Anza magazine issue#2-Heritage and tourism

EAST AFRICAN ARCHITECTURE MAGAZINE ISSUE #2 ANZA MAGAZINE

AN Z A E AST

AFRICAN

A RCHITECTURE

H eritage& ourism T

AN Z A E AST

AFRICAN

A RCHITECTURE

MANAGING EDITOR : Comfort Badaru EDITOR IN CHIEF: Authman Y. Mtulya GRAPHICS & LAYOUT DESIGN: John Paul Senyonyi COORDINATOR: Anitah S. Hakika WORKSHOP SUPERVISOR: Wetaka dickson PUBLISHING DIRECTOR: Comfort Alexander Mosha Cover Photo: House of wonders, Zanzibar

by Franklin Kasumba COLLABORATING TEAM: Ayikoru Kezia Abella Mutalemwa Bahati J. Zongo Fadina Chikaha Franklin Kasumba Kanyiwani S. Kanyiwanyi Khalid Mussa Mtoni Paul K. Bomani Rose Nestory Scholastica Nanyaro Steven Missaga Subscriptions: Contact Anza subscription service at info@anzastart.com t +255788289716 Publisher: Bracom Associates P.O. Box 6139, Dar es salaam,Tanzania. t +255787225936 +255713665800 Advertising sales and marketing: Contact Advertising department info@anzastart.com t +255689634711

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fAnza Magazine, Fans of Anza Magazine

Editors letter Hello and welcome to the second issue of Anza magazine, In this issue we wanted to address the preservation of our architectural heritage, and to frame this discussion in the context of the tourism sector. We have a range of articles that examine the historical value of east African architecture and reflect the fact that many east african countries have the potential to offer unique experiences for travellers and tourists, creating a synergy between locals and foreigners through cultural heritage.

The rich and distinctive architectural heritage of the African continent provides a strong bond with its past and reflects the way of life of previous generations. Yet the historical buildings left to us are not universally appreciated. Happily, in some places they are regarded as vital to the present and worthy of protection, though in many places we have witnessed their irreversible destruction.

Heritage is priceless; it defines people and spaces and gives them a sense of who they are. And yet it stands at a risk of being lost because of the increased economic pressure on the environment (on architecture mostly) all in the name of modernization. Unfortunately, what we are proud to call east african architecture may very well be lost to us in the near future.

This in the long run will affect the tourism industry also.

People travel here from far and wide to see something refreshingly different from their usual surroundings. We have an interesting piece on the idea of ‘knowledge tourism’, tourists who travel to learn and to exchange.

Picture leaving Europe (a land full of skyscrapers and glass buildings) to come to East Africa hoping to come see history in a place only to find an imitation of Europe.

This issue of ANZA therefore brings to your attention the existing architectural heritage of East Africa through in-depth articles from a range of experts. As well as a ‘Learning from’ section, where we travel to Ghana to help you get an idea of how heritage is treated beyond East Africa. We are excited to bring you this second issue, and already have the third issue in our sights. The theme for the next issue, ‘MY CITY’ (see call for papers), will form a continuation of the current theme, moving the focus to individual characters and lifestyles that are uniquely East African.

Enjoy the issue!

Comfort Editor

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By Nicholas Calvin

he judge’, a fictional character in Cormac McCarthy’s novel ‘The Blood Meridian or The Evening Redness in the West ’, speaks of the masons of the ruins his gang came across during their travels.

He not only speaks of them but also of all those “who build in stones”, as these masons did, as seeking “to alter the structure of the universe”. These masons altered the landscape of their world, and the structures they created endure to tell of their history to the later generations. The ability ‘to tell a story’ partly highlights the position that architecture occupies as a cultural heritage.

Cultural heritage is divided into two categories: tangible and intangible, with architecture occupying the former. Intangible cultural heritage includes beliefs, values and philosophy of a society (Mulokozi, 2005), while the tangible cultural heritage includes archaeological sites, rock shelters with rock art, iron age sites, varying architectural and urban complex sites, historical quarters and towns (Mturi 1996). However these two are not entirely separable, they co-exist largely inextricable from each other.

Tangible heritage, such as historical buildings or shrines embody the history and oral traditions of the people. A structure tells a story, an intangible story of those that created it: it is a vision of how it’s builders saw themselves and wished to be seen by others.

It is through this collective architectural heritage that societies remember their past.

Materials used, size, and architectural style all tell of the kind of life the creators lived with regard to security, worship, trade, governance, or luxury.

It is through this collective architectural heritage that societies remember their past. Historical architecture is part of what Assmann and Czaplicka (1995: 129) call ‘figures of memory’.

Figures of memory take part in the creation of people’s identity (ibid.). They form around the site where history took place, pleasant or unpleasant.

To understand our current situation we must understand out past. Architecture is one possible window into this past. We must be aware of ourselves in a wider narrative that we are not only inheriting but also creating. In our creation of the present we ought not to disregard the achievements of our predecessors but to see a continuity with them, in all ages humanity has been governed by the same desires and instincts: to survive and to better our conditions and to ultimately leave something of ourselves behind.

As the judge says, however primitive their works may seem to us, they are from which we have emerged, the architecture of the past is a spatial reenactment of their stories and must be preserved for the generations to come.

‘the spirit is entombed in the stone.’

the judge

ARCHITECTURAL

HERITAGE

CONTENTS 04-architectural heritage NICHOLAS CALVIN

To understand our current situation we must understand out past. Architecture is one possible window into this past. We must be aware of ourselves in a wider narrative that we are not only inheriting but also creating.

08-HEritage and tourism PETER BARRY

The heritage of East Africa is hugely important for both local people and international visitors. For the local community heritage conservation helps protect practices, history and environment, and gives a sense of identity and place.

12-searching for the stars of dar BEREND VAN DER LANS

As a country, Tanzania goes through a prosperous period. Mineral resources and other drivers serve as a stimulus for investment. The cityscape of Dar es Salaam is changing rapidly due to this economic growth.

14-knowledge tourism BENEDIKT BOUCSEIN & WILLIAM DAVIS

There is always an interaction between outsider and local. This interaction changes both sides as well as the environment the exchange takes place in and can be both positive and negative.

16-learning from ghana MAE-LING LOKKO & CARINE OBERWEIS

In many senses the Republic of Ghana is located at the heart of the world, Nearly everything in this Ghananian village on stilts takes place on, or in relation to water.

18-City under threat KAREN MOON

In terms of heritage and urban planning, many African cities are drifting. They may be growing at tremendous pace, but without clear direction. Historic buildings and neighbourhoods are being demolished, or modified beyond recognition. What is the significance of this heritage and what’s replacing it?

22-a cause for destruction in uganda ELADY MUYAMBI

Though Uganda is a country endowed with extremely rich cultural and natural heritage of both a movable and immovable nature, it has exhibited several weaknesses in the promotion, preservation, protection and conservation of its heritage resources.

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26-THE Patchwork of styles in zanzibar DANIELLE FISCHER

The archipelago of Zanzibar, which is situated just opposite the Tanzanian coasts, consists of two main islands, Pemba and Unguja. This artlicle brings to the reader a rush of history, and a strong look at the styles that are embedded in the island’s architecture

28-UNDENIABLE EXISTENCE ANITAH S HAKIKA

It takes you to another world or period of time, one which you only visit in your imagination? This is the spectacular effect a building can have. When heads of every person who comes across it turn, it is presumed that such a building will be eternal and exist forever.

30-SARAH MARKES PAUL K BOMANI

While Sarah captures the historical buildings, her concern appears to be more on the social tapestry of the city as she emphasizes elements of the city including street vendors, merchants, pedestrians, dala-dalas (local transit buses), school children, and the like.

32-tedex dar-who killed zinjathropas?

TAHA JIWAHI

TEDxDar is an annual event based in Dar es Salaam (with the first event taking place in May 2010); where the TEDx stands for independently organized TED event. The TEDxDar conference is intended to begin public engagement and exchange of ideas in relation to innovation, society, culture, and the arts – a wide range of interdisciplinary subjects that pertain to Tanzania at a local and global scale.

36-THE ASKARI MONUMENT FRANKLIN KASUMBA

Takes you to another world or period of time, one which you only visit in your imagination? This is the spectacular effect a building can have. When heads of every person who comes across it turn, it is presumed that such a building will be eternal and exist forever.

37-WHERE ARE WE GOING? KANYWANYI S KANYWANYI

Many cities in the world especially in Europe and very few in Africa have respected heritage and hence they have really benefited from it. In the case of Tanzania, we say thanks to the Conservation Authority of Zanzibar for the hard work they have done in preserving Stone town.

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The history of East Africa is a complex one that involves trade in slaves, gold, ivory and spices; it includes Sultans, their harems, rich merchants and colonial powers.

Figures such as the explorer Dr Livingstone, the ivory and slave trader Tippu Tip, and the Sultan Barghash are powerful figures in East Africa’s history.

It is a history of invasions, and of assimilation of the invaders into the integrated culture of the region. For centuries, because of its location and favourable winds, many visitors traveled to East Africa from the dhow countries to trade.

The sea allowed this littoral society to build connections across the whole Indian Ocean. Seabourne trade united these different people. Bagamoya, Lamu, Malindi, Stonetown, Mombasa, Anjouan and Kilwa were all centres of population on the East African coast and all contain important examples of heritage which as yet remain largely unstudied. The wealth from trade emanated from these coastal locations inland. Traders from countries in the Indian Ocean would stay in these locations waiting for the Kusi monsoon winds to arrive, so they could return to their homeland. They often married, raised families and built houses in these places.

Newcomers introduced elements of their own traditions to the local inhabitants. This mix of peoples affected many parts of the culture, including religion, clothing, cuisine, music, language and architecture.

The architectural heritage along the coast of East Africa reflects the prosperity, intricate social conditions and cultural harmonization that existed here.

The buildings are a blend of Arab, Swahili, Indian, and colonial styles, utilizing traditional Swahili techniques creating a rich architectural environment.

Stonetown in Unguja (Zanzibar) is a good example of this rich architectural environment where the mix of styles is very evident. Grand Arab houses, with their introverted exteriors, contrast with the more extroverted Indian-style buildings.

The ruling Sultans of Zanzibar had their Royal Palaces built there. The Royals used Persian-designed hamam baths for recreation and high level walkways existed

Mosque in kilwa

he heritage of East Africa is hugely important for both local people and international visitors. For the local community heritage conservation helps protect practices, history and environment, and gives a sense of identity and place.

For the outsider who visits the region it is an opportunity to learn about the history and heritage of East Africa and its impact on the world. In this essay I will discuss the history of East Africa and its unique heritage and outline how it can be protected. I will conclude with examples of some sites on the East African coast that need protection due to their historical and cultural importance.

so women could move freely from one building to the next without encountering members of the public. European design is also evident here. British buildings sit within spacious grounds, similar to those of European suburbs. At the same time, some of the architecture of the British was also influenced by its Arab surroundings. British architect John Sinclair designed The High Court Building and The Peace Memorial, which display the Arabic features, such as the arches and the domed roofs, that he adopted into his designs.

The method of construction reflected the environment in this region. Locally sourced materials were used to construct the buildings.

Coral rag mixed with clay was used to construct the walls of the buildings. Boriti poles were used to support the floors and roof. These poles were usually 3–3.5 metres long, which meant that the width of the rooms was set to this dimension.

The architectural detailing incorporated into the

designs also reflected the particularities of the local culture. Movable louvered screens fitted to the windows allowed views out of the building but still retained the required privacy. Barazas located outside the houses were social devices that allowed for discussion and the exchange of information.

The ornate doors with maritime, Arabic and Indian motifs of dates, fish, lions, lotus flowers and chains are an obvious example of the way in which the detailing of the buildings is specific to the place and culture that surrounds them.

The maritime trade that existed along the East Africa coast connected with all the countries in the Indian Ocean and even as far as China. This allowed for trade between these people and allowed for these disparate cultures to mix. The heritage of East Africa should be protected so that future generations can learn and experience this important legacy, which in connecting with present day realities can enrich and enliven. Protection of heritage can help explain the more complex parts of a locality’s history.

The most important step in this process is to engage the local community!

Conservation will allow towns to develop and modernize but development must be sensitive and controlled so as to retain and protect local character.

Rubbish and waste will need to be dealt with correctly and the infrastructure of the localities in question will need to be carefully considered. A lot of the vernacular buildings in East Africa, as mentioned earlier, are constructed using coral rag and clay, which become damaged by the ingress of water.

For this reason, waste and drainage systems around historic sites must be in a satisfactory condition so as not to create serious problems for the future of such buildings.

H eritage& ourism T in east africa

BY PETER BARRY

Difficult historical subjects such as slavery can often be more easily approached and explained through the heritage that remains. Importantly, heritage can also be a source of pride for the local area. During my time at the Stone Town Heritage Society I noticed how a school photography project discussing the history of the island made the children passionate about the islands’ past and in turn enthusiastic about their activities.

Heritage and its protection can also be an opportunity for the local community to benefit economically, which I shall discuss further on.

If done correctly the conservation of heritage will help develop cities in a sustainable way. New development should be built in harmony with local building culture and settlement layouts especially when near to historical sites. Many architecturally important heritage sites in East Africa have grown organically over time and these sites should not be forced into modern planned blocks. A considered approach is needed so that heritage

conservation can support and be supported by eco-tourism. Development should be based on local requirements and not tourists’ expectations.

Conservation of heritage also highlights issues concerning the individual’s personal and collective quality of life. Money and funding raised for the protection and conservation of this heritage will allow for the implementation of projects which will benefit the whole city and not just heritage concerns.

There is sometimes a feeling that conservation works against the community, that it tries to preserve local heritage as a ‘museum piece’ and does not allow for change. This kind of ‘conservation’ cannot and should not occur in the towns and cities of East Africa, otherwise they will lose their vibrancy and become stagnant and dead. For these places to continue to exist they must flourish as living towns. Their buildings must be inhabited twelve months a year, commercial activity must continue and grow if possible and markets must continue to be frequented.

The most important step in this process is to engage the local community. As it is the community that is in contact with their heritage on a daily basis it is important that they understand the value of this local commodity. All interested parties should be invited to contribute. Heritage protection should be promoted where possible, involving for example the initiation of school projects (such as the example given earlier) to involve children, and media coverage, to get the message out.

A conservation plan should be created for East Africa, listing all valuable historic sites and their current condition. This can become a benchmark from which to gauge the progress of the conservation.

There should be heritage legislation in place so that there are enforceable laws and regulations that control the treatment of monuments, historic sites and heritage buildings. These laws should control any work to existing buildings, new development, streets, signage and green spaces.

A group of interested ‘fundis’ should be formed so that training in the conservation of buildings can be offered to them. This will provide valuable skills and employment opportunities to those involved and in turn help promote heritage matters within the community.

East Africa is in a position where it can learn from the mistakes of other regions that have tried to promote tourism for economic gain. Connections should be made between different heritage ‘hubs’ such as Lamu, Mombasa and Stone Town along the East African coast so that resources and ideas can be shared, and mistakes are not repeated. Strengthening these connections will also ease funding applications.

Heritage and tourism as an economic resource?

Conservation of heritage can become an economic resource to the area through its restoration and through the visitors who come to see this heritage.

Conservation can generate much-needed employment for the local community. Conservation projects should be designed to reach out to different members of the community and can offer health advice, skilled training and economic benefits to the people who get involved.

There should also be a system put in place, which offers economic incentives to those who promote heritage matters. Grants should be given to private owners of historic buildings for the upkeep of their homes. Tax credits to persons, groups, associations and foundations involved should be available to aid the preservation of historic buildings. Additionally, a tax should be payable by foreign visitors to the sites and hotels in the area. The money from these taxes can then be used for the continual upkeep of these sites.

There are many potential heritage sites that require protection but I want to focus on sites that are of both historical and social importance to the heritage of East Africa. These sites also show the unique mix between the different cultures that existed in this region.

The Tippu Tip house

The Tippu Tip house is among the few monuments in Zanzibar that symbolize both the tangible and intangible heritage of Zanzibar society. It is tangible in terms of its architectural quality. In its own fashion it accumulates a mixture of many architectural features, both of Arab, Indian and Swahili styles. In its representation of intangible heritage, it is a very rare monument because it elucidates the life of its original owner, an important historical figure.

Tippu Tip himself was one of the merchants who had been involved in the slave trade. He is also known for his connection with European explorers such as Dr Livingston. As a cultural artifact, the building’s presence is a historic testimony for future generations. A designated Grade I listed building, it is also an excellent example of the nineteenth- century architecture of the town. Its design is characterized by the adaptation of different elements from Europe, India and the Gulf countries, creating an inspiring new style, which has been described as Zanzibari Swahili. The building also contains inventive ways of integrating modern construction materials and techniques with the existing traditional methods.

It was part of the culture of some inhabitants in the nineteenth century to introduce modern European materials in their construction and to add architectural features from other cultures, such as Indian balconies.

This building displays all of these elements and presents a fusion of different cultures and styles.

Ujumbe Palace

Ujumbe Palace is a two-storey eighteenth-century Sultan’s Palace situated within the old medina of Mutsamudu, in Anjouan on the Comoros Islands. This building is of great significance historically – it was in Ujumbe Palace that important treaties and decrees (several abolishing slavery), accords with France, and agreements with the United States, were effected.

The building possesses many examples of the high standard of craftsmanship used on the island during this period. The banaa/ boriti and ceilings are beautifully painted with Arabic script from the Qur’an. There are niches set in many of the walls, with one whole wall on the first floor completely covered with stucco niches. Currently this building is in a precarious state of disrepair and neglect.

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Indian style balconies in Stone Town Zanzibar.

Restoration work being done in Zanzibar.

If not attended to urgently, this hugely important building will collapse, resulting in the loss of a significant piece of world heritage, and one of the most significant buildings in Anjouan. Carrying out responsible restoration of this building would provide an important model, in particular by focusing on using locally available materials and enhancing the skills of local craftspeople to retain as much of the historical integrity of the building as possible.

Kilwa

There are several heritage sites in Kilwa in need of protection. Heritage conservation can involve the physical restoration of buildings or the recording of information so that it is preserved for future generations. Many buildings in Kilwa no longer exist but parts of the site’s heritage and history remain visible. If these go unstudied, much of this will be lost. Historically Kilwa is of huge importance: travelers such as Iban Battuta journeyed to the island in the fourteenth century and wrote of the beauty of the golden domes of its mosque. Trade with the Chinese is evident on the island from to the many pieces of porcelain lying on the beach.

Kilwa remains largely unknown to the wider world. This is incredible when one considers the previous importance of this city state, its link with the trade of gold and ivory and the potential of this area for visitors to the East African coastline.

Without careful and sensitive preservation, the sites listed above will be lost to future generations.

It will be a loss both for the local communities, and for the rest of the world. Currently showing in the UK, Lost Kingdoms of Africa is a BBC documentary series now in its second season, which explores the historical significance of precolonial African kingdoms – including Kilwa. The emphasis of the series (focusing on what has been ‘lost’) and the considerable interest it has generated, is evidence of the ongoing appeal of African history to the world at large, and the concern to preserve it. Too many heritage sites in East Africa have been lost either through neglect, lack of interest or through insensitive modernization.

This must be prevented, as the heritage of East Africa is too significant to be ignored or forgotten.

East Africa and its heritage has much to offer the world, and for the people that live there, there is everything to gain from its protection, personally, culturally and economically.

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By Berend Van der Lans When moving through the city of Dar es Salaam, it might not be obvious and somewhat difficult to see. But the city is full of hidden stars. Forget for a moment your daily business, think away the traffic jams, the over dose of advertisements, imagine some repairs here and there and some layers of paint and suddenly you are in a city which you might even be proud off.

As a country, Tanzania goes through a prosperous period. Mineral resources and other drivers serve as a stimulus for investment. The cityscape of Dar es Salaam is changing rapidly due to this economic growth. There is a need for offices, the growing middle class is addressed with new shops and shopping malls and is looking for ways to park the growing number of cars. Luxury apartment buildings are rising in and around the city centre. Dar proves to be lively and dynamic, but the developments seem to unroll haphazardly, where is the plan?

When one does not see the quality of the existing city, it is difficult to make plans for the future without doing damage to what is there. A building or public space is much more than its physical presence; its meaning and value is also influenced by its history, the memory of the inhabitants of Dar es Salaam, but also for the symbolic value it gained. A building or public space can embody an important meaning for the future of the city.

Ten just graduated ARDHI students were looking at just that during a two week workshop, organized in the context of the ‘Global City – Local Identity?’ seminar, organized by the Goethe Institute in Dar es Salaam in October 2011. Through interviews with celebrities and architects, like Mustafa Hassanali, Mbaraka Igangula, Mrisho Mpoto, Njenje Band and others, but also through street interviews, the team made a selection of buildings and public spaces which do matter for the city.

This selection formed the basic material for the exhibition Stars of Dar, presented during the event.

The presentations of the selected buildings and spaces tell the visitor about their history but most important: what we can learn from them if we think about the future of Dar es Salaam. Three short films, each portraying an important public space in Dar, introduce the ideas and visions of the users of these spaces to the visitor.

An inclusive debate on the quality of the city is essential, when making plans for the future of the city. This exhibition aims to contribute to this. Stars of Dar does not claim to give a complete picture nor a reflection of a deep analysis, but aims to be the spark for an ongoing debate on Dar, in an attempt to create an inclusive city of which the total is greater than the addition of its individual parts.

Stars of Dar is a production of the Architects Association of Tanzania, ARDHI University and African Architecture Matters. The exhibition is travelling and it will be possible to visit it at future occasions. Keep an eye at http://starsofdar.tumblr. com, where you can also find the selection and the 3 films.

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The three parties continue the exploration of the city of Dar es Salaam with the production of an architectural map and guide for which student research and training forms an important driver.

SEARCHING

FOR THE STARS OF

DAR

The B.Arch 2011 students with Architect Anthony B Almeida(Top) at the Stars of Dar exhibition 2011- Ebrahim building in Dar es Salaam

ANZA

KNOWLEDGE AND

TOURISM: AN APPROACH A

nza was launched in the Fall of 2011 as the culmination of the workshop “Camenzind East Africa” (www.camenzindeastafrica.com). For this project, a group of European and Tanzanian Architects, Journalists, Artists, Photographers and Graphic Designers came together with the to-be editorial board of to-be Anza in Dar es Salaam to kick-start the magazine in a period of four weeks. Anza has since acquired a momentum that goes far beyond the initial workshop. It has become a truly Tanzanian project, reaching far beyond the expectations of those who went to Tanzania in 2011 to conduct the workshop. Though one of the main objectives of the workshop was always that, it would become something entirely on its own.

Since coming back from Tanzania, as part of the team that initiated and conducted the workshop we repeatedly asked ourselves what exactly it was we had been doing in the workshop. We never saw ourselves as educators, we were there on our own accord and not as representatives of an academic or state institution. Nor had we brought anything of material value to Africa expect two computers and a collection of magazines. We weren’t paid by anyone from Tanzania either, but had come rather unrequested and without any wage, though officially invited and hosted by the Goethe Institute. And though it was hard work, what we did can be largely characterized by the word fun – in a stimulating new environment, motivated by the enthusiasm of those surrounding us and our joint goal, we enjoyed the experiences and challenges that we shared, through which friendships were forged. And when we came back from Africa, we felt refreshed and broadened, not like we had been on a hard working-trip.

This kind of travel and sociability invokes the notion of tourism. As we shall show in this article, the notion of tourism far from irritates us; rather, it is only logical for a knowledge-based society to develop a form of knowledge tourism, in many shapes and forms. Although knowledge tourism in the way that we practised it does not create a lot of direct revenue for local businesses – we were forced to be rather frugal – we claim that it can be an essential tool to contribute toward the benefit of both the country of origin and the host country in terms of identity, education and heritage.

Leisure and Learning in the Knowledge Society

Generally, tourism is characterized and motivated by the tension of difference between the view of someone coming from outside a place, and somebody locally rooted in it. Tourism could be described as something

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by Benedikt Boucsein and William Davis that, resulting from this tension, has always been a peculiar mixture between leisure and learning. Though it is also something that has had to strive for justification especially in its commercialized form, struggling with allegations of superficiality and exploitation. The concepts of eco-tourism, soft tourism and integrative tourism came up as expressions that result from the need to better define this combination of the views of outsiders and locals, striving towards a sense of authenticity, exploration and the exotic.

This question of how the ideals and materials exchanged between the two groups involved are organized is also central to the notion of knowledge tourism. Seen in this context, it becomes clear that knowledge tourism does not have primarily recreational purposes. It is rather a productive form of pedagogic and research methods in previously unknown or unusual environments. And these combined xThe current status of knowledge production is of an importance never before seen, in an era where information as currency is on a par with industrial production, society has experimented and uncovered many new methods of knowledge transfer. Knowledge tourism is one of those means. It had existed, in rather small and particular forms, before the knowledge society came into being. But with the radical economic change induced by global travel and global communication networks, it has acquired a new dimension and relevance.

Knowledge tourism may now be regarded as a new form of community building and working in a globalized world, a world full of interconnections from which we are convinced there is no way back.

The main actor in this knowledge society has been called homo ludens, expressing that a playful and flexible interaction with the world around us has become a necessity in post-industrial society. Seen in this context, the knowledge tourist gains an enigmatic touch: he or she is enjoying the experience of the unknown, but also acquiring skills and knowledge important for his or her success in a knowledge society. In fact, in a knowledge-based society the two elements of leisure and learning can hardly be separated any more, they take place simultaneously.

This creates a number of interesting tensions especially when knowledge tourism takes place in countries that are in a different state concerning the importance of the tertiary or knowledge sector. The conversion and transformation resulting from an intervention becomes the logical result of the tension between the knowledge practices of the two places – Switzerland and Tanzania. If knowledge tourism takes place in a setting which is similar to that of the place of origin of the knowledge tourist, it can be as productive (for example a Swiss architect

going to the Ruhrgebiet to do research on Grey Architecture, or even someone going abroad to study a certain condition back home, making himself a tourist in his own home country). But in the context of knowledge tourism the notion of ‘the foreign’ becomes a totally different one, with many indirect and subtle overtones. The carpark around the corner is foreign and you are a tourist there if you have never visited, the tourist gaze therefore becomes a mode of productivity.

Contemplation: The Tourist Gaze as a State of Mind

The point of origin for the exchange between tourist and native is the tourist gaze, the way the tourist beholds unknown surroundings. Knowledge tourists see their job as occupation, as responsibility, and barely step out of it even when travelling abroad. As a result of this particular gaze, the knowledge tourist has no illusions about the nature of working in exotic contexts, but has nevertheless a strong interest in understanding a reality and altering their regular viewpoint, in order to be more accepting or understanding of unknown surroundings. For the knowledge tourist, the combination of the release from the pressures of home, and the fresh perspective offered by the journey through an unknown place is a desirable and very productive state of mind to be in. Speculating on the new environment, on how it came to be this way, what histories and stories it may entail and so forth.

This gaze helped us in the environment we encountered in Dar es Salaam, which was full of flexibility and freedom, as well as rules and constraints that we could’ve never predicted. Our approach was one of haphazard reality, and without a degree of humour and a general sympathy toward situations that arose, our experiences would have been neither possible nor useful. One could say that with an appreciation of the tourist gaze, we were able to view our situations in a more speculative and relaxed fashion.

Mutual Influence: Semi-Directed Interference and the Power of Discourse The past experiences with tourism, but also with ethnology, have shown that the gaze is not that of an uninvolved observer. During the ethnological engagement with a place and the discourses that resulted (see the travels of Paul Parin and Goldy Parin Matthèy for example) at some point it became clear that the ethnologist influences the people that he analyses, that his own view is essential in how he sees the analysed people, and that they also influence him. For example, the “natives” consciously or unconsciously select the information they give to the ethnologist, often giving him or her an entirely different view from the reality perceived by the locals.

Knowledge tourists see their job as occupation, as responsibility, and barely step out of it even when travelling abroad.

There is always an interaction between outsider and local. This interaction changes both sides as well as the environment the exchange takes place in and can be both positive and negative. Tourists in the general sense (the ones throwing a coin into an audioguide and looking at frescoes) indulge in the local context from an external perspective, the consumer tourist an idea that has defined much of tourism in the last decades is not out to learn anything but rather to satisfy his needs food, wellness, experiences. But far from having a neutral influence, the consumer tourist usually creates very negative side-effects for the local environment.

In contrast, the knowledge tourist affirms the fact of mutual influence, sees it as important from the outset. Intervention is not avoided, but is the centrepiece of what the knowledge tourist does in the foreign environment. The backgrounds of this intervention vary from person to person but are mostly settled in between intellectual interest and a feeling of global responsibility. The tension remains in the degree to which the outsider and their intervention a certain system or set of ideas being imposed upon place, people, existing systems affects what already exists with a positive or detrimental result.

Because knowledge tourism may not come with any financial or political motives, it has only one way to assess the foreign situation and to induce change: through discourse. This complies with the knowledge based society from which the knowledge tourist comes.

In stark contrast to foreign aid, this feeling of global function (the outsider bringing a useful intellectual perspective to a situation) and interest does not result in simply providing goods (or solutions like those usually practised in aid by design). Instead knowledge tourism assesses problems, problems that can be assessed through action. The knowledge tourist does not have the notion of knowing what exactly is good for a certain place. They come to a place with an idea that a certain intervention could be positive for the course of things and with a rough program in mind that could work towards this positive course of things. No matter how much prior research the outsider may undertake, they should accept or understand from the outset that they know nothing of a place: language, rituals, histories. The very value of such knowledge tourism

can only be gleaned through the notion that they came to learn about a place, the intervention is geared towards getting a dynamic of its own very quickly.

This is how a certain situation can come to be observed effectively; when it is approached and understood by a neutral outsider.

Knowledge tourism can become a kind of case-study voyeurism, a form of gathering knowledge that goes and comes back but is not interested in inducing change. Case study voyeurism again denies the fact that every visit is an intervention that changes not only the visitor but also the visited. Its sole benefit is essentially to those ‘coming home’.

The knowledge tourist, in contrast, enters a place and consciously introduces a system, by which a certain vehicle can function. When the stimulus for such a system is imagined by outside actors the system struggles to function when it leaves, creating a void. There is much to be said for the agency by which ideas can be brought about by the potential knowledge tourist, and their impact on a situation by existing with a certain degree of removal from it, however the vacuum created when it (and its potential aftermath: funding, workers, enthusiasm etc) leaves cannot be left unaccounted for.

Eventually, we claim that knowledge tourism, with its seemingly undecided and flexible habitus, is the most intelligent way to induce change - on both sides.

It is based on interaction, on responsibility and gradual adjustment of means and goals, it does not deny differences but nevertheless practises an eye-height approach. Unlike many other approaches, it does not deny the fact that its actors are primarily motivated by self-interest, enabling an open discourse about those motivations and how to level them out with each other.

Souvenir: The Knowledge Tourist as a Pioneer

Staying with the analogy of “regular” tourism, at last the question of the souvenir should also be posed, the souvenir being a main point of revenue for the host country and the thing that the tourist takes with him/her to remember his travels and to prove to those who stayed at home that he has been abroad. In fact the members of the “Camenzind East Africa” workshop took almost no souvenirs with them. There was no time, but also no interest. So what does the knowledge tourist take from the place visited? The sense of output in knowledge tourism is at once skewed, since its ultimate output remains in the place of production. The knowledge tourist takes back the sense of knowledge produced and perhaps little else (this of course depends on the nature of the study or project undertaken).

The souvenir is one of knowledge: Of insight and understanding of another context and thus understanding our world or reality, and an emancipation through a different use of the tourist gaze (an understanding of foreignism, what it is to be foreign). As shown above, this souvenir is worth a lot in a knowledge society, much more than an actual exotic artefact.

Related back to the place of origin, this souvenir of knowledge means that a certain place appears on the map. Generally, today all places are known and accessible, there are no white spots on the map. But this also means that the respective places have to compete for attention, they do not appear automatically on the map. For this, the example of the internet is illustrative: As Albert Laszlo Barabasi shows in “Linked” (2003), the internet is not evenly accessible but divided up into continents (turning internet scientists into explorers).

Information is not evenly and unhierarchically distributed and suddenly the souvenir of the knowledge tourist becomes very important.

Though usually not flush with money (given the usually meagre funding of cultural projects), the knowledge tourist is a very interested visitor of the respective place. Though mentioning the fact that the second issue of Anza actually touches Tourism and Heritage and the Camenzind East Africa workshop is an outcome of knowledge tourism may seem tautological, it points towards the fact that knowledge tourism can have a pioneering role in creating discourse and awareness about a certain place. After all, tourism as a whole can be said to be the successor of the cultural tourism of the “Grand Tour” in Europe; and text and picture descriptions by travelling intellectuals have since been very influential in making certain places more attractive to other tourists as well. The very starting point for this discussion was one of the participants from Switzerland uttering on the first day “I don’t want to be a tourist”. She was referring to the tourist in the classical sense, but denoted in this sentence her desire for a truly authentic experience – which she got, in the end, through knowledge tourism.

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BY MAE-LING LOKKO & CARINE OBERWEIS

I

n many senses the Republic of Ghana is located at the heart of the world, the Greenwich meridian crosses the country and the equator is only a few degrees South from its coastline. The potential of this West African nation to become a major tourist destination revolves around the warm hearted and hospitable culture of Ghanaians. Furthermore Ghana is one of only five English-speaking countries among sixteen in the West African geopolitical region. Bordered to its west by Ivory Coast, east by Togo and Burkina Faso to its north, Ghana has similarities with the beauty of Caribbean: white sand, endless beaches, delightful spicy foods, colourful festivities and presently it is still free of intensive tourism.

The spectacular scenery of the stilt propped water settlement Nzulezu, built on Lake Amansuri, stands out as a magnificent interplay between man and his environment. Over the years, water has seeped its way into the customs and practices of traditional village life to the amazement of visitors. Nearly everything in this village on stilts takes place on, or in relation to, water. Whenever a new baby is born, it is baptized in the lake, which is believed to be a protection against drowning. Every child in Nzulezu grows up owning a boat, and it soon becomes their means of transportation and freedom. Their way of life proceeds in consideration towards water; local fishermen here use traditional bamboo sticks instead of common lead ones which risk lead poisoning endangering marine, bird and other forms of wildlife in its surrounding habitat.

The chief of Nzulezu traces his people’s origins to Mali, in a region that formed part of the ancient Empire of Ghana, where gold was found in abundance. To escape the impending war with strangers hungry for the lucrative gold, their ancestors migrated south and rested in the Western Region on the coast of present-day Ghana. The migratory tale of Nzulezu is preserved within the living oral tradition told by elders and people of Nzulezu. According to the story, the ancestors of the people of Nzulezu were brought to their present location under the guidance of a snail. Every time the snail stopped on the journey, the people settled down to rest and when the snail started moving again the people knew they were pursued and started moving once more. Only when the villagers built their homes on water, did the snail finally find its rest.

The remote village of Nzulezu remains off the electricity grid and it does not have a sewage system, yet proper sanitation is maintained. Life in this part of the world is very unique. With all the difficulties these people still have, they have carved a life for themselves out of this beautiful natural area and are working to preserve it with the help of visitors and recognition. Their water-borne and fishing culture has been preserved over time, making its landscape, architecture, history and unique water-borne culture a prime tourist attraction. The value of this lacustrine heritage, in a cultural, architectural and environmental sense, has served as a tool and catalyst for local development.

The building of schools, local craft societies and growth of its tourism sector over the years characterize positive direct economic and cultural indicators associated with tourism. The development of its tourism sector in this sense has gone hand in hand with efforts to preserve and celebrate its cultural heritage.

The journey to Nzulezu begins from its sister village, Beyin where the mid 18th century Fort Apollonia is located. The visitors arrive at Nzulezu via unmotorised pirogues through the reed beds and across the lake (which is a bird-watching paradise) in order to avoid any possible disturbance to the wild life in and around the lake. Like many other forts and houses along Ghana’s Atlantic coast, Apollonia has been a place of intersection and mediation for

over five centuries between the local population, its West African neighbours, the wider African diaspora and a multitude of European maritime traders.

Having been recently converted into a museum, the challenge for heritage actors and designers rests in understanding the value of the museum in the African context in terms of its function, value and methods of communication. The culture of museum-going in Ghana is not a pervasive one; the functions of the museum as a cultural engine, a site of exchange and communication are relegated to other engines of communication and places of social interaction that are rooted deeply in Ghanaian social life. History remains to a large extent rooted in oral tradition, debate is fostered through popular radio programmes and education happens within the formal academy. With an understanding of these underlying mechanisms, emerging architecture warrants the reinvention of the museum in the African context to become relevant and valuable to Ghanaians and non-Ghanaians alike.

The creation of oral history libraries where the elders can impart varying accounts of historical events while the youth can engage with historical information through a medium of exchange familiar to them presents a compelling proposition.

Museums may need to engage more intimately with the public by redefining their relationship to popular social events such as funerals, community events and

engaging the particular interests and activities of the youth. In doing so, it realizes its role as a vital engine of culture and not a mere repository. Since independence, the museum in Ghana has functioned as if it was an institution built in the West, based heavily on tangible pieces of heritage and written forms of knowledge; ignoring the rich living traditions that pervade Ghanaian political, social and economic life.

The Brazil House remains an apt case-study for understanding the role of the museum in Ghanaian society. Located between the British Jamesfort and Dutch Ussherfort Jamestown, the Brazil House was the first structure built by afro-brazilian slave returnees in 1836. Recently renovated and converted into a museum in 2007 by the Brazilian Embassy, the local authority GAMADA and the afro-brazilian community, the house was envisioned to become both a community center for the afro-brazlian community as well as a tourist hub in Accra. In a survey of visitors to the Brazil House Museum done in 2010, it was discovered that the museum averaged four to eight tourist visits per month.

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Although part of the reason for the low number of visitors may be attributed to a lack of advertising or its somewhat hidden location in Jamestown, there remains something unsettling about the fact that not even the locals in the area

Nzulezu, Ghana-village on stilts.

LEARNING visit the museum. With its bright yellow walls, imposing Portuguese arches and marble-tiled floors, the Brazil House is perhaps out of place among its Jamestown neighbours, mostly deteriorating houses rented by a mix of low-income indigenous inhabitants and multi-ethnic tenants who have come to the city looking for work. Perhaps this space imparts an unfriendly and unfamiliar air that is not congruous with their lives and way of doing things.

Here is where architecture plays a pivotal role in constructing a future for spaces within the community.

Historic monuments are useless when they are stripped of their context and the stories that bring them alive, and more often than not, the glossy paint and tiles strip these precious forms of heritage away. Architecture is as much about living repositories of history and memory as much as books or stories told by people. The archetype compound house found all along the coast of Ghana tells of patterns of migration from the rural setting and how these changed within the urban environment.

Conversely their persistence of common features such as the open space in the central courtyard where cooking and receiving guests happens, speaks of the community-centred and open communal life that characterizes Ghanaian family life. Such architecture continues to influence relationships amongst its inhabitants while bearing evident changes in society that have happened over time.

In Nzulezu and the forts along the coast of Ghana, one only needs to take notice of the material change such as water mark on stilts or the different shades of bricks indicating the chronological presenceof various European traders to

FROM

GHANA understand how such spaces bear witnesses to important stages of history. In Nzulezu, the past is very much a part of the present because of its unique architecture that accumulates and resists change over time. Through their celebration and continued practice of stilt architecture and environmentally-responsible fishing and consumption, the people of Nzulezu have created cultural value, which in itself has translated into economic and political value. In an age of rapid globalization, economic crisis and

climate change, sustainability in the context of Nzulezu is a rare occurence that links economic growth with the development and conservation of cultural heritage and environmentally responsible practices. From a global standpoint present-day Beyin and Nzulezu’s architectural and cultural assets offer a platform in which local heritage extends beyond its geographical borders, redefining this area’s relationship with others that share its history.

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cityund y under city un ty under city un I

n terms of heritage and urban planning, many African cities are drifting.

They may be growing at tremendous pace, but without clear direction.

Historic buildings and neighbourhoods are being demolished, or modified beyond recognition. What is the significance of this heritage and what’s replacing it? What can be done to preserve these assets? Ultimately, what sorts of cities are wanted? This paper takes a look at one city, Dar es Salaam, in this context of rapid urban change.

First, what are the heritage assets? Dar es Salaam is of relatively recent foundation. Its site was originally chosen in 1862 by Sultan Majid, the Omani ruler of Zanzibar. From the outset, it was deliberately planned. Majid modeled his new town on Zanzibar. A group of stone buildings ran along the waterfront, with Arab, Asian and African traders settling behind. In 1891, the German government’s decision to make Dar the administrative base of its new colonial territory led to energetic building programme from 1891 to 1910. This followed a formal plan, setting in place the layout of streets in the city centre which remains in existence today. A clear pattern of zoning was established, which was also to be highly influential. The highest status zone became the land to the east, near the Indian Ocean’s shoreline and its cool breezes, with the hierarchy diminishing westwards: from German official/residential, to European commercial, then to Arab/Asian. The Asian sector became the heart of the central business core. The African inhabitants of Dar were pushed furthest west to the African district of Kariakoo, laid out officially around 1906.

The First World War saw transition to British rule. While the character of some buildings constructed from this time altered accordingly, the German planning programme with its racially-based zoning arrangement was largely continued by the British. In the 1930s, many Asian businesses within the central business district upgraded their premises. A further surge of building activity immediately followed the Second World War. Increasingly, buildings of multiple stories also sprang up in the centre – a pattern which continued during the 1950s and on into the 1960s following Independence. Since this time taller and taller buildings have been constructed mainly on existing plots, which intrude into the small-scale streetscapes and into the well-landscaped residential area laid out by the Germans.

The three main divisions – European, Asian and African – form the underlying structure of Dar’s central urban heritage and the first layer of its historic and cultural identity. They created pockets of architectural development by different cultural groups in a variety of building styles and types, grouped in coherent ensembles, each set in distinct street arrangements. Since Independence, various subtle changes have occurred in the former European and Asian zones which can be characterised as an Africanisation of these areas and can be considered to constitute a second layer to the city’s cultural identity. This was primarily a result of changes in occupation, minor alterations and a modest addition of modern structures reflecting the creation of the new state, but the relaxation of the colonial grip on the city centre also allowed a livelier, more vibrant street life to develop, through an increase in street-based activity, vendors, unofficial street signs and the like which have markedly modified its character. The new government nationalised most commercial buildings in the city centre in 1971. 96% of these acquisitions, previously the property of Asians, passed into the ownership of the National Housing Corporation which let them out to commercial and residential tenants. This has led to a greater cultural mix in the historically Asian and European quarters.

Since the 1990s, changes in government policy and growth in the economy have led to keen investor interest in the city centre, increasing construction and a mushrooming of high-rise projects. This has not been a carefully-regulated, thoughtfully-balanced growth. The responsible authorities’ understanding of the need for planning and legislative action has not kept pace. Lack of planning and building controls, the absence of strategic planning for the future, and

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neglect of infrastructure upgrading to support this development, is only too clear. It has been a short-sighted, investment-driven explosion of construction, taking buildings higher and higher, which has disregarded the limited capacity of existing utilities (water, sewage, waste disposal, etc.), the needs of emergency services, parking availability and even light. This growth has occurred without consideration of such issues as heritage, communities, livability (including planning for cultural and leisure activities), or tourism potential. The devastation to the urban heritage has been enormous.

In 2006, a study of this heritage was carried out in a section of the central business district (mostly the former Asian area and Samora Avenue) which comprised 350 buildings. This survey showed that over 60% of the buildings had some heritage value, with more than 20% considered to be of special interest. Three years later, in 2009, the same area was reviewed and it was found that 56 buildings had been demolished in this area in the intervening period.

16 of the special interest buildings had gone and 19 of the other heritage buildings. Since 2009, yet more demolitions have occurred with the result that the integrity of the central historic area is fast disappearing.

What is replacing it? The pattern of development in this recent surge of construction has been opportunistic, depending on the availability of sites.

With land values rising sharply and little restraint from building regulations, investors aim to build as high as possible on each (however tiny) plot. There is no coordination of the buildings’ designs, and residents are not consulted.

Many of the new constructions are of dubious quality and a standardised nature, jarring with the unique, personalised buildings of the 1930s and 40s. Glass and concrete predominate in the new modern aesthetic, again coordinating poorly with the older buildings of local coral stone. This is leading to a motley and mundane city centre of ill-considered buildings and overstretched services which cannot be satisfying from any perspective: functionality, aesthetics, livability, tourism... Or even yield the effect of glistening modernity which many of the chief actors want.

Throughout this process it is apparent that new construction is universally preferred to rehabilitation of existing stock. The Antiquities Division – the government agency responsible for Tanzania’s cultural heritage – has been actively promoting the rehabilitation of buildings and the protection of Dar’s city centre heritage from the mid-1990s. Legislation was passed in 1995 but Antiquities nevertheless has found it a struggle to enforce this protection.

Support from other government departments (City Council, Surveys and Planning, NHC, etc.), and coordination between them and Antiquities, is wanting. There is also an underlying political problem. Present government policies on urbanisation have been dominated in recent years by the change to a free market economy and a drive for modernisation. In this, no room has been left for attention to heritage conservation planning.

What can be done to rescue the situation? If it continues, the choices will rapidly reduce as irreplaceable assets are lost. Coordination of the government agencies whose actions impact the heritage buildings, with Antiquities, is needed so that a strategy is formed for Dar es Salaam’s future that will lead to a balanced, viable place for its citizens to work and live. These partners should include those responsible for infrastructure as well as for planning and building controls. The National Housing Corporation is of primary importance in this process. Being by far the largest city landlord, its impact can be significant in turning this situation around. At the core of this heritage planning should be rehabilitation of heritage buildings for an appropriate re-use, combined with sensitive modernization of facilities and protection of the surrounding historic environment. Such rehabilitation provides attractive, comfortable, wellfunctioning buildings in historic neighbourhoods, and can increase property values and attract cultural activities and tourism in the city centre whilst creating jobs.

derthrea threat nder r threat nder thr

by Karen Moon

In terms of heritage and urban planning, many African cities are drifting. They may be growing at a tremendous pace, but without clear direction.

city und nder thr city unde under th ity unde under t A recent proposal by Antiquities has suggested a workable plan for initial actions towards this end. It includes the following principal tasks:

•Completion of existing inventory work to identify heritage assets, including the historic area of Kariakoo, carried out in consultation with city users, resident communities and other stakeholders. Identified assets to be surveyed to assess condition and potential for rehabilitation or re-use.

•Capacity building in heritage planning and management for central and local government departments leading to: •Development of a Heritage Conservation and Tourism Plan for the city, for inclusion in the existing government planning process. To include planning for green spaces, zoning locations for cultural activities, providing areas for relaxation, leisure and spaces for public events as well as a plan to protect Dar’s resident communities.

•The development and implementation of a system of coordination for central and local government agencies involved in building development and planning with Antiquities.

•Strengthening of legislation. To include the establishment of Conservation Areas which cover all major heritage assets of the historic city centres as well as individual gazetting. Regulations for the Conservation Areas to ensure that key buildings and streetscape ensembles have special protection and to control change, including protection of the skyline, etc.

•The development of tax incentives to encourage rehabilitation of historic properties in the protected zone.

•Permanent street signage connected with a city heritage walk and a tourism information centre: the information centre to include a display on the city’s history.

•An education campaign for both civil society, and for government departments not otherwise involved in the programme, to raise awareness of heritage value and revise negative public perceptions. To include re-evaluation and re-interpretation of the heritage in the light of identity and ownership issues to be discussed below.

•Support the formation of a heritage NGO for Dar.

Public education and awareness-raising is included in this programme because civil society participation is essential in heritage conservation to balance government actions. How is it that as yet there has been no significant public outcry at the loss of Dar’s heritage and cultural identity? Public interest has, in general, been weak and ineffective. There has been no association of concerned individuals to date and therefore no lobbying power.

One reason is the prevailing public conception of older buildings. Dar’s historic buildings have been poorly maintained over a long period. The reality for occupants is deteriorating fabric and failing services with the result that older buildings have negative associations, whether they are of architectural interest or not. The majority of Dar’s inhabitants have no experience of the successful

rehabilitation of historic properties and districts in other places; or of urban heritage tourism and the economic benefits this can bring.

The lack of a sense of ownership may also have some influence. Whose heritage is it anyway? The German’s (or other Europeans’) and Asians’? Or the Tanzanians’? This problem of ‘ownership’ is recurrent in post-colonial situations and it is likely it contributes to eroding public support for significant parts of Africa’s architectural heritage. Yet for any people, place and history are important to identity. The historic fabric of urban places, their spaces and arrangement, their landmarks and districts, are familiar and important to residents and users, as they create a structure in which daily activities are embedded. These places are also assets. They have educational value, in that they tell the story of the past. They have aesthetic value –are worthy of study because of their workmanship and design. They have community value (especially religious and community buildings which have been in use for generations). They have ‘city liveability’ value, contributing visual variety and character to the cityscape and a more human architectural scale. And they have economic value through the tourism benefits they can bring.

This problem of ownership is part of a more general post-colonial problem in sub-Saharan Africa. A disassociation from, and insecurity about, the past is a legacy of the colonial intrusion and its tendency to dismiss or undervalue precolonial African heritage and traditions. For cities and their cultural identity, a discontinuity in African architectural history has exacerbated this problem, for traditional African architecture has less obvious continuity with modern architecture than has the architecture of the other dominant groups. This has created a ‘disconnect’ which can be an obstacle for Tanzanians in relating to their own past achievements and heritage. Why is so little interest shown in the heritage value of African buildings in Kariakoo? Why so little exploration

by African architects of modern architecture as a development of African traditions? Instead the desire for place-less ‘modern’ buildings has grown, without any analysis of what sort of modernity is really needed or appropriate to the local situation.

Thus, action is needed in another arena, action from architects who want to create a contemporary African architecture that strengthens the city’s cultural identity and its citizens’ sense of pride. The protection of city heritage is essential, but African cities must also grow and develop as products of their own time.

New architecture is needed both in vacant plots within the old centre and in other parts of the city. What should new projects aim for? What do African architects/planners/citizens really want? Neither a blind/bland capitulation to western modernity (yet more domination?) nor some reactionary ‘return to the past’ is likely to satisfy in the long term. Combining the best of the past with a culturally-driven modernity seems a better aim: one that can already be seen in the most successful and liveable modern cities elsewhere. To achieve this, the value of African traditions, heritage and aesthetics must be reconsidered. The ‘disconnect’ in architectural history can still be repaired.

Area surveyed in 2006 (yellow). Buildings with heritage value (green) with those of special interest in lighter green. Demolitions (red) between 2006 and 2009.

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der thre reatcit er threa hreatcit er threa threatcit Opportunity lost. The splendid Bagamoyo House, demolished between 2006 and 2009.

It can be compared to Zanzibar’s ‘Old Dispensary’ which attracts much tourism interest.

Shashi House on the corner of India and Jamhuri Streets. A particularly fine building. Dar’s city centre heritage buildings have considerable value for tourism.

The protection of city heritage is essential, but African cities must also grow and develop as products of their own time.

New architecture is needed both in vacant plots within the old centre and in other parts of the city.

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ANZA

By Ellady Muyambi

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A

lthough Uganda is a country endowed with extremely rich cultural and natural heritage of both a movable and immovable nature, it has exhibited several weaknesses in the promotion, preservation, protection and conservation of its heritage resources. In spite of Uganda’s rich heritage – which brings a high potential for economic and cultural benefits to the nation - there is an increasing deterioration of heritage resources in the country arising from vandalisation and/or encroachment of these magnificent sites.

One of the greatest causes of this is a limited public awareness about the intrinsic value of these historic resources.

The real question is what makes something historic? A historic resource is one that is capable of connecting the past with the present. Some historic resources such as buildings, bridges, public art, landscapes, sites, and objects weave together to form a fabric that connects different generations.

A collection of these specific resources can define a period’s social, stylistic, cultural, and economic heritage.

The majority of the people in Uganda for

example are not aware of the intrinsic value connected with historic buildings.

These buildings provide a direct link to the past through their associations with the important people, events, and architectural movements ofthe past. They are nonrenewable and once they have been altered from their original state, including the surrounding visual landscape, they lose their historical value. Many buildings in Uganda are being modernized at an increasing rate, often destroying their original character, and those that are not modernized are often knocked down.

Historic buildings and areas within a city or town give shape to the urban environment. Landmark buildings create focal points or give interest to the skyline and enrich the environment visually by giving character and variety. Historic buildings also tell the story of a town’s or city’s growth, remind people of the past and contribute to giving a sense of identity not only to the locality but also to the nation as a whole.

Where places have been demoralized by conflict or poverty, heritage can be especially important as it can encourage

a sense of pride. A varied architectural heritage is attractive to visitors and can have considerable tourism value. There is no question that many cities benefit enormously from foreign earnings as a result of historic character of their environment.

The historic buildings help in connecting the great historic events or periods in the past with the present. The buildings help in representing any cultural values connected with the national identity or the cultural interests of a particular tribal group.

The buildings also embody any great architectural style that is either unique or rare. Conserving the buildings helps to show most of the sacred buildings of each of the main religious communities at different periods of time. The structures document the early development of modern technology as well as being connected with important historical personalities. It is therefore vital to recognize the importance of protecting architectural heritage and to identify the factors, which contribute to its neglect.

The palace style of construction ensured that a good amount of authority was exerted by the chief, (Olweny, 1998). Despite this historical relevance, the building is no more.

As if that is not enough, the Government of the Republic of Uganda is currently harbouring plans to demolish its only existing national museum - The Uganda National Museum. Collecting these artifacts began in 1902, after which the museum was officially opened in 1908 at Fort Lugard in Old Kampala. Due to the size of the collection, the museum was shifted to Makerere University, School of Industrial Art. The Uganda National Museum is a display of Uganda’s cultural heritage where one can see ethnological and naturalhistorical exhibitions. It is a vivid reminder of the country’s colorful past. One of its most interesting features is the collection of traditional musical instruments, which one is free to play.

In 1934, an Ordinance was passed to turn the national museum into an independent entity. In 1945, the Uganda National Museum building was constructed at Plot 5 Kira Road near Mulago Hospital by a German Architect (Ernest May). The Museum was officially opened in 1954. During Amin’s regime in 1974, the National Museum was put under government control. In 1994, UNESCO made recommendations for the improvement of the Museum. During the CHOGM in 2007, the craft village was created. Then in 2010, the Government developed plans to construct the East Africa Trade Centre, a 60 storied ultra-modern building, on the site where the museum presently stands.

The Uganda National Museum is a display of Uganda’s cultural heritage where one can see

KASUBI TOMBS

The original construction of the Kasubi Tombs occurred in 1882 under Muteesa I. The Kasubi tombs are the burial ground for the previous 4 Kings (Kabakas) of Buganda and hence a major landmark for the royal family and people of Buganda. The tombs were listed on the World Heritage List as a celebrated artifact of outstanding African traditional architecture in vegetal materials developed by Buganda Kingdom in the 13th Century. However, on 16th March, 2010, most of the structures including the (Muzibu –Azaala-Mpanga) structure were razed by fire and the cause of the fire is still a mystery. Although the plans to restore the structures are underway, the traditional value is irretrievably altered.

Above: Former Kasubi Tombs (Muzibu-Azaala Mpanga) Left:Mailo Two building Below:Kasubi tombs interior

The building shown was located at ‘2 miles’, Bombo road, or popularly known as ‘Mailo Two’ below Makerere University’s Africa Hall and a string of new private students’ hostels. Built by a wealthy Muganda Chief by the name of Nathan Mayanja, who was the Saza Chief of Ssingo, the building was believed to be the first storied building in Kampala made of local materials and with manpower. The historical relevance of this building is attributed to the fact that it was among the earliest buildings in the country owned by a native Ugandan that initiated storied residences.

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‘In a culturally diverse country like Uganda, we need a point of reference for common national identity.’

20 storey building set to replace museum

In a culturally diverse country like Uganda, we need a point of reference for common national identity. The Uganda National Museum plays a unique role in this and is the only operational national museum. The proposed East Africa Trade Centre has no cultural significance, both in terms of design and purpose and will be an environmental hazard because of the limited space.

Besides, the demolition of the Uganda National Museum building

contravenes Uganda’s Historical Monuments Act of 1967, Uganda’s Cultural Policy of 2006, the UNESCO Convention of 1972 as well as the 1995 Constitution of the Republic of Uganda.

The Uganda Museum

National museums the world over are usually stand alone buildings rather than a floor or two in a shared building, thus giving due regard to their importance in respect to national identity. But the removal of our cultural treasures from this site, without a clear plan for their preservation, is likely to expose them to harsh elements that are likely to affect their deterioration.

Moreover, an environmental impact assessment has not been done, nor has any heritage impact assessment been carried out. It is extremely saddening to see this trend in Uganda where historic buildings are randomly and rampantly destroyed without any thought of their historical and cultural significance.

Museums are fine institutions, dedicated to the high values of preservation, education and truth. These are words of one great writer, Robert Hewison.

But in Uganda, if such a writer was still alive, he would be disappointed by the few resources dedicated to the development of a national cultural heritage.

-Sarah Tumwebaze(Culture in Development)

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by william davis

wdphotos.com

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A RCHITECTURE

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he Stone Town of Zanzibar – Stone Town – has been inscribed for eleven years now on the World Heritage List of the UNESCO. It is famous for its coral rock buildings, in an Arabian or Indian style, but this enchanting frame remains an inadequate reflection of reality. Indeed, the town conceals a much wider cultural as well as stylistic diversity. Poorly perceived, suffering from a unilateral idealization, this diversity is however threatened. This is illustrated by the recent history of a cinema whose style is inspired

by Scottish Sarasin and a modern Afro-Indian Art Deco style.

By Danielle Fischer, arch. ETHZ Editor in architecture at TEC21 (Translated from French by Bhawna Atmaram & Vinesh Chintaram)

T

he archipelago of Zanzibar, which is situated just opposite the Tanzanian coasts, consists of two main islands, Pemba and Unguja. Stone Town, the capital, is situated on the latter. The first inhabitants of the region were Bantus, who came from the continent. As from the 8th century, a flow of sailing boats of Arab, Indian, later Chinese and Portuguese traders who have contributed in creating the culture of the islands, started arriving. The common language along the coasts was the Swahili. As from 1850, Germany and the UK were growing in power, until the independent sultanate became a British colony in 1890, for the protection of Zanzibar. Officially, as a partial sovereign territory, there is still sultan who rules over; but in reality, Zanzibar is now a British colony and the consul starts to deploy a gubernatorial power.

In 1963, Zanzibar recovers its independence through a constitutional monarchy. One year later, a coup allows a ‘revolutionary council’ to turn the islands into a ‘people’s republic’ which, meanwhile, merges with the neighbouring Tanganika to form the United Republic of Tanzania. During this brief but bloody revolution, some ethnic minorities, starting with the Arabs and Indians, are made to flee. Despite this, Zanzibar is still home to a diversity of cultures, to which a large segment of the Arabian and Indian population return after 1890.

A SCOTTISH STYLE

STRAIGHT FROM THE ARABIAN NIGHTS

As a consul, he was responsible for urban development but he has also exerted a big influence as an architect.

In addition to the Royal Theatre, he is behind the Aga Khan School, the Courthouse, the Peace Memoriam Museum in Vuga, the Seyyideieh Market in the Dajarani area and the post office building in Shangani.

Self-taught, he adds Arabian and Indian elements to the classical European architecture, to create a new style which he himself referred to as ‘Sarrazinisme.’

A colonial public servant describes the phenomenon several decades later in his memoirs: “The consul had a violin from Ingres. In Zanzibar, the construction plans had to be approved by him. He was persuaded- great insight- that all new buildings had to be constructed in a Sarasin style, which he himself considered to be the unique application of the Moorish tradition. Therefore, the hospital started taking the airs of Caliphs’ palaces, a cinema near the port had some similarities with the Alhambra and the new airport was inspired by the Big Mosque of Cairo….”

Most of John Sinclair’s buildings, which have been welldocumented, are today inscribed on the World Heritage List. The front side of his Royal Theatre, of two storeys high, all had angular towers linking the ground floor to the first floor by a verandah with three arches in a ribbed Moorish style. French-inspired railings served as balustrades to the tower balconies.

The successor of John Sinclair, Eric Dutton, has also influenced the town. He elaborates an ambitious decennial plan spanning from 1946 to 1955, which has later been developed by the colonial public servant, This phenomenon is particularly well illustrated by the Henry Kendall. But after its publication, the British recent history of two buildings in Vuga, a plush area in government decides that it is not ready to bear the the southern region of the capital, The Majestic Cinema costs. The colonial era was drawing to an end and and its predecessor, The Royal Theatre. There, at the British Empire had gradually started to reduce the the beginning of the century, the government had power of its delegates. Henry Kendall has just the time created a garden-city according to the European model. to have an area plan approved in order to delimit some Numerous buildings still portray this aspect today: the areas A (High Class), B (Middle) and C (Native Huts), hospital, the Aga Khan School or The Memorial Peace which did not entail any expenses.

Museum.

Abdulhussein Malash in the cinema hall which could accommodate 450 viewers.

The Majestic Cinema at dusk.

The physiognomy of Stone Town history is dominated by a cultural diversity, sometimes bewildering. Most of the residential blocks, packed together, have been constructed from coral rock by immigrants from India and Oman. The decorative details and the structure of certain building elements like the arches translate the traditional origins of many countries. Generally speaking, the town has gone through a lot of cultural and stylistic influences, which have been however ignored by the conservation and restoration authorities as well as visitors.

As from 1920, many towns in Eastern Africa have started constructing cinemas. Till the end of the 50’s, these buildings hosted concerts, lectures or political gatherings. In Zanzibar, Hassanali Adamji Jariwalla, a trader in Indian silk, held a public commercial establishment license from 1916 to 1936. He owned various theatres and cinemas before settling down in Dar es Salaam in 1942 to extend his influence.

In 1921, he decides to build the Royal Theatre and mandated none other than the British consul, John Sinclair from Scotland, who had been living in Zanzibar since 1896.

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From a historical perspective of architecture, the period of transition which happened in the middle of the 50’s till the revolution was meant to be substantial. (better: “…till the revolution must be reappraised” and cancel “was meant to be substantial”). It is not without significance as it absorbs various influential sources from abroad and the local population, at a political and cultural level, is bracing itself for independence.

Between 1951 and 1956, with the Mau Mau revolution in Kenya, the colonial British Empire is shaken till its very roots. Many young people from Zanzibar or Tanzania go to Russia, China, Cuba or England, for training purposes, sent mainly by the emerging Afro-Shirazi Party and welcomed by the communist parties throughout the world. Some have joined the party and have had their first political experiences, an experience which would help them ten years later, at the time of the revolution and the creation of a socialist state in Tanzania. Upon returning to the country, they also brought along with them a new lifestyle. In his autobiography, the future minister Ali Sultan Issa describes the 50’s as the following: “I wore blue jeans and printed T-Shirts. I had learnt to dance the Swing, a novelty in Zanzibar. We knew waltz, rumba and tango but the new styles from South America were unknown.

I was enthralled by Nat King Cole, Perry Como and Frank Sinatra…”

In the architectural domain, the colonial style now belongs to the past. The new projects were then drawn up often by professionals from wealthy Indian or Arabian families. Some of them had studied in Europe or in their ancestral countries.

ART DECO BETWEEN

COLONIAL STYLE AND MODERNISM

Stalls at the entrance of the cinema. A library is located at the back.

In 1954, the Royal Theatre- re-baptised Majestic Cinema- falls prey to a fire. The Zanzibar Theatre Ltd, the owner, plans a rebuilding on the same spot. The architect, Dayaliji Pitamber Sanchania, who hails from a West-Indian family (Gujarat), is little known. He had probably studied in England. During the 40’s and 50’s, he has built some administrative buildings and a Hindu temple, the Sree Shiv Shakti Mandi, in the

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The building can be considered as a precursor of modernity. Remarkably, for the first time since the colonial era, local architects autonomously approved the plans for important buildings. But for professionals from Arabian or Indian families, this was a short interlude, which lasted till the revolution. D.P. Sanchania died in a car accident in 1960.

With its elaborate symmetries and its fanciful details, the new cinema showcases an Art Deco influence.

However, the building also has modern features, like the big glass opening on the right hand side or on the balconies, the shadings and eaves which highlight its horizontal axis. The new cinema is a reminder of buildings in Dar es Salaam (Tanzania), the Diamond Jubilee Building (1946) for example, or those built in the 50’s in Asmara- the Art Deco capital of Erythree- by the Italians Mario Fanan and Arturo Mezzidimi.

Undeniable

WITNESSES OF A

existence

HISTORY OF MULTICULTURAL ARCHITECTURE

Such buildings, whether built by renowned architects or not, are the witnesses to a modern African architecture which has soared independently, without the colonial influences. This movement was born at the end of the colonial era. In Zanzibar, its representatives were primarily from European, Indian or Arabian families.

Contrarily to British colonial public servants, they had grown up in Africa. This confrontation with the new styles of modernity was for Zanzibar, a liberation from the stylistic dictatorship of the British Empire. The fact that they could, despite everything, be inspired from a Franco-American Art Deco style- the romantic exoticism practised by the colonial government before is no exception- shows the extraordinary diversity and reciprocity of architectural references in a context which is dominated by trade, migration and colonial politics.

It has been a long time since the last film was projected at the Majestic Cinema. Deserted, the building is now falling into ruins and does not form part of the conservation plans of the United Nations, which is supposed to identify, in Stone Town, the places and buildings that are worth preserving. But according to Sam Pickens, the deputy-director of the Aga Khan Trust for Culture which is responsible for the plan, it would probably feature in the list if it were reviewed today.

Old poster of a Hindi film which was projected at the Majestic Cinema till the 80s.

SWING AND COMMUNISM

Malindi area. According to his grand-son, his daughter had also collaborated in the cinema project. The new cinema is inaugurated on the 20th October 1955 by the sultan Sultan Seyyid Khalifa bin Haroub, in the presence of the consul Henry Steven Porter and during the projection of the Indian movie Uran Khatola.

The foyer, at the back the portrait of the past President Karume.

In particular, due to a future touristic development of the island, Stone Town and the neighbourhood where the villas of the Europeans were located, wealthy Indians and Arabs had to stay impervious to undesirable buildings. The Royal Theatre was part of Zone A, where great importance was attached to architectural design.

By Anitah S. Hakika

W

hat goes through a designer’s mind when designing a building? I bet it is not that someday the building would be demolished!

Being a designer, I aim at designing masterpieces – buildings which will always have an effect on their context. It is as if I am designing buildings which other buildings cannot exist without and at the same time, giving the building power to transform people’s lives.

Have you ever come across a building which takes you to another world or period of time, one which you only visit in your imagination? This is the spectacular effect a building can have. When heads of every person who comes across it turn, it is presumed that such a building will be eternal and exist forever. This is truly not what is observed in our buildings nowadays. Lately, buildings get negative reactions from people who come across them, even before they are completed.

What do you expect of such a building after a certain period of time, when the question of demolishing it arises? How can one measure the value of a building when it is devalued during its construction? Heritage is not only derived from inheriting from preceding generations, it is also transmitting from the present to the next generation in order to provide evidence of existence.

So, how about we start using buildings to keep records of our lifestyles? Or, how about the requirements for a building should not to be limited to the basic functional requirements, but also cut across to how the building would preserve a history? When a building becomes so powerful that every person could say, “I can relate to that building,” then such buildings would not be easily demolished or replaced.

We should construct buildings which will later tell a story of our existence and not buildings which will have to be demolished in order to tell a story of our existence.

HERITAGE

IN KENYA

FORT JESUS MOMBASA

Sarah

Markes

by Paul K Bomani

...she fell in love with the culture and space of Dar es Salaam and decided to be part of the social evolution of the city...

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Sunglasses

Dukas

Habib Punja Star Building

Penguin vendor

Street Level brings together other writing contributors to raise discussion on the different issues facing the city of Dar es Salaam. This collaborative spirit and exploitation of diverse points of view is the richness of Street Level’s approach. It leads the reader through a visual and substantive journey through the city with sketches, color and text.

While Sarah captures the historical buildings, her concern appears to be more on the social tapestry of the city as she emphasizes elements of the city including street vendors, merchants, pedestrians, dala-dalas (local transit buses), school children, and the like. Modest Sarah has inspired.

Now the discussion must continue. What is the meaning of the modern city?

Selander bridge

arah Markes is a British born artist who, through her latest work, has spurred reflection on the changing urban landscape of Dar es Salaam. Her first published book on the subject, Street Level, released in 2011, examined the urban landscape of Dar es Salaam with particular focus on historical buildings. After visiting Dar es Salaam for two nights in 1998, then returning to the city to work in 2002, she was drawn to heritage sites and historical buildings that were being torn down and replaced by modern buildings.

This began her long journey to document the historical legacy and vest of Dar es Salaam. After this stint in 2001, she fell in love with the contemporary reality of Dar es Salaam and decided to move to Dar es Salaam, and be part of the social evolution of the city with the hope of preserving some of its rich history or at least spur discussion around this subject. Her medium of art, built around the sketch pad, with a richness of vibrant colors, reflects the nature of Dar es Salaams vibrancy, its diversity, its delicate aggression, and the juxtaposition of crooked lines that do not always follow a direct path.

Jamat Khana Building, Dar es Salaam

S

T

EDxDar is an annual event based in Dar es Salaam (with the first event taking place in May 2010); where the TEDx stands for independently organized TED event. The TEDxDar conference is intended to begin public engagement and exchange of ideas in relation to innovation, society, culture, and the arts – a wide range of interdisciplinary subjects that pertain to Tanzania at a local and global scale. The forum is founded in the belief for active discourse and pubic engagement on the central issues facing contemporary society. The second TEDxDar event took place on November 26, 2012 at the National Museum and House of Culture in Dar es Salaam, with the central theme: Who killed Zinjanthropus? With 2012 being the jubilee year of Tanzanian independence, Zinjanthropus, a fossil of early man found in Tanzania, was used as a metaphor for reflection and examination of where the nation has come from and where it is/ should be going. To steer the conversation, TEDxDar 2012 featured a wide array of speakers including musicians, a politician, a scientist, an educator, a journalist, a former athlete and more. The following piece is a vibrant reflection on this “evolutionary” and exciting event

by Taha Jiwahi, a frequent blogger for Vijana Fm (http://vijana.fm/ ).

The TEDxDar event was a far cry from its humble beginnings in 2011. The location and organization was much better and the speaker lineup just as interesting. The speakers ranged from musicians, a politician, a scientist, an educator, a journalist, a former athlete and more. The theme of the event – Who Killled Zinjanthropus? – was meant to get us thinking about Tanzania’s past and future, especially its 50 years of independence, with Zinjanthropus (a fossil of early man) used as a metaphor for the historical context.

Roland Valckenborg kicked off the morning with by asking tough

questions about our energy consumption, the mix of energy sources currently used in Tanzania and the sustainability of our energy demands. Roland has started a company – I Love Windpower – Tanzania – that makes and installs wind turbines using local materials and scrap. His company also educates others, including physically challenged students, on how to make these turbines and encourages us all to ‘Try This At Home’. His vision is that thousands of homes and villages across Tanzania will use wind power which in turn would provide a really good wind map of the country.

Next was Erasto Mpemba’s great story about how his curiosity and determination led him to discover the “Mpemba Effect” and then publish a paper about it. The Mpemba Effect is a phenomenon during which warm liquids freeze faster than cold liquids under certain conditions. Mpemba currently explores traditional plants as cures for our daily illnesses. He teaches us to keep asking questions: Be persistent and you shall persevere.

Msafiri Zawose is an ambassador for Tanzanian culture, continuing in his father’s footsteps. He spoke briefly about our rich musical and cultural traditions and also described the bad current state of the industry. Zawose gave us a beautiful musical performance on stage.

January Makamba is a Tanzanian Member of Parliament (MP), but instead of dwelling on politics, he provoked the audience by presenting an unknown view of Tanzanian consumption through statistics. He looked at health survey data from a different perspective by comparing the typical Tanzanian and the upper 20% of Tanzanians. The results were astonishing and statistics ginormous.

January went on to observe that Tanzania’s population will be dominated by youth in the very near future, yet the country is not ready for this shift. Without the right foundation of freedom of speech Tanzania is not ready to harness their creativity and energy.

Dar

by Taha Jiwahi

This was followed by Richard Mabala, who emphasized the lack of imagination and creativity in the current educational system and its impact on what our students are learning. Richard humored us by calling for a minute of silence for the death of imagination in Tanzania’s education system. Richard’s argument was that without imagination our students will only regurgitate information fed to them and will not be able to think laterally (or horizontally).

Currently, Tanzanian students sit on floors in brand new buildings, without any books, with a static curriculum. Such are the priorities of the government. The statistics about English and Math literacy are also startling. So who killed the creativity of Zinjathropus, Richard asks? Zinjathropus killed himself by not accepting change.

Susan Mashibe‘s story inspired and challenged many, it was one of dreams coming true through much hard work and determination.

Her dream of becoming a pilot led her to tirelesy work towards that achievement. Susan is the first female Tanzanian FAA certified pilot and flight maintenance engineer with a very successful corporate aviation firm, TanJet. With her dreams of flying, maintaining aircraft and now owning an aviation firm fulfilled, Susan says she wants to give back. She is mentoring young leaders and also adopting her local primary school to support.

Bobb Muchiri from Kenya shed light on our African traditions of storytelling and how we are loosing them in the modern digital era.

Bobb believes that only we can tell our stories the way they should be, not anyone else. He produced and directed the movie Kichwateli (see clip below) that masterfully combines African story telling techniques, local actors, props and costumes with the best animation and filming making techniques available. Bobb believes the story of Zinjanthropus’ killing must be told by our very own people, using our

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techniques, not by outsiders.

John Akhwari is a legendary former Tanzanian Olympic runner who completed a marathon at the 1968 Olympics in Mexico City even after a serious injury. Akhwari shared a detailed account of his athletic career starting from a very young age when he competed against 69 other adults in a 10km run to the Olympics.

The last two presentations were from activists in two different sectors.

Leila Sheikh asked the audience, who owns womens’ bodies? After Leila, Evans Rubaru came on stage to discuss the mining sector.

According to Evans, mining companies are polluting the water sources around the mines and destroying family fabrics as children and older people are left to live alone. He left by asking “Whose responsibility is it to ensure our safety, our prosperity, and protect our environment, never to undermine the well being of future generations?”

The event wrapped up with some soulful and mystical musical pieces

by Bibi Kidude. It was a fitting ending for a day of thought-provoking presentations and new ideas that left us thinking and with lots of questions, as is the spirit of TED.

Who killed

Zinjathropas?

“Nobody killed Zinjanthropus, he killed himself ”

Richard Mabala

Msafiri Zawose: a musician

Erasto Mpemba: the “Mpemba effect”

Susan Mashibe: an aircraft maintenance engineer

Roland Valkenborg: “You as energy consumers have killed Zinjanthropus”

TEDx Dar 2011

THE BIRTH OF AN Z A

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BY FRANKIN L KASUMBA

T

he Askari Monument Located at the junction of Samora Avenue and Maktaba road, in what is believed to be the original centre of Dar es Salaam city, the Askari Monument is one of the most iconic landmarks in the city.

The statue depicts a bronze askari carrying a gun whose barrel is pointed towards the harbour. It was erected in November 1927, the inscription on it’s base reads: “to the memory of the native African troops who fought: to the carriers who were the feet and hands of the army: and to all other men who served and died for their king and country in eastern Africa in the Great War 1914 – 1918”. A similar inscription opposite carries the same description in Kiswahili and Arabic. The words were composed by Rudyard Kipling and the statue sculpted by James Alexander Stevenson for the Commonwealth War Graves Commission which had commissioned this monument and others located in Nairobi and Mombasa.

Stevenson signed the statue at its base with the pseudonym “Myrander”.

THE

ASKARI

MONUMENT 36

Before the Askari Monument was erected there stood a German statue that was erected to honour Major Hermann von Wissman, a soldier, explorer and governor of German East Africa from 1895-6. This was erected in 1911 and stood until 1916 when it was removed after the British occupied Dar es Salaam during World War I. Currently, the Wissmann monument is located in the harbour of Hamburg, Germany. It continued to be controversial and was used as a symbol of German supremacy during the Nazi period, torn down by students in 1968 who were against the message it potrayed and was later restored in 2005.

These monuments have been identified as icons of colonial glorification especially through the symbolism they employ as well as the romantic language used on their inscriptions; praising the valour and loyalty of the askaris while serving the nation or their masters in war.

The Wissman statue shows Wissman standing akimbo over an askari carrying a flag draped over a fallen lion. The askari is shown looking towards his master in adoration. Looking at the Askari monument in Dar es Salaam, one can observe the bas-reliefs on its sides that depict faithful african askaris together with their helpers heading to battle behind the British officers.

Both monuments depict an unsettling form of supremacy.

It continued to be controversial and was used as a symbol of German supremacy.’

These monuments can be understood from different angles. Despite their depiction of colonial supremacy there are perhaps elements to be proud of, especially as a reminder of the bravery and valour of the African soldiers who served.

But they are also a bitter reminder to those who were colonised or to the reformists who regard them merely as symbols of supremacy of the colonialists over the colonised, and the legacy of colonial oppression. Whichever view one takes, at the end of the day they form an indisputable part of our heritage, a bitter-sweet experience to be contemplated and revered.

WHERE ARE WE GOING?

By Kanywanyi S Kanywanyi

Many cities in the world especially in Europe and very few in Africa have respected heritage and hence they have really benefited from it. In the case of Tanzania, we say thanks to the Conservation Authority of Zanzibar for the hard work they have done in preserving Stone town.

There are a number of cities in the world, which in spite of the technological advancement, have taken special care to preserve their heritage. For example, in a city such as Paris or Lyon, you can see the transformation of technology and architecture.

Despite the evidence of these changes, in Lyon you can see special points of interest such as narrow streets and renaissance mansions of old Lyon on the eastern bank of the Rhône river. In the case of Paris, because of the preservation of heritage, today it is the most visited city in the world with more than 30 million visitors per year with Eiffel tower(1889) and The Louvre(1546) being the most visited sites.

Which brings me to the questions: where is the old Dar es Salaam? Where is the new one? How can one see the difference between the two? Does Tanzania even know the difference? Or better still, do they understand the importance and how vital it is?

A few years back when I used to pass along the Mosque street, there were really very nice old buildings with very fine architecture and very detailed, however today few buildings have remained and most of them have already been demolished and honestly the street has began to look bland with buildings of glass facades. Why are we playing with this heritage?

All tourism is at least partly motivated by natural or cultural heritage. For instance, Mount Kilimanjaro here in Tanzania which is undoubtedly part of the natural heritage, is an intrinsic part of a trip to the Kilimanjaro region or Arusha region. Likewise, in the U.K the ‘club’ scenes of cities such as Manchester, which attract weekend tourists from London are, like it or not, expressions of the cultural heritage.

It’s a shame that out of the total of over 49 million tourists who came to Africa in 2010, Tanzania was not in even among the top ten destinations despite having Mount Kilimanjaro- the highest Mountain in Africa, a portion of Lake Victoria – the biggest tropical lake on earth, and last but not least Lake Tanganyika - the longest freshwater lake on earth. Yet these are very important parts of our natural heritage, which could make the countries in East Africa some good national income. We have failed to promote these tourists attraction sites and yet are destroying the built environment heritage.

In contrast, heritage is far more important in the success of UK’s tourism, In 1996 a Overseas Visitor Survey, leisure visitors to the UK (i.e. excluding business visitors) were asked how important certain activities in Britain were in the decision to visit the country. The enormous significance of the country’s heritage in motivating tourism by overseas visitors was illustrated, with heritage being listed directly or indirectly in each answer mentioned by 4% or more of the survey’s respondents. Culture has always been a major object of travel, as the development of the Grand Tour from the 16th century onwards attests; people travel to experience the places and activities.

This is a lesson that we should learn: demolishing these old buildings is bringing more harm to the tourism industry and the Dar es Salaam reputation.

As a serene old city by the Indian Ocean, is slowly disappearing.

These glass buildings are already there in developed countries so no tourist will come with the purpose of seeing them in Dar es Salaam but rather they would come to see the colonial, old buildings.

May be its time to make changes to things that we think are the major causes of these problems. NHC as the owner of many old buildings have been in the frontline of demolishing old buildings and erecting the new glass façades buildings. Does the department of antiquity have the power to stop this? And if not don’t I think that it will be good if it is given the power to do something about it?

Currently the department of Antiquities is responsible for carrying out all conservation activities in Tanzania. It is the mandatory owner of heritage in the country. But there are some obstacles that are hindering it from achieving its full capacity; apart from political interferences in conservation matters I don’t think the number of staff is enough in dealing with this issue in all of the country.

Where is the old Dar es Salaam?

Where is the new one?

Heritage attractions are no different from other tourist destinations in that they must be carefully planned.

No one can predict the future, but equally everyone should take measures to reduce uncertainty. The right advice, from external bodies and fellow destination operators alike, coupled with the right development, operational and financial planning, maximizes the chance of a successful future, and is increasingly vital to a destination’s prospects of support from public, private or voluntary sector funding sources. Stone town Zanzibar is a good example to learn from.

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DAR ES SALAAM CITY REVEALED THROUGH THE EYES OF AN ARTIST...

This 96-page hard cover book features more than 250 beautiful pictures of Dar es Salaams’ most. beautiful and amazing buildings.

It is astonishing to see that all or some of the structures in the pictures stood in the city of Dar es salaam and some are still standing. The photos in this book aim to tell the story of contemporary Dar and at the same time remind us of its former self.

The book does a great job of condensing the transformation of a Dar es salaam as a developing capitalist city and also documenting every bit of its accomplishments. The author details the fates of many of the City’s artistic treasures as well as discussing the changed landscape of the city that is constantly evolving. It is must have for those interested in the history and architecture of the Haven of Peace, as it is something one can scarcely imagine.

Also included in this publication, is a sneak preview of various popular Dar spots on public holidays, the city centre as it was half a decade ago and some of Dar es Salaam’s ironic sense of humor.

Everyone agrees that the “Contemporary Dar es Salaam” is the perfect companion as well as a great book on its own and is well worth the purchase.

Muzu Sulemanji was born in Zanzibar and, although he now lives permanently in Dar es Salaam, he still finds most of his inspiration in the narrow winding streets of his birthplace. After completing secondary school in Dar es Salaam, he studied Applied Art in Bombay and later Graphic Designing in Basel, Switzerland. In 1971 his brothers opened a photographic studio in Dar es Salaam where he was able to hone his camera stills, and the photographer’s eye for composition is very evident in his paintings.

Muzu is the owner of an art gallery called ART n’ FRAME located near CCBRT in Masaki. The gallery is also a focal point for Dar’s artists and houses Muzu’s own paintings and shadow boxes

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Initiation of ANZA 2nd issue Founding members of Anza Magazine

AUTHORS Anitah S Hakika Benedikt Boucsein Berend Van der Lans Carine Oberweis Danielle Fiscwher Ellady Mulabwa Franklin L Kasumba Karen Moon Kanywanyi S Kanywanyi Mae-Ling Lokko Nicholas Calvin Paul K Bomani Peter Barry Taha Jiwahi William Davis

ACKNOWLEDGEMENTS: INDIVIDUALS Annika Seifert Arch. Mringo Yassin Arch. Mbaraka H. Igangula Benedikt Boucsein Comfort A. Mosha Eleonore Sylla Ethel Koppa Leila Peacock Rehema Zongo William Davis

ADVISORY BOARD: Dr Huba Nguluma Gunter Klix Mwanzo Milinga Peter Stocker

SUPPORTING INSTITUTIONS Camenzind East Africa

Sponsors

Goethe Institut Dar Architect Kaisi Kalambo Printing by Art N’ Frame, Dar es salaam

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‘MY CITY’ DISCOVERING EAST AFRICA‘S METROPOLISES Call for Contributions for ANZA #3

I

f one takes a long critical thought at what really makes up a city, it strongly relates back to the individual human being. Cities can only be inadequately described through economic or infrastructural statistics. Instead, a city‘s social, economic, and political singularities only become visible and readable through things like the characteristic hustle and bustle of traffic, the flickering of street lights and the typical way that people move in the city. Through these aspects, every city has a tremendous and fascinating story to tell - to visitors as well as inhabitants of all socio-economical backgrounds.

The MY CITY issue will explore the spaces in East African metropolises and how they influence their inhabitants and vice versa. We will look to cities like Kampala, Nairobi, Dar es Salaam, Kigali and Bujumbura to discover their unique systems of organization.

Our aim is to highlight the characters, lifestyles and the key diverse elements that gives each of these cities their uniqueness and make them part of the spirit of East Africa.

Contributors are requested to explore the various facets of these cities. Possible area of focus may include: •The transport systems which will include the road network and conditions •Types and styles of a city‘s buildings •The life-styles of the people in terms of social life and business •Utilities and services like water and electricity •Street life •How past, present and future show in the cities.

TYPE OF CONTRIBUTIONS:

Anza is looking for a wide range of contributions to this extensive, personifying and pioneering issue, texts as well as images (such as photographs, sketches, artistic impressions, plans, instructions etc.) Anza is not looking for scientific papers but for articles that are readable for a large audience which demonstrate the highest standards with regards to content while remaining enjoyable to read.

CONTRIBUTIONS MAY FALL UNDER ANY OF OUR SECTIONS:

•Theme Articles •Snapshots (for example images or descriptions of unique places, monuments or sculptures from within the city) •Interior design (reviews of specific buildings and how they relate to the city) •Landscape design in relation to the city •Travel reports (for example explorations of different parts of the city or a review of a unique and maybe even largely unknown spot in the city)

We address fields of Architecture, urban planning and real estate, but also other relevant disciplines and generally citizens dedicated to making the East African Cities a better place.

SPECIFICATIONS AND CONTACT Deadline for contributions : July 31st, 2012 Language : English. Text should be no longer than 2500 words. (please include photos and illustrations where necessary) info@anzastart.com

fAnza Magazine, Fans of Anza Magazine tAnzaMag

www.anzastart.com