Chasing the Wooden Rhino

The woodcarving industry in Kenya, characterized primarily by carved bowls, rhinoceroses and giraffes, is the largest of its kind in Africa, generating an estimated US$20 million per year in export revenue (Obunga, 1995; Choge, 2002). This enormous industry relies on indigenous forests for its raw materials since the favoured species include Brachylaena huillensis (muhugu, muhuhu or ‘mahogany’) and Combretum schumannii (mkongolo). However, less than 2 per cent of Kenya is covered by closed-canopy indigenous forest, partly due to a range of activities supporting livelihoods through the use of forest products. For example, most Dalbergia melanoxylon (African blackwood, or mpingo) stocks in woodland areas have been depleted because this species is so highly favoured for carving. Commercial carving is consequently characterized by over-exploitation of favoured tree species, use of trees in smaller and smaller size classes, long-distance log trade, and carvers constantly shifting to new resource-rich frontiers for raw materials (see Figure 3.1). While carvers are increasingly using a number of alternative species, the question remains whether alternative woods can support the growing industry. This case study focuses on the area surrounding Arabuko Sokoke Forest Reserve, one of the larger forest reserves on the Kenya coast

Geography · African history and culture studies

• Changing Strategies in Marketing Kenya's Tourist Art

  Open Access•Daniel Mahoney, Dillon Mahoney•African Studies Review•2012

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