Wawa Príncipe
Translating "The Little Prince" into Afro-Bolivian Spanish
While putting together our college’s annual book fair (which we wrote about here), one faculty publication in particular caught our eye: A translation of the beloved children’s classic The Little Prince into Afro-Bolivian Spanish. A lot of obvious questions were asked: Why this book? Why Afro-Bolivian? And, would translator and UT faculty member Sandro Sessarego write about his project for Extra Credit?
Luckily the answer to the last was “yes,” and answers to the first two can be found below, in Sessarego’s essay on translating Wawa Príncipe.
In a world where literature is celebrated for its universal appeal and ability to connect people from diverse backgrounds, the act of translation holds a special place. Translators serve as cultural bridge builders, enabling stories and ideas to transcend linguistic barriers and opening new doors of understanding and empathy. It was in this spirit that my collaborators and I have translated Antoine de Saint-Exupéry's timeless classic, The Little Prince, into Afro-Bolivian Spanish, a minority language spoken by the Black community in Bolivia. This project was made possible through an NSF-NEH grant aimed at preserving and revitalizing this language, and the resulting work, Wawa Príncipe, features beautifully redesigned illustrations and offers a fresh perspective on this beloved tale.
Afro-Bolivian Spanish is a unique linguistic fusion born from the rich heritage of the Bolivian highlands, where African, Indigenous, and Spanish influences converge. Fifteen years ago, I started working on Afro-Bolivian Spanish after I found out about the language’s existence by chance during my graduate studies. Intrigued by this little-known Afro-Andean variety, I decided to travel to Bolivia to learn more, and that initial trip laid the groundwork for many subsequent publications.
Recent work on this contact vernacular has triggered an important process of language pride and revitalization among the members of the Afro-Bolivian community. Previously regarded by many as a sort of embarrassing “broken Spanish,” Afro-Bolivian is now perceived as a symbol of cultural and ethnic pride, and the Afro-Bolivian community recently created the Instituto de Lengua y Cultura Afroboliviano (ILCAFRO) with the aim of promoting and revitalizing their language. In this context, translating a classic like The Little Prince into Afro-Bolivian Spanish is more than a simple translation; it is a statement of the language's significance within the community. Through their language, Afro-Bolivians are reclaiming a piece of their history and identity that had been marginalized for too long, and translating classics into Afro-Bolivian is an assertion that their language is valuable and worthy of celebration.
The selection of The Little Prince to create a basic literature in Afro-Bolivian Spanish stemmed from the understanding that this work presented a unique opportunity to communicate timeless, universal themes within a vibrant linguistic and cultural context. The Little Prince is a story that has touched the hearts of millions of readers from diverse backgrounds, regardless of language or culture, and its enduring message of love, friendship, and the human experience has resonated for generations. The Little Prince's journey through various planets, his encounters with unique characters, and his meditations on life and love are a testament to our shared humanity, and Wawa Príncipe invites individuals from all backgrounds to join in this cultural exchange, promoting empathy and understanding.
Translating Wawa Príncipe represents a significant step toward enhancing Afro-Bolivian cultural identity, linguistic heritage, and community inclusivity, but it also posed a significant challenge. Afro-Bolivian Spanish lacks standardization and includes a spectrum of linguistic variations, so determining the appropriate linguistic forms for the translation was no easy task. The translation required the collaboration of Ingrid Marin Vasquez and Viviana Barra Iriondo, both integral members of the Afro-Bolivian community employed at ILCAFRO, and together we devised a system that maintains internal coherence while also accommodating certain degrees of variation, ensuring a nuanced and culturally sensitive translation.
But translation is as much about culture as about language, and Wawa Príncipe also represents a recognition of the Afro-Bolivian community’s cultural history and contributions. This community, with its roots in the African diaspora, has a unique and vibrant heritage. Africans started being used as slaves around the 18th century in the Bolivian Yungas, tropical valleys in which they did agricultural work. Slavery was formally abolished in Bolivia in 1826, reestablished in 1830, and abolished again in 1831. However, despite legal measures, the situation for Afro-Bolivians did not improve significantly after slavery abolition, as they continued to face various forms of discrimination and marginalization. For too long, their stories, traditions, and experiences have been underrepresented and overlooked. By translating The Little Prince into Afro-Bolivian Spanish and adapting its tale to the local context, we contribute to acknowledging and celebrating their cultural legacy.
While the fundamental narrative of the book remains intact, we have made adjustments to certain elements of the natural environment to more authentically align with the Yungan reality. For example, rather than referring to the original wheat fields of The Little Prince, the characters in Wawa Príncipe now engage in conversations about coffee fields (lu werta’i cajué). Likewise, the big trees that once infested small planets throughout the universe are no longer baobabs; they have been reimagined as the indigenous cockspur coral trees (lu albo’i ceibo).
The redesigned illustrations in Wawa Príncipe are another remarkable element of this project. Visual storytelling is an essential part of The Little Prince, and for Wawa Príncipe a Bolivian designer, Agnes Gunda, adapted all the illustrations to the local context. The new artwork provides a distinct lens through which readers can engage with the story. For example, our Afro-Bolivian prince now wears the distinctive red and white clothes of the saya dance. We selected this specific attire because saya, a renowned local dance celebrated throughout Bolivia, is a symbol deeply ingrained in the identity of the Afro-Bolivian community. By incorporating Afro-Bolivian imagery, the illustrations deepen the cultural significance of the book. They serve as a reminder that literature is a dynamic art form, capable of evolving and adapting to different cultures and contexts.
Wawa Príncipe is a remarkable bridge that connects cultures and generations. It is an invitation to explore the stories and voices of marginalized communities. Wawa Príncipe is more than a book; it is a tribute to the enduring power of literature, and a symbol of inclusivity. As we embrace this translation project, we celebrate the beauty of language, culture, and diversity, recognizing that literature has the ability to unite us all.
Associate Professor of Spanish and Portuguese at UT Austin and Humboldt Research Fellow, Humboldt Foundation