Visitors

Tanzania Leaders Club: Expanding Offerings to Accommodate More Visitors

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Après Marseille, le Tanzania Leaders Club poursuit son roadshow à Lyon, Genève et Paris. @TourMaG

CroisiEurope


After Nice, the Tanzania Leaders Club stopped in Marseille on October 14.

Organized by Axium Collective, this B2B meeting brought together nine partners at the Vieux-Port, and about fifteen travel agencies and tour operators.

At the initiative of this tour, Laurent Gavache, France director of Tanganyika Expeditions, explains a wish to reestablish contact with distributors: « Often, we have them on the phone and we don’t see them very often. » The aim is therefore to gather professionals for a single meeting to present the various offers of the destination.

For Malory Moll, a travel agent with Sésame des Voyages in Marseille, this encounter comes at a perfect moment, « It allows discovering in the best possible way a destination I don’t know. » For her, « it is also a destination where demand is higher than before. »


Des recettes touristiques record

Tanzania intends to continue the growth of its tourism.

The country targets 8 million visitors per year by 2030, compared to nearly 5.9 million arrivals forecast for 2025.

The latest figures already confirm a rise in activity. According to the National Bureau of Statistics, tourism receipts reached 4.41 billion dollars in 2025, versus 3.90 billion in 2024, a 13% increase. The average expenditure per visitor per night also rose from 243 to 289 dollars. These data reflect a new record level of tourism revenues.

On the ground, Tanzania preserves a strong high-end component. Vincent Guérin-Vagnac, co-founder of Chancellerie, describes a hotel offer as “rather high-end for the destination. The honeymoon segment is among the strong drivers for this type of destination.”

Yet the goal of welcoming more visitors also hinges on promoting diverse experiences and the possibility to build varied itineraries, depending on the wishes and budgets of travelers.


Safari and Zanzibar: “two journeys in one”

Safaris and vast open spaces remain at the heart of the Tanzanian offer. The destination’s current aim is to highlight beach stays in Zanzibar, « to propose several experiences within the same trip. On a 10-day, 12-day itinerary, you will truly see two completely different journeys, with distinct landscapes, different accommodations, and varied experiences, » explains Laurent Gavache.

For agencies, this diversity enables them to offer trips tailored to different profiles. Malory anticipates « selling the destination more in group travel, in family groups for private trips. It still requires a substantial minimum budget ». And, that the roadshow « provides a broader view of the offer ». Consequently, it allows presenting more economical alternatives to certain clients.


Beyond Safaris

Diversifying experiences also means highlighting the country’s natural and historical heritage.

Present in Marseille to promote Ngorongoro, Mariam C. Kobelo, head of tourism and marketing, stresses the richness of this area, “Ngorongoro has a lot to offer: nature, culture, heritage, and history.”



For her, the experience should not be limited to animal watching “The region is home to important archaeological sites, including Laetoli, known for fossilized footprints dating back about 3.6 million years, and the Olduvai Gorge, where remnants help retrace part of humanity’s origins.”


Southern parks, another possibility


Couple de Fuliers à bec rouge tanzaniens visibles dans le Parc national de Ruaha au sud du pays. @Deposit-MatthiaATH

Diversification also means “discovering regions less represented in the classic circuits,” notes Vincent Guérin-Vagnac. With their new Mikumi lodges, Guérin-Vagnac hopes to show that “even if the northern parks remain a central step for safaris, the southern parks offer different landscapes and a distinct experience.”

Access to the parks remains a major challenge for tours in Tanzania. Since June 2025, the inclusion of Tanzanian airlines on the EU blacklist has complicated the marketing of trips that include domestic flights.

The roadshow is also an opportunity to present other possibilities to professionals. Vincent Guérin-Vagnac mentions in particular “the train to reach Mikumi from Dar es Salaam, with pickup and transfer coordinated by the accommodation on arrival.”

River Tourism: How to Keep Surprising Repeat Visitors? [ABO]

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Tourisme fluvial : les repeaters, comment continuer à surprendre ceux qui reviennent ? - Depositphotos.com Auteur Totof27

CroisiEurope


For a long time, I believed the most beautiful moment of a port of call was when passengers first arrive and discover a territory: their gaze, their curiosity and their wonder.

Then, as the seasons passed, I realized there was another category of travelers, just as fascinating. Those who returned. I remember hearing these few words repeatedly on the quays: « We have been here before… ».

This phrase could be followed by « …with another company », « …three years ago » or even « …it was our first cruise on the Seine ».

If these travelers returned, it was because they had kept an excellent memory of their previous cruise. But this loyalty brought with it a new responsibility. Would we manage to give them a new experience, without denying what had attracted them the first time?

Also read : River port manager: this behind-the-scenes role that makes all the difference



A loyalty that goes beyond the destination

When we return to the same region multiple times, our way of traveling naturally evolves. The first time, we discover the musts.

The second time, we seek more confidential places, a different ambiance, encounters, and more authentic experiences. We no longer simply visit a destination; we aim to live it differently.

In river cruising, this logic is a little different. Of course, you reconnect with a ship, a crew, a level of service and that distinctive atmosphere that left its mark on your first journey.

But you also reconnect with a river, landscapes, towns, villages, a heritage and emotions that made you want to return.

Major companies now offer itineraries across several rivers, sometimes in several countries. If a client decides to sail again on the Seine rather than discover the Rhine, the Danube, the Douro or the Rhône, it is because they were seduced not only by the company… but also by the territory it allowed them to discover.

Their loyalty is thus not tied solely to the boat, nor solely to the destination. It arises from the meeting of the two. Between the experience lived aboard and the one lived ashore. It is precisely this alchemy that makes loyal travelers so distinctive.


A challenge that destinations do not always see

Each morning, a ship docks. On board, some passengers discover the Seine for the first time. Others are already on their third, fourth or fifth cruise on this same river. The company often knows this information. It knows which passengers are returning.

The destination, however, almost always ignores it. Yet it will have to satisfy everyone: the traveler who is discovering, just like the one who returns. Thus, the same excursion must persuade, on the same day, a first-time visitor awed by the discovery… and a loyal traveler who already knows the classics.

Some might be tempted to renew excursions systematically. However, the must-sees remain must-sees.

After all, the Seine would not truly be the Seine without the Eiffel Tower, Monet’s Giverny, or the beaches of the D-Day landings.

These sites form part of the very identity of this cruise. They are often the reason travelers chose this itinerary. Removing them in the name of novelty would be a mistake. Yet thinking that they alone suffice would be equally misguided. The loyal traveler does not necessarily seek a new destination. They seek a new way to live it.

The one who has already admired Giverny might enjoy returning there. But they will be just as happy to extend their day in Vernon, meet a craftsman, discover the banks of the Seine, participate in a local event or simply spend more time strolling.

Every territory has stories just waiting to be told.


A tremendous opportunity for the regions

For destinations, this evolution represents a genuine opportunity. Meeting the expectations of loyal travelers is not merely about enriching an excursion.

It is also a chance to distribute flows more evenly, to showcase lesser-known places, to highlight artisans, producers, guides or events that struggled to find their place in traditional itineraries.

Each new experience offered gradually broadens the discovery of a territory. And it widens the economic ripple effects of the cruise. This reflection obviously concerns destinations.

But it also speaks to cruise companies. Destinations know their territory. They know which new experiences can be proposed, which partners deserve to be promoted, and which events can enrich a port call.

The companies, for their part, know their travelers. They know who discovers the river for the first time, who returns regularly, which excursions have already been done and what their clients’ interests are.

It is in this complementarity that perhaps lies one of the major challenges for river tourism in the future. It remains to ensure that this knowledge circulates more.

Without going so far as to customize every excursion, better sharing this information would already allow us to imagine more scalable offerings and to better anticipate passengers’ expectations.


About Aurélie Feray

Canada’s Unusual Mummified Toe Cocktail Draws Thousands of Curious Visitors Each Year

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Drinking a glass of alcohol in which a real human toe has macerated may seem like a challenge… absurd! Yet, in a small, isolated Yukon town in northwestern Canada, this experience has become a must-see attraction for more than 50 years. Called the “Sourtoe Cocktail,” this drink is served according to a precise ritual, with a mummified limb whose bearer’s lips must inevitably touch the end. Behind this rather bewildering tradition lies a story of gold rush fever, frostbite, and colorful personalities, as explained by the BBC.

A frostbite-origin tale behind an unusual tradition

To understand how a human toe ended up in a glass, head for Dawson City. This town of around 2,300 inhabitants, located 531 kilometers from the nearest city, first earned its fame thanks to the Klondike gold rush. After the precious metal was found in the region in 1896, tens of thousands of prospectors rushed there in search of fortune. When the gold seekers eventually left for other territories, Dawson City retained its frontier-town atmosphere.

It is within this backdrop that the story behind the Sourtoe Cocktail is said to have begun. In the 1920s, during Prohibition in the United States, two brothers, Louie and Otto Linken, were allegedly caught in a violent snowstorm while smuggling liquor toward Alaska by dog sled. Louie, frostbitten after submerging his foot in icy water, reportedly ended up needing an amputation. According to local legend, his brother Otto then severed the toe with a hatchet, keeping it in a jar filled with alcohol.

It wasn’t until the early 1970s that this relic resurfaced. While cleaning an abandoned cabin that had belonged to the two brothers, a Dawson City resident named Dick Stevenson, known as Captain Dick, is said to have discovered the famous jar. In 1973, he decided to turn it into an unusual ingredient for a cocktail and invited his friends to try the experience. The Sourtoe Cocktail was born.

The concept is simple, but the rules are strict. Patrons must order a glass of alcohol, typically whiskey, into which the mummified toe is submerged. A single requirement applies: the lips must touch the toe. It, however, is forbidden to chew, suck, or swallow it. A sign even warns participants that they face a fine of 2,500 dollars (about 2,230 euros) if they ingest the piece of human body accidentally or intentionally.

A rite of passage that continues to draw more visitors

Today, the Sourtoe Cocktail has become one of the Yukon’s most famous curiosities. Around 140,000 people are said to have tried it, automatically joining the Sourtoe Cocktail Club. Their names are entered in a register after this very unusual tasting.

Terry Lee, one of the bartenders responsible for overseeing the ceremony, has held the role of Toe Captain for 13 years. During the peak summer season, he can serve between 75 and 100 cocktails per evening, during his four-hour shift. The drink is offered from May to September at the Sourdough Saloon, inside the Downtown Hotel, and then the rest of the year at the Sluice Box Lounge of the Eldorado Hotel.

“It’s considered something like a rite of passage. Many locals have done it”, Terry Lee told the BBC. The tradition has, however, experienced a few incidents. In 2013, a customer deliberately swallowed the toe, triggering a local scandal. Others have also accidentally swallowed some of the precious appendages.

To prevent the tradition from dying out, organizers now have about 25 toes at their disposal, used in rotation. Some come from posthumous donations. In 2018, a British athlete who suffered frostbite during the Yukon Arctic Ultra ultramarathon donated three of his toes. Dick Stevenson, the creator of the ritual, had himself donated all ten of his toes before his death in 2019.

This practice also reflects the distinctive character of Dawson City. Between its historic buildings, colorful façades, and quirky events, the town fosters a somewhat singular identity. “The Sourtoe has become a kind of strangely proud motif”, says Tara Kehoe, curator at the Dawson City Museum, to the BBC. Even those who refuse to drink the cocktail enjoy bringing their loved ones to witness the scene.

The popularity of this tradition also shows no signs of waning. In June, the Sourdough Saloon set a record by serving 156 Sourtoe Cocktails in a single evening. A testament that in this former gold-rush town, a simple mummified toe can still draw crowds.

Why Visitors May Not See Original Artworks in Museums

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In Europe, spectacular thefts of historical pieces are multiplying, forcing museums to rethink their security measures. After the Louvre burglary, several institutions have already removed valuable objects from their display cases or decided not to exhibit them. It is a development that could permanently alter the visitor experience, sometimes depriving audiences of emblematic treasures from their destination. Between reproductions, reinforced vitrines, and restricted access, institutions must now strike a balance between protecting heritage and public access to the works. At the expense of the public?

Iconic Treasures Replaced by Reproductions

The theft of the Crown Jewels at the Louvre, in October 2025, drew attention for its audacity. But the Parisian museum is far from the only European institution facing this phenomenon. On August 27, 2026, the Villena Museum, in the southeast of Spain, was the victim of a burglary in which thieves stole nearly 10 kg of Bronze Age gold objects. In July, the Vix torque, a Celtic gold necklace weighing 480 g, was also stolen from a museum in Burgundy. A few weeks later, four paintings were stolen from the Renoir Museum in Cagnes-sur-Mer, two of which remain missing.

According to Jean-Yves Goriou, head of the Organized Crime Unit at the European Union Agency for Law Enforcement Cooperation (Europol), data provided by member states reveal “a clear and rapid increase in museum burglaries since around 2022-2023”. Some thefts are now accompanied by particularly violent methods, such as the use of axes, sledgehammers or explosives, or even assaults against staff.

Facing this threat, museums are forced to revise their practices. France’s security plan for cultural establishments, which includes 33 measures, notably provides for temporarily removing the most vulnerable works from display, while implementing appropriate protections.

Some institutions are already favoring this approach. After an armed robbery in 2024, the Hiéron Museum in Burgundy stopped displaying its most precious pieces. Others, like the Cognacq-Jay Museum and the Carnavalet Museum in Paris, have replaced high-value jewelry with less expensive objects during exhibitions.

The use of reproductions could also expand. Two copies of the Vix torque existed even before its theft, one of which had been lent to another exhibition to avoid moving the original. If visitors can still discover certain objects, the presence of a copy does not necessarily generate the same interest. Guy Turton, director of audience strategy at the MHM agency, told the BBC the importance of authenticity, which allows people to feel “the impression that another human being created, used or encountered the same object, sometimes centuries earlier”.

Visits More Framed to Protect Heritage

The increase in thefts could also transform the conditions under which the remaining accessible works are observed. To limit risks, museums can, for example, install reinforced display cases, increase the number of guards, or impose a greater distance between visitors and the exhibited objects.

In the United Kingdom, the recommendations of the public collections insurance framework specify that portable, high-value items, such as gold and silver jewelry, should be kept in locked display cases equipped with alarms. Some pieces must also be positioned at least one meter away from the public. In the absence of sufficient staff to supervise them, the affected rooms may be closed.

However, these measures can reduce proximity to the artworks, an important element of the museum experience. Guy Turton explains that visitors engage more with objects when they can approach them, observe details, and look at them from different angles. Barriers that are too imposing risk weakening this bond.

Nevertheless, security measures can also be integrated into the visitor route. At the Rijksmuseum in Amsterdam, visitors can notably watch the live restoration of “The Night Watch” by Rembrandt, protected by a glass panel. A way to make accessible a work that is usually invisible to the public.

Transparency also plays a crucial role. According to Guy Turton, explaining the reasons for using a reproduction or for restricting access can help make these changes acceptable. The challenge for museums now is to protect works that are sometimes centuries old without wholly removing them from public view. A delicate balance, as authenticity and proximity remain at the heart of visitors’ interest.

Nausicaá Attracts Nearly 300,000 Visitors This Summer, Stable Attendance in 2026

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Nausicaá a accueilli 298 060 visiteurs en juillet et août 2026 - Depositphotos.com, Pixavril

CroisiEurope


Summer has once again been a boon for Nausicaá.

The National Sea Center, located in Boulogne-sur-Mer, recorded 298,060 visitors over the months of July and August 2026, with 130,409 entries in July and 167,651 in August.

An attendance level that remained stable compared to the previous summer, in a context nonetheless marked by unusually favorable weather for outdoor activities along the Opal Coast.

“This stability in summer attendance is a positive signal. It confirms the visitors’ interest in Nausicaá and in the experiences we offer around the Ocean“, commented Christophe Sirugue, Chief Executive of Nausicaá.


A largely French clientele

The site continues to attract a mix of domestic and international visitors. Across all visitors this summer, 65% were French and 35% were foreign.

Foreign visitors are notably driven by Belgian guests, who alone account for half of the international attendance.

On the French side, Hauts-de-France, Île-de-France, and Grand Est are the three main regions of origin for visitors.

These figures illustrate Nausicaá’s prominence within the Opal Coast’s tourism offering, as well as its reach beyond the regional territory.


Vent d’Opale finds its audience

Another indicator to note for this summer season: the launch of . Launched on June 13, 2026, this new activity offers sea outings departing from Boulogne-sur-Mer.

In its first season, 13,100 tickets were sold. A launch that broadens Nausicaá’s tourism offering beyond its exhibition spaces.

“The initial results of Vent d’Opale show that demand is indeed present. This success reinforces our decision to offer this new experience, which allows you to discover the coastline and the Ocean differently“, states Marc Lecointe, Deputy General Director – Customer Experience, Commercial, Vessel & Territory Animation.

With this first season, the vessel aims to establish itself in the long term as a new component of Nausicaá’s tourism offering and, more broadly, of the Boulogne territory.


Nearly 684,000 visitors since January

Since the start of the year, Nausicaá has welcomed close to 684,000 visitors.

After a stable summer and the successful launch of Vent d’Opale, the National Sea Center continues its attendance momentum in 2026.

The facility also aims to embed this attendance within its mission to raise awareness about issues related to the Ocean, seeking to showcase its ecosystems and to strengthen their knowledge and preservation.


Amelia Brille Published by Amelia Brille TourMaG.com Writer
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Tourism in France: Summer 2026 Contrasts Between International Visitors and French Consumers

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Christian Mantei, président d'Atout France), Serge Papin, Ministre du Tourisme et Christelle Chassagne, présidente d'ADN Tourisme dressent le bilan touristique de l'été - Photo CE

CroisiEurope


In opening of the IFTM 2026, Serge Papin, minister of Small and Medium Enterprises, Trade, Crafts, Tourism and Purchasing Power, presented, on Tuesday 15 September 2026, a first assessment of the summer tourism season.

According to the data presented by the minister, international tourism receipts reach 49.5 billion euros between January and the end of July 2026.

For the month of July alone, they amount to 9.4 billion euros, i.e., +3.7% compared to 2025.

“France continues to attract, to seduce, to persuade and even very far,” emphasized Serge Papin.

“At this stage, we can reasonably anticipate that international tourism will generate this year more than 80 billion euros in receipts, with attendance expected to exceed 100 million international tourists,” adds Christian Mantei, president of Atout France.

International air arrivals also rose during the summer, with a particularly marked increase for some long-haul markets. Mexico shows a 14% increase, ahead of Canada (+10%), China (+5%), Japan (+4%) and the United States (+3%).


The Departure Rates of French People in France Fall

However, the rate of French departures within France in midsummer, in July–August, falls by 5 points to 59%.

The Climate Action Network notes on its site that this drop confirms the retreat in summer departures observed since 2019 (-20% of overnight stays in August between 2019 and 2025 according to INSEE).

The rate of French people leaving abroad continues to rise (+4 points, to 34%).

Serge Papin nevertheless notes that June and September resist: “Tourism remains an essential need, a breathing space. The shoulder seasons are gaining importance: the French no longer go away only in July and August, but increasingly early and late,” the Minister stressed.

The departure rate in June climbs from 15% to 18%, and the intentions to depart in September rise from 20% to 22% compared with last year.

The departure rate of the French would thus be stable over the June-to-September period at 72%.


“A Climate Shock, and an Inflation Shock”

The coastline remains the primary tourist space frequented with 43% of stays, ahead of cities (33%) and the countryside (32%). The mountains account for 15% of stays and continue to grow, notably in the Northern Alps, where attendance increased by 16% in August.

Conversely, some destinations in the south of France experience a more contrasting season, notably due to the budgetary choices made by tourists.

“On the scale of France this summer, we had territories that experienced a more contrasting season. This summer we faced two shocks: a climate shock, and an inflation shock,” said Christelle Chassagne, president of ADN Tourisme.

In Nouvelle-Aquitaine, which was affected by wildfires and despite a campaign to revive activity, 42% of professionals report a drop in bookings; 32% report stability and 12% report an increase.

Purchasing power also weighed in decisions: “We want to go on vacation, but we go for shorter durations. We increasingly go to family settings, in non-market units, and we will have major trade-offs on dining and leisure,” she notes.

Bordeaux Bets on Local Know-How to Attract Visitors

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Bordeaux mise sur les savoir-faire locaux pour séduire les visiteurs - Depositphotos.com, Dudlajzov

Costa Rica


The craft tourism sector continues to grow in France, and Bordeaux is determined to join this momentum.

The Bordeaux Métropole Tourism and Congress Office (OTCBM) and the Chamber of Trades and Crafts of Nouvelle-Aquitaine – Gironde (CMANA33) signed, on June 29, 2026, a partnership agreement aimed at promoting artisanal trades to both tourists and residents.

This collaboration seeks to make art founders of crafts integral players in the metropolitan tourism offer, while contributing to the territory’s economic and cultural stature.


Betting on a More Experiential Tourism

The development of craft tourism responds to evolving traveler expectations, with a pursuit of authentic and immersive experiences.

According to data from the Directorate General for Enterprises, this segment welcomed 22 million visitors in nearly 4,000 French businesses in 2024, reflecting a rise of more than 30% over five years.

For Bordeaux, this trend represents an opportunity to diversify its tourist offering by highlighting a living heritage composed of numerous workshops and artisan enterprises.

The agreement signed by Nathalie Laporte, president of the CMA Nouvelle-Aquitaine – Gironde, and Fabien Robert, president of the OTCBM, thus aims to strengthen the synergies between tourism and crafts around three objectives: better valorize artisan crafters, support their activity through promotional actions, and foster connections between tourism, culture and craft.


A Digital Map and New Tours

Among the first achievements is a digital map accessible on the Bordeaux Tourism site, listing about twenty artisanal craftspeople based in the metropolis. Visitors can locate the workshops and public spaces open to the public on it.

The tourism office is also expanding its guided tour program. Starting in September, a new tour titled “Behind the Scenes at the Philomathique” will allow visitors to discover the woodworking, fashion and furniture workshops of this arts-and-crafts school, with encounters between visitors, students and professionals.

Craftsmanship will also be more integrated into the circuits offered by tour guides. In Eysines, for example, visitors will now be able to meet the artisans of Artflo, based in the town since 2025.

The partnership also translates into a stronger presence of crafts in the reception areas of the tourism office. Its shop broadens its range with creations made by local artisans, including exclusive pieces designed by Bordeaux ceramists.


Amelia Brille Published by Amelia Brille TourMaG.com Editor
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Italy’s Fake Ancient Theater Fooled Visitors for Years

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In the hills of Veneto, an astonishing archaeological site drew visitors with its tiered seating, its columns, and its basin. Presented as an ancient Greek theater discovered after a landslide, it seemed too good to be true. For this setting, supposedly more than 2,000 years old, it had in fact been built… in the twenty-first century. After a long legal battle, its owner has just been sentenced to prison.

An Entirely Manufactured Ancient Theater

A few kilometers south of Vicenza, the site perched on a wooded slope in the municipality of Arcugnano seemed straight out of Antiquity. Since 2014, visitors could walk along fan-shaped seating, observe columns and statues, and even admire a small water feature dug at the center of the complex. The owner, Franco Malosso, claimed to have discovered the remains after a landslide on this site, for which he claimed legal ownership through a company based in the British Virgin Islands. Since then, he presented the place as the remains of a Greek theater more than two millennia old.

Franco Malosso organized guided tours and gave the site several names, including “Anfiteatro Berico” and “Anfiteatro Marittimo Berico”. Tickets were sold to visitors, with prices reaching up to 40 euros. Private tours were also offered for 600 euros for 45 minutes. The site even hosted concerts and performances. Yet several details should have raised suspicions. The site initially bore little resemblance to an amphitheater.

While an amphitheater is oval or elliptical in shape, the seating of the “Anfiteatro Berico” was arranged in a half-circle, which corresponds to a theater. The hypothesis of a Greek edifice was also unlikely in this region, as Greek colonies of antiquity did not extend to northern Italy. And above all, the materials used betrayed a recent construction: the seating had been built with stone recently quarried in the Apulia (Puglia) region and cement, while a retaining wall had even been coated with polystyrene.

The investigators did not need lengthy inquiries. During an inspection conducted in October 2016, the specialists immediately understood they were dealing with an imitation. Lieutenant Colonel Giuseppe Marseglia, head of the Carabinieri’s Art Protection Unit in Lombardy, described the attempt as “truly obscene”, in remarks reported by CNN. According to him, in 25 years of service, he had never seen an entire archaeological site manufactured in this way.

Visitors Convinced by the Tale

Perhaps the most surprising aspect was the reception of the faux theater. All eight TripAdvisor reviews gave it five stars. Some visitors described it as “an enchanting place” or as “a world beyond space and time”. This apparent credulity could be partly explained by the staging imagined by Franco Malosso. He claimed, for instance, that the site had been frequented by Julius Caesar, Cleopatra, and even… Juliet Capulet, the fictional character from Romeo and Juliet created by William Shakespeare.

The workers hired to carry out the work had, according to reports, been instructed to give the new constructions an aged appearance. For archaeologist Darius Arya, director of Ancient Rome Live, the affair is particularly hard to understand. “The very idea is insane”, he told CNN, describing the project as “diabolical” and “terrible”. He also notes that genuine archaeological digging cannot be carried out on the fly: “You do not have the right to dig up antiquities in your garden. They must be declared, they are the subject of an inquiry, then they are excavated.”

Italian justice ultimately convicted Franco Malosso in 2019 for several offenses, including the falsification of works of art, construction without permits, and the destruction of a protected landscape. After several appeals, the Court of Cassation confirmed the conviction this year. He is now serving a sentence of 28 months in prison, along with a 3,000-euro fine and 3,500 euros in legal fees. As for the faux theater, built on land within the protected Berici Hills landscape, it must be demolished. An especially ironic situation: to erase this vestige that was not one, a genuine excavation will have to be carried out first.

Giant Swing Over the Void in Switzerland Draws Visitors

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As the chairlift nears the summit of Grand Chamossaire, in Switzerland’s alpine village of Villars, screams mixing fear and exhilaration echo above the drop. Perched atop the mountain at an altitude of 2,110 meters, a towering V-shaped structure supports a giant swing that propels its passengers toward a breathtaking alpine panorama.

“There’s a little knot in the stomach for sure, but once you’re up there it’s incredible: you feel like a bird,” says Alexandra Henchoz, 37, who came to test the ride with her husband and their 10-year-old daughter.

Adapting to Climate Change

Opened at the start of the month, the Grand Chamossaire swing is the latest move by alpine resorts to attract summer visitors and monetize their lifts, as snow reliability becomes more uncertain due to climate change. “We are really looking to diversify our offering,” explains to AFP Martin Deburaux, director of the Villars-Gryon-Diablerets ski area.

This new 12-meter-tall swing, similar to others already installed in Megève or La Clusaz in France, “finally gives us an attraction that can operate irrespective of snow conditions,” he notes.
Mr. Deburaux recalls that the resort saw record footfall over the past two winter seasons, as skiers who typically visited lower-altitude areas turned to higher, better-snowed resorts.

“Nevertheless, we’re facing climate change. We’ve also conducted a study on the snow potential we’ll have in 2050, and we’re simply preparing for less snow or more irregular snowfalls,”

Mountain Resorts Bet on Summer

Today, the resort hosts more than 700,000 visitors in winter, versus only 100,000 in summer. Its goal is to triple summer attendance in the coming years, Martin Deburaux explains, noting that this will come through a multiplication of available activities. He also adds that the swing was deliberately placed in an already busy area in order to preserve the wilder parts of the domain for nature lovers.

Nearby, hikers traverse the green trails, while helmeted and protected mountain bikers sprint down a steep dirt track. The route runs alongside an ephemeral land art mural created on a mountainside by French artist Saype, depicting a child in the act of drawing.

Accessible to anyone with a ski-lift pass, the swing can accommodate up to three people at a time. Each rider sits astride a saddle mounted on a metal frame resembling an Alpine ibex. Securely strapped in, they grip a handlebar. A clever system of cables and pulleys then lifts the riders to a 90-degree angle, leaving them suspended face-down.

When the safety cable is suddenly released, the swing tips into the void. The cries of excitement, mingled with a few curses, accompany the descent, before suddenly giving way to a spectacular view of the valley, with the rocky, lightly snow-dusted summits in the backdrop.

Marc Truffer, 70, recalls feeling both terrified and excited at the prospect of testing the attraction. “Well, it’s scary, as I expected, and then I was speechless, I didn’t even shout,” he tells AFP. “The descent takes your breath away, and afterward the view is magnificent.”

Europe’s Coast Nicknamed Cold Hawaii Draws More Visitors

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At first glance, there is nothing about this coast that sets it apart from any other North Sea shoreline battered by wind. Yet, for about thirty years, it has built a solid reputation among surfing enthusiasts. Today, this region is undergoing a new metamorphosis: alongside wind-surfing schools and wild beaches, there are now Michelin-starred restaurants, contemporary art galleries, and even an outpost of the National Gallery of Denmark.

An evolution that makes “Cold Hawaii,” in Denmark’s Jutland, one of the most remarkable destinations in Northern Europe.

Waves That Changed the Destiny of This Danish Coast

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