Olinda Beja: The Magic of São Toméan Storytelling
In an age of short attention spans and flickering phone screens, São Toméan poet Olinda Beja believes the ancient art of “once upon a time” remains undefeated. The 78-year-old storyteller, who celebrates 35 years of literary life next year, insists that the secret to capturing the youth lies in one simple strategy: drawing them directly into the narrative.
“Who doesn’t want to be a king? Or a princess of an enchanted kingdom? Even the role of the court jester has plenty of candidates,” Beja said in a recent interview with Lusa. The educator and author, who has published more than 20 works, rarely leaves a school visit without a standing ovation and an invitation to return.
A Bridge Between Two Worlds
Beja describes herself as a woman walking “barefoot between two worlds.” Born in São Tomé and Príncipe, she was moved to Portugal at age three and did not return to her homeland until she was 37. For decades, the feeling of not fully belonging to either place weighed on her, until a mentor helped her realize that possessing two civilizations was a unique “treasure.”
Her work reflects this duality. While she grew up listening to European tales told to pass the time, she eventually rediscovered the African tradition of storytelling as a vital social pillar—used in São Tomé even during funeral rites to honor the dead. By blending these influences, she creates stories designed to act as a shield against forgetfulness.
History in the Heart of Fiction
Beja’s writing is not merely whimsical; it is deeply rooted in the historical struggles of her people. She uses her platform to ensure the horrors of slavery, forced labor, and the 1953 Batepá Massacre—where colonial troops killed native protesters—are never repeated.
Her family history is woven into these accounts. Her mother, the daughter of an Indian man and a Gabonese laborer, shared harrowing stories of “contracted laborers” living in inhumane conditions on plantations. Beja recalls her mother’s descriptions of spoiled fish being served to workers under the sweltering heat. “They sang that it was better to eat spoiled fish with a clean heart than meat with a dirty one,” Beja recounts, highlighting the resilience of those who suffered under colonial rule.
From Coffee Beans to Global Recitals
Beja made history in 2013 with Um Grão de Café (A Coffee Bean), the first children’s book in São Tomé and Príncipe’s literary history. The book, which explores the country’s vital resources of cocoa and coffee, has since been translated into several languages, including Japanese.
Whether she is telling the legend of a judge whose cane took root in the earth or singing alongside musicians from Guinea-Bissau and Portugal, Beja brings the islands to life. Her performances have reached audiences in 15 countries, even leading crowds at the Dubai Expo 2021 in Creole chants.
Her latest work, Mikolá, A Nossa Estrela (Mikolá, Our Star), continues her mission of preservation, written in both Portuguese and Forro, a São Toméan Creole. As she concludes a series of appearances at international storytelling festivals in Cape Verde, Beja remains steadfast: stories don’t just entertain—they protect a culture’s soul from the void of the digital age.
Image: Pexels – Suzy Hazelwood
