AmabhukuAfrican illustrators at Bologna
Children's Book Fair, April 1999
Rachel Wiggans
Rachel Wiggans is Assistant Co-ordinator of the Bellagio Publishing Network.
Amabhuku,
the Zulu word for books, was an inspired title for the exhibition
of sub-Saharan African children's book illustration at the 1999 Bologna
book fair. To anglophone ears the sound 'book' rattles around inside,
while francophones hear 'aimer beaucoup' (to like very much). Visitors
wandering round the impressive collection of African children's book
illustrations at the fair, though, needed none of these languages
to experience liking books very much.
Amabhuku, organised by the French NGO La Joie
par les Livres, was on everyone's walk from the fair entrance to the
exhibition halls, so many visitors passed through several times. Abdoulaye
Konaté's display blended African and European very effectively:
beneath the original artworks mounted on the wall was a low shelf holding
calabashes, and nesting in each was a children's book containing one
or two of the wall illustrations in final form. By standing back to
gaze, or stepping forward to pore over the published version, the complexity
of the illustrator's and publisher's joint task became obvious. Some
illustrations that were magnetic on the wall lost much of their attraction
reduced to the page; others were unprepossessing in frames but wonderfully
enticing inside book covers. The best books had clearly involved hours
of publishers and illustrators pulling each other's skills and knowledge
together.
It was invigorating to have the exhibition opened
by His Excellency Alpha Oumar Konaré, President of the Republic
of Mali, an African head of state whose enthusiasm for books dances
as he talks. He repeats wherever he can his conviction that it is crucial
for children to get good books in their hands. In a meeting on the eve
of the fair, where some of the illustrators also discussed their work,
and again at a lecture in Bologna University, he stressed that democracy
and development in Africa are utterly dependent on books and reading,
and this means producing books that children actively want to read.
The first impression of the exhibition, overheard
from many visitors, was excitement at seeing so much African art for
children's books in one place. Some visitors lamented that they had
to come to Europe to see it, though with Amabhuku moving to this year's
Zimbabwe Book Fair, then to other venues in Africa, many more people
will be able to enjoy African illustration close to its roots. The
organisers hope they will share with Geneviève Patte, Director
of La Joie par les Livres and one of the six jurors responsible for
selecting which illustrations would be displayed, the pleasure in
discovering 'such unsuspected variety and richness of expression'.
The variety came in different ways. Materials
included pen and ink, watercolour, gouache, etching and Baba Wagu
Diakité's striking illustrations done originally in ceramics.
Themes ranged from the more traditional moral and animal tales, to
engaging stories building on children's imaginations and hopes, to
Hassan Musa's stunning animal alphabet in Arabic calligraphy. The
quality also varied, and another of the jurors, Marie Wabbes, a Belgian
illustrator who has run workshops for illustrators in Cameroon, Benin
and Congo, commented on the constraints facing some illustrators in
Africa:
'Side by side we saw highly polished illustrations,
printed on glossy paper, set by qualified graphic artists, published
by professionals, and nave often awkward pictures.But for their
part, the poorer projects had sincerity and freshness of expression...Young
African illustrators work in incredibly harsh conditions and can hardly
be blamed for the technical imperfections which handicap their projects.
Imagine a group of five illustrators with only one paintbox amongst
them! No wonder the colours of their pictures are similar; were we
to penalise them for insufficient resources?'
The jurors' task was to select the best of the
130 artists from 27 countries south of the Sahara who answered La
Joie par les Livres' invitation to submit works (north African countries
were not included). Amongst the 34 illustrators finally selected,
some countries were strongly represented: a quarter of the illustrators
were South African, and over ten per cent were Cameroonian. Mali,
the Democratic Republic of Congo, Zimbabwe and Benin were also well
represented. Others were surprising by their absence: where were the
illustrations from Senegal, Kenya, and even Nigeria, whose book industry
is one of the most developed on the continent? Juror Elibariki Moshi,
former executive secretary of the Tanzanian Children's Book Project,
commented that 'although there are several good illustrators for children's
books in Africa, they are not evenly distributed within the continent.
There is a great need for training and exposing children's illustrators
in Africa to improved techniques.'
Looking at the books gave rise to some more
uncomfortable questions. How many of the selected illustrations were
published in Africa? According to the catalogue, only 60 per cent
(one third of these came from South Africa). A quarter were published
in Europe and the USA, and the rest were unpublished. And where were
the African artists who had found success living now? Nearly a third
had left Africa for Europe and the United States.
The exhibition meant that many African publishers
came to Bologna for the first time, and alongside the stall of the African
Publishers' Network were a further 15 stalls, all showing children's
books from Africa alongside the thousands of others spread among the
Fair's six exhibition halls. Deals were discussed, amongst them an American
publisher wanting rights to a Cameroonian book and a possible Danish
co-publication; the coming months will show what emerges for African
publishers. And books were sold; on the final day, which was open to
the public, Italian teachers were to be spotted buying African books
for schools whose local communities include children of the diaspora.
[end] [BPN, no 25, 1999, p 9.]
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