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Leap of faith at Cape Town’s Suicide Gorge

Todd Pitock tries his hand at a South African extreme sport known as ‘kloofing’ with world premier cold water swimmer, Lewis Pugh.

Waterfalls course through cape granite forming deep pools at the base of the cliff, which runs in a series of ladder steps down through a trail called Suicide Gorge.

We stand on a ledge of striated granite looking down at the huge drop. But the risk of falling isn’t the problem. The problem is that the only way forward is to jump.

We had already braved a couple of lower jumps, perhaps 15 feet high or so. But we know ‘The Big One’ – a leap equal to five stories – is yet to come.

Although not there just yet, it’s hard to guess how high we are. As we peer down it feels like we are looking into the moat from the castle tower.

“Okay, it’s your turn to go first. On the count of five! One! Two! Three–"

I had met Lewis Pugh, the world’s premier cold water swimmer, several years ago in Norway, where he was training to swim at the North Pole – wearing only Speedos, a swimming cap and goggles.

In Norway I’d braved the waters of the glacial lake and clumsily given him the impression that I was game for any lunatic adventure.

So here we are now, along with Michael Walker, a photographer from the Cape Times who had grown up with Lewis in Cape Town, overlooking Suicide Gorge.

From above, the water is black, shadowy and looks very cold. At eye level it had a faint red-orange colour.

“Why does the water look like rust?" I ask.

“The fynbos," Lewis tells me.

To get into the gorge, we have to walk through a panorama of fynbos, the Cape’s native flora.

In December the fields are lit by buttercups, sprouts of fuscia, and some plant with a blood-red stem and green leaves.

“The fynbos… really? Or maybe there’s a nuclear plant upstream," I contemplate.

“Todd, if you don’t go, you’re going to psych me and Michael out."

South Africans have a high adventure quotient. People rappel off Table Mountain and dive to see shipwrecks and sharks, they surf and kayak among pods of whales migrating from Antarctica.

They swim in the gelid and turbulent Table Bay, or race 56 kilometres by foot between the Atlantic and Indian oceans.

A week before this, Michael covered a riot that deteriorated into full-on urban warfare.

That I was psyching Lewis and him out just by sitting there was strangely emboldening.

I had to go, or face the cost ­– never mind the humiliation – of calling in a rescue.

“Lewis," I ask, “what happens if you jump and miss?"

“Todd," he says, “you can’t plan for success and failure in the same moment."

Yet, jumping did indeed require two apparent opposites: control your body but surrender to the circumstances.

“On five!" Lewis shouted. “Four! Three!–"

I looked below, inhaled twice, and leapt. I felt my viscera rising as the rest of me fell, as if the laws of gravity were, for an eternal moment, suspended just for my abdominal organs.

I draw my heels together and my hands to my sides to enter the pool vertically, not smack the surface.

The water is so cold it is like having my flesh brushed with refrigerated paint. To add further pain to my glory, I have to swim over one hundred metres in this icy water surrounded by sheer rock walls, with nothing to hold onto.

I don’t know how many jumps we do, but they become less fearsome as jumping became more familiar, and the hypothermic water becomes less shocking, if not less wearying.

As we continue on, somehow we take some wrong turns… hours pass, but our only wristwatch has stopped working so we don’t know how many.

Eventually we come upon a field of huge stones bleached white by streams of sunlight ­– a rare sight to see at other areas of the gorge. We empty our soaked rucksacks, and lay like lizards on the warm boulders.

After snacking on biltong, we begin walking again, glad to be dry. As we venture lower, the gorge’s walls, terraced by crusty Table Mountain sandstone and landscaped by gnarled trees emerging at an angle, grow higher.

And then we are faced by a startling sight: The Big One, the five-storey jump. By now there is no more ceremony, and in any case, still no choice; this is, we realise, only the halfway point.

We throw down our rucksacks, hearing them clap on the water, and find a flat, solid place to launch…

“On five! Four! Three!–"

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At the foot of the pyramids, Egypt finally tells its own story

    Ancient Egyptian history has been scattered across the globe for decades, admired, preserved, and studied, but it’s rarely seen where it actually belongs. The newly opened Grand Egyptian Museum (GEM) brings it home.

    From a viewing platform inside the Grand Egyptian Museum, the Great Pyramids of Giza rise from the desert, and for a moment, it feels like modern Egypt and ancient Egypt are shaking hands. The museum, grand in name and reality, has been a long time coming—since 1992, to be exact. Towering pharaohs, relics, and entire chapters of civilisation are on display here, all in full view of the pyramids. And because the GEM is the largest archaeological museum in the world dedicated to a single civilisation, it gets to tell Egypt’s story through its own voice, something many overseas institutions, understandably, haven’t quite managed.

    Reshaping Giza

    GEM entrance and gardens
    The GEM holds its own commanding position. (Image: Natasha Bazika)

    You might expect any building beside the Great Pyramids of Giza to fade into the background, but the GEM doesn’t bow to its famous neighbours. Perfectly aligned on the same axis and vast enough to span 70 football fields, the museum is less of an addition to Giza and more of a marker of the shift from a gateway to a cultural district.

    Inside, hieroglyphs carved from alabaster sweep across the walls and triangles appear everywhere, yet it’s a 3,200-year-old, 11-metre-tall, statue of Ramesses II who commands the room. His scale dictated the soaring atrium ceilings, which pour in natural light, unusual in museums but safe for the stone artefacts displayed.

    Hieroglyphs line the walls of the main entrance of the GEM
    Hieroglyphs line the walls of the main entrance. (Image: Natasha Bazika)

    Unlike many museums, the GEM has really considered how visitors move through it. The six-storey grand staircase leads you chronologically through Egypt’s history, from the Predynastic era to the Coptic period, flanked by statues that grow in scale and complexity as you climb. Elevators and lifts run alongside, keeping the journey accessible to everyone.

    At the top, a viewing wall frames the pyramids before you enter the main gallery to see artefacts rarely seen outside tombs, including the complete contents of Tutankhamun’s tomb, a highlight for many visitors.

    Pharaohs, artefacts and everything in between

    The GEM's showpiece Ramesses II
    The GEM’s showpiece Ramesses II. (Image: Natasha Bazika)

    The GEM holds around 100,000 artefacts across seven millennia, but the experience is entirely modern. Digital panels, QR navigation and clear bilingual signage make self-guided wandering easy, while short, glare-free labels in English, Arabic and braille are colour-coded to move you from broad themes to object-level detail.

    That said, a guide adds context you don’t get from a panel. I was lucky to have Essam Al Ebd Aziz, an Egyptologist, on board a 12-day Uniworld Nile cruise, walk me through some of the museum’s standout pieces.

    Top of the list is, of course, the Tutankhamun exhibit. Almost everything from his tomb, much of it never shown outside the Valley of the Kings, is here, from his golden funerary mask to delicate jewellery and ceremonial objects. But the GEM isn’t just about one boy king.

    GEM entrance is guarded by an 11-metre-tall Ramesses II statue.
    An 11-metre-tall Ramesses II statue guards the entrance. (Image: Natasha Bazika)

    Essam points out the canopic chest of Hetepheres, mother of Khufu, where her organs were stored in alabaster. I loved the forty little marching soldier figurines from the tomb of Mesehti, all lined up and hanging on a wall. And then there’s the statue of Metri, a scribe, with piercing blue eyes carved from lapis lazuli. All these pieces, and thousands more, now sit under one roof. And for the first time, people can see Egypt’s history in one place, told in its own voice, without leaving the shadow of the pyramids. That alone changes everything.