Rolf Heimann (born 9 May 1940) is an Australian author, cartoonist and illustrator. Heimann was born in Dresden, Germany, fled to the West in 1955 and migrated to Australia in 1959.
He is the author of over forty books, including novels, travel books, cartoon collections, but mainly of children's books, which have been translated into German, Danish, Spanish, and Chinese and have sold millions of copies worldwide.
In 1974 Heimann skippered La Flor (renamed Greenpeace IV for the voyage) from Melbourne, Australia, to Mururoa via New Zealand but arrived after the final nuclear test for the year.
Heimann has been cartooning since the mid-seventies and is a member of the Australian Black and White (cartoonists) Association. He has contributed cartoons to numerous publications in Australia and overseas. Among his most popular works are the 'Eagle Eyes' series of books published in the late 1980s and early 1990s.
He was named Australian Cartoonist of the Year at the 19th annual Stan Cross Awards in 2003, for cartooning excellence.
Heimann is married, with two children, and has lived in Melbourne, Australia, said Wikipedia.
On 16th August 2008, Rolf Heimann and his wife (Lila) came by Museum Kartun Indonesia Bali for more than five hours. Heimann met and discussed with some of Indonesia Cartoonists such as: Pramono, GM Sudarta, and Priyanto S, also the owner of the museum, Istio Adi.
(Right to left: Rolf Heimann and GM Sudarta. Photo: dms)Q: Can you tell us about your background?
A: My name is Rolf Heimann. Currently I’m a vice president of Australian Cartoonist Association. I’ve been working for 12 years, and during the time I’ve tried to establish board connection with foreign countries because the fact is the Australian is quite isolated. In some ways they’re ethnocentric. The cartoonists in Australia look to England, look to America, and they quite acknowledge about the artwork, lots of art in foreign countries like Indonesia. This isolation could’ve stopped. And I noted many Australian cartoonists think the same because there are lots of young people travels to see what’s happening not only in Indonesia, but in China, Japan, everywhere. So Australia can come out of its cocoon, I hope.
I must have word both Germany. I come to Australia 30-40 years ago as a young migrant. Since I did not speak English, but I came to Australia. I worked in a railway, I worked on factories, worked in food baking, and all the time I used to draw and write. And after many years I start sending in my cartoon to newspapers which for many times they’ve sent it back, until slowly I became accepted. And I’ve been cartooning for the last 30 years for some of the big papers, and other magazines. And I also write illustrated books, many children books. That’s my income. But I still contribute also political cartoon to sport magazine. That’s my background.
Q: What do you think about Museum Kartun Indonesia Bali?
A: It was a wonderful surprise to see this Museum because I know how hard it is to establish what we have try in Australia, to establish the Museum if we’re not in to. It’s a tribute to people who organize the building, the exhibition, also to all of the cartoonist in Indonesia who contribute their work. I think it’s about its effort. And I will promise I will set all my Australian friends when they come to Bali to drop in to this Museum.
Q: What do you think about Indonesian cartoon?
A: Again, I’ve been falling for some years to cartoon in Indonesia. And I found it’s getting better and better. I can only wish that many Australian have similar progress in Australia.
Q: Do you have any plan to collaborate Australian and Indonesian cartoonists?
A: Yes. Maybe it becomes the beginning of a cooperation. Actually we’ve already had that cooperation with Indonesian cartoonists. Last year we had a joined exhibition within the framework of the Sanur Festival. We had Australian cartoonists and Indonesian cartoonists contribute their work on the theme of beaches, which was very successful. And this year we had an exhibition on a theme of environment, “Going Green”. And this time I believe about 40 countries contribute. It shows how much interested they are internationally to cooperate with Indonesia. And in the future, this cooperation is sure to grow. Good things are going to happen.
Q: Do you think that cartoon in Indonesia has been equal with cartoon in America or Europe?
A: For sure. Indonesian cartoon is one of the best cartoons in the world. Truly. I notice they are totally up to date, technically, by using computer, facilities. That’s a good technique, that’s for sure.
Q: Does Museum Kartun Indonesia Bali give you an inspiration to do something in your country?
A: Exactly. Because this is what we want to do in Australia, and we have not been able to find money or find the right company that can support us, and it needs other management, or lots of people who contribute something. I know it’s gonna happen in Australia too. And if some people either check it out about what is it in a museum, every cartoonists in Australia will say “This is exactly what we must have do”. And one day we’re gonna get.
Q: Do you think that become only a cartoonist can get enough earnings for living?
A: I don’t think cartoonists can rich. There are some in America who are working in comic strips make lots of money. But cartoonist of my kind will never be rich. And I don’t think they want to be. I think they enjoy at work, they would not do anything else if you pay them.
Q: So the cartoonists in Australia mostly have another job besides cartooning?
A: (Yes, many cartoonists in Australia have another job, sometimes related to this industry like in design, graphic design, or work in advertising, and some who are working in totally different field. One of my country’s friends is a policeman. He worked as a police and he became a cartoonist because he had to draw faces according to the description of the lady who might be robbed. And she had to say “the man with the long nose, and the big beard”, so he drew some, and he’s as policeman he became a cartoonist because he drew criminals.
We have many different backgrounds. We have also a musician, he plays music. We have another one who’s lawyer, we have another one who’s a doctor. But the big papers like Melbourne Herald, Sunday Morning Herald, they all may have a 3 or 4 cartoonists who make their living by contribute to these papers. And for the rest, cartoonists have other job.
(Front: Pramono and Rolf Heimann; Back: Priyanto S, Istio Adi, Istio Wife, Rolf Wife (Lila) and GM Sudarta)Q: Can cartoon add something to someone who sees it, like giving information and change someone’s view?
A: I think that’s actually the right essence of cartoon, that the cartoon gives a message. When you see a beautiful picture or ethnic picture, it’s purely esthetic and just looks good. Whereas cartoon by its nature gives message, and informed about something which can be something permanent usually it’s something political and many political cartoon have a hard time because they make criticism.
Q: Last question… What is your hope to Museum Kartun Indonesia Bali?
A: I hope this Museum will be a permanent one. I noted in other countries, who have tried to establish a museum, after 2 or 3 years it became distinguish
If this Museum last 200 years, I’ll be happy. (ro/gms/prm/pris/ist/dms)
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