Ashanti to Zulu: African Traditions
by Leo and Diane Dillon
Summary
Margaret Musgrove, publishing her first book, built an alphabet around twenty six African peoples, one for each letter from A to Z, opening with the Ashanti of Ghana and closing with the Zulu of southern Africa, and moving through the Baule, Chagga, Dogon, Ewe, Fanti, Hausa, Masai, Sotho, Tuareg, Yoruba and a dozen more along the way. Each entry pairs a full page illustration with a short paragraph naming one specific custom or belief distinct to that people, a particular kind of dance, a marriage tradition, a form of dress or craft, rather than treating the whole continent as a single undifferentiated culture the way many earlier children's books about Africa had done. The book makes no attempt at a single narrative thread; it reads instead as a gallery, one dignified formal portrait after another, its structure asking a young reader to slow down and take each people on its own terms rather than race through toward an ending.
Leo and Diane Dillon, working in the same layered, richly detailed style that had already won them the medal the year before, paint each people's representative figures in careful, individualized dress and expression, avoiding a repeated stock face across all twenty six entries. It suits children around six to ten and works better as a book to dip into a few letters at a time than to read start to finish in one sitting, since its real reward is in how differently each spread treats its own subject rather than in any accumulating story.
Historical Context & Significance
Ashanti to Zulu: African Traditions, published by Dial in 1976, won the Dillons the 1977 Caldecott Medal, making them the only illustrators to win the medal in two consecutive years, following their 1976 win for Why Mosquitoes Buzz in People's Ears. That year's Honor books were William Steig's The Amazing Bone, Nonny Hogrogian's The Contest, M. B. Goffstein's Fish for Supper, Beverly Brodsky McDermott's The Golem and Peter Parnall's Hawk, I'm Your Brother. Leo Dillon had already become the first Black artist to win the Caldecott the year before, and this second win extended that distinction rather than repeating it under a different book.
Musgrove's decision to name specific, differing customs for each of the twenty six peoples rather than generalize about Africa as a whole was itself part of what the book was praised for at the time, an explicit correction to the flattened, single story version of the continent common in children's publishing before it. It remains, alongside the Dillons' other Caldecott win the same era, one of the clearest examples of the 1970s medal's broader turn toward books drawn from cultures outside the European tradition that had dominated its first decades.