SHIBUI Issue 9

tribe time

papua new guinea city of baskets in

GHANA immerse yourself

georgia guatemala garma! shibui store

slow. fair. worldly. kind.

slow stay

under the ALGARVE sun

TRAVEL IN TIME WITH TRADITIONAL CULTURES. SLOWLY…

tribe time

papua new guinea city of baskets in

GHANA immerse yourself

georgia guatemala garma! shibui store slow. fair. worldly. kind.

slow stay

under the ALGARVE sun

TRAVEL IN TIME WITH TRADITIONAL CULTURES. SLOWLY…

SHIBUI Issue SHIBUI SHIBUI Issue Issue is isnow nowavailable now available to available to read read digitally digitally on PressReader. onread PressReader. to digitally on PressReader.

shibui hello Tossing and turning through another year of chaos, we land on a beacon of hope… that world travel will recover safely, soon. For this reason, we honour UNWTO World Tourism Day more than ever before.

returning in spirit of

Although still grounded Down Under, our belated SHIBUI Issue 9 takes us far… from the Garma Festival in Arnhem Land, Australia to the ‘city of baskets’ in Bolgatanga, Ghana. We slow travel in Guatemala and Georgia, discover ancient tribal life in Papua New Guinea and a slow stay resting beauty in rural Portugal. Every place is unique, rich with cultural fascination and missing tourism greatly.

Without blowing our own trumpet too loudly, SHIBUI & Co. won another award during our most humbling of times, boosting spirits for all the right reasons to keep this SHIBUI journey alive. (Page 6.)

Add a little magic with guest storyteller, Rich Manley, who bestows an enviable travel skill to break down cultural barriers, or learn from traditional farmers in Bali with the team at Astangara Way who are making global sense to sow Bali's ancient farming techniques back into modern life for future sustainability, we hope this edition lands lightly into in-boxes, full of upbeat inspiration and positivity.

With Garma in our hearts, Guatemala in our sights and Georgia on our minds, we continue to curate stories and immersive travel experiences from all over the globe, to deeply engage responsible world tourism with Indigenous traditions so they are never lost. And we travel in time with them slowly.

Wherever you are and whatever you are doing to keep afloat during choppy seas, we thank you for your ongoing support and pray that we can all return to the people and places that miss us most. Until then, may tourism recovery inspire change for the better and living locally provide a calm sense of belonging. #shibuiandco #restarttourism #worldtourismday #shibuilove Briseis Onfray Editor-in-Chief

HOSTED BY ISSUU GLOBAL DISTRIBUTOR PRESS READER ENQUIRIES: hello@shibuiandco.com SUBSCRIBE shibuiandco.com FOLLOW US @shibuiandco SPECIAL THANKS to these amazing humans: Bettina McILwraith, Denise Bowden, Emily Lush, Frank Persyn, Gregory MacCarthy, Janet Onfray, Janine Garrett, Jason Frenkel, Jessica Bercovici, Meran Gluskie, Merr Watson, Rich Manley, Sam Thies, Tim Fijal, Veronique Persyn and every single artisan and employee working behind these inspirational stories…

SHIBUI Issue is a global, e-magazine owned and published by SHIBUI & Co. All content is copyright and lawfully protected worldwide. In all instances, complete content or parts-there-of extracted from this publication for re-distribution or circulation must be accurately accredited to both the publisher, SHIBUI & Co. and contributing photographers. SHIBUI & Co. curates responsible travel content to help preserve traditional cultures and empower indigenous communities in the modern world. Awarded 'Best Slow Travel Curation Agency, Australia. 2021'.

hello S H I B U I

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CONTENTS

SHIBUI. A JAPANESE WORD

USED TO DESCRIBE AN UNDERSTATED, CLASSIC KIND OF COOL. IT’S AN ENRICHED BEAUTY ACHIEVED THOUGH MINIMALISM AND PURPOSE RATHER THAN ADORNMENT AND EXTRAVAGANCE. ITS VALUE MUST BE DISCOVERED AND UNDERSTOOD RATHER THAN BOUGHT OR WON.

SLOW MADE

8 STYLE MASTERS Baba Tree Basket Co. have been preserving the basketweaving culture of the Gurunsi people in Bolgatanga in Ghana for over 15 years, working with over 250 artisans. We easily rank these baskets into our top ten Slow Made Wonders of the World*.

SLOW TRAVELS

22 WELCOME TO 'YOLNGU WORLD' Arnhem Land is pride of place for the Garma Festival, Australia's premier Indigenous annual event and cherished cultural celebration of the Yolngu people of Northeast Arnhem Land, hosted by Yothu Yindi Foundation. An extraordinary experience for future travels Down Under.

62 GEORGIA ON OUR MINDS Australian storyteller Emily Lush has been nicely positioned in Georgia to take advantage of the summer season slow travelling her way around local villages and countryside.

She also joined Georgian travel tour hosts, Karavanly. Rich with cultural diversity, including the world's oldest wine-making tradition, we've definitely got Georgia on our minds…

ON THE COVER: Antigua in Guatemala is a UNESCO World Heritage listed destination buzzing with cultural heritage and street markets dripping with traditonal textiles from the region. Photographed by Jessica Bercovici, featured slow travel host and founder of STELA 9, who have curated craft and culture tours for future visits to this vibrant destination. (Page 74). PREVIOUS PAGE: Returning to the Philippines, beautifully captured by upcoming guest storyteller, Merr Watson. Originally from the Philippines, Merr now lives in Western Australia. We're saving her wild, rugged Aussie landscapes to showcase in our upcoming ‘Australian Directory’. (See page 31 for more details.)

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S H I B U I CONTENTS

LEFT TO RIGHT: 'Basket is art' is the Baba Tree Basket Co. philosophy and these exquisite, handwoven baskets slow made by the Gurunsi people in Bolgatanga, Ghana, come in many vibrant styles and colour combinations. (Page 8.)

Image courtesy Baba Tree Basket Co.; Australian photographer and filmmaker Sam Thies on location in remote Oro Province in Papua New Guinea. (Page 38.) Image by Cieran Murphy; Slow travel shopping experience with STELA 9 in one of Antigua's vibrant markets. (Page 74.) Image courtesy Stela 9; Old-world, local charm, the Farmhouse of the Palms is our featured slow stay resting beauty in the Algarve, Portugal. (Page 86.)

Image courtesy Farmhouse of the Palms.

74 CRAFT AND CULTURAL TOURS If a lover of textiles, Antigua in Guatemala is a 'must' place to visit and Jessica Bercovici from Stela 9 is the hostess with a tempting curation of local craft and cultural tour experiences to consider.

that makes up those breath-taking green scenes. Astungkara Way is on a great mission to keep Bali's ancient farming tradition sown into modern life for generations to come.

82 WALK ON THE WISE SIDE If your heart yearns for change, pandemic life has jaded your soul or Bali calls, Astungkara Way have created a timely pilgrimage trail to boost human spirits and responsible tourism recovery for the Balinese economy.

32 MAGIC HAPPENS IN WONDER LAND He's a creative of many talents but his greatest super power is magic! Rich Manley has discovered an enchanting way to break down cultural barriers when travelling, and his TV series Culture Shock shares his magical moments with some of the most remote people on earth.

SLOW STAYS

86 UNDER THE ALGARVE SUN For those with enviable access to Portugal this year, (or next), soak up the last rays of Algarve sunshine at Farmhouse of the Palms, which sits at the top of a cobble-stone hill in the middle of rural living, not far from Algarve's famous beaches but far enough to feel a sense of tranquility with hospitible kindness, away from it all.

GLOBAL SENSE

52 FIELDS OF FUTURE WISDOM Lush, terraced rice fields make up a million postcard visions from Bali, but on ground level, it's significant to note that a farmer's hand has planted every single seedling

STORYTELLER

38 ANCIENT TRIBES. MODERN TIMES Village of Paradise is a photographic journey through the remote villages of Oro Province, Papua New Guinea.

Australian filmmaker and photographer, Sam Thies was invited to join this project team and kindly shares his stories from this unique, cultural travel venture.

SHIBUI STORE

72 SLOW. FAIR. WISE. KIND. Our online store is for worldy hearts seeking travel and eco-friendly brands. This year inspires even more reason to act worldly, wise and kind.

For optimum viewing, download either of these free apps to your reading device… * SHIBUI & Co. ‘SLOW MADE WONDERS OF THE WORLD’ curation in progress. (See page 72 for details.)

CONTENTS S H I B U I

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TA-DAA! Another year, another award!

Right in the middle of world tourism chaos…

ANNOUNCEMENT

WINNER ‘Best Slow Travel Curation Agency, Australia.’

Acquisition International, 2021 Business Excellence Awards (United Kingdom) Previous year award:

WINNER ‘Best Culural Tourism Publisher.'

Acquisition International, 2020 Business Excellence Awards (United Kingdom)

It's not easy to navigate a global tourism business (solo) through a global pandemic. Nor is it easy to sustain momentum during tricky times, but SHIBUI & Co. continues to evolve as a vibrant community with inspirational people, opportunities, recognition and encouragement circling around to keep the big-picture vision alive.

THANK YOU SHIBUI community, for your invaluable contributions, like-minded missions and ongoing support. Responsible world tourism recovery needs all of us to keep going… #shibuiandco #restarttourism #worldtourismday #unwto

Business success can be defined in a multitude of ways and can be found in all locations, regardless of industry. Despite the difficulties of the last 16 months, companies still innovate, create and experiment with new ideas every day. Some have achieved growth in the face of immense turbulence, others have honed an expert team that deliver customer satisfaction every day. Whatever the market or sector, business excellence is still apparent and on full display.

The main goal of the Business Excellence Awards is to shine a spotlight on some of the quiet achievements of entrepreneurs, managers, owners and founders around the world.

Acquisition International prides itself on the validity of its awards and winners. The awards are given solely on merit and are awarded to commend those most deserving for their ingenuity and hard work.

To learn more about AI award winners and to gain insight into the working practices of the 'best of the best', visit acq-intl.com Acquisition International, UK, June 2021.

slow made

STYLE MASTERS

SLOW made IN Bolgatanga, Ghana artisan weavers Gurunsi people partnered with Baba Tree Basket Co. photography COurtesy Baba Tree Basket Co.

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S H I B U I slow made IN GHANA

BABA TREE BASKET CO. HAVE BEEN PRESERVING THE BASKET-WEAVING CULTURE OF THE GURUNSI PEOPLE IN BOLGATANGA IN GHANA FOR OVER 15 YEARS, AND REMAIN COMMITTED TO CREATING JOB SUSTAINABILITY WITH FAIR AND MEANINGFUL WORK OPPORTUNITIES FOR THE COMMUNITY. THEY WORK CLOSELY WITH OVER 250 ARTISANS, EACH TRAINED BY ELDERS WITH CRAFTSMANSHIP SKILLS HANDLED WITH HONOUR OVER GENERATIONS. WE LOVE THESE BASKETS AND EASILY RANK THEM INTO OUR TOP TEN SLOW MADE WONDERS OF THE WORLD*. * SHIBUI & Co. 'SLOW MADE WONDERS OF THE WORLD' curation is underway. (See page 72 for details.)

BABA TREE BASKET CO. S H I B U I

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Muse Isha Napari Photographer Francis Kokoroko Styling Bettina McILwraith

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S H I B U I slow made IN GHANA

interview with Gregory ‘Ayinedollah’ MacCarthy (Founder) & Bettina McILwraith (STylist & Communications)

WHERE AND HOW DID THE BABA TREE BASKET CO. (BTBC) VISION BEGIN? During my travels, to study cultural drumming with the Ga People of Accra, I fell in love with the country’s vibrant culture and incredible craftsmanship. Holding on to the vision to bring Ghana’s handmade products back to my homeland, Canada, Baba Tree Basket Co. was born.

Some 15 years later, we pride ourselves as the fairest trader in Bolgatanga, generating employment opportunities with competitive wages and creating a peerless collection of colourful, handwoven baskets that are native to the Upper East Region, representing the very best of Ghana’s style, creativity, hope and inspirations.

HOW DID YOUR FIRST MEETING WITH THE GURUNSI PEOPLE OF BOLGATANGA COME ABOUT? I hired a bicycle and a local tout as a guide and off we went. It didn’t take long to discover the high quality

standard of basket craftsmanship in this region. We rode to various villages in search for the artisans behind these incredibly beautiful and quality-made woven baskets.

BEFORE WE GET CARRIED AWAY IN THE WONDERFUL CRAFTSMANSHIP OF THESE BEAUTIFUL BASKETS, PLEASE TELL US THE SIGNIFICANCE OR SYMBOLISM OF THE BABA TREE TO THIS REGION AND WHY IT HAS INSPIRED THE BRAND NAME? The baobab tree, (or 'baba tree' as sometimes referred to in the local vernacular), is a native to Africa and is also commonly known as the ‘tree of life’ because it provides an impressive amount of shade and also bares a super sweet and nutrient-dense fruit.

It is under the shade of a baobab tree where I made my first basket business, which inspired the brand name. The extraordinary Tua Tia baskets (pictured overleaf), are also a very significant design for our namesake, featuring straw that hangs like the leaves in shape of a baobab tree. >

PREVIOUS PAGE: Master weaver, Mary Anaba sits with one of her extraordinary Yoomelingah Yure creation.

ABOVE: Colour lovers at the Baba Tree Compound.

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Photo: Bettina McILwraith CLOCKWISE FROM ABOVE: Founder, Gregory MacCarthy; Artisan at work at the Baba Tree Compound; Natural elephant grass baskets bask in the Bolgatanga sun; Splitting elephant grass ready for weaving; Artisan community at the Baba Tree Compound; Artisan colour lover working her magic; The Tua Tia basket is masterfully designed after the company's namesake 'Baba Tree' (or Baobab tree) and is a very significant basket for Baba Tree Basket Co.

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S H I B U I slow made IN GHANA

BABA TREE BASKET CO. S H I B U I

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BOLGATANGA IS A REMOTE VILLAGE IN THE UPPER EAST REGION OF GHANA, FONDLY NAMED, (BY BETTINA DURING HER TIME THERE) AND NOW LOCALLY KNOWN AS THE ‘CITY OF BASKETS’.

HOW LONG HAS BASKET WEAVING BEEN ASSOCIATED WITH THIS REGION? Respected elder, master weaver and Chairman, Akabare Abentara, has been weaving with BTBC since the very beginning and remembers even as a young child, weaving their own sun hats to protect themselves while caring for livestock.

Traditional woven designs that originate from this region were made for general household items, ie. mats, bags, storage and cooking containers, including the vessel used during traditional liquor-making, to strain Pito, (local beer). These items were all woven with grass straw that grew in the Upper East Region of Ghana, however straw is now imported from the wetter southern region of Ghana > where it grows best.

ABOVE: 'Basket is art' is the Baba Tree Basket Co. philosophy and they come in many vibrant styles, sizes and colour combinations.

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S H I B U I slow made IN GHANA

>

“

IT DIDN’T TAKE LONG TO DISCOVER THE HIGH QUALITY STANDARD OF CRAFTSMANSHIP IN THIS REGION. WE RODE TO VARIOUS VILLAGES IN SEARCH FOR THE ARTISANS BEHIND THESE INCREDIBLY BEAUTIFUL AND QUALITY-MADE WOVEN BASKETS.

”

GREGORY MACCARTHY, FOUNDER, BABA TREE BASKET CO.

Muse Isha Napari Photographer Francis Kokoroko Styling Bettina McILwraith

BABA TREE BASKET CO. S H I B U I

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Muses Isha Napari and Flavia Adongo Photographer Francis Kokoroko Styling Bettina McILwraith

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S H I B U I slow made IN GHANA

WHAT WAS THE MOST MEMORABLE EXPERIENCE ON VISITING THIS PART OF THE WORLD FOR THE FIRST TIME? Well… I recall getting off the bus after a 15 hour journey, though Bolgatanga is not that remote; arriving with an immediate sense of Ghana’s population density being quite high; observing the different architecture, the heat, the parched landscape and the abundance of pigs!

PLEASE SHARE A LITTLE ABOUT LOCAL LIFE IN BOLGATANGA. HOW FAR IS THE NEAREST CITY? Bolgatanga, (or Bolga) is the capital of the Bolgatanga Municipal District and Upper East Region of Ghana.

The nearest city of Tamale is about 180 kilometres away. Local modes to get around are by motorcycles, bicycles, tro-tros, tuk-tuks (or candos), motokings, cars and the odd donkey.

Gurune is the local language of the Gurunsi People of northern Ghana, although English is also spoken.

Bolga experiences typical African Savanah weather, being hot and parched during the dry season in winter, and lush during the rain season in summer time. Sadly, the air is filthy and the surrounds strewn with plastic.

IT MUST BE A REWARDING PARTNERSHIP TO WORK WITH THE ARTISANS? WHAT’S THE ULTIMATE GOAL OR REWARD? HOW MANY ARTISANS ARE EMPLOYED? BTBC has been preserving the culture of baskets and the Gurunsi community in Bolgatanga for the last 16 years, employing 600 people across basket weaving, production and building the new Baba Tree compound. We continue this ongoing commitment, collaborating with artisans to deliver a progressive creation of job sustainability and income opportunities via fair and meaningful work.

By celebrating their incredible craftsmanship and promoting their wares via a global marketplace, has made a significant social impact for the artisan community and for >

LEFT TO RIGHT: The extraordinary Tua Tia baskets designed after the company's namesake, Baba Tree (or Baobab tree); Katayeli Tia or 'snail basket' (pictured) is an ode to feminine. Created by talented artisan weaver Perpetual 'Pepe' Adagaam, who designed this exquisite conch shell-shape. Pepe now teaches her Katayeli Tia skills with her fellow Baba Tree artisans.

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anyone associated with BTBC, when their head hits the pillow at night, they should sleep soundly knowing that by doing their best they shouldn’t have a money problem.

ARE ALL OF THE BASKETS HANDCRAFTED USING NATURAL FIBRES? WHAT ARE THEY MADE FROM AND WHERE ARE THESE CROPS GROWN AND HARVESTED? Durable Bolga baskets are handwoven and stand the test of time.

Our baskets are made from hollow stalks of dried elephant grass (veta vera) that are split and twisted before the weaving process even begins.

First, the weaver splits the grass or straw into two long strands. Then, by rolling these strands across an old flipflop strapped to a thigh, the weaver twists these two strands together. This makes the grass stronger and more pliable for weaving.

The grass is often hand-dyed to create vibrant colours and intricate patterns.

Lastly, the many fibres of grass that fan out from the finished weave are carefully trimmed and tucked away to reveal each beautiful basket.

Although elephant grass is grown primarily in southern Ghana, weavers in the northern region of Bolgatanga excel at transforming the tough grass fibre into the iconic baskets.

THE OVER-SIZED BABA TREE BASKETS ARE A SLOW MADE WONDER IN OUR SHIBUI EYES. IS THIS WEAVING STYLE A DESIGN BELONGING TO THE GURUNSI PEOPLE SPECIFICALLY? HOW LONG CAN IT TAKE TO WEAVE ONE OF THESE LARGER STYLES? We believe basketry is art. Each piece is made directly by the hands of the artisans. The master weavers, being women, men, young or old, are born with an innate talent and desire to create! We celebrate the

BABA TREE DOWN UNDER! Australian-based Creative Director, Bettina McILwraith is the local stockist for BABA TREE BASKET CO. on the Sunshine Coast in Queensland, Australia. (Lucky us!)

Pre-pandemic, Bettina was based at BABA TREE BASKET CO. in Bolgatanga, working closely alongside the artisan weavers. She is the styling eye behind these fantastic fashion images. Although back at home in Australia now, Bettina remains the teams go-to-girl for enquiries.

EXHIBITION INVITATION… To promote the incredible work and artisans from BABA TREE BASKET CO. in Australia, Bettina has curated an exhibition to show in Brisbane and local enthusiasts, including SHIBUI & Co., are invited! (Details next page >)

unique differences in each and every piece they create. Each curve is their handprint or signature style expertly handcrafted into each piece.

The time it takes to weave a basket really depends on the pace and skill of the artisan, but a baskest can typically take 2 to 4.5 weeks to complete.

The wonderful ‘Pakurigo Wave’ basket (pictured above), has become our signature design and is named after the two artisans who created this wave technique, which came about as an interwoven project by the incredible talents of Palash Singh (Indian) and our very own master weaver, Mr John Akurigo, while on a field trip to India. In 2013, twenty of our weavers were invited by the Indian Government, to visit and collaborate with local weavers at The National Institute of Design in Ahmedabad, India. Our african artisans taught Indian artisans their traditional weaving techniques and this joint-project established a growth in fairtrade employment in India ongoing.

LEFT TO RIGHT: The Pakurigo Wave baskets are the company's signature piece. The 'wave design' was originally created by master artisans Palash Singh and Mr John Akurigo; Ode to Malick Sidibe with a Pakurigo Wave basket.

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S H I B U I slow made IN GHANA

SAVE THE DATE!

MAKERS MARKS BRISBANE, AUSTRALIA

This exhibition celebrates slow art, the natural world and rituals of 'making'. As a collection of abstract paintings, Baba Tree baskets and botanical art, this curation will merge into a visceral and visual feast.

Thursday 25th November, 2021

Latrobe Art Space, Brisbane, Queensland.

For more information please contact Bettina directly @appetitefordecoration Muse Avoore ‘Boy London’ Photographer Francis Kokoroko Styling Bettina McILwraith

WHAT DO YOU BELIEVE IS MOST IMPORTANT TO HELP PRESERVE WITHOUT WORLD TOURISM WHAT HAS CULTURES AROUND THE WORLD? BEEN THE MOST VALUABLE INSIGHT THAT We believe that sustaining BTBC HAS WITNESSED ABOUT THIS REMOTE and preserving the traditional COMMUNITY? HOW DO LOCALS REMAIN craftsmanship and rich cultural RESILIENT DURING CHALLENGING TIMES? heritage of basket weaving of the Business has been good and we have Gurunsi artisans, while collaborating pretty much carried on during the with them, is the most important pandemic as we did before with the thing we can do. For over 16 years exception of going into voluntary we have been providing sustainable lockdown for a few months when employment for more than 600 Covid-19 first struck in 2020. During artisans. The more baskets we sell, the that time we invested USD35K to help more our artisans and their community support our weavers. will benefit.

babatree.com |

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slow travel

WELCOME TO

Photo Melanie Faith Dove

YOLNGU WORLD 22

slow travel in arnhem land, australia traditional landowners Yolngu people event garma festival

hosted by Yothu Yindi Foundation (YYF) interview with Denise Bowden (CEO, YYF & Director, Garma Festival) photography contributed by Peter Eve, Melanie Faith DovE & Teagan Glenane (YYF)

S H I B U I slow TRAVEL in AUSTRALIA

ANCIENT, REMOTE, UNSPOILT, SLOWLY TRODDEN AND SOFTLY SPOKEN… ARNHEM LAND WHISPERS IN RHYTHM WITH THE TRADITIONAL OWNERS OF THIS SACRED LAND, THE YOLNGU PEOPLE. ARNHEM LAND IS ALSO PRIDE OF PLACE FOR THE GARMA FESTIVAL, AUSTRALIA'S PREMIER INDIGENOUS ANNUAL EVENT AND CHERISHED CULTURAL CELEBRATION OF THE YOLNGU PEOPLE OF NORTHEAST ARNHEM LAND IN THE NORTHERN TERRITORY, HOSTED BY THE YOTHU YINDI FOUNDATION. THIS ONCE-IN-A-LIFETIME IMMERSIVE EXPERIENCE UNITES THE ANCIENT 'YOLNGU WORLD' AND THE 'BALANDA WORLD' (WHITE MANS WORLD) AS ONE, AND PROVIDES A TRULY UNIQUE ENCOUNTER WITH THE OLDEST CIVILISATION ON THE PLANET! SADLY, GARMA HAS BEEN CANCELLED TWO YEARS IN A ROW, (PANDEMIC PROTECTION), BUT THIS IS AN EXTRAORDINARY ACTIVITY TO INCLUDE IN FUTURE TRAVELS DOWN UNDER!

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Photo Peter Eve

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S H I B U I slow TRAVEL in AUSTRALIA

land and the sea. Gulkula, the site of the Garma Festival, is connected with the actions of a mighty Yolngu ancestor, Ganbulabula, a master of the ceremonies who brought the yidaki (didgeridoo) into existence among the Gumatj clan.

ANCIENT, REMOTE, UNSPOILT, SLOWLY TRODDEN AND SOFTLY SPOKEN… ARNHEM LAND WHISPERS IN RHYTHM WITH THE YOLNGU PEOPLE. THE TRADITIONAL OWNERS OF THIS SACRED LAND. ARNHEM LAND IS ALSO HOST TO THE GARMA FESTIVAL, A CULTURAL CELEBRATION OF THE ANCESTRAL HERITAGE AND TRADITIONS OF THE YOLNGU PEOPLE. PLEASE TELL US ABOUT THE TRADITIONAL WAY OF LIFE OF THE YOLNGU PEOPLE. Culture remains strong in Arnhem Land, but Yolngu people proudly walk in two worlds… the Yolngu world and the Balanda world, (white man’s world). Outsiders might be surprised how seamlessly Yolngu people navigate between the two. Most would tend to think in extremes, a person is either living a traditional way of life, or not, but Yolngu people very much combine the two.

IF YOU COULD DESCRIBE THE FEELINGS THAT SURFACE WHEN STANDING INSIDE THE VAST WILDERNESS OF ARNHAM LAND, WHAT COMES TO MIND? For First Nations People, nothing quite compares to the feeling of being on country, regardless of where that is, and the same can be said of Arnhem Land. It has tremendous significance for the clans of the region, whose identity is inextricably linked to the

PLACING THE GARMA FESTIVAL AS THE PREMIER, INDIGENOUS AUSTRALIAN, CULTURAL EVENT TO EXPERIENCE AT LEAST ONCE, WHAT DO YOU THINK THE MOST REWARDING SENTIMENT FOR THE LOCAL COMMUNITIES OF ARNHEM LAND IS, TO KNOW THAT THEIR AUSTRALIAN DREAMTIME STORY IS AN ANCIENT WONDER OF THE WORLD, SACREDLY REGARDED AND ADORED

BY MILLIONS? Garma is a chance for people to learn about Yolngu culture.

Workshops throughout the day allow guests the opportunity to sit with senior knowledge-holders and become acquainted with different aspects of that, from language and kinships lessons, to weaving, spearmaking and jewellery craft. There is an important cultural exchange taking place. An education of sorts for our visitors. But Garma is also about shaping the policy and political debate, and ensuring that Yolngu voices are heard in the national conversation on issues affecting Aboriginal and Torres Strait Islander people.

AS THE FOUNDING EVENT ORGANISERS OF THE GARMA FESTIVAL, PLEASE TELL US ABOUT THE YOTHU YINDI FOUNDATION? WHAT DOES ‘YOTHU YINDI’ AND ‘GARMA’ MEAN? The Yothu Yindi Foundation was established in 1990 to promote Yolngu cultural development with community leaders and persons of authority from five regional clan groups: Gumatj, Rirratjingu, Djapu, Galpu and Wangurri.

The mission of the Yothu Yindi Foundation is for Yolngu and other Indigenous Australians to have the same level of wellbeing and life >

PREVIOUS PAGE: Garma is held on Gumatj land in Arnhem Land, Northern Territory and the Gumatj clan dancers perform the opening ceremony each year. THIS PAGE FROM LEFT: A Gumatj boy painting up for the daily bunggul (traditional dance); Denise Bowden, CEO of YYF and Director of the Garma Festival.

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Photo Melanie Faith Dove

FOR ALL BOOKINGS & ENQUIRIES PLEASE CLICK THIS PAGE.

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S H I B U I slow TRAVEL in AUSTRALIA

Photo Peter Eve CLOCKWISE FROM BELOW: The Gapan Gallery features artwork from established and emerging local artists in a stunning outdoor gallery among the trees; Skilled Yolngu artisans create beautiful, naturally-dyed, hand-woven pieces out of pandanus leaves; A special type of cross-hatch painting technique, known locally as rarrk, is used to execute the fine linework that is such a feature of Yolngu art; The afternoon bunggul (traditional dance) is a highlight of Garma, with guests often invited to join in on the celebrations.

opportunities as non-Indigenous Australians. The Foundation is a not-for-profit charitable, public benevolent institution, with an all Yolngu Board of Directors.

The words Yothu Yindi translate to ‘child-mother’, and they reference to a relationship which has a special place in the Yolngu world. One that signifies harmony and balance. Garma takes that concept even further… a coming together where the freshwater and saltwater meet, combining and moving forward as one.

The first Garma was held in 1999, and was little more than a quaint backyard barbecue, a small-scale affair with only a handful of outsiders.

It has certainly grown since those days, but for local Yolngu families, it very much remains a community event and a family meeting place.

Garma has three main aims: • Provide contemporary environments and programs for the practice, preservation, maintenance and presentation of traditional knowledge systems and cultural traditions and practices, especially Bunggul (traditional dance), Manikay (song), Miny' tji (art) and ceremony; • Share knowledge and culture, thereby fostering greater >

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Photo Melanie Faith Dove

WHERE DO WE FIND GARMA?

At Gulkula in Arnhem Land on the Gove Peninsula, Northern Territory.

HOW DO WE GET THERE?

Fly into Nhulunbuy from Darwin or Cairns.

ACCOMMODATION OPTIONS Camping is provided on site.

WHAT SHOULD WE BRING?

An open mind and positive attitude.

HOW CAN WE HELP SUPPORT THIS REGION?

Come and say hello. There are lots of great day trips in the area, including cultural tours to visit the homelands.

For donations or future event enquiries please visit yyf.com.au

understanding between Indigenous and non-Indigenous Australians; • Develop economic opportunities for Yolngu through education, training, employment, enterprise and remote Indigenous community development.

THE GARMA FESTIVAL IS AN INTERNATIONALLY RECOGNISED CULTURAL CELEBRATION THAT (PRECOVID) HAS DRAWN IN HISTORIANS, ACADEMICS, STORYTELLERS AND

TRAVELLERS FROM ALL OVER THE GLOBE. WHAT DO YOU THINK IS THE MOST IMPORTANT WISDOM THAT A VISITOR SHOULD RETAIN ON LEAVING GARMA (OR ARNHEM LAND), TO TAKE BACK TO THE CONTEMPORARY WORLD? The beauty of Garma is that everyone will take something different away from the festival, their own unique perspective or understanding. Best advice is to keep your eyes and ears open… there’s a lot going on and a lot to take in. My personal gain has come from experiencing a rich Australian language in Yolngu Matha, and acquiring a deeper understanding of the complexity and sophistication of Yolngu philosophy.

INDIGENOUS COMMUNITIES TRAVEL ACROSS NORTHERN TERRITORY TO GATHER AT THE GARMA FESTIVAL EACH YEAR TO SHARE THEIR KNOWLEDGE AND TRADITIONS WITH ALL WALKS OF LIFE. WHAT ARE THE TRADITIONAL CUSTOMS AND CRAFTS SPECIFIC TO THIS REGION OF INDIGENOUS AUSTRLIA? The key elements of Yolngu culture are the essence of Garma: Manikay (traditional song); Bunggul (traditional dance); Miny’tji (art); storytelling and >

ABOVE TO RIGHT: Preparing for the afternoon bunggul (traditional dance); 'Yothu Yindi' - 'mother/child relationship' has a special place in the Yolngu world. One that signifies harmony and balance.

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Photo Melanie Faith Dove

SLOW TRAVEL FAST FACTS

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CULTURE REMAINS STRONG IN ARNHEM LAND, BUT YOLNGU PEOPLE PROUDLY WALK IN TWO WORLDS… THE YOLNGU WORLD AND THE BALANDA WORLD, (WHITE MAN’S WORLD).

OUTSIDERS MIGHT BE SURPRISED HOW SEAMLESSLY YOLNGU PEOPLE NAVIGATE BETWEEN THE TWO…

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DENISE BOWDEN, (CEO, YYF & DIRECTOR, GARMA FESTIVAL)

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Photo Melanie Faith Dove

ceremony. The afternoon Bunggul is a special highlight… the call of the yidaki summoning all to the dance grounds, the rhythm of the bilma (clapsticks) keeping time, and the voices of the song men crying out. There’s also the chance to immerse in the different aspects of Yolngu culture over four days, such as learning how to dye and weave the traditional Yolngu way, and, for women… women’s healing.

IS THERE A LOCAL LANGUAGE OR CUSTOM USEFUL TO KNOW BEFORE ARRIVING TO ARNHEM LAND? WHAT ARE SOME FRIENDLY WORDS OR PHRASES? A group of languages known as Yolngu Matha is spoken throughout Arnhem Land, and it’s nice to learn a few phrases before coming to Garma.

Nhamirri nhe means, ‘How are you?’

Manymak translates to, ‘Ok, good.’

Yolngu Matha shares a number of common words with the Indonesian language, courtesy of the historical trading links with the Macassans. For example, Rupiya translates to ‘money’ in both languages.

MOST RECENTLY, THERE HAS BEEN AN URGENT SHIFT OF AWARENESS TO SUSTAINABILITY, RESILIENCE AND

SELF-SUFFICIENCY, WHICH WE BELIEVE IS HOW INDIGENOUS CULTURES AROUND THE WORLD HAVE BEEN SURVIVING OVER CENTURIES. IF THERE IS ONE THING TO BE LEARNT FROM THE CUSTODIANS OF THE GARMA FESTIVAL, WHAT WOULD IT BE? I don’t think it’s any one thing.

Holistically, people who come to Garma leave with a deeper understanding and appreciation of Yolngu culture, but they also take away the ideas, discussions and themes which permeate the festival, and hopefully share those insights with their families, friends and colleagues.

CAN YOU RECOMMEND A SURROUNDING PLACE OR EXPERIENCE TO ADD TO THE TRAVEL ITINERARY WHILE ON A VISIT TO THIS REMOTE PART OF INDIGENOUS AUSTRALIA? Make sure to pay a visit to one of the many amazing art centres in this part of the world, such as Buku larrnggay in Yirrkala, about 30 mins drive from the Garma site. If you have time, take a trip to Bawaka and Bremer Island.

Simply spectacular country and the fishing is ok too.

garma.com.au |

ABOVE: Local favourites, Barra West Wind blend traditional and contemporary sounds and are regulars on the music stage at Garma.

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STARTING IN OUR GLORIOUS BACKYARD, CURATION OF OUR

AUSTRALIAN DIRECTORY IS UNDERWAY!

TO BE A PART OF OUR WORLD TOURISM RECOVERY INITIATIVE DOWN UNDER PLEASE CLICK ON PAGE FOR MORE DETAILS.* #shibuiandco #restarttourism #worldtourismday #unwto

* We invite Indigenous Australian artisans, storytellers and business owners to contribute local knowledge and stories to share with the world. We also seek Australian-owned, slow travel experience, workshop and accomodation providers. Editorial, advertorial and directory listing opprortunities are open for enquiry. Our Australian Directory curation is from July 2021 to July 2022. Please click on this page to register your interest. SHIBUI & Co. curates slow, fair, worldly and responsible cultural tourism content from all over the world.

IMAGE: Gillespie Station, Blackall, Queensland, Australia, by featured storyteller Sam Thies. (Page 38.) Taken from his book, ‘Bush’. (Details on page 73.)

shibuiandco.com | @shibuiandco

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MAGIC HAPPENS IN WONDER LAND STORYTELLER rich manley (TV host & magician) project ‘cultural shock

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RICH MANLEY IS A CREATIVE OF MANY TALENTS… FROM ACTOR AND FILM MAKER, TO WRITER, DRUMMER AND STUNTMAN WITH A BLACK BELT IN KUNG FU! HE HAS ALSO STUDIED ANTHROPOLOGY, ARCHAEOLOGY AND CULTURE EXTENSIVELY AND IS A PASSIONATE GLOBAL ADVENTURER TOO. BUT HIS GREATEST SUPER POWER IS… MAGIC! RICH HAS FOUND AN ENCHANTING WAY TO BREAK DOWN CULTURAL DIFFERENCES WITH HIS MAGIC, AND HIS LATEST TV SERIES, 'CULTURE SHOCK' SHARES THESE MAGICAL MOMENTS WITH SOME OF THE MOST REMOTE PEOPLE ON EARTH.

Photo Gökhan 'G' Telci

Performing magic for the Hamar people in Ethiopia. It was heartwarming to see their smiles and the joy on their faces.

TADAAAAA… MAGIC ONLY HAPPENS FOR THOSE WHO ARE BELIEVERS. YOUR MAGICAL POWERS AND IMPRESSIVE SCREEN STATUS NOW PLAY A VERY ENDEARING ROLE IN REMOTE CULTURAL COMMUNITIES AROUND THE WORLD. SO HOW DOES IT FEEL TO BE ABLE TO BREAK DOWN LANGUAGE BARRIERS OR CULTURAL DIFFERENCE BY ENCHANTING INDIGENOUS LOCALS WITH YOUR MAGICAL CHARM? AN ENVIABLE TRAVEL SKILL TO BESTOW. It is a very rewarding feeling. I have always believed that magic is less about the magician and more about the people it’s intended to bring a sense of joy to. Most of the time, when I travel, I find magic to be somewhat of a social experiment. I have noticed many times that when I assume the role of a casual tourist > rich manley S H I B U I

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Photo © Culture Shock Magic

Rich uses magic to break cultural barriers... "What I do with my hands is a projection of myself. It’s the creation of a feeling that anything is possible. That same motivation and mindset trickles into every adventure I embark on. The idea of wonderment and endless possibility is by whole everything we truly seek as humans."

within a particular community or cultural centre, I am treated as such.

Many vendors and merchants will try to sell me their wares and souvenirs.

However, when I begin to perform for them, they slowing integrate me into their community. Others gather around and soon enough I find myself a guest in the home of an elder, brother, sister… discussing culture, or being introduced to finer workings of their traditions.

In a way, my magic is like an ice breaker to let people know...

'This is me and what I have to offer you. I expect nothing in return but your smiles and joy.'

It opens up a world of happiness for these people and integrates them into a travellers life. It makes them feel special, like they have just witnessed something extraordinary. It’s a great feeling to inspire that connection.

YOU ARE AN AMERICAN WITH MANY ADMIRABLE TALENTS IN STAR DEMAND. A MODEL, MAGICIAN, DRUMMER, WRITER, ACTOR AND GLOBAL ADVENTURER WHO SEEMS TO HAVE FOUND A WAY TO WRAP ALL OF YOUR SUPER POWERS INTO ONE MESMERISING LIFE JOURNEY. DRAWING FROM ALL OF YOUR ATTRIBUTES AND EXPERIENCES, WHAT HAVE YOU LEARNT TO CHERISH THE MOST? AND WHAT DO YOU HOPE TO SEE MORE OF IN THE WORLD? I think my study of martial arts and training with the Shaolin monks instilled in me an immense amount of discipline and perseverance, but also compassion, which I believe to be the most important quality.

Passion, dedication, determination, resilience and a thirst for ever-growing knowledge are keys to understanding oneself, the world and our place in it.

The principles and foundations found in traditional styles of martial arts paved the way for a life dedicated to study, reading, researching, exploring and learning. I consider travelling and the experiences of meeting other cultures as an almost alchemic 34

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MY MAGIC IS LIKE AN ICE BREAKER TO LET PEOPLE KNOW... 'THIS IS ME AND WHAT I HAVE TO OFFER YOU. I EXPECT NOTHING IN RETURN BUT YOUR SMILES AND JOY.' IT OPENS UP A WORLD OF HAPPINESS FOR THESE PEOPLE AND INTEGRATES THEM INTO A TRAVELLERS LIFE. IT MAKES THEM FEEL SPECIAL, LIKE THEY HAVE JUST WITNESSED SOMETHING EXTRAORDINARY.

”

transformation. It is something that enriches not only the body and mind, but the soul. In that regard it is not really what I hope to see more of… rather… how many more people I can hope to inspire.

WHERE DID YOU GROW UP, WHERE ARE YOU BASED AT THE MOMENT AND WHERE NEXT? I grew up in a small town called Stow in Massachusetts. I currently live in Los Angeles. I haven't thought that far ahead yet, however, I assume after I have accomplished much of what I need to here with my film production business, I will veer toward a more natural environment.

LURED TO THE DAZZLING LIGHTS OF LOS ANGELES, TO THE TWINKLING EYES OF ETHIOPIAN CHILDREN BEDAZZLED

BY YOUR MAGIC, WHERE DID YOU ACQUIRE YOUR MAGICAL POWERS AND ADVENTUROUS SPIRIT? AND HOW DID YOUR TRANSITION FROM MAGICIAN, TO ACTOR, TO GLOBAL ADVENTURER? I learned my first magic trick from my grandfather. He was a surgeon in Boston, but also a world traveller and fascinated by culture and travel. I think his spirit is what drove me toward the realms of magic and travel. As > rich manley S H I B U I

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a kid, I would marvel at the things he had collected in his study. Relics and trinkets from around the world.

He reminded me of Indiana Jones’ father and I think deep down I always wanted to do what he did, travel the world, adventure and meet distant cultures. I performed magic on TV and all around Los Angeles but I had always felt something was missing. I wanted to share the magic with the world, with the people I thought truly needed magic in their lives. I travelled to Egypt for the first time with my adventure buddy James Houston.

From there, I fell in love with meeting different communities and performing for them. This was the start of the transition for me.

WHERE DO YOU DRAW YOUR MAGICAL POWERS OR INSPIRATION FROM? Books! I read a lot.

WHEN TRAVELLING TO CONNECT WITH TRADITIONAL COMMUNITIES AROUND THE WORLD, HOW DO YOU HOPE YOUR MAGIC TRANSLATES FOR THESE BEAUTIFUL SOULS TO UNDERSTAND? I just hope that I can make an inspiring impression on the younger kids in the community. That anything is possible if you have the will. Not just the belief, but the will.

TRAVELLING TO FOREIGN PLACES CAN FEEL PRETTY MAGICAL TOO. IS THERE ONE TRAVEL EXPERIENCE THAT WAS SO PROFOUND IT CHANGED YOU AS A PERSON? I would have to say my first travel experience… Egypt. As a kid I was fascinated by the ancient Egyptians.

To finally be there was a childhood dream come true and fulfilled my need to experience a different viewpoint of the world. It’s what started everything for me and what continues to fuel my fire as an adult.

AT THE MOMENT, EVERYTHING FEELS SURREAL ON MANY LEVELS. AS AN ACTOR OR MAGICIAN, DOES LIFE EVER FEEL SO SURREAL THAT YOU FIND IT TRICKY TO RECONNECT BACK TO REALITY? HOW TO YOU SEPARATE ILLUSION AND HOPE? I separate myself from this and focus on the things I can control. Like, keeping healthy, training, reading, honing my skills, learning something 36

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new and keeping my mind acute and active.

CASTING SPELLS, BEING CAST ON SCREEN, CASTING YOURSELF FAR FROM THE SPOTLIGHT TO REMOTE CULTURAL WORLDS, WHAT HAS BEEN YOUR MOST REWARDING ROLE? Each and every one of those experiences offers something different.

It is hard to separate them as they have all made me who I am today.

‘FALLEN CARDS’ IS A FICTIONAL TV SERIES ABOUT A MAGICIAN WHO DISCOVERS A SECRET WITHIN HIMSELF THAT COULD CHANGE THE FATE OF HUMANITY. CULTURAL SHOCK! IS A

TRUE DOCUMENTARY ABOUT HOW YOU USE YOUR MAGIC TO BREAK DOWN CULTURAL BARRIERS WHILE EXPLORING INDIGENOUS CULTURES. IF YOU COULD WAVE YOUR MAGIC WAND TO HELP INFLUENCE A BETTER WORLD, WHAT WOULD YOU WISH TO COME TRUE? That people would look outside themselves and their own needs and wants. To focus on the inner and the outward will come. And focus on compassion, for all things.

WHERE DO WE VIEW THE TV SERIES? Well, Fallen Cards is a creation that started 8 years ago. It is something I

created and wrote and have filmed through my production company here in Los Angeles. It is finally coming to fruition as a TV series. I can’t divulge too many details yet but stay tuned!

IT’S A BIT OF A CRAZY WORLD LATELY, BUT IF ONE COULD ADD A LITTLE MAGIC INTO DAILY LIFE WHAT WOULD YOU RECOMMEND? Take time out to learn something new, and learn it to its completion. Stay focused. Stay vigilant. Find something that interests you and go for it. It will keep you centred.

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Photo Dominic Gill

Adventuring in the mountains, pushing the body to its limits, enjoying the beautiful views, is all a form of spiritual cleansing and awakening. It’s all magic.

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ANCIENT TRIBES MODERN TIMES STORYTELLER Sam Thies (film maker & photographer) destination Oro Province, Papua New Guinea project Village of Paradise

'behind the scenes' images contributed by Cieran Murphy kodak brownie archives by (and tributed in memory to) Fred Thies ('PA')

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’VILLAGE OF PARADISE’ IS A PHOTOGRAPHIC JOURNEY THROUGH THE REMOTE VILLAGES OF ORO PROVINCE, PAPUA NEW GUINEA, TO DISCOVER A VIBRANT, ANCIENT CULTURE STILL EXISTING IN MODERN TIMES. AUSTRALIAN FILMMAKER AND PHOTOGRAPHER, SAM THIES WAS INVITED TO JOIN THIS PROJECT TEAM. TOGETHER, THEY VENTURED ALONG WILD COASTLINE CARRYING SOPHISTICATED EQUIPMENT IN CUT-OUT CANOES AND TREKKED THROUGH JUNGLES TO REACH EACH VILLAGE WITH THEIR PORTABLE STUDIO. SAM SHARES BEAUTIFUL INSIGHTS FROM THIS UNIQUE, CULTURAL TRAVEL VENTURE. WOW! ’VILLAGE OF PARADISE’ IS YOUR PHOTOGRAPHIC JOURNAL THROUGH REMOTE VILLAGES IN THE ORO PROVINCE IN PAPUA NEW GUINEA (PNG), WHERE YOU EXPLORED TO CONNECT WITH THE SACRED EXISTENCE OF AN ANCIENT CULTURE STILL SURVIVING IN MODERN TIMES. PLEASE TELL US ABOUT THIS EXTRAORDINARY PROJECT. Earlier in my photography career I stumbled across a coffee-table book called Man As Art, by British photographer Malcom Kirk. This book is an incredible documentation of PNG tribesmen in the ‘70s.

Inspired by this pioneering authored project, as well as the adventure

that my grandfather, Fred Thies (‘pa’) experienced in the 1940s, I was compelled to form my own account of Oro Province, in contemporary times. So when the planets aligned, to take a small production crew to the Northern Province on the main island of PNG, I jumped at the chance!

REMOTE PNG IS OFTEN CONSIDERED UNCHARTERED, UNSAFE AND UNKNOWN TO EVEN THE SAVVIEST OF TRAVELLERS. HOW DID YOUR CONNECTION TO THIS UNSPOILT PART OF THE WORLD BEGIN? WHAT INSPIRED YOUR INITIAL VISIT? To me, PNG is the last frontier and at its closest border, sits only 150 kilometres north of Australia’s coastline. PNG is > sam thies S H I B U I

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Photo Cieran Murphy

a place where time has shaped life unlike anywhere else. It is a country so close yet so exotically distant, with centuries-old traditions still in existence over modern evolution, that combine to create a living museum. Prior to visiting, PNG was a cultural fascination that I had only read about in books, or seen in photographs and films.

…

I owe much of this project and storytelling to my late and ‘pa’…

Like many men of his generation, going to war wasn’t about patriotism or heroics, rather for a lifetime adventure. A way to escape ordinary life and set out with mates to experience new cultures and see new lands.

At the age of 90 my ‘pa’ chose to share his stories of the war with me. He was also a keen photographer and took his Kodak Box Brownie with him.

During our chats ‘pa’ gave me an old envelope labelled Early RAAF and inside was a collection of his photos from PNG during the war. But the images were not aerials of Japanese fleets or downed aircraft, or mess halls, sleeping quarters or candid moments with off-duty officers. There was nothing to resemble the fierce battle he lived through. He did have those images too, but the images he saved in this envelope for me were peaceful.

In his spare time while stationed at PNG, ‘pa’ would venture from village 40

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Map courtesy samthies.com

ORO PROVINCE

to village with his Box Brownie. He was eager to learn more about his foreign neighbours and took a series of portraits of tribesmen and women in traditional dress. He photographed young women harvesting crops or tending to the village pig. Children were fascinated by his camera. ‘Pa’ observed their way of life as being simple, yet organised and harmonious.

This became a very grounding experience for him on the days before heading to battle.

In 2010, I revisited this old envelope of photographs and for some reason they became more important than ever before. It made me wonder how much village life had changed, if at all. I had this great urge to find this out for myself and went on a quest to reconnect with ‘pa’s’ own experience, 75 years ago!

…

CLOCKWISE FROM TOP LEFT: Our portable studio in situ. On day one, the first portrait session was set high on a headland in the fjords of Oro Province.

The scenery was remarkable and it felt unnatural to be closing off the background with our portable white studio; Envelope collection of archive images that 'pa' took with his Kodak Box Brownie; Oro Province, PNG.

When travelling, I try not to hold too many expectations to a new place, so if any preconceived visions start to alter first impressions, I shift my > sam thies S H I B U I

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thoughts to imagine what it must have felt like for my grandfather to experience on a similar navigation 75 years earlier.

ARE THE ORO PROVINCE PEOPLE NOMADIC OR DOES EACH TRIBE REMAIN TERRITORIAL TO THEIR OWN REGION FOR GENERATIONS? HOW MANY TRADITIONAL TRIBES REMAIN? From my observation it’s pretty evident that the people of Oro Province are proudly territorial. Many of which have been preserving their tribal customs in a village based community for centuries. The villages are made up of permanent dwellings with communal spaces and private homes. On visiting this remote coastal region, we were really taken by the local craftsmanship and architectural designs of their traditional housing.

PLEASE SHARE A LITTLE ABOUT TRADITIONAL LIFE IN REMOTE PNG? We were welcomed at each village with a customary challenge.

Tribesmen charged us with spears and intimidating screams. Then asked if we were friends or enemies. Once we confirmed that we came in peace we were treated like royalty. We ate local staples, like baked bananas, sweet potatoes, fish and rice. Many locals chew betel nuts which are a highly addictive stimulant, but we passed on their offers.

Village pigs are the highly prized commodity. In fact for centuries, pigs represent the main form of currency between tribes.

YOUR PHOTOGRAPHS CAPTURE WITH DEPTH THIS ANCIENT CURIOSITY THAT CAN ONLY BE REACHED BY IMMERSING FULLY INTO THE LOCAL WAY OF LIFE. PLEASE SHARE YOUR MOST ENDEARING AND ALSO MOST UNEASY MOMENTS. There are a few. From the first day to our last moments on the island, our local guide’s young son, Lesley Jr. shadowed us to every village that his parents would allow. Everywhere we turned, Lesley Jr was on our heels, offering to carry our gear while observing our every move. I just had to photograph him and wanted to make his portrait special, so when I >

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PREVIOUS PAGE: Apart from short runs in a troop carrier, our main method of transport to reach remote villages was either by hiking or canoe.

Paddling along the coast from village to village created some magical moments, savoured for a lifetime. THIS PAGE: Lesley Jr. holding the millipede.

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Photo Cieran Murphy

spotted a giant millipede curled up on the track, I gestured to Lesley Jr to collect it. It made a perfect prop.

What little boys don’t love giant insects? However, his reaction wasn’t at all what I expected. He just looked at me with great concern. I thought it was a communication break down so I picked up the millipede and showed him the pose I was hoping he would adopt. Lesley Jr still hesitated but with his eagerness to be a part of production, he reluctantly held it with great care. The fierceness in his eyes in line with the scale of this millipede created a powerful portrait.

So excited about this shot, I showed our guide, whom revealed why Lesley Jr was so reluctant to handle this creature. The giant millipede excretes a toxic liquid that causes a brownish pigmentation or burn when it comes into contact with the skin. No wonder Lesley Jr tossed the millipede and washed his hand swiftly afterwards!

Apart from short runs in a troop carrier from our base to the local villages nearby, our main method of transport was via canoe or hiking on foot. Between us, we had five photographic cameras, three video cameras, two large portable studio bags, three tripods and some personal belongings to carry. Watching all of that equipment floating only inches above the ocean as we paddled along the coast from village to village

made for some pretty nerve-racking moments.

Our portable studio was packed into two large waterproof bags weighing 25 kilograms each. Too cumbersome for one person to carry we enlisted the help of four young porters from the fishing village to help transport the bags to Orotoaba village, which took us half a day to hike uphill under the searing sun. Our porters used a thick piece of bamboo to hang each bag. In pairs, they marched up that hill with the weight of our bags with the bamboo resting on their shoulders.

They barely broke into a sweat.

Meanwhile, we carried only about 15 kilograms of camera gear on our backs and our shirts were wringing wet only 15 minutes into the trek!

We’d met proud women parading their tattooed faces. We’d shaken hands with young men marked with rudimentary tattoos, that reminded me of the charcoal drawings found in the Altamira caves in Spain. I also noticed how the local fishing spears resembled the spears that I had seen in the hands of the Indigenous Australians of East Arnhem Land.

Another moment when hiking was while looking around at the grasslands and ahead to the highlands, I remember the air to feel so alive, with native bird calls, insects and a balmy Pacific breeze that rushed movement through the vegetation. It was one of >

LEFT TO RIGHT: Catch of the day; Watching all of our equipment floating only inches above the ocean as we paddled along the coast from village to village in a cut-out canoe made for some pretty nerve-racking moments.

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those moments that was a feast for all the senses and a great reminder of just how far we were from our modern lifestyles back in Australia.

So many memories…

We stood eyes closed with a lizard man who magically summoned a wild lizard from the jungle with a ritualised chant. Apparently had we lifted our eyelids before his instruction, the spirits would have sent the lizards away; There were butterflies bigger than birds and a pet Kingfisher tethered to a child like a kite; On shore, sailors stitched together plastic bags to make ‘untraditional’ sails, yet their dugout canoes were still carved from a hollowed-out tree, a tradition practiced for centuries; Tribal costumes were crafted and embellished with boar tusks, cuscus fur, feathers, flowers, shells, leaves and grass and kept in pristine condition.

All the kids wore modern ‘pre-loved’ clothing; We watched toddlers wielding knives and witch doctors mixing potions; We noticed locals rolling cigarettes in newspaper and women breastfeeding the village pigs;

We were crooned by a bird-ofparadise and soothed by the snaredrum rapping of a tropical downpour on our thatched roof; We were deafened by buzzing cicadas and energised by tribal dancers; We observed children with betel nutstained teeth and Cockatoos with blood-stained feathers.

This project captures many of these moments but there are still so many that remain vivid in mind.

WHAT ANCIENT WISDOMS HAVE YOU TREASURED INTO MODERN DAY LIFE? On the afternoon of our final day a village fisherman paddled us out in his canoe to teach us how the locals fish.

Holding a wooden hand reel rigged with a flattened piece of lead, small hook and a single chicken feather as a lure I sat straddling the front of the ‘dugout’ with my feet dangling n the water and my toes close to touching the reef below. I looked around. A tame swell lapped against the canoe and a soft breeze held off the tropical heat. It was the simplest of moments, yet one of my happiest. >

LEFT TO RIGHT: Traditional dancer preparing for a ceremony; Oro Province traditional dancer, Michael.

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Photo Cieran Murphy LEFT TO RIGHT: Village girl with pig; Negotiating a fair talent fee was clearly explained by our local guide. For talent featuring their face, it was $50. For talent holding an object and not featuring their face, it was $25. The negotiations were never awkward and everyone who chipped in was fairly compensated, including a pet cuscus with one blind eye and a rescued, blood-stained cockatoo, $25 each.

Basking in that idyllic moment I had time to reflect on our time in Oro Province. Since arriving in PNG, we had been exposed to so much in such a short space of time.

And an interesting cultural observation that seems so relevant today: In a village we noted that everyone has a role. That no one has a more vital role than another. Everyone has a different role: to hunt, to gather, to harvest crops, feed livestock, heal the sick, teach the children, clean the clothes, make baskets or bowls, spears or knives. Without each other the system breaks down. One person cannot possibly cover all roles on their own. Decisions are made together but they are adjudicated by a tribal leader. There is a hierarchy that is challenged but respected. Boundaries are set, customs protected and traditions celebrated daily. Every one in the tribes have a place and a purpose. And we saw happiness and harmony from the smallest child to the wisest elder. On that visit, they had

everything they needed and knew nothing of what they were missing.

HOW DID YOU GET TO THE ORO PROVINCE? DO YOU THINK IT’S WISE TO PROMOTE TRAVEL TO THIS REGION TO BENEFIT THESE TRADITIONAL COMMUNITIES? IN WHAT WAY CAN A TOURIST SHOW THEIR RESPECT OR HELP SUPPORT THE LOCALS? We took a flight from Brisbane to Port Morseby and jumped straight onto a short flight to the island of Tufi. It is definitely less risky to avoid a night in Port Morseby. On arrival to the island, Tufi resort is a great place to stay and has a wonderful cultural program for exploring the local villages.

The coastal regions are apparently much safer than the highlands, but it’s advisable to always travel with a trusted guide to stay informed on tribal areas and customs. Tufi is also a very popular diving destination and Tufi resort caters for this very well. samthies.com | sam thies S H I B U I

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GLOBAL SENSE

FIELDS OF

FUTURE WISDOM

global sense in BALI, INDONESIA game changer Astungkara Way interview with Tim Fijal (Founder) photography courtesy astungkara way

LUSH, GREEN, TERRACED RICE FIELDS MAKE UP A MILLION POSTCARD VISIONS OF BALI. BUT ON GROUND LEVEL, IT'S MORE SIGNIFICANT TO NOTE THAT A FARMER'S HAND HAS PLANTED EVERY SINGLE SEEDLING THAT MAKES UP ALL OF THOSE BREATH-TAKING PHOTOGRAPHIC SCENES. RICE IS CONSIDERED THE 'SEED OF LIFE' IN BALI. RICE FARMING IS A 12TH CENTURY-OLD PRACTICE AND THE 'SUBAK' IRRIGATION SYSTEM (UNESCO WORLD HERITAGE LISTED), IS BALI'S INGENIOUS IRRIGATION SYSTEM ESTABLISHED VERY EARLY IN THEIR CIVILIZATION TO ACHIEVE BALANCE AND SUSTAINABILITY. ASTUNGKARA WAY IS ON A GREAT MISSION TO KEEP BALI'S ANCIENT FARMING TRADITION SOWN INTO MODERN LIFE, FOR GENERATIONS TO COME.

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CLIMATE CHANGE AND SUSTAINABILITY: TWO TOPICS ECHOING LOUD AROUND THE WOLRD MORE THAN EVER, AND AT THE TOP OF THE ‘ASTUNGKARA WAY' MISSION. PLEASE SHARE WITH US, A LITTLE MORE ABOUT YOUR VISION… The primary goals at Astungkara Way are to contribute to climate change mitigation, ecosystem regeneration and community interdependence and resilience, by making farming a compelling alternative to tourism for young generations. We are building a new, regenerative model that can be proven in Bali, then applied in other locations globally where farming needs to regain its importance and take rightful place as a powerful climate change mitigation and localisation tool. Our model is an inclusive one that is meant to empower any individual or organisation anywhere to get involved in regenerative action.

FROM PLANTING THE SEED TO NOW, HOW HAS THIS WONDERFUL BALINESE INITIATIVE GROWN FROM AN ECOSMART IDEA INTO A BLOSSOMING FIELD OF OPPORTUNITIES? I spent 9 years working at Green School 54

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Bali with a focus on finding ways for local and international communities to come together in a symbiotic way to tackle local environmental challenges.

This work led me to connecting with a rice farming cooperative in the vicinity of Green School where I was touched by the determination of local farmers despite challenging circumstances.

From farming rice with them and listening to their stories, we learned of their concern for the degradation of soil quality as a result of the ‘Green Revolution’… over the past 50 years, chemical inputs have been poured onto their ancestral land. They are realising an urgent need to transition back to natural farming methods, that were the norm before ‘conventional chemical agriculture’ was imposed upon them.

But, this shift comes with risks to financial and food security, globally, and especially in Bali. The average age of farmers is getting progressively older and the next generation is not stepping up to steward their ancestral land, to become the providers of food for the future. Farming in Bali is also inextricably linked to their cultural

heritage, community structure, daily life and religion. It would be a tragic loss if the farming tradition is not taken up by Balinese youth.

From these grave realisations, a bright opportunity emerged. To engage local youth in the fields by making farming sexy again. What started off as a simple rice-cycle course for international parents of the Green School, has transitioned into a rapidly expanding project with the potential to positively impact local youth and ecosystems, island wide.

As a destination population that has become highly dependent on mass tourism for survival, Astungkara Way responds to provide an essential alternative solution that not only preserves traditional farming practice and generates employment opportunities that are meaningful, purposeful and essential in the local food chain, but this regenerative farming program will restore a localised revenue-making industry to rely upon for generations to come.

SUSTAINABLE FARMING IS ESSENTIAL WORLDWIDE.WHY DO YOU THINK THERE

HAS BEEN A SHORTAGE OF INTEREST TO BECOME A FARMER IN BALI? IS THIS A COMMON CRISIS HAPPENING ALL OVER THE WORLD? Yes! The ‘green’ revolution promised radically increased yields with lighter labour and wealth for farmers and their communities. Here in Bali, farmers were coerced to transition from 2 to 3 annual rice cycles, disregarding ancestral knowledge and connection to nature that had been nurtured over more than 12 centuries. Sadly, the result of this green revolution has been badly damaged ecosystems, illness and disease, and a loss of connection with ancestral knowledge. The same has happened the world over with industrial farming methods becoming the norm, and farmers being incentivised to ‘go big or ‘go home’.

Indeed, a regenerative revolution to bring back soil quality and biodiversity is urgently required both as a means of mitigating climate change and to ensure our species (and others) have access to the nutritious food they need to survive.

So while there has been a shortage of interest in farming on the part of Balinese youth for the past two generations, the time is now to reinvigorate enthusiasm and engagement in agricultural activity.

It’s interesting that Covid-19 has been a catalyst for youth to come back to the fields due to high levels of unemployment caused by the plummeting tourism sector.

But, with every challenge comes opportunity and the good news is, there is still a large number of small landholders actively farming their own land on this island. So it’s a time when the grandchildren of local farmers are spending educational time in the fields with their elders. They are receiving precious generational knowledge and techniques to preserve cultural heritage and one of Bali’s most sustainable family traditions.

The scale of the crisis in the western world is even greater given the radical drop in the number of farmers that occurred in the postwar era. It was at that time that chemical companies were nudging >

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out small scale farming operations and consolidating their markets by promoting the monoculture approach that undermined biodiversity and soil quality that we all rely on to survive.

The movement towards regenerative agriculture in the West will need to see a large number of smaller scale agriculturalists take to the fields sooner than later. If YouTube is any indicator, it would seem that this revolution is well underway with channels promoting permaculture and natural farming methods spiking with millions of followers.

ARE CHILDREN BEING EDUCATED ABOUT TRADITIONAL AGRICULTURE IN SCHOOLS AT THE MOMENT? HOW DOES ASTUNGKARA WAY HOPE TO INSPIRE THE YOUNGER GENERATION TO UNDERSTAND AND LOVE TRADITIONAL FARMING AS THE KEY TO A HEALTHY AND SUSTAINABLE FUTURE? Bali’s schools are no different to the vast majority of educational systems on the planet at present. Though much of the most fundamental skills and knowledge that humans require

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to survive and thrive is not learned through traditional education. I find it very difficult to understand why skills as essential as growing one’s own food are rarely covered in schools.

But humans are as much a part of nature as animals and plants. When we return to the field to connect with nature and the source of our food, it is like coming home, and we see this evidence in the glowing faces of both the children and adults who participate in our education sessions in the rice paddies, agri-forests or community gardens. Simply providing humans with a context to connect back to nature is already, we notice having a great impact and something schools worldwide can do to expand education programs.

At Astungkara Way young Balinese students are learning on their grandparents’ fields, experiencing for the first time, the farming of rice.

This immersive way of learning is very rewarding and must have some influence to instil more relevance of the importance of nature in harmony with a food chain. They laugh and

chat together as they weed across the fields. They make tea from the plants they have grown and boil the water over fire on a traditional stove.

They help build bamboo shelters, learn how to cultivate healthy soil and display an innate connection to this ancestral knowledge that they rekindle to traditional farming easily.

Youth need mentorship to learn how to obtain good yields using regenerative farming methods.

Moreover, they need viable ways to turn their yields into a meaningful income. Astungkara Way is building a mentorship program to train Balinese youth to become successful social, agri-entrepreneurs. This program will provide access to the tools and equipment required to process yields so they can monopolise on valuable secondary bi-products, and also

connect participants to a market to sell produce.

Astungkara Way wants to address the greatest challenges that farmers have faced since the industrial food system emerged, which is largely having access to the value chain and a market for crops without reliance on a very expensive middle man. We want to see young farmers proud of their work and yields, sustaining their families and communities. It’s really about a localisation movement to create resilience within communities and ecosystems. One we would like to see emerging around the world. No farmers means no food and no future.

LUSH GREEN TERRACED RICE FIELDS MAKE UP A MILLION POSTCARD VISIONS FROM BALI. (THEY MAKE LOCAL FARM LIFE LOOK LIKE A

>

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BEAUTIFUL DREAM). ON GROUNDLEVEL FARMING MUST BE A TOUGH JOB. PLEASE TELL US A LITTLE ABOUT THE CULTURAL SYMBOLISM OF A RICE FARMER IN BALI? Yes, those images of terraced paddies are all over Instagram and often the only evidence of a farmer in the photos is a silhouette of their conical hat in a field of green.

It’s so easy to overlook the fact that a human hand has to reach down into the soil and plant every single one of those millions of seedlings when taking in those awe-inspiring, expansive landscapes. It’s definitely hard work but also a spiritual practice for the Balinese, that defines communal life, ritual and even religion on the island.

Rice farming is a perfect manifestation of Tri Hita Karana, the

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foundational philosophy for Balinese Hinduism. It is sometimes referred to as the recipe for contentment: Tri (three), Hita (causes) Karana (well-being). It’s all about balance.

Farmers partake in a spiritual practice in temples in the middle of their rice paddies and shrines to worship Dewi Sri, the goddess of rice and fertility.

They acknowledge the unseen and the need to maintain balance between humans and the spirit world that is omnipresent in nature.

And through the subak, a 12-century old ingenious and elaborate irrigation system, the Balinese establish balance between humans. Through community and cooperation and a spirit of sharing rarely found in other agricultural contexts, Balinese established this system very early on in their civilisation as a way of achieving

“

…IT’S ALL ABOUT BALANCE. FARMERS PARTAKE IN A SPIRITUAL PRACTICE IN TEMPLES IN THE MIDDLE OF THEIR RICE PADDIES AND SHRINES TO WORSHIP DEWI SRI, THE GODDESS OF RICE AND FERTILITY. THEY ACKNOWLEDGE THE UNSEEN AND THE NEED TO MAINTAIN BALANCE BETWEEN HUMANS AND THE SPIRIT WORLD THAT IS OMNIPRESENT IN NATURE. balance and sustainability in their communities. Important lessons can be learned from the Balinese for a more sustainable way that are far greater to understand than consumer-driven tourism pre-pandemic.

Of course, balance between humans and nature is also essential in order to obtain farm yields. The Balinese expertly maintained this balance through the subak and passed down this Indigenous knowledge for over a millennium. But tragically, the ‘green revolution’ upset this delicate balance, now in dire need of being restored.

Balinese farmers are the stewards of this priceless cultural heritage for their island. It’s our wish that their status would be elevated for the vital role they play in holding this island culture in balance, and to provide sustenance for the people who live here.

”

WHAT OTHER KEY CROPS ARE GROWN ON THE ISLAND THAT ASTUNGKARA WAY HAS INCLUDED IN THE PROGRAM AS WAY TO HELP WITH EDUCATION AND SUSTAINABILITY? We recently stumbled upon a cash crop for a group of our young Balinese Sekolah Subak students… lemongrass! We planted about a hundred stems with a big school group before the pandemic. About a month ago, I looked out at these massive lemongrass clumps and realised we had over a ton of biomass that could be processed into valuable essential oils and hydrosols using distillation equipment. Nature’s abundance is truly awe-inspiring. The kids are now learning about the process of growing healthy lemongrass to extract essential oils in the most effective way. We are confident >

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that a lucrative social enterprise is emerging for youth here. But actually, there are so many potential cash crops across this very soil-rich island for young people to learn about and grow. Coffee, vanilla, citrus, seaweed, heritage rice, mangoes, salt, spices, medicinal plants… we have identified over twenty possible cash crops for which we plan to establish partnership projects all across the island. And we see agroforestry having great potential to drive regeneration of biodiversity and healthy soil. We can’t simply ‘aim’ for sustainability anymore.

There is so much learning and so many ways to involve youth into the process of sustainable regeneration!

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IN TRUE SHIBUI STYLE, PLEASE TELL US WHO MAKE THE TRADITIONAL CONESHAPED, FARMER HATS (’COOLIES’), SO ICONIC TO SOUTH-EAST ASIA? I buy my conical hats from Ibu Kadek, the owner of a little toko (store) at the entrance of the rice paddies. But now that you ask, I must find out about the artisans who weave these practical and iconic farmers hats. Stay tuned.

ON A DAILY BASIS, FARMERS ARE DEALING WITH UNPREDICTABLE CROP YIELDS INFLUENCED BY THE MOODY ELEMENTS OF NATURE, HARD-YAKKA, MANUAL LABOUR AND OFTEN INTENSE, LONG HOURS UNDER THE SUN OR RAIN. WHAT DO YOU THINK TRADITIONAL FARMERS LOVE MOST ABOUT ‘SLOW

IF THIS STORY INSPIRES YOU TO GET INVOLVED OR TO MAKE A DONATION, PLEASE CLICK ON THIS PAGE.

WORLD’ FARMING AND ALL THE RESPONSIBILITIES THAT COME WITH BEING A KEY PROVIDER TO WORLD FOOD CHAINS? Ah, perhaps this is the problem. That local farmers and local resources are being exploited to provide ‘world food chains’. The world needs more small land holders engaging in farming.

The more this happens, the more you see biodiversity in local farms and healthy communities that consume their yields closer to home. This way we can mitigate climate change and start to see a reversal in the trend of diseases and illnesses resulting from the chemical food chain that we’ve become entangled in as a species.

Traditional farmers in Bali are

rediscovering the true wealth of their island by coming back to natural modes to manage their fields.

Tumpang sari (known as ‘biodiverse polycropping’ or ‘intercropping’ in regenerative farming circles), is a traditional concept that we hope to help re-establish on the island. Some of the old farmers look at the chaotic rows of our community gardens, packed with all manner of plants living in symbiosis. They smile and exclaim, “Tumpang sari!”

This is not the way to feed the masses but we do believe that by allocating a portion of their fields to sustenance farming using biodiverse intercropping methods, that more and more locals will come to appreciate ‘slow world’ ancestor heritage. Not only will this inspire healthier lifestyles, but hopefully more human contentedness. As a species, we are so desperately in need of this now.

HOW DO YOU THINK THE YOUNGER GENERATION REGARD FARM CULTURE ON BALI? The younger generation have come to think of farming as dirty, uncomfortable, low-status work.

Ironically, this impression of farming has been reinforced by their parents who would prefer to see their children in the air-conditioned comfort of a foreign-owned hotel earning a predictable paycheque than under the hot sun succumbing to the capricious will of nature. But we are confident that farmers can earn a better living at farming than they would simply by servicing the tourism industry if they are given adequate mentorship and tools to produce valuable goods and also provided access to local and regional markets.

So many young people are returning to the fields to farm out of necessity now due to the economic crisis brought on by the pandemic. The time is now to engage with these young people and support them to find viable ways to become successful agri-entrepreneurs.

If you fancy a pilgrimage experience in Bali, flick to page 82 to learn about the Astungkara Trail. astungkaraway.com | Astungkara Way S H I B U I

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GEORGIA ON OUR MINDS SLOW travel IN georgia storyteller & photographer emily lush tour operator karavanly

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WHILE HER HOME COUNTRY BORDER REMAINED CLOSED, AUSTRALIAN STORYTELLER, EMILY LUSH WAS NICELY POSITIONED IN ONE OF THE MOST ETHNICALLY AND LINGUISTICALLY DIVERSE PLACES ON EARTH. GEORGIA! TAKING ADVANTAGE OF THE RECENT SUMMER SEASON EMILY SPENT MOST OF IT SLOW TRAVELLING HER WAY AROUND LOCAL VILLAGES AND COUNTRYSIDE. SHE ALSO JOINED GEORGIAN TRAVEL HOSTS, KARAVANLY FOR A GUIDED TOUR, MEETING WITH FASCINATING FOLK AND EXPERIENCING AUTHENTIC LOCAL LIFE. RICH WITH CULTURAL DIVERSITY, INCLUDIING THE WORLD'S OLDEST WINEMAKING TRADITION, WE'VE DEFINITELY GOT GEORGIA ON OUR MINDS… For the sixth time in as many days, I’m being ushered through someone’s garden into an underground wine cellar sunk beneath the family home. These subterranean Marani are always cool and quiet, the perfect salve for a hot summer’s day in the village in Georgia.

As my eyes adjust to the dim light, I see a long wooden table laid out with copious amounts of food and half a dozen jugs of wine… another day, another feast. The Supra, as it’s known, is one of Georgia’s most important traditions, and in a country where every guest is considered a gift from God, hospitality is something locals have down to a fine art.

A traditional Supra is laid out on Lurji Supra, blue and white tablecloths made specially for the >

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occasion. Block-printed with ornaments, they conjure the meal ahead with their tiny table settings, fish and dancing buta shapes. (Pine cone-shaped design motifs, traditional to Persia and India). Eating is a social activity and meals are always served sharing-style in the centre of the table. Food is plentiful when there are guests in the house, and it’s never long before the plates are stacked three levels high with vibrant tomato and cucumber salads, pickles, fresh Shotis Puri bread, grilled meat, farm cheese and other goodies.

I relocated to Georgia before the pandemic and have been lucky enough to explore the length and breadth of this small country, but one summer, my eyes were opened to parts of Georgia I never knew existed. I travelled with Karavanly, a boutique tour company bent on bringing intimacy back into travel.

Karavanly work closely with local families and small businesses in Georgia, playing the role of conduit to help visitors access more authentic experiences by removing the obstacles one typically faces, namely transport logistics and the language barrier. The antithesis of a typical group tour, itineraries feature lesser-visited corners, culinary masterclasses, craft workshops, and every day a generous lunch of regional delicacies eaten in a different family’s home.

Joining a Supra in a family home is one of the most enjoyable parts of travelling in Georgia. Granted it’s not always a feast, sometimes a small gesture… a jar of honey or a bottle of Chacha pomace brandy… offered as a welcome to the guesthouse or village. The open-heartedness and generosity they share of their traditions with visitors to the region, speaks volumes about Georgian people.

They hold onto their heritage and identity with much gusto!

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thumb of some superpower, be it the Ottoman Empire, Imperial Russia or more recently, the Soviet Union.

Regaining independence in 1991, Georgians are eager to show off the magnificent culture they’ve been safeguarding in underground cellars, monastery cloisters and via tiny workshops, for generations.

As part of Transcaucasia (South Caucasus), one of the most ethnically and linguistically diverse places on earth, Georgia boasts one of the world’s oldest Orthodox Christian traditions. Not only a place with a unique language thats origin still baffles historians, or its rich history with the Arts: music; dance; polyphonic singing; folklore and artisan textiles. Through the ages of civilisation, Georgians are the responsible preservers and practitioners for keeping the world’s oldest winemaking tradition alive. A cultural pastime that now attracts visitors from far and wide. > emily lush with karavanly S H I B U I

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THE CRADLE OF WINE If there’s one thing that draws people to Georgia, (aside from the hiking), it’s the wine. Deep red Saperavi and lustrous bronze ‘amber’ wines are the lifeblood of this nation, the living roots of an 8000-year-strong winemaking tradition. Georgian vintners ferment grapes much the same way their ancestors did, using rotund clay amphorae called Qvevri which, when buried deep in the earth, provide the ideal conditions for fermentation.

Georgia’s climate is perfect for cultivating grapes; incredibly, more than 500 varieties are indigenous to the territory. During the Soviet period, a select few ‘hardy’ species were singled out for mass production. It’s fallen on today’s winemakers to re-cultivate endangered vines, often using a single shoot that survived in someone’s backyard.

Qvevri traditions are tantamount to Georgian culture in its purest form: Wine is interwoven into almost every chapter of history and every facet of modern life.

It’s a huge privilege to be able to walk into a cellar (or Marani) that’s been in the same family for generations. The experience usually begins with a demonstration of how the Qvevri are tended with special tools, and always ends with much drinking and toasting.

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QVEVRI TRADITIONS Good wine begins with a good Qvevri. There are only a handful of families who still produce the clay vessels the old fashioned way, including the Bozhadzes in the village of Shrosha in Western Georgia. Sergo, a fifth-generation Qvevri builder, and his father, clay master Zaliko, are known for building some of the finest amphorae in the country.

As I enter their home-workshop on a hot afternoon, a primordial smell of dark, wet earth greets me.

Someone grabs a handful of supple clay from a mound in the corner and works it into a thin sausage, while Sergo unveils a half-built Qvevri, its rounded base propped up with roof tiles. The lip of the vessel, still soft from yesterday’s session, is scored before a fresh layer of clay is added.

This is how the impossibly huge Qvevri is built: Piece by piece, coil-pottery style, 10 centimetres at a time and over a period of weeks or even months.

The average Qvevri is capable of holding 1,000 litres of wine when finished and is big enough for an adult to climb inside – in fact, this is precisely how a winemaker cleans his Qvevri every spring, by jumping in and scrubbing it by hand.

Once complete, the vessel is transferred to a kiln the size of a small apartment to be fire roasted.

Finished with a maker’s mark and dipped in limestone, the finished product is so beautiful, it almost seems a shame to sink it in the earth where no one will be able to behold Sergo’s handiwork.

This is where the real work begins: This Qvevri has > a lifetime of fermenting grapes ahead of it.

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MAP courtesy Georgian National Intellectual Property Center, Sakpatenti.

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THE LOST CHEESE Of all the Georgian food traditions cheese occupies a special place in culture and consciousness. The country is sometimes referred to as the ‘home of cheese’, a reference to the 250-odd documented varieties of specialty and rare cheeses made from sheep, cow or goat milk.

These range from Dambalkhacho, a sort of blue cheese from Mtskheta-Mtianeti region, to Guda, an aged cheese found in the remote mountains of Tusheti.

In the tiny village of Andriatsminda, I observed one of Georgia’s more unusual cheese-making techniques. Tenili is a ‘pulled cheese’ made by heating cow milk curds then hand-pulling them to form long strings. Huddled around a fireplace in a small room with the walls and ceiling blackened by layers of ash, I watched as the hot curds are expertly drawn into angel hair-thin threads. Later, I tried this slightly salty cheese piled on top of a piece of bread.

Galina Inasaridze is the matriarch of the family and is clearly in charge of the cheese-making enterprise. She learned the art of Tenili from her grandmother and now employs women from the local community to produce the cheese on a commercial scale.

Artisanal cheesemaking, much like small-scale Qvevri winemaking, had no place in the Soviet economy and was forced underground. Without women like Galina, the knowledge required to make Tenili might have disappeared completely, taking an important chapter of Georgia’s culinary history with it.

Today there’s a growing demand for artisanal food products like Tenili from chefs in Georgia’s capital city, Tbilisi. This is helping to sustain the tradition for the next generation and to create jobs for women in remote villages like this one. >

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VOICE OF THE MOUNTAINS Despite being located between two of Georgia’s most popular destinations, Kakheti wine region and the Greater Caucasus mountains, very few people make it to Pankisi Valley. The majority of the families in this area are Kists, who are the descendents of Chechen migrants who arrived in Georgia 200 years ago.

Every community in Georgia has its own music and vocal traditions, and Pankisi is no different.

Here, many traditions are tied to Islam, and there are two active Sufi sects in the valley.

Zikr is a special ceremony used to achieve unity with Allah by repeating chants interwoven with poetry and song. Pankisi is the only place in the South Caucasus where women perform Zikr at the mosque as men do, and anyone who happens to be visiting the area on a Friday is welcome to sit in on the gathering.

As I joined the dozen women seated crosslegged on pillows around the edges of the room, all eyes fall on Markha Machalikashvili, the group’s leader. Markha is a member of Aznash Laaman (‘Voice of the Mountains’), an ensemble of female musicians and vocalists from Pankisi that have performed at festivals in Europe and Australia. The group was created in the 1990s to spread a message of peace and counter negative stereotypes around Pankisi. Many of their songs are inspired by Sufi hymns performed during the Zikr.

The clock ticks midday and Markha gives a small nod. It’s time to begin. The women form a small circle in the centre of the room. With one hand raised to her ear, Markha’s deep, throaty chant fills the entire space instantly, then a cacophony of sound explodes as everyone joins in.

Performed in Chechen language, the Nazms, Sufi hymns, are prayers for eternal life, prosperity and good health. The meaning of the words is indecipherable to me, but the sentiment is easy to comprehend.

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FOR FUTURE BOOKINGS OR ENQUIRIES PLEASE CLICK THIS PAGE. Now standing with palms raised and eyes downturned, the women start to move in a circle, stamping their stockinged feet on the carpeted floor and clapping their hands. As the chants grow faster and faster, they move at an everincreasing pace. Exhaustion is the end goal: The Zikr is a purification ritual.

As the last hymn fades out, silence creeps back in and I’m left to ponder the beauty in the very fact that there’s still space in this modern world for a ritual like this to be performed. That a community typically left out of mainstream tourism creates a welcome space and generosity of spirit to share their most intimate of rituals, which says so much about this community.

…

As I traverse Georgia’s diverse landscapes and cultural frontiers, there’s one constant: Everyone welcomes me with an open heart and an open mind. As the world starts to open back up and more of us look for deeper, more sincere pathways back into travel, Georgia finds itself in a unique position.

Like every country that relies on tourism, Georgia is now on the precipice of change. As the industry rebuilds, it’s my hope that initiatives in small-scale, for-purpose tourism that benefit rural communities and highlight diversity will thrive.

This kind of travel can be mutually beneficial, a way for local cultures to evolve and endure in the hearts and minds (and on the tongues and fingertips) of those who are lucky enough to experience this little country in the South Caucasus. wander-lush.org | karavanly.com

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SLOW MADE

wonders 1 If you're a tea lover with a curious nose for native Australian bush botanicals, the team at Warndu have curated a healthy, handblended collection of loose leaf herbal teas (pictured), using all native Australian ingredients. Warndu is an Indigenous-owned, lifestyle brand from Clare Valley, South Australia.

‘Warndu’ means ‘good’ in Adnyamathanha, (native language of Flinders Ranges Country).

Tea blends start at AUD$16.

Available at warndu.com 2 ‘BUSH’ is a meticulously-

crafted, large format, coffee-table book created

by Australian photographer and filmmaker, Sam Thies, who ventured to remote Queensland in 2020 to document rural life in outback Australia during tough times.

Far from the rose-tinted view of traditional Aussie life, this is a story of quiet and positive evolution, to remind others how the challenges of a harsh environment can shape character and forge a sense of unity, often missing in our fragile, modern society.

AUD$200RRP* + postage * $25 from each copy sold is donated to the Silver Lining School, Barcaldine, Queensland, Australia.

Available at samthies.com

*

In this edition we feature Sam's travel adventure to remote PNG. (Flick to page 38.)

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SLOW FAIR WISE KIND 3 AAKS Sinsi Dot bag is a fave summer pick and ideal for travel (whenever that happens). It's a perfect size and shape to carry daily essentials everywhere.

Details: Handcrafted in Ghana.

Woven raffia, 100% leather strap and linen lining with inner pocket.

H 15cm x W 24cm.

AUD$225RRP + postage Available in Australia on preorder at shibuiandco.com Full collection available worldwide at aaksonline.com

*

Click here to meet the founder and artisans behind AAKS, featured in SHIBUI Issue 7.

4 Happiness comes in

waves and in the beautiful baskets created by Baba Tree Basket Co. The Pakurigo Wave basket (pictured), is their signature design and shows the incredible craftsmanship of the artisans who expertly weave these baskets by hand. Various designs and sizes are available and the storage options are endless.

Prices vary.

Available at babatree.com

*

Read about the inspiring vision and artisans behind Baba Tree Basket Co. on page 8.

OF THE WORLD*

CLICK TO NOMINATE YOUR FAVOURITE SLOW MADE WONDER WITH US! * SHIBUI & Co. 'SLOW MADE WONDERS OF THE WORLD' curation is underway.

5 Breathe... it's been another big year. 'deeply'

by SHIBUI & Co. is a refreshing, anti-bacterial, travel-friendly, handmade blend to help inspire respiratory calm. Add a few drops to face mask or massage into chest and breathe… deeply.

100% natural. Certified organic.

Ingredients: Illicium verum (Anise), cymbopogon flexuosus (Lemongrass), melaleuca viridiflora (niaouli) leaf, myrtus communis (Myrtle) and thymus vulgaris (Thyme) therapeutic grade essential oils, diluted in a base of fractionated (unscented) coconut oil.

AUD$40rrp (20ml) + postage Available at shibuiandco.com 6 Whether for self love or for sharing the love with others, PURE LOVE AURIC SPRAY by Bali Pura is a beautiful way to start every day, harmonising the heart chakra to inspire a deeper sense of selfawareness and inspiring confidence to face the world with grace.

Details: Hand-blended with 100% pure essential oils, Bach Flowers and crystal-infused volcanic spring water from Bali. Cempaka, Jasmine and Ylang Ylang essentials highlight the love vibes.

AUD$48.00 + postage Available at shibuiandco.com

*

Click to read our interview with Sundar, founder behind Bali Pura.

7 MIssing Bali? So are we, but luckily the team at Aum Rudraksha Designs in Bali have created Mala Making Kits so that we can all enjoy designing our very own malas from Bali, in our own home.

In the absence of travel, DIY and craftmaking are more popular than ever. Designing a personalised mala for self or as a gift, is an extra special way to create a beautiful keepsake or meditation charm with more value and meaning. They also make a sacred travel talisman.

Kits available: Awakening, Balance, Healing, Inner Peace, Self love and Protection (pictured).

Details: Malas are made with rudraksha seeds. (Regarded as the timeless jewels of the Gods and used for centuries in Hinduism and Buddhism, for healing and selfempowerment.

Details: Packaging is 100% recycled and decomposable.

Kits available in Australia on preorder at shibuiandco.com Complete range available worldwide at aumrudraksha.com

*

Click here to read about the history of Rudraksha beads and meet the team behind Aum Rudraksha Designs, featured in SHIBUI Issue 8.

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* This product is available in Australia on pre-order at shibuiandco.com

2 3

4

Alamiah Abugre with her beautifully crafted Pakurigo Wave basket (tiny size pictured). Availalbe at Baba Tree Basket Co.

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SLOW MADE

workshops In the absence of travel SHIBUI & Co. is curating workshops in Australia.

UPCOMING… PALM LEAF WEAVING

hosted by Coco Creative Crafts SUNSHINE COAST, QUEENSLAND

MALA MAKING

hosted by SHIBUI & Co. SUNSHINE COAST, QUEENSLAND

CLICK TO REGISTER FOR MORE DETAILS!

SHIBUI STORE

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BLEND OF SEASON PRE-ORDER NOW! PROMOTION IN AUST. ONLY PURCHASE IN OCTOBER 2021 BATCH & DISPATCH NOVEMBER 2021

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slow travel

CRAFT & CULTURE TOURS SLOW travel IN Antigua, guatemala HOSTED BY Stela 9 TOUR GUATEMALA WEEK-LONG CRAFT & CULTURE TOUR dates November 5-11 2021 & MARCH 25 - 31 2022

interview with Jessica Bercovici (Founder & TOUR GUIDE, Stela 9) photography courtesy stela 9

GUATEMALA IS KNOWN FOR VOLCANIC LANDSCAPES, MAYAN HERITAGE, COLONIAL SPANISH ARCHITECTURE, COFFEE AND A VIBRANT CULTURE OF ARTISAN TRADITIONS. IF A LOVER OF TEXTILES, ANTIGUA IS THE ‘MUST’ PLACE TO VISIT AND JESSICA BERCOVICI FROM STELA 9 IS THE HOSTESS WITH THE MOST GENUINE SENSE OF ANTIGUAN LIFE, WITH OVER TEN YEARS WORKING WITH LOCALS TO CURATE ‘NEVER WANT TO LEAVE’ CRAFT AND CULTURE TOUR EXPERIENCES.

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GUATEMALA IS RENOWNED FOR VOLCANIC LANDSCAPES, MAYAN HERITAGE, COLONIAL SPANISH ARCHITECTURE, COFFEE (9TH LARGEST EXPORTER IN THE WORLD) AND A VIBRANT COMMUNITY OF TRADITIONAL ARTISANS SPECIALISING IN TEXTILE CRAFTSMANSHIP OF THE REGION. WHAT IS IT ABOUT THE ARTISAN CULTURE OF ANTIGUA THAT INSPIRES YOU TO SHARE THEIR WARES AND WAYS, AS TOUR HOST TO THIS REGION OF THE WORLD? I first spent time in Guatemala as an archaeologist and with my background in Anthropology, I was immediately drawn to these cultural traditions. It has truly been my life for the last 14 years and I only host these experiences because of our artisan partners at Stela 9. They’ve given me confidence as a host to create courses that introduce our guests to the rich cultural history of weaving, leatherwork, ceramics and plant-dyes in this magical country.

WHAT KIND OF TRAVELLER WOULD LOVE THE ‘GUATEMALA WEEK-LONG CRAFT & CULTURE TOUR’? WHAT ARE SOME OF THE HIGHLIGHTS? I believe this tour is for anyone who has an appreciation for the country that they are visiting and an interest connecting beyond the superficial layer of ‘general’ tourism. We’ve had such a diverse and vibrant variety of >

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individuals join in the past, ranging from students, educators, artists, small business owners and nurses. This tour is for anyone visiting Antigua with an interest in the local heritage and community culture and way of life.

AS THE HOST AND GUIDE CAN YOU SHARE A LITTLE ABOUT YOURSELF. WHERE YOU GREW UP? WHERE YOU LIVE NOW? HOW DID STELA 9 BECOME YOUR WORK/LIFE REALITY? I was born and raised in Los Angeles and first came to Guatemala as an archaeologist in 2007. It was soon after, that I began to collaborate with local artisans to produce handbags, footwear, clothing and homewares.

I officially launched my brand Stela 9 in 2010, and in 2014 I opened a store, airbnb and a café in Antigua, which unfortunately was closed in 2020 due to the global pandemic.

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THE TOUR IS IN ANTIGUA WHICH IS A UNESCO WORLD HERITAGE SITE. WITH SO MUCH OF THE OLD WORLD STILL EVIDENT IN THE LOCAL ARCHITECTURE, CRAFTSMANSHIP AND CUISINE, ANTIGUA MUST BE AN AMAZING PLACE TO VISIT. CAN YOU DESCRIBE WHAT IT FEELS LIKE TO EXPERIENCE THIS ANCIENT WORLD DURING MODERN TIMES? Imagine a river of cobbled-stone streets that run along walls in rainbow colours winding through a small town.

With over 30 cathedral ruins and vibrant local markets you will never run out of places to explore. It’s truly vibrant and buzzing with cultural life.

IS THERE A FAVOURITE MEMORY THAT YOU WISH TO SHARE? Our farewell dinners are always a favourite. I love to invite other local, small business owners to join in and share their colourful stories too. It’s such a great feeling to see these intercultural connections come to life.

WHAT ARE SOME TIPS FOR TRAVELLERS, TO HELP CREATE RESPECTFUL CONNECTIONS WITH THE LOCALS? Our workshops and classes are set up to introduce travellers to local artisans and their families. These experiences create wonderful opportunities to >

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SLOW STAY FAST FACTS: HOW DO WE GET TO STELA 9 ON ARRIVAL TO ANTIGUA?

FOR ALL BOOKINGS & ENQUIRIES PLEASE CLICK THIS PAGE.

All travel within the country is provided.

On arrival in Antigua, our driver Raul will be waiting for you and holding a sign, to take you to your accommodation.

WHAT DO WE BRING FOR THE TOUR?

Clothing should be casual, comfortable and cute. Antigua is cobble-stoned so leave heels at home! It gets hot during the day but cools down in the evenings so bring layers, a jacket and comfortable shoes.

(Sandals with straps and walking shoes are highly recommended.)

Average local weather in November ranges between 70-76°F and rarely falls below 60F. For a full list of what to pack visit stela9.com

WHEN IS THE BEST TIME TO VISIT?

Our tours are available in November 2021, March and likely, April 2022.

(May to October is the wet season.)

HOW DO WE BOOK?

It’s easy! You can book via our website and pay a deposit with payment plan, or pay the full amount.

For bookings visit stela9.com

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THE MAGICAL MOMENTS SHARED ON THIS TOUR IN ANTIGUA WILL STAY WITH YOU FOREVER.

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JESSICA BERCOVICI

get to know traditional craftspeople on a much deeper level. We spend wonderful hours with the artisan families, learning about their ancient skills and wisdoms, and we share meal times together which opens up engaging conversations and inspiring storytelling. It’s a beautiful way to see the world through their eyes. stela9.com |

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SLOW TRAVEL

WALK ON THE WISE SIDE slow travel in BALI, INDONESIA experience Astungkara trail hosted by Astungkara way interview with Tim Fijal (Founder)

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IF YOUR HEART YEARNS FOR MORE, PANDEMIC LIFE HAS JADED YOUR SOUL, OR A GETAWAY CALLS WITH PEACEFUL VIBES, HEALTHY FOOD AND FREEDOM TO WANDER IN TIME WITH A GENTLE BALINESE BREEZE, ASTUNGKARA WAY* HAVE CREATED A TIMELY PILGRIMAGE EXPERIENCE TO BOOST HUMAN SPIRITS AND RESPONSIBLE TOURISM RECOVERY FOR THE BALINESE ECONOMY. THE ASTUNGKARA TRAIL IS A SACRED WAY TO DISCONNECT FROM MODERN LIFE, CONNECT WITH NATURE AND SURRENDER ON BALI TIME. SOON WE HOPE! THE ASTUNGKARA TRAIL SOUNDS LIKE AN INCREDIBLE SLOW TRAVEL EXPERIENCE. NOT ONLY IS IT A BRILLIANT EXCUSE TO GET BACK TO BALI, BUT IT ALSO PROVIDES AN AUTHENTIC WAY TO TRULY CONNECT WITH LOCAL LIFE BY CONTRIBUTION. LIKE AN INCREDIBLE SELF-CARE/GIVEBACK CONCEPT THAT COULD REALLY CHANGE LIVES FOR THE BETTER. WHO WOULD REALLY BENEFIT TO DO THIS PILGRIM TRAIL? Thank you. This question really ‘gets it’. I think anyone would benefit from being a pilgrim on the Astungkara Trail. Humans are connected with nature. But for centuries, we have been interacting otherwise. Now is the time to relearn our place in the Universal chain, and what better way, than to walk on a pilgrimage trail to accelerate this ‘back to nature’ awakening. Right now, I believe humankind is craving this primal need globally.

Our Trail is for those who feel their heart beating for change. For reconnection with nature, community and with their food source. Bali provides precious time and space to disconnect from screens… slow down, notice more, and feel gratitude again for the miracles of nature. This is a chance to reconnect with self too. An inner journey while walking across vistas and distance is a beautiful thing to experience. I think people are really craving this kind of immersive travel experience now. > * Read more about Astungkara Way on page 52.

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Joanna Macy, an environmental activist and author, refers to this phenomena as ‘The Great Turning’.

I believe the time of awakening is now. The pandemic has exacerbated this great yearning in all of us somehow. A pilgrimage creates a way to synthesise this yearning in an honest and tangible way.

We’ve created the Astungara trail for travellers to authentically connect to this loveable island destination, while inspiring net benefit for local ecosystems and communities. The further you stray from the places where visitors to this island tend to congregate, the more your heart is warmed by the genuine smiles and warmth of people who are still so very connected to their land, which makes for a refreshing interaction to daily life, so far removed from the techdriven world. We hope our pilgrims will contribute to the regeneration in local communities and ecosystems, while reviving their own relationship with nature. There is no more profound benefit to be had than that!

WHAT DO YOU THINK A PILGRIM WOULD LEAVE THE ISLAND WITH, THAT IS DIFFERENT TO PREVIOUS HOLIDAY VISITS? We don’t want to spoil the surprises that await pilgrims on the Astungkara Trail, but we can say that the walk is curated in a way that allows pilgrims insights and connections with the true essence of Bali. This island is so very

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unique and abounding in blessings for the intrepid slow explorer. Our pilgrims can leave this island with the greater sense of having truly connected… with themselves, the local communities, with nature, and with an elated sensation of hope for a better future.

PLEASE SHARE SOME TRAIL HIGHLIGHTS ON THIS PILGRIMAGE JOURNEY? HOW LONG DOES IT TAKE AND WHERE DO GUESTS STAY? Pilgrims on the Astungkara Trail will experience the sensation of slowing down to feel their hearts beat in time with traditional Bali. By walking their way across beautiful vistas and rice paddies, and connecting ‘as one’ with nature, to discover the local way of life. For 10 days, the trail will meander a course of farms, gardens and coral reefs teaming with life. Pilgrims can participate in Balinese rituals, like planting, harvesting and cooking with locals and enjoying the local cuisine.

It’s an interactive learning experience, but there is also time to rest, reflect and enjoy the journey.

Much longer trails will be available in the future.

WHAT DO YOU THINK A TRAVELLER CAN GAIN MOST BY ENGAGING ON A MORE INTERACTIVE LEVEL WITH LOCAL COMMUNITIES? FOR US, THIS IS WHAT SLOW TRAVEL IS ALL ABOUT! The Balinese, and any other traditional communities in general have so much to share with so many ways to enrich

FOR ALL BOOKINGS & ENQUIRIES PLEASE CLICK THIS PAGE.

SLOW TRAVEL FAST FACTS: HOW MANY DAYS SHOULD ONE BOOK TO STAY IN BALI, TO INCLUDE THIS TRAIL?

We currently offer a 10-day trail with the possibility to extend to 13-days, (includes a 3-day marine conservation experience addon). Beyond this, pilgrims may wish to spend spare time before and/or after the trail, to connect with the plethora of beautiful places and people found all over the island.

WHAT SHOULD WE BRING?

a visitor’s experience. But a tragic missed travel opportunity is when one only interacts to experience local people in hotels or restaurants. In my experience, there has been nothing more moving in terms of connecting with local people than growing food together on their ancestral land.

The Balinese are so open to sharing their cultural heritage and knowledge.

Generation-old skills are still being practiced on a daily basis, which is not the case of many tourist destinations.

To get a glimpse into a way of life that evolves around community values and traditions, we can be inspired to live more simply, to live closer to our food, and consider why the Balinese smiles come so easily.

BALI IS SUCH A SPIRITUAL PLACE TOO AND THE BALINESE ARE RENOWNED FOR THEIR BEAUTIFUL SMILES AND HOSPITALITY. PLEASE SHARE A LOCAL TIP FOR TRAVELLERS VISITING THE ISLAND? SOMETHING HEARTFELT TO MAKE LOCALS SMILE. I’ve personally lived on this beautiful island for almost a decade now and one experience that has been really consistent with my interactions with

A good pair of walking shoes and sports sandals as back-ups, a large water bottle and a wide-brimmed hat. But the most essentials… an open mind, willing spirit and hopeful quest to feel transformed and inspired to contribute with regenerative action for the greater cause

IS THIS A VEGAN-FRIENDLY EXPERIENCE?

Absolutely! There is an abundance of delicious, healthy produce on this island to be harvested and consumed along the trail.

Our guests are encouraged to harvest and prepare their own meals too. We also cater for non-vegans.

Balinese people is the extent to which they take joy in being spoken to in their local language. Some foreigners will make an effort to learn Indonesian, the national language, but very few learn Balinese. To simply greet a Balinese local in their local language is a beautiful way to acknowledgment with respect to their local island culture, community and surrounds. It guarantees a smile every single time. astungkaraway.com |

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slow stay

under the ALGARVE sun SLOW stay IN portugaL bed & breakfast farmhouse of the palms interview with Frank & Veronique Persyn (owners) photography courtesy farmhouse of the palms

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FOR THOSE WITH ENVIABLE ACCESS TO PORTUGAL THIS YEAR, (OR NEXT), SOAK UP THE LAST RAYS OF ALGARVE SUNSHINE AT FARMHOUSE OF THE PALMS. THIS 300 YEAR OLD FARMHOUSE HAS BEEN THOUGHTFULLY PRESERVED AND CURATED TO FORMER GLORY WITH RESPECTFUL CONNECTION TO THE LOCAL HISTORY, ARCHITECTURE AND LIFESTYLE, SO TYPICAL TO THIS REGION. ALL WHITE-WASHED WITH OLD WORLD ELEGANCE AND RUSTIC CHARM FARMHOUSE OF THE PALMS SITS AT THE TOP OF A COBBLE-STONE HILL IN THE MIDDLE OF RURAL ALGARVE. NOT TOO FAR FROM ALGARVE'S FAMOUS BEACHES OR BUZZING FARO, BUT FAR ENOUGH TO FEEL A SENSE OF TRANQUILITY WITH HOSPITIBLE KINDNESS, AWAY FROM IT ALL.

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Photo Gina Spinelli

Photo Gina Spinelli

FARMHOUSE OF THE PALMS PRESENTS AN AUTHENTIC, SLOW STAY EXPERIENCE NOT THAT FAR FROM PORTUGAL’S MOST POPULAR COASTAL TOURIST TOWN, FARO. IN FACT, THE ALGARVE BOASTS SOME OF THE WORLD’S MOST BEAUTIFUL BEACHES! BUT WHAT DO YOU THINK MAKES THIS PART OF WORLD A CULTURAL TRAVEL DESTINATION? Although many come to enjoy the beautiful beaches of the Algarve, just a short trip inland will make you feel like stepping back in time: unspoiled nature parsed with sleepy villages, where the only excitement happens in the local café. Eastern Algarve has some pretty and interesting villages to visit. Like Tavira that boasts 30-something churches or Olhão with its white cubist city centre, or even Faro, with its well-preserved and what we consider ‘strongly underrated’, historic centre.

WHAT IS THE BEAUTIFUL FARMING STORY BEHIND THIS HERITAGE ESTATE? WHAT ARE THE TYPICAL FEATURES OF TRADITIONAL ARCHITECTURE TO THIS REGION? This Algarvian farm dates back 300 years and used to produce wine.

Unfortunately, little remains of this activity, but we can still imagine the slopes filled with vineyards and busy daily farm life. Typical of the region, the farm is a composition of several buildings around a central courtyard.

(In Portuguese we would call this a ‘monte'.)

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Photo Gina Spinelli

Thick stone walls, stairs made of beautiful natural stones, floor and roof tiles made from locally baked terracotta… all architectural features of this region. Also typical, a rooftop terrace (açoteia), as access for the locals to watch over the land.

We have converted the original rooftop terrace of our Farmhouse of the Palms into a suite for guests to sleep under the stars. Most of our suites have been converted keeping the original character of the farmhouse. Suite 3 sits adjacent to the main building, originally used as the servants house.

WHERE ARE YOU BOTH FROM? WHY HAVE YOU MOVED TO RURAL ALGARVE? WHEN AND HOW DID YOU STUMBLE ONTO THE FARMHOUSE AND, HOW DID YOU KNOW THAT THIS GRAND OLD ESTATE WAS AN IDYLLIC SETTING TO CURATE INTO ONE OF PORTUGAL’S MOST HIGHLY-RATED HOSTED STAYS? We are from Antwerp, Belgium and moved to the Algarve in 2014. We both worked in a bank, working long hours and living a normal life. We'd been playing with the idea of opening a B&B in a warm place but always postponed that decision. Drawn by its famous climate, but also by its spectacular nature and friendliest of people, we started looking for a house in Algarve as early as 2010. The birth of our son in 2012 was a catalyst in the sense that it made us wonder what place we wanted him to grow up in. > farmhouse of the palms S H I B U I

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Photo Gina Spinelli Photo Gina Spinelli

Photo Francsico Nogueiro

After looking for 3 years and numerous house-visits, we finally stumbled on the Farmhouse. It was a (rare), rainy day in February and of course, the Farmhouse did not look as it looks today, but we immediately knew this was the place. What convinced us were mostly immaterial things. The qualities you cannot build, like history, space and the wide-open views. In the period between 2014 and 2020, the Farmhouse was lovingly restored to what it is today… a sanctuary. A beautiful but unpretentious place. A place of kindness and serenity.

WHAT DO YOU THINK INSPIRES TRAVELLERS TO VISIT THE ALGARVE REGION THE MOST? Most travellers are initially drawn by the perfect climate and the wonderful beaches, but it doesn’t take long to also discover that in the Algarve hinterland, there are beautiful old villages, walk and bike trails, markets and fairs that celebrate local produce and artisanal wares.

THE GENTLE BEAUTY OF MUTED COLOURS THAT SURROUND THE FARMHOUSE CREATE A DREAMY SETTING TO UNWIND INTO A MORE TRADITIONAL WAY OF LOCAL LIFE. AS A GUEST TO THE REGION FOR THE FIRST TIME, WHAT WOULD BE THE BEST WAY TO IMMERSE INTO THE LOCAL WAY, DURING A STAY AT THE FARMHOUSE? Rent a bicycle and discover the hillside villages where time stands still.

Visit local markets, pottery and palm-weaving shops. Watch how olive oil is pressed or cork stoppers are made from cork bark found in this region.

WHAT DO YOU LOVE MOST ABOUT LIVING AND HOSTING AT FARMHOUSE OF THE PALMS? We never expected hosting people to be so rewarding. We have come to understand the circular energy that comes with genuine hospitality and kindness. On arrival, guests quickly surrender into the local rhythm, > landscape and comfort at the Farmhouse. Their appreciation and 90

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Photo Gina Spinelli

Photo Gina Spinelli

Photo Francsico Nogueiro

Photo Gina Spinelli

Photo Gina Spinelli

gratitude inspires us to create a unique, friendly and memorable stay.

We believe hospitality is less about the material things and more about what we can do to help create an authentic and enjoyable stay experience.

IF ONLY WE COULD CLICK OUR FINGERS TO BE 'POOLSIDE', SOAKING UP THAT DREAMY VISTA, SOWN WITH GENERATION-OLD KNOWLEDGE OF FARMING TRADITIONS. THIS IS A REGION WHERE THE LAND IS STILL WORKED IN THE SAME WAY THAT IT HAS BEEN FOR CENTURIES. WHAT IS THE REGIONS SIGNATURE CROP? IS THERE A LOCAL SECRET TO SUSTAINABLE LIVING THAT WE SHOULD KNOW ABOUT? The Barrocal region where we are located is fertile but hilly land, mostly used for fruit orchards, the occasional vegetable and avocado gardens, and goat herds. The Algarve climate and soil is ideal. There are not many fruits that would not grow here. This region is a healthy source for oranges, figs, almonds, olives, plums and carob. More inland, the cork tree is prevalent with cork harvesting season happening between June and September each year. Locals also love to make their own honey, which has a distinct orange, rosemary or thyme flavour.

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APPARENTLY THE ALGARVE GROWS THE OLDEST OLIVE TREE IN THE WORLD. PLEASE TELL US A LITTLE ABOUT THE TRADITION OF THE OLIVE OIL INDUSTRY. Olive trees grow well in a Mediterranean climate and olive oil is used in every household for cooking. Most people living outside city centres have several olive trees which are harvested every year in October. The olives are taken to local olive presses. (Some on a cooperative basis, others not.)

People can choose to receive the olive oil or sell their olives for money. Every village has an olive press. We love the non-commercial and local nature of these olive oil producers. Only the olives from local farmers are pressed and when all the olive oil is sold, everybody waits for the next harvest.

A FAVOURITE TRAVEL PASTIME WOULD HAVE TO BE WANDERING AIMLESSLY THROUGH VILLAGE STREETS TO STUMBLE ONTO A LOCAL MARKET TO TRY LOCAL SPECIALTIES. IS THERE A LOCAL MARKET NEARBY? WHAT WOULD YOU RECOMMEND FOR GUESTS TO TRY? There are fish and vegetable markets in most Algarve towns every day.

We love the sight of fresh, local produce… the fragrant colours and smells.

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SLOW STAY FAST FACTS: WHERE DO WE FIND FARMHOUSE OF THE PALMS?

We are situated between Corotelo and Funchais, in beautiful Algarve, Portugal.

The Farmhouse is nestled against a hill, with a beautiful view over São Brás de Alportel. The nearest airport is Faro.

HOW DO WE GET THERE?

By car, we are only 20 minutes from Faro Airport

WHAT DO WE BRING? Suncream and a smile

WHEN IS THE BEST TIME TO VISIT?

Between April and October

HOW DO WE BOOK?

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Photo Gina Spinelli

farmhouseofthepalms.pt

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RENT A BICYCLE AND DISCOVER THE HILLSIDE VILLAGES WHERE TIME STANDS STILL. VISIT THE LOCAL MARKETS, POTTERY AND PALM-WEAVING SHOPS. WATCH HOW OLIVE OIL IS PRESSED OR CORK STOPPERS ARE MADE FROM CORK BARK FOUND IN THIS REGION.

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town to sell their products. They may be the ugliest carrots or tomatoes but my goodness… they are delicious!

IF WE WERE TO HOST A DINNER PARTY LIKE A LOCAL, WHAT WOULD BE ON THE MENU? We would definitely start with Ameijoas Bulhão Pato, a long name for clams steamed in garlic and coriander. The Ria Formosa natural park of the Algarve, is most famous as a breeding ground for birds, but it is also an important cultivation ground for clams and oysters. We order our clams from local fisherman who collect the clams in the morning for us to serve fresh in the evenings.

Next we would continue with Cataplana, the most typical of Algarve dishes.

Cataplana is both the name of the dish and the name of the pot in which the dish is cooked, which consists of 2 half bowls closed together. This main > farmhouse of the palms S H I B U I

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dish is usually prepared with fish, seafood and vegetables, but many other variations exist. The ingredients are cooked by slowly steaming together in the cataplana over a low heat. This method of cooking gives the food a unique and characteristic flavour, which is finger-licking good, believe us.

To accompany the meal we would enjoy with a white wine from a local winery, made with Arinto grapes. To share with friends, we would enjoy a glass of Medronho, which is a local liquor made from the fruits of the Strawberry Tree (Arbutus Unedo).

WHAT ARE SOME LOCAL CRAFTS KNOWN TO THE ALGARVE REGION? Algarve is probably most renowned for its pottery and basket weaving.

It's good to see these traditional crafts being grouped with local associations, with the aim to teach young people so that traditional craftsmanship continues to be preserved in this region.

PORTUGAL MAY BE SMALL IN COMPARISON TO HER SPIRITED SPANISH NEIGHBOUR BUT THERE IS A VIBRANT CULTURAL MIX OF TRADITIONS AND CUISINE THAT ARE UNIQUELY PORTUGUESE. WHAT ARE PORTUGUESE PEOPLE MOST PROUD TO SHARE WITH VISITORS? We have come to appreciate Portuguese people as being modest and introverted in comparison to their Spanish neighbours. But at the same time, the Portuguese are probably the friendliest and most helpful Europeans we have ever encountered. Aside from Portuguese, most locals speak English and French when needed. They are proud of the rich history, culture and especially the beautiful diversity on offer in Portugal, and very happy to share these experiences with visitors.

The Portuguese have a thing for ratings and generally Portugal scores well with international rankings, whether ‘best wine’, ’best holiday destination’, ‘best beaches’, ‘best place to live’ etc., often making headlines in local papers. They are very proud of their country. farmhouseofthepalms.pt |

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WE TRAVEL IN TIME WITH TRADITIONAL CULTURES. SLOWLY. IF YOU LOVE SLOW MADE CRAFTSMANSHIP, SLOW STAYS AND SLOW TRAVEL EXPERIENCES SHIBUI & CO. IS CURATED FOR YOU. SUBSCRIBE TO JOIN OUR SLOW WORLD COMMUNITY TODAY. YOUR SUPPORT WILL EXTEND BEYOND SHIBUI & CO. TO HELP PRESERVE TRADITIONAL CULTURES AND RESTORE WORLD TOURISM IN A RESPONSIBLE MANNER. #shibuiandco #restarttourism #worldtourismday #unwto

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