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Forty years in comics for ‘leftie bear’ Bamse

A brown bear in blue dungarees dubbed "the world's strongest bear" celebrated 40 years of leading the battle for a kinder world this week, despite charges of being a communist and a turn-coat capitalist. Ursus comicus Bamse is The Local’s Swede of the Week.

Forty years in comics for 'leftie bear' Bamse

Swedish writer Rune Andréasson invented Bamse in 1966, but the little bear got his own series of comic books a few years later, in January 1973. Publishers Egmont are therefore celebrating Bamse’s 40th birthday this year, starting with the first issue of 2013, which was released on Tuesday.

”It’s marvellous that the comic book is read every week by 100,000 children 40 years later,” Bamse editor-in-chief Charlotta Borelius said in a statement.

Bamse is the world’s strongest bear, but only when he eats his grandma’s special honey, a bit like French comic book hero Asterix and his druid potion.

SEE A GALLERY OF BAMSE: THE WORLD’S STRONGEST, AND KINDEST, BEAR

The kind bear, who wears a little blue hat that looks suspiciously similar to a night cap, is constantly out and about on various adventures, when not raising his family of four – triplets and their baby sister – with his wife Brummelisa.

The triplets are non-identical and as different as different can be. Brum is a boys-will-be-boys kind of cub, while Teddy, who is near-sighted and wears glasses, steps in as the classic nerd.

Their sister, Nalle-Maja, is a bit of tough cookie, who in one story punches a schoolyard bully on the nose.

Kid sister Brumma battles with developmental issues when she is young and is later diagnosed with autism.

Bamse’s posse of friends is as intriguing as his family.

Creator Andréasson believed it was courageous to be honest about being scared. If that motto had a poster child, it would be the ever-nervous rabbit Lille Skutt (‘Little Hop’), one of Bamse’s trusted friends.

More often than not, however, despite the comic book pages almost vibrating with Lille Skutt’s anxiety, the white bunny will give his all for his friends. He’s married to a journalist and has one son.

LISTEN TO A RENDITION OF THE BAMSE THEME SONG

The second of Bamse’s two wingmen is the lanky turtle Skalman (‘Shell Man’), who unsurprisingly is a mentor and idol to Bamse’s studious son Teddy. And Skalman can build any device and solve any problem.

Yet Skalman’s dogmatic dedication to a healthy lifestyle routine often endangers the trio’s undertakings. Come hell or high water, if his antique alarm clock goes off, he will either tuck into a snack or fall right to sleep.

The colourful gallery of characters often engages with hot-button topics.

Andréasson never shied away from difficult topics, including racism, gender equality and addiction.

“You have to be nice to people who do bad things, because they need it the most, and it might make them kinder,” reads one of the mottos in the comic book.

It is widely accepted that Bamse originally stood for left-of-centre views on society and politics, although the youth wing of the conservative Moderate Party once went as far as dubbing him a communist.

A celebratory description of Mao Zedong in an issue of Bamse published in 1983 raised more than a few hackles:

“The country was liberated from war lords, businessmen and foreigners who used to be in charge. Before the liberation, many millions of people starved to death. After 1949, food is shared equally and nobody starves,” one issue read.

Bamse fails to mention the several tens of millions of people who died in the Chinese famines.

The last time Bamse made headlines was in 2011, following a special edition produced for the Swedish Migration Board (Migrationsverket) to help explain the asylum process to young children.

The special issue featured a rabbit family allowed to stay while a badger family has their asylum application turned down.

As the badgers are sent home, happy relatives wait to welcome them as their aircraft touches down.

The story outraged several commentators who thought it played down the complexity of deporting children and the potentially real threat of persecutions and abuse upon return.

In response to the backlash, Bamse’s publishers said they acknowledged the complexities surrounding asylum cases involving children, but instead said the comic had been meant to ease their anxiety.

“In some cases, the scenario in the comic book could be true, in others it would be significantly more difficult for returning children. But we didn’t want a traumatic ending to the story, but instead to give the children hope,” Ola Andréasson told Skånska Dagbladet at the time.

Since Andréasson’s death in 1999, many observers, not all of them happy, have noted that the comic books have become more mainstream.

Not least because Bamse over the years has found his way into endless commercial tie-ups, with his furry face adorning everything from toothpaste tubes to bed linen.

Had Bamse become a turn-coat capitalist? Or, at least, had his publisher?

In an opinion piece in 2003, entitled ”Bamse is no longer the leftie bear,” Dagens Nyheter (DN) reporter Mats J. Larsson wrote:

“The three-decade transformation of Sweden from a successful welfare state to a society that has adopted many of Margaret Thatcher’s market liberal ideas, albeit in light versions, has also rubbed off on the stories about the super-duper strong bear.”

Take a look at our past Swedes of the Week.

Ann Törnkvist

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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