Q&A Bhavit Mehta


and linguistically diverse aspiring young writers and illustrators, in an effort to increase diversit in UK children’s publish- ing. Pop Up Creators is a way for us to help make that happen. The programme, funded by ACE’s Ambition for Excellence programme, included our most ambitious project yet: an exchange of illustrators between the three Baltic Market Focus countries and the UK, which saw 18 profes- sional artists working with small groups of talented, aspiring young artists at educa- tional institutes and at a summer school hosted across the four nations. Our four publisher partners—Nobrow (UK), Päike Ja Pilv (Estonia), Vilnius Acad- emy of Arts Publishing House (Lithuania), kuš! (Latvia)—set participants a challenge: to use both sides of long, blank piece of paper (a “leporello”, or concertina frieze) into a graphic story, with no unifying theme or aesthetic. We launch the work of the 150 artists who completed the project today, at an exhibition to coincide with the London Book Fair and its Market Focus scheme. Through the potent medium of illustration and comics, the artists and their mentors, collectively, represent the collaborative spirit of European-ness. We are thrilled to be sharing these stories and, we hope, this project will launch the careers of some of the exceptional young artists we’ve discovered.


Are there long-term plans to continue this cultural exchange after the book fair? We expect this project will be a catalyst for an ongoing cultural exchange between the UK and the Baltic countries. Through legacy symposiums in London (in April) and Tallinn (in June), we’re bringing together all the project’s major partners and stake- holders to brainstorm ideas for future collaboration.


Pop Up is also introducing a new digital


platform, Pathways, developed in collabora- tion with illustration agency Inkygoodness and with seed funding from ACE. Its aim


Artists at the Pop Up project hard at work, and exchanging ideas and feedback


Bhavit Mehta entered the world of kids’ books in 2009, writing and publishing tales from India under his own imprint Saadhak Books. He co-directed the South Asian Literature Festival, and has worked with the International Board on Books for Young People, the Society of Young Publishers and English PEN on trans- lation and creative writing projects.


to cultivate beter readers and writers. Side by side, words and pictures deepen comprehension and make complex ideas accessible.


There are numerous funding cuts to the teaching of arts subjects, particularly in secondary schools. What would your argument to the government be about the importance of creative arts subjects? It’s important to know why creative arts subjects are being cut


is to seek out, curate and showcase ethni- cally and linguistically diverse illustrators and comic artists from the UK and Europe direct to children’s publishers. Pathways will help to support these artists as they take up pathways in kids’ publishing, nurtur- ing their talent through a programme of industry-focused learning and bespoke training opportunities, supported by three UK Bridge organisations: Artswork, Festival Bridge and Royal Opera House Bridge.


Is the value of illustration sometimes overlooked by those who work with children on literacy and language development? We oſten underestimate the role that chil- dren’s books and illustration can play in furthering cultural exchange, and illus- trated books, comics and graphic novels oſten don’t earn as much respect as other forms of children’s literature—particularly in terms of betering language develop- ment. We believe that comics should be on the curriculum and that children of all ages should be encouraged to read picture books. There’s a stigma around visual stories which teachers need to eradicate. Visual storytelling has a pivotal


Artwork from the project will be


displayed in a free collection, The Pop Up Creators:


Exchange Exhibition, at the Royal Over- Seas League in


Mayfair from 10th April to 20th May


part to play in the enjoyment of reading and the cultivation of life- long readers and, perhaps more importantly in current times, visual stories can be accessible across all languages, abilities and ages. Pictures are as valid as words and have the power


in schools—is it due to funding pressure, or increased emphasis on core academic subjects? It is most likely both. If arts subjects continue to be seen as soſt options of lesser value by students, teachers and parents, organisations such as Pop Up need to continue to do research and share under- standing about the benefits of creativit and the arts, not only in terms of develop- ing core skills such as literacy, but also for mental wellbeing and the impact it can have on the creative sector, which is the fastest- growing sector of the UK economy. Schools are prepared to put their hand in their pocket when it comes to allowing their pupils to engage with writers, illustra- tors and storytellers. Pop Up’s core funding comes from ACE, but our work in schools isn’t supported by government funds. We bring clusters of schools together and ask them to financially commit to a minimum three-year partnership, so that pupils expe- rience live literature once in every academic year. Schools themselves fund 50% of the work and, in some cases, the Paul Hamlyn Foundation supports the rest. At a time of a national decline in reading standards, and litle or no access to books for the least well-off in societ, we innovate and intervene. Our work is motivated by the need to bring live literature to children of all economic backgrounds, as much as to impact how books are taught to, and expe- rienced by children. Change is evidenced because schools have rightly embedded this rich literary venture into their academic year. We only hope for this to be a model for other schools and learning communities across the country, and for the government to bear witness to the positive impact this has had.


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