Drawing ties in the comics scene: global delegation in Switzerland 

During the month of May, a group of festival organisers and publishers from the regions covered by our liaison offices participated in the Comic Network Programme, jointly organised by Pro Helvetia and the BDFIL Festival in Lausanne.  

The delegation was formed by: 

• Abir Gasmi, from Lab 619 / Tazarka Comics Festival (Tunisia) 
• Agustina Casot, from V.L.P. Festival (Argentina) 
• Amadeo Gonzales, from Festival Carboncito (Peru) 
• Felistas Thairu, from Reveal! Comics ConversationsEA (Kenya) 
• George Khoury (JAD), artist, writer and educator (Lebanon) 
• Marité Cánepa, from La Feria Felina (Peru) 
• Paterson Sikoue, from MBOA Festival (Cameroon) 
• Shennawy , from Cairomix (Egypt) 

Over the course of ten days, the delegation split their time between two regions in Switzerland. The first half was spent in the French-speaking part at the BDFIL Festival. The second half took them to the German-speaking part: to Zurich, Lucerne, and Basel. In both regions, the delegation participated in workshops and networking events, making contacts with the Swiss comics scene and sharing experiences. Léa Keller accompanied the group during their time at the BDFIL, while Julia Trachsel guided them through the German-speaking comic scene, including visits to Fumetto, Strapazin, and the Comic Museum Basel.

‘It was important to create an open atmosphere in which exchanges could take place on an equal footing – between artists, curators and organisers – while also allowing enough time for everyone to get to know each other and exchange ideas,’ explains Julia Trachsel, who acted as a coach to the group alongside Léa Keller. ‘The appeal – and the challenge – lay in putting together a programme without any existing framework, which meant we could draw on a wealth of resources. The fact that we were not tied to a single festival and were able to visit different cities was a great advantage.’ 

In order to provide an insight into the experience, we have gathered personal accounts from participants about the programme. 

Impressions 

‘The programme was designed specifically for event organisers and very detailed. Every meeting or visit added a real impact on our work, network or collaboration,’ remarked Shennawy, from Egypt. 

This perception was reinforced by Cameroonian Paterson Sikoue. ‘I particularly enjoyed the exhibition sessions, the book signings, and the micro-publishing. It was the quality of the exhibitions that made these moments special, in my opinion.’ 

According to the participants, another highlight was the attention to gender diversity and sustainability. ‘It was especially valuable to see that the BDFIL festival is organised by women, something rarely seen in my city, where women are rarely found at the head of this type of festival,’ said Peruvian Marité Cánepa. ‘And I was pleasantly surprised by the use of recycled and reusable elements in both the exhibitions and the furniture.’ 

For Kanyan Felistas Thairu, ‘one of the recurring themes that resonated with me and several artists was the role of women in society and how women are perceived across different cultures, as well as how they express their own identities.’ 

‘This trip allowed me to take into account many aspects that we sometimes do not consider important in Latin America due to a lack of resources’, commented Peruvian Amadeo Gonzales. ‘They are attentive to every detail and almost the whole city participates, there is an integration and identification with the festival.’ 

‘I was impressed by the festival’s strong mobilisation, the communication efforts throughout Lausanne, the number of exhibitions and, above all, their quality, and the number of venues hosting festival activities,’ continues Paterson Sikoue. 

Coach Julia Trachsel highlights the importance of the informal exchanges among the group. ‘They create spaces that go far beyond the artistic, make it possible to experience how works are created, how networks function – or fail to function – and what political, social or economic conditions shape artistic creation. The real added value lies precisely in this: in the combination of personal encounters and structural perspectives.’ 

Diverse scenes 

During the trip, the delegates got to talk about the comics scenes in their countries, how the market works and what struggles they face. 

‘Unfortunately, both in Argentina and Switzerland, people working in the scene are in the same employment situation, where most of them make or publish comics for the love of art and lose money. In Switzerland I found a greater number of publications, with diverse points of view. Also, more financial support from the state and the private sector,’ said Agustina. ‘But the most important thing [during the programme] was to be able to talk about the reality of artists and their work there, their possibilities and about the editorial differences between countries, from narrative preferences to forms of writing and formats.’ 

Amadeo remarks: ‘Comics are institutionalised in Switzerland, there is a concern from childhood so that they learn to read, draw and know their authors. It’s like a school of life where there is a follow-up of young artists and they have that support. In Peru, comics had a recognition in the 50s and 60s. In the 70s, they were published in the newspapers. Later it all changed, the new generations began with the fanzine as an alternative support. But the publications had a short life span.’ 

In Cameroon, ‘the comic book scene is booming,’ explains Paterson. ‘The audience, heavily influenced by manga, is beginning to take an interest in local production. However, it’s worth noting the limited financial resources that prevent regular publications. Fortunately, digital technology has come along to ensure at least the broadcasting.’ 

According to Julia, ‘it was particularly interesting to learn how people with similar interests act and create, despite having completely different yet in some ways similar circumstances or experiences. It was impressive to see the extent to which such cultural developments depend on individuals and their passion, while at the same time being shaped by structures. It simply shows that culture is always discourse and never something finished.’ 

Collaborations 

Among their exchanges, the group envisioned possibilities for future collaborations, with professionals from Switzerland and other countries. 

‘I see potential for future collaborations not only with the African and Swiss artists but also with other artists I connected with during the extensive networking events. Through our conversations, we uncovered shared experiences and common artistic and thematic interests that we’re excited to explore together,’ said Felistas. 

‘The truth is that I was left thinking about many possibilities,’ continued Agustina. ‘In the micro-edition space, I was able to chat with emerging artists, who make their own publications and with some of the members of La Bûche. Some of them spoke Spanish and were working on some very interesting things, which would make it easier to collaborate.’ 

Marité felt particularly comfortable and connected with the micro-publishing fair, because of its similarities to La Feria Felina, a space she manages in Lima. ‘I loved the strong presence of the use of risography and screen printing in the fanzine production. I would highlight the good vibe in the air and the willingness of both established authors and new talents to dialogue and share, despite my limitations with the French language. I loved the live workshops, and I couldn’t resist buying some fanzines to enrich my personal collection.’ 

‘I’ve had quite a few contacts with various collaboration opportunities; all that’s left is to find out what’s interesting for each and get started,’ commented Paterson. ‘With festivals, authors, and publishers alike. I was even able to get a deal in principle for comic book distribution.’ 

Lasting impact 

‘Participating in this trip has given me a new vision of things and will be something I will not forget. Thinking about all the things I liked, the words sustainability, gender perspective and parity and prolongation over time resonate with me. So, I have already started to look for a physical space in which to hold activities all year round and incorporate all these things that I saw on the trip,’ commented Agustina, who organises V.L.P. Festival in Argentina. 

‘I envision the impact of my participation in this programme in the short and medium term,’ says Paterson. He exemplifies: ‘Positioning the Mboa Comics Festival as a high-quality event for emerging Swiss authors. Also, offering internships or residency sites for students and young talents. Honestly, this programme has opened up a wide range of possibilities in my mind for a much more concrete growth of the local comics industry.’ 

According to Marité, ‘this experience allowed me to reflect on how to improve the physical space of the fairs, as well as to better understand the circuits of circulation and diffusion of comics. It strengthened my personal and professional confidence, allowed me to present my work with greater solidity and security and to enrich my processes as an illustrator. Through the exchange with other artists, I learned new ways of approaching creation and I deeply valued the power of the collective. 

Coach Julia Trachsel concludes: ‘Such encounters have encouraged me to take a fresh look at my own way of working – to be more open, more flexible, more experimental.’