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Ecotourism: Why I am headed to Hilton Head

16 Sep

One of my professional incarnations placed me in the role of magazine editor for a mainstream travel industry association. I was attracted to that position because of its three-fold offering of people, places and publishing: the extrovert in me loved meeting the people who made the travel industry go ‘round; the adventurer in me loved exploring new places and learning new things; and the editor in me loved being able to publish a monthly full-color magazine. In that role, I met an industry mentor who was like the Edward Abbey of ecotourism, and he started educating me about responsible forms of travel: ways of traveling that ensure there are environmental, social and economic benefits, what we call the “triple bottom line.”

There are many definitions of ecotourism, but it boils down to environmentally responsible travel to relatively undisturbed natural areas in order to enjoy and appreciate nature (and any accompanying cultural features, both past and present). It promotes conservation, has low negative visitor impact, and provides for beneficially active socio-economic involvement of local people in the areas visited. Most ecotourism is by its nature also sustainable, meaning it can be maintained over the long term because it results in a net benefit for the social, economic, natural and cultural environments of the area in which it takes place.

Once I started learning about these forms of travel, I was no longer interested in supporting most mainstream types of travel because they were not taking into account the environmental and social aspects of the triple bottom line, only the economic aspects. So from then on, I dedicated myself to responsible travel. But first I had to learn the ropes, and I got involved with several organizations in order to complete that learning curve. One of these organizations is The International Ecotourism Society.

The International Ecotourism Society (TIES as it is known in the travel industry), had its first North American focused conference in Bar Harbor, Maine, in September of 2005 and I went – flew there and rented a cottage and paid for my registration – all on my own dime (although my boss did give me the time off) knowing absolutely no one at the meeting. By the end of it I had met many of the movers and shakers in the sustainable travel industry, people who would become significant colleagues and friends for life.

Six years later, I’m headed to yet another Ecotourism and Sustainable Tourism Conference by TIES, this one in driving distance of Kentucky, which is a relief. As I did for the conference when it was held in Madison, Wisconsin, a few years ago, I have been working as a volunteer on the Advisory Committee, helping to plan the educational sessions and disseminate vital information to speakers. I will moderate/facilitate two sessions and be a panelist on one – and I am so psyched that all my professional responsibilities fall in the afternoon, which is when I am most revved up! Here is a taste of what my three days on Hilton Head Island will be like:

Day 1 Monday, Sept. 19, 3 p.m. I’ll facilitate/moderate Session 1.1 Mainstream Goes Green: Many Shades of Green.

One of the speakers on this panel is Jerusha Greenwood, Assistant Professor in the Recreation, Parks, and Tourism Administration department at California Polytechnic State University. I asked her how she got interested in her field.

“I became interested in tourism and natural resources when I was an undergrad at the University of Utah studying Environmental Studies. I was in a multidisciplinary class, and the geography professor who was teaching a session of the class started his lecture with a discussion about the Grand Staircase Escalante National Monument, which had just been established by President Clinton. This immediately became a hot-button issue in Utah, and a number of the students in the class were vehemently against it. They felt like their land was being ‘stolen,’ that what the president had done was unfair, and that jobs and economic opportunity had been taken away from a pretty poor region of the state. The geography professor talked about all of the alternative opportunities that were going to become available to the region, primarily in the form of tourism and outdoor recreation. Until that day, I’d held a pretty simplistic view of the interactions between humans and the environment, but the controversy surrounding the establishment of that monument made me realize that these issues are actually very complex. I ended up studying the support for tourism development to the Grand Staircase monument among the residents living nearest to it in a context of sustainable tourism development for my masters thesis.” Read my interview with Jerusha to get a glimpse of the issues she will address at the conference.

Day 2 Tuesday, Sept. 20, 3:30 p.m. I’ll be a panelist on Get a Step Ahead: Student-Professional Networking Session.

This session will allow students going into sustainable tourism to ask some questions of those who’ve been in the field for some time. TIES interviewed me for a blog to promote this ESTC session, and asked me what significant changes I have seen take place in my profession since I chose it. My answer: “While it was rare to hear talk of sustainability or ecotourism in the mainstream travel industry a couple of decades ago, now this language is fairly commonplace. That is indicative of both a paradigm shift in mainstream travel moving to more green thinking and also a general adaptation of greener marketing terminology where actual sustainable practices that take into account the triple bottom line may not yet exist. Simultaneously, we have more and more focus on sustainability in learning institutions, and more young people graduating with degrees in sustainable and responsible forms of tourism. These future leaders are charged with helping to make the entire industry accountable and to ferret out and dispel the green-washing that still exists.” Read the complete interview here.

Day 3 Wednesday, Sept 21, 1:30 p.m. I’ll facilitate/moderate Session 3.4 Win-Win Partnerships: Connect Locally; Grow Globally.

Ethan Gelber, one of the speakers for this session, is the chief communications officer for the WHL Group, the largest local-travel company in the world and a great example of driving business through local and global partnerships. I asked him how he got into the role.

“Although it wasn’t until a few years ago – at about the same time as the proliferation of niche travel labels (ecotourism, responsible travel, sustainable tourism, local travel etc.) – that I accepted being branded as a certain kind of traveler, I have always approached a voyage as something more than a holiday. Along the way, in addition to confirming a commitment to communicating with people across cultures, I discovered many facets of the travel industry. In the late 1980s I helped establish, manage and run trips for Blue Marble Travel, a European bicycle tour operator. In the late 1990s, I led a nine-month ‘Internet educational adventure’ called BikeAbout – the Mediterranean, billed as the first ‘wired,’ human-powered (bicycle), land-bound circumnavigation of the Mediterranean Sea. In the naughties, including a couple of years with the French Government Tourism Office, I pursued my passion for ‘alternative’ travel and writing about it, including as a Lonely Planet author. I have lived on four continents and journeyed (often extensively, often by bike) in 77 countries, all without a diminished sense of wonder at the beautiful complexity, but also fragility of the world.” My interview will give you a preview of the stories he’ll relate at ESTC!

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The Patrick McNeese interview, unabridged

23 Aug

A seminal figure in downtown Lexington’s art scene, Patrick McNeese is an accomplished fine artist, musician and film maker who has found a way to make his art into a business. He’s perhaps best known for his stylized series of oil paintings and two-dimensional mixed-media on paper portraying colorful pensive figures in a blend of post-modernist and Cubist style with nods to Chagall and Picasso. He describes his brand of original introspective music as “Appalachian Jazz,” in which he sings and plays edgy piano and rhythm guitar, usually complemented by others playing mandolin, fiddle and various percussion instruments. He’s recorded and produced three albums, “The Singing Bridge” 1989; “Me, Mywolf and I” 1993; and “Any Day Now” 2005, has a live album in the works, and has also extended his songwriting talents to composing sound tracks. In his award-winning career as a film maker, McNeese has not only art directed commercials, but produced, directed and edited three regional documentaries: Hemplands; Of Myth and Muse: Stephen Foster and My Old Kentucky Home; and Searching for Wolf Boy: The Art of Jimmy Gordon. He was also production designer and art director for the local feature film 100 Proof and a location scout for Simpatico, starring Jeff Bridges and Sharon Stone. This interview was originally published in a much shorter form in Business Lexington.

Frances: What choices have you made in order to live your life in such a way that you were able to make a living from your art?

Patrick: If you are trying to be independent and not take some prescribed corporate route, you have to do a lot of different things. From early on, I never thought about a single pathway. You keep yourself open to many choices within the area where your talent lies. As an artist, not only do you wear a lot of hats, you have to have about three different heads under those multiple hats. I have six or seven micro jobs. They are all very important; some of them bring me more income, and some of them bring me more satisfaction.

To have control, you are willing to trade a lot of other things. I live in the top of a building down here [in downtown Lexington], I’ve never owned a home; I’ve never really aspired to own a home. My wife Claudia is a painter and we never went after those kinds of things, thinking that freedom and flexibility and the ability to be creative and take those paths that present themselves was very important in the way to design a life.

Frances: What do you see as the relationship between art and the current state of our economy in this country?

Patrick: If you are going to be in the art or music business, you have to be an innovator; on some level, you have to embrace innovation. I’m going to take what I’ve been given, and I’m going to change it. That could be an act of arrogance, that could be an act of courage, however you want to frame it. I heard a great quote the other day: “The country demands bold, persistent experimentation.” This was FDR and he was talking about the depression, but that was his very short, and I thought very eloquent and true recipe for moving ahead and that’s true in the arts, true in trying to change the environment, trying to improve our business practices, the way we treat each other – everything.

At this moment, it seems like we are at this flash point where there is going to be an awakening – because the Styrofoam container bullshit is done, and the giant car and the burning up of limited fossil fuels. It’s the big slowdown. We have to change the way we do things, or we won’t be able to move ahead, we won’t be able to innovate.

As an artist, you are not working directly with the environment, you’re not working directly with the people that actually have their hands on the levers of power and can actually make those changes, but you are certainly like the pioneer kind of guy who at least, through his art, figures out a philosophical way to live that then translates into ways that improve modern life. Scaling back and simplicity, which sounds really painful to a lot of people, is a shared philosophy between the arts and the environmental and sustainability movement. How can we do more with less, how can we save our resources, how can we recycle everything we use? We can’t be throwing things away and keep living the materialist, consumerist life that our parents did.

Some artists go for the more practical, straightforward connection in terms of using recycled materials in their work, but my art comes from a more self-oriented narrative. Rather than literally demonstrating the connection between creativity and sustainability through my work, what I do and the way I do it, and what I have to do in order to achieve what I do means that I employ a lot of those same sustainable tenets, and I had to figure that out on my own by reading good books and having experience.

We are all like a bunch of cows standing out in a field, bored and frightened, mindlessly consuming, and anybody who can get their head up out of that modern day trap and do something different is really a breath of fresh air.

Frances: Do you consider Lexington an artist-friendly town? Put another way, is it easy or difficult to make a living as an artist in Lexington compared to other places?

Patrick: I would argue that the more involved, engaged, creative and open people are the people that like art. They want to dream a little bit. They want some sort of magic or almost religious experience that art provides. There is a mystery about art. If you make it, you’re very cognizant of that.

But struggle is implicit in that choice of being an artist. I wrote a song called “And I Will Struggle.” I will struggle through the days and nights; I will struggle all my life. It’s like a little prayer. If you sign up for this life, struggling is inherent. When art is derivative and only emulates something else, that’s people refusing to struggle.

In Lexington, there’s not a gallery system. You come in and, there are a few galleries, but it’s not New York City, it’s not San Francisco, it’s not Chicago – even Asheville has a better gallery system. The problem is a lack of audience, and in the visual arts sense it’s a lack of purchasing audience. So the visual artist is very dependent on a gallery that can market their work. For example, Marjorie Guyon is really the template of successful Lexington artist because she works here, but she’s been able to market herself elsewhere. She’s found galleries that support her work and her vision, and she’s done well.

The economy could improve… and actually the ‘90s was better than the present time; I was selling more work then. It’s like we have to lift up the level of the whole lake, and then that particular boat will rise.

Frances: How do you strike the necessary balance between immersion in your work, and marketing it?

Patrick: It’s a rare artist that can do both of those things well [at once] because a very different portion of the soul is needed [for each]. The artist that is a really good marketer I sort of don’t trust as an artist – and vice versa. I’ve tried to overlap it; I turn certain switches off per a period of time. I haven’t made a painting for a number of years; right now currently, I’m mostly a musician. But through the 90s I painted hundreds of paintings. I developed and finalized the style most people know me by and I still have a big backlog of original work that I haven’t sold; I was so prolific.

The best thing about marketing in the last few years is Facebook. You hit people like raindrops, again and again, and you have to be consistent. “The Face” is perfect for a visual person. Luckily for me, my paintings work in a little thumbnail: at first viewing you can look at those little faces and it works. People are driving by all this [marketing] at a high rate of speed; they’re scrolling through and it’s usually a visual thing that catches them. For the visual artist, Facebook is great because the visual hooks them. And then you can upload your music or films. It’s a great tool for the small producer/creator who wants to bring 40 people to a show or sell a painting. It’s the hygienic of marketing: you are doing something every day to market yourself, like flossing your teeth. I’ve sold more paintings in a year and a half on Facebook than in the five years prior, so it’s visceral. The computer is a great tool to build community, and art can ride on that.

Frances: Over the years, you’ve been playing more and more live music in Lexington; in fact, that’s how we first met when I saw you play at Shakespeare in the Park in the mid ‘90s. How do you get your gigs, and how do you feel music as an art form contributes to social development in Lexington?

Patrick: I shifted [from painting] to live music performance five or six years ago. I like it because it takes a lot of physical energy to perform and I like the community and the collaboration of it. And there are all these other non-artistic considerations that inform that decision: You realize you need a community, and ask yourself what kind of artistic work best builds community. And music has that quality.

In Lexington, I know all the players. I’ve been here so long; I have the rolodex. There are people who hire me for private parties. I played at Alfalfa’s every Friday night for ten years. One of the problems with being an innovator is, people want to buy a known product. And they’ll ask, “What do you do? Is it like this?” And my response is, “Well no, it’s not like that.” Also, the cultural scene has been dictated by college students – that’s been a limiting factor. Natasha’s is a wonderful example of trying to do it right from the artist’s point of view. It’s a good marketing gig because it’s high profile; they do a great job of marketing. The Lexington Area Musical Alliance (LAMA) is a great new thing that’s going on that goes right to what we are talking about; it was created expressly to support local music production and performance.

Music right now because of its communal sense is a real important thing. People know how music makes them feel and they know that that’s important. These guys are in front of you live, making this thing happen, and you see the mistakes, you appreciate the humanness of what is going on, with its triumph and its potential disaster. It really is how church functions. We come together and we acknowledge certain things and reaffirm them amongst ourselves and these guys on the stage are going to create something under the threat of failure. That’s a magical moment and that’s truly music making. [My] next album is going to be live. That live feeling is real important.

Last night I saw Big Maracas playing right down the street from me here. A guy from South America, Enrique, came up here and taught all these guys all these Latin rhythms and it’s like you’re in Havana, and it raises my blood! That’s my favorite band because I’m just instantly made happy. Everybody was just gyrating: young people, old people, people who had some money and people who looked like they didn’t have money – and everybody was in communion.

Frances: How has Lexington’s relationship to art matured since you started out, and what draws you to – and keeps you in – this city?

Patrick: When I started out downtown Lexington in the ‘80s, it was me and the lawyers – there were like three other artists. Now everybody is wanting to be an artist and talk about art and even a business magazine wants to talk about art because they see that, in a society that has a lot of problems, part of what we are doing is dying off so something else can grow, and art is the laboratory for that. There are those individuals that are bold and persistent and experiment. I responded to a certain reality around here that has its limits and I just bought into and accepted those limits and don’t always think about how they can change.

Central Kentucky’s my home and that is a powerful elixir to sip – and you want to make it work. I’m glad I stayed here, because there was a period where I left, and I always came back like a magnet. I’ve met a lot of good people. The woman I’ve spent the last 25 years with, Claudia Hatfield, an oil painter and chef, I met at the University of Kentucky in art school, so that’s a great benefit. I’ve had this primary relationship with somebody that is like me – that is an artist – and we sit at the breakfast table and we talk about what we’re confronting. They’re witnessing what you are going through and you’re witnessing what they’re going through. The value of that kindred spirit can’t be overstated as far as survivability goes.

To see more of Pat’s work and listen to his songs, become a friend on Facebook.

What’s cooking… in MY Kitchen?

21 Aug

While summer is still sizzling, I want to share with you some of my latest local recipes. But wait – before your mouth starts watering – it’s not what you think!

Although I totally appreciate food as an art form – and absolutely admire my friends who try their culinary skill at exotic dishes, artisanal recipes and ethnic cuisine – I might as well just come out and say it (for those of you who don’t already know): I don’t like to cook.

I basically just want to write.

MY kitchen is made up of words.

But food and words are not mutually exclusive. In fact, one of my favorite recent creations was written from an interview I did with local Kentucky chef and restaurant owner, Ouita Michel. I could relate to her comment, “For me as a chef, using locally produced foods gives everything that we are doing a sense of authenticity. At each of our establishments, we are expressing what Kentucky is today through the use of Kentucky artists and Kentucky farm goods and preserving old Kentucky locations.” In the travel industry, this is what we call “sense of place,” and it is critical to the authenticity of tourism product.

I wrote the piece for Business Lexington, the Kentucky Bluegrass region’s local business journal. Back in May, Editor-in-chief Tom Martin asked me to do some coverage of travel industry trends and sustainability issues, as well as profiles of interesting local figures as appropriate to fit each weekly issue’s theme. Here are some more of my articles from the past four months:

Aug. 19, 2011 interview with fine artist, musician and film maker Patrick McNeese

July 22, 2011 interview with Lexmark’s sustainability director John Gagel

July 8, 2011 overview of sustainable restaurant scene in Lexington

July 8, 2011 Lexington residents share favorite places to eat

June 24, 2011 overview of tourism trends today and tomorrow

June 24, 2011 overview of Lexington’s hospitality industry

May 27, 2011 tourism as an economic factor affecting sustainability

May 27, 2011 three ways businesses can be more sustainable

And so, while I may not love to cook, when it comes to mixing up ideas, flavoring them with just the right words, and baking it all into a delightfully tasty creation, I’m as talented as any chef. A blank Word document is to me what a clean kitchen must be to a culinary artist, a tabula rasa ready to become the palette for the next tantalizing masterpiece.

How can tourism be responsible? Let’s ask Ged.

23 Mar


I expend a great deal of energy supporting and promoting various forms of responsible travel, including types of tourism known as “ecotourism” and “sustainable tourism.” And so I often encounter the legitimate question: How can tourism be sustainable at all? Doesn’t it, by its very nature, contribute to the planet’s demise? You bring hoards of people into pristine natural areas, altering indigenous cultures, running roughshod over endangered species’ habitats, and releasing tons of carbon into the atmosphere with all the flights and other nasty forms of transportation.

Touché. True, if we all wanted to do the most sustainable thing possible, we’d each stay put, on our own plot of land, grow our own food, create our own homes, draw on natural resources for energy and building materials, manufacture our own supplies, and NOT travel, or at least not go very far from our respective communities. However, few of us in this day and age have the skills to go into the wild and live off the grid – much less the disposition to stay in one place. Whether international or regional, travel is how we expand our horizons, how we learn about the world around us. And, as long as we can, as an enterprising species, we are going to do it.

So, then, given human nature, the more practical question becomes: How can those who offer travel experiences ensure they improve the lives of the local people and the ecosystems their trips affect? Fortunately, there are many answers to this question. One of them is to build into the price of the tour funding that will go directly to conservation partners and programs that help the animals and the local people on the ground in the places visited. That is the approach taken by Ged Caddick, who runs Terra Incognita Ecotours. What follows is an interview I did with Ged last month for my Sustainable Travel International column, The STI Inner View.

Nominated for Best Tour Operator in the 2006 First Choice Responsible Tourism Award, Terra Incognita Ecotours is based in Tampa, Florida, and operates tours to Belize, Borneo, Brazil, China, Costa Rica, Galapagos, India, Madagascar, New Zealand, Peru, Rwanda and Tanzania. Gerard “Ged” Caddick founded Terra Incognita Ecotours in 2004 after more than fifteen years of working in expedition travel. Ged worked for Lindblad Expeditions as an expedition leader from 1992 to 2004, and for International Expeditions while living in Belize in the 1980s. He has led trips for the World Wildlife Fund, National Geographic Society and the American Museum of Natural History as well as many College Alumni groups, the National Audubon Society and the Smithsonian Institution. He has a Bachelor of Science degree in Geography from the University of Liverpool, and a Master of Science degree in Wildlife Ecology and Conservation from the University of Florida. As one can imagine, I had a hard time getting Ged to sit still for this interview as he’s usually on at least three continents each month. We spent a little time together recently when he had just returned from at trip to India setting the foundation for yet another ecotour.

Frances: Where were you in India and what did you see?

Ged: We were in Banhavgarh and Corbett National Parks and had some incredible wildlife experiences. We saw tigers and Asian Elephants on multiple outings, but also the monkeys called Common Langurs, Plum-headed Parakeets, Jungle Cat, Wild Boar, lots of Spotted Deer, Brown Fish Owls, eagles and much more. It was very, very cold in the mornings and hot in the afternoons. We will be offering India in early 2012, probably in February.

Frances: In a nutshell, what is the philosophy behind Terra Incognita Ecotours?

Ged: We are committed to making a difference to our guests and to the places we visit. Our commitment is to provide travelers with opportunities to participate in ecotours that explore the world with a sense of discovery and wonder, and to preserve our environment for future generations. We draw on our legacy of adventure, experience and knowledge to do this. And as we do so, we strive to create ecotours that are as enriching and memorable as they are comfortable and fun.

Frances: How did you decide upon the name Terra Incognita?

Ged: Terra Incognita was chosen as this was the term you saw on the edge of the maps drawn by early explorers to show that the edges of the map were undiscovered, uncharted or unknown land. I love the romance and idea of exploration this invokes.

Frances: How did the experiences and dreams of your formative years foster your leadership skills and shape your interest in travel and animal conservation?

Ged: I grew up on a small farm on the outskirts of Liverpool, the oldest of ten children! We had dogs chickens, geese, pigs and various other animals as pets, as well as horses for riding when I was a young teenager. Always being around animals and loving them, I dreamed of being a game park warden in East Africa, Kenya or Tanzania. I even applied for such jobs there as I finished University. I traveled a lot within the UK, to the Lake District every summer with my family and as a teenager all over England, Scotland and Wales, plus a couple of trips to France.

Frances: What was the event that first interested you in environmental conservation?

Ged: During my university days in Liverpool I spent vacations working as a volunteer for the “British Trust for Conservation Volunteers,” doing trail maintenance, cleaning old footpaths, canals and other such tasks.

Frances: Did you have a mentor who directly inspired you in terms of your ultimate career choice in working to protect animals?

Ged: My first job was a zoo-keeper at the Jersey Wildlife Preservation Trust, a zoo dedicated to captive breeding and conservation of endangered species. My mentor there was Gerald Durrell, the founder of the zoo.

Frances: How did you first get the inkling you wanted to work in travel or tourism?

Ged: In the mid 1980s, when living in Belize and working at the Belize Zoo, I started doing guiding for International Expeditions as they started tours to Belize. They needed local people who knew the wildlife and culture of Belize. It was then I realized how much I enjoyed sharing my love of conservation and wildlife by showing people natural spaces and species in-the-wild.

Frances: What were the challenges of living in Belize long-term and what did you love about it?

Ged: The biggest challenge to living and working in Belize was the isolation and the fact that simple tasks presented many more logistical challenges; communication, building, even getting supplies takes much more effort there. What I loved was that you could make a difference, that my work at the zoo was helping to change people’s perceptions of wildlife and nature in the country of Belize. You become a big fish in a small pond when working in a small country like Belize; when I was there, the population of the entire country was less than 200,000 people.

Frances: What were the things you most admired about Lindblad Expeditions? What elements of the job did you find challenging? Were there aspects of the travel experience you wanted to emulate when you started your own travel company?

Ged: My time at Lindblad was very enjoyable, and particularly important was the commitment to excellence. Dealing with “difficult” people was always the main challenge! I knew when I started my company it was going to be important that we made a positive impact on the places we visited, that we made a difference, that our presence was a force for good, for improved conservation efforts.

Frances: What are the greatest challenges and the greatest rewards of being a tour operator for you?

Ged: Attracting customers through marketing has been my biggest challenge – and I am still learning. The most rewarding facet of the work is helping the conservation organizations and other partners we work with in each destination.

Frances: Empowering local people is a huge component of ecotourism and sustainable travel. Give an example of seeing local people become empowered as a direct result of your tours.

Ged: On our Rwanda trip last September, many of the group were so moved by their experience they asked what they can do to help the kids we met around the Virunga Lodge where we stayed. Most of these children attend primary or elementary school as that is required by the government. But high school is elective and costs money, so many bright children do not continue their education as they simply cannot afford to. I have been sponsoring three children through high school, covering their fees and uniform costs etc. Well, many in the group wanted to do the same; they asked about each sponsoring a specific child. So on the next trip in December, I personally took over some funds gathered by these clients to sponsor about eight kids through a year of high school. And we’ll continue to do this sort of thing on a yearly basis.

Frances: Can you describe an “aha!” or “wow!” moment where your clients really “got it” in terms of ecotourism?

Ged: Every single time we take people to see the Mountain Gorillas in Rwanda, people experience an “Aha!” moment, they realize their presence is helping to save the Gorillas. Every single trip, someone is reduced to tears by the moment. I have had similar experiences when we see Pandas in the wild in China.

Frances: And I understand you got to meet someone very special last summer while on a tour to Gombe National Park in Tanzania. Can you tell us about that as a closing anecdote?

Ged: We were so fortunate last July to be in Gombe simultaneous to Jane Goodall being in Gombe, simultaneous to the 50th Anniversary of Jane’s pioneering work in Gombe and simultaneous to the visit of Lara Logan and the 60 Minutes film crew as they interviewed Jane and filmed the Chimps. Indeed several times we found ourselves being filmed by the 60 Minutes crew on the trails as we met Jane, and again as we arrived outside Jane’s house on the shores of Lake Tanganyika when we actually joined Jane for sunset cocktails! So we sat glued to the TV one Sunday night in the fall for the airing of 60 Minutes to see if we made the episode! We did not make the final cut, as not surprisingly the focus was on Jane, her research and the Chimps, not on our small tour party that overlapped so fortuitously with this filming! But we are in a behind-the-scenes clip that you can see at this link (the Jane Goodall segment begins at about the 8:15 mark).

To learn more about Ged Caddick and Terra Incognita Ecotours, please visit the company’s web site and follow them on Facebook.