Why a caricature museum, why now and why Fayoum? These are all questions I answer with no hesitation or uncertainty.

The art of the Egyptian caricature, since its rise at the beginning of the twentieth century, has honestly mirrored the political and social changes that affected Egyptians and altered their characteristics. In order to understand their reactions, outer appearance, interests and relationship with the outside world, there cannot be a more truthful depiction than the one found in Egyptian satire.

The Caricature Museum was developed to house some of the works created by exceptional artists and to honor their pivotal (at times overlooked) role in relaying the emotional, social and political condition of Egypt. It is, in a way, a sanctuary for these works so that may always exist and remain in our memories and not be discarded like the newspaper or magazine they were printed in. The world of the Egyptian caricature is filled with as much sorrow as it is with laughter. There are boundless stories of arrests, vagrancy and exile.  The museum is also a testament to the artists that faced many hardships with humor and witty repartee.

Caricature carried the responsibility of expressing the Egyptian identity since the beginnings of our modern enlightenment and enquiry into the Egyptian national character, its independence and its position in the world. Even though foreigners initially started the art, Egyptians had a notable presence among them from the outset. We were first captivated by the early works of  Rifky and Santis as well as early editions of the magazines Al Sho’la,  Al Matraqa and Al Kashkoul . The deep insight of the artist Saroukhan  has no doubt influenced the artists Rakha, Abdel Samea and Zohdy. With the appearance of such  publications as Akher Saa’a, Rosa el-Yousef, and Sabah el Kheir, a new wave of impressive artists entered into the world of caricature and merged it into what happened around them in the larger world of international events.

The history of modern caricature in Egypt dates back more than a hundred years with the publication of Abu Naddara. In essence, satirical art emerged with the birth of civilization in drawings left by the ancient Egyptians on papyri and scraps of ancient pottery. These drawings leave us with insight into the culture and problems of these eras as seen by the comic parodies drawn by these artists.

Why now?

I believe that Egyptian caricature has always been at the forefront of expressing the creeds, hopes and dreams of this society, and that the essence of this art makes it the true representative of the soul of modern art as a whole, being a merger between an idea and the elements of visual art. Aside from the clarity of its objective, it is very similar to theatre and other applied arts in provoking an immediate reaction and instantaneous connection between viewer and artist. 
 Who among us was not been affected by a brilliant drawing by Higazy, Toughan, Bahgoury, Gomaa, Bahgat, Leithy or Samir? Who among us was not moved by them and forced to think about his own position in regard to the courage and depth of ideas expressed by these heroes.

We are a satire-loving nation as they say. The art of caricature is the most affiliated to us as Egyptians and is worthy of our care, more so than other weighty visual arts.

Why Fayoum?

I founded the Fayoum Arts Center  three years ago in December 2006 and my dream was for it  to become an oasis of creativity and a meeting point of dialogue  for artists from all over the world.

I dream for it to become a home for artists to meet, draw and discuss. I believe that the museum is a living organism that is ever growing and changing, and from here came the conception of the Caricature Museum as the most suitable idea to host this continuing process of creativity.  

Through it I wish to make workshops about art and about the satirical nature of the Egyptian spirit, also workshops on portraits and many other things. The quiet and inspiring nature of Fayoum will provide artists with the time and tranquility needed for making some of these dreams come true.

I don’t wish for this introduction to serve as a history of the art of caricature for there are others who are more capable of carrying out such a task, and many books and research papers have covered this subject. I greatly hope that Mohey el-Labbad will continue with his wonderful writings, as they have greatly influenced my love for this art.
 
I dedicate this museum to the spirit of Zohdi el-Adawi, one of whose dream was the creation of a caricature museum.