Dear Valued Customer and our much respected following community,
We are excited to share important news regarding the evolution of our company and how this change will benefit you. Furthermore, we are delighted to announce that our company name will be changing as follows.
Our digital Platforms is up for a big change!
Our brand name will change as follows:
From Hippo Adventure Tours to Namibia-Adventures.
As such, please Note, Hippo Adventure Tours will still be operational.
Our commitment to our customers and partners remains our highest priority. By rebranding ourselves as Namibia-Adventures and becoming a complete closure solutions company with multiple product category offerings and diverse service brands, we believe that we are providing our customers with the best selection of free information.
What to expect:
– more specials regarding African Travel options throughout many, many more locations throughout Africa (not just Namibia).
We are also offering up a free advertisement for selected Tourist and Entertainment related locations and/or offerings*. Feel free to contact us should you wish to get the word out on our new upcoming Platform.
Expect a lot more Media coming your way. We are not closing down, we are just moving on to bigger things. Also, please note that this webpage is currently under construction!!!
P.S. Our Webpage Domain will still remain the same, https://www.namibia-adventures.com
P.S.2: We are working within the background to update our Website to get everything ready for you all. Watch this space! 🙂
* T&C’s apply
The Namibian environment can be divided into 5 biomes: the Namib desert (1), that occurs like a narrow strip along the Atlantic ocean coast. It is an ancient desert, composed of high sand dunes near the coast and gravel plains inland. There are scattered grass and specialized succulent plants with stunted Acacia trees in the rivers courses. The offshore Benguela Current is responsible for the cold fogs that may extend up to over 50 kilometres inland. The Noma bushy Karoo shrubland (2) is a typical semi-desert habitat which occurs inland of the Namib desert. It has poor and rocky soils with dwarf woody scrub. The succulent Karoo (3) covers the extreme South-western area between the South African border. It has many succulent plants adapted to the contrast between the hot and dry summers and the cool and rainy winters. 99 The generic arid savannah biome (4)is represented by mopane woodland in the North-western area and by thorn Acacia woodland in the central area. Both are open grassy habitats adapted to low rainfall and cold dry winters. The moist savannah (5) covers the eastern regions of higher rainfall and warmer winters (featured image – read below).
Leptotyphlops occidentalis (Family Leptothyphlopidae): It has a slender cylindrical body of light grey-brown colour. It is a small burrowing snake that lives in arid savannah and desert, where it burrows underground and it catches ants and termites. It is possible to find it from Kaokoland to the southern area – within the reptile habitat, it is accepted that this species is endemic of Namibia.
Psammophis (Family Colubridae): Many snakes belonging to Psammophis genus live in Namibia: they are commonly called ‘Sand Snakes’, ‘Grass Snakes’ or ‘Whip Snakes’. All have the head distinct from the neck and large eyes with two grooved fangs at the back of the eye. They are fast diurnal snakes and they mainly eat lizards, agamas and small rodents. They are common in arid scrubland and savannah. In spite of this speed, it was possible to recognize them through the many typical brown stripes along the body. For this reason, it is likely to think that one sees the Western Sand Snake (Psammophis trigrammus) or the Stripe-bellied Sand Snake (Psammophis subtaeniatus) or the Leopard Grass Snake (Psammophis brevirostris) in the northern area: precisely at Damaraland and Kaokoland. It is not excluded that they could be also the Striped Skaapsteker (Psammophylax tritaeniatus), which is present in that area. Very often the other two Psammophis in the central and southern area, exactly near Keetmanshoop and along the Namib Naukluft Park, often and most probably misinterpreted with the Karoo Sand Snake (Psammophis notostictus) or the Namib Sand Snake.
Naja nivea (Family Elapidae): The Cape Cobra is indeed very venomous elopid (neurotoxic venom), which lives especially in central and southern Namibia. It is considered endemic of the Southern African Subcontinent. Its habitats are mainly the Noma bushy Karoo shrubland, the thorn Acacia woodland and the Succulent Karoo. It is a slender snake with the variable colouration of the body, generally, which has its body of o light yellow colour. The ‘speckled’ phase of this specific snake is very beautiful and it is characterized by a bright golden-brown colour with a lot of darker flecks.
Naja nigricollis woodi (Family Elapidae): Also in the South of Namibia, the Black Spitting Cobra. It is widespread in the same zone as the Cape Cobra: it likes the rocky and arid Nama bushy Karoo shrubland. As with the Cape cobra, it is endemic of the Southern African subcontinent. Its venom is less dangerous than the Cape’s but the Black Spitting Cobra can readily spit it. It is uniformly black on all of the body.
Naja nigricollis nigricincta (Family Elapidae): Often encountered in the northern region, a Western Barred Spitting Cobra (Naja nigricollis nigricincta). This Snake is generally very fast and often hides under a heap of big rocks near roads or mountain hiking trails. They are very often a light colour with a lot of typical black bands on the body. This particular pattern attribute gives this Cobra the name of ‘zebra snake’. As with Naja nigricollis woodi, the Western Barred Spitting Cobra is also able to spit its venom, it is not as dangerous as that of the Cape Cobra. The Western Barred Spitting Cobra is also endemic of the Southern African subcontinent.
At Naja Etosha annulifera National anchietae Park, often found in the Okaukuejo Restcamp (Etosha National Park). The Snouted Cobra or Angolan Cobra (Naja annulifera anchietae): once it was called Naja haje annulifera but now it is separated from the species Naja haje and it is recognized as Naja annulifera. Only the subspecies Naja annulifera anchietae lives in Namibia, where it is quite common in mopane woodland, in thorn acacia bushveld and in moist savannah. It is also called the Western Snouted Cobra: the subspecies Naja annulifera lives in the great eastern region that includes South Africa, Botswana, Zimbabwe and Mozambique. Notwithstanding these changes of its technical names, it is still known with the most common name of Egyptian Cobra. In every case, this beautiful cobra is characterized by two morphs – the ‘typical’ one has the body of a yellow-grey colour, while the ‘banded’ one has some yellowish bands along its body.
Aspidelaps lubricus lubricus (Family Elapidae): In Namibia, there are three different subspecies of Coral Snake: Aspidelaps lubricus occurs in the southern area, Aspidelaps lubricus infuscatus in the central area and Aspidelaps lubricus cowlesi in the extreme North-western area hear Angola. All have a body of a reddish-orange colour with some black crossbands. They like the Nama bushy Karoo shrubland and the succulent Karoo habitats. It is still not clear if their venom is fatal for humans or not.
On a recent study via the Namibian Tourism Board regarding domestic tourism in Namibia, a conclusion was found that many respondents commented on the high prices of tourism services and accommodations. From the distributed questionnaire for a majority of Namibian locals, interviews, and observations, it was found that tourism in Namibia is focused primarily on the international market. This causes prices to increase beyond the affordability of many Namibians, which deters many potential tourists from travelling. Although the domestic tourism industry is currently not a major contributor to the Namibian economy, data analysis discovered that Namibians do spend money on travel but the amount spent and the amount Namibians are willing to spend differ greatly. If the Namibia Tourism Board and service providers do not fix this problem throughout Namibia, domestic tourism will diminish. Comments from responses to the questionnaires and interviews informed the third finding; the tourism industry does not cater to Namibians. The tourism industry in Namibia focuses on the international market. This creates a disparity in pricing and quality of services. The majority of guests are European, and only 31% of guests are Namibian. This percentage is at the unsatisfactory level. As stated, Namibians would like to see improvements in the tourism industry. Pricing in the industry remains a problem throughout the country and prevents Namibians from travelling. Poor quality of service and accommodations are also common complaints among tourists. If services are not improved, domestic tourists may not travel in Namibia (featured Image: Stock image)
As far as we know, the following solutions and projects are currently being put forth:
+ Conduct more research on domestic tourism
An NTB project has only just begun to determine the issues preventing the domestic tourism industry from expanding. Due to resource limitations, a small sample size was used in this study. Although the sample targeted the desired population of middle-class Namibians, the sample was not representative of the Namibian population as a whole. Several recommendations were made based on the collected data in order to improve the current domestic tourism industry; however, more research must be conducted before conclusive results can be determined. The Namibia Tourism Board should continue conducting research on the current state of domestic tourism in Namibia; specifically, the disposable income of Namibians and the amount of money Namibians are willing to spend on accommodations, activities, and transportation. This Project already seems to show some significant effects (click for more Info).
+ Improve marketing strategies
From observation and interviews, the majority of service providers focus marketing towards international travellers. Therefore, Namibians are unaware of the types of attractions and accommodations available to them at affordable prices. To improve this situation, it is recommended that the Namibia Tourism Board distributes literature to service providers regarding the importance and potential benefits of domestic tourism, as well as successful domestic advertising methods to attract more locals to their establishments. A sample brochure that specifically markets domestic tourist attractions is included in the full report. Combined with segmentation of the Namibian market, marketing and branding techniques can be applied to better target the population of potential domestic travellers.
+ Transportation service providers should establish a pass system
Transportation is an important part of any tourism industry but is a major problem throughout Namibia. As mentioned in the findings, the majority of domestic tourists travel by personal car because the bus and train systems are too expensive and often inaccessible due to scheduling issues. To help alleviate this and other problems, it is suggested that transportation service providers establish a pass system where individuals or families can pre-pay for a pass and receive discounts over a period of months. So in other words, by creating more affordable and easily accessible modes of transportation can encourage Namibians to travel more frequently.
+ Encourage service providers to accommodate domestic tourists
The first approach is to create an understanding of the importance of domestic tourism to Namibia’s tourism market. This should be done through the distribution of literature describing the seasonality of international and domestic tourist travel, as well as disposable income data outlining suggested pricing structures that locals can afford. If the literature does not encourage service providers to reduce pricing, thus increasing the percentage of domestic tourists engaging in leisure travel, an incentive should be introduced.
+ Improve the variety and accessibility of attractions throughout Namibia
As previously noted, Namibians would most like to visit natural attractions. The Namibia Tourism Board should begin to identify and market underdeveloped and underutilized nature-based attractions throughout Namibia. Since the significant majority of questionnaire respondents expressed a desire to explore Namibia’s vast landscapes and changing scenery, successful marketing of such attractions would greatly encourage more domestic travel. Again, attractions in Namibia need to be marketed to Namibians. By reducing pricing and advertising low-cost attractions throughout the country, domestic tourists will be encouraged to travel within Namibia.
If the situation with domestic tourism does not change, the market may cease. Currently, service providers are forcing Namibians to spend money outside the country or not at all which brings the economy down. As discussed in the findings, Namibians do travel, would like to continue travelling, and enjoy travel in their home country but are prevented from travelling more due to several limitations such as high pricing, lack of marketing, inaccessible transportation, and poor quality of services. Domestic tourists must be motivated to participate in Namibian tourism which can be accomplished through several recommendations. To reduce pricing, service providers must see the benefit of the domestic tourism market. Wide-Scale distribution of literature and comprehensive data must be made available to service providers throughout Namibia explaining the importance of domestic tourism. Marketing practices must be implemented that focus on the local domestic tourist market in addition to the international domain. Transportation, accommodations, and activities need improvement both in quality of services and pricing. These recommendations are a means to begin changes in the domestic tourism market; however, further research and years of improvements are necessary to develop the industry to a sustainable level. There is a great sense of national pride and love of their country among Namibians. Through making changes to domestic tourism in the upcoming years, the country can evolve and grow into a greater Namibia: a country belonging to the people.
One recommendation which has been addressed by the Namibian Tourism Board
+ Encourage Service Providers to Accommodate Domestic Tourists
One conclusion made based on the analyzed findings was the need for service providers to accommodate domestic tourists. As stated, only 31% of guests at Namibia Tourism Board registered accommodations analyzed are Namibians. This figure needs to be improved to have a sustainable domestic tourism industry. To encourage Namibians to travel, discounts and reduced pricing plans must be made available. To produce the most profit from the tourism industry, service providers currently focus on marketing and pricing techniques to the foreign market. While prices are affordable to foreign travellers, the cost is much higher than Namibians can afford or are willing to pay. The majority of Namibians spend an average of less than N$1,500 on travel, accommodations, food and activities each while on holiday. With the current prices of accommodations and other tourism commodities, Namibian travellers are forced to stay with friends and relatives or at other low-cost accommodations. This situation does not contribute to the economy because less money is being invested in tourism as prices increase and people are less willing to travel. First, the realization of the importance and potential benefits of domestic tourism needs to be established.
+ The conclusion:
The recommendation of a widespread campaign to inform service providers of the importance of domestic tourism is the first step towards improving pricing. The distributed literature should explain the importance of domestic tourism to Namibia and include statistics outlining the benefits of increasing the number of domestic tourist clients. Further research should be 66 conducted discovering the average prices of tourism establishments throughout the country, as well as the amount Namibians can spend, and be presented to service providers in a comprehensive pricing guide. Currently, businesses do not know the prices of their competitors. By forcing the release of this information, the market will become more competitive and prices may be driven down in an attempt to bring in the greatest possible number of guests. An incentive can also be introduced to motivate service providers to accommodate Namibians; however, this should only be done if there are insignificant improvements in the domestic tourism market as a result of the distributed literature. One incentive could be a subsidized rate for the levy tax charged by the Namibia Tourism Board in exchange for proof of compliance to a price reduction and marketing campaign.
If companies devise a pricing plan and implement an advertising strategy to market the new price reduction, some levy tax should be waved. To measure the effectiveness of this plan and to ensure the validity of its implementation, businesses will need to provide data showing a certain percentage of increase in domestic clients. This will not only convince the Namibia Tourism Board of the success of the program but results could be organized and distributed to nonparticipating service providers throughout Namibia to further emphasize the importance and benefits of domestic tourism. Paired with successful marketing techniques, the redistributed literature would be helpful to many companies and the domestic tourism industry.
The Zimbabwean stone sculpture is a singular phenomenon in the context of African Art. A similar type of art it has not met in any other African country. This art is also singular in that it practically from scratch, ie from any tradition was born and after about thirty years ago to dissolve into the anonymity of mass production for the market again began folklore. Today it is probably right to say that it is no longer the art direction is. There were the special circumstances of the history of the country who have contributed to the rise and decline. In the50s of last century, Southern Rhodesia, as Zimbabwe was then known, to the stage of the comparatively liberal multiracial experiment, at least in cultural terms.
In the capital Harare, a university and a National Gallery were established. The first director of the new National Gallery was the Briton Frank McEwen. His role in the development of the “new direction” cannot be overestimated. He had learned in the thirties in Paris, which impulses from the ethnic African art to modern European painting and sculpture emanated. His interest was to go to the roots themselves, seek out the creative powers of Africa and promote the positive atmosphere in Rhodesia, the development of domestic, as he thought unadulterated art.
It’s not to say so, that it has no plastic in front on the floor, where traditions of Zimbabwe. But the view of African art history of the last two thousand years shows that entire southern Africa compared with West and Central Africa was poor in artefacts. He was settled too thin. It lacked the great kingdom, the power of the ritual art of the past represented in the rule. Only in Great Zimbabwe, in the realm of Monomutapa, there had been cult figures made of a stone eagle. But their sculptural tradition has long gone down with the Empire. That these figures are cited in the context of contemporary stone sculpture, again and again, has to do with the need of the new government to strengthen the cultural self-esteem of the nation. Above all, the wrong job to do on the tradition with the marketing needs of the gallery. The “typically African” sells better.
Significantly stimulated and encouraged by McEwen developed in the mid-sixties, a scene of young talented African Stone Sculpture. Among the first Yoram Mariga, John Takawira, Henry Munyaradzi, Nicholas and Joseph Mukomberanwa Ndandarika. They were all later, the leaders of the new movement. McEwen asked the young artists to make art for art’s sake and to be inspired by their inner images and the myths of her people, the Shona. The concept of the Shona Sculpture was born. In 1965 the first work was shown abroad. 1968, works were shown in an exhibition at the New York Museum of Modern Art. The special exhibition at the Musée Rodin in Paris was international recognition. In their motives, these early works were quite African. In anthropomorphic figures, they often symbolized the belief in the original unity of man and animal. It played an important mythical eagle and monkey role. In its style, these works were often “archaic” or “primitive” and recalled the art of the Aztecs, Mayas and Eskimos. However, it would be wrong to speak of a unified style.
Instead, over the years developed the important artists own personal styles. Henry Munyaradzis minimalist design of the human head reminiscent of Paul Klee. Nicholas Mukomberanwas work seemed influenced by Cubism. When John Takawira could see a resolution expressive of the contour. Without a doubt, the artists were exposed to Western influences. The National Gallery has shown works by Picasso and Henry Moore and other important artists of European modernism, but also ethnic African art. It is pointless to argue about whether the sculptures, which at that time were, were typically African or not. Anyway, they were not traditional in the strict sense, nor really modern. They were something special, a synthesis, an experiment, just the Zimbabwean stone sculpture.
When Frank McEwen was the genuine inspiration from the wealth of collective unconscious, he refrained from the artist. Instead, he shielded them against the temptations was already emerging from the commercialization, poor work rejected as “airport art” (they were actually destroyed) and shifted his Workshop School to the country. In 1965 the white settler colony of Southern Rhodesia declared its unilateral independence from the British crown. The international sanctions imposed against the country then, not only economically isolated Southern Rhodesia but also culturally. But should it prove necessary for the new art as a blessing? It allowed the young artists the chance of a slow maturation on the right track. The growing reputation of the “Shona Sculpture” and the beginnings of interest from collectors offered the best sculptors of a sufficient material basis in order to establish themselves as professional artists living not only for their art but for them too.
Which matured at the time, could be harvested after the country gained independence in 1980. The eighties were the culmination of the movement but also the beginning of its decline. Numerous exhibitions abroad made known its most important representatives and encouraged them to experiment and to choose for their work larger size. Surfaces were trimmed raw. With new tools, especially harder chisels could be harder stones such as Spring Stone, lepidolite or Verdite editing and design easier breakthroughs. Young artists were joined to the movement. had studied Tapfuma Gutsa of Art in London, working in mixed media and often combined in his elegant works of stone and wood. Brighton Sango stone sculptures were abstract. They remembered nothing more in Africa. The term “Shona Sculpture” was unpopular with art connoisseurs as well as some artists. It almost seemed as if the Zimbabwean sculpture is alive enough to develop.
But after independence, also uses the problems. It was becoming obvious that the Zimbabwean stone sculpture was neither traditional nor typical African and not anchored in the country. She had neither public nor critical feedback from the local press. Even the wealthy new elite was not interested in that which spawned their most important artistic representatives abroad. The major annual exhibitions of the National Gallery were called but National Heritage Exhibition, but it lacked the artistic traditions, which were invoked in the name of the new nation. The quality of the pieces took off year after year, what the curators obviously did not prevent, to increase the quantity of the exhibits. Just as the market works. In the capital, were settling down numerous galleries, offering everything that increased the tastes of the tourists, whose numbers from year to year, in line. Because prices and sales were always started more young Zimbabweans who had no talent to copy what would sell. The result was a regrettable decline in quality, while damage to the reputation of the whole movement. In the nineties, this trend continued to the airport art. With the ominous decline of the economy, the plight of the African population grew in the cities as well as in the country. Those who did not work trying to get in the informal sector to stay afloat. On the way, flooding the mass-produced pieces that were at best craftsmen, generally cheaper but kitsch, the market and undermined completely, which had developed by then.
Today, a review is possible on the Zimbabwean sculpture. The leading artists of the early years nearly all have died. A marked generation of younger artists whose work is of artistic quality and creativity would be, could not grow under the described circumstances. The time was too short and the movement is too small, as this could have caused what constitutes generally the art of a country: continuity and change, individuality, while many references to the cultural and social environment. Too weak, the response in our own society, and was too much demand from commercial interests and tourism needs to be determined. The Zimbabwean situation has equalized in this respect, the other African countries.
More valuable now seem in retrospect, the work of the most important representative of the early period. Their quality has moved the name of Zimbabwean stone sculpture in the world in the first place. The originality and uniqueness of artists such as Nicolas Mukomberanwa, John and Henry Munyaradzi Takawira are undisputed, even if their work is based on a syncretism, on an ambivalent fusion of African tradition and European modernity, which gives the impression both of the familiar as the stranger. Today, as the movement has lost almost all their contours, such works usually come only from private collections on the market.
The advertisement featured in the catalogue of the Deutsche Kolonial-Ausstellung (German Colonial Exhibition) from 1896 ( ⇐ German Wikipedia Link) refers to one of the central players in African maritime travel. As the Hamburg trading companies stepped up their business activities along the western African coast in the 1860s, German influence also rose exponentially and ultimately culminated in the proclamation of German “protective rule” of Cameroon as a German colony. The subsequent increase in trade prompted Adolph Woermann (1847-1911) to first establish the Hamburg shipping company Dampfschiffs-Aktiengesellschaft (Woermann-Linie) under the roof of the C. Woermann trading company and, in a second step, the Deutsche Ost-Afrika Linie (German East Africa Line) in 1890 (featured Image shows a Woermann-Linie Promotional Poster – from Wikipedia). Complete Archive available at the Link mentioned at the bottom of this Blog Post.
Soon thereafter, freight service was complimented with the transport of passengers, by adding interim stops in European waters. initially, only a few passengers would use the service of the WoermannLinie with most of the Africa travellers being missionaries or merchants, and passengers under the age of 30 being the exception. Nevertheless, the transport of passengers would still remain more of a domain of the East Africa Line. Since a concerted effort was made to offer the travellers every conceivable amenity, however, high officials of the British colony service soon started joining the ranks of passengers. Around 1900, the German Empire signed a contract with the WoermannLinie to provide regular subsidized steamWorlds of Travel ship service with a maximum travel time of 30 days between Hamburg and the colony Deutsch-Südwestafrika (German South West Africa). In return, the shipping line was obliged to offer reduced rates for all government freight and passengers.
A similar deal was also struck with the German East Africa Line. As a direct result of the agreement, the Woermann shipping line came to organize German troop reinforcements during the colonial wars against the Hereros and Nama between 1904 and 1908. When World War 1 broke out, more than 50 steamships carrying over 190,000 gross register tons flew the flags of these shipping lines, which serviced 140 African ports and maintained 13 outbound lines from Hamburg. Every 36 hours a German Africa steam liner of the Woermann shipping line would leave European waters. After the war, only one small coastal steamer with 800 gross register tons remained in service and it would take until 1921 for Woerman to resume the regular service to Africa with his own ships. Among the multitude of companies and institutions that have contributed to the corporate archive over the course of more than a century, shipping companies make up a small but interesting portion.
Its press folders include articles from international newspapers and magazines on approximately 35,000 German and international firms. In addition, it maintains business reports as well as news reports on 14,000 private, state and supranational bodies, business associations, state institutions, scientific institutions and international organizations. Tue press folders are archived on the basis of geographic criteria, the decisive factor being the location of a company’s headquarters (for more Information click the included Link listed below on this Blog). The company’s first initials followed by a count allowed for further classification. Business reports and statutes make up about two-thirds of the material, the remainder being news articles, essays in professional journals, advertising, commemorative publications and other information.