Reading is said to be a learned skill which sets one up for success in later life. Reading, telling stories, talking and singing to babies and young children promote the use of their imagination, develops their brains, helps with emotional and language development. Reading to babies also helps with the identification of sounds, speech skills, teaching of language, words and the development of early literacy skills.  It has been revealed that pre-literacy skills are formed in-utero when unborn babies are read and spoken to. This is due to the emotional and language awareness created by the baby listening to the mother’s voice as she reads. According to a study conducted at the University of Oregon, babies recognized some words which were played to them in-utero after their birth. The strongest responses were demonstrated by the babies whose mothers frequently played the recordings to them. This suggests that learning of languages and by extension a love for reading begins right from the womb even before birth . So, expectant mothers can attempt to inculcate a love for reading in their children by reading aloud a few minutes a day right from conception.  Benefits of Prenatal Reading Develops of literacy and language skills Prenatal reading offers innumerable benefits to unborn babies. According to Fadiyla Dopwell , a developmental-behavioral pediatrician; among the benefits are development of word recognition and development of critical thinking. This is largely due to the fact that constant reading builds up their vocabulary and increases the number of words they process in-utero.  Language milestones are determined by the number of words babies show understanding of at different ages. Hence reading to your unborn baby gives him or her an advantage over other babies who were not read to in-utero.  Promotes bonding between the baby and family members Reading to babies creates a strong emotional bond between them and those reading to them. It also helps in cognitive development which enables them to easily and more quickly recognize the voices of family members once they are born. The constant exposure to the voices of their family members when they are reading aloud help them develop trust and fortify the connection between them. According to the American Psychological Association in this study , the levels of anxiety and stress of parents and children even in the toddler years were greatly determined by the patterns of bonding established in-utero.  Controls the heart rate of the baby and aids in relaxation Pregnancy comes with a lot of stress not only to the mother but also the baby. The baby is sometimes overwhelmed by various emotions. The soothing voice of a reader can help calm down the anxious baby, enable the foetus to relax and control his or her heart rate.  Improves concentration and develops memory The key to memorization is repetition.  Constant repetition of words when reading reinforces the baby’s memory and concentration which will be beneficial to the child as he or she grows. Conveys feelings of safety and security The bond between the mother and baby are formed and solidified on a daily basis as the pregnancy progresses. As the mother reads to the baby, she feels love and a closer connection to her baby which releases endorphins, also known as the ‘feel good hormones’.  The baby absorbs and mimics those hormones. This gives the baby feelings of safety, love, well-being and security; which goes a long way towards creating a confident and self-assured adult.  At what stage during pregnancy should babies be read to? By the third trimester an unborn baby’s ears are fully developed and can clearly hear sounds emanating from outside the womb, although ten decibels lower than us. The unborn baby uses sound as the principal source of information and connection to the outside world from the 25th week onwards. Not only do babies learn language or speech patterns from prenatal reading, they can also recognize words they first heard in the womb right after birth. Thus, reading to the baby in-utero encourages brain activity and develops the baby’s literacy skills.  Rubbing your bump as you read also calms the baby and further strengthens the bond between you and your baby. This can be attributed to the soothing effect of the cadence and tone of your voice as you read to the baby.  Are there specific or particular books to read to the unborn baby? You may be wondering whether only specific baby-centred books should be read or whether all genres and kinds of books are suitable for reading to the baby. The good news is that at this stage, the choice of books to read to the baby is solely up to you .  Experts recommend reading whichever books you feel comfortable reading aloud; it is the process of prenatal reading which matters most in inculcating a love of reading in the baby.  If you particularly enjoy mystery books, love stories, classics, poetry or science fiction; go right ahead and read them to your baby. However, if you prefer to read baby or children’s books, choose books with clear patterns of rhyme and rhythm for a melodic and soothing listening experience. Reading to your baby should not have to feel like a chore after all :)   Also, if you have other children you can encourage bonding between your unborn baby and his/her siblings by letting them read aloud or even just tell their favourite stories.  In his  book ,  Magical Beginnings, Enchanted Lives: A Holistic Guide to Pregnancy and Childbirth; Deepak Chopra states “If we aim to create a nonviolent world, we must begin with love and nourishment in the womb.”  Simply put, a lot of the violence and hatred in the world can be averted if we make the effort to communicate peace and calmness in the environment of babies even before they are born. The effects of the entrenched feeling of well-being and love can permeate the very essence of the baby to the extent that they radiate love wherever they go as adults. So if you are pregnant, you now know more on what to do to reduce violence in the world and create a more peaceful society. Start loving your baby in your womb by reading to him/her as often as possible. It’s an unforgettable experience and a unique moment between you and your unborn baby.  If you would like to know some titles of books you can start with, kindly comment or send us an email at content@munakalati.org

I’m the colour of honey is a book written by Maimouna Jallow , with illustrations by Caroline Faysse and designs Charne Casey. Maimouna Jallow is a Kenyan story-teller. She is a cofounder of an arts and media company called Positively African. Her passion for African issues is evident thorough out her media and literal work. One such evidence is portrayed through her book “ I’m the colour of honey’ My name is Amanda. I live with my Mummy, Daddy and my dog Porsha The book explores the world through the eyes of a toddler who is still discovering the world and piecing the puzzle pieces that life presents and discovering what sort of piece she is in the world puzzle. The book portrays how young children tend to make connections with nature and other elements in life for example, Amanda says: My daddy says I’m the colour of honey And: My mummy says I look like a beautiful sunset Amanda also says that she does not look like either of her parents she however notes her skin tone’s likeliness to the family dog’s brown fur. I’m the colour of honey explores the themes of identity, love, family, child development as well as societal belonging. The theme of family and how family is presented is drawn out of the book. Family comes in different forms. It does not necessarily have to match.   I’m the colour of honey shows that families come in different shapes, shades and sizes. The book highlights some of the challenges that arise in instances where families do not necessarily match, for instance in interracial relationships, such as scrutiny from society and the mental effects it has on a young mind. The book properly indicates how to handle issues of identity and self-esteem, for one to be confident in their own skin. Amanda learns about who she is and how she is, she gets to appreciate all the elements that came together to form her. The book is suitable for young readers and especially for children who struggle with self-identity.  I’m the colour of honey offers a starting point for people to explain issues of identity, biracialism as well as humanity. Therefore, the book offers a starting point on those topical issues and should definitely be read for those reasons.  It is an easy read and is filled with similes and metaphors that makes it more relatable. The book itself is full of colourful illustrations that go with the flow and pace of the book. The book can easily score an 8 out of 10 rating from me.                                                   By… Charly Chitambo

Inongo-vi-Makomé was born in Lobé-Kribi and did his primary education between his native village and Ebolowa. He started his secondary education in Santa Isabel, now Malabo. After Equatorial Guinea, he went to Spain to complete his secondary education and started his tertiary education at the Faculty of Medicine in Valencia. However, he did not pursue a career in Medicine but dedicated himself to literature. He is the author of several literatures: Akono and Belinga ; Bemama ; The Princess of the Falls ; The Kings of Zokala ; The Assembly of African Animals, etc.; essays: Spain and Black Africans , etc. Novels: Rebeldía; Issubu; Mam'enying, etc.; theatre books: Muna Anyambe ; Bwee o Ititi ; Los descendientes , to mention a few. Interview by Labou Hermann, for Muna Kalati. How was your first experience with books and reading? * My first experience was when I started school in my village. But afterwards, as I grew older, I started reading other books, especially when I started secondary school in Santa Isabel (now Malabo, capital of Equatorial Guinea).     The first books were the ones we were offered to read at school: Mamadou and Bineta, etc.   Can you give us an overview of your career? Why did you become interested in the area of children's books? Was it a choice or a twist of fate? * I can't exactly say that I've been interested in children's books or that I'm interested in them as such. I have always recognized that it is our traditional African tales that have inspired and still inspire me to write. And in these tales, I discover that these tales are not only for children, but for all audiences. At least that's how I see it. What difficulties and obstacles have you encountered? Was it easy to get access to publishers? Is it possible to make a living solely from this profession? I encountered many obstacles everywhere, but I resisted. It is not easy to make a living from it, and I can say that I don't make a living from it. I didn't know I was going to dedicate myself to writing. I was studying medicine in Valencia (Spain). I had my first son when I was a student and I read stories to him every night. But as time went by, he didn't want one, or two, but more. And the person that used to fall asleep was me. So, one day I decided to tell him an African tale. I sang, as I narrated the story. So he fell asleep. Then as I couldn't remember many others, one day I asked a friend and neighbour from Equatorial Guinea to narrate an African tale, and she did. When I got home, I took a piece of paper to write it down, so I wouldn't forget it. But as soon as I wrote the first word down, I had a feeling of not knowing how to explain. That's how it all started. As I was in Spain for my secondary and tertiary education , I wrote them in Spanish. How do you promote your books? How do the audience receive your literary work? I can say that I don't promote my books. I only take a photo of the book after it is published and share, but in reality, I don't do any promotion. How many children's books have you published so far? Can you name them? Would you like Muna Kalati to do an analysis of these books? All my tales belong to the collection that bears the name: "Histoires d’une forêt africaine pour Muna" “Tales of an African forest for Muna” What impact has COVID had on your work? What measures have you developed to adapt ? COVID impacted everyone. I observed all the measures we were all adhered to follow. "Detained without offence", that is how I refer to what others call confinement. Nevertheless, it helped me to write two books in Cameroon and in Africa.  The children's book sector is little known to the general public and especially to parents. How do you explain/justify this phenomenon? I won't be able to give you an explanation on that. As you know, even if I go to Cameroon regularly, I have been living abroad for a long time. What is your vision for the future of children's literature in your country? I wish for a better one. We are all trying to work together to make it grow. We need to revive some of the customs of the past that were not as bad as we think. We need to return to the habit of telling stories, not only in the evenings in the villages, but also especially in schools. I make my living from this profession here in Europe. I have been to many cities in Spain and to some other European countries, telling stories. It was our literature, but it has disappeared here. I think we have to revive our culture by telling stories, starting with children.     How do you want to contribute to the Muna Kalati project? It depends on what I am asked to do and what I can do. Any last words? Good luck to you all and thank you.

After combing through Cameroon and Ivory Coast, Senegal is our next stop, let’s explore the Senegalese illustrators and authors who are the pride of children's literature in this part of the world. As always, we acknowledge that many are involved in the sector; nevertheless, we will more or less respect the criteria previously highlighted when we talked about the Amazons of children's literature in Côte d'Ivoire.  To open the floor, we pay a deserved tribute to one of the pioneers of children's books in Africa.  Fatou Ndiaye Sow Source :  https://aflit.arts.uwa.edu.au/NdiayeSowFatou.html Fatou Ndiaye Sow was born in 1956, she completed her primary and secondary education in Senegal after her parents died. It is imperative to note that "she participated in many international activities including the 7th Congress of poets held in Marrakech in 1984, the Poetic Evenings of Struga in Yugoslavia in 1985, the Festival of poetry in Leuven in Belgium in 1986, the Literary Symposium against apartheid in Brazzaville in 1987, the 5th World Congress of PEN-International in Toronto in 1989, the Salon des poètes de Lyon in 1990."<1> With regard to children's literature in particular, the following statement speaks volumes about her status and stature: <2> "She is the symbol of children's literature in Africa, particularly in Senegal. A teacher by training, Fatou Ndiaye Sow, with a wave of her magic wand, has been able to transport children into a world of stories, poetry, to put it simply: beautiful letters." Even more impressive, when one takes a tour of the Takam Tikou platform, one discovers with amazement that she has published about 15 works for children between 2000 and 2005; impressive statistics that do not leave one indifferent. Moreover, this journal is named after one of her literary works: Takam-Tikou, I guessed. Among other publications, she has written the following books Le mouton d'Aminata (1996); Takam, Takam Devine mon enfant, devine (1981). Engaged as Murielle Diallo in Côte d'Ivoire, the latter did not meet the requirements under publishing books for children. Indeed, she "created Falia Productions Enfance in March 1995, a structure aiming at promoting youth activities, especially for children, through literature, publishing, audiovisuals, and cinema. 3] Sadly, death visited her in 2005 in New York following a short illness. We deeply remember that, like Jeanne Cavilly in Ivory Coast, she is a pioneer in children's literature in Africa. Samba Ndar Cisse Source : http://almoactu.canalblog.com/archives/2009/04/29/13550331.html Children's literature is specific in that it does not only affect authors. Illustrators have an equally important role to play because a good work of children's literature is one that, among other specificities, creates a link between the textual narrator and the iconic one.  In this regard, it is difficult to talk about comics and illustration in Senegal without mentioning the goldsmith in the field, Cisse Samba Ndar.  The Journal Takam Tikou already reminds us that he has illustrated almost 16 works for children between 2000 and 2015.  The Bibliothèque Nationale de France (BNF) provides more precise information about his literary works: more than 20 illustrated works and almost 09 works co-authored with other authors. These statistics have the merit to give credit to him that we present no more. We are even more impressed when we consult his brief biography presented in these terms <4> : "Samba Ndar Cissé is a graphic designer consultant and illustrator of works for youth. Selected and present at the Vues d'Afrique 2005 competition of the Angoulême International Comics Festival - Prize for the best comic strip (Human Rights section) Africa e Mediterraneo, Italy 2006 - Present at Kids Comic Con 2011, New York / Philadelphia." In light of the above, we can afford to say: illustration has a hero in Senegal and his name is Cisse Samba Ndar. Souleymane Mbodj  Source : https://web.facebook.com/Souleymane-Mbod1584309931589635/?_rdc=1&_rdr  Souleymane Mbodj has a completely different profile: he is musician, storyteller and writer at the same time. In addition to being children's book author with 5 children's literary works to his credit between 2000 and 2015, he also has this uniqueness and talent when it comes to live storytelling for children through instruments such as the guitar and the Djembe.  This is a remarkable factor in that he is more connected to his target audience <5> . One of his productions published in 2021 on YouTube had over 4500 views.  His performances in French and Wolof transmit ‘edutainment’ content to children.  We have as such, the title sama sopé , a lullaby in Wolof language played with a guitar. He contributed to the influence of several international events, including the Festival of Human Rights and World Cultures of Hay-Les-Roses in 2009. In 2012, he also performed at the Grand Action cinema as part of the "Enfance de l'Art" anniversary <6> . The description of him on the website of the Milan publishing house <7> gives a better idea of his personality: "As a musicologist, he has taught in the field of oral literature, singing and African rhythms at the “Centre de formation des musiciens intervenants de l'université Paris-Sud”. He regularly performs in shows, festivals and classes, both in France and abroad. In 2020, he was named Knight of the National Order of Merit by the Ministry of Education. He lives in Paris." An even more impressive author of children’s literature did not escape our radar.   Nafissatou Dia Diouf Source : http://www.continentpremier.com/?article=1775&magazine=62 In Senegal, Nafissatou Dia Diouf, a world traveler, is quite an icon in terms of her insight and versatility. Introduced to reading at a very early age, a prodigious career was on the horizon. Indeed, "she was immersed in the atmosphere of books and reading from a very early age, mainly influenced by her mother"<8> . After her primary and secondary education crowned by the completion of her Baccalaureate, she flew to France and more precisely to the Michel de Montaigne University in Bordeaux III where she read Applied Foreign Languages with specialization in Business and Commerce. It must be acknowledged that literature has become a passion for her and this justifies her literary and cultural distinctions <9> : "First foreign prize in the 3 hours to write competition (France); Representative of Senegal in the Questions pour un champion spécial langue française in 2001, winner of the young Francophone writer prize in Muret (France), selected by the magazine Notre Librairie (a review of the literatures of the South) as one of the "plumes émergentes " of African literature. The list of distinctions is far from being exhaustive.  She surfs easily between the novel, poetry and children's literature. She nourished the desire to decipher the Internet for children as far as children's literature is concerned. In this regard, in 2006, she launched a collection for ages 8 and above in Senegal with titles such as I discover ... the computer and Cytor & Tic Tic navigate the web . According to the ORISIS platform (Observatoire sur les systèmes d’information, les Réseaux et les Inforoutes au Sénégal), "the aim of this work is to help children understand navigation and messaging. But also and above all to allow children to know what they need to protect themselves from with the Internet, which remains a very attractive tool. 10] She has published a number of other relevant children's books such as Kidiwi , the curious droplet .  She speaks five languages (Wolof, French, English, Spanish and Italian). Senegal also knows African culture defenders with a weakness for comics. Kemado Toure Source : https://web.facebook.com/photo/?fbid=227176470811240&set=a.178183752377179 When it comes to storytelling in Senegal, Kemado Touré is an important figure. Although he is multidisciplinary like most of the preceding children literary authors, a presentation of his profile makes us understand that he has a certain connection with tales: "Poet, storyteller, researcher and essayist, Kémado Touré has distinguished himself in the fight for the defense and promotion of African languages and the revaluation of the oral tradition. A master storyteller with a fertile imagination, Kémado Touré is the author of around twenty books of etiological tales illustrated in comic form. 11] The end of this paragraph says a lot about his personality, and more specifically about his status as an author of children’s literature. One of his literary works that stands out in this genre is the title: Contes sérères . Indeed, this book presents thirty oral texts, as many marvelous tales, tales from the animal world as from the human world, with their flaws and qualities"<12> One cannot talk about the animal world without thinking of the children who love stories of this sort.  In this register of tales in comics, we can cite the origin of widowhood in the collection Les dits d'hier . In a didactic perspective on the imaginary and African culture, he wrote in the same collection: “ Why we do not eat the meat of the hyena or Why we keep the name of the child before his birth .” All these tales have made him a focal person in Senegal. It is possible to view his other literary works whose purpose is always to connect African children to their deep realities on his Facebook account. This particularity in part, makes him an important figure of children's literature in Senegal. In summary, this was all about presenting five important authors of Children’s literature in sub-Saharan French-speaking Africa. In view of the above, Senegal as well as Côte d'Ivoire and Cameroon have authors who by their literary works bring an added value in the children’s literature sector.  If you know of other authors in Senegal, please mention them in the comments, quoting some of their works.

We previously published an article that extolled the richness of nursery rhymes for children in terms of cultural and historical content. Long before this reflection, researchers reflected on the question. These include Keziban Tekşan <1> and Mina Akhavan Tavakoli <2>.  The former demonstrated that it was easier to use nursery rhymes as a didactic support for phonics and as a means of acquiring reading competence in relation to fluency. Following on from the previous work, and wishing to move from theory to practice, we have developed the concept of one Sunday one family , which is a kind of practical application of the theoretical data related to nursery rhymes. Through the sociological method of investigation, in addition to confirming the assertions made in our previous article, we have detected additional axes that could be explored by parents and children's centers. To conduct our research, we visited four families and one orphanage (the Cibaeva Orphanage in Dschang). The first step was to play the nursery rhymes. Afterwards, we had to observe the children's reaction. So we came up with some results. The African nursery rhymes help the children to improve their knowledge of wildlife Indeed, as the African nursery rhymes unfold, we regularly notice the presence of animals.  This presence allows the children to name them as soon as they appear on the screen. It happened that they discovered some of them for the first time. It is at this very moment that the parent intervenes to ensure the transmission of this new knowledge.  To do this, they must watch the nursery rhymes first and make sure that they master the names of all the animals that appear on the screen. When the time has come for children to watch the rhymes, they can easily assist them if they face any challenges. This will make it easier for the toddlers to remember the new names. In addition, children may use their creative minds to generate songs that will allow them to fossilize these skills.  For example, in the nursery rhyme Amina <3> , animals appear and disappear in the background. Nursery rhymes stimulate learning of choreography and rhythm Baleghizadeh and Dargahi <4> stated, "Nowadays, research shows that nursery rhymes have much more to offer than just an entertaining value." In other words, beyond the purely playful side, there are other aspects to explore in nursery rhymes. When it comes to choreography in general, professional dancers are usually technical and masterful. With some of the more animated nursery rhymes, there are dancing choreographies that are sure to arouse aesthetic enjoyment in children. Moreover, it can happen that the video looks like some tutorial through which instructions or indications can be repeated simultaneously. As an example, we can cite the nursery rhyme: clap your hands <5> . We can find the choreographic dimension in the nursery rhyme I make my hair dance <6> . African nursery rhymes help to overcome shyness in children  During our different sessions, we noticed that African nursery rhymes have the power to do away with shyness in children.  In a family located in the political capital of Cameroon, we noticed that the children were rather shy, so we made them watch the nursery rhymes. As they watched the various animated videos, they began to react progressively and interactively to what they were seeing. This approach helped us to promote better contact. The nursery rhymes acted as a stimulus for the participants.  After a long moment of silence and observation, they began to imitate the rhythm in the mamaoulé rhyme <7> by clapping their hands. In short, our analysis shows that through the new concept of One Sunday, One Family , we identified new ways of using African nursery rhymes through the ‘edutainment' sessions with the children. In view of the above, we can say that parents and education centers now have an accessible corpus to update the training of children. Do you know an example of an African nursery rhyme in which one of the above points can be found?

Author of the book Santa Claus has Coronavirus , Michelle TANON-LORA is a Doctor of the University of Burgundy, a teacher-researcher at the University Felix Houphouet-Boigny of Cocody-Abidjan (UFRICA) and a lecturer in Spanish Literature, Literary Criticism and Social Communication (option Behavioral Strategies) and film analysis. She has written several books for young people and teaches courses in "African folk tales and games" at UFRICA. She created an association called Pathé - Pathé which means "Patchwork, sharing culture" in Bhete. She is the author of storybooks for young people and works as a storyteller and cultural ambassador. She travels around the world thanks to the Lec'Tour project which establishes libraries in rural and suburban areas. She is the recipient of several awards including: The 2015 National Library Award for children's literature , with the book "Le bébé de Madame Guenon." - The Jeanne de Cavally Prize for Children's Literature 2016 , with the book " Tavly's Mishaps ." Muna Kalati: How long have you been writing? -I have been writing since 2009, the year my first children's book " La ceinture de Madame Fourmi ” published by Les Classiques Ivoiriens . MK: You just published your book Santa Claus has Coronavirus , what is the theme of this book? Santa Claus has Coronavirus deals with several themes: with the advent of Coronavirus, this book tries to put forward the positive side of connectivity. Indeed, more and more people develop a dependence towards screens which became impossible to circumvent in the daily life. Through this book, the children who could connect through their network, were able to make an act of solidarity: elaborate a global project to find a solution to the danger that threatens Santa Claus.  Moreover, the issue of COVID protocols is raised to show that while remaining cautious and responsible, we can avoid getting infected with coronavirus. Awareness of values such as solidarity, fraternity, and altruism are highlighted in this book. MK: What are your objectives in writing? Did you want to pass a message, awaken consciences, or simply tell a story like any other? -By writing, I wanted to contribute at my humble level to the transmission of African culture through storytelling and to sensitize the young audience to the importance of reading, which helps children to grow up healthy by cultivating themselves. MK: Did you write this book for a specific occasion or to testify about something in particular? -The issue of the Coronavirus is topical. Obviously, it is a bait for both the young readership and old, given the importance of the main character: Santa Claus. How will he respond to the pandemic that has caused so much devastation? The goal: make young people have interest in books, make reading a privileged leisure activity and no longer a constraint linked to school learning. MK: What did you start writing? When (childhood, adolescence, etc.)? Why did you start? What made you want to write? (Find out if there is a triggering event, a specific context). I have always loved to read since I was a child. My mother was a kindergarten teacher and she introduced us to reading very early. However, I really started writing at the beginning of my tertiary education. Paradoxically, it was my immersion in the tertiary institution setting that made me aware of the need for reading awareness. Indeed, the young adults I met in the university were not interested in books outside of textbooks. I therefore thought of a project to get them interested: this is how I created in 1999 the Pathé-Pathé Association (which means patch-work in my mother tongue, Bhété). The main activity of this association is to promote African culture through storytelling. In 2009, I went further and wrote my first book of stories for children. MK: How did you get the idea to publish? What made you decide to publish? Do you find it an important step? Necessary? Or not? -I started publishing to show children that the stories that captivated them so much in our storytelling workshops can be preserved in books and become accessible at any time, if you open the book. MK: What did you start writing about (thematically)? Why this object? The first children's book that I published was La ceinture de Madame fourmi . Of the 26 children's books I have published, it is the only one whose story is drawn from the folk tale repertoire. All my other books tell stories that I have created myself. I chose to begin my writing career by starting with this story that my mother used to tell me when I was a child. For me, it was a way to pay tribute to my mother and also to attract the blessing of my ancestors who bequeathed us this beautiful story whose moral is gratitude, a very important virtue for social cohesion. MK: Have you written anything other than children's books (poems, essays, etc.)? I have academic writings since I am a teacher-researcher. I also have 3 novels being revised. MK: What did you read as a child and teenager? I read books from the Pink Library and then the Green Library, French authors such as La Fontaine, Flaubert, Beaudelaire, Hervé Bazin, etc., as well as works by the great African classics such as Bernard Dadié, Hamadou Hampaté Bah, Jean Pierre Oyono... MK: Can you tell us briefly about each of the books you published (or if there are too many, about some of your choices)? Are they of a particular genre? Can you say a few words about the theme or story? About the characters? Does it take place in a particular time and place? In my approach as a writer, I wanted to adjust a part of education in African schools; as a little African girl, I was exposed to French literature early and African literature only came into play whilst in secondary school. I therefore wanted to offer material in this area by creating educational content that could replace French classics such as Snow White, Little Red Riding Hood, Thumbelina, etc., because in my books there are cultural references specific to Africa; the animals, the spaces, the situations, everything is typically African and allows the young reader to identify with the story and to find well-grounded points that speak of him. In doing so, the objective is to restore the place of African tale in our nursery and elementary school. Therefore, in my stories, the characters have African names, wear African clothes and represent the Ivorian and African culture in all its aspects (gastronomy, rituals, civilities). MK: Do you earn money with this activity or does it cost you more than it brings in? Money is not the best benefit that one can get from the promotion of reading and culture. I don't limit myself to writing. I do more: thanks to my association we set up mobile libraries in schools in disadvantaged rural areas. And this requires a lot of means. To do this we have a financing mechanism that allows us to meet the costs of the book caravans that we call "Lec'Tour". Thanks to the support of publishing houses and patrons, we are able to reach disadvantaged people in the regions. We noticed a renewed interest for books in the framework of storytelling activities that we do in schools as well as during holiday activities such as storytelling cruises and training workshops for young storytellers. In short, we do volunteer work, but volunteering has a cost. Therefore, we don't make a financial profit, but we do gain readership and cultural promotion and that is priceless to us. MK: What advice would you give to young writers and to your readers who dream of becoming writers? I would encourage them to read a lot because reading not only enriches your vocabulary but also gives you a culture that makes writing easier. MK: It is often said that the author "passes a message": is this the case for you? If so, what is this message? My message is that of the transmission of my culture not only to the African youth but to the whole world. To write is to live and to keep values alive which aim at building humanity. MK: What do you think is the main task of children's literature? Should it entertain, teach, educate, enlighten, create models, liberate... The first role of children's literature is to build up young people solidly by giving them tools for analysis and by whetting their appetite for discovery and openness to others. The second role of children's literature is to give good reading habits to young people who will grow up to be adults who read and think in a structured and constructive way. MK: What is your vision for the future of children's literature in your country? For me, children's literature has a bright future ahead of it because more and more people are interested in it. Novel authors are trying their hand at children's literature because a young person who reads will later become an adult reader. MK: What touches you the most in a literary work? The emotions that the text creates. A text that leaves me without emotions will not hold my attention. The books that have touched me the most are those that have given me the opportunity to question myself, to question my fundamentals and to reframe my opinions on several subjects or even to reinforce them when they were not solid enough and the work has consolidated them. MK: What topics would you like more authors to write about? The subjects I would like more authors to write about are related to the problem of education, the transmission of values and the sanitation of morals. So many principles are neglected for money sake that moral references have deserted our societies. Corruption has become normal and the rules of propriety are now guided by private interest to the detriment of the collective interest. All these subjects would be of great help to clean up the current society which is without solid reference points. MK: How many children's books have you published so far? Could you name them? I have written 22 children's books. 1. La Ceinture de Madame Fourmi, Ed Les Classiques Ivoiriens, April 2009. 2. Le Bébé de Madame Guenon, Ed Les Classiques Ivoiriens, September 2009. 3. Siggly et son ballon, Ed Les Classiques Ivoiriens, September 2011 4.  Syggly ne partage pas ses jouets, Ed Les Classiques Ivoiriens, October 2011 5.  La tortue sur le dos, Ed Les Classiques Ivoiriens, November 2011 6.  Les larmes en or, Ed Les Classiques Ivoiriens, December 2011 7. La petite fille au doigt mouillé, Ed Les Classiques Ivoiriens, 2012 8. Le premier Noël de Férima; Ed. Les Classiques Ivoiriens, 2013 9. La mésaventure de Tavly, Ed Les Classiques Ivoiriens, 2015 10. Nouh Welly, Ed. COM'CEDIT, 2013 11. La Princesse Dato, Ed COM'CEDIT, 2014 12. Le voyage de Cabosse Tome 1, Ed Eburnie 2015 13. Le tabouret royal, Ed Eburnie, 2015 14. Le voyage de Cabosse Tomme 2, Ed Eburnie, 2017 15. Le moustique et l’elephant, Ed Eburnie, 2017 16. Thamima la princesse capricieuse, Cercle Media, 2018 17. Le secret de Zokou, Editions Les Classiques Ivoiriens 2021 18. La coccinelle et le papillon, Les Classiques Ivoiriens, 2021 19. Yènou ne veut pas grandir, Edition Vallesse, 2022 20. Bobo le Petit singe, Edition Eburnie, 2022 21. Le Père Noël a le Coronavirus, Massaya Edition, 2022 22. Saklou l'assistant du Bon Dieu, Cercle Média, 2019 MK: Would you like Muna Kalati to do an analysis of these books? Some of my books have been the subject of doctoral theses. Yes, analyses of Muna Kalati would be welcome. MK: Where can we find your books? My books are sold in the big bookshops of West Africa and for France, they are available on the page of sale on line of the indigo bird which diffuses in all Europe. I also sell my books and those of other African authors for children online. MK: Your last word I thank Muna Kalati for this window dedicated to my work as a writer-storyteller. The promotion of reading and African culture is the business of us all.

MARIANNE-MELGARD Sensitive proofreading is more or less a recent editorial trend that started in the United States. It consists in avoiding offending groups of people with literary works that would represent them in an inappropriate way. It concerns both adult and children's literature. Sensitive proofreading seems to be in line with the "trigger warning" phenomenon, which also comes from across the Atlantic and which now also influences the discourse of authors around the world, by alerting readers to the existence of passages containing actions or words that could cause emotional suffering. As sensitive proofreading is gaining ground in French publishing houses, it is very likely that this new editorial approach is already on its way to Africa. It is in this perspective that I suggest you take stock of the contours of this new profession, with Kanelle VALTON. Good morning Kanelle, you are a "sensitive proofreader". Can you explain what it is and ... what it is not! I could summarize the principle of "sensitivity reading" by saying that it is a careful proofreading of the way historically minoritized social groups are represented. My work focuses on detecting cultural or historical notions that may have escaped the mind of the author or the proofreaders. My expertise is in texts that speak of the experiences of Caribbean and African Americans. Other proofreaders focus on gender, homophobic, or classist biases. Contrary to what one might think, a proofreader's job is not to censor the text, but rather to accompany and alert the author or translators to their blind spots, to the unintentional perpetuation of clichés, to the clumsy use of a word or to an anachronism that may have escaped them. You say you prefer the term "expert proofreader". What makes you an "expert" proofreader in this field? Have you had any specific training? We can also refer to it as "specialized proofreading". My annotations and suggestions for correction are always justified by academic works in sociology or history. I feel that my experience as a black Caribbean woman is never enough to build a consensus with my collaborators. I am acutely aware that the social groups involved are not monolithic and that some issues are debated within the minority communities themselves. When this is the case, I don't give a clear-cut answer, I prefer presenting the terms of the debate, situating them historically and let the publishing house build its position on this basis. To date, there is no specific training to go through for this work. This job started in the United States. Is it now systematic for European publishers? I have been solicited by 3 publishing houses for a total of 6 books over the last year. I am not sure that the job is widespread, and I am frequently confronted with questions related to the relative youth of the profession such as: how much should I charge? What should I be credited with in the acknowledgements? How far should I go in contributing my input to the text? We can however consider that the so-called "sensitive reading" is part of a tradition of collaborative work around books: texts are often the subject of several readings and mobilize several expertise. In what way is the job of sensitive proofreading not a form of censorship of a text? My recommendations do not have the value of a verdict. Once transmitted, they are the subject of a collective arbitration that involves the editors, the translators if necessary, and the author or authors. I am content to bring to light, with the help of scientific references, questions related to the involuntary perpetuation of prejudices and received ideas, to imprecise translations or to misunderstood cultural references. Can sensitive proofreading be applied to a text in a mother tongue, as well as to a text to be translated, or is it only restricted to the second category? My first experience was with a text written in English and translated into French. The goal was to ensure that the translation of the African-American author's text was as accurate as possible. I specifically looked at how the African-American vernacular English was translated. I also paid specific attention to the description of hair textures or shades of black skin. I also elucidated references to African-American culture and history that had escaped the rest of the team. How do authors typically view sensitive proofreading of their work? There is often some apprehension about my work, which I can understand. I come to question creative or translation choices that are sometimes taken for granted or that have been thought through for a long time. In general, the uneasiness eventually disappears: the main thing for me is not to have the last say, but to make sure that all these choices are made conscionable Do you make a living as a "sensitive reader"? In other words, do you make a living from this profession? So far, I have been approached on an ad hoc basis by publishers who have heard about my approach and wanted to try it out. As is often the case in the publishing industry, the remuneration is modest. It is far from being a full-time job and I have a busy professional life. Sensitive proofreading for African books. Children's literature about Africa is undoubtedly subject to clichés. Do you think, however, that a children's book written by an African author and dealing with a story set in Africa could nevertheless convey clichés? We all have our blind spots. I can imagine an urban African author of bourgeois social class deciding to write a novel set in a modest rural family in the last century. One could imagine that he or she, because of his or her experience very far from that of his or her characters, might have an inaccurate view of the daily life of that family or of the historical context in which his or her story is set. If the author's intention was to deliver a realistic story, an expert proofreader could usefully intervene. Apart from tales, it is known that until the 1990s, African readers mostly forged their tastes and imaginations with foreign children's literature, for lack of enough supply on the Continent. What impact do you think these clichés have had on this generation? The cultural products that surround children shape their dreams, their aspirations, their criteria of beauty, their values. I believe that the stereotypes perpetuated in certain contents are dangerous for minds in development, which do not yet have the intellectual means to defend themselves. Do you think that African publishers would gain by using sensitive readers? As soon as we write about a universe that is foreign to us, why not surround ourselves with proofreaders who are familiar with that universe? I think we have everything to gain if the question of authenticity is important for the story. Do you carry out specific actions to make the practice of sensitive proofreading known? I don't have any specific actions in this sense, but I am always happy to be able to dispel the concerns that this practice raises. Interview conducted by Laurence MARIANNE-MELGARD for Muna KALATI.

Baby Babble is the result of a fruitful collaboration between writer Katherine Graham, illustrator Nicola Anne Smith, editor Nicola Rijsdijk and designer Sarah Slater. The picture on the front cover of this comic reveals the good mood of a baby. A happy baby The green background colour of this front cover takes the reader on a journey into the world of imagination.  In the centre of the sheet we see a yellow bubble that symbolizes joy. This joy is embodied by a baby with raised hands and a radiant smile. The names of the authors at the bottom of the bubble add a graphic element to this scrupulous arrangement of illustrations. What could be the reason for this joy? Thirteen photos of pure happiness Let us specify that this book is summarized in thirteen photos with texts. As the title indicates, the baby who splashes around spends the day eating and playing with her plush. She is happy in the company of her pacifier. Then comes the time for her to be cleaned up, she is bathed (twelfth photo) then to sleeping after having spent the day babbling. This is how we count several expressions of joy and happiness coming from the baby following her daily activities. This comic goes back to the daily life of babies, from sunrise to sunset. The particularity of this comic, like all the others, is the easy access to the story told. It is not only told through texts but also understood through the pictures. We propose a book that can be read and looked at at the same time by the readers. Beyond the text In a nutshell, comics are very interesting to children since they make them feel loved, appreciated and safe, especially when they are with their parents. As they grow up, children will feel good about themselves and confident. This promotes the development of their social skills. If we try to go deep into the interpretation of this comic, we can deduce that the fact of babbling is very important in the growth of the child. This growth depends on the treatment of the people who take care of the baby. Talking or learning to talk is therefore a crucial stage in life and above all because it is language that participates in the autonomy of a child. Hence the joy of the child on the front cover. Bantio Flaure Livine

A year after the publication of his book Anthología de voces camerunesas de expresión española: entre oralidad y lírismo, Dr. Narcisse Fomekong, a founding member of Muna Kalati , has just received a second distinction as the Best Book on Hispanism in 2022. After two years of vacillation due to the Covid health crisis, the Madrid Book Fair was held from 27 May to 12 June 2022. It is an event during which authors who have distinguished themselves during the year receive awards. Among other prizes awarded by the Sial Pigmalión Publishing Group, we have the prize for the Best Book on Historical, Artistic and Architectural Cultural Heritage awarded to María del Mar Lozano Bartolozzi, the prize for the Best Investigative Journalistic Book awarded to Nuria Ramos, the prize for the best Poetic Book awarded to Leopoldo Calvo Sotelo, the prize for the best English Edition awarded to Rosemary Clark, the prize for the best Hispanic-African Author awarded to Augusto Iyanga Pendi and the prize for the best Hispanic book  awarded to Narcisse Fomekong Djeugou. This prize for the best Hispanic book is awarded to the work produced by a Hispanist. That is, a person who has not only taken a course in Hispanic studies but also has the Hispanic or Spanish-speaking world as his field of research. Narcisse Fomekong does fall into this category as he holds a PhD in Hispanic Studies. More specifically, his work focuses on " other Spanish-language literatures ". These are texts produced in countries that do not have a direct colonial relationship with Spain or that have not had long-lasting relationships. These are creations produced directly in Spanish in the United States, Asia, Africa: in countries such as Ivory Coast, Senegal and Togo, to name a few. Book signing of the author at the Madrid Book Fair in 2022 Anthología de voces camerunesas de expresión española: entre oralidad y lírismo , sums up the texts of nineteen Cameroonian poets of Spanish expression with an introductory analysis that reviews the introduction of the Spanish language in Cameroon, the motivations of the Cameroonian authors and especially the themes they address. This is the second prize won with the anthology after the Justo Bolekia Bolekà Prize for the best African writer of the year. Narcisse Fomekong is a writer who charts his own path and is on a right path, taken into consideration his accolades, the future surely looks bright. In addition to the anthology mentioned, he is the author of The Stairs of Life , a collection of poems published in 2016.  He has several unpublished texts and others awaiting publication. He navigates between essay, poetry, novel and children's literature. This last category is the reason why he joined the Muna kalati project, the first platform for the promotion of children's literature in Africa. The entire Muna Kalati team and community is delighted with this honorary distinction which celebrates the consistent and excellent work of Narcisse Fomekong in the field of African literature.

Mariska Araba Taylor-Darko is a Ghanaian poet and writer of several children’s and young adult books. Her book, ‘The Iced Water Seller’, tells the story of a teenage girl’s determination and perseverance in the face of extreme hardship and how she emerged victorious. ‘The Iced Water Seller’ has made tremendous impact in the lives of teenagers by inspiring them to rise above the difficulties life sometimes have to offer. Muna Kalati seized the opportunity to interview her about her life, the experiences and challenges she has faced as a writer, her source of inspiration and vision for the development of children’s book industry in Ghana. Muna Kalati : What were the first children's books you read? Were they African? Any childhood authors you remember? Mariska Araba Taylor-Darko : The first children's books I read were British books, Lady Bird books, Alice in Wonderland, Cinderella, Jack and the Beanstalk, Goldilocks and the Three Bears, The Adventures of Tintin, Enid Blyton etc. Unfortunately, I grew up in the UK and at that time there were no African children's story books there. Not even ones with black children in them. Even when we relocated to Ghana in the 1960's the books available were British or American. MK: What did these reading practices teach you as a child? MATD: Reading took me to another world. I could visualize myself in the stories and always looked forward to the ending which would of course be exciting.  In those days we did not have children's stories that ended badly for the main character except when there was a battle between good and evil and good always won the day. Reading is and always will be a form of escape from reality.  I also found out that this love of reading aided me in later life when I had to read long documents and reports.   MK: Could you give us an overview of your career? Why did you become interested in the world of children's books? Is it a choice or a stroke of fate? MATD: I started my career as a legal secretary so reading was a normal process.  Reading, punctuation, spelling and grammar were very important. When I became involved in the Ghana Association of Writers, I realized that there was a great shortage of books for the younger reader.  Most of them were textbooks or adult books.   There was not much of a selection for young teens.  All this was learnt through interacting with booksellers, children and parents at various book fairs held in Ghana.  You see a huge collection of imported books and even then, they did not import books that culturally and socially represented the young black child.  I also realized that the market was saturated with imported second hand books written for the western child. Book donations that were sent to our Association and other organizations were geared towards the European child.  The high cost of production in Ghana also increases the unit cost of the books sold here and so the parents gravitate towards the cheaper foreign books. My desire was to write stories they could identify with and also of a size that could be read quickly and at a cost that would be affordable. I would therefore say shifting from writing books for grown-ups to writing for young teens and children was a choice.  A choice I have not regretted. MK: What books are on your nightstand? Have you ever gotten in trouble for reading a book? MATD: At the moment I am reading ‘ The Kaya Girl ’, by Mamle Wolo, ‘ The Shrinking Bowl ’ by G.A Agambila and ‘ Wife of the Gods ’ by Kwei Quartey. These are actually books I have read before but I need to go back and savour some chapters, so I keep them for bedtime reading. When I was about 12 years old, I used to hide under the bedcovers and read with a torch light.  Most of the time they were books that I borrowed from friends at school or from my mum’s bookshelf.  I got into trouble not for reading but using the torchlight and then not being able to get up early for school. MK: What’s the last great book you read, and what book should everyone read before age 21? The last great book I read was “ I Know Why the Caged Bird Sings ” by Maya Angelou and also "Starbook" by Ben Okri.  Actually, there are so many great ones that I have downloaded onto my Kindle. I also download children’s books because it is good to learn from other seasoned authors of children's books. Everyone should read, ‘Think and Grow Rich’ by Napoleon Hill and ‘ The Richest Man in Babylon ’ by George Samuel Clason before they are 21.  Because of the changing world that we are in, the young should know that nothing is impossible if you put your mind and determination to it. Personal financial management is not taught in schools and these books would help open the eyes of the young on how to save, invest and earn honest money.    One should widen one's reading selection and not stick to one type of genre.  There are also many great children's books out there.  MK: What, in your opinion, is the main task of children's literature? Should it entertain, teach, educate, enlighten, create role models, liberate… MATD : The main task of children's literature should first of all be entertaining because children have so many gadgets that distract their attention. If the book is boring, they would put it down.  If it entertains then there can be subtle messages to educate and teach them right from wrong without being condescending because children are bright and do not want a book full of preaching.  Give them the option to decide if the villain was right or wrong.  It should make them feel safe when reading and also generate conversation between their peers and them. MK: How many children's books have you published to date? Could you name them? Would you like Muna Kalati to do some analysis on these books? MATD: My books range from primary to secondary level.         1.  "The Deer Hunt" is a book that took one of my poems written from the eyes of a child.  I was full of descriptions that a child sees at a festival where a deer has to be caught for good luck for the seasons to come ahead. At the same time the book explains the origin of the festival and the history of the Deer Hunt Festival held in Ghana.                                                                         2. I wrote a short story for a folktale anthology "Story Story Story Come" titled "The Proud Peacock,"   which shows how pride can cause people to lose friends.                                           3. "The Iced Water Seller '' which you have read is for young teens. It follows the life of a young girl, Sisi Yaa who sells iced water in the streets and how she is reunited with her real mother.                                                                                       4. "King Goat Aponkye" which is a fully illustrated book for the very young ones with a work book and question and answer section inserted.  It tells a story of domestic and wild animals who face challenges and end up working together for peace. The animals in the book have both English and Twi (Ashanti) names.  I am working on getting the same story translated to have Ga and Ewe names to cover more regions in Ghana.  It was written conjunction with children of Ghanaian parentage living in the diaspora. 5. I am at present working on a children's poem titled "I Love Ghana" which is being fully illustrated – Every stanza has its own illustrations with a young girl as the main character. The poem, which is from ‘The Deer Hunt’ is my next fully illustrated children’s poetry book. I have about three other projects waiting for my attention. I would definitely be honoured to have Muna Kalati analyze my books. MK: Recently, children's literature has become increasingly free from various prohibitions and taboos. The authors are not afraid of complex topics such as death, aggression, bullying, depression, feminism, racial problems… But do children need it? And where to find the balance between a happy childhood full of miracles and adventures, and the real world full of adult problems? MATD: A lot of children do not have people they can speak to.  There are some parents who have no idea of the issues the young children go through and if a book is beautifully written to tackle the grief after a loss of a parent or grandparent, the child would derive some comfort knowing that if the main character could go through these troubles, they would be ok. Girls need more books that focus on puberty, menstruation, relationships, and the importance of financial independence.  These issues should be handled carefully to educate, entertain, and let them know that it is alright to go through certain changes in their lives.  We cannot shelter them from the real world so authors should be like second guardians to equip them with the right information. MK: In Africa, children's literature is located on the periphery and seen as a marginal genre compared to classical literature. What do you think of that?   MATD : It is terrible but it means that authors have a lot of work to do by holding speaking engagements in schools, liaising with teachers and also by writing quality books.  We cannot change hundreds of years of bias but little drops of water make a mighty ocean.  Our universities should offer creative writing as a diploma or degree course with children’s literature as one of the subjects.  This would bring respect to the genre. MK: What is your vision for the future of children's literature in your country? MATD :  I would like to see more books that are culturally relevant to children, with more children having access to literature instead of only handling text books during school and ending there. The old system of reading clubs should be revived in the schools. There should be more libraries and more support from the government to encourage writers of children's books. We have to make our nation a reading nation and it starts from pre-school levels.  There should also be tax concessions on children’s books and literature. MK: What moves you most in a work of literature? MATD : Books that touch on the emotion felt by loss, joy, pain and are very descriptive are first for me. The thrill of reading and experiencing the climax of the story cannot be described. MK: Has a book ever brought you closer to another person, or come between you? MATD : At the moment no book has actually had that effect of coming between me and another person or brought us closer but when I read other writers’ books about the experiences and hurdles they overcame, I feel empathy towards them and it makes it easier to strike up a conversation with them when we happen to meet. MK: Which subjects do you wish more authors would write about? MATD : I wish more authors would write about happiness, family love, growing up with a single parent, bullying and things that affect the growing child. MK: In an illustrated book, how central is the art to its success or failure, and what's the relationship between art and text in your mind? MATD : Art in an illustrated book is very important.  It should convey the message without you having to read the words.  There are some children who are slow learners and just by looking at the pictures would give them an idea of what the story is about.  The text should flow gently with strokes of the artist. A badly illustrated book where the text sits on a different page confuses a child so the aesthetics of the page should be carefully looked at.  They say that gentle on the eyes is closer to the heart. MK: What role did your parents/family play in developing your interest for writing? MATD : My mother was my mentor.  She was an actress and was always reading scripts. She also spent a lot on books, was always reading and going to libraries or to exhibitions and museums.  She took up photography and so the creativity was sort of inborn.  She just loved reading and so it was imprinted in me as well.  Thanks Mum * MK: In your book, 'The Iced Water Seller'; we noticed that the main character's name, Araba, is also your middle name. Is there a connection between the character and you? Is Sisi Yaa someone you knew or is her story your own? MATD : I couldn't think of any other name but Araba.  It also had to fit in with the region of Ghana that she came from.  If I had used a name from the Northern part of Ghana or Greater Accra Region then the story would have been different.  I think people gravitate towards their comfort zone.  The story is fictional and has no bearing on my life.  Sisi Yaa was a name I liked and I actually don't know anyone by that name.  I knew a corn seller called Auntie Sisi and I have some cousins called Yaa so I just put them together.   I am currently struggling to get a name for my young girl in the book "I Love Ghana" and it has to be a Ghanaian name. * MK: What process do you adopt/follow when developing the profiles of your characters and plot? First of all, when I start thinking of a story, and it comes sometimes in dreams, I write down notes and visualize how I would like the main character to be, that is; her looks, voice, attitude, etc. Then I look at the way the character's family or friends would react to her or him. MATD: How do you create boundaries between fiction and reality? When writing fiction, you definitely have an element of reality in the story, and I try to be careful or avoid describing a person or action that can be identified to a real person. Fiction does allow you to come up with things that would seem impossible in real life and that is the beauty of it.... Using your imagination to create captivating scenes! MK: What has been the reception and impact of the "Iced Water Seller"? MATD : Initially, it started slowly and since I am self-published, I had to do all the marketing and sales.  Because of the embargo on selling books to the government schools directly, the opportunity to make sales in that direction fizzled out.  It is after the third reprint that I have had bulk orders because those who have read the book recommend it to their children and friends.  The title was catchy and the visuals on the cover drew people’s interest to it.  Quite a few young and older customers have said that the story reminded them of their life and what they went through to get to where they are now.  The younger readers are waiting for part two and a group of young teens formed a reading club with my book as their first club book.  They even wrote individual chapters of the story and how they would like it to be. MK: What is your best experience/feedback from readers as an author? MATD : Encouragement from readers asking for a sequel of The Iced Water Seller has been the feedback received. My best experiences were when a school ordered four hundred copies and when a parent said she had gotten her daughter to form a weekend reading club and that my book was going to be the first book chosen. MK: What is the number of copies sold so far? On what topic would be your next book? MATD : About three reprints of 500 copies each plus the initial 500.  I would say 2000.   I will be writing a part two of The Iced Water Seller and then I have the children’s poetry book and others planned. MK: What do you expect to achieve through your writings? What message do you have for young girls and women who would like to have a career in the book industry? MATD : My writing sets to entertain, educate and invite younger readers into the reading fraternity.  All I would say to the young girls and women is that they should write from the heart, do not accept defeat, do not listen to negative people and do a lot of research on the internet.  Networking with other writers at social events will give you a lot of information regarding editors, publishers, printers, illustrators etc.  Never fear to ask questions and attend as many workshops as you can.  There are a lot of free courses on the internet.   * MK: Any last words? MATD: I just want to say that I am honoured to be selected to be in the company of such esteemed and seasoned authors previously interviewed by your organization. I wish every parent would endeavour to make reading a part of their lives and that of their children.

Nigerian artist Uzoma Dunkwu has taken time out from a hugely busy and exciting production schedule to create a unique platform for children to celebrate, speak about and even showcase the continent’s beautiful and diverse cultures. By Lerato Mogoatlhe, bird story agency Uzoma Dunkwu is a man on a mission—to inspire generations of African children to connect with their heritage and culture. The Nigerian artist recently focused his creativity on a colouring book that celebrates African attire. It all started with a social media post. “After a LinkedIn post, I made that went viral in December 2020, I realised that many people from all around the world are seeking unique voices, specifically from underrepresented cultures. This challenged me to create an authentic, child-friendly book to educate children of the world about Africa in a fun way—the African Attire Coloring Book.” The book was launched in February 2022. It features 30 drawings of African children proudly adorned in traditional attire from 15 different ethnic groups on the continent. Each illustration comes with fun descriptions that educate readers about the people featured, and the significance of their clothing. “As a creator, all I think about is my responsibility to God and my ancestors to showcase the beauty and cultural diversity of Africa to the world. This should come naturally to me. But it didn’t occur to me early enough because of how westernized the Nigerian society is,” he said. “I’m fascinated by the amount of knowledge about African beliefs, traditions, myths, and history that is not mainstream. It will exceed a lifetime of diligence to make this a reality, and I’m committed to this.” Dunkwu the Afrocentric artist Born and bred in Lagos, Nigeria, Dunkwu has always been interested in art and the stories and experiences it brings to life. Although he studied engineering at university, that did not hold back his creative interests or instinct. “Since childhood, I’ve always been interested in the arts. Upon graduation, I thought of doing something related to my innate abilities. I started by creating comics in 2012 and then I pivoted into animation in 2015,” he explained. 2015 was a crucial year for Dunkwu. That year, he founded Scroll Entertainment Studio, a digital art content creation company that specialises in 2-D and 3-D Illustrations, comics, film storyboards, concept arts, animations, and game art. The company also runs a digital arts academy. The company and Dunkwu’s profile as an artist have since skyrocketed. Both are likely to see even further growth, thanks to partnerships with Netflix Animation and Marvel Studios Animation. “I have been fortunate and blessed to have such a rare opportunity to work at these top studios. Their Talent Acquisition Recruiters contacted me to work on projects that are yet to be announced, so I’m unable to speak about them yet. When the projects are public, I’d have more freedom to share what roles I played,” he added. Even though he can’t speak about them, it is safe to say the projects will have a considerable impact on Africa’s media production landscape given the extent to which global media companies are now investing in African stories produced by Africans. “My ancestors died defending the honour of our culture. The negative impact of the West on Africa in the wake of the 20th Century and the fact that they have used mainstream media to suppress the intelligence of the people of African descent is why I’m taking a stand to change the narrative. Also, as a person of influence in my field, I must do what is right to inspire rising artists. Hence my art must heavily reflect my Afrocentric interests.” SOURCE : https://www.qazini.com/africas-pride-in-art-and-attire-new-generations-tell-their-story/?utm_source=pushengage&utm_medium=pushengage&utm_campaign=pushengage

On the 14 July, 2022, Muna Kalati attended an online training organised by the West Africa Network for Peacebuilding (WANEP) on Networking and Advocacy for Effective Implementation of the Youth, Peace and Security Agenda in West Africa.  The training aimed at building the capacity of 100 members of Youth4Peace Networks across ECOWAS member States on the strategies and advocacy tools needed to successfully help end conflict and encourage peace building. Muna Kalati was represented by our Programs Coordinator, Mrs. Julia-Faith Bassaw, who attended to share on how our reading programs are positively contributing to peace building.  Among the facilitators were Queeneth Tawo , Regional Coordinator Women, Peace and Security (WPS) at WANEP and Josiane Sombo , Program Officer – Youth and Peace Education at WANEP. They reiterated the importance of understanding the legal framework on United Nations Security Resolution 2250 (UNSCR 2250) and shared  that the five key pillars of resolution 2250 are participation, protection, prevention, disengagement and reintegration. They highlighted that digital advocacy via social media can ensure a more peaceful dialogue online and there is a greater need to develop peace education and peacebuilding programs for young people. Youth who have been engaged in extremism and acts of violence needs to be re-educated and reintegrated into society. Finally, facilitators and participants encouraged ECOWAS member states to allow youth to participate more in peaceful processes and meaningfully contribute in decision making. They are also expected to include young people right from the onset of policy development.  WANEP is of the view that a new approach is needed in conflict prevention due to the nature and complexity of the conflicts experienced in West Africa. Sustainable peace has been found to tremendously increase when the youth are given the platform to meaningfully contribute and participate in the peace process. ECOWAS in recognition of that and to ensure effective implementation of the Conflict Prevention framework, paved the way for youth involvement through the addition of the 2019 Plan of Action. In like manner, the African Union in a bid to increase participation of the youth in peace processes, developed a continental framework aimed at offering direction on how to implement the Youth, Peace and Security (YPS) Agenda . Despite these existing peacebuilding frameworks and policies, youth are still marginalized when decision making and peace processes are involved. This has largely been due to the inability of States to provide substantial commitment towards the support and promotion of youth participation in the prevention of conflicts. The need for intensive advocacy towards the development of national policies exists and Muna Kalati intends contributing through our various programs in peace education, literacy and numeracy. For example, we donated hundreds of books to victims of the Anglophone crisis in Cameroon and we regularly hold the Reading4Healing project, which targets child victims of violence and who are hospitalized.  In 2020, approximately 8,521 children were reported to have been enlisted to serve as child soldiers in conflicts in Africa according to a UN report . The report further indicated that Africa alone accounted for 40% of child soldiers; 2,674 children lost their lives in armed conflicts and 5,748 sustained varying degrees of injury.  Prevention is better than cure Prevention of insecurity must come before protection. Attention must be given to initiatives and actions which teaches peace, tolerance, forgiveness, acceptance of diversity to the youth. This will create long term attitude and positive behavioural change as they grow. Indeed, r eading is a powerful tool which can either negatively or positively change attitudes, character and influence the outcome of events. Most of what we read, what was read to us or what we heard has played a major role in most of our life’s choices. These experiences shaped our attitudes, behaviours, and value systems. If this is true for adults, it’s even more for young minds, who are more impressionable and can easily be manipulated. Hence, educational initiatives such as Muna Kalati , Rainbows4kids , Rwanda Girls Initiative , and the Nolbed Foundation are changing the narrative by increasing programs oriented towards peace education to children.