The great Turkish German Caricaturist Erdogan Karayel .. Could you please feed us more about yourse
The great Turkish German Caricaturist Erdogan Karayel ..
Could you please feed us more about yourself?
E.K. I was born in Istanbul in 1956. I began to draw on the wall of our house when I was six years old. And I've been drawing professionally since I was twenty years old. I graduated from Faculty of Fine Arts, “Graphic Department”. My five caricature albums were published. I won thirty-eigth national and internatonal prices. I joined a lot of personally and mixed exhibitions. I have worked at the advertising sector as grapher, art director and creative director for approximately 30 years. I've been living in Germany for six years.
The DQ International caricature site.. There is no exaggeration to say that it is one of the most important sites in the caricature world.. What could you tell us more about it? How was its idea born? When you start The DQ great caricature site? And what are the most important activities carried out by it?
E.K. - And since the last four years I've been struggling to bring Don Quichotte an active and permanent situation in the humor world. This adventure has began in order to undertaken a bridge task between the Turkish caricature and the world caricature.
Don Quichotte was pressed only ten issues in 2005 when it was published first.Unfortunately I've been triying to continue its publications only through internet for three years because I can't solve the sponser problem. I work inexaggrated day and night to be able to catch the agenda of the world by means of drawing. Don Quichotte is successfull because of these reasons. It is a magnific sense that the caricaturists from different nations can communicate through “caricature” being the the common language of the world,and to contribute in order that they claim to the actuel subjects and produce. According to me the caricaturists are the most generous people in the world. I think we are unique people who can be happy by drawing. For us sharing our caricatures with society is more attractive and significiant than counting green banknotes. I can't say that I saw such a solidarity with the exeption of Don Quichotte. I have the honour of obtaining such an utopian success, too. A lot of popular caricaturists in Don Quichotte Caricature Committee who we constitued from fifty-two persons in order to solve the the problems of the world caricatures- have striked up a nice friendship through “Yahoo Groups”. We have organized three great international contests such as “Turkey On The Way Of Europen Union, World Languages, Immigration” until today. Besides we have made up the international exhibitions as Nazım Hikmet, Bird Flu, Once Upon A Time New Orleans, Stop The War, Criminal Attempt on Benazir Bhutto, Che Guevara. Furthermore we have realized a fairly extensive international questionnaire about “digital caricatures”.
Every one knows your tremendous effort in the world of caricature... And while many of another International caricature sites have support of its countries (Regardless of this support whether big or small), Do you have any support from a certain point or not?
E.K. The struggle of Don Quichotte continuing for four years is really praiseworthy. I am not humble about this subjects yet. Also there are a certain success in sight. Of course I struggle many annoyances and problems which you don't know. For example I sold my car so that 3rd issue of Don Quichotte can be published. Since the last three years I have been striving to keep up Don Quichotte and organize the activities by money
I have earned as grapher. There is only one reason that I can stand up to so much annoyance: I like caricature very much so much so that it almost is a piece of my life. I sometimes think; “What has caricature given me or taken from me?”... Unruly and madcap Don Ouichotte who is within every caricaturist and who ventures everything bravely- is the most single and shortest answer of all questions! As the caricature is the unique art branch which keeps on at mistakes and injustices in the world, there are many people who like caricature or don't like. Particularly the politicians don't like us, we don't like them, too. “Pinocchio” is much more honest in comprassion with them. At least his nose grows when he told a lie. We are intolerable to the world established on the “lie”.
As to the answer of your question; Don Quichotte has only one sponsor and he is Erdoğan Karayel. It just is possible to be able to find a sponsor for the contests ordered by us. And this can only occure with a great sacrifice and obstinacy. However it cheered up that in the last times the German municipalities are interested in my activities particularly in Germany where I have been living and this increases my hopes for the future much more. Our humor struggle continuing for four years seems that not only I, all caricaturists are an Don Quichotte as the name of our magazine. And the windwills are the reason of our existence. I have just undertaken the locomotive of Don Quichotte. But the world caricaturists lay claim to Don Quichotte and they enrich it.
We notice great activities in the world of caricature, what are the reasons? And do you believe that caricature has the ability to get an important role in the era of image?
E.K. According to me caricature is one of the most active and popular art branches of the area. I think there aren't another branch that draws the agenda of the world so much quickly and effectual. Especially in the last years the import and the function of the caricature has been increasing because of spreading of the techology extremely. As for the questions how the caricature has the ability to get an effective role in the era of image; I believe that the last example is “Hz. Muhammed Caricatures”. This example has indicated that caricature is a very strong and effective art branch. I can say only one sentence about this sensitive subject which has kept busy the world: “Caricaturist solves the problems, don't caused problem.”
As a great expert, how could you summarize the most important problems in the world of caricature?
E.K. Nowadays technology has expanded communication of caricature for communities as well as it has shorted the delay of the communication. I think the digital caricature having support of internet has abolished the consepts of the time and limit As to the problems of the world caricatures; perhaps one of the most important problems is that we draws “the first joke which we think.” Thus the similar caricatures become unvoidable. I believe that an autocontrol system -suitable for ethical rules- has to be realized in the caricature art from now on. Another considerable matter in the contests is the shallowness of the jokes. When we consider the caricatureas a pragmatic art branch, in the general meaning I observe that the caricature is in a different position from ethical thougt.
I think that the magazine caricatures with speech balloon which are very effective nowadays, and the caricatures known widely in the marketing area don't agree with the philosoph of the caricature. One of the most important problems of the caricaturists is to be not able to earn money. I had explained the reasons of this in previous question. I can just add that: As if it seems an utopian goal, we, the caricaturists believe that we change the world by caricatures being transformation to drawing of our vital attainments but not by money. I am not complainant from this but I would ask that we are able to have more humane living rights. Even if an organized struggle of the caricaturists in the world seems such as an utopian thougt, I think that some day the great developments will happen in this respect.
How do you look at internet, does internet has a positive or negative reflexes into caricature?
E.K. This question is very related to Don Quichotte. If I answer your guestion by only one sentence; I can say: “Internet is one of the reasons of the existence of Don Quichotte which I have aimed such as a bridge between Turkish and German Societies at the beginning- is going to being a bridge between Turkish and German caricatures today. I have to add; therefore we have organized the questionaire about “Digital Caricatures” which I believe contributing to the world caricature. Internet is a communication possibility serving your goal what you have aimed. Addressing of the caricatures to the wide communities and particularly solving the problem about post expense and time considerably are only two ones of the great attainments.
DQ International Cartoon committee... No one can deny that it was a great idea... and it was the first of its kind... What are the main issues considered by it now? And in future? Does it have a direct impact on the world of Caricature?
E.K.- Eventhough these remarks are flattering, they surpass Don Quichotte's and my purposes since my capabilities and talents are limited. What you are describing here can only be achieved by team spirit and sharing. My only purpose is to remove the borders in the world of caricature and promote solidarity as much as possible by caricatures. The interest and participation of world caricaturists to the activities we have organized overwhelm my personal thoughts. I don't see the necessary capacity to do more in myself and I don't think I have the right to do it.
I'd like to comment on our work on “Similar Caricatures”. I wish that the artists whose works are published in this category do not get offended. As the title speaks for itself, the published caricatures are “similar” to one another. They are never meant to be entitled as “plagiarisms” or “copies”. Our goal is to make the world of caricature an honest and neat environment free of superficial works. I believe that we must distinguish the real artists who put their hearts and souls into their work from those who prefer easy and superficial work in caricature. Our commission is conducting research on this particular topic as well as many others that are of concern to the caricature in general. We are publishing information related to our findings in our website occasionally. A recent example that illustrates the direct impact of Don Quichotte to the world of caricature is our “Stop this Crime” campaign. This campaign has attracted 104 caricatures from 23 countries which by itself portrays the significance of Don Quichotte for caricaturists all over the world today.
Could you please feed us more about the Turkish cartoons? What are the most prominent features of it? Where do you put it in the map of cartoon world today?
E.K.- In Turkey, the first caricature was published in 1867. The first comic strip was “Diyojen” which was published by Teodor Kasap. Because of the oppressive ruling of the Ottoman era, however, caricature moved into a dormant state up until 1908, when it revived again. Therefore, it is proper to divide Turkish caricature into three stages, namely, “Ottoman era”, “Republican era” and “Modern Caricature era”. Although the very first caricatures that were drawn under western influence in Ottoman era were very appealing, they were subject to the monarchial rules and frameworks. In this generation, we could see emerging masters such as Nişan Berberyan, Ali Fuat, Sedat Nuri İleri, Münif Fehim and Cemil Cem.
With increasing interest in the Rebublican era, the caricature found broader audiences thanks to the increasing number of press agencies after the Language Revolution in 1928. The western influence was also present in this epoch. Supported by subtitles and characters that are very similar to those pictured in the West, caricature was having a transition at the time. We could count Münif Fehim Özarman, Ramiz Gökçe, Ratip Tahir Burak, Kozma Togo, Salih Erimez, Orhan Ural, Necmi Rıza Ayça as the prominent artists of this time.
Around 1950s, characters and jokes became more genuine and specific to Turkish caricature. During this time, which was subsequently dubbed as “Modern Caricature era”, eminent artists emerged in this period that were later called “50s Generation”. Turhan Selçuk, Ali Ulvi Ersoy, Ferruh Doğan, Ramiz, Necmi Rıza Ayça, Nehar Tüblek, Selma Emiroğlu, Altan Erbulak, Oğuz Aral, Tonguç Yaşar, Yalçın Çetin, Bedri Koraman, Mustafa Eremektar, Semih Balcıoğlu and Tan Oral are some of those artists.
After 1960, turkish caricature moved into a standstill period. In 1969, Turhan Selçuk, Semih Balcıoğlu and Ferit Öngören founded the Caricaturists Foundation. Rapidly gaining attention in the early 1970s, turkish caricature became even more active by means of the comic strip, “Gırgır” founded by Oğuz Aral. Aloof from universal caricature culture, a new generation of national caricaturists emerged in this period. Erdoğan Karayel is
also a member of this generation. Gırgır became a very important comic strip with its positives and negatives to the Turkish caricature.
Today, on the other hand, with comic strips such as “Leman”, “Penguen” and “Uykusuz”, which can be identified as mere derivatives of “Gırgır”, we are experiencing a national period that is dominated by an introverted humor concept. These papers are simply imitations of one another and they do not have any contribution to the image of the Turkish caricature in the international scene. Unfortunately, the number of Turkish caricaturists who are renowned in the international arena is very limited. In my opinion, today, Turkish caricature is in a stagnant state and it has to fight against an oppressive and conservative system as well. Some artists are persecuted or forced to leave from their organizations because of their works. Despite all this, the fact that Turkish caricaturists cannot make any progress in joining forces is really saddening. Unfortunately, the only effort to popularize Turkish caricature in the world is limited to organizing competitions. Therefore, the role “Don Quichotte” is assuming today is very significant.
In sum, Turkish caricature is suffering from not being able to educate a young caricaturist generation to replace the old masters. I believe that after masters such as Ali Ulvi, Semih Balcıoğlu, Ferruh Doğan, Necmi Rıza Ayça, Oğuz Aral, Mustafa Eremektar, Eflatun Nuri, and Semiramis Aydınlık we must strive hard to rejuvenate Turkish caricature to carry it to the level it deserves in the international scene. The biggest need in Turkish caricature today is a unifying force.
What do you think about cartoons in the Arab world?
E.K.- Arab world caricature has made considerable progress over the last few years. For instance, I believe Iran caricature has a high rank in the world. Iranian caricaturists created a plastic and aesthetic value in modern caricature. In particular, some of them are very good at “portrayal” drawings. Syria, Morocco, Algeria, Sudan and Egypt have very successful caricaturists as well. The most important common traits of Turkish and Arabic caricaturists are that primarily, they are anti-imperialists and they have similar political views. The harshest criticisms to USA and Israel on their military activities against Lebanon come from Turkish and Arabic caricaturists. But I'd like to point out something at this point. I have observed that some of the Arabic caricaturists are doing perfunctory work by making “the most obvious joke” on a subject. The days of slogan caricature is over. Creating works that turn simplicity into richness and that can accent the magical power of caricature will not only advance Turkish and Arabic caricature but also it will contribute to the universal caricature.