The Effect of COVID – 19 on African Tourism

By Dilyara Shantayeva – Art in Tanzania internship

Tourism is an important economic sector for Africa. According to the United Nations World Tourism Organisation, Africa received 71.2 million international arrivals in 2019 amounting to about US$ 40 billion in revenue. This represents a 4 percent growth in arrivals over that of the previous year. Tourism has witnessed sustained growth on the continent as governments continued to pursue it as a viable economic option due to its contribution in terms of jobs, revenue, foreign exchange, and infrastructure.

Africa is increasingly becoming a preferred destination for many international tourists looking to enjoy its sunny beaches, ecotourism products, national parks and safaris and exotic culture and food. Unfortunately, the projected growth of between 3 to 5% in international arrivals for the continent cannot be realised: like every continent, Africa’s tourism industry is shattered, and the inflow of the tourist dollar has ceased due to the impact of COVID-19. The highly contagious spread of the coronavirus ultimately stopped most of the traveling to many touristic destinations is still causing many discrepancies these days as well. This article will overview the main effects of COVID – 19 on African tourism.

“We live in very challenging and uncharted waters at the moment,” says Nigel Vere Nicoll, President of the African Travel and Tourism Association (ATTA), an organization which he founded 25 years ago. ATTA has around 700 members in Sub-Saharan Africa, split relatively evenly between buyers – such as tour operators – and suppliers (hotels, lodges, and transportation companies). In the interview with the journalist from the Africa Outlook, he mentioned that one of the biggest problems currently facing the industry is confusion over cancelled bookings. Travellers who’ve already booked the tours and tickets and the situation have changed very rapidly, they have loads of questions concerning refunds, re-bookings, and other related issues.

He also mentioned the economic issues that Africa had encountered during the pandemics: “Take one small boutique lodge in Africa with, say, 10 rooms,” he says. “They would employ about 50 people, but their extended suppliers – so, the person who does the laundry, or brings in the eggs every day – probably equates to around 1,000 extra people. If that lodge packs up, then 1,000 people have no income.”

There are also other, less obvious effect: In Kenya, for example, many conservancies have been established on land belonging to the Masai Mara peoples. They remove their grazing cattle from the land and lease it to organisations building safari lodges that conserve it for wildlife, the revenue from tourists providing an income to the Masai people.

“That model works fine until there’s a nonessential travel warning, and then no money is coming in and they can’t pay the Masai,” Vere Nicoll adds. “One my closest friends has just been to see one of the chiefs and explained the situation, telling him ‘we’re going to go on paying you out of reserve funds, but we don’t know how long this is sustainable for.’

“If this goes on for a long time, all this work on conservancies will be put in jeopardy, because if the Masai don’t get revenue then their livelihood is at stake.”

So, what is the solution? How can the African tourism industry keep going?

Vere Nicoll believes the answer lies in domestic tourism. As there are such low levels of COVID-19 within many African countries now, travel is still possible.

“It’s not possible to cross borders within Africa, because they all have the same warning on, but it is possible to create domestic tourism,” he explains. “In fact, this is an amazing opportunity to create cashflow for survival with the local market. Kenya, for example, has a huge number of Europeans living within the country, who could become domestic tourists.”

Another saving grace is that it’s currently low season in East Africa, so tourism companies and hotels in that area anticipate having fewer customers this time of year. Some smaller safari lodges are even closed, ready to reopen for summer’s high season.

“What we are hoping is that tourism will recover in the English autumn, and they’ll have the chance to get some bookings in the late season, leading up until Christmas,” Vere Nicoll says. “If it lasts any longer, we’re in a totally different ball game.”

However, he concludes our conversation on a note of optimism. “The bottom line is that the tourism industry is very resilient. It always has been. We’ve been through many problems over the years, especially in eastern and southern Africa, and we’ve always come through in the end.

“I think the industry will come out of it much stronger. A lot of relationships will be built up. And I think that once the coronavirus goes, if it’s a short-term thing, then the industry will bounce back tremendously.”

In general, the tourism industry has been heavily impacted by the pandemic as people’s economic lives are halted and their freedom of movement curtailed. Chiefly among these impacts on African economies is the reduction in foreign income. With the closure of the world economy and the associated redundancy as well as closure of international borders, international tourist inflows into Africa have ceased.

The United Nations World Tourism Organisation (UNWTO) indicates that international tourist arrivals to Africa decreased by 35% between January to April 2020 as a result of the pandemic. Countries such as Gambia, South Africa, Egypt, Kenya, and a host of others that are heavily dependent on the expenditure of international tourists have witnessed dwindled injections of tourism-based foreign income. Equally, and associated with this, is the closure of tourism businesses. Tourism businesses are forced to close either because of internal measures to help stop the spread of the coronavirus or directly because of the absence of tourists.

Either way, the closure of tourism businesses such as hotels, attractions, travel and tour operations, food and beverage services, and other support businesses have resulted in massive job losses across the tourism industry in Africa. Both direct jobs that are primarily targeted at serving tourists and those in the value chain have all been impacted.

Ultimately, the closure of tourism businesses coupled with massive job losses have resulted in the reduction of corporate and individual income tax revenue to African governments and thereby affected their abilities to provide the required public services and infrastructure. Such tourism-dependent African economies are therefore compelled to increase their borrowing, thereby spiraling their debt burden and potentially perpetuating their poverty cycle. For instance, South Africa, a country with a significant tourism sector, for the first time in its history took a loan of US$ 4.3 billion from the IMF. Interestingly, this amount is less than its annual foreign income from the tourism industry.

Similarly, countries like Ghana that has tourism as its fourth foreign income earner, contributing more than over US$ 1 billion a year, have contracted a US$ 1 billion loan facility from the IMF. This has become an all too familiar story across the continent with many African countries with significant tourism industries losing out on tourist dollars.

While tourist dollars have stopped flowing to the continent, for the time being, there is hope, with the UNWTO indicating that confidence in recovery in Africa remains very strong compared to other world regions.

To achieve this, there is the need for the gradual easing of lockdown measures, including the opening of international borders, to allow the inflow of international tourists. Also, African governments should institute safety protocols to guarantee the safety of both tourists and employees at the ports of entry into individual countries, and at tourism facilities and attractions. And African governments through their national tourism organizations can begin to bundle their tourism products to reduce the cost of travel.

The bundling can be done to cut profit margins on individual tourism elements and therefore reduce the overall cost. This will also have the advantage of compelling tourists to visit many attractions and stay longer and thereby spend more at destinations. Tourism facilities can also offer discounts or complementary services to entice customers, especially domestic tourists at the initial stages of re-opening.

Further, there should be aggressive marketing of African destinations in international circles to re-assure Western and, to some extent, Chinese tourists about visiting Africa once more. Lastly, African governments can offer tax exemptions and holidays to tourism businesses to help them recover from the consequences of the pandemic. Such tax holidays and exemptions will help them grow back their earnings into their businesses to recover and grow in the short term.

A fashion designer volunteers her skill in Tanzania and gains an experience of a life-time

Volunteer Emilie Bendix Hansen at the volunteer house in Dar es Salaam

Volunteer Emilie Bendix Hansen at the volunteer house in Dar es Salaam

Written by Saara Kanula (Finland)
Edited by Lynne Hambury (South Africa) (Originally published on Apr 24, 2014)

Emilie Bendix Hansen is a 22 years old girl from Copenhagen, Denmark. She has been dreaming of coming to Africa for many years. She finally made her dream come true last January when she came to volunteer at Art in Tanzania (AIT).

As a volunteer Emilie has been teaching English in a nursery school in the mornings and Adult English in the afternoons – this is a typical type of volunteer project in AIT. Depending on one’s education, background and interests, one can participate in many other projects made available by AIT. In Emilie’s case, besides teaching, she found a project where she could use her professional skill as a fashion designer.

Emilie graduated last December from Teko Design and Business school and has been designing women’s clothing for Lolly’s Laundry in Denmark. While volunteering  Emilie designed clothes for Art in Tanzania. These items will then be produced by the Getting Older is to Grow (GOIG) Society – a certified Fair Trade producer of unique and sustainable handcrafted products. A non-profit organization founded in 1991, GOIG’s mission is to enable disadvantaged children in Tanzania to reach their full potential through receiving a quality education relevant to their needs. At GOIG the youth is trained to produce quality traditional handcraft products for internal and external market access.

During its start up in 1994 through to 2005, GOIG received significant financial and technical assistance from the Finnish Handcrafts Society and FINNIDA. Now GOIG is collaborating with AIT and producing items for their Fair Trade shop in Dar es Salaam and online shop in Finland.

I had a chance to meet up with Emilie and ask her few questions about her design work at GOIG.

How did the idea arise to design clothes for Art in Tanzania?
The idea came about during a conversation with a team leader at AIT. After finding out that I was a fashion designer, the team leader told me about GOIG and suggested a possibility of working with them to produce a clothing line. I took some time off from my teaching projects and then started designing women’s clothing together with GOIG.

GOIG Modern Schools situated in Dar es Salaam

GOIG Modern Schools situated in Dar es Salaam

How did you find working as a designer in Tanzania?
I knew that would be different from designing in Denmark and before I started I couldn’t really imagine what it would be like. Everything works so differently in Africa compared to where I come from. I came to Africa with an “open” mind but still found some unexpected things. This is not a bad thing as it taught me about a different culture to my own.

The GOIG Society is a very nice organization and the people are very friendly. Just a few workers speak English so communication was a little bit difficult. Luckily I had a Tanzanian co-worker, Jessica, who was fluent in English. At first she was a little bit shy, but when I got to know her, I really liked her and enjoyed working with her. We designed the collection together.

GOIG is located in Dar es Salaam, about half an hours drive from the Bahari Beach volunteer house. The GOIG building is quite modest when one compares it to any of Denmark’s buildings. Working spaces are simple and equipment is quite rudimentary – Workers sew with very old sewing machines.

Staff members (sewers) at the GOIG Society

Staff members (sewers) at the GOIG Society

How does the work differ from a designer’s work in Denmark?
In Denmark students learn how to design clothes and most of the production is done in Asia. At GOIG the teaching concentrates on teaching women to sew, so all of the designed items are made here. The process of making clothes is really different too. I was surprised to see that the workers cut the fabric without a pattern to guide them. Sometimes the outcome works well, however there are many mistakes made and fabric is wasted. Workers have graduated from the GOIG vocational school and some of them are very talented. I was amazed when I saw Jessica making clothes from bed sheets! She didn’t cut the fabric or use any needle or string. All she did was place a few pins where needed and after five minutes there was a really beautiful dress! She is able to make many different styles of dresses like that. This is something I would love to learn. One of the really great things about this project is that I did not have strict guidelines to follow and was able to be highly creative with the collection.

The final product ranges from dresses to back-packs and bags

The final product ranges from dresses to back-packs and bags

From where did the inspiration for the collection come?
The collection, which includes twelve different design pieces, nine for women and three for children, was designed for Finnish markets. In the Women’s collection there are casual, beach and party outfits. We had some instruction about what types of clothes are in demand, but otherwise we could work very independently and be creative. Marjut Valtanen, a team leader at AIT co-ordinating the Fair Trade projects gave us some insight on what would be “IN” next Summer in Finland and that guided the designs. After designing the clothes Jessica and myself chose the fabric we would like to use. We wanted to use the best Tanzanian materials so we chose some ketenge, kanga and batik. The variety of the colours in local markets were amazing. We tried to use the kind of colours that would be suitable in Finland. In Tanzania women use lots of bright colours. Finnish people are more moderate in this respect, so we tried to keep that in mind. At this point the staff is making samples of the designs. I haven’t seen them yet, but I am excited to see what the outcome is. Our plan is that the collection appears in a market next summer.

How would you describe the experience of volunteering at Art in Tanzania?
I have had a really great time – There are many opportunities to see a lot and do many different things. I’ve experienced the school system, done some designing work, planted trees in the Moshi area, been on a safari, swam at the beaches in Zanzibar, taught kids how to swim and even attained a diving licence. Working here is so different from working in Denmark – it is a difficult environment, but really rewarding. Because things happen at a slower pace, I have learnt some patience. One needs to be laid-back and things will happen when everyone is ready. Akuna Matata!

Do you think that volunteers can actually make a change in Tanzania?
Yes, one makes a change by doing little things. For example when teaching in nursery schools, the kids are very happy when just learning new songs and playing different games. Some of the teachers have also adopted new teaching methods from the volunteers. This is a really good thing – some old-fashioned methods practiced before have been replaced with new alternative methods that have increased effectiveness. The most rewarding thing for me has been teaching Adult English. Students are very eager to learn and they are so grateful to get these lessons for free and they really appreciate it. Another great moment was when I taught children to swim and helped one little girl to conquer her fear for water.

What would you say to people who are planning to come to work as a volunteer in Tanzania? One cannot really not prepare for anything one will face here. The best advice is to be open-minded. It is definitely a worth-while experience not to missed!

For more information about the GOIG Societ go to www.goigsociety.org

Kindly contact Marjut Valtanen (marjut[at]artintanzania.org) for more information about volunteering in AIT’s Fair Trade projects.