Travel Reference
In-Depth Information
Architecture
While most visitors to Namibia have already set their sights on the country's natural won-
ders, there are a surprising number of architectural wonders to discover as well. Striking
German colonial structures continue to stand as testament to the former European occupa-
tion of Namibia.
While most of Windhoek has modernised with the chock-a-block concrete structures
that typify most African cities, there are a few remaining colonial gems. Towering over
the city is the German Lutheran Christuskirche, which masterfully uses local sandstone in
its European-leaning neo-Gothic construction. Another notable structure is the Alte Fest
(Old Fort), which was constructed in 1890 by Curt von François and his men to serve as
the barracks for the German army. It remains the oldest surviving building in the city, and
now serves a much more peaceful function as the National Museum.
Of course, if you truly want to experience the shining jewels in Namibia's architectural
crown, you're going to need to head out to the coast. Here, improbably squeezed between
the frozen waters of the South Atlantic and the overbearing heat of the Namib Desert, are
the surreal colonial relics of Swakopmund and Lüderitz. Walking the streets of either city,
you'd be easily forgiven for thinking that you were in a Bavarian dorfchen (small village),
albeit one on the African continent. Somewhat forgotten by time and history, both cities
are characterised by a handsome blend of German imperial and art nouveau styles, which
become all the more bizarre when viewed against the backdrop of soaring dunes and ra-
ging seas.
Dance
Each group in Namibia has its own dances, but common threads run through most of
them. First, all dances are intended to express social values, to some extent, and many
dances reflect the environment in which they're performed.
Dances of the Ju/'hoansi (!Kung) men (a San group in northeastern Namibia) tend to
mimic the animals they hunt, or involve other elements that are important to them. For ex-
ample, the 'melon dance' involves tossing and catching a tsama melon according to a
fixed rhythm. The Himba dance ondjongo must be performed by a cattle owner, and in-
volves representing care and ownership.
Specific dances are also used for various rituals, including rites of passage, political
events, social gatherings and spiritual ceremonies. The Ju/'hoansi male initiation dance,
the tcòcmà, for example, may not even be viewed by women. In the Kavango and Caprivi
region, dances performed by traditional healers require the dancer to constantly shake
rattles held in both hands. Most festive dances, such as the animated Kavango epera and
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