Day: May 7, 2022

Growing African Mangrove Forests Aim to Combat Climate Woes

In a bid to protect coastal communities from climate change and encourage investment, African nations are increasingly turning to mangrove restoration projects, with Mozambique becoming the latest addition to the growing list of countries with large scale mangrove initiatives.

Mozambique follows efforts across the continent — including in Kenya, Madagascar, Gambia and Senegal — and is touted as the world’s largest coastal or marine ecosystem carbon storage project. Known as blue carbon, carbon captured by these ecosystems can sequester, or remove, carbon dioxide from the atmosphere at a faster rate than forests, despite being smaller in size.

Mozambique’s mangrove restoration project — announced in February alongside its UAE-based partner Blue Forest Solutions — hopes to turn 185,000 hectares (457,100 acres) in the central Zambezia and southern Sofala provinces into a forest which could capture up to 500,000 tons of carbon dioxide, according to project leaders.

“Blue carbon can be utilized not only to sequester tons of carbon dioxide but to also improve the lives of coastal communities,” Vahid Fotuhi, the Chief Executive officer of Blue Forest, told the Associated Press. “There are around one million hectares of mangroves forests in Africa. Collectively they’re able to sequester more carbon dioxide than the total annual emissions of a country like Croatia or Bolivia.” He added these projects would create green jobs and promote biodiversity.

Africa’s major mangrove forests have been decimated in recent decades due to logging, fish farming, coastal development, and pollution, leading to increased blue carbon emissions and greater exposure of vulnerable coastal communities to flooding and other threats to livelihood.

But the continent’s growing attention on mangrove restoration can be attributed in part to the successful Mikoko Pamoja project, initiated in 2013 in Kenya’s Gazi Bay, which protected 117 hectares (289 acres) of mangrove forest and replanted 4,000 trees annually, spurring other countries to also address their damaged coastal land and recreate its success.

Mikoko Pamoja, Swahili for ‘mangroves together’, centered its efforts around protecting the small communities in Gazi and Makongeni villages from coastal erosion, loss of fish and climate change. It was dubbed the “world’s first blue carbon project” and earned the community of just 6,000 global fame, accolades, carbon cash and greater living standards.

“Mikoko Pamoja has led to development of projects in the community, including installation of water,” Iddi Bomani, the village chairperson of the Gazi community, said. “Everyone has water available in their houses.”

“It especially leads to improved livelihoods through job creation when done by communities,” Laitani Suleiman, a committee member of the Mikoko Pamoja, added.

Several other projects have come to fruition since. In Senegal, 79 million replanted mangrove trees are projected to store 500,000 tons of carbon over the next 20 years. Neighboring Gambia launched its own reforestation effort in 2017, with Madagascar following suit with its own preservation project two years later. Egypt is planning its mangrove restoration project ahead of hosting the United Nations climate conference in November this year.

The projects have sparked a clamor for the sale of carbon credits, a type of permit that allows for a certain amount of emissions as remuneration for forest restoration or other carbon offset projects. Gabon was offered a recent pay package of $17 million through the Central African Forest Initiative due to its protection efforts, but complaints persist on the low prices offered to African governments.

“Africa remains excluded from a lot of financing available under climate change,” Jean Paul Adam, head of the climate division at the Economic Commission for Africa, said, adding that a lack of financing means nations on the continent are unable to build up their resilience to climate change.

He added that “nature-based solutions and advocating for a fair development price of carbon” would propel the African economy.

And the benefits of reforestation can be significant, according to Coral Reef Alliance’s Marissa Stein.

“Restoring and protecting our marine habitats plays a key role in maintaining the health of our planet,” she said, adding that mangroves alone store up to four times more carbon per hectare than tropical rainforests. The Global Mangroves Alliance also estimates that mangroves reduce damages and flood risk for 15 million people and can prevent over $65 billion of property damage each year.

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Bob Dylan Museum Opening in Tulsa

Elvis Costello, Patti Smith and Mavis Staples will be among the dignitaries expected in Tulsa, Oklahoma, this weekend for the opening of the Bob Dylan Center, the museum and archive celebrating the Nobel laureate’s work.

Dylan himself won’t be among them, unless he surprises everyone.

The center’s subject and namesake has an open invitation to come anytime, although his absence seems perfectly in character, said Steven Jenkins, the center’s director. Oddly, Dylan was just in Tulsa three weeks ago for a date on his concert tour, sandwiched in between Oklahoma City and Little Rock, Arkansas. He didn’t ask for a look around.

“I don’t want to put words in his mouth,” Jenkins said. “I can only guess at his reasoning. Maybe he would find it embarrassing.”

It’s certainly unusual for a living figure — Dylan is due to turn 81 on May 24 — to have a museum devoted to him, but such is the shadow he has cast over popular music since his emergence in the early 1960s. He’s still working, performing onstage in a show devoted primarily to his most recent material.

And he’s still pushing the envelope. “Murder Most Foul,” Dylan’s nearly 17-minute rumination on the Kennedy assassination and celebrity, is as quietly stunning as “Like a Rolling Stone” was nearly a half-century ago, even if he’s no longer at the center of popular culture.

The center offers an immersive film experience, performance space, a studio where visitors can play producer and “mix” different elements of instrumentation in Dylan’s songs and a curated tour where people can take a musical journey through the stages of his career. The archive has more than 100,000 items, many accessed only by scholars through appointment.

Museum creators said they wanted to build an experience both for casual visitors who might not know much of Dylan’s work and for the truly fanatical — the skimmers, the swimmers and the divers, said designer Alan Maskin of the firm Olson Kundig.

The museum hopes to celebrate the creative process in general, and at opening will have an exhibit of the work of photographer Jerry Schatzberg, whose 1965 image of Dylan is emblazoned on the building’s three-story facade.

Since Dylan’s still creating, “we’re going to continue to play catch-up” with him, Jenkins said.

So for a figure who was born and raised in Minnesota, came of musical age in New York and now lives in California, how does a museum devoted to his life’s work end up in Oklahoma?

He’s never seemed the nostalgic type, but Dylan recognized early that his work could have historical interest and value, Jenkins said. Together with his team, he put aside boxes full of artifacts, including photos, rare recordings and handwritten lyrics that show how his songs went through revisions and rewrites.

With use of those lyrics, two of the early displays will focus on how the songs “Jokerman” and “Tangled Up in Blue” took shape — the latter with lyrics so elastic that Dylan was still changing verses after the song had been released.

Dylan sold his archive in 2016 to the Tulsa-based George Kaiser Family Foundation, which also operates the Woody Guthrie Center — a museum that celebrates one of Dylan’s musical heroes and is only steps away from the new Dylan center.

Dylan likes the Guthrie museum, and also appreciates Tulsa’s rich holdings of Native American art, Jenkins said. Much of that is on display at another new facility, the Gilcrease Museum, which is also the world’s largest holding of art of the American West.

“I think it’s going to be a true tourist draw to Tulsa for all the right reasons,” said Tulsa Mayor G. T. Bynum. “This is one of the great musicians in the history of humankind and everyone who wants to study his career and see the evolution of his talent will be drawn to it.”

Bynum hopes that it also encourages others who may someday want to put their archives on display, and make Tulsa a center for the study of modern American music.

Dylan designed and built a 16-foot-high metal sculpture that will be displayed at the entrance to the museum. Otherwise, he had nothing to do with the museum’s design and declined, through a spokesman, to offer a comment about the opening.

“If Bob were telling us what we could or couldn’t do, it would have felt like a vanity project, in a way,” Maskin said. “It was a tremendous relief not to have to satisfy Bob Dylan.”

Still, it’s safe to assume the lines of communication are open if necessary: Jenkins, the center’s director, is the brother of Larry Jenkins, Dylan’s long-time media representative.

In addition to a dinner to celebrate the opening this weekend, Costello, Smith and Staples will all perform separate concerts at Cain’s Ballroom. Costello was asked to program a jukebox that will be on display at the museum and, within a day, submitted his suggestions for 160 Dylan songs and covers, Steven Jenkins said.

The Bob Dylan Center is open to the public on May 10.

Maskin has no expectation that Dylan will ever see the designer’s work. Still, he indulges himself in a fantasy of a slow summer day, a security guard dozing in the corner, and someone slipping in wearing black jeans, sunglasses and a familiar mop of hair to wander among the displays.

“To be honest, I don’t think that’s going to happen,” he said. “I think he’s interested in the work he’s doing, and not the work he’s done.”

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Warhol Monroe Portrait Set to Smash Records at New York Sales

An Andy Warhol portrait of Marilyn Monroe worth an estimated $200 million headlines this month’s spring sales in New York that collectors say are among the most anticipated ever.

Christie’s expects Warhol’s 1964 Shot Sage Blue Marilyn to become the priciest 20th century artwork when the auction house puts it under the hammer on Monday. 

Not to be outdone, competitor Sotheby’s is offering $1 billion of modern and contemporary art, including the second helping of the famed Macklowe Collection, during its marquee week in May.

“The excitement is certainly unprecedented,” Joan Robledo-Palop, a collector and CEO of Zeit Contemporary Art in New York City, told AFP, about the buzz surrounding this season’s auctions.

The 100-centimeter by 100-centimeter silk-screen Warhol is part of a series of portraits the pop artist made of Monroe following her death from a drug overdose in August 1962.

They became known as the Shot series after a visitor to Warhol’s “Factory” studio in Manhattan fired a gun at them, piercing the portraits which were later repaired.

Alex Rotter, head of 20th and 21st century art at Christie’s, has called the portrait “the most significant 20th century painting to come to auction in a generation.”

The current most expensive 20th century auctioned work is Picasso’s Women of Algiers, which fetched $179.4 million in 2015.

The auction record for a Warhol is the $104.5 million paid for Silver Car Crash (Double Disaster) in 2013.

Other highlights offered by Christie’s include Jean-Michel Basquiat’s Portrait of the Artist as a Young Derelict (1982), expected to go for more than $30 million, and Untitled (Shades of Red) by Mark Rothko, tipped to fetch up to $80 million.

The auction house is also offering three Claude Monet oil on canvases that are predicted to sell for upwards of $30 million each.

Rothko, Picasso, Richter

“Every couple of decades you have a sale where the quality is so high that you don’t see all of this at once normally. This season really grew into one of those unique moments,” Rotter told AFP.

After selling the first batch of works from the Macklowe Collection — the most expensive to hit the market at $600 million — last fall, Sotheby’s will auction the remaining 30 items when its sales open on May 16.

Highlights include Gerhard Richter’s 1975 Seascape, estimated at up to $35 million, and Rothko’s Untitled from 1960 that has a high-end pre-sale estimate of $50 million.

Sotheby’s said its modern evening auction of 19th and 20th century works, including by Pablo Picasso and Philip Guston, is its “most valuable” in the category in 15 years.

Picasso’s Femme nue couchée is appearing at auction for the first time, and Sotheby’s expects it to fetch more than $60 million. Other highlights include a Monet view of Venice tipped to fetch $50 million.

Brooke Lampley, head of sales for global fine art at Sotheby’s, said she expects records to be broken across categories.

“The art market is very strong. That’s why we see such an amazing array of works on offer this season,” she told AFP. 

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