The Ecology of Gibb’s Farm

Cultural Safari

INTRODUCING A CULTURAL SAFARI

The traveler who arrives at Gibb’s Farm embarks on a Cultural Safari. It is a journey to a place were you can interact with all the people who live there, a place where you can find the contemporary farming culture and village life of Northern Tanzania, and a place where you can find local craftsman, artisans, naturalists and local indigenous healers.

FARM LIFE IS REPLETE WITH CULTURAL PHOTO OPPORTUNITIES

The still camera – or paint brush – captures architecture, portraiture and still life. The video captures the indigenous ceremony and daily village experience. The first such experience is like a journey. In the bush, the Land Rover ride down the track to view a “cultural boma” (reproduction of a residential compound made for display purposes only) has been taken by many for years. At the conclusion the Land Rover inevitably returns to the lodge with some game viewing on the way. The journey is short and abruptly ends with a “sun downer” cocktail. The visitor is simply in transit. The experience is framed. The frame does not relate to the cultural experience. It does nothing to prepare the visitor. The ignorant visitor remains ignorant.

The “cultural boma” is reduced, at best to a curiosity, at worst to a mystery. The wood carver works to create curiosities for the tourist’s mantelpiece and not the useful objects for the family. Sadly, much of African village life has been forever altered to accommodate the rhythms of a modernizing economy and the tourist. The drums are silent between tourist show and the legend or story the dance tells is forgotten. Like the tourist, village youth now have little grasp for the story’s tradition – the performance has been reduced to simply a job and photo op.

The wood carver whose labor once spoke for family now advertises duty-free wares in the airport lounge. The tourist’s photo requires the story and habitat’s natural context. The experience and its framing must be related. The tourist desires preparation and meaning for the experience and photo imagery to be complete. The tourist is longing to be a resident not a transient. The tents or cabins of Africa permit a (brief) residency deep within the natural habitat. Gibb’s Farm is an example where the trend has been successfully reversed by re-establishing the original purpose of the activities. The wood carver’s labor once again speaks. The farmer’s efforts are sustainable and in harmony with the environment.

AUTHENTIC AND PURE OR CONTEMPORARY AND APPROACHABLE

A weekly opportunity exists, depending on weather and other factors, for the traveler to join the Gibb’s Farm resident community for dinner in the forest. We call this the Forest Dinner. It is held in Namyak Village on the estate’s west side. For some the unique opportunity to share a meal with a resident naturalist, traditional healer, artist or one’s own guide affords a memorable free-spirited communication with the community. (One doesn’t travel all the way to Africa to have dinner with fellow travelers.)

The cross cultural exchange allows for legend and story telling, goat roasted around an open fire, mealtime with interesting members of our community. Its an honest way to share. The traveler comes away with a more intimate understanding of what makes North Tanzania so compelling.

In the Mikawahani Village on the east side of the estate a nightly fire is lit to ward away the elephants (tembo) from the acres of vegetables. For years this tradition has occurred under a stately albizia tree situated along the Ngorongoro Conservation line. Here (and elsewhere) early evenings are a perfect time to reflect. Naturalists, farm managers and indigenous healers take turns doing daily half hour presentations at the Tembo Fireplace or the Farmhouse. Indigenous medicine, the history of GIBB’S FARM, animal behavior, birds and flora are all possible topics for discussion. A good time to ask questions and get to know some of the talented and knowledgeable people in our community.

Travelers tell us these encounters are highlights of their trip, not because they are utterly authentic (they are not - if they were few would understand or wish to participate in them) but because they are set in contemporary contexts and are therefore very much approachable.

The Oral History Project of the Living-Museum has begun with a handful of videos, right. Below is an example about the Legend of Alcohol. Others are available here.

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Above: Video of the Legend of Alcohol shared at the Forest Dinner. Other topics have been captured by the Oral History Project.

Video of resident Naturalist Sanguyan helps an elder share the legend of the Origin of Maasai Cows at Tembo Fire.