Judith Bouvard, Dean of Grenoble Graduate School of Business

Grenoble Life talks to Judith Bouvard, Dean of Grenoble Graduate School of Business, about her background, the changing business and training environment in France, and why students should consider coming to Grenoble.

Grenoble Life: Where do you come from originally?

Judith Bouvard: I was born in a small town near Manchester in the North of England. 

GL: Why did you come to Grenoble ?

Judith: When I left Manchester I went to live in Romans in the Drôme, to work in the luxury shoe industry. After a couple of years there I came to live in Grenoble to resume my studies.

GL: What kind of work did you first do on arrival in Grenoble ?

Judith: When I arrived in Grenoble at the same time as I was studying I was working part-time for a UK firm as a marketing consultant helping them to develop the market of protective clothing for building sites and road works. I then started to work in the training and continuing education business by doing some teaching and helping some French companies to set up in-house training courses.

Then I started working at ESC Grenoble – this was the name of the school before we became ‘Grenoble Ecole de Management (GEM)’. I was involved with the school right from the day it was founded and I was even a member of the entrance juries for the Grande Ecole program before the building was finished.

I started teaching at the school and little by little I increased my contributions by developing the international relations. Then, in 1995, I created the Master in International Business (MIB), which was the first international program to be offered by GEM. I really felt there was a niche market for such an Master in Management program taught in English in Grenoble.

I gradually introduced more international degree programs taught through the medium of English and continued to develop the portfolio of international programs until GGSB became one of the schools of GEM.     

Parallel to that I continued my studies on the Henley DBA program and also obtained a Postgraduate Diploma in Management Consultancy.

GL: What three professional achievements are you most proud of?

Judith: Developing a whole new international school from nothing and setting up all the programs; putting Grenoble on the map in international rankings, such as those of the prestigious Financial Times. I am also very proud of the careers and success stories of our graduates further to qualifications that I designed.

GL: Apart from the quality of the course programmes on offer at GGSB, why should potential students consider coming to Grenoble?

Judith: They should certainly consider coming for the dynamic nature of the city. It is easy to get by in Grenoble for non-French speakers. There is not a day that goes by without me hearing English on the street. However, most of our students become quite fluent in French rather rapidly as they experience true French culture. Our students are also sure to build a large international network of friends they can rely on in the future due to the fantastic diversity of the student population at GGSB.

GL: You have created partnerships between GGSB and schools around the world, including those in Iran and Saudi Arabia. As a woman, did you face any challenges in this respect?

Judith: The challenge was for me to actually challenge the pre-conceived ideas of what people had warned me about in advance. In those countries, people actually respect you for your intellect, status and qualifications regardless of your gender. Qualifications come above anything else and with more and more women gaining higher education degrees, the challenge for them is lessening. The other challenge was the dress code, but only from a comfort point of view. Wearing a head scarf when it is 40 degrees outside can be quite uncomfortable when you are not used to that!

GL: How has the business environment changed since you arrived in France, and how has GGSB contributed to this change?

Judith: Over the past 30 years, I have seen more international exchanges – both academic and corporate – and better means to conduct these exchanges, thanks to technology. Technology has definitely changed the way people do business. We can now work with different parts of the world without feeling that it is far away. For example I can be talking to a colleague in China or Singapore in the morning and to another colleague in Mexico in the evening. Of course the result is that the working day can be quite long!

At GGSB, we train qualified managers capable of working beyond national borders with a multitude of cultures and ethnic backgrounds. Our graduates are increasingly working in virtual teams spread over different countries. The contact with colleagues all around the world definitely adds a different dimension to business. 

GL: How has the learning and training environment changed?

Judith: We now have access to more information, thanks to the internet. What used to be called a ‘correspondence course’ is now called a ‘distance learning course’; technology has made learning more user-friendly. Furthermore, whereas years ago classes were made of one single nationality, the learning environment has become highly international, offering numerous opportunities for students.

Also the faculty members have become more like facilitators than lecturers. At GGSB gone are the days of long monologues by a lecture standing in front of the students. Now there is far more interaction and exchange between the lecturer and the students. Also I think that business schools have realised that it is important to have a good blend of lecturers with a more academic approach and business professionals who bring their work experience to the classroom.

GL: What is next for you and the school?

Judith: I’m very excited about our new Global Executive MBA that will begin in January 2011. This new course will run in eight different locations: Grenoble – Geneva – Moscow – London – New York – Singapore – New Delhi – Beijing, and is aimed at top managers who will travel to each location for specific courses and country case-studies.

This Global EMBA is the result of all the knowledge I’ve acquired over the years, after observing how companies function and their different needs. I’m also an AMBA auditor, so I’ve got to examine various programs, their pluses and minus.

I’m also preparing the future of GGSB when I will no longer be there to ensure the continuity of GGSB. I’m busy getting the right people in so the school will keep the same prestige and have the possibility of progressing. I’m proud as I see the next generation come in to be trained by GGSB. Often, children of those who I taught come to seek advice and are keen to live the same enriching experience at GGSB as their parents did.

Radio Activity. Photo: Velocity kendall

In the final English Talk Radio before the summer break, guests include Kristine Minski, talking about global currency markets and Bertrand Tappaz, talking about the history of 90.8 Radio Campus Grenoble.

Listen to the show: here

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. There are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

Listen to ETR in your car! 'Pump up the volume'. Photo: Travich

The June 13 English Talk Radio took place at Grenoble Graduate School of Business. The guests are: Thierry Grange, Dean of Grenoble Ecole de Management; Elizabeth Gorilla, Marketing and Admissions Manager; Michelle Mielly, Marketing Programme Director; graduates Beatriz Diez and Denis Coupe; students Ben Pawson, Jay Anandou and Timothée Bardet; and Pat Brans, writer, consultant and time-management guru.

Listen to the full show: here

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. There are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

Nicola Piroth at work and at play

Nicola Piroth is a play therapist with a private practice in Grenoble. She talks to Grenoble Life about creative approaches to psychotherapy, her international background and setting up a cabinet in France.

Grenoble Life: Tell us a little about your methodology.

Nicola Piroth: I practise as a play therapist, which means that I use a creative approach to psychotherapy. Play therapy recognises that children naturally use play as a creative form of self-expression and communication in order to grow and develop, as well as to address traumatic and painful issues from a safe distance. Children that are faced with distressing life events may not feel comfortable talking about their emotions, but through play therapy they can communicate and explore their feelings, learn skills and tools to heal their emotional pain.

In my cabinet, I mostly see children and adolescents in individual, regular play therapy sessions.  However, I also use another approach called filial therapy with some families. Using this alternative method I train parents to conduct individual play sessions – similar to play therapy but with their own children. This way of working can be so helpful when communication hasn’t been possible between parents and their children – for any number of reasons, but often simply because we don’t get any training to be parents even though it is quite possibly one of the hardest tasks we are faced with as adults. Children communicate through play – it is their innate language. By teaching parents the language of play, and how to use play therapeutically, the communication gap between parent and child can be closed.

Perhaps it is surprising, but I also use play therapy, and more specifically sandplay therapy, with adults. Using small trays of sand, clients sculpt the sand and position miniature objects and figurines to create scenes, worlds or designs that are expressions of their inner world. Sandplay therapy gives the client direct access to their internal self, allowing them to understand issues in a deeper way. As adults we often get stuck in certain situations or circular ways of thinking, and it is helpful to use a creative non-verbal tool to explore our inner workings, alongside more traditional dialogue.

GL: Does this methodology differ to established methods in France?

Nicola: As far as I know, traditionally, psychotherapy here has mostly been a verbal, intellectual process, perhaps based on a more medical model of psychiatry concerned with cause and effect. This relies mostly on talking things through. In play therapy we additionally use non-verbal, creative approaches that give space to the intuitive Self – the part of us that knows what it needs to heal, even if it can’t explain it. Experiencing our Self at this level allows us to integrate what we feel and what we know intellectually in order to move on.

Another aspect of the predominant model of psychotherapy in France is that it is still largely ‘adult’ led, with the doctor, psychiatrist or therapist seen as knowing more than the patient who is a passive recipient of the treatment.  In my own work, I believe it is essential to follow the client’s lead, to trust that – given a safe and accepting environment (as in child-centred play therapy) – children have within them the desire and strength to find their own way to heal and to grow.

This non-directive approach facilitates the development of self-responsibility, self-control, and appropriate self-esteem. It is my responsibility as the therapist to provide that safe and containing space in which the child can explore who they are, how they feel and ‘play out’ different solutions.  This also has larger implications regarding how I work with parents. I believe therapy must be a collaborative effort. For the child to have the safe space in my office is one thing, but regular meetings between the parents and I give parents the support they need in order to be able to accompany their child on the journey towards growth and change.

GL: Who comes to you and what are some of the reasons why?

Nicola: I see clients between one and 100 years of age … Traditionally play therapy was developed to work with the specific needs of 2–12 year olds, but I practise a more general creative psychotherapy that I feel applies to all of us…

Why do people seek psychotherapy for themselves or for their children? It’s a very big question that has as many answers as there are people in therapy… adults come to work on existential issues, difficult life experiences (such as divorce, a loss, or adapting to a new country), or to further their personal development. Children and adolescents are referred for equally diverse reasons, for example, their parents have noticed low self-esteem, depression, or the development of challenging behaviours at home or at school. Perhaps the family or child has recently undergone a traumatic experience – ranging from maltreatment to moving homes, the birth of a sibling, long-term illness and hospitalisation, adoption, bullying … to name but a few.

Yet other children have difficulties ‘fitting in’ (whatever that means!), struggle at school, or have been diagnosed with developmental difficulties that require a little extra help to develop their sometimes hidden potential.  Play therapy is useful for a whole range of emotionally-based problems of behaviour and adjustment.

GL: Are these reasons different in any way to those you have encountered working in other countries?

Nicola: Regarding my work with children, I would say that generally the reasons are the same here – parents come because they are worried about their children –  and though the way I work using play is unknown in France, it attracts a lot of people looking for a more child-centred approach. International families often come to the cabinet when they feel misunderstood or judged by more traditional French therapists who might be unfamiliar with different child rearing and cultural practises (for example long-term breastfeeding or co-sleeping), or the challenges facing  multi-cultural families.

I certainly do not pretend to understand the cultural background of all of the families I work with, but through my own personal experience, I am aware of some of the daily struggles one faces just trying to adapt to something as potentially stressful as a new school system …

GL: Where do you come from and where did you train as a therapist?

Nicola: That’s not such an easy question for me to answer… I was born in Germany to German parents, and have since lived in six different countries across four continents. I originally trained as a psychologist specialising in child development in the UK, but after a short career in a major child and adolescent psychiatry unit in London conducting psychological research I decided to train as a play therapist.

I think I realised that I am much better suited at playing Peter Pan with four year olds than at establishing a diagnosis or quantifying human experience in order to plug the results into a computer for analysis.  Don’t get me wrong, I respect and value psychometric testing when it’s necessary and well-carried out by a sensitive psychologist – but those are not my skills and no longer the approach I practise. My training as a psychologist remains extremely useful to me and it definitely informs my work, but I have tried to move away from ‘putting problems in boxes’ to working and thinking problems ‘out of the box’.

GL: What languages do you work in and why?

Nicola: I work using the languages I am fluent in – that is English, German and French.

GL: Why did you come to Grenoble?                   

Nicola: Our move from the USA to Grenoble was not an easy one for me – I loved living in California, but at that time it was necessary for our family to return to Europe. Luckily we were able to settle in Grenoble since it’s so central in this fantastic mix that is Europe.

GL: What difficulties, if any, did you have in setting up your cabinet in Grenoble?

Nicola: Perhaps the biggest hurdle for me was that play therapy didn’t exist here – at all. There wasn’t even a French translation for it, so I made up my own, la Thérapie par le Jeu. I am affiliated and registered with several international play therapy associations – but none of my foreign qualifications were recognised in France. Coupled with an attitude I frequently encounter here of “no one’s every done that before, so surely there is no point changing things by trying something new now….” I took a risk setting up my practise without any professional network.  And now, of course, that the cabinet is up and running, the French reaction is extremely positive and open minded with reactions such as “why don’t you train people here”!

GL: What advice would you give people setting up their own businesses/private practices in France?

Nicola: I’m not sure about giving advice, other than don’t be put off by all the scary looking forms and impressive civil servants. It does sometimes feel like everyone is trying to dissuade you from even trying, either by piling useless and endless paperwork at you or by sounding generally negative and complicated about relatively straightforward business. But if you have enough time to stand in queues and patiently rephrase your question for the third time, often that very same administration (like the URSSAF) can actually be a goldmine of information. France really is ready for some innovative business ideas, if you can just navigate and bully your way through the system.

A taste of Celtic Connection events

Maighread Gallagher, Secretary of the Celtic Connection in Grenoble, talks about the origins of the association, the events it organises, and celebrating St Patrick’s Day in style.

Grenoble Life: What is the Celtic Connection?

Maighread Gallagher: The Celtic Connection is an association loi 1901 which promotes Irish and Celtic culture in Grenoble and beyond.

GL: What sorts of activities do you organise?

Maighread: We organise cultural events and informal meetings, these include: film screenings, an annual picnic, something for Hallowe’en, something for Christmas, and of course we celebrate St Patrick’s Day in style! 

GL: What kind of services to do you offer?

Maighread: We don’t formally offer any services, but we are happy to help new arrivals with the administrative hurdles they will encounter in Grenoble, or even just to meet up because during those first months it can be lonely in a new city and country. Sometimes it’s nice just to be able to talk to someone who understands where you’re coming from. We can also put people in touch with an Anglophone doctor or dentist if they need it, and we have a few contacts at the embassy in Paris.   

GL: When was the Celtic Connection created and by whom?

Maighread: The Celtic Connection was set up in 1992 by a group of Irish people recently arrived in Grenoble. Most of them are still here almost 20 years on.

GL: What is your role in Celtic Connection and why did you come to Grenoble?

Maighread: I am the current secretary of the association, although this high-powered job was not my main reason to come to Grenoble! I originally came on Erasmus in 1994, to study biochemistry. Grenoble has an interesting effect on people, it’s hard to leave. So, despite having left several times, I am now here to stay.

GL: What events do you have coming up?

Maighread: The calendar is pretty full over the next few weekends. We will mark Bloomsday (June 16), which is a celebration of James Joyce and his epic work Ulysses, with readings and music. This is organised with the help of the Bookworm Café, and will be held there on Saturday June 19th. Our annual picnic is coming up on June 20th, and this year our sister association in Lyon will be joining us for that. We are hoping to make it a regular joint event. We are also in full swing for the organisation of our film event, which will be in mid-November this year – watch this space.

GL: Where are some of the best places to find Celtic culture and people in Grenoble?

Maighread: In the early days of the association, this would have been easy to answer – just check out the Irish pubs (The Shannon, O’Callaghan’s, Druid’s), we used to go there every Friday. Those are probably still good addresses for meeting Irish people, especially if there’s a match on. Other addresses are similar to where you’ll find many Anglophones – through the international schools, at Pilates, through The Library at Babel. And if you’re dying for a bit of brown bread or Cadbury’s chocolate, go to the Irish shop (Comptoir Irlandais). If you want to meet up with us on a regular basis, and participate in our activities, join our association, it’s easy – just come along to the picnic on June 20th, or to another event and we’ll put you on the list.

GL: Tell us about your members: who are they generally and why have they come to Grenoble?

Maighread: A lot of our members are Irish expatriates, although over the last couple of years the Scottish contingent has grown considerably. Some are second-generation emigrants, and of course we accept all nationalities! What unites us all is an interest in Irish or Celtic culture and sharing our experiences. Many of our members came to Grenoble to work for the microelectronics industry; there are also a lot of scientists among us. A lot of us came initially intending to stay only for a while, but as I said earlier, Grenoble can be a very hard place to leave once you’ve acquired the taste for the sun, the mountains and the quality of life!

Garvin on the sofa

Grenoble Life talks to Garvin, Grenoble’s premier Franco-Welsh-Scots rock band, about their musical background and development as a band; and streams two of their songs especially for you!

Garvin are Calumn Mackay, Vincent Thourigny and Gareth Powell. They were in conversation with James Dalrymple of Grenoble Life.

Listen to Spellbound confused by Garvin: here

Listen to Same Crusade by Garvin: here

Grenoble Life: On tracks like Spellbound Confused and Same Crusade I hear an emotive guitar-led pop that I associate with British alt-rock. However, tracks like Vocation seem to have a more reggae flavour, and there are occasional flutters of latin-sounding guitar in a number of your songs. Is there a ‘Garvin sound’?

Calumn: We like to experiment with different instruments, bringing different sounds to the table depending on the feel of the song. For instance, I sometimes use electronic Roland V-drums instead of, or as well as, my traditional acoustic drum kit. Also, as each of us dabbles with song writing in different ways, we are not fixed to a single approach.

Gareth: I think there is a certain Garvin ‘sound’ since vocal textures and playing styles are idiosyncratic. As far as our musical and composition style is concerned though, we have a consciously open-minded approach which is incredibly inspirational – no restrictions. Also, we like the surprise element in music.

I suppose we have to keep an eye on not going too far off the track, but we just aren’t thinking like that. We’re enjoying exploring and mixing up styles.

Vince: The group’s sound is moulded from each of the band member’s influences as we compose. The fact that we all participate collectively in the composition of the songs, as well as the inherent chemistry developed when we’re playing, means that the resulting sound tends to be one and our own. We like to experiment and explore new horizons, which undoubtedly add to the flavour of Garvin’s music.

GL: What are your musical backgrounds? What other bands have you been in and what kind of music did you play?

Calumn: I’ve played in bands since I was 14, starting on piano then moving quickly onto drums. After a few school/student bands, I joined a cult punk/new wave band called the Scars. After our first single Adultery/Horrorshow, we played regularly in London and toured with bands like The Human League, The Rezillos, Siouxsie and the Banshees and The Cure. I took a year out of school to decide whether I wanted to be a full time musician. After three singles and with an imminent album looming, bizarrely, I decided to go to college instead.

In 2005 I met up again with the Scars to do a cameo spot with Lemon Jelly, who had sampled a big chunk of Horrorshow, on a single which charted in the UK. I took a cut-down V-drum kit in a suitcase on a plane to Edinburgh and then to London for the short five minute appearances. It was great to get up on a stage in front of 4000 people and the London concert was broadcast live on BBC radio. Paul from the Scars managed to purchase the rights of the Scars recordings back from EMI and released a limited edition CD. There are apparently still Scars fans out there!

While a student in Edinburgh I joined Blues n Trouble (amongst other bands) and connected with the blues for the first time. BnT went on to release tons of albums, tour extensively and are still going now. I’ll be doing a guest spot in a band with their original guitarist at the RockBeir festival in Venlo this summer.

Later I lived in London and answered an ad in Melody Maker for a blues band called the Pinetops Boogiemen. We had regular gigs in south east London pubs and also in a few nice venues like the Half Moon on Herne Hill. We still meet up every couple of years to record a CD, but we have had no commercial success. It was a fantastic experience though and we are all life long friends.

I moved to France in 1995 and met Gareth through a mutual friend. We played in various line ups, gigging now and again and recording occasionally. Our last group, XL5, was a 1970s-style British rock band.

I’ve also been playing in the King Billies blues band for a couple of years and am part of the Lou Pelaya Celtic association where I occasionally play drums and acoustic guitar (badly).

I joined the Garvin duo in summer 2009 after jamming at a couple of their pub gigs at the Druids bar in Grenoble. There’s great energy and stamina in the group as well as a comfortable chemistry. Very strong creativity too, and the door is always open to any new ideas and adventures – the way it should be!

Gareth: My first gig in Swansea Students Union was at age 16; a terrifying experience – lost a lot of weight in the three or four days leading up to it. Then played in cover bands and slogged at the original music scene in the UK. I got to do many gigs and European tours with a few semi-known rock bands when I lived in Wales, and even after coming to France to live. I am still in touch with the guys in my last UK band, and I get to play impromptu gigs with them from time to time. They currently have a band called the Storys from Swansea, who achieved some success and tour regularly with big names. While they played in Monaco last year, they asked me to replace their guitarist who’d had a bit of a nervous breakdown. I played a gig in the Globe in Monaco, and the day after in front of 50 thousand people opening for (cringe…) Celine Dion in Ajax stadium, Amsterdam. That was surreal – I had song notes and chords written on a piece of paper at my feet.

I’d love to do big shows like that with Garvin – that would be the “mutts”… though preferably supporting U2 or Kings of Leon instead of Celine!

Vince: I am basically self-taught. I could hardly play the guitar when I joined my first group at 16, but I’ve never stopped since. For the last few years I worked on solo projects and did many live shows using a loop-sampler to create multi-layered live song arrangements, but I can say that playing in a band is a real pleasure, especially given the high potential of this group. I’m not really interested in talking about what I used to do, instead I’m much more interested in talking about what we are going to do!

GL: Please can each member of the band name three bands/artists that have influenced them the most.

Calumn: Difficult to say. I like a large spectrum of music, although in my formative years I liked The Doors, original Ultravox, and I still like Carol King.

Gareth: I’d have to say people like Jeff Beck, Adrian Belew, Robert Fripp are notable guitar influences; and David Sylvian, Cy Curnin, The Divine Comedy, as vocal influences. General music/composition influences are bands like The Cocteau Twins, Kings of Lyon, Jeff Buckley, Interpol, Bjork, Led Zeppelin, or anything new that comes along and blows me away.

Vince: I think my musical development and appreciation was deeply influenced by The Beatles. I learned to play, sing and compose listening to their music. I used to attempt to reproduce their techniques on my own recordings. King Crimson was also a revelation for me in my formative years. I have great admiration for a more recent discovery, Joseph Arthur, a New-York singer/songwriter and all-round artist.

GL: What facilities are there for new bands in Grenoble to get together and jam?

Gareth: There are rehearsal places and some associations that try to nurture this around the town, but we aren’t the best guys to ask since we are fortunate enough to have our own studio that is also adequate for rehearsing live sets. And we definitely jam a lot …

GL: In your view what are some of the best bars and pubs to watch live music in Grenoble?

Calumn: I’m not really sure there are any decent venues for groups. We tend to be squashed into corners in bars and I usually have to leave most of my drum kit behind most of the time. Salle EVE is pretty good.

Gareth: Le Bobine is gaining a good reputation. There does seem to be a response in progress to the local Grenoble musicians’ plight of having embarrassingly few venues for such a cosmopolitan city. It’s still difficult to play locally regularly enough for a new group to build a following. For a few months we played fortnightly residencies in Druids Pub, an Irish bar in Grenoble, which was good but a bit tight under the arms.

GL: For the British members of the band: how has living in France influenced your approach to music?

Calumn: I don’t think is has affected me really, although I’m probably more open to French music than I otherwise would’ve been. Media moves so fast these days so for the mainstream I’m probably listening to the same music here than I would be in the UK. Also we live in a bit of a bubble with access to UK TV and radio at home.

Gareth: There was an initial shock at going from a three to four night per week gig rate in the UK to zero – it was like going back to the bedroom to play guitar again, which was not what I’d imagined. I fortunately found an association who share-owned a recording studio (Studio 33) in town. After persuading them to let me join them I spent a long time writing and recording songs mainly on my own. It taught me about producing music and also allowed me to develop a few things, like singing, so I don’t consider it as wasted time, even if it was a bit of an implosion in some respects. The other good thing is it was how I met Calumn. The immediate accessibility of a studio has now become a luxury that I couldn’t live without.

GL: For the French member of the band: how has playing with Brits influenced your approach to music?

Vince: To be honest, I’ve never really listened to much French music or bands. I’ve always been more attentive and influenced by British or American bands since adolescence. That’s probably why I get on so well with Gareth and Calumn, as our common language is the music which I feel very at home with.

GL: Are there any other local bands that you can recommend to Grenoble Life readers?

Gareth: There are a few authentic Anglophone things like Barefoot Iano, an Australian multi-talent, and a guy called Neil Dixon from Chambery, that sound excellent, that Grenoble Life readers should try to check out.

Vince: Huh? No – just Garvin [laughs]! In fact, I’m not very aware about the local scene in Grenoble. I know there are many bands and quite a few good ones out there, but there are not many places to see band play…

GL: Any plans to record a full length CD or EP?

Calumn: Absolutely.

Gareth: Yes (sigh) – we are very productive so it’s hard to keep up with the creativity level in the studio, and completely finish everything – we have enough songs for at least three or four full albums already; all at different stages of completion. Vince hit on the idea recently of producing multiple mini-albums that we can continue to produce and sell at gigs or elsewhere. We have also a six-song CD recorded live in session at Radio Campus for English Talk Radio and Le Son de Garage programmes – this is one of the mini-albums.

GL: Where can we see you play next?

Gareth: We’re pretty busy all through June and July – more gigs coming in every week, so best to checkout the events section on our MySpace site or our facebook page if you’re that way inclined.

Vince: We’re doing three or four private concerts/fêtes that aren’t open to the general public in June, but we’ll be at Zélées Bar (Grenoble) on Thursday 17th June, and on the 21st we headline at Tullins for the music festival. Also, on July 1st we’re playing at the Magellan Bar (Voiron).

Garvin

L'art Qui Parle

Elizabeth Stone Matho is an American psychotherapist and art therapist with a private practice in Grenoble. She talks to Grenoble Life about an art therapy exhibit of the artwork of cancer patients she has organised for June 10–27.

Grenoble Life: What is the theme of this exhibition and who has organised it?

Elizabeth Stone Matho: The exhibit theme is L’Art Qui Parle, and it’s the artwork of cancer patients in art therapy with me at the CHU Grenoble or in an outreach program in St Ismier. 

It will take place at Ancien Musée de Peinture, Place de Verdun, Grenoble, June 10–27. To coincide with the exhibition there will also be a conference and discussion on art therapy, June 18. More details at the bottom of this article.

GL: What kind of illnesses have the artists involved had to cope with and how did this artistic process help them cope?

Elizabeth: All of the artists have had to cope with cancer. You’re asking such a great question when you ask how the artistic process helped them cope. I think that the answers to that question will become so much clearer than I could explain here in a few words, when you see the exhibit.

Each piece of artwork has a text or title, written by the artist, to help the viewer understand something about the internal processes involving the confluence of creativity, illness, experimentation, personal expression, hopes, fears, wishes and so much more.

Each patient in art therapy experiences the creative/therapeutic process a little differently. For some, it helps to bring solace, for others, it helps to forget, for yet others, it helps to recover one’s identity, femininity, integrate the body image that’s been ravaged by illness and its treatment so that one emerges stronger, more aware of one’s own needs, with more insight about oneself.

First and foremost, the artistic process is non-judgmental, without expectations of an aesthetic nature. It follows the path that seems to be right for each patient, each individual, whether in terms of materials used, content of imagery, form, personal themes expressed. I think that most patients emerge from the very first sessions feeling that in spite of the destructive forces of the illness and its often aggressive treatment, they tap into a vitality that is very much there, very much alive.

GL: In what different media are the artworks?

Elizabeth: Primarily, gouache, clay, and a variety of drawing materials such as pastels, oil pastels, colored pencils and the like comprise the basic materials we use. However, other materials can be added, depending upon what is requested by the patient, as their creative/therapeutic evolution unfolds. I have to add that AGARO (Association Grenobloise d’Aide à la Recherche en Oncologie) has been very generous in providing me with all the high quality materials I requested. 

GL: In what context where the artworks made: did you facilitate them?

Elizabeth: To answer your question, both yes and no. Yes, in the sens that I was always present, offering a climate of freedom and respect, with an understanding of the therapeutic and artistic processes that would be involved. I offer a broad spectrum of possible ways of working, whether from imagination or from even a postcard, which stimulates feelings and thoughts that are also present and need to be voiced.

At the same time, I have to say no in the sense that I usually don’t tell people what to draw or even start with a general theme. I resist the idea that what I might suggest will be correct for them; rather, I prefer that as they get to know the materials, they will generate their own creative and therapeutic processes.

I also believe that in spite of a climate of freedom, people have the right to defend against important feelings and unconscious material. Not every feeling or experience should be brought to light at once because people are often not yet ready psychologically. 

GL: Were any of the artists involved initially resistant to using art as a therapeutic process?

Elizabeth: Yes, in the sense that they didn’t imagine themselves using art as a therapeutic tool, however, generally they had a certain sense of curiosity about the process which mitigated their resistance, or, for some, a feeling that they had tried everything else (medically) so far to treat their cancer and that now, maybe art therapy could be of some help to them. 

GL: Are the artworks all very centred on the artists’ experience or are some more representational or abstract?

Elizabeth: There are all types of artwork, from personal feelings, representational, abstract, with meaning emerging in various ways. Some started out to express something specific; sometimes the result was that expression, or sometimes it changed. Sometimes the meaning emerged only afterwards. Sometimes the meaning of an earlier work became clearer only after other work was done. And, some were even created to forget. I don’t push people, but we do talk together about what the process was like, what the final result might say to them.

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Art therapy exhibit of the artwork of cancel patients: L’Art Qui Parle
Ancien Musée de Peinture (Place de Verdun, Grenoble)
June 10th to 27th • Wednesdays through Sundays • 1pm–7pm
Association Grenobloise d’Aide à la Recherche en Oncologie (AGARO)
Elizabeth Stone Matho, art therapist, psychoanalyst

Conference and discussion on art therapy: Art therapy: As a discipline in and of itself, and its role in cancer treatment. 
June 18th, 2010, 5pm
La Plateforme (Bibliothèque), Ancien Musée de Peinture (Place de Verdun, Grenoble)
Elizabeth Stone Matho, art therapist, psychoanalyst
Fabrice Chardon, music therapist
Seating limited to 100 people – reservations suggested:
06.12.17.27.11 or 04.76.87.17.60

Helen McEwan (left) with children joining in on English Talk Radio

The May 21 English Talk Radio show features Helen McEwan of ABC Anglais, and took place at Les Petits Bilingues, Grenoble.

Listen to the show: here

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. There are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

A map to Association Babel

Claire Bryars is President of Babel, a language and cultural exchange association in the centre of Grenoble. She tells us about the organisation, its activities and its history.

Babel is an association founded in 1978 by a handful of people who wanted to develop and promote language teaching and cultural exchanges in France and abroad.  

I was one of the founding members and have been President since 2003. As a teacher I have also organised intensive English courses and accompanied groups to England and Wales.

When we started we were extremely fortunate to be provided with a room in the heart of Grenoble, next to the Couvent des Minimes where we have been ever since.

The activities have been very varied over the years but from the very beginning we have given language lessons (English, French for foreigners, German, Italian, Japanese, Russian, Spanish) and had conversation groups.

We have also organised seminars, intensive adult courses, children’s classes, teacher training sessions, trips to England, Wales and Italy, had play readings, cultural evenings and produced a monthly newspaper (The Newssheet) which eventually became Breakaway.

For a few months we also presented a weekly radio programme. There is also of course the Library, an important part of our association. It was created in 2000 with the aid of Alliance Grenoble Oxford and Open House and is housed in Babel.

All the above activities are available to members and their friends who may also attend the cultural evenings. We have an Open Day in September and a yearly Christmas party. A monthly letter informs members of the coming events and a website has recently been set up.

Coming up next at Babel there is an inter-cultural evening (Italian/Spanish) on the 27th May followed by a trip to Italy. The Open Day is the 11th September (14h–18h) and Babel will participate in the Journées Européennes du Patrimoine on the 18th and 19th September with other associations housed in the Quartier du Vieux Temple. We hope to see you there!

A permanent member of staff is present on Tuesdays (12h15–13h45) during the library opening hours. Otherwise anyone wishing to join can leave a telephone message (04 76 42 43 91) or send an e-mail (association.babel@ laposte.net).

Le Créarc - international theatre in Grenoble

The May 7 English Talk Radio show features Anne-Laure Dubois and Marco Andrello of Le Créarc – Centre de Création de Recherche et des Cultures - talking about international theatre in Grenoble.

Listen to the show: here

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. There are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

LEROY & SCARPA: neutral-toned, softly-chic faux-fur throws and pillows

Nearly one year on from their first meeting, Grenoble Life catches up with Kris Leroy, the American founder of Grenoble-based soft furnishings design company LEROY & SCARPA, France, previously Chic Throws.  

Grenoble Life: Why the name change? 

Kris Leroy: As Axelle and I are now associates, both managing the company and aiming to launch a luxury brand, we definitely needed to change the name for a fresh start. Chic Throws was also impossible to pronounce in French! I had originally had a direct e-commerce strategy for the business in place but realized that it was best to focus on my designs, our originality and leave the B2C to others more specialized. 

As most designers, it is important to keep your name in the frontlines and not hide behind a meaningless company name. We have invested in our new name/logo which I think reflects a more luxurious brand. 

GL: Who is Axelle? 

Kris: Axelle Scarpa and I used to work together at Ericsson Hewlett-Packard Telecommunications (EHPT) over 10 years ago. We have remained friends ever since and over lunch I’d told her my dream associate would be someone like her, an expert in supply chain management and purchasing. She was just finishing her tenth year at HP and was ready for a serious change in environment as well as an entrepreneurial challenge and quality of life improvement. She said, why don’t I come to work with you and I’d thought she’d had a bit too much wine at lunch …

Since April we’ve combined forces, and mutually thank each other for ‘our new life’. It’s great as we prioritize family time (i.e. working four days a week) however often meet online after hours to achieve our goals. We have moved our offices to a business park where our communications agency was located. It’s only 100m away from our last office but we have much better natural light (so I don’t have to go out on the roof to see the true fabric colors) and air conditioning! 

Kris Leroy and Axelle Scarpa

GL: What is there to do now that you’ve joined forces? 

Kris: We need to basically start all the business filings again in SARL format with the Chamber of Commerce and choose partners with whom we want to launch our new brand. (accountant, notaire, fabric suppliers, communications agency, etc.) You are only as good as your partners.

I am working on the new Winter 2010 collection for the first professional fair in Annecy in June. This will be the test for the B2B market where originality should prime over the traditional ‘mountain décor’ suppliers to ski areas in France, Switzerland and Italy. We are really targeting the chic boutiques in the ski areas in Megève, Chamonix, Courchevel, etc. and hope to ‘wow’ them with our new collection, for their international clients. I have spared no expense on the fabrics that come from top and unknown designers in France, Italy and the UK for the Courchevel Chic collection. 

Since the crise clients are craving color and that is what we will bring them as well as neutral-toned, softly-chic faux-fur throws and pillows (see top image).

GL: So you are ready to hit the market now? 

Kris: Now that Axelle is on board, I finally can focus on my added value which is sales and marketing. This past year has been spent getting our supply chain in place and prospecting both the B2B and B2C markets. I literally haven’t had a chance to really hit the pavement running with our collections. All sales have truly been through word of mouth. 

We just need to finish the website, the catalogue and the samples for each collection, photograph all and then I’m set to meet clients and take orders … Now that production is confirmed and we have about a two week lead time on production (better than our competitors who are importing from abroad), we can really stand out. 

Also, we need to perfect photography which is difficult to capture a large throw on a thumbnail-size photo and is quite a challenge for our internet resellers. We are currently testing photographers and have a great photo shoot in place that should all come together in May.

Leroy & Scarpa

GL: In terms of design are you comfortable in this new market? 

Kris: Axelle and I just came back from London where we attended the Kelly Hoppen school of design. This program really helped me fine-tune what I was designing to be in harmony with Kelly Hoppen’s style which caters to the same clientele. I have finally overcome my fear of neutral linens and can expertly decipher the difference in taupe and sand tones.

We have also joined forces with our communications agency and www.ateliermartinberger.com to create www.cocotte-design.com, which is a blog for girls who like to talk about girls in design. We are having loads of fun with this project that just launched last weekend and are meeting a lot of interesting people in design. 

GL: What has inspired the new collection? 

Kris: I have found three new fabric designers that are really in tune with my style and blend well with what we have already. I have also found a sculpture-designer that can make the buttons that I’ve been trying to find worldwide as a final touch to the collection. We will also be designing our own buttons as finishing touches with our new logo. 

As we are actively targeting the ski areas, we are using a lot of faux-fur in bright colors and neutral tones. We only use French and Belgian top-quality fabric and the result is an ultra-soft, emotional / sensual product. It’s not just a throw! 

We are also launching some furniture at the fair in June: plush, patchwork chairs and cube tables. 

We have been lucky as the press has sought us out and especially the new magazine ‘Cosy Mountain’ which is the first ski-area magazine for contemporary design. Once our packaging is complete with the new logo, we should have a four-page spread in their fall issue. 

GL: And then what? 

Kris: Once summer arrives, I need to start designing the Spring Collection for 2011 which will include outdoor fabrics (pillows, lounge covers, poufs, plush chairs). We also have lighter throws planned for cool evenings and brightly colored pillows to match. 

I am also working with a graffiti artist to design some eclectic throws for artsy and adolescent clients. I am inspired by Banksy’s wall art in the UK and hope to transfer others artists’ designs onto throws, headboards, etc. 

We are working on our first chic-boutique deal in London and then who know where outside of France … For the moment we will focus on our home-base and slowly branch out to Switzerland, Italy and other foreign markets. 

We do want to maintain a ‘boutique-brand’ and not sell to large department stores. The idea is to remain exclusive and maintain a smaller, very happy clientele.

Garvin at the Radio Campus studio

The April 25 English Talk Radio show features Garvin: a Franco-Welsh-Scots rock band from Grenoble.  After only a little over a year together and they are already finishing the recording of their first album. A mix of English pop-rock, progressive and folk, they play two songs live in the studio for you!

Listen to the full show: here

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. There are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

Speaker Grill. Photo: Chase Houston

The April 11 English Talk Radio show features Trudi Penkler, a psychologist, psychotherapist and ‘Intercultural Consultant’ with her own practice, Active Adaptation Counselling, in downtown Grenoble. The discussion is about third culture kids, particularly teenagers …

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. There are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

Listen to the show: here

Radio. Photo: stigwaage

The March 28 English Talk Radio show features guest Kate Daligault of Banque Rhône-Alpes in Grenoble talking about banking in France, and Mary Zaccai interviews Kristine Minski and Vivian Draper about five years doing the show.

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. We are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

Listen to the full show: here

Odyssey Intercultural

Michelle Mielly is MSc Marketing Program Director at Grenoble Graduate School of Business. She talks to Grenoble Life about her background, adapting to life in France and Odyssey Intercultural, the training consultancy she founded.

Grenoble Life: What is Odyssey Intercultural and who is it for?

Michelle Mielly: Odyssey Intercultural is a brand I created four years ago in my work as a consultant with Act’Rmc here in Grenoble. Its name reflects the long and multi-faceted journey that one experiences when working and living interculturally.

The training I have developed targets individuals, teams, and organizations wishing to acquire greater intercultural competency. They may be involved in an acculturation/expatriation process, working in a multicultural team environment, experiencing the ins and outs of a corporate merger or international joint venture, or managing any form of diversity in an organization. Any of these common situations requires intercultural competency.

GL: What are some of the dangers of poor intercultural understanding and management?

Michelle: Stated simply, failure is the biggest danger. Failure in business ventures is often attributed to incompatibilities in strategy, business models, operational technicalities, or management styles. However, when one looks at some of the most spectacular failures in international business, the hidden dimension of culture is often the origin.

The examples are multiple: Disney’s implantation strategy in France and in Hong Kong, the Daimler-Chrysler merger, Lucent-Alcatel’s missed mission, Schneider Electric’s difficulties with a number of its foreign subsidiaries, and many more. Some of these examples illustrate that cultural issues create great obstacles, but the good news is that you can overcome them with hard work and the investment of time.

Another danger is missed opportunities. Creating a bad first impression takes a long time to correct, so it’s better to go into international business with an open mind and conscientious preparation. Many opportunities are lost due to individual cultural differences that inhibited the establishment of a long lasting and productive relationship.

When people don’t feel respected, if they perceive a lack of interest on the part of the other, if they lack the fundamental trust at the foundations of the relationship, or if they think they are being stereotyped negatively, they go into defensive mode. Most of the time they actually start behaving in ways that may confirm the other’s stereotypes!

It must be stressed that in speaking of cultural differences in the corporate context, we are often talking about corporate, and not national or regional cultures. There are dozens of examples of mergers or acquisitions between the same national cultures, but the corporate cultures involved were profoundly imprinted and elusive to change.

GL: Odyssey Intercultural specializes in European-North American relations. Could you elaborate on how these relations can be complicated or sensitive and why Grenoble in particular might require such a service?

Michelle: Cultural differences exist between any two cultures: just looking at Western Europe’s dazzling diversity is overwhelming! Statistically speaking along national cultural dimensions, there are much greater differences between France and Denmark for example than there are between France and the US.

So why train people to work better with North Americans (Canadians and US)? Precisely because there is an incorrect perception, due to excessive and sustained commercial and popular culture exposure, that these cultures are familiar, superficial, and that there is not much more to know about them.

Upon closer examination, however, one finds differences of deep and significant import. It is one thing to watch American sitcoms, eat at McDonald’s, study the English language, visit Toronto or the Grand Canyon for two weeks. It is absolutely another to work, communicate, and negotiate with North Americans on a daily basis.

One example: the perception of time. First, is time a disposable resource? What is an acceptable turnaround time in responding to an email (reactivity levels)? What is the best way to organize time allocation for a project, or just for a meeting? How does one divide one’s personal time from professional time and is this necessary? Should people be available during vacation periods? How much vacation is necessary? What are the expected working hours in companies?

Grenoble’s high tech economy provides a stunning example of how globalization has simultaneously simplified and complicated our work environment. And this environment has an impact on our personal lives as well (increased travel, the need to work odd hours to accommodate conf calls internationally, etc.).

Managers now have teams working 24/7 on their global projects, so deep integration through collaborative technology is a reality today. An industrial project, for example, involves teams in multiple time zones with multiple local environments that contrast sharply from one site to another.

While technically we have the means to run long and short term projects across the globe, on a personal individual level, we often simply do not have the intercultural tools at our disposal to sustainably manage the complexity of the different cultural realities that each site and international counterpart presents throughout the project lifetime.

Partnerships in many forms between Grenoble-based organizations and North American organizations are extremely common and new ones are forming constantly. Due to the perceived similarity of our cultures, most of my clients do not see a need for my services at the start of the project, but usually begin to perceive the need once the challenges have begun to appear.

GL: Why and how did you set it up?

Michelle: I set up this activity to be able to develop trainings that had begun to be requested by local companies to whom I had been referred. As in any activity, a couple of companies ‘took a chance’ with me and offered me a first opportunity to develop a training on French-American intercultural communication.

Thanks to their confidence, I was able to get my grounding in this fascinating field and to develop and test my trainings on people directly working in the corporate environment. My work with people on both the French and American sites of these organizations has helped me see the importance of working with people on both sides of the fence.

GL: Tell us a little about your background

Michelle: Ethnographically speaking I fully identify myself as a southerner: born and raised in Texas to parents from Louisiana and Oklahoma. I grew up in a small town outside of Houston, where I spent a great deal of my time riding my horses and learning the value of simplicity and the happiness of being outdoors.

I started learning French when I was about 15 and then switched from the rodeo circuit to the international summer exchange circuit. I worked my way through undergraduate studies, three graduate programs including Pennsylvania State U and Harvard, and in between got some great experience working in the field.

Trained in linguistics, foreign language pedagogy, intercultural studies and anthropology, I’m politically progressive but culturally conservative. I am proud of my roots and the values I received from them and encourage my students and clients to never lose sight of those values, no matter how much adaptation they must do internationally.

GL: You’ve also worked in Africa and Central America, can you tell us a little about this and how it influenced your thinking.

Michelle: In my 20s I spent a lot of my time backpacking—Europe, Latin America, SE Asia, Africa. Studying comparative literature with a focus on contemporary Central American writers led me to Costa Rica where I had an exceptional experience. I wrote for the local English speaking paper in San José, translated the poetry of Ana Istaru, and had the chance to manage an ecotourism outfitter in the Northwestern pacific region of Guanacaste with 14 employees. This experience made it clear to me that development work was for me.

When I went on to study for the Ph.D. at Harvard, I focused on Francophone African civilizations with a focus on modern day cultural producers and how they contribute to economic and cultural development. I got to live and work with the extraordinary artist Werewere Liking in the Ki Yi Village, Ivory Coast.

These experiences involved huge amounts of negotiation, adaptation, and exhausting reappraisals of my priorities. I initiated as a part of my doctoral thesis for example a US tour of seven African artists in the US in 2004 involving 10 universities across the US, from New York all the way to Ohio.

I began to recognize that I had a certain ease in working with very different cultures and in coordinating among diverse partners in complex situations, constantly negotiating for the best compromise for all. I had in fact through these experiences developed my own working philosophy and own tools, but not until my work in intercultural management had I actually started thinking about them in terms of knowledge transmission.

GL: Concerning European-North American relations – as I’m British, where do I fit in? Do your clients ask for intercultural training on British working and cultural habits? How are we often perceived by others (wrongly or rightly)?

Michelle: Well, you and I have a lot in common in terms of cultural heritage. The US could be considered to simply be the most successful colony of the Commonwealth! And yes, I have actually been asked for help in companies working with the British, but I always involve a British colleague or graduate student in order to legitimize my work on that culture, to provide the most authentic training possible.

In terms of perceptions, the French have the perception that the British are not as trustworthy as the Americans. I think both cultures (French and English) perceive the other as ‘perfidious’, as traditionally both sides of the Channel have portrayed the other as capable of treason. Idiomatic expressions such as filer à l’anglais or ‘to take French leave’ illustrate the mistrust. And who can blame either? There is a lot of water under that bridge of collective memory.

Another perception that the French have is that the British have a more complex communication style with more ‘code’ and irony. And that is one that I fully agree with!

GL: What are some of the difficulties you have faced adapting to life in France and how have you overcome them?

Michelle: In terms of my greatest difficulties to adapting to France in particular, I think most of them were due to differing communication styles and my own unrealistic expectations. These created great obstacles for me here, and it took me some time to have close French friends.

I had learned from my southern American upbringing and values, what we call southern gentility, that there are certain things you just cannot do, for example:

It is impolite to confront or challenge others’ ideas in public, particularly if you do not know the person well. It is impolite to say provocative things about another country or civilization in front of the person representing that country. It is not kind to interrupt someone when they are speaking. It is not good manners to correct another person’s accent or pronunciation if they are learning your language. Finally, outside of communication issues, it is extremely rude to jump in front of someone in a line (or a queue as you say in the UK).

I progressively discovered to my astonishment that all of these behaviors were common in France, part of the way people operate here generally. It is perfectly fine to criticize others in order to spark a debate or discussion, to see whether you are capable of holding your own when it comes to rhetorical skills (of which the French have plenty).

It’s part of their philosophical heritage to critique other civilizations and to look upon the outside world as less attractive than France, but they actually want you to convince them otherwise. That’s why they provoke heated discussions which are in no way unfriendly. A sign of a strong relationship between two people here is to be able to argue heatedly and passionately with each other, often in public.

Frequent interruptions in France are normal and common in discussions, formal and informal. Correcting someone’s French is the only way to help that person avoid sounding ridiculous to others, and having someone else correct them later.

Last but not least, if you do not have a strong territorial strategy for defending your place in a queue, people will simply cut in front of you. It was me who needed to adapt my behaviors and expectations to this new environment, to shift from passive to active mode.

GL: Could you give Grenoble Life readers some tips on adapting to life in France?

Michelle: I think the above description could suffice: it’s all about changing your expectations and recognizing your cultural limitations in order to move on. If French people seem strange, rude, or complicated to you, they may be thinking the exact thing of you! You have to be a lot more flexible in another country than you are at home, you have to tolerate a lot more discomfort and sense of displacement.

It can really be frustrating at times and often discouraging. The movement from one place to another, literally translatio, requires a self-reflexive capacity for adapting to the new environment and to those with whom you are in contact. Yet more important than any of this is having a strong dose of empathy. In other words, forcing oneself into the uneasy position of the other, and trying at all times to imagine things from their perspective.

See www.odysseyintercultural.com for more info.

Trudi Penkler: Active Adaptation Counselling

Trudi Penkler is a psychologist, psychotherapist and ‘Intercultural Consultant’ with her own practice, Active Adaptation Counselling, in Grenoble. In the second of a two-part interview, she talks to Grenoble Life about the experiences families can have adapting to life in France.

Grenoble Life: What kind of difficulties can families have adapting to life in a new culture?

A lot has been written about culture shock, but in my experience few difficulties in adapting to a new culture can be attributed to this alone. Certainly there are some very real challenges to be faced in making our lives work in unfamiliar surroundings. Actually living day-to-day in a new country is very different from a holiday visit. Sometimes we can feel completely ‘outside’ of what is happening around us, disconnected, as if we’ll never understand or be part of where we are. There can be a sense of loss when nothing seems to be as it was before.

Although we have risen to the challenge of relocating to a new country and find the differences we encounter interesting and stimulating, we may not identify with anything within the culture around us to begin with and may feel that we are having to live in isolation, surrounded by a world we have no part in. The social support network of family, friends and people who shared our way of life before, is very much missed and it takes time to recreate this again.

We may feel robbed of the roles that gave meaning to our lives and defined our social identity before. Generally this proves to be temporary as we start forming new habits and patterns, new friendships and connections which bring meaningful structure to our lives again and also when we realize that the previous chapters of our lives are still important. If, however, sustained helplessness, anger or resignation emerge, with continued feelings of anxiety, disorientation, confusion and depression, this requires attention.

When we establish our homes in a new environment, we’ve stepped out of the rut of our own ‘normality’ for a while. Any day-to-day challenge we would have managed in familiar circumstances will require more of us in unfamiliar ones – more concentration, more energy more time. Being prepared for this and accepting it upfront as part of the adaptation process, rather than resisting it and hoping for things to feel the same as before, is helpful.

We also need to be aware that we take ‘ourselves’ with us wherever we go. This means that pre-existent problem areas like fragile marital situations or wobbly self esteem, parenting difficulties or dependency issues will not go away or magically be ‘fixed’ in the new situation. Not only will they re-emerge, but they will be amplified by the stresses of moving. This is not necessarily a bad thing. Sometimes being brought face-to-face with difficulties that we’ve been carrying with us for years, but can no longer ignore, pushes us to address them.

Education is usually a very important priority for globally mobile families and whereas younger children generally adapt relatively easily, moving older children may be more difficult. Adolescence is of itself a time of change during which young people begin identifying more with their peers than their parents. Resentment, disengagement, helplessness and unhappiness can set in, if these young people feel they have been uprooted against their will and they will need empathetic understanding rather than motivational lectures from their parents. It is important to keep communication lines with teenagers and younger children open, especially about choices concerning them, at all stages of the relocation process.

When couples move, one partner’s career has often been favoured and the other may have renounced their own professional development and feel that they have lost too much, particularly if they are unable to resume a professional activity in the new country, because of language, legal or family constraints.

Leaving parents who are aging or in ill health behind in our home countries may be difficult.

GL: What other advice would you give families considering making a move to a new culture?

We don’t only take our weakness with us when we move across cultures, we also take our strengths, sometimes strengths we didn’t even know we had. We all have the resources within us to adapt to change, if the conditions are there to allow access to those resources …

But we do need to be very clear on the reasons for a move like this. Each individual family member may not be equally enthusiastic or benefit as much from the change, but each will be happier to be part of it all if the reasons have been clearly discussed and they makes sense.  

When we’re going to embark on an adventure like this, preparation is indispensible, not only in terms of the logistics of the move, but in familiarising ourselves with information about the new culture. Knowing more about the documented “do’s and taboos” of another culture is not going to prevent us from encountering obstacles and making mistakes anyway though.

A very important aspect of good preparation will involve also thinking about how we’re going to deal with change. Our emotional reactions and personal experience of a new situation are so much more positive when we’ve considered this beforehand and are consciously prepared to develop a tolerance for difference and uncertainty.

Things will be new and exciting, but the ease with which we did things in a familiar environment will not be there to begin with, especially if acquisition of another language is part of the equation. Simple tasks that we did without thinking before will take more time and effort. Although this may be frustrating, this doesn’t mean we’ve become less effective.

Coming to grips with the language of the country we’ll be living in will be essential, but there is no rule book as to how best or how quickly this should happen – we shouldn’t allow ourselves to be bullied into feeling inferior, while we’re actively learning and not yet proficient in a new language. Adapting to a new culture is not an end-point or a destination. It is a process, a learning process. We’re on the path and we are continuously progressing as long as we keep going. The pace of our own individual progress should not be measured or dictated by self-appointed ‘experts’ we may meet.

We’ll need to be gentle with ourselves, set realistic (yet ambitious) goals and respect the values and protocols of our host culture, without compromising our own. For a while our judgement will be a little cloudy while we’re learning about a new culture. It is important to consciously switch on the ‘data gathering radar’ in our minds, observing curiously all the time and verifying our conclusions by asking questions, rather than assuming we’ve understood what we’ve experienced. Most people will not find our questions bothersome and on the contrary, will enjoy being considered wise enough to be consulted.

Everything is easier when we feel stronger, so looking after ourselves health-wise should be a priority. Children should be kept informed of family decisions all the way (they’ll the need reassurance that their parents are ok, if a little lost and confused, still ok and still in charge).

We shouldn’t give up on the things we love or do well, music or painting, football or throwing a frisbee, but we’ll need to put effort into finding how to continue these activities in a different way. We also shouldn’t push ourselves to do things we don’t really want to, even though everyone else seems to be doing them. Some people really don’t like skiing or really aren’t interested in discovering the wonderful French wines here – and that’s just fine!

Keeping regular and ongoing contact with faraway loved ones will be very important too. You won’t have ‘betrayed’ them by coming to France and the more part of your experience they remain, the easier the separation will be for everyone.

And we’ll need to take the time to have fun and enjoy being where we are. This is not a test of endurance but an adventure and an “Adventure is worthwhile in itself.” (Amelia Earhart)  

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Please do not hesitate to contact me. My office is at 2 Rue de la République, in downtown Grenoble, just off of Place Grenette opposite Haagen-Dazs.

Tel: 04 76 98 93 85 e-mail: trudi@aac-intercultural.com website: www.aac-intercultural.com

Trudi Penkler

Trudi Penkler is a psychologist, psychotherapist and ‘Intercultural Consultant’ with her own practice, Active Adaptation Counselling, in Grenoble. In the first of a two-part interview, she talks to Grenoble Life about helping foreigners adapt to life in a new culture, going professional in France, and being a Ghostbuster!

Grenoble Life: What is an Intercultural Consultant?

Trudi Penkler: Our professions, education and social interactions are becoming more and more ‘globalised’. We can be based ‘at home’ but work with teams and organisations all over the world. We can also find ourselves living, learning and working in different cultural environments from the ones we’ve spent most of our lives in, sometimes for a short while, sometimes longer. This can mean trying to ‘belong’ in more than one place, or having children who do.

Intercultural consulting aims to provide information, awareness and skills, to help people be more effective in their work, pursue their research or studies comfortably and manage the demands of their daily lives with competence, in unfamiliar cultural contexts.

Active Adaptation Counselling was founded to serve this objective in 1998.  My work is about finding and emphasizing what works well in intercultural or multicultural situations, not what doesn’t. It’s about focusing on commonalities and strengths rather than differences and weaknesses. It’s about building bridges across the ravines that we imagine separate us from each other in terms of communication, understanding and interacting constructively. The experience of relocating across unfamiliar cultures myself provided the opportunity of looking closely into how to deal with diversity and developing expertise in this field, while continuing to practise as the psychologist and psychotherapist I was to begin with. 

Perhaps the best description of what I do was given to me by a young man of twelve who had come to see me, struggling to accept and settle into a new school system that at first seemed most alien to him and who was finally feeling more at ease … “You know what you are?” he said “you’re a ghostbuster.” I decided to keep the title!

GL: Tell us a little about your background

Trudi: Born in South Africa of parents and grandparents who were also born there, I never imagined living anywhere else. During the worst of the Apartheid years however, conditions became increasingly unbearable. It was inconceivable then, that Nelson Mandela would ever become the first president democratically elected by all the people of that country. ‘Broadening our horizons’ and trying to make our lives ‘elsewhere’ as parents of a young family, was a choice we felt constrained to make. Discovering a new culture and language were high on the ‘pro’ list when choosing to come to France. These were indeed to become great advantages, but naively we could not have imagined how hard won they would be!

Before coming to Grenoble, I had studied to work in both nursing and teaching biology, but a natural ability to deal well with crisis situations and to identify and redirect negative thinking and behaviour patterns towards more constructive ones, motivated more specific qualification in psychology, guidance and counselling. Experience in emergency situations with the South African Red Cross and responsibility for adolescent counselling in schools reinforced this choice.

GL: Why did you decide to develop a counselling service focusing on families moving to a new culture?

Trudi: The English speaking community was a lot smaller when I first came to Grenoble in 1986. Was it really more than two decades ago now?! Very little at the time, apart from house-hunting services and French lessons, was being provided by the companies and organisations that were relocating their employees, or students, even political refugees to the area. Interacting with other expatriates, I began to observe that wherever we’d come from, whatever the reasons for us being here, there seemed to be a pattern of common challenges and ways of coping with these – or not. It appeared that while some individuals embraced diversity and change easily, flourishing in a new cultural context and dealing well with situations and experiences very different from what they had known before, others managed less comfortably, sometimes very much less so.

What began as random observation and informal, voluntary help where appropriate, led to an avid interest in intercultural adaptation mechanisms, a need to understand these better and to establish the environment within which to contribute professionally. I spent a number of years reading and researching the thinking and behaviour patterns involved in cross-cultural adaptation, as well as studying the methodologies in cultural awareness training before beginning to work in this field.

GL: What challenges did you face in transferring your professional skills to France and set up your own practice here?

Trudi: Deciding to do something in France is one thing. Identifying the appropriate administrative processes and getting the paperwork right is another! Until I learned that “Non Madame, ce n’est pas possible,” were merely the opening words to further discussion, I would return defeated from the various offices that apply the regulations that govern self employment (trying to register my professional activity) or from the university (trying to obtain recognition of my qualifications).

Often when we’ve come from elsewhere, what we are trying to do in France doesn’t fit into any of the ‘boxes’ on the forms to fill in and much time is wasted in finding an alternative or solution. There is a cultural phenomenon that can work in one’s favour though and this is that unlike in our ‘bottom line’ Anglo Saxon cultures, negotiation can be a possibility, as long as one accepts the status quo to begin with and then looks at ways around obstacles from there.

Beginning almost as a ‘freelance consultant’, then establishing a practice and a small company concurrently, required carefully familiarising oneself with the details of ‘how things work’ officially, especially as in my case there are two distinct categories of services provided – i.e., Consulting in professional contexts as well as psychotherapy and counselling.

Balancing overhead costs and incoming revenue when we first start building up a client base can be daunting. I had the good fortune of sharing offices for financial reasons at first, with four wonderful French therapists, two of whom worked part-time for the government in judicial and social placement cases and also independently as therapists. Their input in terms of ideas, information and support was invaluable.

GL: What services do you offer?

Trudi: Although the services provided by Active Adaptation Counselling are two-fold – i.e., consulting in professional environments and personal counselling or therapy – the premise underlying both, is that active intervention can improve or repair our experience of a situation or event.

Intercultural consulting can involve any of the following: individual, management and team coaching; mediation and facilitation, which can be motivational, goal-directed or problem-solving; cultural awareness training programmes; workshops and lectures or presentations on specific topics or themes; independent screening for potential relocation; expatriation preparation, not only for those coming to France, but also for French expatriates moving elsewhere; preview visit interviews and ‘welcome’ talks; performance review and interview preparation; and repatriation or reintegration preparation for returnees.

Psychotherapy and counselling is provided for adults, adolescents and children, for couples and families. Problems and difficulties are addressed, but also aspirations and self development. What happens to us, as well as how we think and do things, all have an effect on how we personally experience of our lives, our work and our relationships. Psychotherapy and counselling can be useful when we are experiencing stress, emotional difficulties, psychological obstacles to learning, relationship problems, difficulties in adaptation to change, substance dependency, crisis situations, grief, difficulties in coping with physical difficulties or illness, post traumatic incident syndrome or simply when we need tools for going forward positively or improving a process rather than being stuck.

Lastly, my experience in the medical field has made it possible to provide medical interpreting services – i.e. the presence of an interpreter and counsellor during medical visits or hospitalisation.

GL: You work with international companies in the region – why do they approach you?

Trudi: Three main scenarios lead to requests for consulting to companies: Firstly, when intercultural awareness is important for individuals or teams working in multicultural or geographically diverse contexts and coaching, training programmes or workshops are required.

The second is when communication or motivation in multicultural teams needs to be stimulated and again, coaching services or workshops would be useful.

Thirdly, when cultural misunderstandings have led to errors in judgement or paralysis of a situation and external mediation or facilitation would get things moving forward again.

Smooth carrying forward of objectives can be hampered at various levels of management, by miscommunication or simple lack of awareness. This potentially becomes all the more complicated in diverse teams whose cultural filters are not all based in the same values and traditions. When we take the time to identify and focus on commonalities and the strengths to be drawn from diversity rather than differences and weaknesses – the most gridlocked of situations can gain momentum again.

Rarely, help can be required to defuse or get through a crisis situation, either the personal situation of an employee or group becoming critical in the workplace, or an external incident like a business travel accident, or hostage taking, which would require emergency support in handling the situation itself and for the employee’s family if necessary.

GL: What do your therapy sessions typically involve? (i.e., do you work with families, or in one-to-one sessions?)

Trudi: We find it appropriate to take responsibility for our own physical health. My sessions are about taking responsibility for our mental and emotional health too. Every case is different. Although most counselling is individual and face-to-face, couple, family or group counselling is often appropriate and constructive. Telephone counselling is also common for those living further afield and I’ve come to use this more often since consulting regularly by telephone for a company in America supporting French expatriates living there.

When the step of seeking help is taken, it is because something in our lives is not serving us well. As my clients often have to continue functioning effectively and in a ‘foreign’ environment to boot, my aim is always to actively begin the process of movement, from the present situation towards a more positively perceived one. When we look at our responses to others, to what happens to us, even to our own thoughts and fears, we also start reclaiming responsibility for ourselves and our own wellbeing, whatever the situation.

Endless digging about in the past without a clear intention or purpose does not make sense to me. Understanding where a difficulty may have its source is certainly important, but identifying and acting on what can be done about it from there, allows us to start leaving behind the ‘victim status’ we may be stuck in and become central actors in our own life stories again. This is what I help people do, through a structured method, like putting together the pieces of a jigsaw puzzle. I hold up a mirror of what I have gathered from what is expressed. This brings a life situation into perspective or provides a different angle of seeing things, which can affirm and reassure, provoke reaction or even motivate change.

Therapy is always an interactive process. It is not a random one however and requires structure and direction. Although Jungian and existentialist at heart, I draw on both CBT – Cognitive Behavioural Therapy and NLP – Neuro-linguistic Programming methods.

It is essential to me that those who work with me, leave every session more fortified and have access to the strategies and tools we’ve explored together, that will help them to be able to cope better, even if only a little each time, with the demands their lives are making on them.

GL: Are there cases where you find you cannot help?

Trudi: There are severe pathologies and difficulties, that I would be neither qualified nor capable of taking on and in these cases I would suggest referral to medical professionals who would be better suited to the problem, accompanying the client all the way if necessary though.

In recent years, more English-speaking medical and paramedical professionals have set up in Grenoble and I have instigated an English Speaking Therapy Forum so that we are in contact with each other, share information and are better able to serve the needs of the community. The WWNG (Working Women’s Network of Grenoble) has also been most important in facilitating the exchange of information so that professionals in the field get to know about each other, what is available and how to find it.

In part II, coming soon, Trudi will be talking about the difficulties familes can face when moving to a new culture and offering some advice on how to manage this adaptation.

Upstage website

The March 10 English Talk Radio show was recorded at the Cité Scolaire Internationale de Grenoble, and includes an interview with the director, the cast and the crew of Upstage, which is putting on two plays: Loot by Joe Orton and Mountain Language by Harold Pinter, performing March 22–27 at 7:30 pm at the Théâtre Ste-Marie-d’en-Bas.

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. We are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

Listen to the full show: here

Microphone. Photo: hiddedevries

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. We are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

The February 24 English Talk Radio show took place at Université Stendhal with Caroline Schlenker and students of the English department acting class.  Listen to the full show: here

Mary Veale, "Borders, technique", 2007. Cast glass/tissue. Photo: Jean Pierre Angei

Mary Veale is an Irish artist based in Grenoble. She talks to Grenoble Life’s James Dalrymple about her new exhibition Mutations. 

Grenoble Life: Could you tell us a bit about your background and how you came to live in Grenoble. 

Mary Veale: I was born in Kilkenny, Ireland; I trained as a nurse and midwife and in neurology initially. After a brief working period in nursing I began my artistic training and completed my diploma foundation studies in Exeter College of Art in 1983. After that I moved to the north of England and completed my BA in design of glass and ceramics at the University of Sunderland where I was fortunate to work with the master of Swedish design Goran Warff. 

After graduation I worked in the setting-up of one of the first artists’ co-operatives in Newcastle-upon-Tyne at 36 Lime Street, Ouseburn Warehouse Workshops. We got awarded the Prince’s Trust Award for innovation in 1987. 

After setting up my first workshop I returned to study for my Masters in Fine Arts at the University of Northumberland. The theme of my final Master’s show was based on the Cleveland child abuse crisis. My first daughter was born during this period. 

I came to live in Grenoble initially for a sabbatical year in 1991, returning with my husband Daniel Veale working in medical research and respiratory medicine. 

GL: You say on the Un certain detachement (UCD) website that your works are inspired in part by “what it means to move cultures,” could you elaborate on this?  

Mary: The lack of opportunity to show local artists’ work in Grenoble caused us to set up the co-operative Un certain detachement in 2005. This group was set up by myself, Claude Gazengel and Alain Quercia. Claude Gazengel wrote a text based on her history about living abroad and crossing cultures (she had lived in Barcelona for three years). The group began with the idea of a mobile gallery and hence the Vending Machine Project was born. Now we have 30 international artists from five different countries involved in this international art project; and are using three vending machines. The concept is to make multiples in art and distribute them via a vending machine. The machines can be moved and shown in a variety of places. 

My multiple was based on the idea of “displacement“, which could be seen as a mental, physical or metaphysical state. As one moves cultures one has, in certain respects, to become detached from one’s origins. 

The idea of glass cast tongues (being cut off or dismembered) may be symbolic of the language problems that I have experienced - notions of fragility and breakability are present in my work.  While taking on a new language and culture can be a very enriching experience, it can also be very unsettling; thus the idea of fragility or moulding of glass can be very poignant. When speaking in a foreign tongue sometimes words and meanings get lost or remain unsaid. I like the idea of working on the spaces within the silences. I call these ‘silent spaces” where words are lost or unsaid or become mutated. I have tried to use this idea of lost words or silent spaces in my glass books; which are a work in progress started when I first arrived in Grenoble. 

GL: On the UCD website you state that glass can distort and protect. Some of your works feature scrawled or warped messages, while others enclose seemingly organic, even visceral matter. There is a vulnerability to certain works, but the shell or flower-like formations are made from hard materials. Likewise, your artworks seem to be personal, even intimate, but themes of liberty, borders and social exclusion are recurrent. Could you talk about the political dimension to your work and how it relates to the personal? 

Mary: I have worked on various themes over the past few years and a lot of my works are through ideas which may have been inspired by literature, poetry, music and current affairs. 

I am particularly interested in issues based on being an artist and the role of an artist today in society. Being a mother of three daughters and woman has also marked my work. 

Glass is often my chosen material as I can explore so many concepts and ideas through this material. 

Of course a lot of my art work is personal and when I am concerned about a particular issue but as the work develops a universal meaning can be traced also, I hope. 

My first work made in Grenoble was with the Ecole De La Paix. I worked on the concept of a glass book about peace entitled the Livre des larmes. This was in 1998 to commemorate the signing of the peace agreement in Northern Ireland. Since this date I continue to add pages, so it’s like a work in progress – as are peace processes in lots of places in the world. 

Most of my work is installation-based and may have many diverse media, including paintings, sculpture, light works, video and books. 

The theme of liberty is one that I have worked on. I organised a debate on this subject at the Fort Du Murier during the weekend of the Journée nationale du patrimoine in 2007. I invited guest speakers, local politicians and historians and opened the debate to the general public. The theme was: What does the concept of Liberty mean today? This debate was recorded and a video was also made during the debate and I made specific works after this debate. 

GL: Tell us about your new show Mutations. 

Mary: I like this word mutation as it can be so large in its meaning and connotations. It suits my work. 

To explore mutation in my work I start with genetic changes that happen in the body, as I interpret scientific images or concepts such as ageing and memory into a visual language. 

Mutation is a natural phenomenon in the creative process as marks and gestures constantly alter and change, becoming exposed, hidden or unstable. 

Mutable, changeable, unsteady: many of these words find resonance in my work through the use of particular materials such as glass, wax and paint. Through the creative process I am constantly bringing change, instability and alternating form and content through a complex process of looking and seeing. 

To be in a state of mutation is often felt by individuals who have become displaced or moved from their origins. Being outside one’s original culture could be a form of mutation particularly as one adapts and assumes another culture with its language and customs – as has been my experience. 

My works in this exhibition are from recent paintings and glass works and are based on the theme of mapping the inner body and “landscape”, or topography. I interpret the brain and its complex systems of neuronal pathways through looking and drawing, later to be defined into the language of paint or glass sculptures. The medical imagery I use as a starting point, which then leads to an exploration of wider issues to do with memory and loss. 

The philosophical dimension is also present as I try to understand our fears and emotions. The use of glass is a perfect metaphor for all that can be held within, frozen in time. The abstraction and reworking of medical imagery helps me to understand more about how our bodies work and how the inner landscape of our bodies is less of a mystery. 

Art can make visual many complex scientific concepts in a way which is less mysterious we as we understand the world around us through our actions emotions and reactions. Through this work I am not trying to show any answers but trying to understand for myself a little of how the body functions and changes in certain circumstances. 

I am interested in the idea of collaboration between different professions and therefore I worked in the Sleep Laboratories at the CHU Grenoble, looking at sleep studies and making a video recording of this procedure. Often the different areas of science and art have common grounds, especially in neurology. Medical imagery in recent times, such as the MRI scanner, brings a lot of new information to the scientist and also maybe to the artist. We as artists can contribute perhaps by having a different way of looking at a subject. I hope to commence a residency at the new neurological institute here in Grenoble working alongside scientists. 

I have works that explore the thought process, memory and memory loss, as my mother was recently diagnosed with Alzheimer’s disease. 

GL: You talked earlier about the lack of opportunity to show local artists’ work in Grenoble. Could you talk more about this? 

Mary: A lot of artists in Grenoble never get to show their work in the city as it lacks any professional body to help organize a database. Just recently Entre ‘Arts got closed down and it used such a database over 10 years. 

The lack of space for artists led me to set up the vending machine project with my colleagues here in Grenoble. There are no studios for artists in Grenoble as was the case in Newcastle. Therefore, the city and local artists lack a cohesive structure to help them continue in their professional careers. 

As I was involved in the setting up one of the original co-operatives with other artists in Newcastle, I carry on this idea that artists cannot work in isolation and do need to have proper studios with low rent, as being an artist does not bring a regular income. 

I spent three years working on a proposal with a group of artists and architects here in Grenoble to set up studios and a set of workshops for international artists designed for the Le Petit Hall at Bouchayer Viallet. However, commerce won the day and art was not seen as economically viable. I see this as a huge mistake for the city as we see in Lyon how the Biennale D’art brought 165,000 visitors to the city thus bringing a lot of commerce. Therefore art can be an economic venture for a city. 

GL: Where can people go to see more of your work at that of your fellow artists? 

Mary: One of UCD’s vending machines is presently in-situ at the parliament party office of Genevieve Fioraso, 7 rue Voltaire. This exhibition continues until 15^th March. 

The recycled vending machine is beautifully reconditioned by our sculpture Vincent Gontier and our graphic artist Céline Charles. 

The machine contains artists’ multiples made in a variety of media (paintings, video, sculpture, photographs, which are signed unique works from 30 international artists. All the works can be purchased for a very reasonable price.

You must also visit Restaurant Du Petit Lac in St Egreve where Jac the owner has invited 24 or more artists from Grenoble to design a table. All the tables are on display can be eaten off and are really great. This is a project worth seeing  and I have a table also there.

Mutations – an exhibition of recent paintings and glass works by Mary Veale – continues at Moulin Villancourt, Pont de Claix, until 20^th March.

Villeneuve d’Uriage

Rebecca Skillman talks to residents of the hamlet Villeneuve d’Uriage, near Grenoble. She shares with us her discoveries about issues of sustainability and community in Alpine village life.

Perched above the thermal spa town of Uriage, the idyllically located hamlet of Villeneuve d’Uriage is home to around 150 people. I was curious about what attracts people to live here; how people relate to each other in the village; and whether there is more to the hamlet than simply “Grenoble satellite”? 

I talked to three couples who have made the village their home. The interviews reveal the similarities and differences in how we view “nature”, our overall need to connect with each other and our search for sustainability in the 21^st century. 

Kelli (Project Manager, HP) and Olivier (Sales Manager, HP)  

Kelli: I was born and raised in Boise in the US. The decision to move to France wasn’t difficult – this was the right place to be at this time in our lives. What was hard was leaving family and friends. I told myself: part of my cost of living is getting back to the US as often as possible. That’s how I talked myself into making it work, and it has. 

People here have been very kind. At the same time I miss the feeling of community I had back home. In Boise, when you do something like running errands, you have a list of people you’re gonna do things for. You walk in and out your neighbours’ homes – you don’t knock – and it’s very informal. You garden together and you build your houses together. One time my mother’s basement was flooded and suddenly there’s a whole crowd of people fixing the problem and drinking beer, making a party out of it. If there’s an issue, you sort it but have a good time doing it. But here in the village it’s just the two of us. 

I’m very happy here but if I could change anything it would be the distance between Boise and France!  And, day to day, I wouldn’t choose again to work from home. Much as I love our place it’s one of the things that’s slowed me becoming part of the community. 

Olivier: I was looking for a balance between proximity to Grenoble, for my job, and a village that is really alive – people working here, farmers, tractors passing the house. Other mountain villages may be pretty but at 9am they are empty. When I see a tractor here, I’m happy. And it’s the first time in my life I feel content coming back home after work. 

Living in this area, I’m ideally placed for my outdoor passions. I love wild places and I like to spend my weekends rock climbing and skiing. What drives me is being challenged by nature, having the feeling that it’s stronger than me. The down side is that it means I’m rarely home at weekends, and that doesn’t help for integrating with the community. 

Pierre Yves (Research Scientist, CNRS) and Françoise (Research Engineer, CNRS) 

Françoise: My husband, Pierre Yves, discovered the village 15 years ago – and I wasn’t sure, because the road gets very iced up in winter. But the spirit of the village worked its charm on me – even though I didn’t know the place at that time – and I was captivated. 

What appeals to me is that the people who live here are very close to the natural elements, flora and fauna and this closeness expresses itself in the way they rear their animals, and gives the village a special kind of energy. I love being able to walk in the streets in the evening and having nothing but pleasant surprises, and smiles, in my encounters with the neighbours. 

With regard to village life, when we first lived here I was involved with a village association. We organised several events to help people meet each other. As time went by that stopped because we ran out of energy. But now something similar is happening around Alain and Yvette’s farm. 

The people who work on the farm have an attitude and philosophy that’s a little different from mainstream agriculture. For several years they have produced organic wheat using an ancient stone mill to create flour. From this they make bread, the main source of income. Around the farm, there is a small kernel of people who have created an association, Grains de beauté, whose main aim is to promote contact, and a meeting place in the widest sense of the word. This word “meeting” is a common theme in everything organised. For example, it could be a willow basket or bread-making workshop, or the regular choral events.

Pierre Yves: This hamlet is probably unique in the Grenoble area: it is small, isolated and surrounded by nature. The thing that struck me when I first arrived, well before I knew people here, was the timelessness of the place. When you go to Alain and Yvette’s farm, you enter another age; the place feels unchanged in centuries.

Referring to what Françoise said about how people relate to each other …  she mentioned that everyone is friendly. This didn’t happen as easily as that. What’s interesting to me is that on the one hand – of course – there are different factions. The other side of this coin is that there is no such thing as anonymity in the village. 

In Villeneuve there are three broad groups of people: those who have always been here (mostly former farmers), new arrivals such as us (one is a “new arrival” for a long time!), and farmers actively farming. The fact that most of the farming around the village is organic, and connected with nature, contributes to the atmosphere of the hamlet and the area around it. 

The smallness of the hamlet, surrounded by nature, resonates very strongly with me. We aren’t going to be able to forever extend the metropolitan areas; towns, in general, are located in the middle of the richest agricultural land. So at some point this urban expansion will have to stop. Villeneuve feels like a potential model of how we will need to live our lives in the future. 

The development of non-agricultural activities around the farm is, for me, very much linked with the question of how we make the transition to sustainable development. The farm, and the activities linked with it, represents a local approach that restores a sense of collaboration, whether material or artistic, on a human scale and in sync with the rhythms of nature. What happens around the farm seems to me to answer a need that isn’t met in the way we currently organise society in terms of how we connect with each other. It is one way in which people are trying to satisfy this need. 

Yvette (agricultrice) and Alain (agriculteur)

Yvette: I’ve always worked on the land and my life in Villeneuve began when I found a small farm to rent, way back when was 17. I arrived on my own and, at that time, there weren’t many women farming in that way. Suddenly everyone was giving me a helping hand. 

I started farming with some goats and, at the same time, Alain started the vegetable garden. From that, he developed into market gardening. Little by little, I wound down the goats and both of us worked in market gardening. We began to integrate ideas from bio-dynamic agriculture – an organic approach using an awareness of the energies that govern the land, the animals and nature in general. 

We lived through a period that was challenging, economically. At that time the local farmers were amused by our way of doing things. But, when we bought the house, that changed our relationship. They saw that we were managing to make a go of farming and we became the enemy by virtue of the fact that, as people working in agriculture, we blocked land that they wanted to develop. Overall, we had 10 years of good relations, 10 of bad and now we have had 10 years of neutrality – but at least no tension. Our closest links are with people who have moved here from elsewhere. 

In terms of the farm itself, there’s potentail for our level of activity to develop. My personal project is to develop animal rearing: in addition to the cows that we already have, introduce a few goats again, some hens and turkeys. 

Alain: This work may evolve through the support of the association ; it isn’t necessarily a profit-making activity. But you or I, or any of the people at Villeneuve realise that it’s important to have animals in a village and it’s also important to have people to look after them. That’s where I see the link between the farm association and the people of Villeneuve and around. People need to realise that animals bring a particular type of energy which helps us to live. It’s not just the responsibility of farm workers, it’s for all of us, for the future, to realise that we have a role and that it’s important to maintain farm animals. 

In today’s society 9 out of 10 people are doing a job that has nothing to do with our physical world. They live in a virtual world in terms of computers and IT, producing things that we don’t need. This may create employment but it isn’t real in the sense that if this work were to suddenly stop … where would we be? We’d still need to feed ourselves, somehow. This way of living and working leads us to completely disconnected lifestyles where we travel and lead our lives in a complex way when there is a far simpler way of nourishing ourselves. This “virtual world”, on the other hand, generates ridiculous ideas … like that it’s ok to take a plane to the other end of the world for 20 euros. For me that is completely unreal! People want to live in a “green” way but they think it’s ok to buy a plane ticket at such a low price?! There’s hard thinking is needed there.  

I believe people have a fundamental need to regenerate, to get together and do things with others. I see an alternative way forward that contacts what’s deeply important for all of us. I mean, what’s fundamental in order for society to develop. For this we need to make contact with each other, starting with those of us who are able to meet around a place and try to move towards something better, socially. 

I think that a farm is the ideal place to start rethinking how society can work. There’s already a structure, and a sense of birth and creativity – animals, the food we produce. From here we can begin, gradually, a project to develop our society.

For further information about the farm association, Grains de Beauté, and its activities, contact the association: beaute.des.graines (at) gmail.com

Looking For Sam, March 10-11, 2010

Caroline Schlenker instructs the acting class for students in the English department at Stendhal. She talks to Grenoble Life about staging plays with her students, teaching English through drama, and this year’s production, Looking For Sam, March 10-11.

Grenoble Life: What is your role in the Stendhal English department theatre workshop?

Caroline Schlenker: I am the instructor of this course. I teach the core acting class as part of the English Licence Degree for second year students, as an alternative class to the conversation module. I teach diction, pronunciation, basic drama techniques, and stage the students’ production each year. The workshop meets every week for two hours (but there are additional rehearsals for the play). 

GL: How often does the department put on a play?

Caroline: Last year, we exceptionally put on two plays (Once Upon A Time In A Screen/Stage Audience, a project between cinema and theatre, in partnership with the cinema le Club in Grenoble; and Macbeth, staged by third year students). This year, however, we will only put on the play Looking For Sam, although the third year students will present a short extract of their own work as a (surprise) opening to the Sam Shepard play. It is a play they have written (!) and staged. 

GL: What kinds of plays and themes do you normally tackle?

Caroline: It varies. We put on Harold Pinter sketches thanks to the chance meeting of Susan Blattes, then head of the English Department, and the actor/director Patrick Seyer at a Pinter play. Their encounter led to the idea of a joint venture on Pinter with the English Department. The project was then to work on Pinter through the specificity and rhythm of his language and the relationship between the characters that this language thus establishes. The students worked on the texts through the drama in the English class I was teaching, and shaped their characters through the staging by the professional director Mr Seyer.

This partnership was so interesting and stimulating in fact it led us to work together again on a project on cinema, Once Upon a time in a Screen/Stage audience, which I directed whilst he did the actor training (in English!). For this project, the idea of working on the different spaces of theatre and cinema was an idea I always wanted to tackle. Cinema has always fascinated me. 

The Macbeth project was an idea of the students, who asked to work on Shakespeare and studied the staging of The Winter’s Tale at the MC2 in Grenoble. This year we are working on Sam Shepard as a way to explore the sound and musicality of American English – a way for us to approach language differently, once again. Working with a musician helped me to have yet another approach to the language, and to the text!

GL: Who chooses the script?

Caroline: Setting aside the Pinter and the Macbeth projects, I choose the script!

GL: How long does it take to prepare and rehearse for one play? Tell us a little about what it involves.

Caroline: We have some basic drama classes between September and December (where we work on literary classics such as Pygmalion or the works of Oscar Wilde, or some other types of classics such as Monty Python and Rowan Atkinson’s stand up comedy drills) in order to practice pronunciation and intonation and learn some basic conversational techniques, such as how to make a point, or how to make the other person react in some way with words. We also learn voice and body integration, and we explore imagination through the English language (the only language spoken in class!).

When working on a text, we learn to think about a character’s goals, tactics, his relationship with the other characters and we write his curriculum vitae. In January, we get our texts for the final production (I write the transitions for our scenes, and our rehearsals start). Each group rehearses about four hours a week (each scene constitutes a group – there are four scenes). So I see them about 10 hours a week (two hours are with the whole class during our actual class time). We perform in March. A lot of commitment and motivation is involved in this process!

GL: Tell us more about this year’s production.

Caroline: It’s an exploration into Sam Shepard’s work. You see, Sam Shepard once told an interviewer: “I preferred a character that was constantly unidentifiable, shifting through the actor, so that the actor could play almost anything, and the audience was never expected to identify with the characters,” With his shifting vision of identity, the way in which he portrayed the characters in his plays, Shepard was giving away a bit of himself.

Our question then was: who is this Sam Shepard, and is he as a writer shying away from revealing his true self? Another component of his character that intrigued us was his love for music, and his failure to become a musician. Through the play Looking For Sam, we decided to make an imaginary investigation into how Sam Shepard wrote his plays. With the collaboration of a local songwriter/ singer Noel Belmondo, we invented the musical (and linguistic) scenery for the text. 

It is our fantasy, through the influences of rhythm and music we found in the language, of how the text came to be. We hope the audience will be driven to the special space created by an artist at work! The play includes excerpts of some of his most famous plays: True West, Curse of the Starving Class, La Turista (which is about, as its name so aptly suggests, Turista!) and Buried Child. The play is free of course and will be performed at 7.30pm on March 10^th and 11^th, 2010, at the Amphidice, the theatre in Stendhal University.

GL: Tell us about some highlights from previous years.

Caroline: All the projects and moments we shared in the drama workshop were equally wonderful thanks to the incredible involvement of the students – it’d be hard for me to pick!

GL: Tell us a little about your background and how you came to be involved with the Stendhal English department theatre workshop?

Caroline: I got hired as a Maître de Langue just as Mr Seyer got hired to work on his project – and it just happened that Ms Blattes, then head of the department, knew I had some background in acting. I accepted to take the workshop, which had been closed since the departure (retirement) of the last professor in charge of the workshop: Mr. Derioz.

GL: How effective are theatre and acting as a way to learn English?

Caroline: It is incredible. The students start off reluctant to speak English and end up speaking English to each other in the corridor – what can I add? Some no longer notice they’re switching between languages by the time we get to the final performance! Their confidence in their ability to speak is what impresses me most. They feel they are able to be actor of their world in another language. It would be too long to explain – why don’t you come to our Colloquium on the subject at the University on March 5th? It’s also at Amphidice!

GL: Tell us about your audience and some of the feedback you’ve had.

Caroline: We’ve had a large audience, ranging from acting professionals to families of the actors, fellow students, Cité Internationale teachers and students, and the English department professors (and other professors from the Drama and Languages departments!) and staff of course. Everyone is impressed with just how much the students get involved in this project, and it is so important for the students to have them there!

GL: How can we get tickets for the play?

Caroline: For any information or for reservations, please contact the service Culture de l’Université Stendhal: Tél: 04 76 82 41 05. Monday, Tuesday, Wednesday and Thursday : 10 am–12 am and 2pm – 4pm/ or by email: caroline.schlenker (at) u-grenoble3.fr

Radio. photo: morberg

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. We are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

The February 7 English Talk Radio show took place at The Bookworm Café in St Laurent, Grenoble. Listen to the full show here:

Pat Brans

Grenoble-based Pat Brans is founder of the Master the Moment time-management method, giving speeches and training sessions at companies and organisations around the region and beyond. He tells Grenoble Life about his work, his background, and how to get a higher return on your efforts.

Grenoble Life: Tell us a little about your background

Pat Brans: I started my career as a software engineer. I also did some management. This was for four different startups in the Washington D.C. area. I then got into business consulting, and was director of a team of business consultants with CSC in Cologne, Germany. After three years there, I moved to Grenoble to work with HP, where I got more involved in business development, and eventually took charge of a set of solutions where we applied mobile technology to optimize workforce effectiveness. I was in charge of these solutions world wide. We called these offerings “mobile field sales and services”, because we mostly applied our solutions to help our customers make their sales and service forces more efficient. During this time, I wrote my first book called Mobilize Your Enterprise: Achieving Competitive Advantage through Wireless Technology.

I got to know a lot of people in the industry, and was offered a job with Sybase to manage strategic alliances across Europe. The software we sold was used for mobile applications, mostly applications geared towards worker productivity. I frequently gave talks on this subject at events from Dubai to Lisbon. And in dealing with the partners I managed, sometimes I had to give them ideas on how technology can make people do their work better and faster.

In summary, starting from my arrival in Grenoble twelve-and-a-half years ago, it gradually became very natural for me to talk about productivity.

GL: In a nutshell – what is the Master the Moment method and how was it developed?

PB: I have always been interested in understanding why some people get so much more done than others, and why those who get more done are actually less tired. Throughout my career, I tried to note who I thought was more personally effective, and I tried to learn from them. I kept mental notes on things like how to best run meetings, how to best participate in meetings, how to delegate, and how to be delegated to.

Coincidentally, my work life over the last twelve years has involved thinking of ways of making people more productive through the use of technology. I say “coincidentally”, because these two sets of ideas run along separate dimensions. Giving people tools to make them more efficient is a good idea, but it won’t make the order-of-magnitude difference you’ll get through rethinking your attitude towards goals, making the right choices about priorities, and overcoming the tendancy to procrastinate.

I read tons of books on time management and I read lots of psychology research papers, but this was all theory. And I never saw any approach to time management that was based on emperical data – in other words, going out and asking high achievers what they think. So I picked the set of people I thought have the most to say about time management. And when I use the “term time management”, I’m refering to anything and everything you can do with your time to make you more effective. What can you do to emulate the people who get a lot done without breaking a sweat?

The category of people I selected were CEOs of large corporations. I talked to fifty different CEOs of organisations with revenue of $2 billion on average. These people are themselves very effective – and equally as important, they are perfectly positioned to observe hundreds of other people and develop a well-founded opinion on why some people achieve more satisfaction than others.

Over the last 18 months I synthesised what I learned from the CEOs, what I got from psychology research, and what I learned from other books on time management. The result is Master The Moment, which is my methodology on time management. One of favorite aspects of MTM is that it aims to help people change habits. All the good ideas I got from my research mean nothing until the readers of my book, and the people who attend my training or seminars, integrate the ideas and make them habit.

In order to integrate an idea, you have to understand it, and you have to take it on freely – it can’t be forced upon you. I checked my work by talking this over with leading psychologists, such as Ed Deci and Roy Baumeister.

To change habits, it helps to have a visual reminder. Also the ability to change habits is something you can develop. My approach to developing good time management habits is taken from Benjamin Franklin and his approach to developing Thirteen Virtues. As a young man, Franklin listed 13 areas in which he would like to develop better habits. Every week he would work on one, finishing the list after 13 weeks, then starting over. He would carry around a notebook in which he would mark everytime he reverted to a bad habit in any of the thirteen areas – not just the area of focus for that week.

I have six steps to better time management. Each step is a category of habits. I have sheets I give students to allow them to track progress in each area. I ask them to focus on one step every week. The sheet serves as a visual reminder, which is very important in habit forming. I follow up with a phone call to each participant around two months after the training.

You’ll never achieve perfection, but if you can change one or two habits, you’ll make a lot of progress.

GL: Why do you think time management is such a big issue in the modern workplace?

PB: I think time management has always been important. Our ancestors were up against a lot of pressure – in most cases, much more pressure than we have to deal with today. Few of us have to deal with war, the death of our children, or hunger. Life is really easy, if you think about it.

I don’t want to minimise the issues people face today. But part of my training is around checking your attitude, and I think a lot of people have the attitude that their situation is really bad and that external forces are making them unhappy. You have to take responsibility for your situation and focus on the things you can change. The fact is, most of us in developed countries are pretty comfortable compared to 95% of the people who have ever walked the earth. I’m not a positive thinker, I’m just being realistic.

In today’s work environment, I see two groups. The first group sees work as a way to make a living – for these people, work is a burden and no fun. The second group is looking for self actualisation. They want to be somebody through their work.

It’s important to feel a sense of choice in what you do. If you feel like you have been coerced into doing something, you aren’t going to do a very good job, and you’ll feel deflated and tired. I don’t deny that we all have obligations, but the more effective people look to understand the reasons behind the obligations and as a result, they are able to integrate the activity. People who don’t understand why they have to do something, only introject the activity – it’s like swallowing something, but not digesting it.

So if you find yourself in the first group, try to find some meaning in what you do. Managing your attitude is probably the most powerful time management tool, and it’s one that people need to employ in today’s work environment.

GL: Do you believe that modern technology really has made us more efficient workers?

PB: Yes, of course. One danger though is that we get distracted. Studies have shown that people who try to do several things at once experience a dip in IQ. One study demonstrated that multitasking accounted for a bigger drop in IQ than smoking marijuana. Another study showed that if you are working on something then get distracted by a text message or a phone call, it takes you 20 minutes to get back into what you were doing 100%.

Just as you with any other tool, you need to look for ways of improving how you use technology tools. There’s always something you can do better.

GL: What are some of the risks associated with poor time management?

PB: Dissatisfaction. If you do a lot, but don’t notice that you’ve accomplished things, you won’t enjoy the satisfaction. Or if you just don’t do much, you’ll also feel frustrated. In either case, good time management techniques can enhance your life.

I don’t think people should aim to always be busy or to always be efficient. I tell people to obey natural laws. The first law is that you are a human being and you need to have fun, you need rest, and you need time off. Trying to get around those things is like trying to get around gravity. You can’t do it. You’ll eventually fall hard.

GL: Who have you spoken for and what feedback have you received?

PB: I’ve given training around Grenoble in both French and English, I’ve spoken at seminars, and I have a website. The feedback I get is that my method is different because it is a nice mix of powerful ideas and practical technique.

GL: As you are based in France, what differences can you observe between French company culture and that of your own or other countries?

PB: I think hierarchy is too important in French organizations. There’s not enough emphasis on creativity. Follow orders or you won’t fit in. This is a broad generalisation of course.

GL: How do you think  France compares to other nations in terms of work-life balance?

PB: I like the work-life balance in France. I think it’s more healthy than in the United States where the balance of power leans heavily towards employers, and employees have very little weight. In the United States we recognize the need for consumer groups to compensate for the power companies have over consumers, but we don’t apply this idea to the employer-employee relationship as I think we should.

People wind up working more hours in the United States, but I don’t think they’re more efficient.

GL: Do you offer events in French and English and is there a difference to how people of different nationalities respond to the method?

PB: I sometimes hear from the French that CEOs don’t know anything about time management, because all they do is delegate. Of course they do, and delegating is an important time management technique. You need to delegate down, sideways, and even up. In all cases, you’re asking somebody else to do something for you. The more the other person trusts you and understands the reasons behind you request, the better he or she will integrate the activity. If the other person feels a sense of choice in doing what you ask, you’ll get a better result.

GL: Asides from your speaking engagements you write for a number of publications: tell us what you write about and for whom.

PB: I also write for technology magazines about how to use mobile technology for workforce productivity. I write for three different publications: Mainframe Executive, British Computer Society and Mobile Enterprise Magazine.

GL: Tell us about some forthcoming events

PB: I will be hitting the American Chambers of Commerce in Lyon, Toulouse, and Strasbourg. Seminar dates and locations will be posted on my website. I will also be doing training in French through the chambers of commerce of different cities around here. I’m developing that now.

Aside from that, I provide training within companies.

Dials. Photo: ericcomando89

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. We are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life.

The January 22 English Talk Radio show features Trudi Penkler, psychologist and inter-cultural coach and trainer, talking about teenagers and moving. Listen to the full show here.

The French Paper website

Michael Streeter, Editor of theFrenchPaper, talks to Vivian Draper of English Talk Radio, 90.8 Radio Campus Grenoble. Read the full interview here.

Vivian Draper: Hello Michael and welcome to Grenoble, even if only in print. It is eight months since we last spoke about theFrenchPaper, what has happened in those last eight months?

Michael Streeter: It’s been busy! In addition to the main paper we’ve produced a number of supplements to go with it, including one on sport and another on winter sports. We have also been hard at work trying to promote the paper in various places. Obviously as your readers know France is a big country and targeting our audience of English-speakers is not always as easy at it might seem, so this has taken up a lot of time and will continue to, I’m sure.

The main thing, however, is that we’ve been trying to maintain and improve our editorial quality. Our aim has always been to produce a quality newspaper about what’s going on in France with a design and feel that can compete with, for example, the best of British national newspapers. That’s the level we’re aiming for and we spend a lot of time on getting it right. Obviously nobody’s perfect, but I’d like to think we’re moving in the right direction. Certainly the feedback we’ve got from readers has been fantastic. I think they can see that a lot of effort and thought goes into each edition. Above all they seem to find us a grownup and enjoyable read, which is great – that’s what we’re aiming for!

Vivian: Printing newspapers has changed vastly in the last 30 years, no more inky fingers?

Michael: Yes, things have certainly changed since I first started in Fleet Street many years ago. Back then you needed to wear gloves if you were handling bundles of paper. The quality of the presses and inks has improved so much – as has the ability to price good quality colour pages. When you compare newspapers of today with those of 30 years ago they are so much bigger, more colourful and, I would argue, much better value for money.

Vivian: Where is theFrenchPaper published?

Michael: It’s published in London by the printers of The Guardian and Observer, though we have no editorial or other link with them. Why there? Not for any chauvinistic reasons, it’s simply that not many presses can currently print the Berliner format we use (it’s half way between a tabloid and broadsheet in size).

Vivian: Is distribution of theFrenchPaper going smoothly?

Michael: Don’t get me started on distribution! Much as I love France there are still some things that baffle and frustrate me here and newspaper distribution is definitely one of them. Let’s just say it’s a ‘challenge’ getting the right number of copies to where we want them to go each month … and if people find it hard to get hold of a copy at their nearest outlet please do let us know. Things are getting better, but it’s a slow process.

Vivian: What is your average day like?

Michael: The first thing is to keep on top of the news. I’ll always listen to the radio news bulletins in the morning (France Inter usually) and then catch up on the Agence France Presse wire service. I also read news websites, newspapers and the weekly magazines such as L’Express and Nouvel Obs. Much of my day is spent coming up with ideas, commissioning and briefing reporters, editing stories and where necessary sending them back to be re-written! The final week before we go to press is obviously the most hectic, and the working day is rarely under 12 hours. There are pages to proofread, headlines to rewrite, captions to check, all the time making sure we aren’t missing anything major.

Vivian: Not only French news in English, you have broadened your scope to include many other areas?

Michael: I think these days a newspaper has to offer more than ‘just’ the news. As a monthly paper we both have a round up of key stories that have affected France in the previous weeks and offer analysis and commentary on those stories we think really help tell the reader something about France and how it works. On top of that there are features, real life stories, lifestyle, travel, motoring, sport, puzzles and crosswords, commentary, advice pages, financial information, pages with advice for small businesses, food, gardening, nature … it’s quite a full list! I see our mission as being to entertain and stimulate as well as to inform.

Vivian: Such a variety of articles too, does each newspaper have a theme?

Michael: To an extent yes, especially if it’s linked to a time of year, such as Christmas, or the summer holidays or the start of the skiing season. However it’s also important that we cover a broad range of what’s going and we need to appeal to a wide range of people so I don’t like to get too tied down to one theme.

Vivian: What has surprised you most about theFrenchPaper since the first issue?

Michael: One has been the reaction of many readers. I did expect people to like the paper as it’s something different, but I have been amazed just how much some people say they love it. It’s not for everyone of course and some people have complained that there’s ‘too much about France in it’. Fair enough, you can’t please all the people all the time, I guess. Another surprise has been how popular we are with some French people – I really hadn’t expected that.

Vivian: Talk about the technology used in editing a newspaper in 2010

Michael: Where would we be without the internet and email? Information gathering is so much easier now because of websites, searchable databases and libraries and so on, though I still prefer to speak to people directly for information if possible – you always get more like that. In terms of the page layout and design process, it’s simply a question of using a publishing software package and having the skills to use it properly to produce the pages. These are all laid out and designed by our great design team, including the photos, and once we’re happy with the pages they are simply emailed to the printers ready for printing. It’s that straightforward, though of course you need the right skill to be able to make the pages look good (that’s down to Nadia, our art editor, not me I hasten to add). With an internet connection you could edit the paper from the top of a mountain!

Vivian: Who is reading theFrenchPaper?

Michael: As I’ve just mentioned quite a few French people! But of course our main readership is among Britons and Americans living in France or coming here on holiday or to visit their second home, as well as Irish residents, Australians, New Zealanders, South Africans and other nationalities who prefer to read in English rather than in French. As for age groups and profiles … very varied. Lots of pensioners read us, but then so too do young working families with children. I think the common theme among readers, though, is that they are all interested in life in France, rather than just life as a foreigner in France, if you see what I mean. They are people who like to look outside the ‘expat bubble’ and want to know what France is doing and what French people are thinking and saying.

Vivian: Your articles on Work & Money are most interesting; also The Eco Worrier, which can be quite funny, in an English sort of way.

Michael: The Work & Money section is very important for us – we want to give readers advice on running their business, on saving money or even what benefits they can legitimately claim here. As for Eco Worrier’s English wit … Graeme is Scottish so I’m not sure how he’ll take that!

Vivian: The small Ads and KidsPaper are lively too – do children really write theFrenchPaper KidsPaper?

Michael: Yes they do, though naturally they get a helping hand from adults too. It’s a section that’s gone down really, really well with young families, including young French families.

Vivian: Recipes, gardening, and giveaways – talk about the giveaways, please

Michael: Well, food and gardening are part of those lifestyle things that many people associate with their life in France so they are very important subjects for us. As for giveaways, many of our readers come from Britain where they are used to their newspaper offering them a variety of promotions, free goods, cut-price deals on so on. So it’s simply part of the mix, something that readers expect. We all like the chance to win a little treat, don’t we?

Vivian: You also have a part of theFrenchPaper called Real Living; I’m thinking of the article about sheep and shepherds, which was so interesting

Michael: Yes I loved that story. France has such a varied landscape and people, and the aim of our real life stories is to bring to life the many characters who have amazing and fascinating lives here – whether French or not.

Vivian: As Editor of theFrenchPaper, you have final say on what goes out in each issue – does it keep you awake at night?

Michael: As an editor you do get used to that kind of decision-making. To be honest, I have always enjoyed that kind of pressure as an editor. I think the toughest thing for me is that theFrenchPaper is a monthly. On a daily paper, which I’m used to, if you felt you’d under or overplayed a subject one day, you had an immediate opportunity to put it right the next day. With a monthly you have to live with your decisions for quite a while!

Vivian: Lindsey Partos on food prices in your January issue was most informative, can we expect more articles like this?

Michael: Definitely. Lindsey has a good track record in food industry journalism and I’m very keen that we do more of this type of consumer story.

Vivian: Ma Belle France is a great read in The French Paper, also the idea that we use more lipstick when the financial outlook is bleak – how about free lipsticks for your great giveaways?

Michael: Lipstick isn’t my speciality subject but I will definitely mention this to one of my better-informed colleagues!

Vivian: The Big Quiz is a super idea in theFrenchPaper – we can feel really well informed, or if we are not, we can sneak a peek at the answers, right?

Michael: Of course – it’s just a bit of fun! That said, it is also a good source of snippets of information, as well as being a lot of work!

Vivian: Of course you don’t work alone, how many permanent staff does theFrenchPaper employ?

Michael: There are two of us who oversee most of the editorial, with another two who look after the design, sourcing photos and so on. Then there are regular freelancers who work on sub-editing, proofreading, columns and other parts of the paper. The vast majority of the content is written by freelance contributors under our guidance. Then there’s the ad and marketing teams.

Vivian: What is next for theFrenchPaper?

Michael: In the paper, we’ll be seeing more supplements and specials on subjects of particular interest to our readers. Essentially my aim is to maintain the quality and reputation we have established and build from there. A key issue is marketing – getting the paper better known. Having launched in June last year I’m sure that the majority of our target audience still doesn’t know we exist. We have to put that right. Another key area is our news website – it’s under construction and we’ll let you know when that’s ready.

Vivian: How about some contact information?

Michael: Well we do have a marketing website at www.thefrenchpaper.com. Here you can subscribe from as little as €29.47 for 14 issues. And on the newsstands we are just €2.50 an issue – which I hope people agree is pretty good value for money. If anyone wants to contact me they are very welcome to email me at: editorial@thefrenchpapaper.com

Vivian: Michael thanks for this interview and we look forward to the next issue of theFrenchPaper

Michael: Thanks for letting me talk about a subject I love – newspapers!

Mixer. Photo: Andrea 'Bau' Pinti

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. We are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and live on www.campusgrenoble.org – and also here on Grenoble Life. 

The 18 December 2009 English Talk Radio show took place at the Grenoble Graduate School of Business and featured GGSB’s Judith Bouvard, Dean and Director, and Mary Zaccai, International Press Officer. Listen to the show here

Sanford Kogan and Patricia Andreoli-Jones

Patricia Andreoli-Jones meets light sculptor Sanford Kogan in advance of the opening of his exhibition at MK’ Gallery in Grenoble this week.

When I met Sanford Kogan for the first time yesterday, he was trying to purchase an antique glove-making machine from the oldest glove shop in Grenoble for one of his light sculptures. The shop keeper couldn’t oblige, as this object will soon be found in a glove museum. However, with the introduction of the Musical Transformation Lights artist I was hooked and followed Sandy just around the corner to the MK’ gallery where some of his artwork is exhibited, the grand opening being Friday 11^th December at 6.30 pm.

You can find a traditional blueberry-picking comb, threaded onto a weaving bobbin on a metal pulley pedestal, the light diffused by an 18^th century parchment (dated July 28, 1755) being just right to set a warm atmosphere, see photo 1 below.

photo 1

A trumpet held in mid-air by an art-deco foot and a light glowing through an opaque glass flower could be used as a working light (see photo 2 below).

photo 2

One of the bigger pieces is also on exhibition, when it’s lit you can truly understand the idea of light-play with the shadows it throws on the surrounding walls and ceiling (see photo 3 below).

photo 3

Wanting to know more I suggested a drink at the Bookworm Café, just over the bridge from us (top).

Patricia: Where do you come from, how long have you been in Grenoble, and what brought you here in the first place?

Sanford Kogan: I was born in Richmond, Virginia, where I grew up. I was sent to France by my company as a European Program Manager. In my spare time, I pursued my art, and for two years now I have had more time for my art explorations. As a teenager I was into photography and this sensitised me to light in a great way. I started my light sculptures in 1985 with different musical instruments. Eventually this expanded to include old tools, fireplace pots, heat reflectors, handwritten paper and musical scores, balance scale trays, faucets, spigots, spoons, metal wheels, and binoculars, to name only a few. These objects can be typically found in garage and boot sales, my main aim being then and to this day, to play with light, to transform it through different objects.

Patricia: Has your art evolved since you came to France?

Sanford: There’s an immense richness of material to be found in the local brocantes: art deco lamp shades, brass and copper bits, 18^th and 19^th century hand-written paper, as well as 70 year old pieces of machinery with surprising shapes, old locks that only need to be opened to reveal an intricate world of wheels, all of which inspires me for new sculptures. Oh, and wrenches and faucets of the ’30s, do you know what I mean … ?

I didn’t, so there was a good excuse to visit Sanford’s “workshop”, as he modestly calls it. Overlooking the Place Sainte Claire, a beautiful old apartment, perfectly waxed wooden floors (I was asked to take my shoes off), high ceilings with the most exquisite art-nouveau chandeliers (restored and put together by my host). And standing to attention – more sculptures, bigger, more imposing than the ones in the shop. Almost human by their presence, each individual has a unique way of lighting the room. I’m amongst friends here, I wouldn’t mind spending the evening in their company … Sanford comes in brandishing a wrench:

Sanford: See this, isn’t it just beautiful?

I’m back on earth again and glad he said “it”, my finely sculpted friends wouldn’t understand such enthusiasm for such a crude object. Only a true creator can show a wrench such devotion. I left shortly afterwards, my head full of his mind-boggling creations.

The exhibition will be at the MK’ Gallery*, 4 rue Dominique Villars, until 31^st December, open from Monday to Saturday from 2.30 pm to 6.30 pm

After this date, or for more information, please contact S.D. Kogan:
sdkogan (at) yahoo.com
www.musical-transformations.com

*MK’ Gallery is held by artist Marie Killy. Her pastels, colored inks and oils depicting life in the south of France and North Africa are an enchantment.

Euros. Photo: Zempt

Kate Daligault is a financial advisor at Banque Rhône-Alpes in Grenoble. She talks to Grenoble Life about the banking culture in France, getting financial advice in English, and what new residents need in order to open an account.

Grenoble Life: What is your role at Banque Rhône-Alpes?

Kate: I work with international clients, guiding them through the pitfalls of the French banking system and hopefully making their lives in France easier. I can also help with tax returns and financial planning – even the French find these difficult!

GL: Banque Rhône-Alpes has produced a lot of practical advice about its services in English, why?

Kate: Most of our clients do not speak French or simply feel more comfortable talking about their personal finances in English – the French banks use a lot of technical jargon which can be daunting. We also have part of our website in English, a corporate brochure on Banque Rhône-Alpes, means of payment and different types of accounts in France, and several product brochures as well.

GL: Tell us a little about your background and where you come from.

Kate: My passport is British, but I think I’m what you call one of these third culture people. I was born in the States, and travelled mainly in Europe during my childhood years, due to my father’s career, learning to speak French in Switzerland. I first went to England when I was 12 years old and completed my secondary school and university studies there, and then went to work in The City, London, for Natwest Bank. For my first permanent position, they sent me to France, and I’ve been here ever since.

GL: Why did you come to Grenoble originally?

Kate: Like everyone else – because of my husband’s job! We used to live in the Southwest of France and he was transferred to his company Head Office in Grenoble in 2004, following a promotion.

GL: When did you start working at Banque Rhône-Alpes and what kind of training did you need for the job?

Kate: I’ve been with Banque-Rhône-Alpes for just over a year now, and although I’m a qualified UK Financial Advisor, have a degree in Banking & International Finance, and have been advising expats in France for over 12 years now, I still had to go through the in-house Private Account Officer training! This consisted of four separate weeks of training, spread over three months at the Head Office in Paris. It was difficult to go back to full-day lessons, but very worthwhile.

GL: How can new residents to Grenoble get face to face financial advice in English?

Kate: The best way is to contact me on 04 38 02 38 81 or kate.daligault (at) banque-rhone-alpes.fr and arrange for an appointment. Our branch is right next to Chavant cinema, in the centre of town.

GL: How has the banking culture in France changed since you arrived in the country?

Kate: The main difference has been the introduction of online banking and call centres. Although these provide greater ease of access for clients, they tend to dehumanise banks and make clients feel anonymous. I feel that one of Banque Rhône-Alpes’ great strengths is to move away from this commercial banking model and retain personal contact with clients – I know all my clients by name and see them at least once a year.

GL: How does the banking culture differ from that in your native country?

Kate: Ever wonder why you have debit interest to pay, but your account was never overdrawn? This is due to the French value-dating system, which means that for a cheque for 1,000 € deposited on day one, the funds are not available until day three. Therefore if you write a cheque before that date, you may be overdrawn in value terms.

The other big difference is the legal status of cheques in France. Writing a cheque without having sufficient funds or a pre-arranged overdraft is a misdemeanour, as is bouncing a cheque. This results in being blacklisted by the Banque de France for five years and will affect your credit rating. You will not be able to obtain credit until you have cleared your previous liabilities.

GL: What advice would you give new residents looking to set up an account in France?

Kate: The main difficulty when you first arrive in France is that you cannot open a bank account because you don’t have a fixed address yet, but estate agents will not let you sign a rental agreement if you cannot provide details of a French bank account … it’s Catch 22. At Banque Rhone-Alpes, we have over 20 years’ experience in dealing with new arrivals, and all you need to provide is:

• a valid passport or national identity card if you are from within the EU
• proof of employment / studies in France
• a valid address

Radio On. Photo: Flavijus

English Talk Radio is a talk show in English on 90.8 Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests. We are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice – hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and also live on www.campusgrenoble.org – and streaming here on Grenoble Life.

English Talk Radio November 27 podcast

Guests on 27 November 2009 English Talk Radio:
Mandy Besson talks about “Peter Pan – a pantomime”, January 20–23 2010 at Cité Scolaire Internationale (information & ticket purchase : gregg.west@ac-grenoble.fr )
James Dalrymple talks about the English language web site Grenoble Life
ETR Presenters Kristine Minski, Mary Zaccai and Vivian Draper, sound engineer Bertrand Tappaz

Grenoble Life: What is VSArt?

Meredith Charreyron: VSArt is a French association, based in Paris, in existence for 22 years. Its purpose is that of bringing cultural activities to the less fortunate in a manner that promotes personal exchange, in an “interactive” form.

GL: What sorts of activities?

Meredith: VSArt’s Grenoble chapter (now five years old) is divided into three sectors, organizing and promoting cultural activities in each:

• Musical – proposing concerts and workshops, be they classical, jazz, variety
• Artistic/manual: organizing craft and arts workshops (floral composition, jewelry-making, photography, painting and sculpture …)
• Computer training: where we teach those with limited means basic computer skills on a one-to-one basis (every Friday, in La Villeneuve)

GL: How did you get involved?

Meredith: I lived near Paris, performed regularly in small chamber music ensembles and came across VSArt musicians by chance at one of their concerts. I made initial contact with the head of the music sector at VSArt’s headquarters (Paris XVI) and engaged myself, promising a few hours of administrative work with the team each Tuesday.

GL: You opened the Grenoble chapter for VSArt. What did this involve?

Meredith: When I moved to Grenoble six years ago with my family, I knew no one in the area. I was anxious to start making contacts in the music world, and was also anxious to find some friends! The music solution came quickly, once I learned of the existence of Musiques Pour Tous, an association that has existed locally for some 32 years and brings together amateur and semi-professional musicians of all kinds. Once a part of this network, I saw the possibility of starting up a VSArt chapter on a small scale, offering musical animations as our “cultural product”. So I pulled out the yellow pages, contacted several centers for the aged, the handicapped, and took it from there …

GL: Tell us about some of your volunteer members and where they come from.

Meredith: One of the true riches of the Grenoble chapter of VSArt lies in the diversity of its volunteer members. There are about 65 of us: most of the musicians are French but on the artistic side we have a pool of 30 (mostly female) members. They are of all ages, 11 nationalities, varied backgrounds. Meeting each other, working together, sharing our talents – all part of the pleasure enjoyed by these volunteers (of which I am one!).

GL: VSArt collaborates regularly with Café Nicodeme – tell us more about this relationship.

Meredith: Café Nicodeme, in the heart of Grenoble, is just one of the “centers” where VSArt intervenes. For the past two years we have held monthly jewelry-making workshops for Nicodeme members. The rapport between our two associations is a particularly gratifying one. Since you are interested in this collaboration, I suggest that you view this télévideo that shows us working together.

GL: Tell us about some upcoming events organized by VSArt

Meredith: Each year members of VSArt’s music sector organize events in the form of fundraising concerts that are open to the general public. Our annual classical concert will again be held at the Bertet Musique auditorium in Gieres, Sunday March 27, 18:00–19:30. In 2010 we will again hold a series of private concerts (in people’s homes).

GL: Could you tell us a little about your background?

Meredith: In order of importance to me: I am a mother of four (and wife of one Frenchman) who has relocated her family nine times. I’m a former hotel marketing professional, a teacher, a flutist and an avid “sportive”. Why did our family relocate this last time, from Paris to Grenoble in 2003? … My husband’s career brought us here.

GL: How can people participate in VSArt activities?

Meredith: I suggest that any interested parties first consult the VSArt site, and click on “implantation- Grenoble” once you’ve understood what goes on nationally. 

You can read the short text and view the three télévideos I have referred to, in order to have a good idea of what our cultural workshops are all about. You should know that these activities take place almost exclusively on weekday afternoons.

If your interest continues, feel free to email our local team or give a call. Our recruiters would be happy to meet with you after sending you more information on VSArt Grenoble.

Contact:
Meredith.Charreyron (at) gmail.com
06 74 50 67 40

Rebecca Skillman at work

Rebecca Skillman practices shiatsu from her home near Uriage and also in a well-being centre in Meylan. From the UK originally, she did her practitioner training in Bristol before moving to France at the end of 2004. Grenoble Life wanted to find out more.

Grenoble Life: What is shiatsu and what are the health benefits?

Rebecca Skillman: Shiatsu is a type of massage. It comes from Japan and literally means finger pressure. As well as fingers, I use my palms, elbows, knees – depending on what part of the body is being worked on. I may also include some stretches and other movements to free up the body and release the tensions that many of us develop.

Have a look at www.shiatsuinfo.org to see the range of health benefits (just about every condition can benefit since mind and body are so intricately linked). On the site there’s also a summary of recent research which shows that science is now backing up what practitioners have known for decades about the positive effects of shiatsu. But here in France it’s important not to shout too loudly about this as shiatsu is only recognised as l’art du bien-être – fine as far as it goes, but it can work at a much more profound level for those who want that.

GL: Where did you train and how long have you been practicing shiatsu in Grenoble?

Rebecca: I trained at the British School of Shiatsu, in the UK, between 2001 and 2004 and I’ve been practising in France since the beginning of 2005.

GL: Was it difficult to set up your business in Grenoble?

Rebecca: I am in an association, Chemins du Bien-être, and that works fine because I have a modest level of activity. Since I moved here the auto-entrepreneur statute – a new law aimed at helping small businesses register themselves legally and more simply – has been introduced and I may investigate this further.

GL: Describe a shiatsu session with you.

Rebecca: In an initial session I would spend 5–10 minutes getting to know what the client is hoping for from the session and whatever they want to tell me about what’s going on in their life. The more I understand this the better I can judge what type of session will give most benefit – each session is unique. I think I can safely guarantee that it will always be relaxing on a physical level. But, by putting the receiver in touch with their body, and all the emotions that are bound up with it, shiatsu can also support and release a range of emotional issues and help the person move forward in their life.

A typical treatment lasts 45–50 minutes and takes place on a futon mattress at floor level. The receiver is clothed and the style of touch is a gentle (or vigorous) pressure rather than the sweeping movements of, say, Californian massage. It can therefore suit people who prefer a more neutral and less intimate touch than with oil-based therapies.

GL: Is shiatsu well known in France, compared to in your native country?

Rebecca: Shiatsu is becoming increasingly well known in France. It is supported by professional bodies like the FFST, and if you are looking for a practitioner in any département you can start by looking on their website. Shiatsu is now sufficiently well recognised for mutuelles like Alptis to include it in the therapies they reimburse. That said, the relationship between the medical establishment and complementary therapies is not as developed as in, say, the UK. And shiatsu is not integrated into public healthcare to the same extent.

GL: What reaction have you had from your customers?

Rebecca: People sometimes say they feel lighter – or even that they felt like they had wings! And several have noticed an improved range of movement with muscular-skeletal imbalances. They often sleep better. And the effect can last days or even longer.

Some feedback from my clients:

« Celà a été vraiment très, très efficace, et que je n’hésiterai pas à en parler autour de moi. »

“I felt very good after the massage – positive and energised.”

« Je te remercie pour ce beau travail qui passe par tes mains, tes gestes, ta tête, ton accueil de ta personne et de ton intuition. Une invitation à ce que la vie et l’énergie trouvent un chemin pour circuler. »

“I just wanted to thank you again today for the Shiatsu – it really was a great session. My hips, etc. were really tight yesterday and now I feel great. In general, afterwards, I feel physically better than I have in a while.”

GL: How can we book a shiatsu session with you?                        

Rebecca: You can contact me by email (rebecca_wwng (at) yahoo.com) or phone (04 76 00 06 13).

CSI Panto 2008-2009

Hélène Perrin-Gouron is part of the team that puts on the annual pantomime with students at Cité Scolaire Internationale (CSI). She talked to Grenoble Life about costumes, props, music and risqué double-entendre …

Grenoble Life: What is your role in the production of the pantomime at CSI and how long you have been doing it?

Hélène Perrin-Gouron: It’s my third panto with the CSI. Yet this program has existed for five or six years. I’m currently managing the rehearsals. Mandy Besson, Gregg West and I are co-ordinating the show, each one of us in charge of a specific area. We’re also helped by a crew of about 15 people on a regular basis. Then we get extra help when we get closer to the performances. I’d say that a total of around 40 people (adults and teens, though not including the actors themselves) will have worked on the panto by the time it gets on stage for the shows.

GL: For the benefit of non-British readers, what is a pantomime?

Hélène: Ha! Someone burst out laughing once when I said that I was doing a pantomime in English. Of course, the thought was that a pantomime is a mime, therefore silent. Actually, it used to be; but over the years, it turned into a ‘humorous musical’.

Pantomimes are very much a British theatrical genre, usually performed around Christmas, and almost always based on long-established children’s stories. It also has conventions: the leading female character is usually played by a man, there’s also risqué double-entendre, well-known songs with re-written lyrics, an actor in an animal costume and there are various kinds of interactions with the public. This means that we could be throwing out candies to you … [laughs]

GL: What is this year’s pantomime? When and where does it take place?

Hélène: The students of the Junior High English Section of the Cité Scolaire Internationale of Grenoble will be performing Peter Pan. The first show will be on January 20^th, 2010, in Salle polyvalente at the CSI. We’ll hold five performances there.

GL: How is the script chosen?

Hélène: The previous years, Gregg West and Mandy Besson edited existing scripts so that each individual on stage would have a moment. This year, with the help of two other adults, Mandy wrote a script from scratch! I’m dying to talk to you about my favourite moments but then, I would spoil it for you if I did!!!

GL: How are the actors chosen?

Hélène: Thanks to the quality it’s reached, the CSI panto seems to have turned into a tradition. Its success has brought more and more students to the auditions. They are cast accordingly to their strong points knowing that we need actors, dancers and/or singers. This year, we have a cast of 41 students on stage, aged from 11 to 14.

GL: For how long do rehearsals take place - there must be a lot of preparation?

Hélène: Not at all! [wink] Yes, it’s colossal work. First there is the script to find and either edit, or write, and do the blocking too. Then we have auditions in June, and in September, rehearsals start. Not only do the students have ‘regular’ rehearsals twice a week, but they also have song and dance rehearsals. (Just to give you a hint of what’s hiding behind this little group of words ‘dance rehearsal’: 17 choreographies were created this year by Isabelle Lietar.) We’ve got to get lyrics changed, find the pieces of music we need, record the soundtrack, imagine and make costumes, list and find props, compose and paint the scenery, create an ambience with lights, and finally organize the publicity and ticketing. There’s work during the shows too …

GL: Tell us a little about your background and how you became involved with the international school panto?

Hélène: I did some theater when I was in the US. And then … life! For years, I was busy with my job as a scriptwriter for film and tv. No time for theater, which I was missing. The CSI panto is always looking for passionate committed people so … I guess we were all lucky there!

GL: How do the French, or even non-British audience members, react to the panto – do they not think it’s a little unusual!?

Hélène: Pantos certainly are unusual, which may be why one gets caught up by the ambience though he/she must experience some sort of a culture shock. In fact, last year, when I was watching a Monty Python film, I suddenly realized how incredible it was that these guys were so obviously panto-raised and the world does not know about it!

GL: How can we find out more and get tickets for this year’s panto?

Hélène: Our posters and program will be ready mid-November and the ticketing will start right away. We’ll have a show at 2.30pm on Wednesday, January 20^th. On the 21^st and the 22^nd, shows will be at 7.30pm. And on Saturday, January 23^rd, we’ll have a show at 10am and a show at 7.30pm. Tickets are six euros for adults, from age 4–18 tickets are three euros and children under four come in for free. Most performances sold out last year so we highly recommend that you make reservations at gregg.west (at) ac-grenoble.fr, starting now!

On Air. Photo: Curtis Kennington

English Talk Radio is a talk show in English on 90.8  Radio Campus Grenoble. We talk about film, theatre, finance, restaurants, travel, and have a variety of topical guests.  We are four presenters: Kristine Minski talks about finance, Christina Menez talks about China, Mary Zaccai talks about student issues, and Vivian Draper – animatrice/rédactrice - hosts the show. Every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble and also live on www.campusgrenoble.org – plus podcast here.

Guests on 13 November 2009 English Talk Radio:
Ariane Zenker of The Cake Shop (fancy cakes & accessories).
Amélia Feuer is a young opera singer from New York who is now living in Grenoble.
ETR Presenters Christina Menéz, Mary Zaccai and Vivian Draper, sound engineer Bertrand Tappaz
Listen to the Podcast
etr@campusgrenoble.org

*******************************************************************************************************

English Talk Radio l’émission en anglais pour les expatriés et les amoureux de la culture anglo-saxonne.
Vivian Draper l’animatrice / rédactrice reçoit :
Ariane Zenker du magasin The Cake Shop (fancy cakes & accessories).
Christina Menez à propos de l’éducation en Chine.
Amélia Feuer jeune chanteuse d’opéra new yorkaise qui vit désormait à Grenoble.
Diffusion les dimanche à 12H30 et mercredis à 19h sur Radio Campus Grenoble.
90.8 et en direct sur www.campusgrenoble.org + Podcast
etr@campusgrenoble.org

A montage of Upstage publicity

David Simpson is producer and director of Upstage, an English Theatre Group comprising students at Cité Internationale Europole in Grenoble. Now in its 18th year, this annual play has established a tradition of outstanding comedy that draws a diverse audience from the local community. James Dalrymple met him over a pint or two – as British expats are often found doing – at O’Callaghan’s Irish Pub, to discover more about the history of Upstage and plans for next year’s production.

When I met him David had just completed successful first rehearsals for Upstage 2010. Students from the International Lycée have assumed roles both theatrical and technical after an audition process overseen by David and former student participants. Under David’s supervision this team will “take over and run all the operations, front of house, backstage, sound and light control room,” during a five night run that normally takes place between February and April.

Upstage has a long standing relationship with Ste-Marie-d’en-Bas, a 166-seat theatre off Place Notre Dame that he describes as,

… a first class theatre for audience and actors alike, in terms of size, intimacy, atmosphere, acoustics and so on. They’re much solicited, like all theatres and venues around town. But we are perceived as part of the family, and they make sure there is a place for us in their programme. Les Anglais bring a breath of fresh air and youthful vitality and joie de vivre. The Director, Diden Berramdane, is extremely supportive, and generous in help and advice. He has a very special input in terms of setting up lighting effects. We’ve built up an understanding and strong working relationship over the last 15 years, based on mutual respect. According to Diden, ‘Ils n’ont rien à envier aux professionnels’.

While rehearsals are conducted within the school, during its run the students assume almost total control of a real playhouse with an audience mix of Anglophones and local people (French translations of the script are made available in advance). Upstage is therefore not only a theatrical experience for these young people, but one in which they learn team-building and project management skills invaluable in later life. The Upstage motto, David tells me, is “strong traditions to follow, new precedents to set.”

Although Upstage productions, since its inception in 1993, could be roughly described as comedies, David – who chooses the play, before running it by a reading committee comprising colleagues at Cité Internationale (where he is head of English) – does not shy away of challenging, darker themes. Plays have included Giles Croft’s adaptation of the Ealing comedy The Ladykillers, Timberlake Wertenbaker’s Our Country’s Good and Arsenic and Old Lace by Joseph Kesselring. David aims to select ensemble pieces, in order to include as many students as possible, and works that feature a fair balance of male and female roles. Previous productions have, however, had male roles played by female students and vice versa, and in the case of plays such as Caryl Churchill’s ’Top Girls’, where the cast was dominated by female characters, more room was made for the boys in a technical capacity.

Nor does Upstage shy away from challenging technical feats, David emphasises. “There were plays I put aside, as too difficult technically, but that I found myself coming back to, as I really wanted to do them. And that’s what theatre is about in many respects. Finding solutions, and ways to do things.” Such challenges have included the depiction of:

… rowing boats up rivers; throwing bodies off bridges in the path of oncoming steam locomotives; getting the 9th Century female Pope Joan to vomit into a vase at the front of the stage; having for a set an English country house on two  floors - with staircase, gallery and nine doors/ windows, and which required rotating 180 degrees at each of the two intervals; rooftop fights, parrot escapes, a murder in a bathtub, firework displays and so on; a play that takes place, apart from the first five minutes, in the dark … when you’ve managed to meet that kind of requirement, you really do think you can cope with anything. Two years ago I seriously considered a play that needed a hot air ballon!

David is proud to announce that next year’s production will be a double-bill. The main feature will be Joe Orton’s Loot (1966), which David describes – with a glint in his eye – as a “ferocious satire about sex, death, money and the Catholic church”, lest anyone doubt that Upstage tackles more demanding material. As Loot is a relatively short piece, it will be preceded by Harold Pinter’s aptly-titled (for Grenoble) one-act play Mountain Language. The late Pinter is not, of course, known for the kind of themes typically performed by schoolchildren, and David is keen to emphasise that Upstage is a professional quality English theatre group that aims to engage adults and young people alike.
Of next year’s programme, David says:

… Loot was one of those plays I wanted to do, but put aside, as there are only five real roles in it. I need to involve a team of 10 to 12 actors. I’d also thought of doing a Pinter double bill a couple of years ago. He’s just so good. But I put that idea aside as Diden Berramdane was putting on a Pinter, The Caretaker, and which he wanted me to act in. I didn’t want to compete with him. It turns out, I found, that Loot is not too long, and I realised I could do a short play with it, and involve more actors: two teams in fact, alternating the roles they play each evening. The first rehearsal was excellent.

They are both very powerful plays, in their different ways, and can be seen by some (indeed were) as provocative. But a few years ago I was telling some ex-Upstage people about what my options were, and how I thought I would do a safe Neil Simon comedy, rather than the play that really interested me: based on history, about the first convicts sent to Australia putting on a play, against extraordinary odds. One of the convict actresses, for example, who couldn’t read for one thing, was due to be hanged before the performance, for stealing food. So the young people told me  how proud they had been to take part in plays, difficult and demanding,  which had aroused very strong reactions. They convinced me to do the Australian play. It was a huge success.

With tickets normally available at the University, Carrefour and Maison du Tourism, expect publicity – also handled by the students – to begin in earnest in the New Year. Watch this space!

Struggling to find accomodation? photo: michaeluyttersp

Shonah Kennedy shares her experience about relocating to Grenoble, and interviews Isabelle and Julie of LC Mobility, the agency that helped her find accommodation and deal with the trickier aspects of setting up life in a French city.

When my fiancé and I found out we were coming to live in Grenoble, for an extended period of time, we were very excited and started to plan immediately. We thought we had plenty of time to find accommodation, look for a language school, open a bank account, find an Internet plan, and all the really “fun” aspects of moving to a new city in a foreign country (the “romantic notion” of living in a foreign country comes after the organisation!).

Now, we were not totally inexperienced with this process, as we had been living in Paris for over a year. However, there are certain aspects that are always daunting, such as: finding a quality place to live, having enough French to understand your rights, insurance, internet connection with everything you need in the plan and … the list is not exhaustive!

We started to get a little concerned, when a month out we still had no place to live!  Then, salvation!

Out of the blue, we received an email from a company called LC mobility who assist foreign researchers (which is the category my fiancé falls under) and students to settle in Grenoble. Julie asked for specific details from us and within a week we had a place to live!  Below I interview Isabelle and Julie who are LC Mobility in Grenoble.

Shonah Kennedy: How did you start LC mobility?

Isabelle and Julie (LC Mobility): When Julie was doing her bachelor’s degree, she did an internship in Montreal and benefited from the services of a company that helped her to find her internship, find accommodation, welcome her at the airport and help her with social security in Canada.

Considering the market in Grenoble for accommodation and the fact that French people don’t speak English very well, especially in administration (such as the Prefecture), we thought that foreign students might need some help from French people to settle in Grenoble. So, at first we created an offer for students only, and then we realised that even researchers could use this help …

Shonah: When did you start LC mobility?

LC Mobility We started LC Mobility in February 2008, during our last year of our studies (Masters level).

Shonah: Why did you start LC mobility?

LC Mobility: We started LC Mobility because we did our studies in Management, and specialised in entrepreneurship. So, at first we just wanted to create a company together, for the challenge and the independence. We chose to create this company because it matched a need, and it was something that we can do and would like to do (because we know how helpful these kinds of services can be when you have just arrived in a new country!).

Shonah: Who is LC mobility?

LC Mobility: We are two girls: Isabelle and Julie. We both received our masters degrees at IAE Grenoble, in entrepreneurship (where we met).

We have very different tempers, so we work very well together, we are complementary!

Shonah: Who are your main target clientele?

LC Mobility Our target clientele are students, PhD students, and more and more researchers. We also help French people to settle in, when they come from a distant city (such as Bordeaux or Lille).

Shonah: What do you do?

LC Mobility: We help people to settle in Grenoble and Lyon in three steps:

1. Find their accommodation (most of the time before their arrival)
2. We welcome them at the station and accompany them to their accommodation
3. We realise for (or with) them all procedures to settle in. Such as: opening a bank account, getting a residence permit, getting Internet access, cell phones, insurance etc.

Shonah: Are there any plans for expansion?

LC Mobility: We are developing the company in Lyon. We have already welcomed a few people there, so in November Julie will move to Lyon and be there permanently!

Shonah: Are there fees for your services?

LC Mobility: Yes, there are fees that are available to view on our website.  We also offer services in packages.

For more information, or to talk to these friendly approachable girls you can find all their contact details on the contact portal at Contact LC Mobility – Isabelle and Julie.

Alexa Meresse carrying her son in one of her wraps

Rebecca Marcenac of Grenoble Life meets Alexa Meresse, founder of Colimaçon et Compagnie, a local business selling made-to-measure baby carriers.

by Rebecca Marcenac

With my two-month old daughter pushing towards five kilos and my arms sore from carrying her up and down two flights of stairs in her carrycot, we took off one scorching hot Grenoble summer morning for the slightly cooler heights of Herbeys in Belledonne to meet Alexa Meresse, founder of Colimaçon et Compagnie, and to purchase a made-to-measure wraparound baby carrier.

An entrepreneur and mum of two, Alexa sells and produces beautifully coloured wraps from her home, where she also has a workshop. On arrival, Alexa pulled out colourful wraps from a hidden chest under her sofa and proceeded to show me three wrapping techniques. My daughter, who had made friends with Alexa’s demonstration doll, protested at first, but soon settled and seemed at least as happy as I was. We then went up to the workshop where I selected my material. We worked out the perfect length for my wrap and chatted away while Alexa sewed my wrap. Here’s what she had to say.

Rebecca Marcenac: Where did the idea to make and sell wraparound baby carriers come from?

Alexa Meresse: Shortly after my first son was born, I wanted to carry him in a wrap. I bought one over the Internet from a maman couseuse (mum who manufactures baby items such as wraps, reusable nappies, bibs etc. from home and sell them on an ad hoc basis). I was very disappointed by the quality of the product and decided to make my own. Then I started making wraps for friends, for friends of friends … until one day I was contacted by health professionals. That’s when I thought ‘I should make a living out this!’ and took the leap and set up Colimaçon et Compagnie!

RM: What are the advantages of using a wraparound baby carrier for both the child and the parent?

AM: There are numerous benefits. For babies and toddlers, wraps are comfortable and respectful of their physiology: their neck is supported, and the natural curvature of the spine is respected (especially in newborns). It is like sitting in a chair – legs are on either side of the carrier – there is no weight on the sexual organs, only on the child’s thighs. Furthermore, carrying your baby in a wrap provides skin to skin contact. Curled up against mummy or daddy, the child feels secure and appeased. It is a fact that children carried in wraps cry a lot less than those who are not. Studies have also shown that babies who were frequently carried in a wrap from birth grow up to be children who are more serene, more independent and less prone to tantrums!

For parents, the major benefits are twofold. Wraps are both comfortable and easy to use. You can carry a 10-kilo toddler for several hours without feeling any discomfort, and once baby is in the wrap you can go about your daily business, be it housework, shopping, using public transport, but also hikes etc. Some parents even use their wrap at the seaside or at the swimming pool to gradually get their baby used to water.

RM: How did you go about starting your own business?

AM: I have a rather eclectic background. I have a degree in technical sales. After having worked for several years in the charity sector, I went on to work in communications at a blood transfusion centre. I was on parental leave making wraps for friends and relatives and started getting a reputation locally through word of mouth. I was then contacted by health professionals.

Shortly after going back to work, I was made redundant. It was at that point that I decided to have a go at creating my own business. I found two bodies in Vizille which support people who setting up their own business. They helped me create a business plan and generate financing. Then I had to have the wraps tested to meet European standards …

Setting up Colimaçon took a lot of work and energy. I certainly wasn’t expecting it to be so difficult when I decided to launch my own brand!

RM: What challenges did you face?

AM: There were two big challenges. First, having the wraps tested in accredited testing laboratories to meet the European standards. The standards are drastic and we had to work on the mechanical properties of the material and compulsory labelling for the wraps to be validated.

All these tests, as well as setting up the website cost a lot of money. Banks are not so keen on financing such investments, especially as this was a particularly innovative project. So the second challenge was convincing the bank manager to lend us money!

RM: Where are your customers based?

AM: Most of our customers are based in France. That said, we do get orders from abroad. That’s why we have an English-language online catalogue and provide an English-language user’s guide upon request.

RM: How can our readers contact you to order a wraparound baby carrier?

AM: If you are ordering from France, you can order directly from our website (don’t forget to ask for our English language instructions if necessary!) If you live abroad, it may be easier to contact us directly by email with any queries.

Alternatively, if are a local and would like a baby carrying demonstration and a visit of the workshop in Herbeys, do contact us to make an appointment!

From The Side. Photo: Patrick Gage

Clare Smears runs the English Library at Babel in Grenoble. Grenoble Life wanted to know more about the library collection, the book groups and her background.

Grenoble Life: When and why did you originally come to Grenoble?

Clare Smears: I’m British. I came to Grenoble almost 17 years ago when my husband was offered a job here. Whilst in the UK, I had studied for an MA in Library & Information Studies and I’d worked in various libraries including a trainee year at The British Library in London and as Assistant Young People’s Librarian with Kent County Libraries. Getting involved with The Library at Babel has allowed me to continue what I most enjoy doing – bringing people and books together.

GL: When and why was the library created?

CS: The Library at Babel opened in 2000 as a joint project between three associations – Babel, Open House and Alliance Grenoble-Oxford – following the desire expressed by these associations to provide a centre for readers of English.

Association Babel very generously offered to house the library at their room situated in Grenoble at 2, rue Ste. Ursule in the beautiful courtyard of what was once the Couvent des Minimes.

GL: How is the library run?

CS: The library is run by a small group of volunteers who now open it to the public on five days a week.

GL: How did you come to be involved and what is your role now?

CS: I forget exactly when I got involved with the library – although it was perhaps a year after it first opened. I had been a member of Association Babel for many years so I had seen the library open and develop. The shelves of children’s books were growing rapidly and none of the other volunteers had time to organise and exploit the children’s collection. Because I had previously worked as a Young People’s Librarian, I was asked if I’d be willing to spend some time helping with this collection. I agreed and things just went from there. I now oversee the general day to day running as well as take part in opening to the public etc.

GL: How many books are there and how were they acquired?

CS: We have around 5000 books on the shelves at present. When the Library was started there was a small stock of books from the Open House library and Babel also had a small collection. Since then, the books have been obtained through purchases but mainly through frequent generous donations to the Library. I also obtain many good second hand copies of books through various book exchange sites on the internet.

GL: What type of books can we find in the collection?

CS: There is something for everyone on the shelves – because the majority of our books are from donations they reflect the many different backgrounds and tastes of any reading community.

We have a very varied fiction section for adults featuring classics, modern fiction and many crime and thriller titles. There are also smaller collections of short stories, poetry and plays, and science/fantasy fiction.

For learners of English we have a shelf full of so called “easy readers” – books where the text has been adapted especially for learners of English. There are also dictionaries and other reference books that can be consulted whilst in the library.

The non-fiction selection is just as interesting – biographies, travel writing, history, popular science and economy, craft, cookery and art.

Children and young people of all ages will find something too – fiction and non-fiction from board books for babies up to some of the latest teen reader titles …

GL: Do you update the collection? How do you choose new titles?

CS: The collection tends to update itself every week – thanks to the regular donations we receive!

However, I do try to keep up to date with what’s happening in the publishing world and, where finances allow, we buy new titles particularly when we know it is going to be very popular with the readers – whose tastes we get to know very well. And, of course, we are always open to suggestions so I’ll try to get hold of any book that a reader is looking for if I think it will be of interest to others too …

GL: Who comes to the library?

CS: Our members come from all types of backgrounds and countries – the one thing in common is that they wish to read in English.

As for our ‘French’ members, many have lived and worked in English speaking countries or environments and now enjoy maintaining their English language through reading

GL: Does the library host activities and how can people get information about them?

CS: The Library along with Babel hosts a book discussion group for adults once a month during term time – we try to pick a general topic in relation to books and literature rather than read a book and then discuss it.

I have also recently started a new teenage book group – and been wonderfully surprised by how many young people out there want to get together to read and discuss books.

Anybody seeking further information about these groups can email me directly at association.babel@laposte.net

GL: What advice would you give to book-loving expats new to the city?

CS: Well, obviously, come in and see us at The Library – I’m sure we can provide something for all reading tastes.

However, there are now many ways of obtaining English language books in the city. I especially recommend Patricia Andréoli’s excellent library in Meylan – BAM (Bibliothèque Anglophone de Meylan). Also the newly opened Bookworm Café on rue St. Laurent where you can browse the second hand books on sale as well as enjoy tea and cakes.

I feel it is up to the English reading public in Grenoble to give their full support to projects such as these.

GL: What’s next for the library?

CS: Later in the year we hope to hold another of our very popular book sales where we try to pass on spare books for the very reasonable price of 0,50 cents or 1 €.

GL: What are the opening hours and membership terms for the library?

CS: During school term-time, the library opens 5 days a week at the following times: Monday: 4–5.30, Tuesday: 12.15–1.45, Wednesday: 4.30–6, Thursday 4–6 and Saturday 2.30–5.30. Normally have to ring the outside bell marked Babel and wait for someone to open the door on rue Ste Ursule.

During holiday periods, we try to open every Wednesday afternoon from 4–6pm.

Members of the three founding associations have automatic free membership to the library.

Anyone wanting to join the library alone is asked to pay an annual membership fee of 15 euros for individuals in employment or families or 7,50 € for students / retired / unemployed.

However, as in all things, we try to be as flexible as possible – so, for example, we have reduced rates for anyone who is in the area for only a short period.

Each member can borrow 4–5 books for a month but again we are very flexible about the amount of books and the return dates – there are no fines for overdue books. One member who lives in La Côte St. André comes with a suitcase and borrows books for several months!

GL: How can we find out more, donate books etc …

CS: To find out more, please feel free to come and see us during the library opening hours or contact me personally by email at association.babel@laposte.net

Elizabeth Stone Matho

Elizabeth Stone Matho is an American psychotherapist and art therapist, psychoanalytically trained, with a private practice in Grenoble. She has written on the use of art and creativity as therapy for children and sufferers of medical illness and trauma. Grenoble Life wanted to learn more …

Grenoble Life: You have had a private practice in Grenoble since 2003. Was it difficult to establish yourself professionally in France having started your career in the US?

Elizabeth Stone Matho: Yes, what was difficult for me was that I was unknown professionally here, since my psychotherapy training was in the US, so I began my practice without a professional réseau. That is, I began without knowing a network of colleagues to provide referrals to my practice. Fortunately, the Working Women’s Networking Group (WWNG) was born at the same time as I opened my practice. Meetings were held in my office, so women got to know me and began to call upon me for professional help, or help for their children, when they needed it.

I was also known in Open House, a Grenoble-based association dedicated to the needs and interests of the English speaking community, primarily expatriates. At the same time, a French association, AGARO (Association Grenobloise d’Aide à la Recherche en Oncologie), was looking to hire an art therapist for several hours a week to work with adult cancer patients at the CHU Grenoble. All this helped me to start my practice in psychotherapy and in art therapy. Then it grew gradually by word of mouth.

GL: Can you tell me what sort of population you would work with?

ESM: I work with both adults and children, in individual psychotherapy or couples’ therapy for a wide range of difficulties. Most adults I see come for psychotherapy, but some do seek art therapy. Children are usually seen in art therapy or play therapy and adolescents are seen in either psychotherapy or art therapy, depending upon their preference.

The kinds of difficulties that people come to see me for include: anxiety and depression, life crises including divorce, illness and loss, self-destructive patterns, stress, trauma, career decisions, adaptation to life in a new country, parenting consultation, creative blocks, eating disorders, parenting issues, chronic feelings of emptiness or loneliness and life-disrupting symptoms associated with physical or sexual abuse.

GL: Are there any differences concerning public and medical attitudes towards psychotherapy and psychoanalysis between France and the US?

ESM: Yes, I think that the need to seek psychotherapy has gradually become a normal part of the self-discovery process in the US and other countries, whereas in France, many people still attach a certain stigma to the idea of being in therapy. With greater acceptance of life’s difficulties as part of the normal process of living comes the understanding that, with the proper help, improvement can be envisioned.

According to my understanding, psychotherapy practiced by non-medical professionals is not well accepted by the French medical establishment. While this was also the case in the US some years back, the field of practicing non-medical psychotherapists has grown enormously and I think that now we are far beyond that perspective. To give you an example, formerly psychoanalytic institutes restricted candidates exclusively to psychiatrists (medically trained), and then they let in some PhD psychologists. That has since changed, permitting other qualified clinicians to obtain excellent training and further their competencies.

GL: Is your practice bilingual?

ESM: Yes, I do have a bilingual practice. I might add that it’s always an honor for me when French people choose to come to therapy with me, as so often people seek treatment with someone of their own native language and culture. And of course, it’s so important for English-speaking people to be able to express their deepest concerns in their own language to feel understood both from the standpoint of their own culture, and in terms of the expatriate cultural context of their present lives.

GL: You are a specialist in art therapy too, what media do your patients work in and how do you facilitate this?

ESM: I offer a variety of media that permit a wide range of expression, which can be just a few scratches on a paper to imagery that is far more elaborate. Materials include: gouache, clay, pastels, oil crayons, to name some of the basics. No previous art background is necessary, nor is particular talent. I believe that everybody has a story to tell and often that story can be told through imagery or through shapes and lines formed by the sensuous color and textures of the art media. Art materials used therapeutically elicit experimentation and the process of play. When working with children, I also have available other traditional materials such as puppets, blocks, etc.

Even those children who don’t “like” to draw find other ways in engaging in a creative process that becomes therapeutic in art therapy. Children tend to communicate naturally through imagery and play, so art therapy is particularly suitable and is a less stressful form of therapy for them than verbal psychotherapy. Nevertheless, they tend to become comfortable sharing their feelings through metaphor, symbolism and even direct conversation. Adults who have difficulty verbalizing feelings or experiences, such as in the case of trauma or bereavement, benefit from the sensory contact with the media, which often permits them to express themselves in a way that they might not otherwise have been able to do. The creative/therapeutic process involved helps people get in touch with their needs, even for people who would not ordinarily think of themselves as “creative.”

I have done quite a lot of work in the past with adult psychiatric patients who feel more comfortable in an atmosphere where they aren’t pressured to “talk” about themselves. In other words, using art media helps many people engage in therapy at their own rhythm. I think that my background as an art therapist has also informed my approach to psychotherapy and psychoanalysis in paying particular attention to the therapeutic rhythm necessary for each person, whether that person is verbally at ease or less so.

GL: When and how did you come to work in this field?

ESM: I’ve worked in this field for about 30 years, first in New York, where I grew up, studied and also practiced. My undergraduate work was in art, art history and philosophy but I was always drawn to psychology. I heard of art therapy while I was getting a masters’ in a hybrid field called Interrelation of the Arts, in the 70s, at New York University. Fortunately, my graduate program allowed me to craft my own course of studies to a great extent, and I already had experience working with children of all ages. I had been particularly interested in child development, and the development of children’s creativity, how drawing and the expression of fantasy life comes about through art and through dramatic play. Since art therapy was a new field at the time, it was difficult to find enough courses, so I began to take courses and attend workshops and conferences wherever I could find them, all over New York and elsewhere. Of course, I took psychology courses as well.

Then, a pioneering art therapist named Edith Kramer came to teach at NYU, where I was already enrolled as a masters’ degree candidate. She asked me to work with her at Albert Einstein College of Medicine, Jacobi Hospital in the Bronx, in child psychiatry. We worked together for several years and when she retired, she resigned her position to me. I had already been working with pre-schoolers and was fascinated with child development, creativity and what can interfere with it psychologically, so having the two populations back to back was a highly enriching way to learn further.

I did my thesis on body image in children’s art and body movement, where I turned to psychoanalytic writings to help me understand what I was observing. I later worked in a community mental health center in Jersey City, New Jersey, which permitted me to work with children and adults of all ages and all sorts of difficulties, individually and in groups, and where I gained a great wealth of experience. I was assigned all the patients who had any difficulty or reticence about communicating. To further my training as a psychotherapist I then enrolled in The New York School for Psychoanalysis and Psychotherapy, a renowned psychoanalytic training institute from which I graduated.

I have since become a licensed psychoanalyst and licensed creative arts therapist in the State of New York. These licenses permit some patients in my practice to obtain insurance reimbursement.

GL: You use art therapy with patients with very different circumstances – from sufferers of trauma to cancer patients – what are the benefits?

ESM: As in psychotherapy, each patient uses art therapy differently, according to his or her needs, sometimes to handle anxiety, sometimes to deal with “unfinished business” and conflicts that have prevented them from fully becoming the person they hoped to be. Sometimes, patients use art therapy to explore identity or their femininity (in the case of women). This is particularly important in the case of medical illness, such as cancer. The benefits of art therapy include: increased self-understanding, increased self-esteem, a capacity to better handle life’s circumstances, a sense of greater flexibility, sometimes, a better capacity to be nurturing to their children and spouses.

There can be also a rebuilding of the self that takes place with certain people, especially after serious trauma, as experienced in medical illness, even divorce or separation and all sorts of loss and other difficulties. I could go on, but again, there are no guarantees for what will be the specific therapeutic outcomes, as therapeutic benefits always vary. I should add that no substantial change ever happens over night. It is important to add that we can’t predict exactly how long therapy will take; each person is unique with unique needs.

GL: Is this kind of therapy broadly accepted by your peers or are there skeptics?

ESM: Many people today think that a psychoanalytic approach to psychotherapy or to art therapy is outdated. Yet they may be unfamiliar with recent developments in psychoanalytic thinking, from the time of infant observational studies of mothers and children which have yielded a wealth of information on what is needed in terms of building the structure of the psyche in a young child, as well as understanding the corresponding parenting experience. Understanding the different psychological phases of mother-child interaction, and then father-child interaction as well, has greatly informed researchers and psychoanalysts about treatment.

I think that many people view the psychoanalyst as a caricature of the “silent analyst.” Yet, today, at least in a contemporary psychoanalytic American (and usually British) approach, the therapist is much more active, the therapist doesn’t simply pronounce his or her “interpretations,” but the work and relationship is much more collaborative, more as two partners, yet with different roles, each coming to the therapeutic situation with his or her own special competencies to explore and understand the life of that particular patient. Often the psychoanalytic psychotherapist (or psychoanalytically oriented art therapist) will help to rebuild the self, not simply make what was “unconscious conscious,” as was so in classical analysis.

In France, art therapy is as yet an unregulated profession without strict standards for training. The same is true for psychotherapy. Therefore, skeptics can be justifiably concerned as to the competence and credentials of many therapists.

Of course, art therapy is far less well known than psychotherapy, and is practiced in many different ways, often very different from my own approach. I think that when choosing a therapist, it is very important to be careful about whom to choose, especially those promising all sorts of personal transformations and quick results.

GL: You also teach “Psychology in English” at Ecole des Psychologues Praticiens, The Catholic University in Lyon – what are the core themes of this course and who is it for?

ESM: I have taught second year psychology students and now will also teach the third year. The course has two specific aims, one that the students perfect their English and, second, in doing so, they learn an American or British approach to psychology. Since I am not an English teacher per se, I teach the writings in psychology of authors and psychoanalysts whom students probably wouldn’t be exposed to otherwise, or would study in less depth in their other courses.

I also emphasize learning about observational studies involving mothers and children, often through film. I’ve always enjoyed teaching and had taught pre-schoolers in the distant past and graduate students in art therapy for many years at New York University and elsewhere. I’ve supervised the practical work of art therapists and psychotherapists since the 70s, both at New York University and after moving to France. Since 1984, I’ve supervised art therapy interns in Italy (Turin) and Switzerland (Lausanne) and have taught in Paris and Berlin as well. I am passionate about the importance of training of new therapists and enjoy immensely participating in their learning.

GL: Why did you come to Grenoble originally?

ESM: I moved to Grenoble when I married my husband, who was already living here.

GL: You are an artist yourself. Tell us about your work!

ESM: I’ve always returned to my own art as a source of renewal and pleasure, though in recent years, I’ve had far less time to concentrate on my own work. My focus was always on painting and stone sculpture.

GL: Give us some contact information for your practice.

ESM: To make an appointment for a consultation, my phone number is: 04 76 54 03 12. My practice is located at: 1 rue Beyle-Stendhal, Grenoble. Tramway stop: Place de Verdun, Line A.

Welcome in seven languages

Marion Lhuillier is chief librarian of the International Public Library (Bibliothèque Municipale Internationale) in Grenoble. She kindly agreed to answer our questions about the library’s services, her background and why she loves Grenoble.

Grenoble Life: As chief librarian, can you explain a little your background?

Marion Lhuillier: In December 2000 I was hired by the Grenoble library network to work on the project of the international library, which opened to the public in September 2003.

My personal background would probably explain this choice: after a humanities-oriented school education (German language and literature, French literature and library sciences), I started my professional life first as manager of the information centre in a big French food company, then as a product manager. There I discovered marketing, promotion and advertising, which became very useful later for my job as a chief librarian.

Then, after the birth of my third child, I worked as a librarian in a middle school near Paris and followed my children’s father, who works for Carrefour, to Taipei, where my kids became true American Students at Taipei American School (TAS). Over there, I discovered the life “abroad”, the American way of life and the American way of education (the students worked hard!); as well as the Chinese one. I worked at TAS as a part-time French language teacher assistant and came back to France with my children in September 1997.

At that time I realized how rich this experience had been for my children and I, how deeply it had changed my own opinion on people and countries: how much it had broadened my horizons. The benefit of this experience remains with me now.

I have continued to practice English and German for my pleasure as well as for my professional needs. I also use it to travel and visit my children, and have been back to China several times to see my daughter, who studied and worked in Shanghai and Beijing, but now works in London. I have also travelled to Wellington, New Zealand, where the second of my children studied one high school term, and to Patagonia for my own pleasure. Certainly I’ve never forgotten Europe! Trekking and reading are two of my favourite forms of entertainment … the third one is to enhance my linguistic efficiency or, at least, to keep it alive: thanks to languages, it has been easier to make contact with foreigners, who are both similar and yet so different from us. Building such human links is very important to me.

GL: What and where is the International Public Library?

ML: The International Public Library is part of the Grenoble library network and hosts collections in Arabic, English, French, German, Italian, Portuguese and Spanish.

It is located in the brand new Europole area, near the train station, Grenoble Ecole de Management, Minatec and CEA, not far from downtown, close to the B line tram station “Cité Internationale” (see full contact and address details, opening times and membership info at the bottom of the article).

GL: Who is the library for, and what facilities and services do you offer?

ML: Open to children as well as adults, the International Library offers various materials in these seven languages: fiction and non-fiction books, picture and comic books, magazines, language learning CD-Roms, DVDs, audiobooks, music and ethnic song CDs.

Access to the library is free of charge. You can borrow materials in all seven languages: up to 15 documents per membership card (as follows: 15 books, 15 journals, six CDs, four audiobooks, three CD-Roms for four weeks, three fiction and three non-fiction DVDs for two weeks).

From home (thanks to the internet), you can find documents through the online network catalogue. With your PIN number and your password, it is possible to renew your loans and make documents reservations.

There is also a special room dedicated to Rosetta Stone, the famous American language-learning software. In this case, as well as for browsing the internet, reservation is needed by phone or at the library. Both services are free of charge.

Salle de Lecture

GL: What events take place at the library?

ML: We also organise multilingual storytelling – the next one on December 2 at 16:30 – in English, Portuguese and French.

There are also meetings with authors from other countries – the next ones are on September 16 at 18:30 at the downtown Library with Colum McCann, the famous Irish-American writer, and on October 8, at the International Library, with Alicia Dujovne Ortiz, from Argentina.

Consulting the cultural program of the Grenoble’s library network is easy on our website or on our magazine “les Rendez-vous”!

GL: What does Grenoble mean to you?

ML: Grenoble is the town where I decided to work because of its cosmopolitanism, which reminds me of my life abroad, particularly in the tram, when I listen to people speaking so many foreign languages, such as Arabic, Chinese, English, German and several others that I don’t know.

Grenoble cannot be separated from its wonderful sunrises, with mountains like a shadow theatre and sunsets with rose-coloured mountains: an unbelievable luxury!

Bibliothèque Municipale Internationale
6 Place de Sfax, 38000 Grenoble
04 38 12 25 41 (tel)
04 38 12 25 46 (fax)
email : bm.internationale@bm-grenoble.fr

Opening hours:

- During school time : on Tuesday, Thursday and Friday from 5 to 7 pm, on Wednesday, from 2 to 6 pm and on Saturday, from 10 to 12 :30 and from 2 to 5 pm.
- During the school holidays : on Tuesday, Wednesday, Thursday and Friday, from 2 to 6 pm, on Saturday from 10 am to 1 pm.

Membership:

You can become a member while paying an annual subscription, depending on your age and place of residence:
-Under 18 or still at lycée: free of charge. From 18 to 25 : 7 € (Grenoble residents and non-residents)
-Adults : 14 € (Grenoble resident), 35 € (Grenoble non-resident)
-Over 65 : free of charge (Grenoble residents), 35 € (Grenoble non-resident)
-Unemployed people, minimum wage earners, and asylum seekers have free membership. Please show an identity document and a proof of residence (e.g., utility bill) when signing up for membership.
Children under 16 must have their parents’ authorization.
Come and join us !!

Amy in a lavender field in Provence

Amy Cannata is from Chicago and has been living in Grenoble for almost four years. Her previous occupations include art educator, early-childhood educator and interior designer, but now she is setting up her own aromatherapy business. Grenoble Life wanted to know more.

Grenoble Life: What does aromatherapy mean to you?

Amy Cannata: Aromatherapy is the practice of using essential oils therapeutically. An essential oil is the concentrated ‘essence’ of a particular aromatic plant which is obtained through steam and/or water distillation. Essential oils have therapeutic properties that are a result of the natural chemistry of the plant. For example, Chamaemelum nobile – Roman chamomile – contains a lot of chemicals called ‘esters’ which have been shown to have anti-spasmodic properties; therefore, Roman chamomile would be a good essential oil to use in cases of muscle cramps or spasms. Aromatherapy is a natural way to treat many common ailments and to increase overall well-being – both physical and emotional.

Congregation at The English Speaking Church of Grenoble

Rev. Stephen Coffin is the Chaplain at The English Speaking Church of Grenoble. James Dalrymple of Grenoble Life talked to him about the church services and activities, his experiences in Africa and England, and why he came to Grenoble. Grenoble Life: Who attends services at The English Speaking Church of Grenoble?

Stephen Coffin: We usually have members from about 10 different Church denominations – and those of no denomination – and 15 nationalities (currently from Australia, Belgium, Canada, China, France, Germany, India, Madegascar, Nigeria, Peru, South Korea, Spain, UK, USA). On a typical Sunday 60 adults and 15 children will be present, across the whole age range, from babies to the retired. Many of those who join us are in Grenoble to work or study for limited periods, so usually a quarter of our membership changes every year. We currenty have 80 adults and 35 children on our membership list, the economic crisis having led to many repatriations. People travel up to an hour from villages and towns around Grenoble.

GL: So, for French legal purposes the church is an Association de l’Eglise Anglicane de Grenoble, but the church is open to non-Anglicans …

SC: Organisationally we are part of the Church of England’s Diocese of Europe, but only a minority of those who attend are Anglicans, and we warmly welcome everyone. People come to us because English is the language we use, sometimes even just to practise their English! We also have French speakers (25% of current members) who like the way our church is. Some people come to ask questions about Christianity, others just for friendship. Our aim is to be a welcoming body of people, who are discovering more of God’s love and sharing it together and with others. We work in partnership with other local churches, especially the Roman Catholic and Reformed congregations with whom we share the St Marc’s Ecumenical Centre we use.

GL: Tell us about your time in Africa

SC: My wife Marian and I had developed an interest in the wider needs of the world, and felt it right to offer our energies to those less well off than ourselves. Friends worked in Rwanda, and when we contacted their mission agency we were told they were praying for someone with my qualifications. We went to Burundi, where I worked alongside an African pastor in the local language and French (which he couldn’t speak), particularly with secondary school children. Our 2 and 4-year-old daughters were a great point of connection with local people, and they had a great time there. We received far more from the local people than we felt we gave.

GL: What brought you to Grenoble? SC: We came to Grenoble nine years ago from rural Cornwall – I blame my wife, who prayed for a change! We’d been 14 years in an idyllic country parish, but needed a fresh challenge. Three churches in France were advertising for a new priest, Marian encouraged me to apply and I was blessed to be chosen by Grenoble.  We love the wide variety of people we meet here, and the lively nature of our church. I’d find it hard to go back to a parish in England, I think, as I know people who’ve enjoyed our church do when they leave us.

GL: What do you miss about England?

SC: The only thing that’s hard is being a long way from family, particularly our daughters and elderly parents. But we love life in France and always find ourselves the object of other people’s envy when we’re in UK. We can always bring back odd products like marmite (!) and the internet gives access to English books. British TV, still best, comes on DVDs.

GL: You are rennovating a house in Savoy – how is that going?

SC: We bought a wreck seven years ago, which we’ve been gradually transforming on days off. It’s nearly finished now, and will be ready for our eventual retirement, we trust. Meanwhile it lets us enjoy the cheap skiing in the Maurienne valley, with a more French ambience than you find in the big stations.

Patricia Andreoli-Jones at the Bibliothèque Anglophone de Meylan

Patricia Andreoli-Jones set up and runs the Bibliothèque Anglophone de Meylan. James Dalrymple of Grenoble Life talked to her about the history of the library, the book collection and her international background.

Grenoble Life: You have an interesting international background, please tell us more …

Patricia Andreoli-Jones: I was born in 1956, Bromley, UK. Having been brought up from 1962 in Vevey, Switzerland, I emigrated to Sydney, Australia, in 1981, and then Munich, Germany in 1988, where I met a good-looking French guy (Jean-Marc Andreoli) in 1992 and married him in 1993. We moved to Meylan, near Grenoble, in September 1993 for Jean-Marc’s job, before having two children, Lauren and Julien, in 1993 and 1995.

Having worked in Switzerland, Australia and Germany as a trilingual secretary, upon arrival in Meylan I passed the TEFL and  taught English to adults in our local association and in language schools, and to children in primary schools, before founding the Bibliothèque Anglophone de Meylan (BAM), a non-profit association.

GL: When and why was the library created?

PA: I opened the library in October 2006 with 500 books. Our American neighbour and friend of 10 years moved back to the US, leaving a couple of hundred books, and I had quite a few myself. I’d been looking for a place to start a library for over a year without success, when I met the late director of the ARIES computer graphics schools, who immediately said yes with great enthusiasm. He saw it as a great opportunity for his students to have easy access to the English language, so it would serve two purposes, the students and the general public.

GL: How many books are there and how were they acquired?

PA: There are over 2000 books, many donated, some bought at local bookshops but also at the Geneva English Library twice-yearly book-sale, and at Hay-on-Wye in England, a very small town famous for its 30 second-hand bookshops.

GL: What type of books can we find in the collection?

PA: Novels, romance, thrillers, crime, science-fiction, non-fiction, for children, teenagers and adults. All are catalogued on the website.

GL: How do you update the collection?

PA: When a popular author publishes a new book I try to buy it. Or on request. My favorite subscribers are those who have the same tastes as I and will ask for exactly the book I was going to get anyway! [laughs]

BAM books!

GL: Who comes to the library?

PA: French and English-speaking people, families and employees from Inovallée’s 200 companies. Some work in the same company but meet for the first time at the library.

GL: Does the library host activities and how can people get information about them?

PA: The library is too small to host activities, but anything new such as a didgeridoo party [playing and listening to the didgeridoo is one of Patricia's hobbies], or an Open Door day is advertised on our website. The catalogue is also online, as well as a photo and press gallery, a page with recipes specialising in English and Welsh cakes, and sweets which can be eaten at the Open Door days during the year. Anyone with good recipes is encouraged to email me, I’ll add them to the site.

GL: What advice would you give to book-loving expats new to the city?

PA: Although a book, tea and a chat at the BAM in Meylan is a must on a regular basis, I would also send them to The Bookworm Café at the Rue St Laurent in Grenoble where they can buy second-hand books. And the English library of Babel, in the convent of the Minimes is an experience not to be missed. The catalogue is not computerised but the library’s manager Clare Smears knows exactly what’s where.

GL: Can you recommend a good new book from the collection?

PA: I’ve just bought David Lodge’s ‘Deaf Sentence’ which to my mind is his best up to now, and many other new books are on order, such as ‘The Guernsey Literary and Potato Peel Pie Society’ by Mary Ann Shaffer and Annie Barrows, or Liz Whittaker’s ‘The Dreamstealer’s Trilogy’ – a Welsh tale for children (Liz happens to be my first cousin!).

GL: What’s next for the library?

PA: We are re-opening on 31st August, We will be at Forum des Associations in Meylan (Saturday 12 September, gymnase des Buclos), Stall 53, from 10 am to 5 pm. There will also be an Open Door day with ARIES on 26 September, from 10 am to 5 pm.

GL: What are the opening hours and membership terms for the library?

PA: Monday: 10.30 – 12.30, Wednesday: 10.00 – 11.00, Thursday: 11.45 -14.00. Membership is 10 euros per family per year.

Pumpkins

Bob and Sylvie Tharinger own and operate Pumpkins (33 rue d’Alembert), Grenoble’s only authentically American restaurant. Christina Rebuffet-Broadus of Grenoble Life talks with them about showing the French that American cooking is much more than McDo has led them to believe.

Grenoble Life: Could you tell us a little about yourselves? It seems every Franco-Anglo-American couple has a story. What’s yours?

Bob: I had traveled around the world, had already been to Grenoble once, and came back here to work. This is where I met Sylvie, then we lived a while in the United States, where our son was born. But finally, we settled down in Grenoble in 1978. We came back because Sylvie wanted to return to Grenoble.

Sylvie: I’m not originally from here, but have family in Grenoble. For me, it was more that I didn’t want to live in southern France than I wanted to come back to Grenoble. I would have liked to live in one of the Scandinavian countries, with their Nordic landscapes. Grenoble was sort of a compromise for us.

GL: How long has Pumpkins existed?

Bob: We opened in September 2004. We bought the place in June of the same year, but of course had to do some work beforehand. It’s been almost five years, unbelievable!

Bob and Sylvie

GL: We all know the French people’s reticence towards American food. How did you get the idea to open an American restaurant?

Bob: We’ve always done a lot of cooking, often for our friends, often a lot of American dishes. We both like to cook and eat, and realized that people didn’t really know the variety of things you can eat in the United States. Unfortunately, the French tend to have a very fast-food idea of American cuisine. They would never believe the food you can get in the United States.

Where I’m from in Minnesota, we noticed restaurants do a lot of different things, there are all kinds of influences. So we figured we could probably do anything we wanted and call it American cooking, but we didn’t really want to call it “American” for fear that people would run in the other direction. So we just called it Pumpkins.

Sylvie: We got tired of people saying “American cooking … beurk!” We wanted to show people that real American cooking exists. Plus we didn’t want to put “American” in the name because it could sound a bit snobbish or exclusive, like not everyone was welcome. But we also didn’t want to use “American” because of a certain image that the French had of Americans, especially at the time of the opening because of the political situation. We just wanted everyone to feel comfortable, not like Pumpkins was just a place for Anglophones.

Bob behind the bar

GL: How did you come up with the name “Pumpkins”?

Bob: Sylvie just had the idea the one day! And I thought it was great because it’s very visual and something people remember easily.

Sylvie: I thought it sounded convivial. It made me think of the pumpkin patches in the American east coast at the end of summer when we used to visit. Plus Pumpkins sounded good and was easy to pronounce for us French.

GL: Now, for the good stuff. Tell us a little about your menu. What kinds of American food can your guests find at Pumpkins?

Bob: We really try to offer a sampling of the United States’ regional cooking. We have family all over the northern U.S., plus both of us like southern food — barbecue, seafood, and especially African-American cuisine, which in itself is extremely varied. There’s also a Jewish delicatessen influence, something relatively unknown in France. And if you go to the northwest region of the United States, there’s a great mix of Chinese, Japanese, and Native American cuisines based on the abundance of good, local products. More or less, we try to do a little of all this.

One of the hardest things is to do meat like in the United States. Lucky for us, we found a French butcher who lived and worked in San Francisco, but now he’s right on rue Nicolas Chorier. It’s great because he knows American cuts of meat. He knows what an American pork chop is and can cut a sirloin steak if we want. He even helps us to do real corned beef, which is practically impossible to find around here.

Sylvie: Every two weeks, we change one dish on the dinner menu. There are some things that we always have. We’ll always have the burger. At lunch, we always have chili on the menu, but we change the presentation — one week the chili will be in a tortilla, another it’ll be with guacamole. Once we had a couple come in and they both ordered the same dish, so I gave each one different sides. That way they could taste everything!

Downstairs dining room

GL: Pumpkins also does brunches. When are they held and where did that idea come from?

Bob: We’ve been doing the brunches for two or three years now. Our brunches are typically midwest-American. We wanted to host a brunch much like the Sunday brunch that I knew when I was a kid — eggs, bacon, sausage, plus some extras. We would like to do a real family-style brunch, with a self-serve buffet, but here we don’t really have enough room.

With all the families that come in, it would be hard for people to serve themselves with the strollers and the children and I don’t want to lose that family atmosphere by doing a buffet. It’s fantastic to see the people at the brunches — they’re relaxed, happy, even if they have to wait sometimes for their food,  they don’t care. They come in and have a good time.

It’s so successful that we have to turn down almost as many people as we accept for the brunches. We do just one service per brunch, that way the people can come and stay as long as they like. We want them to feel at home.

Sylvie: From a culinary point of view, I think we do the only real brunch in Grenoble. Our brunch is “made in Minnesota” — it’s not French, it’s not Spanish, it’s not Dutch. When we were younger, all the kids in Bob’s extended family knew they could go to his dad’s house on Sunday morning and be greeted with the smell of bacon grilling, eggs scrambling and the whole family got together. That’s the brunch we try to recreate, that family-get-together atmosphere.

Bob: In the 1960s and 1970s, my father would host these fantastic brunches and people would just stop by. Family members, friends passing through the area, and the ambiance was simply extraordinary. That’s part of the reason why we created this restaurant and really wanted to host the brunch.

GL: That’s a heartwarming story, wanting to recreate the family ambiance that you knew growing up at your dad’s. Speaking of family get togethers, does Pumpkins do anything special for American holidays?

Bob: We would like to do something for the 4^th of July, but since we’re in the city, it’s unfortunately impossible to do a backyard barbecue. Thanksgiving, however, is enormous. Last year, we had 60 kilos of turkey and I think in all we served around 150 Thanksgiving dinners, but I’m not sure. It got to the point where we stopped counting.

We also did a Christmas brunch, again with a lot of midwestern, German-American influences. We had German-American style pastries among other things because in the past, many German and Scandinavian immigrants settled in that region.

The idea behind all our dishes is family cooking. For all our meals we create a plate like if you were eating in an American family situation—all the food’s on the table and you help yourself to everything. Except we put the plate together in the kitchen, recreating that American plate, with the meat, sides, sauces and relishes all in the same plate.

GL: To finish, I’m going to ask you the impossible. How would you describe American cooking in a few words?

Bob: (with Sylvie, laughs) I remember our first cook, who was a very competent cook mind you, told us, “OK, I get it: just add sugar and hot sauce and it’s American cooking.”

There’s not just one American cuisine, there are lots of American cuisines, just like in France — the food varies enormously between the regions.  The cuisine of the southwest has touches of Mexican influence and is completely different from the cooking of the northeast where you’ll find chowders and baked beans. That cuisine has nothing to do with the cooking of New Orleans, which also has a totally different taste from the growing Cuban-American cuisine. There are lots, lots of different American cuisines.

But we’ll always have a hamburger on the menu for the French who don’t want to be disappointed and the Americans who want a real home-style burger.

Although the menu changes often, at the time of this interview, Pumpkins was serving Cajun catfish, a blue cheese burger, tortilla wrapped chili, and Los Angeles Fire Department-style chicken wings. Dinner dishes cost around 10-15 euros, desserts such as cheesecake, pecan pie, and sundaes cost 5-6 euros.

Pumpkins (33, Rue D’alembert, 38000 Grenoble) is open for lunch on Thursday and Friday; for dinner Wednesday through Saturday. Brunches are every other Sunday. Call ahead to reserve: 04 76 29 48 21

You can also sign up for the Pumpkins newsletter with the season’s brunch dates emailed in advance. Email pumpkins.restaurant@wanadoo.fr

Chic Throws Collection 2009

Kris Leroy is the American founder of Grenoble-based soft furnishings design company Chic Throws. Grenoble Life wanted to know more about her business, her background and being an Anglophone entrepreneur in France.

Grenoble Life: What sort of products does Chic Throws make?

KL: We generally create and market what the shop name says: ‘chic throws’ – designer soft furnishings like throw blankets and throw pillows for modern interior design. It is quite funny as guys haven’t a clue what a throw is but they often become our best customers! Throws are blankets that you literally throw on the end of a bed or use to dress up a sofa or daybed. They are chic in design but are functional-chic as well so that you grab them in front of the TV to keep warm in winter or by the poolside in the cool summer evenings. Many of our customers use them to dress-up tired old furniture or add the final touch to modern contemporary furniture.

GL: Tell us about some of your different brands

KL: We have an exclusive - unique piece line that we sell directly to the public on our website, bi-annually (Winter & Spring Collections).  We either sell a matching set (throw and pillow) or separately. Each collection has many different patterns, colors and textures to choose from.  We also have limited edition collections for interior decorators and e-tailers on line which we produce in a local atélier in Grenoble. All our products are designed and made in France.

All the throws are terribly chic but are backed in very soft materials to encourage cuddling and use! (Italian soft wool, satin, velvet, faux-fur….)

GL: Is there a Chic Throws ‘look’? And is there an Anglo-Saxon influence and how does this compare to classic/modern French furnishings?

KL: The chic look comes from the fabrics which speak for themselves.  It is funny that you ask this question between French and Anglo-Saxon tastes as we have just figured it all out … The British and Americans love our unique piece collection available in the boutique which highlights the quality of each fabric and the combination with stripes, motifs, and texture. However the French are more design-oriented and are falling for the new Winter 2009 collection with our brilliantly-colored faux-fur collection (see below).

Chic Throws Winter 2009 collection

KL: We use only high-end designer, upholstery fabric from Paris, Lyon, London, Milan, Barcelona and New York. The combination of the textures is orginial as well: silks, taffetas, velvets, faux-fur, brocade, chintz linen, etc. There is no polyester chez nous!

GL: Tell Grenoble Life about the design and production process. Where are Chic Throws manufactured?

KL: We are so excited as we have just confirmed local production in an atélier that makes high-end furniture for a top design company, right here in Grenoble (Le Versoud). They have lag time available for us due to the economy and the fact that they are local helps us control quality and timely deliveries to our e-tailer customers. The unique pieces are all made by local seamstresses that work for us bi-annually. Their normal jobs are spent making custom wedding dresses so you can see where our attention to detail comes from.

We are able to stay small and exclusive by outsourcing all production and logistics. By purchasing small cuts of fabric from top designers we are able to remain cost competitive whilst producing in France. We maintain a low stock for the unique pieces and produce on-demand for e-tailers.

GL: Where do you sell your products?

KL: The unique piece, bi-annual collections are available on Etsy via the Chic Throws website. We share the same hand-made values as Etsy and want to help them grow this market. All other production for interior decorators and e-tailers are created and distributed directly to our partners.

GL: Where do you come from originally and how did you end up in Grenoble?

KL: I am an American love-hostage* in the Trièves area south of Grenoble.

*my husband is French

We had studied together in France and decided to come back after living in San Francisco to continue our careers and start a family.

GL: How did Chic Throws begin?

KL: I was finishing my MBA at the business school in Grenoble and needed a final project. Instead of plunging back into the high-tech world, I wanted to do something more creative. I had taken a few sewing classes for fun and thought of the idea of throws and pillows when I couldn’t find what I wanted to buy in home decor shops.

I started making them for wedding gifts and the orders started coming in so I pursued the project through a formal business plan and we were off!

GL: Do you think Grenoble is good environment for entrepreneurs such as yourself?

KL: Let’s just say we are making it that way! Some people may have given up by now but you really need to push forth, network and don’t listen to negative criticism. The aid to entrepreneurs is such that you really have nothing to lose by trying and many of the procedures are being centralized now and made more user-friendly.

GL: Where should potential entrepreneurs in Grenoble go first?

KL: My business depends on the Chambre des Métiers as we actually produce our products and market them. If you are simply a re-seller, you would need to go to the Chambre de Commerce. The procedures are quite complicated at first but it is best to seek a mentor in your business area and not hesitate to ask for help. My personal network has been fantastic for moral support & customers (Working Womens Network of Grenoble to name one). My mantra is: ‘Patience, Persistence and Low Overhead’ (borrowed from Seth Godin).

GL: You have emphasised in your labelling that Chic Throws are ‘Made in France’ – why is this so important to you?

KL: As we are targeting a high-end customer market (at mid-range prices) the ‘Made in France’ label truly denotes luxury and quality. We imagine our customers curled up under our throws in front of their wide screen TVs while sipping French champagne (even though I don’t have a TV personally … but love to drink champagne with a good book!).

GL: Can we also visit you at your workshop?

KL: Remember what I said about ‘low overhead’ … I do have an atelier / showroom in Grenoble which is very modest compared to our products. We are busy creating on Monday, Tuesday, Thursday & Friday from 9am to 4pm. We love to have visitors and suggest you call first to ensure we are there: 39 cours de la libération (1st floor behind the traîteur). Showroom tel: 04 57 39 38 81 or mobile: 06 31 24 17 78

GL: Do you have to travel a lot to meet buyers in France and abroad?

KL: That is the part I love! I go to Paris quite frequently for buying trips and to visit the Maison & Objet fairs bi-annually. I now do a lot of sourcing via the internet from London, Lyon, Brussels, New York and other fashion capitals now that I know my suppliers well.

GL: How important has the internet been in promoting/selling your products?

KL: Very important for my e-tailer customers as they have to sell our products from a thumbnail photo which is the greatest challenge … This B2B market is just beginning for us and now we will test it for the Winter 2009 collection. As for our personal internet sales via Etsy it is slow going as we’ve chosen to not invest highly in the B2C market (i.e. I’m not about to buy an e-commerce platform and be available 24/7). We are also high-end for Etsy which is difficult in a challenging economy.

GL: What’s next for Chic Throws?

KL: We are continuing our relationship building in the B2B market to launch limited edition collections for winter. This will allow us to focus on the fun of creating unique pieces for discerning customers as well as interior decorators. I dream of hiring a colleague to help us grow the business but the next six months will indicate if this dream is achievable!

Bookworm Café

Denis Rivière of Grenoble owns and operates the Bookworm Café (91 rue Saint Laurent), Grenoble’s newest English-friendly establishment. Christina Rebuffet-Broadus of Grenoble Life talks with him and his English wife Dawn about setting up a used book shop and tea room in one of Grenoble’s historic neighborhoods.

Grenoble Life: Could you tell us a little about the people behind the Bookworm Café?

Denis Rivière: I’ve always lived in Grenoble and I’ve been working since I was 18, in several different jobs. After having obtained a BTS in sales, I worked especially as a sales administration manager.

Thanks to this professional experience, I knew what it was to run a company. However, the times being what they are, I was laid off, like so many people today. I wanted to take it as an opportunity to work for myself. And people gave me lots of suggestions as to what kind of business to set up, but it was my wife who had the right one. So I’ll let her tell you about it.

GL: Yes, please tell us, how was the idea of Bookworm Café born?

Dawn Rivière: Originally from Shrewsberry, England, I’ve been in Grenoble since 1991 and the idea of a tea room/book shop had been running around in my head for quite some time. Before, in the quartier des antiquaires, there was a bookshop called Just Books. It was magnificent, an intimate little boutique, with tons of books—used books, new books and I always thought it would be great if there was a tea room right there in the book shop. Quite a lot of us felt the same way. We said why not, in Grenoble, have a used book shop that was also a tea room?

So, Denis and I discussed it for a long time, we thought about its potential and viability, and finally we said, “why not?” It’s something that didn’t exist in Grenoble and that market needed to be filled.  English book shop tea rooms exist in Paris, but Grenoble had yet to have one. I remember when I was in a student in Coventry, we had such a tea room, where my friends and I would eat and buy our books for school. The whole atmosphere was really fantastic.

GL: Where did you get the name, The Bookworm Café?

Dawn: We had several ideas. We considered The Literary Café, but thought it sounded a bit pompous. We were afraid that the name would frighten people who didn’t consider themselves to be very literary or intellectual. Of course The Bookworm Café was in consideration. So we made a list of four or five names and passed around to friends of ours, and The Bookworm Café won.

GL: True, The Bookworm Café sounds warm, cozy, like wrapping up with a good read. And what was it like to start your own business in Grenoble?

Denis: Everything went really well. As all new businesses, I had to register The Bookworm Café with the Chamber of Commerce and they gave me lots of advice on building a business. Thanks to my professional experience, I found the administrative aspects quite manageable. I met lots of people who were very willing to help with the project. Of course, I had a solid project and an accountant who helped with the financial aspects, but the people at the Chamber of Commerce were very pleasant to work with, very helpful.

When you’ve got an idea and you’re sure of it, you have to go for it. And the Chamber of Commerce is not naïve. They know that half of all new businesses fail within their first year, but if you have a viable project, they’re very willing to help. You just can’t be afraid of paperwork and bureaucracy, but once the ball was rolling, everything happened quite quickly.

The Bookworm Café terrace

GL: Grenoble boasts France’s second-largest Anglophone population. Does The Bookworm Café have a mission regarding this population?

Denis: No, not necessarily. It’s true that the Anglophone community likes to get together, in the pubs for example. It’s true that we serve English tea and pastries, but we’re open to everybody, English and French speakers who enjoy the coziness of a typical English atmosphere.

Dawn: We want the Bookworm Café to be a meeting place, like Denis said, for English and French speakers. You don’t have to speak English to enjoy a good cup of tea! Perhaps if we do have a mission for the English community, it’s to provide a good cup of real English tea, which is not so easy to find here in Grenoble!

GL: Tell us a little about the literary side of the Bookworm café. How do the book sales work?

Denis: It’s very simple! We sell used books. Paperbacks start at 50 cents and for the other books, the price depends on the age and the condition of the book. We’re considering putting into place a fidelity card system — each time someone donates a book, we’ll put a stamp on their card and once they’ve earned a certain number of stamps, they get a free cup of tea or something like that. But that project hasn’t been finalized yet. We want to know what our clients would like and then adapt to them.

GL: You also mentioned a book club. That sounds like an exciting idea.

Denis: Starting around mid-September, the Bookworm Café will host a free book club. There will be two groups, surely on Tuesday and Thursday, both starting at 5:30 p.m. We’ll have two groups — one for native speakers and French people who have spent some time abroad or who speak very good English; the other will be for people who enjoy reading in English, but who have more difficulties speaking. And of course both will be free and open to the public.

Dawn: As a teacher at the Université Inter-Ages, I realized that my students liked to get together and speak English together. This would give them, and others who are interested, the chance to practice English. We’ll also have an English server who will take orders and chat in English, just like what the participants would experience if they were in a café in England.

GL: Do you have any other programs that you are considering organizing?

Denis: We’re thinking about doing a class for younger children based on games, songs, things like that. Wednesday morning will surely be for younger children, with classes for older children and teenagers Wednesday afternoon. Since these would be classes, there would be a fee.

We’ll also have a Children’s Hour, with storytelling and and such. This would be a free program to help children have fun and just enjoy listening to English.

These programs will be put into place starting around the rentrée, so if anyone is interested, they should contact us for more information.

GL: The Bookworm Café is in the Saint Laurent neighborhood, which is one of Grenoble’s historical districts. What are your impressions of your neighborhood?

Denis: I’ve known this area for a long time, and back in the day, it was very lively, with butcher shops, green grocers, but since, these things have closed. But the neighborhood is being revived and there is a project underway to renovate the area and create a second city center.

Dawn: It’s a beautiful neighborhood, very charming, very historic – really worth discovering. For us, it’s a bit of a risk to have chosen this neighborhood, as it’s out of the way. There are fewer passersby than in the city center, but we think the people will come here because they like the atmosphere, the books, and the tea. In the city center, no other places that we looked at had the charm of this neighborhood, and we think that will attract people.

GL: Now that we can’t wait to have a comforting cup of tea and get cozy with a good book, where and when exactly can we find you?

Denis: We’re at 91 rue Saint Laurent in Grenoble. The Bookworm Café is open Tuesday through Saturday 9 a.m. to 7 p.m. For more information, please contact us at 04.76.25.29.98 or by email at bookwormcafe@gmail.com

The Bookworm Café is currently closed but will reopen on Thursday. July 30.

Maria Montessori

Martine Grzelack runs The Montessori International School of Grenoble, opening September 2009. Grenoble Life wanted to know more about the new centre, the background of the staff and the famous Montessori method.

Grenoble Life: When does the Montessori International School of Grenoble open and what is your role?

Martine Grzelack: In September 2009, we’ll be lucky to find a bilingual Montessori School in the suburbs of Grenoble. It will be situated in Meylan. This school will enable children to study and work while developing their personality. My mission will be to look after the children and to run this school so that everything works out well to the benefit of everyone.

GL: What is the Montessori method?

MG: The Montessori International School of Grenoble is a private school, ruled by a not-for-profit association (association loi 1901).

The school curriculum follows the French national education programmes for early childhood and primary schools.

Committed to the highest education standards, the school proposes a bilingual curriculum in French and in English.

The MIG team will provide an individual learning experience for each child, which promotes physical, social, emotional and intellectual development to help them achieve their maximum potential.

Following the Montessori requirements, the children are dispatched into two age groups: 3 to 6 years old (early childhood) and 6 to 12 years old (elementary).

GL: What is your experience with using this method?

MG: I have been working for six years according to the Montessori pedagogy. First, I attended a teaching practice course at the Centre de recherche d’études de formation et de liaison des activités Montessori (CRELAM) in Rennes – a French institute which doesn’t grant an Association Montessori Internationale diploma. Then, I went to Switzerland to obtain an AMI diploma for children from 6 to 12. This method enables the children to open out in their development while being in the pleasure of learning and discovering. Children gain an autonomy and maturity which enables them to make choices.

GL: Why did you originally train to teach the Montessori method?

MG: I discovered this pedagogy while thinking about the educational system in France. Coming from a very different horizon – I graduated as a geologist – I wanted to work with children after having worked with engineers-to-be (I was in charge of professional training in my firm).

After preparing the examinations to be a school teacher, I realized that the “group pedagogy” wasn’t satisfying for me. I looked for something different. Some friends had their son in a Montessori school and that’s how this wonderful adventure started.

GL: What age groups do you teach at the Montessori International School of Grenoble?

MG: The International Montessori School is open to children from 3 to 12 years old. They are dispatched in groups of three or six years according to Maria Montessori’s method. It is important not to keep a child exclusively in his or her age group.

GL: How does the methodology differ from that used in the French state schools for these age groups?

What is different from the French school is mainly the learning approach through the senses, with the help of the adequate and attractive equipment created by Maria Montessori herself. Moreover, the work in classes with mixed ages enables each child to learn with pleasure because there are no barriers between the different learning activities.

Montessori International School of Grenoble

GL: Do you have classes in French and English? Will these classes be taught separately?

MG: In each class, there is a French teacher and an English speaking assistant who participates throughout the school day. The teachers offer help to the children that ask for it in their mother tongue, in order to encourage interest in languages. There will also be Spanish classes organized.

GL: Why has it been decided to open a school here in Grenoble?

MG: I wanted to work in a school where the pedagogy is adapted to each child and gives them what they need academically for their future studies. I want to be able to share with these families a teaching method which deeply respects the child as an individual and as a learner.

GL: What is the profile of the parents who have registered their children to come to the school?

MG: The parents who send their children to a Montessori school come from different backgrounds: managerial staff in large firms, teachers at “public” schools, professional workers, employees, people working in tertiary industries … they have varied profiles but they have the same aim: their children’s well-being.

GL: Tell us about the teaching team.

MG: The teaching team is composed of two educators with an international Montessori diploma and an English or French speaking assistant according to the class. It is a dynamic team, very motivated to help the children improve, respectful of the Montessori pedagogy.

GL: Will you have recruitment opportunities in the future? What are the advantages of working at Montessori International School of Grenoble?

MG: Yes, we hope that we’ll have to recruit next year, or in two years to open new class. Why not offer children the opportunity to learn another language like German for example … but we don’t want the school to lose its soul by recruiting too many pupils or staff. We thank you for these questions.

GL: You’re welcome, thank you!

The Montessori International School of Grenoble
Boulevard des Alpes, 38240 Meylan
+33 6 72 66 76 32
ecole@montessori-grenoble.com