SALIDmag 03.21.2025

The South Asian Studies Initiative at CSAMES, University of Illinois at Urbana-Champaign, hosted Sumit Kumar, a renowned award-winning graphic artist from India, for an evening of fun art-making and discussion on comics. The workshop, a collaboration with the International & Area Studies Library and the Spurlock Museum at UIUC, was held at the Collaboration and Community Gallery of Spurlock Museum on November 6, 2024. 

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‘From “Stories” to “Comics”: A Creative Rendezvous with Sumit Kumar’ was a workshop that brought together students from the university as well as the community members of Urbana-Champaign. With his ingenious wit and impeccable artistic skills, he held the attention of the workshop participants–consisting of faculty members, adults from the community, as well as kids alike. 

He started the workshop by asking the participants a simple question: When was the last time you drew something, and why did you draw it? What seemed to be a simple question gathered various answers from across the room. Soon enough, everyone was sharing their emotions and their stories in connection with art. That stood out as the highlight of Kumar’s creative genius–how he turns stories into pictures or weaves stories through his illustrations. The workshop attendees got a brief insight into the world of the artist Sumit Kumar as he presented some of his work-in-progress, his animations that have received awards and recognition, the artworks that have been contributed by other artists or interns in his company –everything that features in his published website “BAKARMAX”. 

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Sumit Kumar studied engineering as an undergraduate but quickly went on to pursue his passion for making comics as he started as an intern at cartoonist Pran‘s studio. Since then, he has worked on several projects where he has created 3D simulations for the Indian Air Force, or written and illustrated stories with strong political sentiments and reference to historical and/or socio-cultural events. Along with pursuing stand-up comedy, he also became a part of a team that would go on to launch Comic Con India. His comics and webtoons are informed and shaped by his caste identity. Still, he does not believe that should be the only identity of his work (see here for Sumit Kumar’s response on his caste identity: https://deadant.co/it-helps-to-be-dumb-sumit-kumar-on-taking-on-big-projects-shark-tank-india-upcoming-adult-animated-series-aapki-poojita/)  or anybody else who is narrating stories through their work.

On behalf of SALIDmag, Ragini Chakraborty had the following conversation with Sumit Kumar:

SALIDmag: Your focus has been making comics, primarily for adults in India. What do you think defines a contemporary Indian comic?

Sumit Kumar: Rather than define, I can draw out an average. Today, in India, comics are only made by extremely rich people who still call themselves middle class or, at best, upper-middle class. These are the top 15% of the country. Artists, despite the class they come from, are broke, and people in comics are too. Their stories show this disconnect or an approach that maybe a white person would take when telling a story of the “downtrodden” because a rich person in India is quasi-white. So most graphic novels are this - about some kind of social issue, very serious tonality, black and white, and boring. Even many children’s books are the same - a constant preaching of some sort. A lot of times, it's also an artist of repute trying to show how good an artist they are by making a book, which is a very badly done story. Fools are very confident; they believe they are breaking the world when, to be honest, they get to publish only because 85% of them are just trying to survive. In comparison, when you have to make something for a bigger audience, you have to be genuine and tell a really honest story. But it also has to engage very, very nicely. So, a contemporary Indian comic is a very boring thing, similar to contemporary Indian books. Comics were fantastic in the 90s; very vibrant adventures featuring superheroes and comedy. Obviously, there are fantastic exceptions - like Sudershan Chimpanzee by Rajesh Devraj and Meren Imchen and Karejwa by Varun Grover and Ankit Kapoor.

SALIDmag: Do you think of comics as a genre/medium that has different meaning depending on the context it is read in? Do you see graphic stories taught as a part of academia different from graphic works for the masses?

Sumit Kumar: It really depends on the comic. Take the case of a very commercial comic - Archies. None of us who read it in India knew what an American high school in the 60s looked like. We couldn't even believe that children in 11th and 12th could be this big and could own cars. And girls in the grade, or girls of any age in India - could wear swimsuits to beaches. But somehow after one comic, we accept that and read it - and from then on it's the story in that world. So, after that initial acceptance of the world, it didn't really matter much.

But then if we take the work of  Joe Sacco - it feels so convenient. As someone sitting in India - I am fed up with white people telling other poor people dying stories. I mean, our death is documentary fodder, and despite Joe Sacco’s great work, it never felt great to me. So here, the context ruined everything. Still, when Guy Deslile does the same thing, I love it. Maybe it's him playing the idiot that helps.

I think all the regular publishing rules apply to comics, too. So yes, academic graphic novels could be different, but I have not seen one. Maybe I would use the Chrome Handbook that Scott McCloud made as an example. It's very boring for me to read but exciting for developers. But academicians are people too. and people can be interested in deep subjects without going to university - that’s where graphic novels like Logicomix are great.

The quickest thing people say when they see comics is: oh, it makes reading easy. It pisses me off, but it's true. The visuals do help. Yes I say then, use more and more comics in all levels of academics. But rather than just “explainers,” full-fledged original books should enter the curriculum. Because explainer comics can be boring at times. I would pick a Logicomix over the illustrated adaptation of Sapiens.

SALIDmag: Do you see comics as a tool that challenges linguistic barriers?

Sumit Kumar: When I went to Turkey, they had already made life easy by switching to Roman script for their language. I could read the words and Hindi and Turkish have a big overlap so there were so many common words that the country was accessible to me. But movies or books were still alien. But, Turkey’s comics industry is massive. They have comics newspapers - like Penguen. Opening that and reading it was so satisfying. Because quickly I could see so much of the world around me, from the locals' point of view, and I could understand many illustrations even when I did not understand all the words.

There are a lot of comics that have no words, but even with words, comics are far more accessible. My first comic book - Itch you can't scratch, uses Devanagari with English. But there are people who have zero Devanagari reading ability, and have just read the book using the visuals and the English bits.

SALIDmag: In this digital age of reels, shorts, and quick media consumption, how do you think the relevance of comics changes? Many creators illustrate folk tales and old fables of India, while others reproduce adaptations of 90s’ stories and TV shows as comics–where do you see your art standing amidst this?

Sumit Kumar: Of course, it affects, as it affects everything. Not everybody knows the behavior. Just look at your own behavior. But that in itself creates more space for comics. If TikTok is a snack, how many snacks can you eat? Eventually, you want a meal. That’s where films and comics come in. As for folktales and fables of India, those have always been the lowest-hanging fruit in comics and animation. It also makes sense from a financial point of view. India generally rushes to its culture and numbers when no other success is visible, so mythology, etc., is good business. As for nostalgia, it's another opium, sooo good. I personally don’t choose my stories on that basis as I serve one God, Humour. Is it funny? Can I make a fool out of myself while doing it? Will it induce giggles? Is it absurd or weird?  Does it make people uncomfortable? These get me going.

As a consumer, I have stayed with books; so far, I have avoided reels. As a creator, since the last few years, my focus has been on animation, trying to find a balance between mass entertainment and well-made. And I often find myself serving no one. But in my survival as an artist and Bakarmax’s survival, maybe one day I will find that golden space where, as Conan says - “smart and stupid meet.”

SALIDmag: Do you think there is a specific South Asian identity when it comes to comics production?

Sumit Kumar: I haven't traveled the world that much, especially South Asia. I do believe that all colonial countries are the same. There are Macaulay’s children in all of them, and they form the upper class. Global-level decisions are made by white people who want certain things from certain people. It's like ok, terrorism - ok Pakistan, Afghanistan - you handle that. Ok, kids with malnutrition or girls with no sanitary pads - ok India, you do it, and so on. I think comics were outside of this when they were not literature and when they were stupid and dumb comic books. The day those books entered literature and became graphic novels–smart, serious–this segregation got into comics, too. But from time to time, some artists and creators defy these roles and make original comics. Our job should be to tell these stories - the identity can be accidental. But originality is the goal.

Reclaiming Karbala: Nation, Islam and Literature of the Bengali Muslims edited by Epsita Halder, Routledge, 2023, 346 pp, $56.99 (Paperback) ISBN 9781032195438.
 

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Epsita Halder's book Reclaiming Karbala: Nation, Islam and Literature of the Bengali Muslims was honored at the 32nd World Book Award of the Islamic Republic of Iran. This recognition emphasizes its contribution towards cross-cultural dialogues among various approaches to Islamic studies. Karbala is a city in Iraq, historically significant as the site of the Battle of Karbala (680 CE), where Imam Husayn ibn Ali, the grandson of Prophet Muhammad, was martyred by the forces of the Umayyad caliph Yazid.  This event is central to Shia Islam and is commemorated annually during Muharram, especially on Ashura, symbolizing resistance against tyranny. The book starts with Halder commenting on how the Karbala narrative—through Jarigan, Baul, and Fakir songs—has played a pivotal role in shaping Bengali Muslim identity. She highlights that literary translations and adaptations of Arabic-Persian sources have adapted Karbala-centric devotion into medieval Bangla literature since the sixteenth century. Marginalized communities on the fringes of both Islamic and Hindu society have reconstructed/ deconstructed Karbala again and again, weaving it into their own spiritual and anti-establishment narratives. By tracing its literary and cultural adaptations, Halder demonstrates that Karbala is a shared cultural memory transcending sectarian lines. 

Halder also challenges the normative conception that Karbala is solely a Shi’a narrative. In chapter 5 of this book, she shows how Sunni and even non-Muslim communities in Bengal have engaged with the story, shaping it to fit their socio-political and cultural contexts. One of the book’s pivotal contributions is its examination of how Karbala has been utilized in nationalist rhetoric, particularly in the context of India and Bengal. In the conclusion, Halder argues that Karbala, instead of being a purely religious event, has served as a symbolic tool for expressing resistance against oppression—colonial rule, political subjugation, or social injustice. By highlighting how Karbala was narrated in diverse ways—sometimes as a universal struggle for justice, sometimes as a specifically Muslim experience—the book underscores the pluralistic and polyglot cultural, literary, and linguistic dimensions of South Asian Islamic practices.

In an era where sectarian and communal divisions are often emphasized, this historical perspective can offer a counterpoint to exclusivist narratives.

Contributor:

Aishi Bhattacharya is a graduate student in the Department of Comparative and World Literature.

Introduction to the novel:

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Dr. S. L. Bhyrappa’s Daatu stands out as a profound exploration of caste dynamics in rural Karnataka. Published in 1972, the novel delves deeply into the complex social structures of Indian society and its inherent pitfalls. Like most of Dr Bhyrappa’s works, it is a woman-centric novel narrated from the perspective of its protagonist, Satya, the daughter of a (Brahmin) priest at a historic temple. Satya is bold, free-thinking, and possesses an incisive mind. Raised by her single father, who adored her after her mother’s demise, she grew up surrounded by extraordinary love and encouragement, cultivating a questioning and analytical spirit. During college, she reconnects with Srinivasa, the son of a cunning local politician and minister. Their relationship is doomed from the outset due to deeply ingrained caste and class differences, as well as the attitudes of their families and relatives. The story builds toward a tragic climax as the toxic forces of caste and class politics inevitably drive the two young people apart. Srinivasa, a weak and indecisive character, quickly attaches himself to another woman, while Satya returns home to immerse herself in studying the history of the temple town.

The intricate workings of caste politics are meticulously examined against the backdrop of Satya’s relationships—with her family, friends, relatives, and, most importantly, her love interests. The author compels the readers to confront the psychological depths of the romantic relationships depicted in the novel, prompting them to reflect on their underlying complexities.

What makes Dr. Bhyrappa’s writing extraordinary is his restraint. He refrains from making explicit statements or offering conclusions, leaving no room for overt judgment. Instead, he places the narrative entirely in the hands of the reader, allowing them to draw their conclusions. His profound understanding of Indian history and philosophy enhances the reading experience.

Personal Statement:

I grew up immersed in Kannada literature, reading novels, short stories, long stories, biographies, and poetry. Even after decades of exploring various genres of English literature and embarking on my journey as a writer in English, I continue to hold several Kannada authors in the highest regard. I believe they are equal to, if not superior to, many so-called ‘world-class’ writers. 

Enjoying a work of art requires two participants: the artist and the connoisseur. Genuine appreciation of art and literature often remains elusive without a deep cultural connection. Dr. S.L. Bhyrappa is one such luminary who speaks directly to the hearts and minds of his readers. His writing left an indelible mark on me during my formative years, and it has been my lifelong aspiration to emulate his brilliance as a writer.

Choosing a single work of his to discuss is no easy task, considering the remarkable volume of Bhyrappa’s critically acclaimed and hugely successful novels. My favorites include Vamshavriksha (The Family Tree), Grihabhanga (The Breaking of the Home), Bhitti (The Wall, his autobiography), Parva (Epoch), Uttarakanda, Daatu, Saartha, Avarana, and Mandra. I chose Daatu among these, as it stands out as a profound exploration of caste dynamics in rural Karnataka.

Contributor: 

Manjula Tekal lives in Champaign. Her first novel, Devayani, was published in 2021.

As the section title says, we focus on the achievements or skills of one or more students. Issue 1 spotlights Rohan Kapur, a rising Junior in Computer Engineering and a member of the Sanskrit research group at SALIDlab. Rohan created a course scheduler from scratch in his first semester. As the preregistration dates for Fall approach, all students are encouraged to check out the Course Scheduler at this link.

Here are some details about Rohan's project:

SALIDmag: How and when did you think about this?

Rohan: I started building the class scheduler during my first semester of freshman year after I had a really hard time putting together my own schedule. I actually ran the numbers and found out I had millions of possible schedule combinations—there was absolutely no way I could manually figure out the best one. That's when I realized I needed to build something to solve this problem, not just for me but for other students who were probably stuck in the same boat.

SALIDmag: What programming languages did you know at that time, and what new did you have to learn?

Rohan: At that point, I was already proficient in Python and JavaScript, but React.js was entirely new territory for me. This project provided the perfect opportunity to learn React while building something with practical utility. The frontend development aspect, particularly creating a coherent design system, was a significant challenge as it required design knowledge and skills I had avoided in previous projects.

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SALIDmag: How much time did you spend on this?

Rohan: I spent a few weeks building and testing the site during my freshman fall semester, then shared it with some friends to get their feedback. Since then, I've been constantly updating it and adding new features every month. It's been really cool to see that the app has generated over 16,000 schedules for students on campus so far!

SALIDmag: And say a few lines about your involvement with the Sanskrit project.

Rohan: I've been working with Professor Rini Mehta and the SALIDlab team on developing NLP resources for Sanskrit for almost a year now. It's been a great experience that taught me a ton about natural language processing while letting me help preserve and analyze this ancient language. 

For its inaugural number (Spring 2025), SALID MAG invites 250-word essays for a curated section called "A Novel Experience." 

Call for Entries: SALIDmag's 'A Novel Experience' collection aims to celebrate South Asian novels that offer unique insights into different cultural, historical, and social contexts. We welcome submissions highlighting novels from various regions, periods, and languages, emphasizing why these works deserve to be widely read and celebrated.

Who Can Submit?

• Undergraduate and graduate students from any discipline.
• Passionate readers who wish to share their recommendations with a broader audience.

Submission Guidelines

1. Requirements:
   • Title of the novel and author info.
   • An essay on the novel (300-500 words), including its cultural and historical significance, AND a short reflection on your unique experience engaging with the novel. (100 –200 words).
   • Language of the novel and whether an English translation is available.
2. Eligibility:
   • Novels can be in any South Asian language, but the essay must be written in English. Submissions should highlight novels that promote cultural understanding or present perspectives that are underrepresented in mainstream literature.
3. Items to be submitted via the LINK:
   • Title, Author, Original language in which it is written, Date of publication
   • Essay on the novel's significance + A personal statement on the novel
   • Links for the book (if available): Wikipedia, Goodread, Google Books, and Other links AND Links for the author: Wikipedia, Goodreads bio, etc.
4. Deadline:
   • Submit your proposals by March 15, 2025.
5. How to Submit:
   • Fill in the form available at this link.

Selected Entries: Selected submissions will be featured in the inaugural issue of SALIDmag (South Asian Languages, Images, and Data Magazine) on March 21, 2025.

Evaluation Criteria: Submissions will be evaluated based on the originality and depth of the recommendation, as well as the relevance of the novel to the theme of global and cross-cultural understanding.

We are looking for reviews of books on and related to South Asia in the broad field(s) of humanities and social sciences on topics ranging from history, culture, and literature to art, anthropology, gender studies, and digital humanities. These books should be works of scholarly criticism or research and should not be creative works such as novels, poems, plays, etc. 

If you have come across a work that should be a part of a course module or should be recommended to scholars, please send us your suggestions through your reviews. Alternatively, if you would like to review a book but cannot decide which one to choose, you can send us your area(s) of interest and ask us for suggestions (email at raginic2@illinois.edu). We would be happy to send you options from our list. We are not currently sending copies to reviewers, so you should send suggestions for books that you have access to.