Mabel Segun and the evolution of African children’s literature

By Lookman Sanusi

IN Africa, children’s literature is found in the oral traditions passed down from generation to generation. Knowledge is passed to children through storytelling, songs or mnemotechnic verses within the oral tradition. For the older generation, a deep nostalgia is associated with children gathering to hear stories from an adult under the mango tree, illuminated by the moonlit sky. This scene evokes a time before colonisation and the advent of Western education in Africa.

Sam Mbure (1997) argues the difference between African Children’s Literature (in oral tradition) and Literature for African Children by early English writers in the colonial era. He opines that colonial writers of children’s literature in the English language wrote with English children in mind and downplayed the quintessential African culture and values that were meant to develop the African child. To buttress this view, Zafar Khan (2019, p.51) observes the literature for African children in that era “lacked authentic indigenous life-experiences, because European authors could not employ the indigenous proverbs, refrain and orderly repetition, as found in the life of African peoples”. Therefore, Western education has robbed Africa of its oral tradition, and colonial literature for African children “took away the African identity in a child” (Mbure, 1997, p.7?).

However, by the early 20th century, African writers began to write for African children. They saw the need to write books that are culturally relevant to the African child; ones that will reflect his socio-cultural environment and broaden his world view (Lilian Osaki,).

The Contribution of Mabel Segun Towards the Development of Children’s Literature in Africa
SEGUN is a pioneering African children’s writer who adeptly challenges and deconstructs colonial narratives. She has authored eleven children’s books, including co-authored and co-edited volumes. Her writing spans various genres, including prose, poetry, and plays. Segun’s debut novel, My Father’s Daughter (1965), is an autobiographical account of her childhood in colonial southwestern Nigeria. Written in an episodic format, the novel portrays the deep bond between her and her clergy father, whom she describes as “very black.” This work resonates with African children due to its authentic cultural nuances, contrasting with The Adventures of Huckleberry Finn (Mark Twain, 1884) or Alice’s Adventures in Wonderland.

Mabel Segun (1930-2025)

Her second work, Under the Mango Tree (1979), co-edited with Neville Grant, is a collection of songs and poems intended for primary school students. This anthology is transitional, featuring beloved classic poems like “Twinkle Twinkle Little Star” alongside new pieces that resonate with the experiences of African children, such as “bojuboju.” Segun aimed to educate young African readers subtly and entertainingly. For example, in The Twins and the Tree Spirits (1991), she highlights the significance of tree conservation while utilizing the technique of magical realism to engage her audience.

Segun continues to significantly enhance the landscape of children’s literature in Africa through a diverse array of works, including Youth Day Parade (1984), Olu and the Broken Statue (1985), My Mother’s Daughter (1986), The First Corn (1989), Respect for Life: Stories, Poems and Plays for Young People (co-edited, year unknown), The Right to Develop: Stories, Poems and Plays for Young People (co-edited, year unknown), Living Together in Harmony: Stories, Poems and Plays for Young People (co-edited, year unknown), and Readers’ Theatre: Twelve Plays for Young People (2006). The latter was a joint recipient of The Nigeria Prize for Literature in 2012. Readers’ Theatre (2007) was inspired by the author’s extensive experience conducting theatre workshops with children, aimed at fostering reading fluency, acting skills, and social development among young individuals.

According to Segun, some of the plays included in this book draw inspiration from folktales, while others focus on Nigerian historical, legendary, and fictional heroes and heroines who confront various challenges. This observation highlights the relatable experiences that children’s literature offers to young readers, underscoring the significant impact of Segun’s works.

Deconstruction of colonial children’s literature for African children through training
WRITING for children demands skills and proficiency, and not everyone can write for children. Mabel Segun echoed these thoughts in an interview with Dr. Wale Okediran:
Writing for children is much more difficult than writing for adults. Children at different ages have different interests, different psychological make-ups and different cognitive experiences. You must use simple language, and you must never talk down to children.

To enhance the quality of materials available for children’s writing, Segun founded the Children’s Literature Association of Nigeria (CLAN) in 1978 and the Children’s Documentation and Research Centre (CLIDORC) in 1990. Through both organizations, she conducts training workshops for aspiring children’s writers and literary enthusiasts. Notably, the illustrator workshop held by CLAN in 1987 led to the recognition of Ademola Adekola, who won second prize in the 1998 Noma Concours for his illustration of the folktale “Tortoise and the Elephant.”

Segun has dedicated herself to the deconstruction of colonial children’s literature for African youth, fostering the emergence of African children’s literature that authentically reflects the culture and development of the African child. She has actively participated in numerous organizations and committees that promote quality writing for African children by African authors. Her experience includes serving as a fellow at the International Youth Library in Munich, Germany. For a decade, she was an assessor for the Noma Awards for Publishing in Africa and was also a member of the children’s books review panel for the African Book Publishing Record (ABPR) published in Oxford, England. As noted by Hurs and Ryder, Segun collaborated with the International Board on Books for Young People (IBBY), based in Basel, Switzerland, contributing to its promotional efforts. Her significant contributions were recognized in 2007 when she was nominated for the Astrid Lindgren Memorial Award, instituted by the Swedish National Council for Cultural Affairs.

Segun has received numerous accolades and honours for her outstanding work. In 1977, she was named Artiste of the Year by the Nigerian Broadcasting Corporation. She was also honoured with the Nigerian National Order of Merit Award (NNOM) in recognition of her lifetime achievements. Additionally, her book, Readers’ Theatre: Twelve Plays for Young People, won The Nigeria Prize for Literature in 2007 as a joint winner.

* © 2025 Lookman Sanusi, PhD