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Cable Car to be introduced on Mount Kilimanjaro, amid protest

April 4, 2019 by Forimmediaterelease

A cable car is to be rolled out on Mount Kilimanjaro by a foreign company to improve access and boost tourism, amid strong protest from key local industry players.

Overlooking the sprawling Savannah plains of Tanzania and Kenya, the snow-capped mountain of Kilimanjaro rises majestically in splendid isolation to 5,895 metres above the sea level, making it the world’s highest freestanding peak.

Tanzania Deputy minister for Natural Resources and Tourism Constantine Kanyasu says the Cable Car facility was part of the government’s latest strategy to woo tourists with over 50 years of age.

Mr Kanyasu says that they hope that the cable car will allow more ageing tourists to experience the wide variety of nature and wildlife of Mount Kilimanjaro.

Instead of the familiar views of snow and ice, this cable car would offer a day trip safari with a bird’s eye view, contrary to the eight-day hiking trip.

The initial work for the cable car has just taken off with AVAN Kilimanjaro hiring the Crescent Environment and Management (CEM) Consult Limited to conduct Environmental and Social Impact Assessment (ESIA).

CEM officer Beatrice Mchome had engaged tour operators and other mountain stakeholders in Kilimanjaro and Arusha region where she made presentations on the proposed cable car and a lodge projects as part of the ESIA process.

Uproar

Key industry players, namely tour operators, guides and porters strongly protest the new facility, saying climbing the magnificent Kilimanjaro Mountain on foot is a lifetime experience that should never be compromised by cable cars.

Mount Kilimanjaro Porters Society (MKPS) opposes the cable car product outright, saying it will deny employment nearly 250,000 unskilled porters scaling up Mount Kilimanjaro for a wage each year.

“Much as the cable car service doesn’t require porters, majority of tourists will climb Mount Kilimanjaro on day trip basis using the new product to cut down costs and length of stay,” MKPS vice chairman Edson Mpemba explains.

Mpemba wonders that decision makers had overlooked interests of the huge number of unskilled labour force, which solely depends on the mountain to eke out a living.

“Think of the ripple effect on families of the 250,000 unskilled porters,” he stresses, cautioning:

“The cable car facility will initially look like a noble and innovative idea, but it will, in a long run, ruin the future of the majority of local people whose livelihood depends on the mountain.”

Seasoned tour guide Victor Manyanga echoes his fears saying the glittering cable car product will contradict the country’s conservation policy, as it will encourage mass tourism and become a major threat to the ecology of Mount Kilimanjaro.

“The cable car will be installed along the Machame route, which doubles as an irreplaceable birds migratory route…I am greatly worried over electric wires severely affecting the migration of birds,” Manyanga says.

Speaking on condition of anonymity, a tour operator accuses authorities of deliberately violating the law of the land by allowing a foreign investor to operate a cable car service on Mount Kilimanjaro.

“The law provides for exclusivity of Mount Kilimanjaro services to local operators, how come a foreign company is licensed to operate a cable car against it?” he queries.

Section 58(2) of the 2008 Tanzania Tourism Act No 11 clearly says mountain climbing or trekking registration will be issued to companies fully owned by Tanzanians.

Tour operators are also worried over the cable car harshly affecting revenues in a long run, owing to the service significantly reducing the length of stay from eight to one day.

“Assume all 50,000 tourists hiking Mount Kilimanjaro a year opt for the cable car, the national park will get $4.1 million fee, down from the current $55.3 million,” the tour operators say.

They fear the multiplier effect of the decline to the entrance, camping, rescue and crew fees will also be reflected on the national economy.

Chief Park Warden with Kilimanjaro National Park (KINAPA) Betty Looibok says the cable car is but only one of several additional tourism products embedded into Mount Kilimanjaro’s General Management Plan (GMP) in an effort to boost revenue.

“Cable car is for physically challenged persons and aged tourists who want to experience the thrill of climbing Mount Kilimanjaro up to Shira Plateau without wishing to summit,” she explains.

Looibok says the construction of the cable car will depend on the outcome of the environmental and social impact assessment study, which is currently underway.

Plans for the cable car service on the Kilimanjaro Mountain are not entirely new; as the discussions date back 1960s when they were not successful.

The feasibility plan in place will, however, bring the cable car one step closer to reality and make the mountain more accessible than it has been so far.

Some of the 50,000 tourists conquering Mount Kilimanjaro peaks a year though use challenging specialist routes, most of them opt for one of the six separate walking routes to the roof.

They generally take seven to eight days and are provided with accommodation in camps pitched around peaks for them to adjust to the altitude as they ascend.

Travel News | eTurboNews

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The pulse of Brexit Britain captured by Martin Parr

March 20, 2019 by Forimmediaterelease

With Britain deeply divided over Brexit, an exhibition by one of the country’s best-known and celebrated photographers, Martin Parr, vividly captures images which help one to understand what makes the country tick. New and previously-unseen photographs revealing Parr’s unique take on the social climate in the aftermath of the EU referendum, have gone on public display for the first time in a major new exhibition of his works at the National Portrait Gallery, London.

“Only Human: Martin Parr” brings together some of the photographer’s best-known works with the focus on one of his favorite subjects – people. Featuring portraits of people from around the world, the exhibition examines national identity today, both in the UK and abroad, with Parr’s characteristically-wry observations of Britishness.

Although best known for his images of ordinary people, Parr has also photographed celebrities throughout his career. For the first time, “Only Human: Martin Parr” reveals a selection of portraits of renowned personalities, most of which have never been exhibited before, including British fashion legends Vivienne Westwood and Paul Smith, contemporary artists Tracey Emin and Grayson Perry, and world-renowned football player Pelé.

 

Parr is modest and refreshingly self-deprecating. He does not judge his subjects, letting the photos speak for themselves. His works record the way the British look at themselves before and after the Brexit debate and at other moments of change. At the press preview, Parr explained that his intention was to examine identity and reflect what the British think of themselves and how others see them.

 

The exhibition charts Parr’s changing interests and perspectives as he grows older. As well as Britain in the time of Brexit, the exhibition focuses on the British abroad including photographs of British Army camps overseas, and Parr’s long-term study of the British “Establishment” including recent photographs taken at Christ’s Hospital school in Sussex, Oxford, and Cambridge Universities and the City of London, revealing the obscure rituals and ceremonies of British life.

 

Some of his new works explore the quirks of leisure activities today, a subject Parr has explored since the 1980s. Parr photographs trips to the beach, tennis tournaments – from Wimbledon to the US Open – and a day at the races, to reveal the eccentricities of everyday life. These images take the visitor on a color-saturated journey through places where public and private worlds intersect.

Other photographs capture the infectious joy of dancing, an everyday activity enjoyed by people across the globe. There are photos of men stripping off their shirts along with their inhibitions in hot and sweaty dance clubs and others taken at more formal balls in Oxford and Cambridge.

 

“Only Human: Martin Parr” also features the unforgettable self-portraits Parr has made throughout his career. For over thirty years, Parr has visited studio photographers, street photographers, and photo booths across the globe to have his portrait taken. The resulting Autoportraits raise questions about portraiture and the business of portrait photography, showcasing a range of fascinating and often humorous settings employed by professional portraitists. Works on display include his Photo Escultura, a group of shrine-like carved photo-sculptures, based on Parr’s likeness and commissioned from the last remaining traditional maker in Mexico City, which have never been exhibited in the UK before.

The exhibition also includes a pop-up café inspired by Martin Parr’s iconic food photography and the traditional British “caff.” Visitors can purchase a selection of Great British tea-time treats and beverages such as a “nice cup of tea” and a slice of Battenberg, or an exclusive “Only Human” beer created in collaboration with British craft brewery Lost and Grounded Brewers, Bristol, during the Gallery’s Friday Lates (18.00-21.00).

Dr. Nicholas Cullinan, Director of the National Portrait Gallery, London, said: “We are delighted to be able to display so many new works by one of Britain’s most widely-celebrated photographers in this major new exhibition. Martin Parr’s witty, surprising, and ingenious photographs not only reveal the eccentricities of modern life with affection and insight, they also change the way we look at ourselves, and the way we consider our relationship to the wider world. ‘Only Human’ contributes to an ongoing debate about what it means to be British in an international context and reflects on the shared cultural and social history that defines the United Kingdom during a moment of change.”

Philip Prodger, curator of “Only Human: Martin Parr” says: “Provocative, surprising, and ultimately uplifting, Martin Parr explores the great issues of our time with sensitivity, compassion, and a sense of fun. This is an exhibition that will make you think and leave you with a smile on your face.”

Martin Parr has been able to build his lifelong interest in people-watching into a successful and lucrative professional career. He loves all things British, embracing its diversity but admits to being a Remoaner and finding some extreme attitudes difficult to accept. He observed ruefully, you have to have a sense of mischief or you’ll end up crying. Parr said: “I am very excited to have the opportunity to show my work at such a prestigious gallery. One of the main themes is British identity, and given March 2019 is when we are supposedly leaving the European Union, the timing could not be better.”

Travel News | eTurboNews

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