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My personal observations about children books in Nigeria are
that though the industry has come a long way, I have noticed
that many kids still leave the reading of books within the school walls. The
interest of reading for fun is still a habit we are yet to cultivate in our
children. Being an upcoming children’s book writer for kids in kindergarten and early primary, it worries me that most children’s books of interest in
Nigeria still remain for children in mid primary to early secondary schools. There is
little or no hype around early reader books. Neither are there many competitions for writers in this genre to encourage the act (believe me, I've searched). I believe these books are equally important. I mentioned this to a friend a few days ago and he too doesn't see
the need to “make noise” about it either. Well my thought is How will our children get to
understand these “children’s literature books” if they NEVER learnt to read the
early reader books and develop reasoning and understanding from the simple lessons
found within the pictures and words in these precious books? Where would the
interest develop from in the first place? Take a new born baby for
example. There is NO parent that isn't ecstatic about the first steps their
babies make. Those first delicate and significant wobbly steps are what
started the whole “self moving” experience isn't it? I mean how will anyone ever learn to
run, skip or jump so high if they never learned to walk?
... Anyway, I stumbled on this article which highlights some
of the issues of children's book writing and publishing in Africa and felt
I should share it with you. It’s very insightful. Drop your comments below if
you have something you wish to share on this.
Problems militating
against a rapid growth in writing and publishing for children in Africa include
the following:
(1) The bulk of reading matters available to the African child are textbooks rather than books for pleasure and enjoyment.
(2) Most children's books are still imported. Such imported works are mostly insensitive to local culture, and unreflective of the social realities of the African child and his aspirations.
(3) Not enough African published children's books are available.
(4) If they are available the illustrations in them are either
(a) of poor quality
(b) not in full colour
(c) Do not have beautiful dust jackets.
(5) And if they are in full colour, and of good quality, they are either much too expensive or for an elitist few and well beyond the reach of most African children, especially those in the rural areas.
(6) Most serious African authors do not bother to write for children since it is not accorded the same status as writing for adults.
(1) The bulk of reading matters available to the African child are textbooks rather than books for pleasure and enjoyment.
(2) Most children's books are still imported. Such imported works are mostly insensitive to local culture, and unreflective of the social realities of the African child and his aspirations.
(3) Not enough African published children's books are available.
(4) If they are available the illustrations in them are either
(a) of poor quality
(b) not in full colour
(c) Do not have beautiful dust jackets.
(5) And if they are in full colour, and of good quality, they are either much too expensive or for an elitist few and well beyond the reach of most African children, especially those in the rural areas.
(6) Most serious African authors do not bother to write for children since it is not accorded the same status as writing for adults.
Africa has very little concern for written literature. Even
Nigeria which is rich in award-winning authors is marked by neglect of her
authors. Writers are seldom as honoured.as footballers are. Hardly any
foundations exist to boost the creativity of African writers. Prizes for
literature are also in short supply. Book Development Councils seem to be
either non-existent or collapsing except in Ghana. In Sierra Leone and the
Gambia its absence is still being bemoaned. Whereas in Nigeria where one was
once set up to develop indigenous book publishing, it hardly made any impact
until it was swallowed up by the Nigerian Educational Research and Development
Council. In Africa generally adults seldom read children's books - not even
parents. Compared to the over 2,000 titles published every year for children in
Britain, the output in Nigeria is hardly up to 60.
In spite of the over 100 publishers in Nigeria the situation remains bleak for children's literature. This is due mainly to their textbook orientation which makes them lazily rely on a captive school market. It has been proven that if only African children had access to more books they would read outside the classroom. An illustration of this fact could be seen from the 1985 Ife Book Fair where the Children's Literature Association of Nigeria (CLAN) held a special exhibition of books
Visitors to that stand were fascinated by the colourful poster illustrations of folktales decorating the wall, the top and back of shelves. Some even wanted to buy the poster-sized illustrations made by a very gifted woman artist from the Nigerian television authority. The festive air given to the stand by the balloons decorating it along with the colourful posters attracted many children. There was the astonishing sight of three children of varying ages reading one picture book at the same time, visibly very fascinated by this picture book entitled No Bread for Eze by Ifeoma Okoye and published by Fourth Dimension in Enugu. It was one of those picture books where both story and illustrations were ideally integrated. It was about a young boy Eze who loved bread and could not eat enough of it. He wanted bread all the time. So his exasperated parents made him eat nothing but bread. Eze was at first very happy. Nobody was pressurizing him to eat nourishing food. But he soon grew tired of eating bread all the time and pleaded with his parents to give him other types of food. But they would not relent. So Eze became tired of bread and stopped eating. He grew hungry and weak and could not even play football with his friends. In the end his parents relented and Eze began to enjoy a balanced diet, having learnt that boys shall not live by bread alone. This emphasizes the importance of illustrations in children's books, for those children were fascinated not only by the story of Eze but also by the imaginative and sometimes humorously drawn pictures. If children are to acquire the reading habit, they must be given attractive books which also mean well-illustrated books. Even a two-year old baby can enjoy looking at a picture book. Picture books could indeed be expensive to some extent if one insists on printing in four colours which is ideal as could be seen in the lavishly illustrated folktale The Drum specially written for children by Chinua Achebe. But even line and wash drawings could be so well drawn that they too could be captivating.
In spite of the over 100 publishers in Nigeria the situation remains bleak for children's literature. This is due mainly to their textbook orientation which makes them lazily rely on a captive school market. It has been proven that if only African children had access to more books they would read outside the classroom. An illustration of this fact could be seen from the 1985 Ife Book Fair where the Children's Literature Association of Nigeria (CLAN) held a special exhibition of books
Visitors to that stand were fascinated by the colourful poster illustrations of folktales decorating the wall, the top and back of shelves. Some even wanted to buy the poster-sized illustrations made by a very gifted woman artist from the Nigerian television authority. The festive air given to the stand by the balloons decorating it along with the colourful posters attracted many children. There was the astonishing sight of three children of varying ages reading one picture book at the same time, visibly very fascinated by this picture book entitled No Bread for Eze by Ifeoma Okoye and published by Fourth Dimension in Enugu. It was one of those picture books where both story and illustrations were ideally integrated. It was about a young boy Eze who loved bread and could not eat enough of it. He wanted bread all the time. So his exasperated parents made him eat nothing but bread. Eze was at first very happy. Nobody was pressurizing him to eat nourishing food. But he soon grew tired of eating bread all the time and pleaded with his parents to give him other types of food. But they would not relent. So Eze became tired of bread and stopped eating. He grew hungry and weak and could not even play football with his friends. In the end his parents relented and Eze began to enjoy a balanced diet, having learnt that boys shall not live by bread alone. This emphasizes the importance of illustrations in children's books, for those children were fascinated not only by the story of Eze but also by the imaginative and sometimes humorously drawn pictures. If children are to acquire the reading habit, they must be given attractive books which also mean well-illustrated books. Even a two-year old baby can enjoy looking at a picture book. Picture books could indeed be expensive to some extent if one insists on printing in four colours which is ideal as could be seen in the lavishly illustrated folktale The Drum specially written for children by Chinua Achebe. But even line and wash drawings could be so well drawn that they too could be captivating.
There is also an imbalanced attention to the various ages of
childhood. For far more books are being written for the middle-aged (8-12)
while very young children remain largely neglected. Very few books for
adolescents have been written. One is Angi Ossai's Tolulope (1979). Another is
joined by Love by Joy Ikede. The Kenyan Asenath Odaga's work Jande's Ambition
is about choice of career which should be a prime concern at that age.
Macmillan's Pacesetter Series also appeals to young adults but their works are
said to be of varying quality, featuring crime, espionage and love tangles.
There is in addition the chronic absence of children's magazines in most parts of Africa. In Sierra Leone the attempt by The Sierra Leone Writers and Illustrators to establish one did not survive its second issue. But the invaluable role they could play in inculcating the reading habit in the child because of their wide variety of subjects, the form of presentation and the fact that children love to read what their peers have written and thus start having similar creative impulses is recognized…
There is in addition the chronic absence of children's magazines in most parts of Africa. In Sierra Leone the attempt by The Sierra Leone Writers and Illustrators to establish one did not survive its second issue. But the invaluable role they could play in inculcating the reading habit in the child because of their wide variety of subjects, the form of presentation and the fact that children love to read what their peers have written and thus start having similar creative impulses is recognized…
You can read the full article titled The Present
Situation For Writing And Publishing Creative Writing For Children In Africa on
http://www.cooperpublishinggroup.com/the-present-situation-for-writing-and-publishing-creative-writing-for-children-in-africa.php
