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Archive for the ‘Children’ Category

Launch: Flame of Truth by Bontle Senne (18 October)

Only the Shadow Chasers, with their magical knives, can save the world from the evil that lives in the dreamworld.

“Scary riveting fun! Escape in this magical and modern South African fantasy.” – Nonikiwe Mashologu, childhood literacy specialist

“I love the book because it’s scary and cool. Nom is a very brave girl.” – Gugulethu Machin, tweeny reader

Flame of Truth is the third in the Shadow Chasers series, an Afrocentric fantasy adventure for pre-teens (9 to 12 year olds.)

Bontle Senne is a book blogger and literacy advocate. She is a former managing director at the Puku Children’s Literature Foundation, a trustee of READ Educational Trust and a part owner of feminist trade publishing house Modjaji Books.

 

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Read an excerpt from the third book in Bontle Senne’s Afrocentric fantasy adventure, Shadow Chasers

Only the Shadow Chasers, with their magical knives, can save the world from the evil that lives in the dreamworld.

“Scary riveting fun! Escape in this magical and modern South African fantasy.” – Nonikiwe Mashologu, childhood literacy specialist

“I love the book because it’s scary and cool. Nom is a very brave girl.” – Gugulethu Machin, tweeny reader

Flame of Truth is the third in the Shadow Chasers series, an Afrocentric fantasy adventure for pre-teens (9 to 12 year olds.)

Bontle Senne is a book blogger and literacy advocate. She is a former managing director at the Puku Children’s Literature Foundation, a trustee of READ Educational Trust and a part owner of feminist trade publishing house Modjaji Books.
 
 
Read an excerpt from Bontle’s extraordinary book:

They hear the piercing scream of the Lightning Bird as another ball of flames falls from the dark sky and explodes on the patch of sand at the cave opening.

Nom and Zithembe lie on their bellies in the dirt, trying to stay low in the shadows so that the Lightning Bird does not come into the cave to find them.

“Nom, when we get out of here … ,” Zithembe whispers bitterly, pressing his cheek to the ground so he can look at Nom and she can see how annoyed he is.

Nom rolls her eyes and shifts her attention to the cave opening. She can’t hear the Lightning Bird, but that doesn’t mean it’s not waiting for them just outside the cave, ready to drop another ball of fire. “There was no way I could have known that it was going to come all the way up to the mountains,” Nom says. “I thought these things stayed in the forest!”

“Who told you that?” Zithembe snaps.

“Rosy! Well, kind of Rosy. I think that’s what she said …” Nom thinks back to a few weeks ago when she and Rosy, Zithembe’s cousin, had come into the dreamworld and were chased by the Lightning Bird. The giant black bird had flown over them, circling, stalking. With its long, curved beak, shaggy chest feathers, two sets of wings, and two long, orange legs, it had terrified her and brought back Rosy’s darkest memories.

Now, when Nom reaches out and her hand finds the cave wall, the stone feels cool and wet. She feels the magic of the dreamworld buzzing lightly through the tips of her fingers. It’s the same feeling she sometimes gets when she holds her knife. A Shadow Chaser’s knife has powers that she and Zithembe are only just starting to understand.

“We could go back,” she suggests, already guessing what Zithembe will think of that idea. Zithembe groans as a clap of thunder booms from outside the cave.

“We cannot just go back,” he says. “We have to find my mother. How can we find her if we go back?”

“Zee, we’re not going to be able to get out of here without getting roasted. We can use the special powers in your knife to get home, and then try another night. We can come back in a few days with – I don’t know – a plan or something.”

It is weird for Nom to suddenly be the one with a plan. She’s never really been known for thinking things through. They got stuck here in this cave because when Nom saw the Lightning Bird she turned and ran before Zithembe could even ask what was going on. They had scrambled further up the mountain they were exploring. Then Nom dragged Zithembe into the cave just as the balls of fire began to rain down on them, burning holes the size of soccer balls into the sand. Nom had been right to be afraid, but she could have at least warned him before she started running.
It was so often “act and then think” with her. At least Zithembe had finally gotten used to that.

“I have a better idea,” Zithembe says. “You should use your knife to turn yourself into a Lightning Bird.”

“What?” Nom asks, even though she’s pretty sure she heard him.

“You should turn yourself into a Lightning Bird,” Zithembe repeats, replaying what his mother had told him about the power of Nom’s blue knife to change her into someone – or something – else. “I’ll jump on your back and we can fly out of here and into the forest.”

If they weren’t trapped, crawling on their stomachs in the dark, Nom would punch Zithembe. “But the forest is where it lives!” she says, feeling deeply frustrated.

Nom remembers the forest from her visit to the dreamworld with Rosy, when they fought the Mami Wata.

She remembers the muffled sounds of moans, crying and wild giggling drifting out to them from inside the dark and unknowable Thathe Vondo Forest. Rosy had explained that the forest exists in the real world and the dreamworld at the same time. In the real world, the people who live near the forest believe that it is full of spirits and monsters. In the real world, the people are just as afraid of the Lightning Bird which they call Ndadzi, as Nom is, here in the dreamworld.

“OK, then we fly to the Clearing or to the Lake of Memories,” Zithembe suggests.

Being annoyed isn’t helping, so Nom sighs and tries to be kind instead.

She says, “Zee, listen to me. There are soldiers of the Army of Shadows everywhere. Even now, the shadow men must be marching towards us. Your knife’s power can get us out of here safely. I know you want to find your mom. I want to find her too, Zee, but not today …”

They are quiet for a few minutes.

Nom isn’t sure whether Zithembe is still trying to think of ways to get out of this cave and keep exploring the dreamworld or whether he is trying to accept the truth in her words. As she waits for him to speak again, Nom sees a cloud of pale orange dust float into the cave.

The dust cloud stops just in front of them, blocking their view of the cave’s opening, and then drifts down low to the ground where they lie.

“Nom … Zithembe,” says the soft, faraway voice of a girl.

Zithembe twists his head to look at the floating dust and then back at Nom.

“Did that dust thing just speak?” Nom asks, saying out loud what both of them are thinking.

“I have a deal for you,” whispers the dust. “Help me rescue my friend fromthe Army of Shadows and I will help you find Itumeleng.”

Itumeleng. Zee’s mother.

“Who – or what – are you? Why should we believe you?” Zithembe asks.

There’s a trace of anger dripping into his voice. He wants to save his mother, but how can he trust a floating cloud of dust? Any of the magical things in the dreamworld could trick him into trapping himself or Nom here.

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Flame of Truth: third book in the Afrocentric fantasy adventure series, Shadow Chasers, “scary riveting fun!”

Only the Shadow Chasers, with their magical knives, can save the world from the evil that lives in the dreamworld.

“Scary riveting fun! Escape in this magical and modern South African fantasy.” – Nonikiwe Mashologu, childhood literacy specialist

“I love the book because it’s scary and cool. Nom is a very brave girl.” – Gugulethu Machin, tweeny reader

Flame of Truth is the third in the Shadow Chasers series, an Afrocentric fantasy adventure for pre-teens (9 to 12 year olds.)

Bontle Senne is a book blogger and literacy advocate. She is a former managing director at the Puku Children’s Literature Foundation, a trustee of READ Educational Trust and a part owner of feminist trade publishing house Modjaji Books.
 

Book details


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“We want African stories to be truly accessible to all South African children” – a Q&A with the masterminds behind Book Dash

Carla Lever recently conducted a Q&A with Book Dash co-founder Arthur Attwell and programme director Julia Norrish for Nal’ibali’s weekly column, as published in the Daily Dispatch and Herald. The three discussed fulfilling gaps in the indigenous language storytelling market, the accessibility of African stories, and how you – yes, you! – can get involved with creating a storytelling nation:

You aim for every SA child to own 100 books by the age of five. That sounds overwhelmingly optimistic, but in just three years you’ve already printed over 180 000 books with a price point of R10/copy. What’s your superpower?

Julia: Our superpower is peoplepower! We ask professional writers, illustrators, designers and editors to volunteer their time to create new, high-quality, African children’s books. We waste no time, and we pay no wages. The only cost is printing, and we do that cheaply, too, by working with great printing companies.

Julia Norrish, programme director: Book Dash

 

You make a point of making your books available in isiZulu, isiXhosa and Sepedi, which means you’re fulfilling a vital gap in the indigenous language storytelling market. What’s the response been like?

Julia: The response has been incredible: we’re thrilled when people request languages other than English, and equally chuffed that we can provide these! We must thank our translation partners for this, most notably Nal’ibali. Of the 183 963 books we’ve printed, 56% have been in English, so it still dominates, but that means there are 79 381 more African indigenous language books in kids’ hands than there were in 2013.

Arthur: Most children’s books published in South Africa are effectively cross-subsidised by textbook sales to government schools – that’s why there are so few. In 2013, of R312 million in local trade publishing revenue, only 0.5% came from books in indigenous languages. The value of mother tongue learning in the early stages of a child’s life has never been as well proven as it is today, and yet the books we’re publishing still aren’t reflecting that. We want African stories to be truly accessible to all South African children.

Your books are all available for free online and through your free Android app. Are they getting widely distributed that way?

Julia: Book Dash’s digital books are particularly powerful because anyone can freely use, translate or adapt the content. Our downloads are in the millions – from as far afield as Turkey, Afghanistan and South America – so we’re having great impact from digital. We’ll always print and distribute physical copies of our books directly to children, though. The authority and power that a print book has is irreplaceable, especially when trying to create avid readers.

How can writers, designers, translators and editors get involved?

Julia: People that are keen can join our mailing list via bookdash.org or follow us on Facebook, Twitter or Instagram to hear when we announce upcoming events.

Your giveaway events sound like huge fun! Can you tell us about some of the most memorable exchanges with children and educators that you’ve had?

Arthur: My most memorable giveaway is still the first one, at Jireh Community Centre in Mitchells Plain. We gave each child three books that day. One boy, who must have been three years old, took his first book and walked off, so we had to call him back to get another, which made him very happy. And then he walked off again! When we called him back for his third book his eyes were as big as saucers. It’s really important for everyone to start thinking big numbers when it comes to giving books away.

What role do donors and sponsors play in your operation?

Julia: They’re invaluable and we’ve been lucky enough to work with some of the most generous and insightful organisations out there. Our first ever print run was made possible by crowdfunding and we’re still so grateful when people choose to donate. People can also support by purchasing copies of our books from various retailers or directly from us at www.bookdash.org.

Reading and telling stories with your children is a powerful gift to them. It builds knowledge, language, imagination and school success! For more information about the Nal’ibali campaign or to enter its national multilingual storytelling competition, ‘Story Bosso’, running this September, visit www.nalibali.org.


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“Children need to see themselves in the story” – Alexander Bar manager, Jon Keevy, on creating theatre for young audiences

Carla Lever recently conducted a Q&A with Jon Keevy: playwright, arts activist and manager of the Alexander Bar independent theatre, for Nal’ibali’s seventh column of their third term, as published in The Daily Dispatch and Herald. Carla and Jon discussed the value of introducing children to a huge range of storytelling, including characters they can relate to, and breaking down the racial divide in Cape Town cultural spaces.

Jon Keevy, manager of the Alexander Theatre

 

What’s so compelling about creating theatre for young audiences? Why is it important for children to be exposed to this kind of storytelling?

Children value surprise and ingenuity above all things and the only way to successfully create those elements as an author is to have fun, to buck the rules and be cheeky. It’s valuable for young audiences to get a huge range of storytelling, but most especially they need to see themselves in the story. They need to see young heroes. They need to see brave girls. They need to see clever kids of colour overcoming villainy and evil. They need to hear characters that speak like them and come from the same place as them.

What support does SA need to put in place at a national or regional level to nurture young writers and storytellers?

This is such a big question I’m not sure I can answer it. Behind almost every project is someone passionately trying to make a difference, so I don’t want to disparage what’s out there. In fact, more funding for existing projects and organisations would be a great place to start.

You’ve been committed to creating independent spaces for local writers and performers for many years. Why?

I hate the idea of gatekeepers in culture – that only few people have the ability to give a wide platform to new voices. I think that having a platform gives you a responsibility to take risks. Institutions have power to control access to training and opportunities and so far in South Africa many have used it poorly when it comes to transformation. When I was younger and more fiery, my attitude was that if you couldn’t get in to some theatre or programme, then you made your own. It didn’t always work – my first ‘underground theatre’ was shut down by municipal regulations after 7 months! But I learned a lot from it: failure is not a pleasant teacher, but it is an effective one. I have a theatre now and I’m not turning away anyone who is passionate about working in this crazy field. I never want to be a gatekeeper.

Tell us about some initiatives you’re trying at Alexander Bar to change creative spaces?

Well, Alexander Bar itself is an attempt at making a platform for independent theatre makers, with the best financial model for artists. But besides that we’re also creators of the Open Theatre Toolkit – software that drastically lowers the cost of running a venue in terms of time and money by allowing small organisations to manage their entire operation on one platform. We want to see small theatres and galleries flourishing across the country. This is our way of contributing to that. We have a regular exchange of shows with POPart in Maboneng, Joburg and we’re building a relationship with Makukhanye Art Room in Khayalitsha to break down the racial divide in Cape Town cultural spaces. But it’s very much about supporting people with great ideas.

Can you tell us about your latest arts activism project?

The Internet has changed the world, but many of the opportunities have been neglected in South Africa (and Africa more broadly). The world is not going to wait. We have to use the tools that are out there to shape our future. That may seem like a lot of big talk for getting academics and journalists in a room to update Wikipedia pages of South African oral, visual and musical storytellers, but I really do believe that so much South African cultural history is being forgotten through neglect every day. We’re planning on changing that!

Reading and telling stories with your children is a powerful gift to them. It builds knowledge, language, imagination and school success! For more information about the Nal’ibali campaign or to enter its national multilingual storytelling competition, ‘Story Bosso’, running this September, visit www.nalibali.org.


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Nal’ibali gets the nation storytelling this September

This September, and in commemoration of Literacy Month, Nal’ibali – the national reading-for-enjoyment campaign, is encouraging a wave of storytelling across the country with its third annual multilingual storytelling contest, Story Bosso.

Placing a special focus on folktales in a bid to preserve this national treasure, the campaign will be hosting storytelling performances and events across the country for the month and is inviting members of the public, young and old, to join them by telling the traditional stories they remember being told, or to have fun making up new ones.

“Storytelling is a forerunner for children’s literacy learning in all languages and forms part of our national heritage. Many of our traditional stories, historically told by grandparents around fires, feature characters such as the jackal and the hare, wise old men and greedy giants. Starting with different phrases: Once upon a time, kwathi ke kaloku ngantsomi, kwasuka sukela; these stories have been passed down from generation to generation by word of mouth and are in danger of being lost,” says Jade Jacobsohn, Nal’ibali Managing Director.

To help children and adults remember these special stories, Nal’ibali has created a set of storytelling playing cards featuring common folktale characters, settings and objects. Together with over 8 000 children’s story books by local authors featuring folktales and other family-friendly stories, these story cards will be distributed and given away at community events to help increase the number of leisure books and story materials available to children and caregivers. They are also freely available for download from Nal’ibali’s web- and mobisites for the month.

“Our stories are an important part of our heritage and collective culture. By encouraging South Africans to tell and share our stories in all our languages, we’re hoping to not only support adults in becoming pivotal players in their children’s literacy development through this simple yet effective method, but ensure this beautiful craft which has the power to connect us all remains alive,” continues Jacobsohn.

Opening the month of storytelling, South Africa’s best-loved storyteller, Gcina Mhlophe, will be telling one of her favourite folktales to children in Soweto before inviting them to enter the contest and stand a chance of being crowned this year’s ‘Story Bosso’. Mhlophe will be joined by comedian, Marc Lottering, who will be infusing an element of fun by demonstrating how to use the cards for improvised storytelling and Soweto-based master storyteller, Bongani Godide, will add local flavour to the event.

Regional storytelling events in the Eastern Cape, KwaZulu-Natal, Mpumalanga and the Western Cape will be supported by storytellers Sindiwe Magona, Hluma Zakaza, Hlobisile Mkhize, Mpumy Ndlovu and Nolubabalo Rani who will be enchanting children and adults alongside Nal’ibali storytellers, Sanelisiwe Ntuli, Madoda Ndlakuse and Thanduxolo Mkoyi. Further, Nal’ibali Literacy Mentors will be hosting community events in these provinces and more, all helping the campaign to collect its goal of 5 000 stories – a first step towards preserving this unique part of SA heritage. To add to the excitement, Nal’ibali’s will be conducting FUNda Leader reading for enjoyment trainings in each of the above regions as precursors to the Story Bosso events.

And, with prizes in the form of cash, airtime, books and caps up for grabs, there is added incentive to get storytelling. A main prize of R5 000 cash, R1 000 book voucher, R500 airtime and a Story Bosso cap will be awarded to one overall Story Bosso winner. There will also be eight provincial winners, each receiving R1 000 cash, R5 000 book voucher, R250 air time and a Story Bosso cap. Spot prizes of book vouchers, airtime and caps which will be given away to those who enter online throughout the month.

All South Africans are invited to submit their entries between 01 and 30 September as audio or video clips online on the campaign’s website (www.nalibali.org), mobisite (www.nalibali.mobi), Facebook page (NalibaliSA), to info@nalibali.org or via Nal’ibali’s WhatsApp line: 076 920 6413. A full list of community storytelling and entry events will be available from 1 September on the Nal’ibali website along with the contest rules and guidelines.

For more information about the Nal’ibali reading-for-enjoyment campaign, and to sign up for the FUNda Leader training and the ‘Story Bosso’ contest, visit www.nalibali.org, www.nalibali.mobi or find them on Facebook and Twitter: nalibaliSA.


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“I wrote it for all women of colour who have felt silenced” – a Q&A with author, activist, storyteller and actress Buhle Ngaba

Carla Lever recently interviewed Buhle Ngaba, activist, storyteller, actress and the author of The Girl Without a Sound, for the Nal’ibali reading campaign’s sixth column, as published in the Daily Dispatch and Herald. Buhle discussed the importance of children having access to stories in their own language, empowering young girls in collaboration with KaMatla Productions, and the absence of African literature written by women.

Buhle Ngaba, author of The Girl Without a Sound

 

Your book, The Girl Without a Sound, is about a silent young girl who meets a mysterious red-winged woman and begins to discover her own voice. What was your inspiration for the story?

My aunt handed me my first book when I was six and I don’t believe I would have been the same person without that introduction to stories. So the little girl in my book is me, but I wrote it for all women of colour who have felt silenced.
 

A page from Buhle’s remarkable The Girl Without a Sound

 
Why did you decide to start tackling community storytelling?

It felt like a natural extension of my job as an actress: to share stories as far and wide as I can and to teach others to do the same. Stories can and do change how we see the world, so we have to learn how to tell our own.

Can you tell us a little about the work you do with KaMatla Productions?

A group of us started KaMatla to aid the development of the arts and storytelling amongst young people. At the moment, we are collaborating with Nal’ibali in honour of Women’s Month, meaning Girl Without A Sound will now be freely available for download in English, Setswana, isiXhosa and isiZulu. Because internet access is not evenly distributed, we will also be taking printed copies of the book to schools across the country. Starting in September, KaMatla will be running free workshops at high schools across the country, bringing the empowering teachings of Girl Without A Sound to life. We’re aiming to provide young girls with a lifelong tool kit that can be used to own their unique voices.

Is there any particular moment or piece of feedback that made all your work worthwhile?

The reading club visit with Nal’ibali to Sea View Primary in Mitchells Plain last week was spectacular – to see the book in the hands that it was written for was so special.

Why is diverse representation – in featured characters, in written languages – so important, particularly in South Africa today?

It’s important so that children can see themselves and hear the potential for magic in their own languages. That way, they discover how they can be anything they want to be. The industry doesn’t publish enough women writers and even our sections on African literature no longer reprint books by women that are vital reading. I think that the only way forward is by women writers to actively saturate the industry with our stories. If you are a writer, write! The internet gives people a platform to be what they always wanted and, though it may be imperfect, it should be something we use. I use it to share as much of my work as I can, across borders, waters and skies.

Where to for you from here?

We will keep trying to get the book into as many hands as possible. As for me, I am going to perform a short season of my one-woman show “The Swan Song” in Joburg and Cape Town early next year then I am looking towards film!

Reading and telling stories with your children is a powerful gift to them. It builds knowledge, language, imagination and school success! For more information about the Nal’ibali campaign or to enter its national multilingual storytelling competition, ‘Story Bosso’, running this September, visit www.nalibali.org.


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PRAESA director on the intersecting domain of children’s literacy and literature development in rural South Africa

Project for the Study of Alternative Education in South Africa (PRAESA) director, Dr Carole Bloch, recently published a column in the Sunday World on the Nal’ibali campaign, aimed at developing multilingual children’s literature:

We are all aware that increasing attention has been focused on the development of reading culture and on children learning to read and write in South Africa. It is a complex domain, with education-pedagogy and culture – literature, rubbing shoulder to shoulder. Yet the potential of their intersecting roles has not actually been fully appreciated. In particular, the significance of multilingual children’s literature development for the accelerated emergence of cohorts of young motivated and competent readers and writers needs urgent attention.

As any young child starts exploring print, irrespective of the setting they happen to be in, there is every good reason why they should be offered great story after story to fuel their imaginations and desire to read and write. This fact is backed up by a vast body of global interdisciplinary evidence, as is the fact that a very large percentage of these stories should be in the languages they already know and use to maximise understanding and thinking. There is further evidence, including brain research, which reveals how even the youngest children need to explore and use print at the same time as they learn the complex technical and phonetic skills. The dearth of a rich African language written treasury of stories is a daily impediment to the literacy learning progress of millions of South African children.

A parent in rural KZN getting acquainted with the books now available in her children’s schools
Photo: Rogan Ward

 
At a recent seminar in Cape Town, a diverse group of about 50 people met recently to reflect together on this intersecting domain of children’s literacy and literature development. Initiated by PRAESA with support from IBBY SA and PEN SA, practitioners, literacy activists, editors, publishers, policy makers and academics told success stories, raised issues and identified ‘blockages’ in what Elinor Sisulu dubbed a ‘literacy ecosystem’.

Impressive progress which has been made by a host of organisations, including Nal’ibali, Puku, Fundza and Bookdash to advocate for, create, translate distribute, enable and ensure the appropriate use of relevant stories and storybooks among those who spend time with young children. Somehow this foundational work has not yet been integrated into the broader societal transformation and educational decolonisation project. Nor have the different sectors of government and business found a way to give consistent support. Two already widely known points suffice to illustrate –the one is that only something like 5% of parent read to their children and the other is that fewer books are being bought in the system, and libraries are still being closed.

In the following weeks, specialists will focus on some of the key issues which cause both hope and despondency as we endeavour to transform children’s opportunities for learning. These issues, raised at the seminar, are ones with direct impact on the present lives and future prospects of children across South Africa.

Reading and telling stories with children in their home languages provides them with a strong foundation for language learning and increases their chances of future academic success. For more information about the Nal’ibali campaign, for to access children’s stories in a range of SA languages, visit: www.nalibali.org.


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Win a copy of Ink – a beautifully illustrated picture book exploring a child’s growing awareness of language

Ingrid Mennen’s Ink is a picture book exploring a child’s growing awareness of language, books and reading.

The little girl Tinka becomes aware of words, language and writing. She names her family members one by one: her mum, her dad, her little brother Slip, sister Rosie and baby Jas. She draws a paper doll resembling a girl like herself on a sheet of newsprint. The paper doll is named “Ink”. With her body filled with words, Ink is the perfect companion for Tinka.

Tinka introduces her new friend to all her favourite story books, because, “A book is like a friend, with the best stories to tell”.

Thought-provoking and captivating, this picture book will appeal to young readers 4+, while adult readers will find pleasure in the simple, yet sensitive illustrations.

If you would like to win a copy of this singular book, visit our Facebook page and comment on the competition post.

Ingrid Mennen is an author of picture books including One Round Moon and a Star For Me (illustrated by Niki Daly) and Ben and the Whales. Ingrid lives in Newlands, Cape Town, with her husband. They have three grown-up children. Ink is her second book in collaboration with Irene, her eldest daughter, as illustrator.

Irene Berg is the eldest daughter of author Ingrid Mennen. She studied music in Stellenbosch and Frankfurt am Main and now she works in Germany as a musician and teacher and lives close to the Rhine with her husband, a violinist. Mother and daughter worked together on Ben and the Whales in 2012. Ink is their second book together.

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Wen ’n kopie van Ink – ’n pragtig geïllustreerde boek wat ’n kind se bewusmaking van taal verken

Tinka word bewus van woorde en taal, boeke en lees.

Sy teken haarself af op ‘n vel koerantpapier. Nou het sy ‘n maat en sy noem haar “Ink”.

Met haar lyf vol woorde, is Ink die perfekte maat vir Tinka. Sy neem Ink na haar kamer om haar beste boeke vir haar te wys, want “‘n boek is soos ‘n maat, met die beste stories om te vertel”.

‘n Meesleurende en diepsinnige prenteboek vir lesers 4+ wat ook volwasse lesers se verbeelding sal aangryp.

Indien jy ‘n kopie van hierdie besonderse boek wil wen, besoek ons Facebook-blad en skryf in deur kommentaar te lewer op die kompetisie-berig.

Ingrid Mennen is ‘n skrywer van prenteboeke vir kinders, waarvan sommige in verskeie tale gepubliseer is. Sy studeer Afrikaanse en Engelse Letterkunde, Kunsgeskiedenis en Museumkunde (UP, US en UK). Ingrid woon in Nuweland, Kaapstad, saam met haar man. Hulle het drie volwasse kinders. Ben en die walvisse en Ink is saam met haar oudste dogter, illustreerder Irene Berg, geskep. Ben en die walvisse is bekroon met die M.E.R.-prys vir geïllustreerde kinderboek 2013 en die Tienie Hollowaymedalje vir Kleuterliteratuur 2015.

Irene Berg is ‘n vryskut-illustreerder en musiekonderwyser, oorspronklik van Kaapstad, en woon en werk tans in Mannheim, Duitsland. Na musiekstudies aan die Universiteit van Stellenbosch en die Hochschule für Musik und Darstellende Kuns in Frankfurt am Main, voltooi sy ‘n kursus in grafiese ontwerp. Haar eerste twee prenteboeke, Ben en die walvisse (2012) en Ink (2016), is geskep in samewerking met haar ma, skrywer Ingrid Mennen.

Boekbesonderhede


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