Latest news with #BolognaChildren'sBookFair
The Spinoff
10-07-2025
- Entertainment
- The Spinoff
‘Nose stuck in a book' and other stubborn misconceptions around kids and reading
David Hill responds to the Ministry for Culture and Heritage's decision to deny funding support for New Zealand to be Guest of Honour at the 2027 Bologna Children's Book Fair. *Names have been changed for privacy reasons. My Uncle X was a huntin' and fishin' man. Every so often, he'd arrive at our back door, hand my mum a feathered or scaled carcass, say Nah, he wouldn't come in, thanks; had things to do, then drive off to kill something else. One time, he grew more vocal. I was about eight? 10? sitting at the end of the kitchen, head-deep in Biggles Flies East. Uncle X gazed at me; shook his head. 'Got y'nose stuck in a book again, eh?' Seldom have eight words carried such dismissal, such intimations of time-wasting, futility, and unmanliness. I never had a reply ready, of course. Nor did I realise that my uncle lives on – in the corridors of power. The Publishers' Association of New Zealand (PANZ) announced last month that it has withdrawn its commitment to be the 2027 Guest of Honour at the Bologna Children's Book Fair largely due to a lack of committed funding from the Ministry for Culture and Heritage. A summary of the decision was reported over on The Sapling. In that report, PANZ president Graeme Cosslett says: 'This withdrawal is more than a missed business opportunity, it's a loss of cultural presence. It denies our writers, illustrators, and publishers the chance to build global connections, especially in indigenous and bilingual storytelling. Without investment, we risk silencing New Zealand's voice on the world stage.' Our people in power don't see the world's biggest celebration of kids' books and kids' reading – one long-determined by those who actually know the publishing industry as the most fruitful for developing the sector – as deserving their financial support. The Sapling's report, in summary, shows that New Zealand is lagging in investment in our children's literature compared with other countries of a similar size. 'Children's stories are not luxuries,' wrote UK children's author Katherine Rundell. 'They are fundamental to our culture, to the grownups we become, the society we build.' Dear Ms Rundell, please apply for a government position down here. I've heard people other than my Uncle worry or disapprove of kids being 'stuck in a book'. The implication is that reading is somehow passive; that physical pastimes – like killing wildlife – are more healthy and beneficial. Passive? Rubbish. When you're reading, your brain is busy, busy, busy. Studies show that pulse, heart-rate, blood pressure are all affected, in positive ways. Neuroscientists have established that reading or being read to stimulates areas of the brain that no other activity seems to reach. (If you're over a certain age, you may remember a Guinness beer advertisement claiming the same thing.) Physical pastimes more beneficial? Still rubbish. Kids who read or are read to, meet words. Words empower. They do so partly in that they bring information. Yes, there's always the accompanying danger of mis- and disinformation; perhaps our Ministry for Culture and Heritage staff were fretting over that? But publishers, bookshops, teachers, parents, plus the built-in bullshit detector that so many young readers possess provide a good series of filters against this. I don't mean only the information that nonfiction usually provides, though reading Aotearoa books helps to build a national identity, not just through mentions of kiwi and pavlova and Taupo and Twizel, but through stories set in our suburbs or on our marae, with our voices and languages, our issues and aspirations, mistakes and triumphs. I mean also the information that fiction contains. Read novels, short stories, poems, plays, and you become informed about people. Your imagination is extended; you're taken into the minds of others and deep into your own. Stories develop sympathy, help children learn to interpret, understand, recognise. Look around, in and beyond Aotearoa and tell me those aren't essential skills in the 2020s. Reading and being read to gives children fresh perspectives, makes the world more comprehensible and manageable. ('Life says: 'she did this,'' Julian Barnes wrote. 'Stories say: 'she did this because …'') It develops self-reliance, too; helps form an inner core into which you can retire. E M Forster spoke of 'the measureless content' he felt whenever he began a Jane Austen novel. All readers know the stimulation, even transfiguration that a story can bring. Undoubtedly the MCH committee that decided against supporting our children's publishers, writers and illustrators took this into account when making their decision. I believe books offer such benefits more than TV or social media do. OK, television for children includes quality programmes. But even on the best TV, images and associations are pre-determined; the programme defines and therefore limits. Reading is far more interactive. Margaret Mahy got it dead right: 'The reader completes the book.' Then there's the silence and the depth that reading brings. When kids are reading, the world around them steps away: they become enveloped in quiet; go deep down into stillness and thought. In an age of visual and auditory distraction, that internal silence is such a precious experience. It's also an experience that develops a young reader's inner resources. As I said above, children who read develop skills of imagination and empathy. They experience nuances of feeling and behaviour, and by association, they can understand more of themselves. And they're never alone. We've all known that heart-filling, potentially transformative process of making friends with characters in the books we read; of wanting to be with – to be – Joy Cowley's Jonasi, Stacy Gregg's Titch, the wonderful Maurice Gee's Rachel and Theo. They're companions for life. I'm sure the splendid folk at MCH would want our young people to grow up surrounded by the very best of friends? A couple of tedious anecdotes. I've written elsewhere of the 20-something All Blacks supporter being interviewed some years back after New Zealand was yet again knocked out of the Rugby World Cup. He was almost in tears as the TV journalist asked that classically clunky question 'How do you feel?' 'Oh, mate,' the young sufferer replied. 'Words can't express how I feel, mate.' Well (mate), I remember thinking at the time, if you'd been encouraged to read more when you were a kid, you'd have more words to express those feelings, and to handle them better. 'Young David can talk his way out of anything,' my Uncle X grunted to Mum once. (I'm just realising what a literary debt I owe to the fellow.) He didn't mean it as a compliment, of course. But it was – partly – true, and the words, situations, and escapes I encountered in books helped me. I'll finish with Tyrone*. I met Tyrone in the distant decades when I was a high school teacher, and he was in my Form 5 / Year 11 / Level 1 NCEA / whatever label you prefer, English class. Tyrone was barely literate; I suspect he hadn't managed to read a book in his whole life. He was almost totally incapable of handling the simplest school project. In class, he swore at kids who offended him; swore at me as well; kicked desks and chairs over on really bad days. If he was rebuked, he was incapable of expressing or explaining himself, so he became frustrated, then aggressive, then violent. The school didn't want to suspend or expel him – his stepfather had already knocked out a couple of his teeth when he was suspended the previous year. For a week, I'd been reading a book to Form 5. It was Barry Hines' A Kestrel for a Knave (made into the film called Kes), with its yearning, hope-filled scenes with the lost, feral boy (yes, the parallel is obvious) from Northern England's slums, who tames and befriends a small hawk, till some form of happiness glints precariously on the horizon. On the day I'll always remember, I'd been reading to them for maybe 10–12 minutes, when I became aware that Tyrone was strangely silent. There were no desk-kickings, no ostentatious yawnings or sneerings. As I turned the page, I snuck a glance at him. He was sitting absolutely still, listening and sucking his thumb. I don't want to sentimentalise the episode, or romanticise Tyrone's own subsequent life. It was a course of violence, addiction, crime, prison (as happens to so many boys and men without words). Our government has just come up with the slogan: ' Kids in sport stay out of court '. Fair enough; so how about 'Kids who read books don't become crooks'? Certainly, my glimpse of that lost boy, briefly held and comforted by words and imagination isn't going to leave me. And just think: if a book set in a society half the planet away could have that effect, what might an Aotearoa story with such hope and friendship in it have done for Tyrone? So how dare – how dare – any government department or body imply by their actions (or lack of them in the case of the Bologna Children's Book Fair) that our children's books and our children who read them are anything less than vital to Aotearoa's future?
Sharjah 24
29-04-2025
- Entertainment
- Sharjah 24
Majid Zakery inspires young artists at SCRF 2025 workshop
Majid's artistry needs little introduction in the world of children's literature. His recent collaboration with Sheikha Bodour bint Sultan Al Qasimi, Chairperson of Sharjah Book Authority, on the acclaimed The House of Wisdom book has not only captured young imaginations but also clinched the festival's coveted Best Children's Book award this year. The book has been lauded internationally, picking up several honours, including the prestigious BolognaRagazzi Award in fiction at Italy's renowned Bologna Children's Book Fair. For his SCRF workshop, Majid conjured up a little tale called 'The City of Dreams'— featuring four charming characters: Sam, a spirited boy; Layla, a curious girl; Puff, a friendly dragon; and Coco, a whimsical fairy. Festival-goers may recognise these mascots from the colourful illustrations that adorn the venue's walls. 'This festival is beautifully organised and a wonderful opportunity for children,' said Majid, who has been attending SCRF for several years but hosted his very first workshop this edition. 'The children are talented and eager to learn. Experiences like these can shape their futures in ways we can't yet imagine.' Supporting him this year is his daughter, Narges, a 23-year-old English teacher from Iran, who helps bridge the language gap between English and Arabic-speaking participants. 'It's a delight to assist the children with their questions and be part of such a vibrant event,' she said. During the session, each child was invited to sketch their favourite character from Majid's story, colour it to their liking before cutting and pasting them onto vibrant backgrounds. For many, it was a first, thrilling introduction to the world of illustration—a glimpse into the creative process behind the books they love. With a career spanning more than three decades, Majid Zakery Younesy's influence reaches far beyond Iran. He has held over 50 exhibitions around the world and boasts an impressive tally of more than 30 international and domestic awards for his work. The 16th edition of the Sharjah Children's Reading Festival continues at Expo Centre Sharjah until May 4, once again cementing the emirate's reputation as a cultural beacon in the region. For more information and to explore the full programme, visit
Sharjah 24
19-04-2025
- Entertainment
- Sharjah 24
Kalimat Group promotes cultural exchange at Rabat Book Fair
Among the highlights is House of Wisdom authored by the group's Founder and Chairperson, Sheikha Bodour bint Sultan Al Qasimi, which recently received the 2025 Bologna Ragazzi Award for Fiction at the Bologna Children's Book Fair. The collection also spans Arabic and international literature, philosophy, cultural studies, and personal development. KG is also taking part in the cultural programme organised by the Sharjah Book Authority, hosting events such as a poetry session titled Emirati and Moroccan poetic readings with Khalid Al Budoor and Amal Al Sahlawi, a panel on heritage-inspired children's literature led by Dr Abdulaziz Al Musallam, and a book signing by Amal Al Sahlawi on April 20. Bridging East and West Reflecting on the group's participation, Ahmed Al Ali, General Manager of KG, described the Rabat International Publishing and Book Fair as a significant step in the group's growing cultural presence across the region and internationally. He emphasised Morocco's role as a vital cultural link within the Arab world, where the traditions of the East harmoniously meet the heritage of the Maghreb, creating a space of shared history, language and creativity. He said: 'KG views our publications as cultural ambassadors that represent the UAE and the wider Arab region on the international stage,' said Al Ali. 'Our participation in Rabat offers a valuable opportunity to connect with new readers, from young audiences and emerging writers to seasoned literary professionals. We are proud to present a diverse portfolio of works that reflect our commitment to cultural authenticity while embracing modern storytelling and artistic expression.' Kalimat Group invites visitors to explore its offerings in Hall E Stand 04, featuring books that blend visual elegance with intellectual depth, encouraging a deeper appreciation for reading and fostering a lasting connection with knowledge.
Sharjah 24
19-04-2025
- Entertainment
- Sharjah 24
Bodour Al Qasimi opens "Folktales Reimagined" Exhibition in Rabat
Organised by the UAE Board on Books for Young People (UAEBBY) in collaboration with IBBY Morocco and the National Library, the exhibition brings together five Emirati and five Moroccan artists, each reimagining a folktale from the other's culture. These contemporary visual interpretations offer a unique fusion of heritage and modernity, introducing new generations to characters and legends that have long shaped the cultural identity of both the UAE and Morocco. Marwa Al Aqroubi, President of UAEBBY, said: "Since the project launched at the Bologna Children's Book Fair in 2022, our aim has been to evolve beyond a simple exhibition format into a cultural movement that takes folktales across borders. This Moroccan edition is a testament to the growing global interest in rediscovering folklore through the lens of art." She continued: "We're working to establish 'Folktales Reimagined' as a sustainable platform where artists from different countries can dive into each other's narrative traditions, understand their symbolism, and explore their social contexts. In doing so, we restore the educational and cultural value of folktales and turn them into a universal language for cross-cultural connection." Sixth edition This is the sixth edition of the traveling exhibition, following previous editions in Italy, Mexico, South Korea, Greece, and Russia. Each stop has served as a creative hub for cultural dialogue, where artists and audiences engage beyond the visual, exploring shared values, societal memories, and the dreams that bind us all. Featured innovative artworks by ten artists from the UAE and Morocco The Moroccan edition featured innovative artworks by ten artists from the UAE and Morocco, each reimagining a traditional tale from the other's culture through a personal, contemporary lens. Emirati artist Amna Al Ketbi revisited the story of Hadidan le Rusé, about a clever boy who survives a monstrous ogress thanks to a house made of iron. Khalid Al-Khawar interpreted The Weaver's Daughter, a touching tale of a blind girl who, after being lost in a forest, finds a new beginning and miraculously regains her sight. Reem Ahmed explored the legend of Aïcha Kandicha, one of Morocco's most enigmatic folktale figures—part heroine, part ghost—who symbolizes beauty, danger, and rebellion. Dalal Al Jabri offered her vision of Haïna and the Ogre, a story of a brave girl who disguises herself to escape a monstrous creature and ultimately rescues her fiancé with the help of magical birds. Meanwhile, Rafia Al Nassar reimagined The Forest Monster, a compact yet symbol-rich tale of a boy who defeats a fierce beast through wit and courage. From the Moroccan side, artist Mohamed Haïti drew inspiration from the Emirati tale of Al-Hama, a gluttonous, bird-like creature that embodies chaos and unrelenting hunger. Sophia Alami presented her interpretation of Oum Rukheesh, a terrifying omen-like bird that preys on the vulnerable, haunting cemeteries and darkened skies. Hind Kharifi redefined the infamous Bou Sola, a wolf-like beast with glowing red eyes and a haunting presence, offering a bold, surreal vision of fear and the unknown. Lamia Hmaiddout infused warmth and vibrancy into Jinni Al-Raqqas, the legendary cannon of Sharjah said to dance only to music and joy, transforming it into a lively emblem of festivity and resistance. Lastly, Mickaël El Fathi tackled the eerie figure of Jinni Al-Marijah, a haunting child-like jinn that emerges in broad daylight, unsettling the community with his ghostly appearance and deep-rooted symbolism. The artists employed techniques ranging from digital art and illustration to poster design, using vibrant visual languages to reinterpret these folktales for modern, digital-native audiences. Their works transformed traditional stories into immersive experiences, using colour, shape, and form as narrative tools. First launched in 2019 "Folktales Reimagined" was first launched in 2019 during Sharjah's UNESCO World Book Capital celebrations. Created by UAEBBY, the initiative promotes cultural understanding through artistic storytelling, reviving the narrative heritage of diverse communities. The exhibition has since toured multiple countries—including the UAE, Italy, Mexico, South Korea, Greece, and Russia—and has been widely embraced by audiences.
Al Etihad
19-04-2025
- Entertainment
- Al Etihad
Bodour Al Qasimi opens 'Folktales Reimagined' exhibition in Rabat
19 Apr 2025 14:19 SHARJAH (WAM)As part of Sharjah's Guest of Honour cultural programme at the 30th edition of the Rabat International Publishing and Book Fair, Sheikha Bodour bint Sultan Al Qasimi, Chairperson of the Sharjah Book Authority, inaugurated the Moroccan edition of the "Folktales Reimagined" exhibition at the National Library of the Kingdom of by the UAE Board on Books for Young People (UAEBBY) in collaboration with IBBY Morocco and the National Library, the exhibition brings together five Emirati and five Moroccan artists, each reimagining a folktale from the other's culture. These contemporary visual interpretations offer a unique fusion of heritage and modernity, introducing new generations to characters and legends that have long shaped the cultural identity of both the UAE and Al Aqroubi, President of UAEBBY, said, "Since the project launched at the Bologna Children's Book Fair in 2022, our aim has been to evolve beyond a simple exhibition format into a cultural movement that takes folktales across borders. This Moroccan edition is a testament to the growing global interest in rediscovering folklore through the lens of art."She continued, "We're working to establish 'Folktales Reimagined' as a sustainable platform where artists from different countries can dive into each other's narrative traditions, understand their symbolism, and explore their social contexts. In doing so, we restore the educational and cultural value of folktales and turn them into a universal language for cross-cultural connection."This is the sixth edition of the traveling exhibition, following previous editions in Italy, Mexico, South Korea, Greece, and Russia. Each stop has served as a creative hub for cultural dialogue, where artists and audiences engage beyond the visual, exploring shared values, societal memories, and the dreams that bind us Moroccan edition featured innovative artworks by ten artists from the UAE and Morocco, each reimagining a traditional tale from the other's culture through a personal, contemporary artist Amna Al Ketbi revisited the story of Hadidan le Rusé, about a clever boy who survives a monstrous ogress thanks to a house made of iron. Khalid Al-Khawar interpreted The Weaver's Daughter, a touching tale of a blind girl who, after being lost in a forest, finds a new beginning and miraculously regains her sight. Reem Ahmed explored the legend of Aïcha Kandicha, one of Morocco's most enigmatic folktale figures—part heroine, part ghost—who symbolises beauty, danger, and Al Jabri offered her vision of Haïna and the Ogre, a story of a brave girl who disguises herself to escape a monstrous creature and ultimately rescues her fiancé with the help of magical birds. Meanwhile, Rafia Al Nassar reimagined The Forest Monster, a compact yet symbol-rich tale of a boy who defeats a fierce beast through wit and the Moroccan side, artist Mohamed Haïti drew inspiration from the Emirati tale of Al-Hama, a gluttonous, bird-like creature that embodies chaos and unrelenting hunger. Sophia Alami presented her interpretation of Oum Rukheesh, a terrifying omen-like bird that preys on the vulnerable, haunting cemeteries and darkened Kharifi redefined the infamous Bou Sola, a wolf-like beast with glowing red eyes and a haunting presence, offering a bold, surreal vision of fear and the Hmaiddout infused warmth and vibrancy into Jinni Al-Raqqas—the legendary cannon of Sharjah said to dance only to music and joy—transforming it into a spirited symbol of festivity and Mickaël El Fathi tackled the eerie figure of Jinni Al-Marijah, a haunting child-like jinn that emerges in broad daylight, unsettling the community with his ghostly appearance and deep-rooted artists employed techniques ranging from digital art and illustration to poster design, using vibrant visual languages to reinterpret these folktales for modern, digital-native audiences. Their works transformed traditional stories into immersive experiences, using colour, shape, and form as narrative tools. "Folktales Reimagined" was first launched in 2019 during Sharjah's UNESCO World Book Capital celebrations. Created by UAEBBY, the initiative promotes cultural understanding through artistic storytelling, reviving the narrative heritage of diverse communities. The exhibition has since toured multiple countries—including the UAE, Italy, Mexico, the Republic of Korea, Greece, and Russia—and has been widely embraced by audiences.
