Author Meshack Asare On Identity And Inspiration In Children's Literature
For 45 years, Meshack Asare has vividly written and illustrated stories for children that relate to their experiences growing up in Africa.
The Ghanaian author and artist grew up in the 1940s and 50s, the son of an accountant and a trader. His father loved to read – history books and magazines filled with vibrant color photographs. But Asare says there was nothing for a child to read other than textbooks designed to teach English reading and writing.
“It began with not reading children’s books, or the kinds that I would have loved as a child,” Asare said.
He studied art at the University of Science and Technology in Kumasi, and became a teacher. He was then asked to illustrate a children’s book written by a friend.
“Now that I’m able to draw, now how about also writing?” Asare said. “Combining this with an aim to produce a really beautiful book.”
He grew up with a rich tradition of oral storytelling, especially from his grandparents. They lived in a rural Ghanaian village, but visited often. But even with this tradition, more inspiration came from books imported from abroad – like the story of Jack and Jill fetching a pail of water from a hilltop well. These were activities familiar to him, and most children of his generation.
“I was more interested in show children, in the form of a book that also was about them, in environments that they actually could recognize,” Asare said. “Yes, that is a beach, and that is a canoe. And something that was very close to them, and they could realize that they could also see themselves playing [these] roles.”
The international publication World Literature Today honored Asare’s nearly five-decade career late last year with the biennial NSK Neustadt Prize for Children’s Literature. He’s the focus of the magazine’s January issue, and wrote in an essay his art training taught him to closely observe the world around him:
I couldn’t help admiring the sculptural power of the “gold weights” and wondering at the mystique surrounding them. I watched craftsmen producing them when I visited my grandmother, though disappointingly, only for the tourist market. My inspiration came initially from owning a set that I could look closely at and touch as frequently as I wished and contemplating as I did so. They grew and grew until I really had to know more about them—then imagination did the rest. The outcome of this fascination is Kwajo and the Brassman’s Secret. The wise meanings of the various figures in the book are traditional, as is the historical context. Kwajo’s magical experience is, however, fiction.
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SUZETTE GRILLOT, HOST: Meshack Asare, welcome to World Views.
MESHACK ASARE: Thank you.
GRILLOT: Well, first of all, Meshack, I want to congratulate you on winning the 2015 NSK Neustadt Prize for Children's Literature. And so I wanted to start just by asking you, since this is an award for children's literature, and you've obviously written a number of children's books, what drew you to writing children's books? Because you're not only a writer, you're an illustrator as well. So what drew you to that area of literature?
ASARE: Well, it started when I was a child, myself, actually. I quite often saw my own father reading. He loved to read. I think I was lucky in that sense. He had magazines and books - history books usually - but there weren't books for children. And I also realized the magazines that he had had pictures in them, colored pictures especially. There wasn't anything like that except school textbooks when I started school. And those books were actually textbooks meant for you to learn to read English and write, and were not as interesting. What actually drew me into writing for children, finally, I studied art. So now I'm studying art, how about writing? Trying also to write so that I can make books for children. So that is actually how it initially came together, and drew my attention. It began with not reading children's books, or the kinds that I would have loved as a child, and then being asked to illustrate a book for children, and then I had studied art, and now I'm able to draw, now how about also writing, you know? Combining this with an aim to produce a really beautiful book, and that's how it started.
GRILLOT: So, you mentioned, you're from Ghana. That's where you were born and raised. So do you have a bit of a tradition there, in terms of - if you didn't have children's books, you told stories. So you didn't have anything to read, necessarily, but I presume that, I mean you sound like your father was a reader, so you had those around who perhaps told you stories. Was your ambition, perhaps, to take some of these stories that you, these kind of lessons, if you will, and I'm going to get to your book that you won for, because I think there's some lessons in that book, but lessons that were perhaps told orally, and then put them down on paper, and to provide them for children with pictures, with illustrations?
ASARE: That only came later. But it is true, it's a fact that I had and enjoyed a lot of stories, folk tales actually. Not from reading, mainly, but from actually hearing these told by my grandparents. I was lucky, again, because they knew a lot of these stories, and they visited from the villages. And I think most of the storytelling was actually done in the villages, not in the towns and the cities. But they visited us quite often, and it was storytelling time whenever they were there. But despite that, when I actually decided to try and write for children, I was more interested in showing children, in the form of a book, that also was about them. In environments that they actually could recognize that, yes, that is this, and that is a beach, and that is a canoe. And something that was very close to them, and they could realize that they could also see themselves playing roles and engage in activities they were familiar with. And I think I was actually comparing that possibility to the books that we got from the UK, for example, about Jack and Jill, about doing things that were quite familiar. That is actually where I started. Of course, my first [unintelligible] was that part of the identity - where I am, and what I am, and what I do. It was the beginning, and I think it came out in that first book called Tawia Goes To Sea, which was published in 1970. It went on after that. It was much later I think, third or fourth book, that I switched to the folk tales.
GRILLOT: I like that you raised the term identity and that your purpose was to create something that would allow children to identify with their environment, and that even though it's fiction, it's a made up story, perhaps it's still relevant to them and that they can identify with it. Well, the book that is being honored now, Kwajo and the Brassman's Secret, this is a very interesting book where you're kind of teaching a lesson about choosing wisdom over a temptation to become rich. So not only something that children can identify with, but perhaps an important lesson for them to learn. Can you tell us a little bit about that story and that book? And where did that come from? Why write about wisdom over riches?
ASARE: Well, it has its roots in all the feelings, strong feelings again, that if we already knew about something, it also helped us to articulate that. We could learn more based on what we already knew. But I was growing up, and I had a chance to visit my grandmother living far away somewhere, so men, you know, making and producing these gold weights. And was quite interested in how they made them initially. The technicalities of it. They took clay and made it into this, and then took wax and actually molded the wax into figure. And finally turning it into metal. That was quite fascinating in itself. But it was not enough, because they only produced them to sell. They weren't interested. But I knew that these figures were not just made for no reason. They meant something. Each of them had a meaning. Some of them actually told entire stories. So then, why were these men making them only to sell? When people didn't even know what they actually mean anymore? That was a question initially. And then it went further to asking myself, 'Why don't I know what all these wonderful figures mean?' And from then on it became an obsession. I actually got myself a collection that I could hold in my hands. And then I learned more, and realized what they meant. That they were made for a specific purpose. Measuring, weighing gold, which was the currency of the time. But it just accumulated over the years into several thousand, actually. And then I imagined, so it means if you have all of these different bits and pieces together, you have entire stories, and entire histories, and entire proverbs, and plenty of them. And then it became useful, the importance of the value of it got heavier in my mind, and also clearer that yes, this is something to actually know about. There's something to learn about. The part of it, telling about knowledge over money, let's say, that was just part of it. Because some of the figures actually were telling proverbs about things that were not sensible to do. Like carrying gunpowder, and smoking, for example. And also like trying to do everything all by yourself. Imagine scraping the bark off trees to make nets, for example. He couldn't expect to be able to gather it all. Some would drop on the face like that. And from this, it just came that, OK, how about creating a story in which this boy, the main character, the protagonist, would have to solve puzzles, something at the end of which you could be rewarded. It was just the necessity of creating a plot, and then it resulted in that wonderful moral.
GRILLOT: Yeah, the lesson. The moral of the story. Every story has a point. There's some sort of moral you're learning from that story. But digging a little deeper behind something that was purely meant for commerce, and looking at the lessons or the understanding that can come from that. The wisdom that can come from that, yeah. Well, so, Meshack, just very quickly, I have to ask you, obviously being from Africa, and you mentioned that there wasn't, at least during your childhood, much in the way of children's literature. What are the struggles that African authors face today? Do you see a real growth in literature and the field of literature in countries around Africa? Very big and diverse continent, obviously. Are there any places where authors still struggle to get their work out? Or is the internet and the way in which we can connect today really providing a lot of outlet for African authors today?
ASARE: Well, I think in one sense things have improved. In the sense that through the media and new technology. But African people now hear about African writers. I think most recognition that African writers receive today - from abroad. People are still not readers. The reading culture is not as developed or robust as the west. Very few people actually buy books. They rather would sit and watch television and hear the news and things like that. And again, I think people are still poor. They would buy, or if they have the money to spend, a book which would enable their children to pass the common entrance examination and maybe get a scholarship, things like that. They still face that difficulty, and then all the boundaries. The French on one side, and the Portuguese on one side. I don't think publishers are able to produce and sell across Africa as it should be possible to do in Europe an in America, for example. So the boundaries are still there. The constraints still exist, and it impacts on writing and on authors, still. It doesn't change that much. Except initially the digital possibilities enable African writers to be heard about much more around the world than before.
GRILLOT: Well, very interesting, Meshack, thank you so much for being here. We all look forward to being here. And congratulations on your award.
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Meshach Asare, mwandishi wa vitabu vya watoto, ameandika na kuelezea hadithi za watoto kuhusu maisha yao ya Afrika. Mwanamuziki huyo wa Ghana alizaliwa mwaka wa 1940 na alikuwa mwana wa mfanyabiashara. Baba yake alipenda kusoma vitabu vya historia na magazeti yaliyojaa picha zenye rangi nyangavu. "Butare anasema, ""Hakuna kitu ambacho mtoto angeweza kusoma isipokuwa vitabu vya kufundishia kusoma na kuandika Kiingereza.""" "Ilianza kwa kutosoma vitabu vya watoto, au aina ambazo ningependa kama mtoto", Asare alisema. Alijifunza sanaa katika Chuo Kikuu cha Sayansi na Teknolojia huko Kumasi, na akawa mwalimu. Kisha akaombwa aonyeshe kitabu cha watoto kilichoandikwa na rafiki yake. "Sasa kwa kuwa naweza kuchora, sasa vipi kuhusu kuandika pia?" Asare alisema. "Kujumuisha hii na lengo la kuzalisha kitabu kizuri sana. "" Alilelewa na utamaduni tajiri wa hadithi za mdomo, haswa kutoka kwa babu na nyanya zake. Waliishi katika kijiji cha mashambani cha Ghana, lakini walitembelea mara nyingi. Lakini hata na utamaduni huu, msukumo zaidi ulitoka kwa vitabu vilivyoletwa kutoka nje ya nchi - kama hadithi ya Jack na Jill wakileta ndoo ya maji kutoka kwenye kisima cha kilima. Shughuli hizo zilikuwa za kawaida kwake, na kwa watoto wengi wa kizazi chake. "Nilikuwa na nia zaidi ya kuwaonyesha watoto, katika fomu ya kitabu ambacho pia kilikuwa juu yao, katika mazingira ambayo wangeweza kutambua", Asare alisema. <unk>Ndiyo, hiyo ni pwani, na hiyo ni mtumbwi. "Wakati wa maonyesho hayo, Asari alishangilia kwa heshima ya ""Tuzo ya NSK Neustadt kwa Fasihi ya Watoto"" iliyotolewa mwaka jana." Yeye ni lengo la toleo la Januari la jarida hilo, na aliandika katika insha mafunzo yake ya sanaa yalimfundisha kuchunguza kwa karibu ulimwengu unaomzunguka: Sikuweza kusaidia kupendeza nguvu ya sanamu ya "uzito wa dhahabu" na kushangaa juu ya fumbo linalowazunguka. Niliona mafundi wakizalisha wakati nilipotembelea nyanya yangu, ingawa kwa kukata tamaa, tu kwa ajili ya soko la watalii. Mwanzoni, msukumo wangu ulitokana na kuwa na seti ambayo ningeweza kuitazama kwa karibu na kuigusa mara nyingi kama nilivyotaka na kutafakari wakati nikifanya hivyo. Walikua na kukua mpaka mimi kweli alikuwa na kujua zaidi kuhusu wao <unk> kisha mawazo alifanya mapumziko. Matokeo ya kuvutia huko ni Kwajo and the Brassman's Secret. Maana zenye hekima za watu mbalimbali katika kitabu hicho ni za kitamaduni, kama vile muktadha wa kihistoria. Hata hivyo, mambo ya kichawi yanayompata Kwajo ni ya kuwaziwa tu. KGOU na World Views hutegemea michango ya hiari kutoka kwa wasomaji na wasikilizaji ili kuendeleza utume wake wa huduma ya umma na ripoti za kimataifa za Oklahoma na zaidi. Ili kuchangia juhudi zetu, fanya mchango wako mtandaoni, au wasiliana na idara yetu ya Uanachama. Meshaq Asare, Karibu kwenye World Views. Meshach Asad: Asante sana. "Machiaji wa ""Mashup"" wamekuwa wakishinda tuzo ya ""NHK Neustadt Prize for Children's Literature"" mwaka 2015" "Nataka kuanza kwa kukuuliza, kwa kuwa hii ni tuzo ya fasihi ya watoto, na kwa wazi umeandika vitabu kadhaa vya watoto, ni nini kilichokuvutia kuandika vitabu vya watoto?""" Kwa sababu wewe si mwandishi tu, wewe ni mchoraji pia. Ni nini kilichokuvutia katika uwanja huo wa fasihi? "Mwanamke: ""Nilianza kufanya hivyo nilipokuwa mtoto, kwa kweli." Mara nyingi nilimwona baba yangu mwenyewe akisoma. Alipenda kusoma. Nadhani nilikuwa na bahati katika maana hiyo. Alikuwa na magazeti na vitabu - vitabu vya historia kwa kawaida - lakini hakukuwa na vitabu vya watoto. Pia, aliona magazeti ya habari yenye picha za rangi. Hakuna kitu kama hicho isipokuwa vitabu vya shule nilipokuwa nikienda shule. Kwa kweli, vitabu hivyo vilikuwa ni vitabu vya masomo kwa ajili ya kujifunza kusoma na kuandika Kiingereza, na havikuwa na kuvutia sana. Kwa nini nilianza kuandika kwa ajili ya watoto? - Kwa sababu ya kujifunza sanaa. Sasa kwa kuwa ninajifunza sanaa, je, unafikiri ni wakati gani wa kuandika? Pia ninajaribu kuandika ili niweze kutengeneza vitabu kwa ajili ya watoto. Kwa hiyo kwa kweli ndivyo ilivyotokea mwanzoni, na kuvutia uangalifu wangu. """Nilianza na kutosoma vitabu vya watoto, au aina ambazo ningependa kama mtoto, na kisha kuombwa kuelezea kitabu kwa watoto, na kisha nilikuwa nimejifunza sanaa, na sasa ninaweza kuchora, sasa vipi kuhusu kuandika pia?" Kuunganisha hii na lengo la kutengeneza kitabu kizuri sana, na ndivyo ilivyotokea. "Mimi naona ni ""mtu wa Ghana""" Huko ndiko ulikozaliwa na kulelewa. "Kama kuna kitu ambacho kinajulikana kama ""tradition,"" basi ni kwamba kama hakuna kitabu cha watoto, basi kuna hadithi." "Hakuna kitu cha kusoma, lakini unaonekana kama baba yako alikuwa msomaji, kwa hivyo ulikuwa na wale karibu ambao labda walikuambia hadithi. """ "Kama unajua, ni kwa sababu ya kuwa na uzoefu wa kuelezea mambo ya kawaida, na kwa sababu ya kuwa na uzoefu wa kuelezea mambo ya kawaida, na kwa sababu ya kuwa na uzoefu wa kuelezea mambo ya kawaida, na kwa sababu ya kuwa na uzoefu wa kuelezea mambo ya kawaida, na kwa sababu ya kuwa na uzoefu wa kuelezea mambo ya kawaida.""" ASARE: Hiyo ilikuja baadaye tu. Lakini ni kweli, ni ukweli kwamba nilikuwa na na kufurahia hadithi nyingi, hadithi za watu kwa kweli. Si kwa kusoma, hasa, bali kwa kusikia haya yakisimuliwa na babu na nyanya zangu. Nilikuwa na bahati, tena, kwa sababu walijua mengi ya hadithi hizi, na walitembelea kutoka vijijini. Nafikiri hadithi nyingi zilikuwa zinaelezwa vijijini, sio vijijini. Lakini walitutembelea mara nyingi sana, na ilikuwa wakati wa kusimulia hadithi kila walipokuwa huko. Lakini hata hivyo, wakati mimi kweli aliamua kujaribu na kuandika kwa ajili ya watoto, Nilikuwa na nia zaidi ya kuonyesha watoto, katika fomu ya kitabu, kwamba pia alikuwa juu yao. Kwa mfano, katika mazingira ambayo unaweza kuona, kuna aina ya pwani, na kuna aina ya canoe. Na kitu ambacho kilikuwa karibu sana nao, na wangeweza kutambua kwamba wangeweza pia kujiona wakicheza majukumu na kushiriki katika shughuli ambazo walikuwa nafahamu. "Nilikuwa nikichunguza jinsi ya kuiga vitabu vya Kiingereza, kama vile ""Jack and Jill"" na ""The Secret Life of Bees.""" Kwa kweli, hapo ndipo nilipoanza. Bila shaka, [kitu kisichotambuliwa] changu cha kwanza kilikuwa sehemu hiyo ya utambulisho - mahali nilipo, na kile ninacho, na kile ninachofanya. "Kama ilivyoelezwa katika kitabu cha kwanza cha ""Tawa Goes To Sea"" cha mwaka 1970." Iliendelea baada ya hapo. Ilikuwa baadaye sana nadhani, kitabu cha tatu au cha nne, kwamba mimi kubadili kwa hadithi za watu. "Gripple: ""Ninafurahia kwamba ulizungumzia neno ""utambulisho"" na kwamba lengo lako lilikuwa kuunda kitu ambacho kingewawezesha watoto kutambua mazingira yao, na kwamba hata ingawa ni hadithi ya uwongo, labda bado ni muhimu kwao na wanaweza kutambua na hiyo." Kwa hivyo, kwa sababu ya kuvutia kwa kitabu cha Kwajo na Siri ya Brassman, ni muhimu sana kuamua kuchagua hekima badala ya majaribu ya kuwa tajiri. Kwa hiyo, sio tu kitu ambacho watoto wanaweza kutambua, lakini labda somo muhimu kwa ajili yao kujifunza. Je, unaweza kutuambia kidogo kuhusu hadithi hiyo na kitabu hicho? Na hilo lilitoka wapi? Kwa nini uandike juu ya hekima badala ya utajiri? "Mwanamke: ""Hiyo ni kwa sababu ya hisia zetu, hisia zetu za nguvu, kwamba ikiwa tulijua tayari juu ya kitu, pia ilitusaidia kueleza." Tunaweza kujifunza mengi zaidi kwa kutegemea yale tuliyojua tayari. Nilipokuwa nikikua, nilipata nafasi ya kumtembelea nyanya yangu, ambaye aliishi mbali na nyumbani, na watu waliotengeneza na kutengeneza mizani ya dhahabu. Na alikuwa na nia sana katika jinsi walivyofanya hivyo awali. Mambo ya kiufundi ya jambo hilo. Walitumia udongo na kuufanya kuwa huu, na kisha wakachukua nta na kwa kweli wakaunda nta kuwa sura. Mwishowe, aligeuza kuwa chuma. Hilo lenyewe lilikuwa lenye kuvutia sana. Lakini haikutosha, kwa sababu waliwatengeneza tu ili wauze. Hawakupendezwa. Lakini nilijua kwamba takwimu hizo hazikufanywa bila sababu. Walikuwa na maana fulani. Kila moja ilikuwa na maana yake. Baadhi yao kwa kweli walisema hadithi nzima. Basi, kwa nini wanaume hao walikuwa wakiwatengeneza ili tu wauze? Wakati watu hata hawakujua nini wao kweli maana tena? Hilo lilikuwa swali mwanzoni. Kisha nikaendelea kujiuliza, 'Kwa nini sijui maana ya tarakimu hizi zote zenye kupendeza?' Na kuanzia wakati huo na kuendelea ikawa shauku yangu. Kwa kweli nilijipatia mkusanyiko ambao ningeweza kushikilia mikononi mwangu. Kisha nikajifunza mengi zaidi, na kutambua maana yao. Walikuwa wameundwa kwa kusudi fulani hususa. Kwa mfano, kulinganisha na kupima dhahabu, ambayo ilikuwa sarafu ya wakati huo. Lakini ni tu amekusanya zaidi ya miaka katika maelfu kadhaa, kwa kweli. "Nilikuwa na wazo kwamba ikiwa utaunganisha vipande hivi vyote pamoja, utakuwa na hadithi nzima, na hadithi nzima, na mithali nzima, na mengi yao. """ Na baada ya hapo ikawa muhimu, umuhimu wa thamani yake ukawa mzito zaidi katika akili yangu, na pia wazi zaidi kwamba ndiyo, hii ni kitu cha kujua. Kuna kitu cha kujifunza kuhusu. Sehemu ya habari kuhusu elimu na fedha, kwa mfano, ni sehemu ya habari. Kwa sababu baadhi ya takwimu hizo kwa kweli zilikuwa zikieleza mithali kuhusu mambo ambayo hayakuwa ya busara kufanya. Kama vile kubeba risasi, na kuvuta sigara, kwa mfano. Na pia kama kujaribu kufanya kila kitu peke yako. Hebu wazia, kwa mfano, kukata magamba ya miti ili kutengeneza nyavu. Hangeweza kutarajia kukusanya pesa hizo zote. Wengine wangeshuka usoni kama hiyo. "Kutokana na hili, nilidhani, ""Ndio, vipi kuhusu kuunda hadithi ambayo mvulana huyu, mhusika mkuu, atakuwa na kutatua puzzles, kitu ambacho mwishowe unaweza kupewa tuzo?""" Ilikuwa tu uhitaji wa kuunda njama, na kisha ilisababisha kwamba maadili ya ajabu. (Kumbuka, ni somo la msingi.) Mafundisho ya hadithi hiyo. Kila hadithi ina kusudi lake. Kuna aina fulani ya mafundisho unayojifunza kutoka kwa hadithi hiyo. Lakini kuchimba kidogo zaidi nyuma ya kitu ambacho kilikuwa kimekusudiwa tu kwa biashara, na kuangalia masomo au uelewa ambao unaweza kuja kutoka kwa hilo. Hekima ambayo inaweza kuja kutoka kwa hiyo, ndiyo. "Meshack, kwa hivyo, kwa haraka sana, lazima nikuulize, kwa kuwa ni dhahiri kutoka Afrika, na ulitaja kwamba hakukuwa, angalau wakati wa utoto wako, mengi katika njia ya fasihi ya watoto. """ Ni changamoto gani ambazo waandishi wa Afrika wanakabiliwa nazo leo? Je, unaona ukuaji wa kweli katika fasihi na uwanja wa fasihi katika nchi zinazozunguka Afrika? Bara kubwa na tofauti, kwa wazi. Je, kuna maeneo yoyote ambapo waandishi bado wanashindana kupata kazi zao? Je, mtandao na njia ambayo tunaweza kuunganisha leo kweli hutoa mengi ya outlet kwa waandishi wa Afrika leo? "Mwanamke: ""Nadhani kwa njia fulani mambo yameboresha." Kwa maana hiyo kupitia vyombo vya habari na teknolojia mpya. Lakini sasa watu wa Afrika wanasikia kuhusu waandishi wa Afrika. Nadhani utambuzi mwingi ambao waandishi wa Afrika hupokea leo - kutoka nje ya nchi. Bado watu si wasomaji. Utamaduni wa kusoma haujakua au kuwa imara kama ule wa magharibi. Ni watu wachache sana wanaouza vitabu. Wao wangependa kukaa na kutazama televisheni na kusikiliza habari na mambo kama hayo. Na tena, nadhani watu bado ni maskini. Walipanga kununua kitabu ambacho watoto wao wangeweza kupitia mtihani wa kuingia shule na kupata masomo. Bado wanakabiliwa na ugumu huo, na kisha mipaka yote. Wafaransa upande mmoja na Wareno upande mwingine. """Sidhani kama wachapishaji wanaweza kutengeneza na kuuza Afrika nzima kama inavyowezekana kufanya Ulaya na Marekani, kwa mfano." Kwa hiyo mipaka bado ipo. Vizuizi vipo, na vinaathiri uandishi na waandishi. Haibadiliki sana. Lakini kwa sasa, kwa sababu ya teknolojia ya digital, waandishi wa Afrika wanajulikana zaidi duniani kote. """Hakika ni jambo la kushangaza sana, Mesha, na ninashukuru sana kwa kuwa hapa." Sote tunatazamia kwa hamu kuwa hapa. Na pongezi kwa tuzo yako. Copyright 2016 KGTV Hakuna nukuu kutoka kwa vifaa vilivyo katika hati hii vinaweza kutumiwa katika vyombo vya habari vyovyote bila sifa ya KGOU Radio. Nakala hii hutolewa kwa ajili ya matumizi ya kibinafsi, yasiyo ya kibiashara tu. Matumizi mengine yote yanahitaji ruhusa ya awali ya KGOU. 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