At the Dhobi Khana in Fort Cochi, Kerala, nothing much has changed since the first Tamil dhobis were brought in by the Dutch Army 300 years ago to wash their uniforms. Today it is still operated by descendants of those original families, who live and work here as they have done for generations.
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The catch was brought in hours ago. But the fishing quay in Bakau, in northern Gambia, is nevertheless a hive of activity. Many of the colourful pirogues are pulled up on the beach. Others are floating offshore, as the fishermen check and mend their nets and other equipment. Those that have finished their work sit chatting or try to make a few extra delasi by showing tourists around.
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On a Sunday evening the promenades along Phnom Penh’s two rivers, the Tonle Sap and the Mekong, are thronged with people. Families come out to enjoy the cooling air. Monks in traditional robes sit talking quietly in small groups. Boats ply the waters, ferrying their passengers to the opposite bank or on pleasure cruises.
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Takayama is a mountain town, and the river that runs through it, the Miyagawa, is a clear mountain one. Every morning on its banks stall-holders set out their wares at the town’s famous morning market, in a long-held tradition.
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It has become quite usual to see murals on many of the walls of our cities. Whether we call it graffiti or street art; whether we love it or hate it; it is part of the urban landscape. But do we expect to see it in a remote rural village in the Gambia?
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The village of Narlai in Rajasthan would be completely off the tourist track were it not for the hotel that has been created in the former hunting lodge of Jodhpur’s royal family. It is a small village which faces some of the same challenges as rural communities everywhere. Its population is declining as younger people drift away, tempted by big city life and its wider opportunities.
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'I had a farm in Africa, at the foot of the Ngong Hills.' With this sentence Karen Blixen opens her account of life on a coffee plantation just outside Nairobi. It was the 1920s, and this was British East Africa, not Kenya - part of the (by then fading) British Empire. The book presents a vivid, if at times uncomfortable, picture of African colonial life and the relationships between colonists and native inhabitants.
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The scent of wood smoke hangs in the air. Children play in the dusty soil. Small pigs, chickens and dogs wander at will between the wooden houses. And inside one a blacksmith is at work, shaping a machete over glowing coals. This is Phou Taen Khamu, home to some of the Khamu people, one of Laos’ minority ethnic tribes.
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There is something infectious about a person who displays a real passion for a subject. You find yourself getting drawn in, even if your own interest, up to that point, was only superficial. Such a person is Alex Hansen.
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Nothing makes you feel more welcome in a country than to be invited into someone's home, however humble. And language is no barrier to connecting with a friendly hostess and her curious children.
