughter is a splendid skill in my opinion – it’s not easy to make people laugh, especially during times of trials and tribulations. Thus, I have always admired artists who use humour to critique and their wit to cleverly comment on matters of importance. So, we felt it would be interesting to explore the works of Sri Lankan artists from different periods who have potently used humour with diverse intents, characteristic styles, and effective techniques to communicate in grotesque ways.

Q Given Sri Lanka’s long history of using art as a medium for political and social commentaries – what sets Collette, Bawa and de Chickera apart in this edition?
This edition is characterised primarily by humour alongside wit and satire, as it was envisioned with the purpose of exploring its role in critiquing, celebrating or cleverly commenting on matters and people of importance. So we explored the works of artists who used forms and styles such as caricatures and cartoon drawings in alignment with the focus of humour at the outset of the intent of delivery in their respective artistic expression.

Thereafter, it was important for me to choose works of artists who are enriched by multidisciplinary skills, pursuits and outlooks that further enrich their artistic consciousness and inventive form of communication. Whilst there are many laudable cartoonists such as the legendary Wijesoma, and Avantha Attygalle; whose works on the present Sri Lankan predicament I find to be impeccable and those of Wasantha Siriwardene also riveting, I chose to explore the works of Aubrey Collette, Bevis Bawa and Gihan de Chickera for multiple reasons. Firstly, for the varied time periods during which they commented on the goings on of Sri Lankan politics, economics and social life thereby, providing an understanding of a broader political, social and economic context.

Secondly, for their multidisciplinary talents and pursuits – whilst Aubrey was the pioneering caricaturist of Ceylon who was also one of the founding members of the ’43 Group that spearheaded Sri Lankan Modern Art, Bevis Bawa was not only an artist and writer whose columns for the Ceylon Daily News was nothing but satirical and stimulating, he was also a landscape designer who knew his plants and shrubs and utilised his understanding of ancient Sri Lankan design and architecture alongside inspirations from his travels oversees to create authentic gardens. Gihan de Chickera has been committed to cartoon drawing since 2004 and continues to do so. In 2012, he won ‘Cartoonist of the Year’ at the Journalism Awards for Excellence whilst also being committed to the performing arts, of which the theatrical plays he is a part of are mostly a critique of the political state of the country.

Q Each of them represents a different epoch – in your opinion, do you feel that their works are similar regardless of their periods or do you find that they juxtapose each other and mark a unique characteristic to their own time?
I think their works are both similar and in contrast to each other. Whilst Aubrey’s caricatures focussed more on political figures, Bawa’s caricatures were more of his friends who also happen to be important personalities of the times. Although Collette also engaged in political cartoon drawings and Bawa didn’t, the former also celebrated intellectuals of the times as well. This edition of the magazine in fact begins with the caricature of Tarzie Vitachchci, who was an acclaimed journalist and G.P. Malalsekera who was an eminent scholar – so in that sense; Collete cannot be identified merely for his critique of politics. At the same time, de Chickera is similar to Collette as they both engaged in political cartoons shedding light on the hypocrisies of the state, but they are different in their use of symbolism and delivery. Have a look at the curated collection in the magazine, you’ll see.

Q What was the process of collating all of their works together for this edition?
Working with many collectors and foundations in search of the works of the featured artists and thereafter selecting the best of them was most fun! My visits to the National Archives and sitting through papers of the bygone, were the biggest treat, for I thoroughly enjoyed not only finding out the context of the cartoons I was researching but also the feature articles for their brilliant use of the language and characteristic Sri Lankan humour (especially the titles). In the magazine I’d say look out for the use of crafty use animal symbols and of course the caricatures of the intellectuals – some of the best of Sri Lankan society.

Q   Coinciding with the launch is the Art Experiential Festival on the Bawa Brothers – tell us a little about it.
ARTRA’s Art Experiential Festival takes place between Fri-Sun, Oct 13-15 at Cinnamon Bentota Beach & Brief Garden by Bevis Bawa and is themed ‘Bawa Brothers’. it pays homage to the esteemed contributions of Bevis Bawa (1909 - 1992) and Geoffrey Bawa (1919 - 2003) to 20th-century Sri Lankan art & architecture. The series of art tours, art talks and art exhibits at ARTRA’s Art Experiential Festival therefore present art enthusiasts and connoisseurs with the unique opportunity to expand their knowledge regarding the Bawa Brothers, while seamlessly integrating the theme of ARTRA Magazine ‘Comics & Caricatures’ exploring the works of Gihan de Chickera, Bevis Bawa and Aubrey Collette. The programme includes art talks, art tours and exhibitions that will collate a crowd of Sri Lanka’s most prominent figures and minds in the modern and contemporary art scene.

Q Being the second leg of the Art Experiential Festival, how does this resonate with promoting art tourism and Sri Lanka’s potential to do so?
I have always believed that the story of Sri Lanka can be shared impeccably through Modern and Contemporary Art & Architecture, alongside that of our ancient history. This time round, we have the Brief Garden by Bevis Bawa which encapsulates influences of many cultural discourses in its design and garden, which is a heritage space of significance to the whole of South Asia and Cinnamon Bentota Beach, one of Geoffrey Bawa’s most important spaces and hotels for its sheer grandeur with its stylized staircases and works of art by esteemed artists Barbara Sansoni, Ena de Silva, Ismeth Raheem to name a few. The aim of this edition is to draw attention to the potential at which Sri Lanka’s narrative can be told through not only the Bawa Brothers but also through a series of art talks, art tours and art exhibits, whilst enjoying the beauteous sea, sand and scintillating cuisines and local beverages. According to statistics, 50% of the tourists that visit Sri Lanka enjoy a trip or two to our ancient cities and temples, so I believe if we can incorporate modernist and contemporary art and architecture as part of our tourism agenda in exciting formats and modes of delivery, with a flair of the bygone and a peep into the future  - we certainly will have a new industry contributing to our country’s economy, which of course will be that of the arts.