Sunday school

Vickie Allen shares her experiences of a rentrée of a different kind at St Marc’s English Speaking Church, Grenoble.

Last week children donned their cartables as the mass rentrée began. Schools and universities across France once again filled with students of all ages, embarking on the new academic year. Some approached the gates with a little anticipation, I’m sure, but all the students crossed the threshold with the knowledge that ahead of them lay new skills, new insights, new friends and a new, increased understanding of how the world works. But it wasn’t just full-time students who were digging out their cahiers and stylos.

Sunday morning marked a return to the classroom of the Adult Sunday School at St Marc’s English Speaking Church, Grenoble. I joined the class last spring, keen to gain a more in-depth understanding of the Bible, a more intellectual understanding of my faith. A small class of just four, we found the discussions of the Gospels inspiring and informative.

Lead by the pastor, Stephen Coffin, classes centred on a reading from the Gospels, putting them in their the socio-historical context as well as exploring the descriptions of Jesus and his life from our basis of faith. As last term came to an end, we prayed for a larger class that could enjoy the teaching as much as we did, and would enable some more lively and varied discussions. Our prayers were answered and on Sunday morning we were a group of nine.

The first day of school is often spent easing students back into study and it was no different for us at the Adult Sunday School. The new term’s theme is the letters of the New Testament, many (but not all, as we learned) written by Paul. We looked at the social history of the time, the way letters were written, how they were carried and the language used. I was fascinated to learn that Paul wrote his letters in an everyday, colloquial Greek rather than the formal Greek more often used by those educated enough to be able to write. This simple language was more effective in reaching the audience and reminded me of the first published translation of the Bible from Latin by Martin Luther in the 16th century. We also discussed Paul’s travels in and around the Mediterranean, looking at maps of the familiar landmasses, marked with the ancient cities of Thessalonica, Antioch and Corinth.

As the lesson came to a close we were given our homework; to read Thessalonians I and II. With the historical and social context fresh in our minds, these letters will spring to life for us as we start to delve into Paul’s message to Christians throughout time. We’re still a small group and would love you to join us and gain a greater understanding of the Bible.

The Adult Sunday School at St Marc’s English Speaking Church meets at 9.30am every Sunday morning and is conducted in English. Services (which follow the Anglican format) start at 10.45am during which there is also Sunday School for children aged 2-11 and a youth group. The congregation typically swells at this time of year as families return from their summer holidays and students arrive. For more information, visit St Marc’s.

Destination Oisans: Photos, films and thoughts on the reality of life in the mountains.

September. Photo by rosemary

April Buchanan explains the concept of la rentrée for the uninitiated, and tells us all about France Etats-Unis Grenoble‘s activities coming up from September.

Bonjour Grenoble! It’s April here, back again with more news about what’s happening at France Etats-Unis Grenoble, your local chapter of the national franco-american association in France! And now that’s it’s officially the “rentrée,” it’s time to start marking your calendars, because we’ve got lots of great stuff coming up very soon — parties, music, brunch, apéros, and more! I’ll give you all the details in a minute, but first, I thought you might like to know … what exactly IS this “rentrée” everyone keeps mentioning?

Well, whether you’ve been in Grenoble for years, or are just getting your bearings, you have surely noticed people saying, “C’est la rentrée!” This phrase, loosely translated to “It’s the return,” is getting its fair share of use right now, and especially in the first two weeks of September — it’s almost as popular as “Bonne Année” during the month of January! That’s because, more so than just any old back-to-school time, here in France it means new beginnings in many things in our lives, and a fresh look or change to the old daily routine. Okay, you say … but why is it such a big deal?

I remember when I was a kid, I asked my parents if they got the summer off work like I got the summer off of school. They of course looked at me like I was crazy, and painfully informed me that no, adults must work all summer long! I remember feeling a little sad for them, and dreaded the day when I too would have no more summer vacation. So, needless to say, I am very grateful to be living and working in France, where most people take all or part of their 5-7 weeks of vacation during the months of July and August!

This means that some regions of France literally shut down, pack their bags, and go! If you were in Grenoble during the month of August, you may have felt like you were in a ghost town! That’s because a large part of the population left town for other, more touristy regions (like the Southern and Western coasts, as well as Paris) which host the masses of holiday-goers every year and enjoy the profits they bring in. And when it’s all over, everyone heads back home well-rested and gets ready for La Rentrée! And this entails much more than just back-to-school time for children and university students — it also means that everyone gets back to work after a much appreciated long break. It’s a time to get back together with co-workers and friends and compare holiday photos, tan lines, and catch up on each other’s news. It’s a time to re-evaluate personal and professional goals, or breathe fresh life into an ongoing project. It’s amazing how a little vacation time can really energize and motivate a person, which means they do a better job at work! But the implications of La Rentrée don’t stop there…

La Rentrée also means that the government gets back to business, and politicians start making appearances on talk shows, putting the wheels in motion for new campaigns or policies they are pushing. It’s also the time when new television programming starts, with new seasons of series: new movies also come out at the cinema. September is also the start of the much-anticipated literary season, or La Rentrée Littéraire, with thousands of new book titles released during the Autumn months, and book fairs popping up all over the place, in anticipation of the literary awards to be announced at the end of the season. Clothing shops put the new collections in the shop windows, and all the restaurants, bars, cafés and other shops that were closed for August (while the owners took their holiday, to the great annoyance of those who did not!) finally reopen their doors, often with a new item on the menu or a fresh coat of paint.

And while everyone is making a fresh start and buzzing with motivation, La Rentrée is also the prime time to start a new hobby, sign up for a sport, or (DRUMROLL PLEASE……) join a club or association!

Here in Grenoble, there are all kinds of activities for people with all kinds of interests, everything from African dancing to Manga drawing. And for us anglophones, there are more than a couple of English-speaking groups that meet up regularly and organize a variety of fun events all year long, including ours — France Etats-Unis! Clubs and associations like ours are a great way to meet lots of interesting people and discover a wide variety of fun things to do around Grenoble. What kinds of things? Well I’m glad you asked!

To start off, the first Wednesday of every month (except August, of course!), France Etats-Unis has a little get-together we call the ‘Hotspot.’ This is a casual come-as-you-are social event, to have a drink if you wish, and have a laugh with new and old friends. This is a great after-work, pre-dinner break that takes the edge off of mid-week stress. But in addition to the monthly Hotspot, we organize all kinds of events, all year long!

Here’s what we’ve got coming up this Fall:

• Our next Hotspot, kicking off the “rentrée” of course, will be: Wednesday, September 7th, 6:30 p.m. at the Maison de l’Internationale. It is located in the Jardin de Ville, just in front of the grassy lawn of the old L’Hôtel de Lesdiguières.
• The first of many France Etats-Unis events this year is a Jazz Brunch on September 25th in Montbonnot. Come have a traditional Sunday morning brunch while grooving on some excellent music from local favorites, The Harlem Rhythm Band!
• Then of course in October we’re looking forward to everyone’s favorite party excuse: Halloween! October 29th at La Ferme Heurard in Seyssins. It just wouldn’t be right to miss out on the crazy costumes and goofy shenanigans that a Halloween party is known for, something that is starting to become more mainstream in France.
• In November, a traditional Autumnal Thanksgiving dinner will make you feel right at home in Grenoble, whether you’re American or not!

These fun happenings are just the beginning of a great year of fantastic things to do, including nature outings and cultural events for a start. And of course, since our goal is to promote friendship and understanding between cultures, you don’t have to be strictly American or French to enjoy these events or to become a member of France Etats-Unis! Everyone is welcome!

To sign up for our email newsletter and receive reminders of upcoming events, just click the link on our website (under construction): www.france-etatsunis-grenoble.com. You can also find us on Facebook as ‘France Etats-Unis Grenoble,’ and stay up to date with all the details for upcoming events, Hotspots, and even share photos of an event that you’ve participated in! For more details or any other questions, please email me at: communications@france-etatsunis-grenoble.com.

So now you’re all set for La Rentrée in Grenoble: back to school, back to work, and back to a busy social life and event calendar! Bon courage à tous et “Bonne Rentrée!”

Photo: Vickie Allen

Vickie Allen tries rock climbing the ‘iron way’ (aka via ferrata) at Alpe d’Huez. She took her camera too. Don’t look down!

I rarely hear my own heart beating in my ears. But I hear it now; loudly. My legs tremble, my hands burn. I try not to look down to the river running 100m below me but I can hear it gushing over rocks between heartbeats. A bird flies past my head and above me the clouds are gathering. I ask myself – not for the first time – why I’m doing this.

And then my breath kicks-in. And I realise that via ferrata isn’t just great for the body, it’s a mental sport too, requiring focus, strength and a kind, supportive, inner voice. A great lesson for life as well as for the rock face …

Via ferrata – for those who aren’t familiar with the term – can be directly translated from Italian to mean ‘iron way’. For those who are familiar, the term conjures up images of iron rungs bolted into the mountainside and a cord of metal that criss-crosses the cliff face. This is your iron way, your route up the mountain.

Photo: Vickie Allen

There are lots of via ferrata in the Oisans region and for our first attempt for the year we thought we’d keep it simple, opting for the découverte route in Alpe d’Huez, from the base of the Sarenne gorge. découverte simply means discovery, and differs from sportif in that the routes tend to be more like a scramble up the rocks via narrow paths, rather than comprising of long sections of rungs (which is what you’ll find on the sportif routes). At the bottom of the Sarenne gorge you have the option of either type of route and they cross mid-way, allowing you to try both disciplines in one hit.

Did I mention that the routes take you hundreds of metres off the ground? This means safety equipment is essential. You’ll need a climbing harness, a specialised via ferrata attachment (which comprises of two spring-lock carabiners on a short length of rope and a third which acts as a braking device), a helmet, comfortable clothing and trainers or other suitable outdoor shoes. You’ll also need a lot of guts, especially if you’re afraid of heights.

Photo: Vickie Allen

Via ferrata is a great way to combat fear and conquer your adrenaline. I’ve done a few via ferrata now, and a bit of climbing, but the first of the season is always terrifying. It took me a good hour regain confidence, not just in the safety equipment but also in my body. Trusting my hands not to simply let go of the rung at an inopportune moment took a lot of energy. And this is why my hands are burning now … I literally gripped and hauled my way up the rock face. Not great technique but for the first ascent of the season I’m just glad I made it. And this is why I persevere with the sport: it’s literally the most rewarding thing I’ve ever done.

When you’re on the face you’re part of a team and the team are there to support you and talk you through, when necessary. But essentially you’re on your own, in your head. And the way to talk to yourself when you’re coaxing yourself up and up and up is maybe the way we should coax ourselves through life. “Come on Vixie, [that's what I call myself in my head!] you can do this. Here’s another crossover. One carabiner to the next section of line. Done. The second. Done. Nice work. Check you’re secure. Now, get your right foot onto that rung and lean for the hand-hold. Secure? Edge the left foot along the rock and squeeze it onto the rung. Good. Secure. You’re doing well. You can do this. Breathe. Remember to breathe”.

Photo: Vickie Allen

The other beauty of the sport is that you can only deal with one section at a time and quite often you can’t see what’s ahead or below, so your only option is to focus on the job in hand. The strange peace that ascends as you move up section by section, staying solidly in the present is another lesson I think we can apply to our own lives. What’s the point in worrying about what’s to come or what’s behind us? Let’s just deal with what’s in front of us right now.

And then, before you know it, all your coaxing and inching up the rock face brings you to the top … that triumphant final haul over the last edge and you’re done. Hopefully with a big smile on your face as you realise what you’ve achieved and how – with all that focussing on the present moment – you’ve left all your other worries at the bottom of the route.

Photo: Vickie Allen

How to reach the Alpe d’Huez via ferrata: the route starts at the bottom of the Sarenne gorge, just upstream of the chairlifts. You can walk into the gorge via the footpath from Huez or down from Alpe d’Huez on the steep path that descends next to the second car park on the way to the Col de Sarenne. You’ll finish just below the same car park and the walk back into Alpe d’Huez takes about 30 minutes. We completed the route in around 90 minutes, but the speed at which you go depends on your fitness, experience and whether you want to stop to take photos to scare your friends and family…

Photo: Vickie Allen

For more  on Alpe d’Huez in the summer and climbing in the Oisans region, go to Destination Oisans: Photos, films and thoughts on the reality of life in the mountains.

The London Pub. Photo: Guillaume Cattiaux

In the second part of her blog Footprints in Grenoble, American student Aleigha Page talks about French mealtime etiquette and her favourite establishments for desserts, coffee and people-watching.

Studying abroad in Grenoble is by far one of the best life choices I have made. I have been able to learn about and live in a new city that prior to the study abroad process, I had never heard of. In my opinion, Grenoble is the perfect size city for study abroad. It is large enough to offer variety, but yet it is small enough so that it is not overwhelming. The centre ville (city center) is where most of the stores, restaurants, cafés, pubs, and nightlife are. I live in the centre ville and therefore I am within walking distance of everything I need: places to shop, cafés, and nightlife.

In French fashion, Grenoble is replete with cafés, offering in and out door sitting. One of my personal goals for studying abroad was to establish a regular café. I shopped around for my café during my early weeks, and I found it. Pain & Cie is my favorite café in Grenoble because it is large and spacious, offering a warm atmosphere. The interior has hardwood floors, stone walls, and an unfinished wooden ceiling. The tables are made of thick wood with metal chairs. The coffee they serve here is organic, and on every table is a glass filled with white and brown sugar cubes. I generally order an espresso but, once a week, I treat myself to a café au lait, which is coffee and steamed milk, and it is served in a bowl here. I throw in a couple of sugar cubes and stir them around the foam. The desserts at Pain & Cie are delicious. I do not know the exact name of my favorite dessert here, but it is a multiple layered chocolate creation. Three of the layers are cake, two are a chocolate mousse, a few thin layers of caramel, and then, the bottom layer is a textured, nutty tasting layer. I have made speculations that it is either a praline mousse, or a hazelnut spread. For chocolate lovers, this cake is a must on your to-do list. Not a big chocolate fan? No worries, because they have cheese cake that is absolutely divine, but I am sure any of their wide selections are equally delicious.

As for nightlife, Grenoble is full of places to find a pint of beer or a glass of wine. One of my favorite pubs is The Subway Bar, which attracts a hip, sporty crowd of French students. The drinks are very inexpensive here – I can get a pint for three euros, and they have a “cocktail of the week” for two euros, which are excellent choices for a student budget. London Pub is another I enjoy because of their atmosphere. It is London-themed, and covered in British memorabilia – Beatles posters, pictures of Big Ben, football tournaments, etc. There is always a huge crowd here, which makes for a fun night. My final favorite place is Tord Bayeaux, literally ‘twisted guts’ or ‘rotgut’. This bar has a wall filled with little barrels of strange wine flavors. My favorite flavor is a green, apple kiwi wine, which tastes like hard candy. They also play fun music here, such as the Lion King song “Hakuna Ma Tata”.

I enjoy promenading around the centre ville, without any particular direction, weaving in and out of stores to see what they have on display. On warm, sunny days, there are always lots of people sitting outside cafés, on benches, or walking around. I think it is very interesting to pick a park bench and people watch. I am continuously fascinated to see what people are wearing, how they wear it, and their interaction with others. One observation I have made is that I see fewer people walking around with a cell phone attached to their ear than I do in the US. Granted, I do see the phones out quite a bit, but not as frequently compared to where I live. There is always a vendor nearby to purchase a gauffre (waffle) or crêpe to munch on while people-watching.

Long before settling on Grenoble for my study abroad destination, I always knew that I wanted to live with a host family, because they can offer aspects of French culture far better than I could pick up living on my own. Dinner time is when I spend the most time with my host parents, and it usually lasts an hour. I have been able to learn French mealtime etiquette, and several traditional dishes. Etiquette is very important to the French – even at the campus cafeteria and an elementary school I visited they use all three eating utensils and eat in three courses. The French typically have wine or water with their dinners, and bread on the side. The hostess serves the wine, and will ask if you would like more. Never ask, and never, ever, touch the wine bottle. For bread, leave it to the side of the plate on the table, and tear off small bits. Do not eat it whole. A salad is served as the first course, or the entrée. Le plat principal (main dish) generally consists of a meat and vegetable, or quiche with my host family. Dessert can range from a cup of pudding to fruit to a homemade dish. I love that the French treat their food so respectfully and make meal time feel special.

My time here in Grenoble is quickly winding down, but the experience has been amazing. I have made friends that I am sure will last a lifetime because there are no other people who will ever 100% understand my stories about studying here other than those with whom I made these memories. Aside from learning French and about France, I have learned quite a bit about myself. Being outside of the bubble that is my life, I have had the time to reflect on what I want out of my life, who matters in my life, and what I want to accomplish. Studying abroad has not only opened my eyes to a new culture, but also to a new aspect of me.

Read part one of Footprints in Grenoble

A detail from the cover of Thora van Male's book, 'Liaisons généreuses'

Grenoble Life talks to Thora van Male, author of Les liaisons généreuses – l’apport de français à la langue anglaise, ahead of a talk she is giving organised by Alliance Grenoble-Oxford on April 7.

Grenoble Life: What is the topic of the talk you have organised with Alliance Grenoble-Oxford?

Thora van Male: I’m going to be talking about my latest book, Liaisons généreuses. It deals with the huge debt that English owes to the French language. We English speakers (I’m from British Columbia, in Canada) are more aware of this than the French are. My impression is that in France, people are so obsessed with the supposed invasion of English into French, that they don’t realize that, a) English would not be much at all without French, and that, b) a lot of the words that are coming from English to French are just returning home, so to speak.

When you see the many many areas where words from French predominate in English, it really makes you think; such subjects as law, religion, cooking, life in society, politics. There are very few areas of life in English whose vocabulary is not affected by – French.

GL: Who should come to the talk?

Thora: Well, I will be speaking in English, which means the talk is aimed at people who are interested in and speak some English. All the AGO people speak French, though, as do I, and the question session after the talk will be bilingual and bicultural, so to speak.

In terms of the content of my talk, it will probably be more of an eye-opener for French people than for the Anglo-Saxophones, as I call us. However, I intend to make the talk interesting and accessible to everyone. And I hope to provide a few chuckles, if not guffaws.

GL: How has the French relationship to the English language changed since you arrived in France?

Thora: Well, you know about the Loi Toubon that was voted in 1994; its objective was to prohibit the use of languages other than French (Read my lips: Eng-lish!) in official French documents, in business, in advertising, etc. This law also established quota rules about how much English-language music could be played on the radio, etc.

Just to put that into perspective, remember that the provincial government of Quebec had voted its Charter of the French language in 1977; this put legislative authority behind the enforcement of French as the language of government and law, as well as that of work, instruction, communication and commerce.

That being said — and people recognize this — English exercises a certain attraction to French speakers in France; dropping an English word here and there is considered to confer a touch of class. Conversely, as you know, the prestige of French exercises a huge influence on English speakers, to this day. Of course, English no longer borrows what I might call “meat and potato” words from French, words that English doesn’t have a name for — this is something I’ll be talking about — but there are still French words coming into English. I found this really noticeable in the latest issue of The Economist’s Intelligent Life. But also in a book of Woody Allen’s witticisms…

GL: As someone who has taught English at the University here in Grenoble and published books for learners of English, what changes have you witnessed in the way the language is taught in the French educational system?

Thora: There has been a continuing move towards getting learners to work with English in a “real world” environment. The conjugation tables and the translations that I grew up with gave way to audio language laboratories, but still with a lot of rote work. The Internet has totally changed that, and the focus is moving more towards experiencing English as it is spoken in environments that are meaningful to each learner. As I see it, that is a general trend.

GL: What needs to be improved?

Thora: Have you got a couple of hours? Judging from my students, I would say that in secondary education they need to hear more authentic English and to be dragged away from translation. They also need real-life experiences with English (Wouldn’t it be nice if English language films were shown on TV with English subtitles …). They also need to shed some inhibitions.

You remember the passage in My Fair Lady when Henry Higgins says “In France, every Frenchman knows his language from A to Z; they never care what they do, actually, as long as they pronounce it properly.” Well there is a grain of truth in this. Students just don’t want to pronounce a word unless they can spell it, and once they have the spelling they tend to “spell-pronounce” — you know, pronounce the L in ‘could’, etc. — in fact, pronounce every word as if it were French. The insecurity involved in jumping in and pronouncing a word that they might not know, or might not know the spelling of, just petrifies them!

But I should get off my hobby-horse: I love my job, and am quite willing, year in, year out, to put my heart and soul into teaching English to my students.

GL: Where do you teach?

Thora: Now, I teach only at the Institute of Political Science on the campus. But like so many expats (though I now have dual nationality) I taught English all over the place in Grenoble before I managed to get a post in the French university system.

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

Thora: I came in 1970, with a scholarship from the French government. And I just never went back to Canada! I had always loved French … I think it was my mother who got me going when I was a child, when she taught me that silly song about “La plume de ma tante”. Had I stayed in Canada, I would no doubt have become a French teacher.

GL: You are a published expert on French dictionary illustrations.

Thora: Yes, I am, but my expertise is limited to those little ABC primer type compositions that represent several objects whose name starts with a certain letter. Though this is common in children’s’ alphabet books, France is the only country I know of that has them in dictionaries for adults as well. So when you look at the alphabet illustrations in a dictionary dated, say, in the 1850s, you have a sort of snapshot of French culture and society at that time. It is fascinating. To my amazement, this is a field that had never been researched until I got involved in it. It has been a lot of fun. Since there was no existing research on the subject, I really had to start at zero, and create the tools to analyse all these pictures. I even coined a word for them, since French didn’t really have one; and that involved a meeting Alain Rey, the author of the Petit Robert, a very interesting experience. I love the “treasure hunt” side of this work: you’ve got all these pictures, and you have to figure out what they represent. Plus, I’m always on the lookout for some dictionary that I haven’t yet come across.

GL: What sparked off this particular passion?

Thora: Well, I often jokingly answer this question by saying the answer is contained in an alphabetical list of things I love: A as in alphabet, B as in brocante, C as in calligraphy, D as in dictionary, E as in aesthetics, F as in France, G as in Grenoble, H as in hedonism … The dictionaries I work on are up to 150 years old, and their alphabetical illustrations really combine these elements. In fact I love the alphabet so much that one of my recent books is subtitled La Vie secrète de l’alphabet.

GL: You have also curated a touring exhibition about dictionary ornaments. Tell us about that and where we can see it.

Thora: Shortly after I published Art Dico, I was invited by the Lyons printing museum to curate an exhibition there. It was a lot of fun choosing among the many old illustrations, having huge blow-ups made of them, and showing the general public how rich this apparently naïve form of illustration can be. Another fun aspect was rounding up dozens of artefacts, finding the actual objects that appear in the illustrations. I presented two groups of 26 items, one for children and one for adults, and the game for the visitors was simply to find the names of all the objects. Many of these artefacts were things that people just don’t see today. What I loved about that part of the exhibition was that it showed how the world reflects the dictionary, as opposed to how the dictionary reflects the world. But I could go on about that for hours, too …

Chance being what it is, once the exhibition was over in Lyons, I met a man whose surname is almost identical to mine and who is both a calligrapher and an alphabet-exhibition manager. What serendipity! Bernard Vanmalle has now taken the ART DICO exhibition under his wing. It has circulated widely in France (mostly in public libraries and médiathèques). Unfortunately, it was in Grenoble three years ago for several months, so I do not think it will be here again in the near future …

GL: This wasn’t your first exhibition, though. You exhibited photographs of rue Brocherie at the Grenoble Maison de la Culture in 1981.

Thora: That was another really interesting project. I asked all the merchants on the street I live on to stand on their doorstep for a picture, and to tell me about the past history of their shop. Then I produced a set of panels that combined my photographs and some fabulous line drawings done by a man who worked at the Maison de la Culture at the time; I wrote a text about the history of each shop, and calligraphed it onto each panel.

This exhibition doesn’t circulate any more, and I hope that it will at some point join the Musée Dauphinois collection.

GL: Tell us about your charitable work and how our readers can get involved.

Thora: For several years, now, I have been volunteering in a soup kitchen in the centre of the old town. The association provides breakfast every morning, hot lunch twice a week in the winter months, clothing, food hampers and a variety of other services. The people who come are not all homeless, but they are all in fairly distressing situations (this can include being a refugee, having mental health issues, drug or alcohol problems, or just plain poverty). We have between 40 and 100 people every morning.

If your readers want to help us, one thing we are always in need of is men’s shoes. They can be dropped off at 4 bis rue du Vieux Temple, any week day between 8:30 a.m. and 10 a.m. The association also accepts monetary donations; I myself am very interested in donations in kind, however, and can promise you that any shoes that are given will find a pair of needy feet!

Thora van Male will be talking about her new book at Maison des Langues on campus on Thursday April 7 at 6.30pm. Contact Alliance Grenoble-Oxford for more information.

Wing It Productions logo

Grenoble Life talks to Hélène Perrin-Gouron, Vicki Bernard and Katie Coakley – aka Wing It Productions – a new English theatre group for secondary school pupils in and around Grenoble.

Grenoble Life: Who is Wing It Productions?

Hélène Perrin-Gouron: Three passionate women who have always loved and done some theater; one French having lived in the US, one English, and one Irish.

Vicki Bernard: Sounds like the beginning of a joke…

Katie Coakley: Oh thanks, ladies. I’m the Irish one (‘wanting desperately’ to change the subject)! We’re part of the abc anglais association, which aims at helping people ‘learn, improve or maintain their level of English in the most natural manner’. Our goal is to open this theatre activity to the entire secondary school community in and around Grenoble.

Hélène: That is… for this first year. I have the High School population (15-18/19) in mind too, the college students, etc.

GL: What is the philosophy of the group?

Vicki: Having worked so often with young people, we have really been able to see how much the theatre can bring them in terms of self-confidence, team-work (relying on others), their creativity and imagination.

Katie: The fact that we use English purely as a vehicle means that they improve their English without even realising it.

Hélène: I would add to this that one of the most positive things to come out of the work with young ones is the bonding that they experience. The show becomes bigger than every single one of them, and us.

Katie: Very much so! It also eradicates the age differences.

GL: What ideas do you have for your first productions?

Katie: Although we’re going to keep that secret, we can say that we’re going down the comedy road.

Vicki: Our lips are sealed.

GL: What have some of the major challenges been getting started and how have you overcome them?

Katie: To start with, we had a real dilemma. Do we create our own association or do we become part of an existing one?

Vicki: We were very fortunate to come across abc anglais (through Helen McEwan who worked on the Cité Scolaire Internationale pantomime with us.) They took us under their wing.

After that, our main challenge was sorting out a lot of things all at the same time: reading umpteen scripts to find a story, organizing and advertizing the auditions…

Katie: And making sure that all this gets done behind the scenes without a hitch. That in itself is quite a challenge!

Hélène: I, personally, was happy to have help with all that work that no one ever imagines exits. How to overcome the constant challenges? With ‘your head in the stars and your feet on the ground’ (i.e. persistence, patience, with zest, and more persistence, more patience, etc.)

GL: What kind of people are you looking for and how can they audition?

Katie: Anyone of any nationality between 11 and 15 with a good knowledge of English and an excess of enthusiasm.

Hélène: You can be French, British, American, or whatever; but you must know that the whole activity is going to be run entirely in English.

Vicki: In other words, you can come from Mars …

Hélène: Or Venus …

Vicki: As long as you can get along in English and are prepared to improve through taking part.

Hélène: If you wish to join us for this thrilling adventure, go to www.abcanglais.org, section ‘collège’. All the information you need is there!

GL: Tell us a bit about your theatrical backgrounds

Hélène: I started doing theater at university, in the US. Then I was asked to keep going with the county community theater. I thoroughly enjoyed working eight months solid on the ‘Man of La Mancha’ musical. I was there six days a week and I can’t think of any moment not being sparkling! Then these past few years, I was general director of the C.S.I. panto where every single cast has been my favorite!

‘Out of hours’, I’m a scriptwriter and have worked on long features such as Confessions of a Dangerous Mind, or Pearl Harbor; and if you’re dying for more names, you can go to my LinkedIn profile.

Vicki:  I was involved in acting in a semi-professional theatre in England. I did drama all through school, acting and directing as house and drama captain. I acted during my university days too and put on a couple of plays in the English Department at U.3 in Grenoble. Finally, I was part of the panto direction team at the C.S.I. for two years.

Katie: I’ve done theatre with small children in Ireland. Here in Grenoble, I’ve worked on the C.S.I. panto for two years.

GL: What is the potential of Grenoble in particular for this type of theatre group in terms of audiences and participants?

Hélène, Vicki, and Katie: (with one voice) Massive!

GL: Thanks ladies. Watch this space for updates and news about Wing It Productions.

A detail from The Crucible poster

Camille Bromley reviews the Upstage production of Arthur Miller’s The Crucible, running at Ste-Marie-d’en-Bas until Saturday March 19.

In an ambitious choice, this year’s Upstage production is The Crucible, Arthur Miller’s dramatization of the Salem Witch Trials and allegory of 1950s McCarthyism. Upstage, Grenoble’s finest English-language theater group, and made up of high school students from the Cité Internationale, never fails to put its best foot forward and this year I was quite looking forward to seeing how the young actors would treat such a sober and violent subject.

But I was wrong in thinking that the Upstage group would rise up to the mature themes presented in the play; in fact, I found that the themes treated in the play spoke very well to adolescence, and as such the teenage actors did a wonderful job of bringing this out to the audience. After all, the accused-cum-accusers that fuel the drama are the young girls found to be “dancing” in the woods—girls much the same age as the actors playing them. And a large part of the horror felt by the puritan townspeople of Salem and subsequent finger-pointing comes from a disbelief that these “children,” who are actually young women, could be capable of lying, vengeance, deception, and sexual acts. Not to mention the fuss raised in our day and age over peer pressure — from Act I we see the influence of the group working on each individual girl, until one by one they crack from the pressure and join the ranks of the accusers, condemning others to save their own skin.

The Crucible’s cast includes a healthy representation of female actors, but the male actors held their own, occupying no less challenging, if less terrifying, roles. John Proctor, conflicted and confounded by the women in his life, is the victim in Act IV of a nail-baiting interrogation of circuitous logic administered by the very severe Deputy Governor Danforth, in which he realizes hopelessly that to be accused is already a condemnation, and a dishonest confession may be better than a righteous death.

Passionate performances (screams, shrieks, tears, thundering accusations, uncontrollable trembling and general hysteria) were given by most of the cast, notably the character of Mary at the climax of the play, and there were several standout character performances, especially Giles Corey complete with cane and fabulous accent. And Upstage didn’t forget their signature interjections of humor (“We saw our gym teacher with the devil!”), as difficult as it is to inject humor into such a play.

The simplicity of the set design and the subtle lighting cast a barren, chilled atmosphere as background to the action, and left the attention on the performances. As always in the Theater Ste-Marie-d’en-Bas, the intimacy of the room and conviviality of the bar made for a pleasant evening.

Kudos to directors Dave Simpson, Julie Valade, Claude Deladoeuille, and Therese Zanone for another impressive performance by Upstage. But I have to admit, after witnessing such a “world gone mad,” I sure was glad leaving the theater, feeling secure in being a little less mad than them.

Breastfeeding baby. Photo by fikirbaz

Grenoble Life talks to Kelly Rigotti of Les Marraines de Lait – an Isère based association offering breasfeeding support – ahead of their meeting this Thursday. 

Grenoble Life: What is Les Marraines de Lait and what is your involvement in the association?

Kelly Rigotti: The Marraines de Lait (Big Sisters of Breastfeeding) is a local, non-profit association dedicated to supporting new mothers in creating the breastfeeding experience that works for them. Unlike other local associations, like the La Leche League or the Voie Lactée, we don’t have regular monthly meetings, although we do meet several times a year. Instead, we match new and experienced moms to create a breastfeeding support pair; to give the new mother an experienced person she can call on when she has questions, problems … or just needs to talk. Our role is not to offer medical advice, but instead lend a friendly, supportive ear to our filleules, or Little Sisters.

I have been a filleule in the association, a marraine (big sister) many times over, as well as past president. I’ve enjoyed each and every one of these roles, although I like being a marraine the best! 

GL: How, when and why was the association founded?

Kelly: The association was founded in 2003 with the goal of recreating formally the informal bonds that used to exist when we lived in smaller communities. Little girls used to grow up seeing their moms, aunts, neighbors, sisters and friends breastfeeding and there was always somebody to turn to for advice. As we’ve moved away from our villages and into a more modern community, and especially with the dominance of bottle-feeding over the past few generations, it has become more and more common for a new mother to be the first in her circle of family and friends to want to breastfeed. After her stay in the hospital, she might not have any one to turn to with her questions, and if she does ask a friend or older relative, more often than not the advice will be to give the baby a bottle.

Associations like the La Leche League and the Voie Lactée use hotlines and monthly meetings to reach and support new moms, but the Marraines de Lait feel that it’s important for each new mom to have one (extra) person she can rely on. 

GL: What are some of the health benefits of breastfeeding for mother and baby?

There are innumerable health benefits for both moms and babies, from a decreased risk of allergies for the baby to a lower risk of breast cancer for the moms. That said, we don’t believe that formula feeding is evil – sometimes it’s necessary for a number of reasons. Our goal is not to push what some might call a Radical Breastfeeding Agenda. We believe in supporting moms and babies to find a breastfeeding relationship that works for them: from exclusive, long-term nursing, to pumping and bottle feeding, and everything in between.

GL:  In what ways do traditional views of breastfeeding in France differ to those in Anglophone countries?

France has one of the lowest rates of breastfeeding in the European Union, although Isère is on par with the UK and the US with about 75% of new mothers choosing to breastfeed. Once women go home from the hospital after giving birth however, the percentage continuing to breastfeed at home drops to about 50% and there are very few women who continue to nurse their babies after about four months, when the average mom returns to work.

France also has, in my experience as an American, a very faithful membership in what I call the Cult of the Physician. I’ve found that French people (and I’m generalizing wildly here) tend to think that scientific things must be better than something that hasn’t passed through a laboratory, which to my mind explains why so many women here believe that Bottle is Best.

Women in the United States tend to breastfeed longer than in France; although the percentage of mothers who are still breastfeeding at six months (the minimum recommended by the American Medical Association) is higher than in France, the percentage of women in most developed countries who are still breastfeeding at two years (the minimum recommended by the World Health Organization) is still very, very low. I myself breastfed my three children for a combined length of time that was longer than the amount of time I spent in higher education.

GL: What support does the association receive from the medical establishment?

We have a list of doctors who support breastfeeding and to whom we refer people for any suspected medical question and we work with several certified lactation consultants. While our role is not to provide medical advice, we do have several nurses, midwives and doctors in our midst and we also organize and attend several trainings a year. We have set up a program for premature babies at the Hôpital Nord as well.

GL:  Can new mothers and fathers get support in English if needed?

There are a few native English speakers in the association (myself included) and several other people who speak English fluently. We also have German and Spanish speakers in the group.

GL:  How can people find out more and/or get involved?

Check out our website! You can also call the hotline at 04 76 33 30 81; leave a message sand somebody will get back to you. For help in English, feel free to call me: 06 67 33 74 91.

Our next meeting will be on Thursday, 24 February, 2011, beginning at 10 am (and continuing till we get tired of chatting!). It will be held at the Café des Zébulons, 2 rue Sergent Bobilot, in Grenoble.

'Raquette nocturne' with Association France Etats-Unis

April Buchanan of Association France Etats-Uni talks to Grenoble Life about getting together with the “internationally-minded” for picnics, museum visits and full-moon raquette nocturne.

Grenoble Life: What is Association France Etats-Unis?

April Buchanan: Well, France-Etats Unis is many things to many people. It’s actually a national association, with almost 30 chapters in all different regions and cities all over France. It’s a social organization that is open to anyone who is interested in either American culture, or anyone interested in promoting friendship and understanding between France and the United States.

You don’t necessarily have to be American or French, and you don’t even have to speak English! We have members of all nationalities and ages, students and professionals. A lot of members are either American ex-pats and their families, or French people who have either lived or vacationed in the States and loved it! It’s also a great social setting for international couples or people new to France who are looking for a place to feel less like a stranger in a strange land.

GL: Tell us about the history of the Grenoble chapter – why here?

April: A lot of people are surprised to learn that the first France Etats-Unis was first started in Paris just after World War II, under the name ‘France USA’ back in September 1945. Ten years later the name was changed to the current one, and the association began to grow across the country.

The Grenoble chapter has a unique story, in that it began in the early 1950s, but it kind of lapsed in the 80s and 90s. It was in 2005 that Pierre Hermant relaunched the association in Grenoble, and it has been growing ever since. In 2010 we had 65 official members, but it seems like more since we often have a lot of friends and visitors who participate in the fun as well!

Grenoble is the perfect place to have a really dynamic and vibrant association since it is such an international city! With so many multi-national companies bringing employees from abroad, the University of Grenoble having exchange programs with many American universities, and the Grenoble Graduate School of Business with their many international masters study programs, there are a huge number of Americans and other ‘internationally-minded’ people living here either permanently or temporarily. France Etats-Unis is the perfect platform for these people to meet casually and feel welcome in a positive and friendly environment.

GL: The moto of the association is “For a better mutual acquaintance and understanding.” Can you elaborate on that?

April: I think one of the best quotes I’ve read about the association sums it up nicely. The second elected president of the association, André Maurois said in 1955, “… there is nothing more important for these two countries than to maintain a total and trusting friendship between them.” He goes on to say that the historical factual links between France and the United States, specifically each country helping the other in gaining its independence, is simply not enough to maintain this friendship … that it is a living reality, founded on mutual respect, constant collaboration, and a common culture of supporting peace and freedom.

While remaining independent and completely apolitical, the role of France Etats-Unis is to support this idea, and we can do that through cultural and social events, national holiday celebrations, and fun social exchanges between people of many nationalities and backgrounds, including but not limited to French and American.

GL: What sort of events do you organise?

April: We have quite a few events all year long, including the major national celebrations of both countries, as well as activities to explore the heritage and nature around the Isére region, so there’s always something to look forward to. And we always have a regular monthly “Hot Spot,” which is a casual get together held on the first Wednesday evening of each month. For the past year or so we’ve been having it upstairs at Café de la Table Ronde at 6:30, and anyone is welcome to come and hang out with us for an hour or two.

But this is in addition to our bigger planned events, which have become quite popular! With everything from Thanksgiving Dinner to nature hikes, from the traditional French Galette des Rois to museum visits and the Fourth of July picnic, there is always quite a variety of things happening in every season, and we are also open to new ideas for anything fun and interesting!

GL: What is your role and how you did you get involved?

April: Well, this is my first year being on the board of the association, and I’m really inspired and excited to help make the association grow and to spread the word to those who may not know about it!

I had lived in Grenoble for about five years when I became friends with two other American women, Jesse Bernstein and Emily Huschen, who were members and also on the board of FEU. They immediately convinced me to come to a Hot Spot on a Wednesday night, and there I met lots of interesting people, including other Americans living here that I had never met before, Franco-American couples, former French ex-pats who had lived and worked in the States, and even a retired French couple who spend half of the year in Florida! It was refreshing and reassuring to be among people who appreciated American culture and who wanted to share stories about their own experiences between the two countries.

GL: Tell us a bit about your background

April: I’m American, originally from Valparaiso, Indiana. After finishing my studies at Purdue University and working for some time in Chicago and in Austin, Texas, I came to Grenoble on holiday in 2003 to visit a friend who was working here. It was then that I realized I wanted to live abroad! Without speaking a word of French, I moved to Grenoble permanently in 2004, and it has been an incredible journey of self-discovery and world education ever since! I am currently teaching English in companies around Grenoble.

GL: Asides from events, what other advantages come from being a member of the association?

April: The events we organize in the association are always a lot of fun, but they are really a gateway to friendships and connections that can last a lifetime — I even know one person who met his wife at the Toulouse chapter of France Etats-Unis over 20 years ago! But aside from events, we have strong relationships with other associations in the area, such as Open House (an English-speaking association in Grenoble) and the American Club of Lyon to name two, but also organizations like the American Chamber of Commerce in Lyon, and the various ‘Sister City’ programs, which partner French cities and American cities to promote travel and exchange between the two.

We also have strong support from the American Consulate in Lyon, and the Mairie of Grenoble. All of these outlets, as well as the other chapters of France Etats-Unis, provide a vast network of people and places for everyone involved. This can lead to all kinds of partnerships and opportunities, which all stem from the commonly held interest in promoting multi-cultural friendship and understanding.

GL: What’s next on the calendar?

April: Our next big event is the full moon snowshoeing hike, or raquette nocturne! For those who have never gone snowshoeing, it is a great alternative to skiing to enjoy the natural beauty of the mountains here. And doing this at night under a full moon that lights up the white snow all around is a truly magical and unforgettable experience! And of course, no Alpine adventure would be complete without a traditional French Montagnard meal in a warm chalet-style restaurant to finish off the evening. It is one of our most popular annual events that we look forward to all year long!

Photo: Vickie Allen

Vickie Allen takes a break from the slopes of Alpe d’Huez and heads off walking in Bourg d’Oisans.

It may not have snowed since 11.01.11, but you’d never guess by looking at the pistes …

Alpe d’Huez has over 900 snow cannons, more than any other resort in France. And really it’s just as well, as so many of the pistes here are south-facing. So the fact that it’s not snowed for nearly a month doesn’t matter too much; the cannons are blasting water into the air each night, creating piles of new snow that’s being spread around the resort to keep the pistes topped-up. This technique is all well and good when the weather’s cold enough for the cannons, but if it starts warming-up at night we could be in trouble…

For the moment though, Alpe d’Huez boasts some of the best snow in France. Only the lowest, sunniest runs are closed (which includes the Sarenne) but new arrivals do get quite a shock when their first view of the resort is this:

Photo: Vickie Allen

The skiing may be good but I’m just not feeling it right now. With mid-season rapidly approaching I needed to get out of resort, so was far more enthusiastic than usual when The Boyfriend suggested a trip to the supermarket and a walk in Bourg d’Oisans.

Bourg is a hive of cycling activity in the summer months, but it’s a bit of a ghost town during the winter. Its location at the base of the steep-sided Oisans valley means it spends a chunk of the winter months either in the shadow of the mountains or under a blanket of cloud. Today however, it was sunny and toasty, with temperatures hitting 25ºC in the sun.

After a rather dull and chilly whiz round Casino we drove out to the fields that surround the town. There’s a lot of housing development going on in Bourg, but once you get past the Happy Valley projects you find fallow fields bisected by manmade mini canals.

Photo: Vickie Allen

Despite the warm weather, spring is yet to arrive in Bourg but there are a few signs that it’s not far away.

The trees remain bare but as the snows melt and the streams start to run once again, green life is appearing in the water. Weeds and water plants strongly rooted, reflect the sun’s warmth as they cling on against the flow that comes from the mountains. We heard the distant rumble of rock falls as the temperature change and melting snow loosens cracks on the mountainside.

Photo: Vickie Allen

Rustles in the dry leaves covering the mulch betrayed the field mice and squirrels out foraging, and we spotted a heron working its powerful way along one tree-lined canals, looking for prey. Squelching through the mud and remnants of frozen snow, protected by the shade of the trees, we made our way to the bank of the largest canal, Bourg’s protection from the heavy meltwater that gushes down into the valley at the end of each winter.

Photo: Vickie Allen

The level of the river is low at the moment and may stay that way unless we get a significant snowfall before the end of the season.

The forecasts remain hesitant to predict anything other than sun, so maybe we now need to accept that it simply won’t snow this much this winter: Mother Nature’s way of rebalancing after last year’s epic snowfall. Or maybe she’s playing her cards close to her chest and – as the older generation of local mountain folk believe – she’s going to test the mettle of the half-term tourists with a huge dump just in time for the first weekend of the holidays …

We’ll just have to wait and see.

Photo: Vickie Allen

Click on the links for more information about Bourg d’Oisans and riding this winter in Alpe d’Huez.

Destination Oisans: Photos, films and thoughts on the reality of life in the mountains.

Alliance Grenoble-Oxford

Grenoble Life talks to David Bailey of Alliance Grenoble-Oxford about the association’s history and events ahead of a debate in English it is hosting on campus, February 16.

Grenoble Life: What is Alliance Grenoble-Oxford?

David Bailey: AGO is the association that takes care of the twinning between Grenoble and Oxford in the UK.

GL: When was it founded and why?

David: Grenoble and Oxford were unofficially twinned in 1988 but the official ‘Friendship Agreement’ was actually signed in Oxford on 27 April 1989 by Alain Carignon, then mayor of Grenoble, and Queenie Whorley, mayor of Oxford. After a couple of short-lived attempts at forming a twinning committee, the AGO was founded in March 1993.

GL: What kinds of events do you organise?

David: There are two aspects to the AGO’s activity. The first is to foster exchanges between the two cities in all spheres (professional, educational, economic, artistic, sporting, social, linguistic, etc.) and to promote personal contacts between their residents. This we do with the support of Grenoble city council’s international relations department.

The second aspect of our activity is to promote Oxford and British culture in general here in Grenoble through an annual programme of events. These include play and poetry readings in English, lectures on a variety of topics, social events and outings, car rallies, debates and an annual Christmas Carols evening.

GL: What other kinds of services do you provide?

David: In the context of the actual twinning, we facilitate contacts between associations and individuals in liaison with the Oxford-Grenoble Association in Oxford, and we organise a trip to Oxford every other year, usually in the late spring. In years when we do not go to Oxford, we host a group from over there here in Grenoble.

We have in the past offered conversation classes and would be willing to do so if there is any demand. We publish a newsletter several times a year.

GL: Tell us a little about the organisers

David: Both the AGO and OGA in Oxford are entirely self-supporting, non-profit organisations run by volunteers. We have a mix of French and British people from a variety of backgrounds and professions on the committee. Our meetings are held once a month, in French.

GL: What events are coming up?

David: Our next event is a debate the traditional Oxford University style, which we are organising in conjunction with several departments of the University of Grenoble. This is the second of its kind and we hope it will become a regular event. We then have a talk in March by Thora van Male from the Institut d’Etudes Politiques on her latest book Liaisons généreuses. And over Easter we shall be welcoming the East Oxford Community Choir, which is twinned with Grenoble’s “Interlude” choir. They will be giving two performances of Mendelssohn’s oratorio “Saint Paul” with an orchestra consisting of musicians from both cities.

GL: How can people get more information and/or get involved?

David: We are always on the lookout for new members, and especially for people to help with the twinning. As our website is temporarily on hold, they should contact me (David Bailey : 04 76 40 31 34 or davidbailey@sfr.fr). Our brochure is usually available at the Maison de l’International, Parvis des Droits de l’Homme, Jardin de Ville, 1 rue Hector Berlioz, 38000 Grenoble.

"Danse" by Daniel Champhanet at Ristretto Café

Françoise Lerond talks to artist Daniel Champhanet – currently exhibiting at the Ristretto Café in Grenoble – about painting expresso-style … with coffee. 

As a lover of innovation, I was really amazed at Daniel Champhanet’s beautiful scenes, made just by playing with coffee. I decided to talk to him to know more … 

Françoise Lerond: Daniel, could you tell us how the idea of painting with coffee came to your mind? 

Daniel Champhanet: The story starts at the meal time with friends, a coffee drop leaving a stain on the white colored paper tablecloth … What a beautiful color and great transparency! My imagination immediately started to wander around, connecting very old and somehow hidden ideas. I got it! I could catch hold of any moment with minimum material; a unique medium available anywhere in the world … The solution was obvious: Coffee! 

I fully agree with Lisa Yuskavage when she says that painting is not an aesthetic orthodoxy, and that creative freedom relies on one’s will to give things a try. 

Painting expresso, just for a short coffee break! 

Françoise: What does coffee recall for you?  

Daniel: Well, after being a medicine for a long time, it became the Devil’s drink (Qahwa), and then the first foodstuff used for the purposes of speculation. Nowadays, it is one of the most widespread drinks; but I now see it as an amazing artistic medium. It’s a simple but unique material, carrying a long and vibrant history. 

I also associate it with rich imagery, from its provenance to its roasting to the way millions of people share it every day, at breakfast, or simply at a social occasion. I could also talk about smell, recalling travels, lazing around at a coffee store or just reminiscing of childhood when I was first allowed to taste this magical beverage. I think coffee reminds each of us of something different and very personal! 

Françoise: What does it allow you to do more or better than other techniques? 

Daniel: It allows me to seize the moment of an emotion, of a face, of an object. It also gives an emotional transparency, most particularly when painting eyes. When mixing it with markers or pastels, I can obtain a fantastic intensity. 

Françoise: How do you manage to get such different nuances of colors with only one substance? 

Daniel: Everything lies in transparency, a bit like watercolor. Diluted with more or less water, you obtain various nuances. Results can also be different depending on the paper you’re using. 

Françoise: That’s really great! What an amazing result! Anything else you would like to add for Grenoble Life readers? 

Daniel: Yes, I’ve been exhibiting at the Ristretto Café  in Grenoble almost since its opening. Jocelyn Glorieux has nicely welcomed my painting in his shop, allowing a great alchemy between the location, coffee and the art. 

If you want to see the exhibition, you can visit the Ristretto Café: 23, Rue de la Poste – 38000 Grenoble. I will also be there to welcome you on Saturday, February the 5^th from 1 to 3pm. 

Françoise: Thank you Daniel. We hope to see some of our Grenoble Life readers there! If any of you would like to encourage Daniel in his work or simply know more, feel free to send him an e-mail: daniel.art.fr@gmail.com. You can also see some of his coffee artwork on Youtube.

The Upstage 2011 cast and crew

The cast and crew of Upstage – an English theatre group comprising students at Cité Internationale Europole in Grenoble – share their experiences as rehearsals gather pace for this year’s production: Arthur Miller’s The Crucible, Ste-Marie-d’en-Bas, March 15–19. 

Francesco Amadori 

This is my first year in upstage productions and I am so pleased to be part of it. From day one, everyone was really friendly and made me feel at ease in the rehearsals. We work in a great atmosphere and I love the way the directors take their time to pay attention to every detail in the scene which we are practising. 

I play a well-to-do, hard-handed land-owner named Thomas Putnam. He is a participant in the trials of Salem and “helps” the prosecution of Giles Corey. This part, seeing as it is not one of the major ones, allows me to participate backstage during the play, as well as being on stage. 

Alba Besson 

Girls found dancing in the forest; women accused of witchcraft; a mighty judge brought to Salem to sort it all out and to hang the guilty… Sounds like a pretty good play don’t you think? 

I’m Alba and I play the part of Samuel Parris, Salem’s egocentric reverend, and so far I’m really enjoying being one of the baddies! The cast this year is really fun: we all get on great and function well as a theatre troupe. The rehearsals, with a little nudge from cakes and the soundtrack to “The Boat That Rocked”, are progressing slowly but surely and through them is emerging an exciting adaptation of Arthur Miller’s “The Crucible”. 

Hopefully, Parris’s selfish, sly and self-righteous personality won’t rub off on me too much! 

Mariam El Boudi 

Hi everybody! I’m Mariam, a 17-year-old girl who plays Mary Warren, a naïve young woman, and Rebecca Nurse, a conventional 72-year-old woman. Exploring The Crucible through Mary Warren’s character is a powerful and overwhelming experience, especially since this will be the first time I’ll be playing in Upstage. The balance stems from Rebecca Nurse’s character who is, according to me, of a much lighter tone. As Mr Simpson [David Simpson] said “the emotional levels and the acting challenges are very demanding”; therefore, we are experiencing a break away from Loot which was performed the previous year and was much more hilarious. 

I’m looking forward to be performing with the rest of the team!!! 

Jaicy Elliot 

This is my third and last year in upstage and I am proud to say that I play the splendid Elizabeth Proctor. 

This is a great change as I have been accustomed to playing men. Elizabeth is a very strong lady dealing with deep emotional conflict within her marriage as well as playing an extremely important role in the witch trial. 

The play is definitely more serious and grave than the past few upstage has put on but I’m glad to say that the very new actors’ enthusiasm and good humour still fits in what we call the upstage family and style. 

Matias Gaggiotti 

Hey, I’m Matias and in The Crucible I play Deputy-Governor Danforth, a pretentious and selfish judge, who is extremely loyal to the rules and regulations of his position. He constantly changes tone and mood and so I am sometimes pushed to act calmly and then erupt into an explosion of anger. He is a challenging character to portray but it’s also fun to immerse in this selfish, “just” character. The team this year is convivial and we all feel comfortable acting in front of each other. The production team is doing a brilliant job and the play is evolving swiftly and surely. The actors help the production team from time to time in making the tickets and other technicalities. Overall everyone is having fun and enjoying their role. Although the play is a challenge (due to its sometimes complicated language and strong themes) the team faces the challenge and overcomes the difficulties to produce a first class performance. Of course there is place for improvement but we will all be there coming March to preform the play in all its splendour. And I’m sure you’ll be there too. 

Andrew Hanlon 

Ladies and gentlemen of the court, I have come here to refer you to the facts. Every year for the past 18 years there has been an Upstage production, and every year there are a talented few, selected to perform and be part of the Upstage Experience. Ladies and gentlemen of the court, ladies and gentlemen of Salem, I am no lawyer, I am but an old farmer with 600 acres with timber in addition but I challenge you now, find one of that chosen band who will testify here, before God and the good people of Salem, find one who claims that their time could have been better spent. Find one who says that the few hours a week were not worth the feeling of success. Find one, I challenge you, find one who would not have become one of the select few, chosen to join the Upstage family. Just one. Ladies and gentlemen of the court, I rest my case. 

Anthony du Hecquet de Rauville 

Hello there assembly! I’m John Hale. Reverend John Hale that is. 

Now for today’s opening sermon, I have chosen to read to you from the Book of Upstage, Chapter The Crucible, Verse 2011. 

You see, this verse details how Anthony de Rauville joined Upstage and what he thought of it. 

Everyone knows that when in trouble, Upstage is the best reference when it comes to chilling. After all, it is THE place to be. What more could a young man such as Anthony want? He decided that he wanted to not only enjoy himself, but entertain others. After a long audition, he was finally admitted into the book of Upstage. Many a cold winter afternoon, you could see Anthony and his friends practising away, repeating line after line, movement after movement, and so, after many hours of hard work and perseverance, he was finally admitted into the Chapter of The Crucible. Do you see what an interesting life he and the other members led? Wouldn’t it be a waste not to enjoy this chapter? Well then why don’t you head on over to Théâtre Ste-Marie-d’en-Bas and enjoy a wonderful show. 

Yannick Jamey 

I’m very happy to say I’m playing in upstage for a third year. This time, I’ll perform as a minor role: Judge Hathorne, a very unfair and sadistic Salem judge, which sets quite a contrast in character for me, compared to my previous roles as a thug and wanted criminal. Hathorne is very intense, as is the actual play, which is somewhat much less of a comedy than what upstage usually produces. I think “the Crucible” is magnificent and wholly remarkable, and with an impressively big crew to bring it to Ste-Marie-d’en-Bas, I look forward to a thrilling performance. I would like to thank Mr. Simpson and other upstage members for exceptionally having given me the pleasure and opportunity to perform once again with the big family… 

Astrid Lund 

This is my first year at Upstage, but I still felt welcomed from the start, and as time goes on my confidence on stage has grown. There is a real feeling of belonging to a group, and it’s great seeing the play coming together, thanks to a wonderful cast and crew. 

I play Abigail Williams. She is 17 years old during the trials. She is manipulative and dramatic, as well as darkly charismatic, with constant shifts of mood and behaviour. At first she seems to be modest and proper, but soon it is obvious that she is far from that… 

Colleen Massé 

Upstage. Since the moment I saw the play last year, I just knew I wanted to be part of it. And I’m not disappointed. It is better than anything I had expected!!!! I’m Tituba, Parris’ crazy servant on my good days, and Mercy Lewis – as Arthur Miller said “A sly merciless girl of 18″ – on my bad days … These two small parts seem just perfect for me to get used to acting, and to how Upstage works … Why now, what more could I say? Apart from buy your tickets, and expect a night you won’t forget! Because there shall be no trickin’ with no Devil as long as Tituba’s around, and no terrible secrets with Mercy Lewis. Of course not…! 

Mairwen Perenon 

I wanted to act in Upstage since seeing The Ladykillers. I am very happy to have been included in the Upstage team this year. My characters are very challenging for me as I have never acted before. I hope I will satisfy the audience with my work on them. Ann Putnam is an old woman who is deeply affected by the loss of seven children in childbirth, whereas Francis Nurse is a landholding farmer whose wife is accused of killing Ann Putnam’s babies! 

Fred Shahani 

Hi, Fred here. This is my first year at Upstage, I arrived a little late but I felt welcomed from my first day. I am part of the production team and I mostly do the odd jobs such as fetching Mr Simpson and Julie’s coffee, scrubbing the floors and filling in for the actors who couldn’t be bothered to come… The main reason I wanted to come to Upstage is for the cheap coffee and free food but I’m also interested in how a play evolves and what happens behind the scenes. The Crucible is a great play to start off with as it has a lot of themes that are still valid today. The play is rapidly improving and I look forward to the future. 

Lewis Smith 

Hi, I’m Lewis. This year will be my second in Upstage, working with the magnificent Production team! I’m mainly responsible for any sound effects or music you hear in the theatre, as well as the Upstage website. Why did I join Upstage you might ask? Because I love working backstage in theatre productions and contributing to them, having tons of fun, and of course watching lowly actors rehearse for hours on end! (Cue evil laugh) Upstage really is great fun, whether you be an actor or techie, whether the play be a comedy or not; there will always be great people, great music, and of course free food. 

On top of all that, on top of the teamwork and stress management skills you develop, the feeling of accomplishment and success after the final production is wonderful, and is definitely worth the effort! 

As Nietzsche once said, “What is good? – Whatever augments the feeling of happiness.” Upstage is thereby the highest form of good. 

Nicholas Smith 

Hi, I’m Nick and this year I decided to join Upstage, the Europole theatre troop. So far I’m not regretting my decision at all! Since the beginning of the year I’ve been having bucket loads of fun at rehearsals. The atmosphere amongst the cast and crew is great, everyone gets on really well, and when you’ve had a stressful week and are rundown with exhaustion, Upstage is a real pick-me-up. It helps to swallow the proverbial medicine that is the French lycée system. 

I play John Proctor, an honest and faithful farmer, pillar of the community and model to all … kind of … 

Camille Tabary 

Aye love! 

I am Cheever, the prison guard. 

I am a minor character in our play The Crucible who likes to get tipsy, or even drunk … My real name is Camille Tabary and I am a terminale. A small part was perfect for me this year because it really enabled me to participate in the upstage experience and have fun, but also continue working at school. Upstage is a lot of hard work but also great fun because we all have the same goal: perform the best Crucible possible. It will be an amazing play that you won’t forget, because we put our heart into it. So come and see us. Maybe I will share with you some of my cider. 

Teo Taylor 

Lights On! 

Hi. My name’s Teo Taylor, and I play the role of, well, Teo Taylor. I have to admit, it’s a role I particularly enjoy, because it is that of a psychorigid, boring, terribly bad looking “computer genius” (that’s what a history teacher once said, so for all you know it might just be that I know how to turn on the printer.) In short, I’m the closest you’ll get to the Upstage geek – shirt in trousers, glasses, terrible taste for shoes, and never eats at midday. 

As you might have expected, I’m one of the four techies. More specifically, I’m the one who does the stuff like the poster or the lights. So, if you like the poster, knowing I’m responsible for it, I hope you’ll trust me when I say that what the actors are producing is way worth seeing, to come and see for yourself in March (I’ll be sad if you don’t…) 

See poster below for ticket and performance information 

The Crucible poster

“How much further?” A map to Café Mari

Grenoble Life’s Shonah Kennedy talks to British restaurateur Steffan Edwards about setting up Café Mari, changing dining habits and serving machin anglais to the French.

Clip clopping down to the end of the small Rue d’Alembert on a cold Friday night, on the way to our office Christmas party, I couldn’t help but think “what restaurant could possibly be here?” and more importantly, “how much further?”! But then I saw the beacon of light emanating from Café Mari, which was the pre-arranged venue for the aforementioned event. Then I entered and began to drink in the cosy place, and THEN I commenced eating! What a gastronomical delight this little place has – it just needed to be shared!

Shonah: When did you come to France/ Grenoble?

Steffan Edwards: I arrived in France in 2003 just in time for the heat wave in Aix-en-Provence. I stayed there for almost two years. When my ex-girlfriend fell pregnant for the second time we decided that it would be wiser to be closer to her family (she was born here in Grenoble), so more than five years ago we arrived in Grenoble.

Shonah: What is your history in the food industry?

Steffan: My first job was when I was 14 washing up in a pub on Sundays when they had a carvery. The chef was the stereotypically fat and jovial who loved to cook almost as much as he liked to eat! From him I learnt the most important thing about cooking – you have to love to cook or you will end up hating your job and as a result your food will suffer. While I was still at school I had many summer jobs in London hotels and also an internship at the Hilton in New Orleans. At the age of 18 I knew that I was going to cook professionally.

After dropping out of university – because of foolishly taking a management course rather than a cooking course – I found my first full time job as a commis in a restaurant called Le Petit Max which, while I was there, won the Eros award from the London Evening Standard as one of the top 10 restaurants in London.

After leaving there I chose to change jobs frequently – sometimes as much as four times a year – to try to learn as much as possible about all aspects of cooking. I did stints in high class restaurants – 3 star Michelin – and also in local family restaurants. Each chosen because I thought I would benefit from them. When I thought I could learn more elsewhere I left and started looking for the next challenge.

After six years of working like this I decided to settle down and stick at a job, so I started working for Mark Hix at Le Caprice in central London. I stayed in the company for nearly three years working my way up to sous chef and also working in the two other restaurants in the group – The Ivy and J. Sheekies.

After leaving Le Caprice I was approached by a friend to help him in his new bakery – Flour Power City – to make the pastries, help with the baking and also to sell the produce at the now thriving Borough Market. After one and a half years of baking I was keen to get back into a kitchen, so I worked at the Drapers Arms – a gastro pub in Islington which was voted gastro pub of the year by the Evening Standard in 2003. That was when I arrived in France and to Antoine Cote Cours in Aix-en-Provence.

Leaving Aix in 2005 I took some time off to take care of my new born son and at the same time I started looking for a restaurant to buy.  After being let down two times for the sale of two different restaurants I went back to full time work at Le Flagrant Delice in Grenoble. While working there I heard about the sale of a small café which would become Café Mari where I have now been for more than two years!

Shonah: Since you have been working here have you noticed any changes in trends/ palates/ peoples habits in relation to eating out?

Steffan: Some of the restaurants I have worked in have really suffered because of the recession, however in the café I have not really noticed the change, mainly because my prices are reasonable and people still like to enjoy a good lunch.

There has, however been a change in people’s palates with people starting to think more about their health – looking for the healthy option which is reflected in the menus we now see.

The consumption of alcohol has also dramatically reduced in the seven years since I have lived here. Gone are the days of two hour lunches with lots of wine to help wash down the food!

Shonah: Did you find it difficult to break into the “exclusive” French café market as a foreigner?

Steffan: It has always been a bit difficult to be accepted as a chef in France. There is still the stereotype that the British cannot cook and to convince the French otherwise is not easy. A typical example of this was when I put sticky toffee pudding on the menu. I had to bargain with my clients just for them to try it, but now when the same customers come to the café the first thing they say is: is the “machin anglais” still on the menu? It is my best selling dessert. (note from Shonah – and well worth the try – AMAZING dessert!)

Shonah: What is a “typical” meal at café Mari?

Steffan: There is no typical meal here. The plat du jour changes every day with dishes coming from France, Italy, the UK, India, China and even Thailand. There is a small menu – three starters, three mains and four desserts – which changes seasonally and has its foundations in classic bistro cooking with a slightly modern edge.

Shonah: Why did you open café Mari?

Steffan: I had always wanted to run my own restaurant even from my first time in a kitchen but I wanted something small to start with, which I could run by myself and have relatively small charges. Café Mari fitted the bill perfectly.

Shonah: How can people find you/ contact you?

Steffan: I am at 116 rue d’Alembert, 38000 Grenoble. Telephone: 04.76.96.29.55. Opening hours: Monday to Friday 7.30am to 3.00pm.

I also have a facebook page for the café – Steff Cafemari. I will start updating this more frequently.

Shonah: Can people organise private parties to hold at the café?

Steffan: I cater private parties for 10 to 24 people. Normally I will meet with the host of the party beforehand and we will discuss the style of food they would like, the budget etc. Then I send off some propositions and they choose the menu that they want, at the price they want.

Shonah: Any future plans for the café or expansion?

For the moment I have no concrete plans, but I would love to introduce the French to the idea of gastro pubs. I think the French already like pubs, but I have yet to see a pub serving food here and I am convinced it would work. Watch this space!

A still from Garage, 2007, directed by Lenny Abrahamson

Camille Bromley reports back from the Celtic Connection’s third annual Irish film event and tells us a bit more about activities planned by the association over the year.

At the end of November Grenoble’s Irish cultural association, Celtic Connection, held a film event at Cinema les Melies, showing two Irish films: the animated children’s film Brendan and the Secret of the Kells, and Garage, winner of the 2008 Irish Film awards as well as the CICAE Art and Essai Cinema Prize at the 2007 Cannes Film Festival.  

Asked about the choice of the film Garage, Celtic Connection explained, “We have shown films for three years now and wished to show the ‘maturity’ of Irish cinema with a provoking film about a social theme that was not too evident in the euphoria of the “Celtic tiger” era, and we seem to have been a bit prophetic in our choice.”

The film shows a lonely garage attendant’s tentative first steps towards friendship and human connection with a 15-year-old boy.  The story plays between comic and tragic, with a nuanced and delicate perfomance by Patt Short. Perhaps the most wonderful aspect of seeing the film on the big screen was the beautiful Irish country landscapes. The pace of the film being slow (like life in a rural town), it allows plenty of time to appreciate gorgeous shots of Irish countryside, which can only be described in the most typical way as green, lush, and foggy. The film was shot in Cloghan, County Offaly; Woodford, County Galway; and Rathcabbin, County Tipperary over a six week period in late summer 2006

This was the third annual Irish film event for Celtic Connection.  Previously they had shown Small Engine Repair with the Cinemathéque de Grenoble, and Once.  At every event Celtic Connection offers an apéritif beforehand and “a few drinks” afterwards in the Irish bars of Grenoble.

Don’t want to wait until November 2011 to see another Irish film? 

The Celtic Connection gives its recommendations:

For Adults: 

Breakfast on Pluto, 2006, Neil Jordan
The Wind that shakes the Barley, 2006, Ken Loach
Paveen Lackeen, 2005
Once, John Carney, 2007.
Bloody Sunday, Paul Grengrass, 2002
In America, Jim Sheridan
Omagh, Pete Travis, 2005
The Magdalene Sisters, Peter Mullan 

For Children:

Into the West, Mike Newell, 1992
The Ugly Duckling and Me, Michael Hegner and Karsten Kiilerich, 2007
The Secret of the Kells, Tomm Moore and Nora Twomey, 2009

 The Irish film institute website also has an archive of films

What else does Celtic Connection do?

A lot, as it turns out—Celtic Connection holds a variety of activities centered on Celtic identity throughout the year.  All the events are annual.

Upcoming is Christmas drinks at the Family pub on Friday December 17th.

Then they start off the new year with a restaurant meal for the ladies, in the tradition of Nollaig na Mna (Women’s Christmas). Traditionally, each year on January 6th men would take care of the housework for one day, offering women a chance to go out to relax with each other.

Later in January a night to celebrate the life and works of the national Bard Robert Burns: Celtic Connection’s Scottish contingent organized Burn’s night last January, complete with haggis, speeches, and music.

On March 17^th is, of course, St. Patrick’s Day.  Celtic Connection celebrates on a weekend around this date, organizing a meal at a farmhouse restaurant just outside Grenoble.  Last year, they say, “we had 70 people and a band and danced the evening away.”

On June 16th in Dublin and elsewhere is Bloomsday, to celebrate the life of Irish writer James Joyce and relive the events in his novel Ulysses, all of which took place on the same day in Dublin in 1904. Last year the Bookworm Café hosted a reading of Ulysses, with the enthusiastic David Simpson as a reader. On the agenda this year: Edwardian dress-up…? 

Around the 20th of June Celtic Connection holds their annual picnic in conjunction with the Irish association in Lyon, AFIL.  The picnic is held at a lake near Grenoble, and attendees sometimes reach 80 people, making for a great afternoon of fun, games and songs.

Celtic Connection isn’t about to miss a Halloween event on October 31st, seeing as the celebration of Halloween began in Ireland around 100AD.  There’s an event for the kiddies with traditional games, apples and fruit, and costumes, while the adults have mulled wine or the more traditional Irish coffee.  In 2010 the Halloween event was held at Café Mari and included a full Irish breakfast, which is “a brunch with sausages, rashers, eggs, black pudding, lashings of tea and brown bread” (being American, I have no idea what rashers or “lashings of tea” is supposed to indicate, so I leave this in quotations).

The Irish film showing, growing in popularity each year, takes place mid-November.

Finally, Celtic Connection winds up the calendar with Christmas drinks in an Irish bar.  It starts no later than happy hour and everyone brings food and music.  This is a social event and people are welcome to drift in and out all evening.  Celtic Connection does advise drinking in moderation, although they know that it won’t be a problem—at least on the Irish side—because “the French traditionally consume more alcohol than us!”

Don’t believe them?—According to the World Health Organization, Ireland’s per capita litre consumption increased from 7.0 in 1970 to 14.5 in 2001, and was 13.5 in 2004. This compares with 20.4 in France in 1970 down to 13.0 in 2004.  Ok, so the Irish do drink slightly more that the French . . . but it wasn’t always the case!

For more information:

Celtic Connection’s website

To be kept informed of Celtic Connection events sign up for the mailing list by emailing celtic.connection.grenoble@gmail.com

AFIL, Celtic Connection’s sister association in Lyon

The Irish Film Institute website

The 2011 official St. Patrick’s Day festival in Dublin

Burn’s Night

A detail from The Crucible poster

We talk to David Simpson, producer of Upstage – an English theatre group comprising students at Cité Internationale Europole – ahead of their 2011 production of Arthur Miller’s The Crucible.

Grenoble Life: Why did you choose Arthur Miller’s The Crucible for this year’s Upstage?

David Simpson: When you do one play a year, you want to do something good, something striking, something memorable. The Crucible is one of the most powerful and moving plays ever written, and is a very strong challenge for myself and my fellow directors, Therese Zanone and Claude Deladeuille, as well as the Upstage team as a whole.

GL: Arthur Miller’s work isn’t known for its comedy – does this mark a departure for Upstage? 

David: It’s true that we have a reputation for doing comedy, and there really is very little comic potential here. But very often, our comedies have had a serious thrust, and a couple of our plays could not really be classed as comedies at all. Top Girls, as one upstage girl said, ‘… made people laugh, and think, and cry.’ I had a lot of encouragement too, in choosing this play, from people who thought last year’s short Harold Pinter play Mountain Language was a brave and important performance, about the survival of human dignity in the face of totalitarian abuse, and the destruction of cultural identity.  

GL: What particular problems does The Crucible pose for cast and crew in terms of staging?

David: Of course, the emotional levels and the acting challenges involved are very demanding. But the intensity we’ve all been feeling already, in rehearsals, only seems to spur everyone on even more.

That’s the real area of difficulty, and everyone is coping well. Technically, in terms of the set or the lighting for example, this play is much easier to manage than many of those we’ve done in previous years. So the production team are able to focus on both subtlety and power of effect. The poster is a good example of this (see below).

GL: What makes The Crucible relevant today?

David: This year’s play is about collective hysteria and the persecution of individuals, people who could save themselves, save their lives, by confessing to something they haven’t done. As, such, it was relevant during the period of McCarthyism and witch-hunting when Miller wrote it. It’s just as relevant today.

The play is based on real events and real characters, settling their scores, their political, social or sexual rivalries in Salem, Massachusets in 1691. Who would say this doesn’t go on today? The Upstage team have taken to these issues and conflicts, and to the wide range of well-drawn and strongly contrasting characters, with great enthusiasm.

GL: How are rehearsals progressing?

David: There’s still lots to do, and two and a half months to go, but we all feel proud of what we’ve managed so far, and that this is a play that’s going places.

Watch this space for more info on performances and reflections from the cast

The Crucible poster

Dude, where's my car?

… or, don’t let the heavy stuff freeze … Vickie Allen of Destination Oisans shares some timely tips on unburying your car from the snow.

I’ve just cleared a whole heap of snow from my car. The snow storm that’s had me tucked away indoors for the past 24 hours deposited snow in Alpe d’Huez that swallowed my hand and forearm whole; a more scientifically-accurate depth of 43cm. (Thanks Mum for my new tape measure, must remember to keep it in my pocket …)

Of the many winter sports available in the Oisans region, none of the tourist bumpf includes snow clearing on it’s list of snowy sports. But it’s physically challenging, works up a sweat and is great for the soul. What better way to measure your achievement than taking a soft snowy lump (see photo above) and extracting the ice-encrusted car within?

Anyone who’s lived in the mountains will tell you that learning to love snow clearing is one of the best ways to cope with the long winter season. It’s an inevitability, and if you can embrace the idea then you can turn something painful and time consuming into something enjoyable. And surely that’s what we seek when we come to live in a climate that’s so inhospitable most of the local wildlife beds down and sleeps for half the year … and I’m not just talking about the marmottes!

Snow clearing is something best done while the snow is fresh. Leave it too long and it’ll freeze, solidifying and welding itself in thin layers to your car, path or anything else you happened to leave out in a snowstorm. And it’s not just the snow on top but the snow around. Those friendly snow plough drivers do their best to keep the roads clear but – in an effort not to scrape your car – they’ll happily block you in behind a thigh-high wall of solid snow. Tip: try not to park parallel to the curb in a snowy ski resort, it’s much easier to drive straight forwards or backwards out of a snowy space.

Over the past five years I’ve developed my snow clearing arsenal to a crack selection of efficient and necessary tools:

Essential – if unconventional – snow clearing equipment

Ortovox avalanche shovel: much more user-friendly than the typical metal snow shovel and packs down so can live in your car or your tiny resort hallway;
Bum board: essential for clearing the snow that’s actually fallen on your car without scratching the paintwork;
High boots and long trousers: believe me, when the snow’s up to your knees trainers or Timberland boots just won’t do;
Gloves: seems obvious but you’d be surprised how many people clear snow from their cars in their regular gloves. I keep an old ski pair on the back seat. I only use them for clearing the snow so it’s okay to get my hands filthy as I scrape the dirty, frozen scuzz from beneath the wheel arches and along the base of the car.

As I was clearing the snow, it occurred to me that there are so many things in life, events that we consider trials, that carry such negative connotations or feelings for us that we put them off indefinitely. And once we finally do face them head-on, how fantastic do we feel? Imagine how much more powerful and positive we’d be if we could just deal with these dreary or painful tasks as they came up, knowing that the longer we leave them, the worse they’ll become.

One winter I didn’t clear my car for about ten days. There was probably a metre of snow on top before I mustered the willpower to face the fact that no knight in shining armour was going to clear it for me. Neither would the freeze/thaw cycle of early spring do anything other than make the whole job much harder than it had to be. The whole task of clearing the car, which of course was completely necessary, was much more painful than it needed to be; partly because it was hard work but also partly because I spent the whole time beating myself up for leaving it so long.

Ah yes … that’s what my car looks like …

So I’m going to apply the ’snow clearing’ attitude to my procrastination list – which, of course, is separate to my ‘to do’ list. I’ve already been to the bank to open a savings account and taken photos of all the stuff I’ve been meaning to sell on e-Bay. What’s next on the list?

And how about you? What chore are you hoping someone else will do for you? What idea is ready to be realised but getting staler every day you put it off? What honest conversation do you need to have before the spring thaw arrives?

Get to work today and I promise you’ll feel a huge sense of achievement; just as I did when I finally unearthed the car.

Check out this teaser for the documentary ways2winter about life and snowsports in the local resort of Les 2 Alpes made by British filmmakers.

ways2winter is a feature-length documentary following two British seasonaires in the local resort of Les 2 Alpes through the winter season 09/10. It’s not your average snowsports film. Sure, there’s plenty of riding but there’s also hard work and strong personalities, showing the reality of seasonaire life.

The two subjects – Will & Heather – were chosen for their commitment to the resort, contrasting jobs and talent on the mountain. The film includes riding sections filmed in 2 Alpes’ celebrated Snow Park, the nearby freeride itineraries of Alpe d’Huez, St Christophe and La Grave, as well as the Derby de la Meije, the Sarenne Snow Bike event and the 2 Alpes Derby. But it’s not all riding. Video diaries and interviews bare Will and Heather’s souls as they overcome personal and work issues, struggling to find a balance between life on and off the mountain. It gets pretty intense at times, and their honesty gives viewers an insight into their feelings and contradictions.  

The film was made by Vickie Allen and Simon Parfitt, who have spent the past four years in Les 2 Alpes. Simon’s speciality is snowboarding and ski films, while Vickie comes from a background in journalism and short films, such as those at Destination Oisans. ways2winter is their first joint-project and their first documentary. Made without a budget, the filmmakers’ motivation was to create an authentic representation of winter seasons and promote the ski resorts of the Oisans region.

Robin Hood - a pantomime. A detail from this year's poster.

As the Junior High students at Cité Scolaire Internationale start rehearsals for the annual pantomime, Grenoble Life catches up with some of the cast.

Siobhan Coakley is playing ‘King Richard’, Jessica Vacheresse is playing ‘Lady Eleanor’, and is also Choir Director, and Matthew Lloyd is playing ‘Bobby, the Castle Guard’.

Grenoble Life: How old are you and what year are you in at the Cité Scolaire Internationale? 

Siobhan: I’m fourteen and I’m in troisième. 

Jessica: I’m fourteen and currently in troisième.

Matthew: I’m twelve and I am in cinqième. 

GL: Why did you decide to get involved with the school panto? 

Siobhan: I’ve seen previous pantomimes from the school when I first came to France. I love singing, dancing, acting and the idea of the audience taking part in the show so it was definitely something I wanted to be a part of. It’s also very different to the other types of theatre in France so it was also the excitement to be a part of something original to this country. 

Jessica: I decided to get involved in the school panto because I used to go and see it every year, and I always really enjoyed it. I also wanted to discover acting and making the public laugh. I’ve been acting in the panto for three years now. 

Matthew: I got involved in the panto because I thought it would be fun to take part.

GL: Have you ever performed on stage before? How do you feel about it – nervous, excited?  

Siobhan: Yes, when I lived in Ireland I was a part of a lot of dance, musical theatre and speech and drama clubs, so I had performed on stage before, I just wasn’t quite aware of all the people watching me at the time because I was a lot younger. However now I realize the “responsibility” of giving a good performance. Before going on stage I always feel anxious, excited and extremely nervous but once I get on stage (like many people performing in the pantomime) I don’t want to get off! 

Jessica: I’d performed on stage a couple of times before, in small singing concerts with the music school I went to. I think the memory of the fun I had on stage back then gave me confidence to walk on stage at panto. The feeling before the panto show is always tense, yet we can’t wait to start. It’s during the last couple of weeks before the show that the cast really gets close together and by the time we start the BIG week we feel like a giant family. 

Matthew: I’ve never performed on stage and I’m actually really looking forward to it.

GL: So you’ll be acting, singing and dancing? Which are you best at and which are the most difficult for you? Why? 

Siobhan: I’d say I’m probably best at dancing and acting, because they’re what I’m most experienced at. Although I’d say acting is harder because you really need to find a way to stay in character , especially during the embarrassing or intense parts. What embarrasses you usually doesn’t embarrass your character. 

Jessica: I, like most of the cast, act, dance and sing. To me singing and acting are the easiest. When I act I feel like myself (which is quite ironic as I’m not being myself!) I also love singing. Dancing isn’t my strongest point; some people feel like they’re flying when they dance. Personally I find it really difficult to coordinate my movements.

Matthew: I think I’m best at acting because I like it, whereas singing or dancing I don’t really like. 

GL: Did you all know about pantomimes before you got involved in this one? 

Siobhan: Yes, it was always a tradition when I lived in Ireland to go see a pantomime around Christmas time. So doing the pantomime at school brings back a lot of memories. 

Jessica: I don’t think many people in the cast knew much about pantomimes before watching our school panto or participating in it. One of the adults involved has sent us videos of pantomimes in the UK but most of us had never been to see one ‘live’, apart from our school panto!! 

Matthew: I’ve already been to a pantomime in England called ‘Peter Pan’. 

What interests you about the story of Robin Hood? 

Siobhan: What interests me about the story of Robin Hood is that it has never been done before as a pantomime. So the scriptwriters were able to create a completely new pantomime which we would be the first to put into production! 

Jessica: What I like about Robin Hood is that it’s not like the usual fairytales. It really might have happened! The prince has been replaced by an outlaw who wants to help, the princess has been replaced by a maid, and the “bad guy” rules the country! The roles have been exchanged and that’s what makes Robin Hood great. It also makes it an AMAZING panto! I can’t wait to see what people think about it when seeing it.

Matthew: The thing that interests me about the story of ‘Robin Hood’ is that he steals from the rich and gives to the poor. 

GL: When did you start rehearsing, and how many rehearsals do you have each week? 

Siobhan: We started rehearsing in the start of September and we have two hour rehearsals each Tuesday and Thursday, as well as occasional song and dance rehearsals at lunch time and on Saturday mornings. 

Jessica: We tried out for this year’s panto in May, just before the summer holidays. That’s when we were given our roles. But the actual rehearsals started at the beginning of our school year, in September. We have two permanent rehearsals: they take place every Tuesday and Thursday evening from 5 pm to 7 pm, at the Cité Scolaire Internationale. (Thanks to our direction team who do a great job of helping us!) We also occasionally have singing and dancing rehearsals on Tuesdays and Fridays from 12pm to 2pm. (Thanks to song director and dance director who are there every time to encouraging us!) Some of the cast also participates in the panto choir. Their rehearsals take place at the same time as general rehearsals. All of these hours make our timetable heavier but we are prepared to take that on board to participate in this year’s Pantomime, Robin Hood.

Can’t wait to see you at the show!! 

Matthew: We started rehearsing the panto in early September and we have two rehearsals per week (if you not dancing or singing in it). 

Shows will happen at the Cité Scolaire Internationale (Terminus Tram B), 4 place de Sfax, in Grenoble, on Wednesday January 26th (2.30pm), Thursday January 27th (7.30pm), Friday January 28th (7.30pm), Saturday January 29th (10am), and Saturday January 29th (7.30pm). 

We highly recommend that you reserve tickets (over 18: 6 euros, 4-18: 3 euros, under 4: free).   

Send name, address, email address, date and time, and number of tickets (adult/child/under 4s) required to gregg.west@ac-grenoble.fr.  

A check, payable to Umbrella Association, is to be sent within a week to Gregg West, c/o Cité Scolaire Internationale, BP 1570, 4 place de Sfax, 38012 Grenoble Cedex 01.  Tickets will be held at the door for you. You will be asked for an ID. 

Lastly, you may see our sparkling poster up (see below) in some English speaking place, or in an English speaking website. Look for it! 

Robin Hood Poster

Slack lining in Parc Paul Mistral

In the second post of his blog ‘From Admission to Graduation’ MBA student Joseph Schott shares his experiences studying in Grenoble and tells us about slacklining.

Two months into the MBA program at Grenoble Graduate School of Business, and I already feel like I’ve accomplished a lot. Traversed a long, dark tunnel of French bureaucracy? Check. Met classmates from all around the globe? Check. I’ve even finished a few modules. Now its time to settle in and enjoy all that the city has to offer. So far, the relaxed vibe and multicultural atmosphere has been just what I was looking for. There are so many universities and innovative firms located in Grenoble that I keep running into interesting people all the time. I still have a long list of new places to see, but today I want to write about something new I found a few weeks back.

Walking through Parc Mistral, I noticed a man floating in the air between two trees. I took a quick look around. The trees were swaying gently in the wind and the sky was clear. There were families picnicking on the grass. I checked again, and sure enough he was now walking, carefully suspended about one half meter above the ground. Someone was beating out a rhythm with drums near La tour Perret. Beneath him, I could just barely make out the shimmer of something stretched between the two trees: my first look at a slackline.

In slacklining, you try to find your balance and walk back and forth on a band of flexible material that can vary in length, width, and elasticity. The material is very thin, which is why I couldn’t see it very well from the side, and the elastic fabric stretches with each step, making it very different from tight-rope walking.

Slacklines can be connected to any two anchor points, like trees in a park. Since the line is so close to the ground, when you lose your balance you just step back on the grass. If you go up in the mountains and anchor the line between two sides of a crag, it is called highlining. In this case, you’ll need to wear a climbing harness and attach a safety cord that travels with you around the line. Go up even higher to where the air starts getting thin, and you have something people call skylining.

A slackline

For me, it was satisfying enough just managing to walk back and forth between two trees. The flexibility in the line causes it to wobble back and forth beneath you, and it must have taken me two hours to just barely stumble to the other side. It’s all about balance. Making it through requires a kind of Zen concentration to clear your mind and focus only on your body and the line.

A beginner mistake is to stare at your feet, but since your feet are moving around with the line, this makes it hard for your brain to know where the ground is in relation to your body. It’s much better to stare straight ahead at something that doesn’t move and raise your arms for balance. You need to keep good posture, with your hips forward. As people get better, they start to add tricks. Jumping around on the line, sitting down and standing back up, doing splits, yoga, whatever you can think of. What used to be known as “what rock climbers do when they’re bored” has really come into its own.

My MBA program is moving fast, and I’m meeting people, learning a lot, and getting ready for my next career move. Our course on international negotiation in particular is extremely hands on and engrossing. Some days though, when I’ve done too much accounting and just need to clear the numbers out of my head, a Saturday afternoon slacklining is a great way to do it. Best of all, the slackliners I’ve met around Grenoble are always welcoming of new people who stroll by and want to see what is going on. This communal atmosphere makes it a great way to meet new people and get connected to an interesting international crowd.

For some more information, you can check out the wiki here and two great videos, here and here.

Visuel de l’affiche de l’exposition « Mes semblables » © R. Oudinot 2010

Grenoble Life talked to photographer Remi Oudinot ahead of his exhibition Mes Semblables, which runs at Librairie Arthaud throughout October.

Grenoble Life: Can you explain the title of your exhibition, Mes Semblables?

Remi Oudinot : The title Mes Semblables came to my mind when trying to explain what motivates my photography practice: when and why do I trigger my camera shutter?

I do mostly street photography. And when out for “shooting”, I am on my own, a stranger in the crowd. This is especially true when I’m travelling abroad for professional or personal matters. I don’t look specifically for funny or odd situations, à la Doisneau, but rather I stop at simple human beings who, just like me, seem to be “strangers lost in the crowd”. They might be “locals”, but the expression I see on their face, the feelings their attitude conveys, separate them from the flow. 

I see them, and instantly want to capture the instant with the right angle, frame, light and colors (ok, I also do a bit of black & white !). We are alike, they are mes semblables. 

GL: Do you find many of your “semblables” in Grenoble?

Remi : I love Grenoble and its crowd. But Grenoble is not the best place for that. I believe that I need to feel like a stranger to identify my “subjects”, for the above mentioned reasons. Each time I’ve tried in Grenoble, I tend to capture anecdotes with little to no emotions. These pics are not “keepers” for me. Travelling is an easier (lazy?) way to please my retina.

GL: Many of your photos are the result of your travels: where have you been?

Remi : Mostly in the US. Mostly west coast, but I always try to find a plane stop to spend a couple days in New York on my way back.

I’ve been to Singapore too but wish I could experience Asia a bit deeper. I need to go to Japan!

Then Europe works for me as well, from Denmark to Turkey. A few hundreds kms away from Grenoble works too (I love the old downtown districts of Nice or Turin)

GL: Tell us about how you became interested in photography.

Remi : A 1983 Kodak Instamatic 77X: that was my birthday present when I turned nine. It produced little squared shots, very Polaroid-like. 

I’ve always been of the creative type, and I guess I’ve found photography to suit my creative aspirations. Like drawing, only easier and faster? Just kidding! But from then, I’ve never stopped shooting and really got serious about it seven or eight years ago, with the rise of affordable digital SLRs, matching my geeky addictions. Shooting, trying, improving, editing and shooting again. That really helped me a lot to find my very own way. Oddly enough, I’m now shooting film again, with a 1980-era Yashica Mat, and it brings additional fun that again boosts my appetite for image-making.

GL: What other exhibitions have you been involved in?

Remi : I exhibited a New York series last year at Gaia Store, a very nice travel-oriented bookstore in Grenoble. Then, I’ve been selected by the Maison de la Photographie et de l’Image, with a series on Le Voyage which was on display at the Ancien Musée de Peintures, place de Verdun. Lastly, the Luxembourg Chamber of Commerce exhibited some of my latest photos, as one of the “winning artists” for the European contest States of Creation.

The October expo at Librairie Arthaud will be my first, true, full-scale “solo” exhibition.

By the way, there’s a Facebook page for people willing to follow my updates. 

GL: What other galleries and artists in Grenoble can you recommend to our readers?

Remi : I like the work of Jean-Pierre Angei, Dominique Combarnous, Bruno Moyen and many other talented local professional or amateur photographers. There are not so many official places where photography can be enjoyed but I know that La Maison de la Photographie et de l’Image is struggling to make Grenoble a better place for that. For now, scrutinizing Facebook, Twitter, Flickr and the like is a good way to keep an eye on our local ecosystem of image makers.

GL: Where are you travelling next?

Remi : I’m just back from Amsterdam, thinking about Madagascar. But that might not happen in the next few weeks. I really need to set up a PayPal account to find sponsors !

GL: What projects for exhibitions and collaborations do you have for the future?

Remi : I will first focus on the upcoming expo. I’m just done with the editing and hope your readers will enjoy what I’m sharing. If they do, I’ll start to think about what’s next.

Grenoble ... 'a rich intercultural nature'. Copyright Agence Prisme / Pierre Jayet

Mary Zaccai, international press officer at Grenoble Ecole de Management, hits back at the negative and sensationalist media coverage of recent events in Grenoble.

I have this frustrating feeling that all the hard work I am putting in each day promoting Grenoble Ecole de Management (Grenoble Graduate School of Business) and by extension Grenoble itself is being severely put into question by all the negative media frenzy about the city.

Listening to and reading international press, it is as if Grenoble is one of the most dangerous cities in the world, hit by crime and drugs … are we talking about the same place?? Am I living in such conditions? Certainly not.

Just by running a google news search on Grenoble, I noticed that usual news about mountaineering, football etc. has been dramatically replaced by news about the speech president Nicolas Sarkozy delivered in Grenoble, days after one neighbourhood of the city was hit by riots. The riots began when 27-year-old Karim Boudouda robbed a nearby casino and fled to his neighbourhood, Villeneuve. When cornered by the police, he opened fire and the police shot him dead. The riots were limited to a small area, but the media frenzy made it as is the entire of Grenoble has become a war zone. As for the speech, as the Financial Times mentions: “Never before has a French head of state made such an explicit link between immigration and crime.” And he decided to do so in beautiful Grenoble, forever linking the city to shocking suggestions such as citizenship-stripping proposals to deal with immigration.

The irony of all this is that the attraction of Grenoble lies primarily in its rich intercultural nature. The school is a prime example with 96 different nationalities from all quarters of the world. Walking through the streets, our students are always struck by the many different languages they hear, delicious smells from the American cookie shop or the Arabic cake stands, the sushi bars, the Italian quarter … a melting-pot with all the advantages that this has to offer. Not to mention: its history, beautiful sites, booming economy largely based on international connections, and vast student population that brings this vibrant feel to the city.

Grenoble, the city I was born to, the city I came back to after living in the UK for seven years, the city I promote - is for me a safe haven, a thriving and dynamic city, enriched by a multitude of cultures. A place to meet the world.

Stephen William Rowe in his home studio

Stephen William Rowe is a Grenoble-based scientist and songwriter. He tells us about his musical influences, rhyming in French and looking for singers to perform his songs – a few of which we are streaming here.

Listen to “Effacer ma memoire”: here

Listen to “Where Are You Now”: here

Listen to “Midnight”: here

I’m a British industrial scientist and have been living near Grenoble for about 25 years but I’m also a prolific songwriter and have been so for the last 30 years.

I only attempted writing lyrics in French a few years ago, and found to my surprise that I could do it. However, I immediately came up against the grammatical difficulties and peculiarities of the language.

In fact, I found myself frequently annoyed on finding that a lovely series of rhymes, which sounded just right, was not grammatically correct. Luckily I have a French wife to “point these things out”, with more or less tact…

On the other hand, I also discovered that in French I was able to treat some subjects which somehow seemed to sound odd when written in English.

My classical guitar training, love of baroque music and my folk music débuts, give a specific character to all my songs and melodies, but also make my music difficult to classify (which is bad news nowadays).

I consider myself essentially an acoustic guitarist, but I also play electric lead guitar, bass guitar and all the other instruments required for my songs, which are all recorded on my studio at home.

However, I am lucid enough to admit that unfortunately I do not have a good singing voice for most of my songs and that there is nothing I can do about it.

It is for this reason that I am now actively trying to place my songs with professional artists and promising amateur singers. For those interested in hearing my compositions, or even in singing them, my web site contains about 50 songs: www.stephen-william-rowe.com or, www.myspace.com/stephenwrowe

The songs here were selected by James, the Grenoble Life editor, from the 50 online. They illustrate well the melancholy side of my compositions which many people prefer. However, my songs cover many different styles, from Rock to Folk, from Jazz to Pop and from Blues to Chanson à texte. So if you don’t like James’ selection, don’t dispair, there is probably something you do like on my website.

Girose glacier from Dome de la Lauze

Rebecca Skillman narrates the highs and lows of a walk on the wild side: a 3-day glacier hike roped to a mercurial mountain guide at an altitude of over 3000m.

August 2010

Inspired by my husband, Juan, who has been yearning to do a glacier walk for yonks, and our crampons, unused in their boxes since winter, we book on the Bureau des Guides des Ecrins three-day Randonnée glaciaire around the Meije. We know the Ecrins well, but walking above 3000m of altitude will be a new experience.

Day 1: La Grave to the Selle refuge (2673m) via the Col de la Lauze (3512m)

We meet our guide, Jean-Paul, at La Grave. He has brought his wife and daughter along for the trip, explaining that they’ll be roped up separately, so are not technically part of our group. In addition to ourselves are Grenobloise Chantal and a Parisian couple, Pauline and Annette.

We set off, taking the cable-car to the top, just below the Rateau. Leaving the grotte de glace tourists behind, we step onto the Girose glacier. My crampons don’t seem properly adjusted to my boots. I hesitate to place my foot inside, as Jean-Paul instructs, confused by what he says about the crampon fitting. To my shock and amazement I find him literally shouting at me. I can’t believe it. How am I going to spend three days with this man … But fears are displaced, at least for now, by the staggering view. Across the valley, north of La Grave, the Aiguilles d’Arves glisten with the previous night’s dusting of snow. We are bathed in sunshine and the glacier looks sensational (see top).

Being roped up and walking “in formation” is a strange sensation. No possibility of stopping for a snack or drink, let alone a pee. Photo opportunities are confined to hasty snaps – before a yank from the person in front puts an end to it. An hour or so on we stop for a break and Juan and I scamper up the Dome de la Lauze. We are hardly catching our breath but Jean-Paul is already bidding us come down. Why the haste? Is it the biting wind, or some other reason? I drink in the 360 degree views,  and follow him down reluctantly.

It’s as we descend from the Col de la Lauze into the Selle valley that our problems start.

Descending from the Col de la Lauze to the Selle valley

Pauline and Annette are manifestly ill prepared for (or ill informed about?) the walk. It is walking, albeit down a very steep, snowy slope. But Annette has no stability, hunched over as she tentatively inches her way forward and down. It’s painful to watch, and even more agonising to have to stay roped up as a pack. I am ready to scream when – praise the Lord – Jean-Paul announces that we can unleash ourselves. Juan, Chantal and I speed on ahead. The relief is unimaginable. Slippy slidey snow. Weeha…

At the bottom of the descent, we bask on a grassy slope above the Selle refuge, waiting for the rest of the group to catch up. We can see Jean-Paul, at times far ahead of his herd, for a guide – and then, good, he is waiting for them. It should have taken us an hour, but is nearer 2.5 hours by the time we are all down. Jean-Paul is obviously concerned about the viability of the group, which is stretching the classic rule of going the pace of the slowest beyond what is safe.

Our late descent (which Jean-Paul admits was a mistake) meant the snow was unstable and could have avalanched. But he doesn’t seem to think any particular action is required on his part. By good fortune the two women have seen that their presence is jeopardizing the feasibility of the walk and they decide to pull out. It’s a sad moment – failure for them and (indirectly) Jean-Paul, and the loss of good company. But it has to be the right decision – and Jean-Paul is simply lucky that he didn’t have to impose it.

The Selle refuge

From the refuge we watch the sun’s last rays against the massif du Soreiller, then spend the evening chatting.

The massif du Soreiller glows amber in the setting sun

Jean-Paul perfunctorily teaches us a few knots. Clearly, we are the zillionth group he has done this exercise with. He brusquely informs us that we will be getting up at 5am, having breakfast at 5.02am and leaving at 5.30am. Yes, sir! I am awake most of the night, unable to shake off the stress of the day. But somehow manage to be ready for 5.45, completely zonked.

Day 2: Selle refuge (2673m) to Chatelleret refuge (2232m) via the Col du Replat (3201m)

Head torches light our way as we leave the refuge. By the time we reach the Selle glacier it is almost light. Crampons aren’t necessary here but as we walk up the eastern wall of the glacier they once again earn their places in our rucksacks. What a pleasure walking with them, our stability enhanced with so little effort.

Arriving at the Col du Replat

We arrive at the Col du Replat and perch there on a knife edge. The reward is generous: wonderful views all around, including south towards Gioberney and the Pilatte glacier, and east to the Dome des Ecrins.

A breather at Col du Replat

Snow turns into rock as climb down into the Selle valley

It’s too cold, not to mention vertiginous, to stay long. With some reluctance at losing hard-won altitude so soon, we rope up and begin the descent. There are some tricky passages scrambling down a rock wall. I find it’s tempting to use the rope like via ferrata, giving it my whole weight. But we are not hooked up to the rock, so this would be fatal. Jean-Paul yells at us to keep the rope between each of us taut – if one person falls their fall will then be less. But how can you do this when each of you is negotiating delicate foot positions, manoeuvring around awkward ledges? If the rope is taut we will pull each other off the mountain. As Jean-Paul barks at me from above (“Do you understand me, Rebecca?” Yes. “Then why aren’t you doing as I say?”), Juan simultaneously nags me to give him more slack. Grrrrrr!! Talk about being between a rock and a hard place …

On a sunny, flat rock we find a resting place for “lunch” (it’s only 10.30am), still above the snow line. We catch a glimpse of an ermine zipping around the rocks. Across the valley rock climbers attack a vertical wall.

We’ve been walking for five hours but Chatelleret refuge is still not even in sight. We set off again and practice a few ice-axe techniques on a scrap of snow. I then choose to dawdle, enjoying going at my own pace. Juan uses the opportunity to take some flower photos (Androsace pubescens – now how often have you seen that?!)

Androsace pubescens

I’m too tired to do anything other than will my feet down the path, as erratic cairns give way to a well tramped route. Across the Selle valley we can see tomorrow’s path disappearing up the northern end of the valley into what looks like an impassable precipice. I put it out of my mind. The mountains’ barks are sometimes worse than their bite.

We regroup outside the refuge and enjoy blueberry tart. The refuge has a lovely position alongside a river that ribbons to create a hundred picturesque picnic sites. Juan and I use the refuge shower, powered by the ultimate solar heating system: a long black hosepipe. Bliss. While our guide and family take a siesta the three of us find a spot by the river to chat, analyzing the faults of our guide and putting the world to rights. It’s an effort to stay awake but we’re determined not to undermine the possibility of sleep tonight.

Supper – and not a moment too soon. Jean-Paul surprises me with a party trick: how can you position three glasses and three knives so as to support a jug? (answer: it’s all in the way they overlap) Fuelled up, we waste no time in heading for bed, Juan protesting at the early hour but in fact not far behind the rest of us (what else can you do?!). The 20-bed dormitory is full, the ambiance high as a good French Camembert, and the malfunctioning window letting in gusts of near-freezing air. But nothing will stop sleep this time. Eight solid hours.

Day 3: Chatelleret refuge (2232m) to Villar d’Arène (1667m) via the Col du Clot des Cavales (3158m)

We are again a few minutes over Jean-Paul’s projected departure time – this time because he is behind schedule. Once again we set off as dawn breaks. The granite peaks are temporarily transformed into sandstone as the early sun picks them out. A magical time. 

We don’t need crampons until the last stretch of snow below the Col du Clot des Cavales. It’s a gritty, unpleasant walk: extremely steep, unstable underfoot and impossible to keep the rope straight and free from the many jutting rock faces that we have to pass around, and which break the continuity of line. Jean-Paul is impatient – all three of us answering him back like rebellious teenagers. What on earth does he expect from people who have never done this before?

From the col we look back to yesterday’s descent. From this perspective it looks barely credible as a route.

Col du Replat from Col du Clot des Cavales

To the east is the valley of the “Torrent du Clot des Cavales”, which joins the Romanche valley further on. With the sun shining straight towards us, and scree on all sides, the landscape is at its most austere. We enjoy the eagle’s eye view for a moment or two, but don’t dally. The wind, and knowledge that we still have many hours of walking ahead, push us on.

Here, at least, there’s no need for ropes. We zigzag down through the snow, the Pavé refuge soon revealing itself next to the lake of the same name; the path runs slightly south of the refuge, along textbook moraines.

Jean-Paul seems more than usually introspective. At the confluence of the two rivers rocky haute montagne scenery gives way to more gentle alpages frequented by a number of day walkers approaching from below. The greenery and flowers, and gentle gradient, are very welcome. I voice my appreciation to Jean-Paul but he either doesn’t hear or doesn’t want to hear, and says nothing.

Looking back up the Romanche valley from the Plan de l’Alpe

The end of the walk is beautiful, following the Romanche river east and then north to the car park just south of Villar d’Arène. It’s only the last half hour that really gets to us. Juan needs several breaks in order to make the distance. Back at the cars Jean-Paul offers us a chilled beer and we conduct an informal post mortem. It is extraordinary. Here’s this vastly experienced mountain man, with a devoted wife and daughter, finally acting like a human being. Relief at being able to talk adult to adult for the first time in three days is tempered by sadness at the wasted opportunity: with different group management this would have been such a different adventure.

Jean-Paul explains his bad temper as being common to all guides (really?), and that it was only when we were in danger that he lost his temper (?!) In his view there are any number of routes where the effort and aesthetic are better balanced. He claims the use of the description “randonnée glaciaire” by the Bureau des Guides is misrepresentative – this walk is more accurately début alpinisme. We charge him with the responsibility of reporting this back to the Bureau des Guides. “So no hard feelings, then?”, he asks us. And I guess there are none. But I’ll know what questions to ask next time.

Resident Grenoble Life photographer Suzanne Bonnefond invites you to discover the Diois region of the Vercors mountains near Grenoble.

Le Diois is a superb region in the South of the Vercors range near Grenoble, which already suggests the light and colours of the Provence. It can be reached via the Col de Menée, near Mont Aiguille, or the Col du Rousset. The latter pass, which descends on Die, is particularly spectacular.

From the Col de Menée you find the tiny village of Benevise and can easily do a fantastic walk in the Vallon de Combeau.

There’s a lot more to see: le Cirque d’Archiane, in the valley near Menée village, a hamlet surrounded by pink cliffs, from where there are numerous trails towards the plateaus of the Vercors.

Joseph Schott anticipating life in Grenoble

Joseph Schott has come from the USA, via Japan, to do an MBA at the Grenoble Graduate School of Business. We will be following him ‘From Admission to Graduation’ as he blogs on life and learning in the Capital of the Alps.

Hello, my name is Joseph Schott. I’ll be starting at the Grenoble Graduate School of Business as an MBA student in September. I’m originally from the United States, but I spent the last four years in Japan with the JET Programme. While I was there, I taught English as a foreign language, did some translation and interpretation, and led a small non-profit that performs some support functions for the JET Programme.

While the cities in Japan are beautiful and convenient, the whole country is also full of mountains. It is a great place to be if you like hiking or rock climbing. It was hard to leave! I originally studied social sciences in the US, but working in Japan with people from around the world made me want to get more involved in international business. So after considering the great location of GGSB, (and drooling over pictures of French cheese) I put my interests together and applied at Grenoble.

I’ve been asked to write about my hopes and fears, as well as what I’m doing to prepare for my new life in Grenoble. I’ll start with the juicy bit and go right into my fears. It goes without saying that moving to a new country is a very complicated process, and a lot of the time I’m just glancing at my calendar, hoping that nothing goes wrong. However, my biggest worry about coming to Grenoble is the language. I only just started studying French a few weeks ago, and I’m an absolute beginner.

I’ve been told that Grenoble has a very large and vibrant international community, and from what I’ve seen on this blog, the range of people you can meet is one of the city’s highlights. At the same time, I’m not under any illusion that I’ll be having an easy time without speaking any French! In Japan, I was usually the one helping other people navigate bureaucracy and solve communication problems, but in Grenoble I’ll be back to being a beginner. On the other hand, I’m excited to pick up a third language to use in business and for making new friends. And for that I’m going to need to speak a lot more French!

I’ve found lots of French language resources and language tapes, and I’ve been carrying my beloved Anki around with me everywhere. If you’ve never heard of Anki or other similar tools (they are usually called spaced repetition systems or SRS), I’d definitely recommend checking one out. The idea is that you can store huge amounts of small facts as virtual flashcards, and the program will take care of scheduling which cards you review. So for example, you might eventually have 3,000 vocabulary words, and Anki will bring up about 100 each day. It can make sure that difficult phrases and words are brought back frequently, and things that you’ve already memorized are brought up sparingly. It works from my mobile, and I use it while I’m on the train, waiting in a line, or when a conversation is waning. Best of all it’s open source.

I’ve also been brushing up on my math and finance, and reading some books to get ready to go back to school. I’m currently reading a book on job hunting and just finished an interesting book on Google’s business model and path to success. I’ve also subscribed to a few rss feeds from business blogs. I’ve seen some interesting articles on www.voxeu.org, www.deadlysins.info/wordpress, blogs.hbr.org, as well as many others. Reading these keeps me excited for the intensive studying that will start in September. I also watch many of the presentations from the TED Conference, which are very short, but center on global issues and very inspiring.

However, wrapping up my life in Japan and saying farewell to everyone I’ve met has been the most difficult part of my preparation for Grenoble. Changing location so often, especially between countries, gives you a chance to meet lots of interesting people, and with social networking services like facebook, mixi, and so on, it is easier than ever to stay connected. At the same time though, these applications can make it easy to give yourself the illusion of being connected and ignore the real value of the relationships you’ve made. Before moving my focus to Grenoble, one of my biggest tasks has been to properly say goodbye to all of the amazing people I met in Japan.

As I finish these preparations and the start of classes draws closer and closer, I find myself feeling more and more excited each day. I can’t wait to meet the other members of my class and get started on my new life. I’m also looking forward to checking out the climbing gym near the school, relaxing at one of the cafés around the city, and trying out the hiking in the three surrounding mountain ranges.

I first got involved in climbing in Japan, where it is just starting to really become popular. Actually, people there use some French terms as loan words too, such as gaston (ガストン). I did mostly bouldering, so I’m excited to learn more about top-roping and outside routes, which I’ve heard are more popular in France. The nearby mountains look they’ll be great for hiking, and maybe I can even spot a Dahu!

Free toilets in France tend to serve only 50% of the population

Finding public conveniences in France not up to much? Grenoble Life’s resident Australian Shonah Kennedy reports from the front line.

Having arrived at Paris Gare de Lyon an hour prior to the TGV leaving, I decided to try out Le Train Blue café express.  This forced lunch time also coincided with a call of nature. Perfect – delicious lunch in an iconic café (well, the express part) and the thought of clean facilities to use – free of charge too – or so I thought. I was assuming a little too much.  After going down the steps, I was greeted with a barrier that asked me for 20 centimes. I thought this must not apply to sit-down diners, so I asked my friendly waitress and her answer was confusing to me. Having thought I misunderstood, I repeated my question in a different way, but I received the same answer. I took my 20 centimes, placed it in the slot and was allowed entry into the exclusive world of European facilities – or lack thereof.

I have a social problem when it comes to needing the bathroom in France. And, may I just point out here that I have lived in different countries in Europe and seemingly this is a Europe-wide problem. However, now that I am living in France, this is the country I am picking on – I drink a lot of water.

Prior to leaving the house every morning I drink one litre of water and my ritual café au lait! My difficulties begin about half an hour after I lock the door and leave my clean, reliable facilities far behind. Perhaps it is all psychological as I don’t see others with that grimaced expression on their faces looking beseechingly up and down every street in search of the elusive cubicle. BUT, here we can remove almost 50% of the population as there ARE public urinals (as unhygienic as they look) scattered around Grenoble for those more vertical in their activities. THEN, to add some sort of insult to the matter, I have also seen a number of doggy toileting areas. 

What about the female of the species? Why is it we must pay for the privilege of hovering above a bowl? AND, may I interject here and say even though we do pay (and up to 70 centimes in some places – I get desperate) it does not guarantee the cleanliness of the area or the provision of paper.

So … in my quest of need I have found some amenities – and at times free – I would like to share with you.

You can of course boldly go where many people have gone before and risk the cafés/brasseries. This can be done by walking in as if you own the place – or are at least dining there. This plan is often foiled when you get that lost look on your face and it is evident to all that your only intention is using the bathroom* and you aren’t dining there, had no intention of dining there and probably never will. Or you could be completely honest and ever so sweetly ask “Puis-je utiliser vos toilettes s’il vous plaît?” Be prepared for holding on just a little longer, however.

Then there are the chain restaurants/coffee houses. The only reason I ever walk into these places is on the off chance the big burly guard is not standing against the wall asking to see your receipt, so that you have the exclusive right to use their second rate facilities. Normally you can see if he/she is on duty before you get so far into your mission you have to explain yourself to the self appointed toilet* bouncer.

There are a number of so-called self-cleaning toilet cubicles found around Grenoble. They do cost – normally 20 centimes (that you need the exact change for) – and from experience I have only used one that looked like it had been doing its job properly (on the North East corner of Place Du Dr L. Martin). Sadly the others I have tried: next to the merry-go-round in front of FNAC; behind the market at St Claire Les Halles; and at Leader Price in Seyssinet, should be relieved of their self-cleaning duties due to a job not well done.

Then, there is my find of the year – The Bibliothèque Municipale de Grenoble. On the first floor, on the left hand side there is a toilet. It is guard free, does not require any donation and normally there is paper! However, do take hand sanitiser as the soap is usually missing. But, it is a toilet. It is in the centre of town and it is relatively clean.

I hope there are others out there who share my European social inadequacy and can help with any alternative treasures they have found when nature calls.

*Australian English = toilet; American English = Bathroom (When visiting America I received some vulgar looks after asking where the toilet was!)

Resident Grenoble Life photographer Suzanne Bonnefond shares a mini photo-essay about transhumance … and if you don’t know what that is, you’ll have to read on.

Transhumance is an ancient tradition. Herds of sheep from the South of France return to the summits of the Alps in search of fresh pastures, to stay there all summer.

In the past, these herds accompanied the shepherds arriving by foot across the Alps. It took them several days, sometimes weeks. They took the paths we now use as trails for hiking. They have been immortalised in literature by the works of Jean Giono.

These days, the herds arrive by lorry. This one came in from the Alpes de Haute Provence, having crossed the col du Lautaret.

Arriving in Chazelet, in the spectacular setting of la Meije, a herd of a thousand sheep returns to pastures 2000m in altitude, where it will stay until October.

We can easily see them on hikes in the Oisans, Belledonne or the Vercors.

Finally, if you want to hear what the transhumance sounds like, click here.

Skiing in June? You bet! Photo: Christa Gimblett

Grenoble Life ski reporter Christa Gimblett has some good news for those of us sweltering in the valley: there is still some snow left to ski.

All right everyone, it’s a good two months since you all went skiing, I know you’re missing it already. Don’t deny it.

Well the good news is that you don’t have to wait until December for your next fix of the white stuff because both 2Alpes and Tignes are open even as we speak, and offering more summer skiing than we’ve seen in years. All right, Tignes is a long drive for a bit of glacier skiing, but come on, 2Alpes is virtually on the doorstep.

Usually restricted to the summer park and the glacier runs above 3200m, this year the resort is open and skiable down to midstation at 2600m. There’s even a fair bit of off-piste and plenty of snow on the closed areas for those who know what they’re doing and are prepared to hike for it.

I’m not going to tell you that summer skiing is anything other than expensive – it isn’t. But your pass buys you a whole lot of other activities as well, so if you’re happy to make skiing just one part of a day out or a mountain weekend you’ll get good value.

Don’t make the mistake of thinking that you have to get up there first thing to make the most of it (unless you like boiler plate ice, in which case be my guest). Your best plan is to get to resort for 09:30 and buy a half day pass, which lets you ski until lunchtime. Start with the runs below 3200m, which will have softened up nicely by this time, then when you’ve done that a few times, move up to the top.

The only way off the glacier at the end of the morning is by the main lift, so expect to queue – or alternatively have a beer on the restaurant terrace, leave the scrum to the race teams and descend at your leisure.

The half day pass gives you access to the rest of resort until close of play at 18:00, so you can spend the afternoon mountain biking (100km of marked trails plus a bike park), ice skating (included with your pass) or just riding the lifts, admiring the views and doing a bit of walking. If you want to make a weekend of it, a two-day ski/VTT ticket also gives you unlimited swimming and skating, and a bit of tennis and summer luge to boot.

The mountain biking and other activities go from strength to strength over the summer, but if you want to make the most of the skiing, do it soon – the snow won’t hang around until August in this weather, and who knows when we’ll see another season like this one? So get yourself up there now, while you still can.

Photo: Christa Gimblett

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Christa Gimblett left the UK for a seasonal job in Europe in the recession of the early 90s and forgot to go home again, spending nearly 15 years working for UK tour operators up various mountains. Now living in Bourg d’Oisans with no cash, two cats, a man with a broken foot and a car which looks like a frog.

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Prakhar Amba, Grenoble Life’s very own photographer-flâneur, strolls the stalls of the Brocante des quais du Vieux Grenoble, June 13. Here are his photos and impressions.

Last Sunday (June 13th) I was walking along the pedestrian bridge on Isère which gives a wonderful viewpoint of the cable car (Les Bulles), crossing the river to the Bastille. I saw an unusual number of cycles chained to the bridge. I followed them to discover a flea market on the Quai de la Perrière, Grenoble, leading up to the rue Saint Laurent.

I started with a shop selling plastic dolls. One look at the price tag (150 euro) and the silent horror on my face must have convinced the shopkeeper to nod sharply to me, “yes,” and silently mumble, “get away,” or something of that sorts. I walked away wondering, is this really a flea market? Thankfully, as I walked deeper into the market prices fell to earthly levels and whole loads of antiques and curiosities were on display.

Lots of toys, train sets, gramophones, rotary telephones, big-box AM/PM radios, video games, hats and all sorts of knick knacks were present at bargain prices. It was like a walk into the past. Remember the good old days when the world was analogue, things were made in wood and real brass knobs and lasted generations? I tried to fathom the age of the Remington typewriter, alive enough to type out another letter –wondering if today somebody would bother to keep their keyboard for even 20 years.

Somehow the planned obsolescence of today’s products (three years lifecycle max.) has taken away the memories we used to have with our possessions. What would the flea market of future look like? I wondered as I photographed the flea market of today.

My wife bought two porcelains dolls (10 euro a piece) dressed in 19th century clothes, from an old grandmother who had a hard time parting with them. She had had them since her childhood and gave one last brush to their hair, passing on her memories.

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

Photo: BimiB

Felicity Lodge is a Grenoble-based financial planner with The Spectrum IFA Group, offering independent financial planning advice for expatriates in the Alps region. Here is her guide to life insurance in France.  

Benjamin Franklin said, “in this world nothing can be said to be certain, except death and taxes“.  

There is not a great deal you can do about either. Taxes have to be paid, although you can make sure that you are not paying more than you need to, and no matter how hard scientists try, death will come sooner or later. 

How long are you going to live for?  

Few people can confidently answer this question and the aim of financial planning is to have the means of providing for yourself and your family whatever happens. Very few people can say that they die at just the right time and the main situations we try to cover are that you die too early, which can leave your family with financial difficulties, or you die too late and run the risk of having to live on a reduced income. 

Both of these situations can be covered using different forms of life insurance. There are many forms of life insurance which can be confusing. The two most commonly used in France are assurance vie (life insurance bond) which is a long-term savings policy, and assurance décès (term life insurance) which provides payment in the case of death. By saving money now in an assurance vie, you can build up a lump sum for expected or unexpected expenses in the future, or to fund your retirement. By taking out assurance décès, you will pay a small monthly sum to the insurance company, who will then pay out a lump sum on the death of the insured. 

Assurance vie 

Many of you will have heard of assurance vie, however, most expats will not realise how widely used and tax-efficient these policies are in France.  It is a form of savings where you put money into the policy, then within the policy a number of different investments are available depending on the particular assurance vie you chose.  Many French people save for their retirement using an assurance vie rather than a personal pension because of its superior flexibility. Since you can take the proceeds at any age and maximum tax efficiency is after only eight years, an assurance vie can also be used to save for any future expenses such as university expenses, weddings, or even for the holiday of a lifetime. 

I have discussed the details of assurance vie in a little more detail in my article Arranging your finances in France – an overview but please feel free to contact me if you want any further information. 

Assurance décès 

Assurance décès (temporaire), which pays a lump sum upon the death of the insured, is a very valuable but much underused insurance. It is invaluable for people with young children, but for a number of reasons most families are under-insured and many families are at risk of financial hardship should the worst happen. For some people the death of a spouse is not something they like to think about, others do not like to pay for something they consider unlikely and sometimes people assume that they will be provided for by the state or by family. What you have to remember is that the monthly payment you make is usually relatively small compared to the benefit you receive should you have to claim and provides a huge peace of mind. 

This type of insurance will already be held by most of you with mortgages to cover all or part of the outstanding loan. You may also have a small amount provided by your employer, but you should bear in mind that this will cease when you stop working for that employer. Even if you already have these insurances, it is not usually enough to maintain your standard of living. 

To work out how much cover you need, you have to work out how much money you need to cover your living expenses (including holidays, future expenses such as education and any extras), and how much income you would have available (I can help you for no charge if you send me an email).  If you do this, remember the extra childcare costs. Many people forget to insure a non-working spouse because she does not have an income. In fact, if you were to have to pay someone to look after your children, clean your house and do your washing, particularly if you work long hours, there are significant costs involved!  Being an expat you would also have to consider whether you would want to return to your own country, which would incur further costs. 

Sometimes it is necessary to compromise between how much insurance you need and how much you can afford. Again, I can help you to find the best balance. 

Overview 

Assurance vie and assurance décès are essential financial planning tools, making sure your family is financially secure whatever happens. 

Assurance vie is a way of saving money for the future. It is very flexible and tax efficient and with the right policy you will have a lifelong structure to manage your investments, enabling you to tailor your portfolio as your circumstances evolve. 

Assurance décès is the one thing you pay for but hope you will never receive any benefit. Thankfully it is rare that you have to claim, but in the event that you do the benefit to your family is immense.

Felicity Lodge, based in Grenoble, is a financial planner with The Spectrum IFA Group. For a free, no-obligation consultation please contact felicity.lodge (at) spectrum-ifa.com.

Place Grenette, c.1900

In the second part of John Lubbock‘s brief history of Grenoble he finds himself scratching beneath the surface of the city and discovering a ”post-apocalyptic 19th century parallel universe,” among other things.

I had long been puzzled by an impressive fortification system which stands near my house on one side of Parc Paul Mistral, completely hidden by trees and currently hosting a bmx/mountainbike track on one side. I had to telephone the resident historian of the Maison de Tourisme to find any information about this structure, which turns out to have been constructed in 1813 by the celebrated military engineer Générale Haxo (who also later reconstructed the Bastille) to protect against a possible southern invasion of France by the Austrian Empire.

The Austrians indeed eventually invaded the same year and were repulsed by the city defences, but returned to occupy Grenoble in 1814 and again in 1815. These walls, or enceintes, as they say in French, (the same word is used for pregnant as well as for hi-fi speakers, which is clearly intended to confuse and frustrate learners of French) were later demolished to make way for roads like Boulevard Jean Pain, leaving them an impressive ruin overrun by trees that makes you feel like you are in some post-apocalyptic 19th century parallel universe.

In the 19th century, modernity finally arrived in Grenoble with the construction of the railways. Aristide Bergès, a paper manufacturer, installed a modern paper factory in the Grenoble valley in 1867, where he invented the first hydro-electric motor to power the factory’s turbines. He called this new source of electricity Houille Blanche, or White Oil, which is still used in French to refer to hydroelectricity.

As I said, there is no statue to mark Bergès’s achievement in Grenoble, except for some ugly student housing and a CROUS named after him. However, one look the disservice done to his memory by the invention of photography will tell you that he’s not nearly as sexy as how French romantics imagined Bayard to look. I mean, he doesn’t even have an English language Wikipedia page, which is actually more of a damning criticism of his historical importance.

Bergès, and Bayard. No comparison.

And so to bring us up to the most important century, being that in which most of us were born: the 20th. Since all history is inevitably self-centred, why not congratulate ourselves for being born in the best century – that is if centuries are judged on some kind of Tarantino-esque scale of awarding points for most limbs severed or ears sliced off.

Exposition Internationale de la Houille Blanche et du Tourisme

After the First World War, Mayor Paul Mistral began various social and cultural projects, including the 1925 Exposition Internationale de la Houille Blanche et du Tourisme. Though what these two subjects have in common is something of a mystery; perhaps they couldn’t drum up enough interest in either one by itself. For the occasion, architect Auguste Perret constructed the Tour Perret in Parc Mistral, whose blue lights can be seen from miles around, shining as a beacon to the ability of architects to create Freudian symbols of power.

It is the sole remaining construction from this exhibition, and was used at the time to transmit radio emissions throughout the whole of France, though probably not with much success considering analog transmissions find mountains to be rather a hurdle to overcome. The tower was classed a historic monument in 1998, and a restoration plan is currently à l’étude.

There was a large wave of Italian immigration into Grenoble after the Second World War to help provide workers for the new factories. They stayed after discovering that the French loved eating cheese and bread, but had never thought of combining them inside an oven.

At the outbreak of the Second World War, the Nazi invasion was stopped in the south at the Battle of The Alps, though Grenoble was occupied by the Italian army in 1942-3 after they heard how easy it was to get good pizza there. Unfortunately, the Nazis found the Italians to be a little too laissez-faire about rounding up Jews and resistance fighters in Grenoble, and decided to occupy it themselves in 1943, escalating resistance activities, the most spectacular of which was the destruction of the Bonne barracks and arsenal in December 1943.

American tanks in Grenoble, 1944.

After the war, Grenoble rebounded economically by marketing itself as a winter sports destination, aided by the construction of some hideous new brutalist buildings and ski resorts like Chamrousse for the 1968 Winter Olympic Games.

The last half of the 20th century saw the arrival of new immigrants from North Africa and the realization of the globalized and multiethnic modern character of Grenoble.

Well, there you go. That’s as far as Wikipedia will take us, so I suggest you stop procrastinating on your computer and go outside and make some more history, or else there won’t be anything else to write about, will there? Go on, outside, now …  shoo!

The crèche: in safe hands

Grenoble Life editor James Dalrymple blogs on his experience with French childcare in Grenoble and the difficulties getting that all-important place at a crèche.

Handing over your baby to complete strangers is not first on our list of desirable experiences but it is an everyday reality for working parents. France has a relatively high proportion of working mothers and an enviably fertile population, but a surprisingly short basic maternity leave. These are just some of the contributing factors that necessitate widely available and affordable childcare, which in turn do their bit to help get the balance right between being a parent and having a career.

The scolaire system

Getting a place at a municipal crèche, however, is notoriously difficult in Grenoble (and probably elsewhere in France). The largest intake of babies is in September when toddlers doff their mortar boards and graduate to Ecole Maternelle (nursery school), freeing up space for the newbies. Thus, unless you are confident of conceiving in accordance with the demands of l’année scolaire, you may find yourself out of luck when your congé de maternité or parental comes to an end. (For your info, nine months of pregnancy added to around three months of post-natal maternity leave - give or take – would make this September a good time to conceive in order for your baby to get into the crèche in September 2011 – you know what to do!).

Such crèches are subsidised by the Mairie, but parents still pay the bill depending on their means: making them affordable to all. The charges are subject deductions from the CAF before you see them, so that there is none of the time-consuming reimbursement admin which affects visits to many doctors. For my wife and I, it amounts to about two euro an hour. What’s more, thereafter, you can declare this expense against your annual income tax obligations (impôts) which sees this figure drop by a further 50%. In short, the piggy bank can be left intact for the time being.

In my experience the crèches are clean, well-equipped and staffed, with fresh meals prepared on the premises and bubbly personnel. At the end of each day I am given a detailed report on my daughter’s food intake, sleep time and number of nappies (couches) filled with unnerving precision. I am always reassured she is in safe hands, free to explore a terrain filled with ludic objects to peruse, which makes a change from her reordering my CD collection or trying to rewire a wall socket chez moi. 

The nanny state

The alternative is a crèche familiale: effectively smaller groups of children cared for at somebody’s home. This is billed as a municipal service and thus subsidised but is closer in spirit to having a private nanny. In our case, we were desperate for the lively atmosphere of the crèche for our daughter, with the different carers and larger number of children. Whereas many people appreciate the crèche familiale, we didn’t feel comfortable leaving our daughter with only one person: a person who wields such an enormous influence in a child’s life yet does so largely away from the scrutiny from her peers.

Although I’m sure the majority of women who work at crèches familiales are professional, I have heard of instances in which they were not. And if you refuse the woman the Mairie offers you, they immediately blacklist you and you have no chance of getting subsidised municipal childcare. It seemed that if we accepted this process, it was a big step into the unknown. Private nannies were also scarce at the time, and among those we met who weren’t fully booked there were some who didn’t seem to even particularly like children. These individuals were also unwilling to accept temporary terms with us while we waited for a place at the crèche to become available, as they wanted a longer commitment.

In my local quartier, the municipal crèche is situated ideally at two minutes walk from our flat, and would have stood as a mocking reminder of what we had missed if we hadn’t got a place there. Finally we resolved to make an arrangement whereby our daughter attended the halte garderie, which is effectively the same as the crèche but only for up to two days maximum. Normally this is organised on an ad hoc basis or, as in our case, with temporary rolling contracts. Luckily we were able to make other arrangements for the remaining hours that we needed but it allowed us to ingratiate ourselves a little with the staff there and secure our position on the waiting list until a place made itself available. This happened in three months.

Baby betrayal

At first our daughter was crestfallen upon being left at the crèche, acting as if having befallen an enormous betrayal. Traitor! she seemed to cry upon being passed to the crèche staff. There is an integration system by which you can leave your child at the crèche for a couple of hours at a time, gradually building up to full days, but babies are an unpredictable bunch. One day you feel a guilty tingle of satisfaction when your baby cries on being handed over to a carer: yes, my baby still loves me best! The next day your child will cry when you come to pick her up. Traitor! you seethe in silence. In the parental logic, the latter is just the baby ‘releasing tension’ at the end of the day.

The inevitable inconvenience to all this contact with other children is what has seemed like an endless loop of spectacular illnesses. The first time you see a baby projectile-vomit (à la L’exorciste), it is terrifying, but it is impressive what one can become inured to. The winter just past has been a hard one: with the somewhat false alarm of swine flu providing unwelcome distraction from the lurid retinue of tummy bugs and gastros doing the rounds. At the crèche, there is no escape from the steep curve towards stronger immune systems, but this has to happen at some point.

The three days a week my daughter spends at the crèche currently provide most of her contact with French, despite the efforts of certain staff members to speak English to me. As my wife and I speak English at home we hope this will be an effective path towards her obtaining bilingualism; but it is interesting to see the different phonemes she manages in her babillage. Among the distinctly Anglophone syllables we have started to identify some impressively rolled Rs. Once she yelled what was clearly a resounding Merde!, but I’m sure she didn’t learn that down at the crèche.

If you want my advice, persistence is key. Where there is will there is a way.

Grenoble in 1944

Want to impress your friends with your knowledge of Grenoble’s past? John Lubbock has condensed the history of the city into two short blogs so that you can show off about how much you know.

While the French are justly proud of the things their culture does well throughout the country, such as cheese, ignoring things that aren’t their business, and electro-pop, they’re not so fond of regional particularism, and perhaps this feeds into the lack of promotion of Grenoble’s interesting historical buildings and cultural heritage. Have you ever walked past an old building and thought ‘what is that thing?’, or been inside an unassuming bookshop in the centre of town, only to be confronted by a medieval-looking interior? Perhaps it’s just that Grenoble is a city so obsessed with the future that it doesn’t have too much time for the relics of the past.

Well, I for one am a big fan of relics of the past, and if there was a facebook page for relics of the past, I would be lining up to be their cheerleader.  So, Anglophones with a passing interest in ‘istoire, I know you’re busy people, so we’ll see if we can’t cover 2000 years of Grenoble history in the space of just two short blog posts. Ready? Let’s start with those good old Romans then.

Grenoble is at the crossroads of three valleys, and has been a garrison town since it became part of the Roman Empire in 43BC, when it was called Cularo. The omniscient deity, wikipedia, tells us that the penultimate Emperor of the whole Roman Empire, Gratian, was so touched by the welcome of the people of Cularo that he elevated it to the level of a Roman ‘City’ and began constructing walls to protect it.  Cularo was renamed Gratianopolis in 381 in honour of the Emperor. This name transformed over the next millennia to Graignovol and, after its incorporation into the kingdom of France, changed to its modern pronunciation through association with the word ‘noble’ in reference to the King.

After the fall of the Empire, the city was involved in a game of Merovingian pass the parcel, as it became part of the Burgundian Kingdom, Middle Francia, Lotharingia, and was also pillaged by the Lombards in the sixth century, and by the Ummayid Saracens in the eighth and ninth century. In 1030 it became part of Arelat, territory of the Counts of Albon (later Dauphins de Viennois), a protectorate of the Holy Roman Empire. The appellation Dauphin appears to be a noble title of no more meaning than ‘Compte’, due to the medieval belief that dolphins were the kings of the fishes. Modern anthropology carelessly forgot to tell them that Dolphins are not fishes, and one look at the coat of arms of the Dauphiné will tell you that its creator never saw a water-dwelling creature larger than a pike in his life.

The Coat of Arms of the Dauphiné

No doubt the Dark Ages of Grenoble history were full of peasants shouting ‘Help, Help, I’m being repressed’ for many centuries (see Monty Python and the Holy Grail for illustration) without making so much as a stain on the pages of history, and thus we are left with a dull list of the names of royal managers which resembles the Roll of Honour in the boardroom of a third division football team that nobody cares about. But worry not, for with the arrival of feudalism, interesting things were about to happen to Grenoble that would forever be commemorated by histrionic statues of romantic chevaliers.

In 1349, the last Dauphin, Humbert II, negotiated the “transportation” of Dauphiné to France. An ‘ambitious spendthrift’, Humbert supported several religious foundations, founded the University of Grenoble and sponsored a rich court. He went on Crusade and came back bankrupted, his wife and son having died during his leave. Having run out of luck at the medieval casino, he decided to cash in his chips, sell the Dauphiné to the King of France and retire to a monastery which he presumably pimped out and invited MTV over to try the indoor waterslide in his new ‘crib’.

In 1515, King Francis I appointed Bayard, the “fearless and blameless knight” Lieutenant-General of Dauphiné. Pierre Terrail, lord of Bayard, was born in Pontcharra, near Grenoble in 1476. He fought very bravely during the Italian wars, and Francis I asked Bayard to knight him on the battlefield of Marignan (1515). In a brilliant piece of Quixotic irony, Bayard was killed in 1526 by bullet from an early gunpowder weapon. Modernity – 1, Chivalry – 0.

Despite this exciting tale, Grenoble suffered heavily during this period as the city was burdened with having to support a large military presence, and the plague killed many people. A romantic nineteenth century statue of Bayard stands in Place St. Andre, giving encouragement to all the young Frenchmen who aspire to feats of arms such as combat contre neuf Espanyols and laying siege to Naples. As far as I can tell, there doesn’t seem to be a statue to the Grenoblois who invented hydroelectricity, but then that’s just not as sexy as a guy with a sword who excelled at killing foreigners.

In the sixteenth century, the Wars of Religion saw Grenoble caught in the middle of a sectarian struggle about which it is difficult to make many jokes, so we’ll keep it short. The Dauphiné was an important settlement for Protestants influenced by the Calvinist theology emanating from Geneva. The Huguenot leader, the Baron des Adrets, pillaged the Cathedral of Grenoble, destroying the tombs of former Dauphins in one of many acts of iconoclasm.

In 1575, Lesdiguières became the new leader of the Protestants and allied himself with the pragmatic King Henry IV (who converted from Protestantism to Catholicism to gain the throne, quipping “Paris is well worth a Mass”). However, a Catholic movement, the Ligue, took Grenoble in 1590, refusing to make peace. After months of assaults, Lesdiguières defeated the Ligue and took back Grenoble (which he starved into submission), becoming the leader of the entire province.

Lesdiguières served as lieutenant-general of the Dauphiné until 1626 and began the construction of the Bastille in order to protect the city. He also ordered the construction of new walls and constructed the Hôtel Lesdiguières, which faces the river on one side of the Jardin de Ville. But the religious trouble was not over, and when Louis XIV started oppressing Protestants again in the seventeenth century, the emigration of Huguenot gantiers left Grenoble’s glove industry with no competition, and it became the main industry of the city. One can only imagine that the number of duels skyrocketed as aristocrats always found themselves within a few inches of a glove with which to slap the face of a rival who had questioned the honour of their mistress.  

Prior to the French Revolution, Grenoble was the scene of popular unrest due to financial hardship from the economic and financial crises. The famous Journée des Tuiles (1788) in Grenoble is seen as one of the first popular revolts that started the revolution. The government sent troops to put down a meeting of the Estates of Dauphiné which had convened in Grenoble. The people of Grenoble climbed onto the roofs, where they threw down tiles onto the troops, thus giving the incident its name.

Rue Raoul Blanchard, painted by Debelle a century after the event, and today.

These events influenced two prominent Grenoblois, Barnave and Mounier, who represented Dauphiné in the in the Estates General in Paris. Both sought to stabilize the rapidly shifting political ground, and both became suspected of supporting the Ancien Regime, for which Barnave was executed and Mounier forced to flee to Swizerland. During the revolution, the Bastille was renamed in support of the storming of the Bastille in Paris. Grenoble itself was renamed Grelibre, though they wisely changed it back when Napoleon was crowned Emperor, in recognition of the fact that nobody had become any freer, and that the name itself was rather silly.

Since you will undoubtedly be feeling jet-lagged by such a rapid fast-forward through 1800 years of Grenoble history, we will save the last 200 years for a second blog post, and thus leave you desperate to know how the story ends (spoiler alert: Napoleon meets his Waterloo).

'Retour à Grenoble'. Photo: Loin des yeux

Without wireless in Grenoble? Don’t want to use an internet café or pay to buy a clé USB from SFR or Orange? Read on for sites of reliable and free internet access at various points throughout the city. 

By Anne S.

Pain et Cie
1 bis, rue de Lafayette
Tram: Sainte-Claire les Halles (B)

Pain et Cie is located very close to Place Notre Dame and is a great brunch/lunch/breakfast place. It’s a casual, relaxed spot with long wooden tables and a nice outdoor terrace as well. They have a bunch of tartines and jus de fruits bio and an incontournable spread of brunch items – it’s usually packed on Sunday mornings with everyone from students to families to young couples. They have a good free wireless network (although one or two times it didn’t work for me) and the big tables are excellent working spaces.

Pros: I’ve seen quite a few people working on computers there and the food is really good and reasonably priced. The restaurant as a whole has a nice atmosphere and the people who work there are also very friendly. Definitely my favorite wifi spot in Grenoble proper (excluding the university).

Cons: Pigeons sometimes fly in and out, which is alarming, but has nothing to do with computers. Also, there are only a few outlets, so bring your computer fully charged. 

Université de Grenoble
Saint Martin d’Hères campus
Tram: Bibliothèques Universitares (B/C)

This was my preferred point of Internet connectivity in Grenoble, as I was a part-time student at the university. The Bibliothèque Universitaire has plenty of tables, plugs, and excellent connectivity, as do a number of other sites on campus. The Fac also offers an opportunity for connection that is not a coffee shop or eating establishment, so it is theoretically one of the few “free” hotspots on this list.

Pros: The majority of campus buildings are wireless, and the Internet is fast and reliable.

Cons: You must be enrolled at the university to gain access to the network, if I’m not mistaken. It’s locked unless you have a login from their registrar. 

French Coffee Shop
3 place Claveyson
Tram: Sainte-Clare les Halles (B) or Maison de Tourisme (A/B)

This coffee shop is actually a chain with a number of locations around France. I got the impression that it is modeled after an American-style coffee shop (think Starbucks, Peet’s Coffee, or Tully’s), with blended ice drinks, smoothies, and muffins. It attracts a relatively young clientele, including a considerable amount of foreign (mostly American) students. The wireless network here was secure (password protected) and very reliable, and there are also a number of outlets to plug a power cord.

Pros: Outlets! Comfortable couches! And if you’re not in the mood for pastries, excellent chocolate muffins!

Cons: Do you really want to spend all your days at a place called French Coffee Shop?

Le 5 (Musée de Grenoble)
5 place de Lavalette
Tram: Musée de Grenoble (B)

Le 5 is the restaurant attached to the Musée but, of course, you can eat there with out paying admission to the museum. I’ve sat in there some afternoons with a coffee or a tea doing work on my computer and it’s a nice, quiet place. 

Pros: Quiet place to get things done, nice tables. At the Musée which is a nice change of pace from the average internet cafe. 

Cons: Like all museum restaurants, prices are a little higher. I also felt a little weird using my computer in the restaurant, but in the afternoon (around 4ish) when things were slow and I was lounging around with an espresso it seemed to be fine. 

Casino Géant
76 avenue Gabriel Péri, Saint Martin d’Hères
Tram: Neyrpic Belledone (C)

I’ve never actually tried this one out but I’ve been told that the shopping center here has free wifi. Where you’d use it in a grocery store is beyond me, but that’s that.

Around town

The ville de Grenoble has launched a public wireless access campaign, which gives users access in a variety of public spaces around the centre ville. Right now these spots include Parc Paul Mistral, Place Grenette, Place Saint-Andre, Place Victor Hugo, le Jardin de Ville, and le Jardin des plantes. The network (wifigrenoble or Ville-de-Grenoble) is somewhat reliable, with varying degrees of connectivity depending on where you are, but last time I checked the wifi in Parc Paul Mistral did not allow access to various media sharing sites such as Facebook, Youtube, Hulu.

Pros: Internet is accessible almost anywhere in the centre ville, including cafes or restaurants near the hotspots. I never lived in centre-ville proper, so I wouldn’t know if it is accessible if you live there, but maybe someone else can answer that question.

Cons: Checking your e-mail in Parc Paul Mistral? Really? It’s kind of awkward. Also, I have never seen anyone using a computer in that park, and when it’s sunny you get that whole problem of not being able to see the screen. You’d also run a higher risk of getting your computer stolen as it’s pretty open public place. More information here.

Also, I was told last spring that the Bibliothèque in centre ville was getting wifi, but am not sure if that has happened yet. Can anyone confirm this?

Resident Grenoble Life photographer Suzanne Bonnefond presents another idea for a short expedition from Grenoble: “I suggest a trip to ‘Indiana Jones land’, just near the city, les Gorges du Furon in Sassenage. Visitors are always impressed by the beauty of the place”.

Les Halles Sainte Claire, Grenoble

Grenoble Life’s Christina Rebuffet-Broadus walks Les Halles Sainte Claire, Grenoble’s foremost covered market and former convent, now site to a “divine experience of another kind”.

France wouldn’t be the same without the places that fire the wanderlust of francophiles everywhere. There are the cafés for people-watching and sipping an espresso in the sun. There are the Gothic cathedrals with spires straight out of a Victor Hugo novel. Then there are the open air markets, a sort of grand mass for the foodies of France. Almost every Sunday, I show up for service at Les Halles Sainte Claire for my weekly indulgence.

The Sainte Claire site once offered a divine experience of another kind. From the 15^th century, Clairisse nuns saved the city’s soul from inside the convent that once stood here. As industrialization conquered 19^th century France, the citizens of Grenoble needed physical rather than spiritual nourishment and the city decided to build a modern marketplace—the Halles Saint Claire, in 1874. The Grenoblois have been “going marketing,” as Julia Child would say, at Place Sainte Claire ever since.

Inside the Eiffel-esque glass and metal building, all those things that we expats love about French markets swirl about. There are a few cheese stalls with wide selections of what France does best. A baker offers classic baguettes and an assortment of more sophisticated pains. There are meat, fish, and poultry sellers for the protein. A few stands offer ready to eat delights if you can’t face the stove or wait to get back home to dig in.

There are a few stands that have upped my consumption of certain dishes. I’m almost on a first name basis with the sauerkraut lady (I said almost) of La Fée Maison. This young woman is like my French food fairy godmother. Ever tried to find good take-home choucroute in Grenoble? Well, here it is. This woman hails from the hearty land of Alsace and regularly goes back to select her cabbage farmers. She’ll also help you pick out the meats to serve with all that fermented cabbage—there’s a secret to choosing, but you’ll have to ask the expert.

Al Dente is the other stand that makes mush of my will power. Their homemade gnocchi measures up to the store bought stuff about the same way discount Carrefour glace does to artisanal Italian gelato. They always have a few olives set on the counter for sampling, but it’s the colorful antipasti and dried fruits that will catch your culinary eye.

Les Halles Sainte Claire isn’t just about the food—the sellers are as much a part of the experience as the food they sell. There’s the Harley riding chicken man that invited my husband and I to a rockabilly soirée at a neon-lit biker bar somewhere on the route nationale between Crolles and Chambéry. If you’re looking for a juicy poulet de Bresse or a jumping Teddy Boy joint, he’s your man. Catty corner to the chicken man, there’s the Chesire cat-grinning butcher. This man was born to be a butcher. Not so much for the kooky smile as for the savory paupiettes de veau that he ties up by the dozen. Go early if you plan on picking some up.

In fact, go early period, especially on Saturdays. Like anywhere in France, Saturday is synonymous with shopping crowds and trying to navigate the alley ways with a caddy full of groceries can be an exercise in patience and learning to live without personal space. Accept now that you will be trampled by little old ladies. That’s when it’s time to shop not in the halles, but around the halles.

“Ooh, pour ça il faut voir avec ma femme là-bas, c’est elle qui fait la cuisine et je suis pas encore mort! C’est que c’est pas trop mauvais!”

More brouhaha from the fruit & vegetable man?

Much of the brouhaha outside comes from the vegetable man who converses with his customers as if they all wore hearing aids. That’s how everyone in line learned that the secret of sautéeing buttery chanterelles baffled me. But I got a good recipe from his wife, not to mention a free bouquet of parsley, and a complimentary kiwi before being sent off with a few kilos of fruits and vegetables (my mom would be so proud) for around 10 euros. The quantity of produce carted away always seems to defy the low price and really, who doesn’t love those hollering market sellers?

The market at Les Halles Sainte Claire is convenient as the sellers set up shop every day except Monday, until around 1 p.m. On Fridays and Saturdays, the inside stands even stay open until 7 p.m. so that shoppers can prepare for weekend dinners with friends. Shopping starts as early as 6 a.m., so technically you could pick up some groceries before going to work.

Marketing can be hard fun. After a morning of poring over produce and poultry, you’ll find me at Le Zinc, a postcard of a bistro that usually has a few tables set up just opposite Les Halles. Watching this picturesque part of France from behind a grand crème offers the perfect reward for loading up on all those vegetables.

Sainte Claire, paradoxically, is unique and much like the outdoor markets all over Grenoble. It reminds us of the France that Julia Child loved, the France that M.F.K. Fisher praised, a France that still exists somewhat, defying the million metre carré Carrefours. A France that wants to enjoy grocery shopping as foreplay to a good meal. Customers come to savor the food, not just consume it. The nuns may be gone, but Sainte Claire still serves up a certain spiritual nourishment for the gourmets of Grenoble.

Upstage 2010

Grenoble Life’s Camille Bromley was in the audience at Ste-Marie-d’en-Bas for this year’s Upstage theatre production: Joe Orton’s Loot and Harold Pinter’s Mountain Language. Here’s what she has to say.  

Grenoble is home to a plethora of theaters running shows every night of the week, but not many of those are performed in English.  Luckily we have Upstage productions to step up to the task; every year Upstage puts on a six-day running of English language theater, performed by high school students at the Cité Internationale.  This year producer and director David Simpson presented a double-bill, Joe Orton’s Loot and Harold Pinter’s Mountain Language.  

Those expecting “High School Musical” should look elsewhere.  Although the team of actors is made up of high school students, the plays chosen confronted difficult and provocative issues. The group emphasizes that its shows are professional productions aimed for all mature audiences, and challenging plays are chosen to reflect this.  

First on the bill was the short but intense Mountain Language, a serious political play about the imprisonment and torture of an ethnic minority group and their loss of culture and identity as a result of the forced suppression of their language.  The play was written after writer Harold Pinter became aware of the treatment of Kurds in Turkey, but the play’s setting is non-specific.  Heavy subject matter and a demanding script, which the actors handled with deliberate subtlety, making the events on stage resonate even more.  

Loot, a subversive black comedy recounting a funeral, a bank robbery on the same day, and the consequent mayhem, is full of lively, sharp characters and witty one-liners.  The actor playing Nurse Fay got the character’s prim voice and maligning saunter down pat, while Inspector Truscot and Hal got through their bits with perfect comic delivery, including a Clouseau-ish French detective impression that won the house over.  

In both plays gender roles were not strictly kept to, with girls playing male roles to balance out the distribution.  To make the small number of roles available to more actors, two actors playing each role alternated nights.   

The play ran from Monday to Saturday the week before last.  Thursday night opened to a full house in the Ste-Marie-d’en-Bas, a small theatre with plenty of ambience just off of the place Notre Dame.  Many Anglophones were audible in the audience, but a good mix of Francophones was present as well.  

An impressive show, by an impressive group of bilingual students.  I look forward to next year’s.  

Upstage 2010 poster

Gratin dauphinois. Photo: Marylise Doctrinal

It’s a no-brainer really. Grenoble Life wants your comments about favourite things to see, do, eat and drink in Grenoble and its surroundings.

I have been asked by French Entrée to write a post on what to do and see in Grenoble. Upon tackling this in earnest I found myself baulking at the task. An increasingly poorly written list began with a walk to the Bastille, continuing through the various museums to barely legible mentions of the more attractive squares in the old town. Then, I thought, rather than regurgitating the generic Grenoble itinerary, I thought I would solicit a more idiosyncratic list of Grenoblois pleasures, open to suggestions from YOU. What and where do you like to eat, where do you drink and people-watch? Tell me about your favourite local walks, markets, parks, neighbourhoods.

Here is my idiosyncratic inventory of Grenoble favourites, a by-no-means-comprehensive list of reasons to be cheerful. I’m sorry if this heralds few surprises and all seems a bit generic … please use the comments box for your personal lists below.

• ‘Glacier Gonzales’ (Rue Servan). As good as ice cream gets, in my view.
• Driving along the Voie Sur Berge, with its colourful diaporama of the Quai opposite, reminds me of the climax of The Italian Job, even if my Citroën Saxo is not a Mini Cooper and I’m in the wrong country.
• Cycling the banks of the Isère, with its generous network of lanes.
• The crazy geometric paving stones on the University campus. Far out!
• The crumbling beauty of the St Laurent district.
• Drinking kirs and people watching on Place St André (aka Place du Trib) in the summer.
• Sitting on the sofas at the musée de Grenoble when it’s quiet, which it usually is.
• Tartes and hot chocolate at ‘Tarteline’ (Grande Rue).
• Fromage blanc at the dairy farm at Charmant Som, with bilberry coulis.
• Fondue at ‘A Confesse’ in St Laurent
• Parmigiana at ‘Ciao a Te’ (Rue de la Paix)
• Pizza in general. But if I am to be perfectly honest, my favourite pizzas come from a camionette in Montbonnot rather than one of the many along the Quai or elsewhere in Grenoble itself. However, it is my contention that you can find a good pizza more easily in Grenoble than in the tourist hot-spots in Italy itself.
• The tram. Being on the tram makes me happy, even it doesn’t go anywhere near my home. Watching it glide onto campus or snake through the old town makes me misty-eyed with pride and affection for my adopted home town.
• Bastille Day fireworks at Parc Paul Mistral.
• Being able to watch a football match at the Stade des Alpes and then stroll back into town for a beer. Even if the standard of football from the home side has been appalling this season.
• La Nef and Le Club. Old school cinemas with dependable art house programmes.
• Gratin dauphinois when it is freshly made (i.e., not resurrected after deep-freeze hibernation). To my memory, the best I’ve had in a restaurant was at the ‘Café des Alpes’ on the way up to Le Sappey ski resort.
• La Fête de la Musique. A nationwide event, admittedly, but one that impressed upon me something about the French. In England such an event could not happen without copious amounts of drink and drugs, and thus a heavy police presence – a sentiment echoed in Lucy Wadham’s The Secret Life of France (a book well worth reading by the way).
• The old town. I was surprised when I came to Grenoble how many French people – Grenoblois or not – were dismissive about the city, saying it wasn’t beautiful. It may not have great monuments of individual interest but I like the character of the old town and its attractive squares. You can give me this over the British high street, with its identikit shopping precincts, any day.
• The white-capped Belledonne massif, providing its luminous theatre scenery to the city.

Ok, your turn …

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.

Quatre cafés. Photo: designwallah

Gill Baconnier has lived in France for over twenty years – seven of them in Grenoble. A former feature writer for an English regional magazine, her articles about life in France can now be found at her blog French Windows. She has kindly agreed to share this article about French cafés and bars with Grenoble Life.

There is a wonderful cartoon by the French cartoonist, Sempé, which depicts a man standing at one end of a café-lined boulevard with an anxious expression on his face. In the next frame, he has emerged at the far end of the boulevard, having slipped around the backstreets and avoided having to walk past all those people-watchers. Believe me, I know how he feels – it takes great courage. In fact, I recently tripped and fell headlong on the pavement in front of a dozen or so cappuccino-sipping café customers. I do believe they were mildly amused – after all, it’s not every day you see a plump middle-aged English woman perform a perfect flying tackle on a lamppost.

Taverns have been around forever but cafés were opened specifically to sell coffee. The first coffee house was opened in Constantinople in the fifteenth century. When the new drink arrived in France in the seventeenth century it quickly became fashionable and in 1686, the first French coffee house – or café – was opened in Paris. It was called the Procope after its Sicilian owner and soon became a meeting-place for writers, artists and philosophers such as Voltaire, Balzac and Victor Hugo. A second café – La Table Ronde – was opened in Grenoble in 1739. Situated opposite the law courts and the theatre, it has had its fair share of famous clientele: Jean-Jacques Rousseau came here, perhaps after one of his Solitary Walks and so did Choderlos de Laclos, possibly in search of a Liaison Dangereuse. Sarah Bernardt and Fernandel drank here as did Jacques Brel, Georges Brassens and a host of other actors and singers.

There is a café for everyone in France. If you are of a philosophical bent – like Sartre, for example, who spent most of his life in the Café de Flore in Paris – then the café-philo is for you. You don’t have to drink much but you do have to be able to spout a load of old rot about the meaning – or not – of life. My daughter went once and came back either drunk or extremely bewildered, I’m not sure – in any case, she was completely incoherent. She thought so…therefore, she was…or something like that.

Then there is the café littéraire where completely sober people stand up and recite poetry or prose and then talk about it over a drink or two. To be honest, I’ve never been to one of these – they remind me too much of Eng Lit lectures at University and when I go to a café, I want a drink and a good laugh – not an in-depth discussion of limping iambics.

The Irish pub has become very fashionable recently. Every French town has a Shannon Pub or a Shamrock Bar. These places are usually furnished with wooden benches and trestle tables while the walls are hung with anything remotely Celtic: Guinness adverts, pictures of Donegal, leprechauns, Aran jumpers etc. For some reason, Saint Patrick’s night is very popular in France and most Irish pubs will be holding events such as céilidhs to the accompaniment of fiddles, flutes and bearded bard. Sometimes they get it wrong, of course, and I personally know of two ‘Irish’ pubs called The Loch Ness and The Queen’s Head. Kilts, Celts – it’s all the same to them…

Another recent phenomenon was the chicha-café. They didn’t last long because of the anti-smoking law which defeated the object somewhat. They had names like ‘Oasis’ and ‘Le bar à Chicha’ and had exotic Arabian nights-type décor. Apparently (the information comes from my daughter, who is – as you may have guessed – a regular café-goer) one would lounge around on silken cushions, drinking mint tea and taking regular puffs of fruit- flavoured tobacco from a hookah pipe. In fact, my daughter’s birthday present to me a few years ago was an evening out in a chicha bar but I was afraid I would cramp her style somewhat – and I wasn’t completely sure I would be able to heave myself up off those cushions at the end of the evening, my knees being what they are. I settled for bath salts instead.

Then of course, there is the café de la gare: the station café. Seedy, moody, depressing plastic-table-topped-Gauloises-smoke-filled meeting places…the stuff obscure French films are made of, quoi … unfortunately, they are rapidly being replaced by cheap and cheerful American fast-food outlets – not half as romantic, I’m afraid, but just as seedy. And of course if you lit up a Gauloise you’d be thrown out.

The French bistrot is just a café with a name of obscure origin. A popular explanation is that it comes from the Russian word for ‘quick’ and originates from the period of the Russian occupation of Paris. However, this is much disputed and the true meaning remains a mystery. Who cares anyway? It’s just a café with a fancy name…

Bars – as far as I can gather – differ from cafés in that they cater for locals who just want a shot of pastis and a read of the newspaper – and perhaps a bet on the horses. The bar-PMU doubles as a betting shop and if you accidentally wander into one of these establishments you will be met with cold stares and frosty silence. There will always be a television in the corner broadcasting a horse race and a burly barman who will pointedly ignore you.

In all these places, you can sit at a table – either inside or out – and expect a waiter to come and serve you. This is the theory. In practice, you sometimes have to do a lot of coughing and finger-raising before you manage to catch his eye. And don’t be fooled: French waiters have phenomenal memories. You can give the most complicated order and they will have no trouble at all remembering it along with three or four other orders from other tables. They will also have no trouble at all remembering whether or not you gave a tip the first time – and treat you accordingly on your next visit. You have been warned…

Some Grenoble cafés you might like to visit:

Cafés-philo :

La Table Ronde (café philo-littéraire), 7 place St André

Le Tonneau de Diogène (café-philo), 6 place Notre Dame

Irish pubs:

The Druid’s Pub, 3 Rue Diodore Rahoult,

O’Callaghan Pub: 2 Place de Bérulle      

And if these are not to your taste, there are plenty more to choose from here.

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

Film Projector Lens. Photo: Daniel Leininger

Are you a film buff? Know your Nouvelle Vague from your Cinéma Vérité? Grenoble has a wealth of cinemas and film festivals to cater for all movie tastes. Grenoble Life’s Camille Bromley investigates. 

During the grey Grenoble winter I frequently find myself ducking out of the rain and snow and into the cozy darkness of the movie theater. Grenoble’s a particularly rich city for movie lovers; lately there’s been one film festival after another, while the numerous movie theaters in town already provide plenty of occasions to see lesser-known or international films.   

Most of the theaters mentioned below show films in their original language with French subtitles—check for VF (version française) or VO (version originale) next to the listing. Ticket prices in the art cinemas range from about three to six euros, and are free in some special cases as part of film festival programs. Be sure to catch some of the extras with film festival screenings, as they often program-in shorts, stage talks before the film or dialogues afterwards, invite the filmmaker to be present, or even plan a goûter. 

The theater of choice for all cinephiles in Grenoble would be La Salle Juliet Berto, home to the Ciné-Club de Grenoble. Juliet Berto is conveniently located on Place Saint André, across from the former Tribunal court. The Ciné-Club projects films each Wednesday at 8:00 pm, and many more films are shown throughout the week at Juliet Berto on behalf of other associations. The Ciné-Club has just finished a cycle of film noir, including The Maltese Falcon; a cycle of B horror movies, including Invasion of the Body Snatchers; and will kick off a cycle around the theme “strange love” with Hal Ashby’s Harold and Maude on March 3^rd. 

The biennial film festival Cinéduc concluded their 10-day program last week. This year’s theme was Bonjour le Bonheur!, and included daily films, debates, and conferences exploring how happiness is portrayed in cinema spanning all corners of the world and all decades in film history. If you’ll be in Grenoble in 2012, keep an eye peeled for the next festival. 

La Cinémathèque de Grenoble is another association that projects films regularly (about 120 showings per year) at Juliet Berto. The films are often accompanied by talks, debates, conferences, and meetings with the directors. Last week I saw a free showing of Fritz Lang’s 1927 silent classic Metropolis, along with Arrival of a Train at a Station, one of the Lumière brothers’ first films. Currently they are projecting a cycle of animated films and films for children. To come is a selection of established classics, including The Grapes of Wrath; an evening with Yemenite director Khadija Al-Salami and her films; a conference on cinema and pornography; and a showing of Jacques Tati’s Mon Oncle. From July 6^th to 10^th this year, the Cinémathèque de Grenoble will also hold its annual Festival du Court Métrage en Plein Air. Thirty to forty short films competing for prizes will be shown under the stars in the center of Grenoble. 

Until March 3^rd, the cinéma le Méliès is hosting a series of children’s films and events. Among the 14 films being shown are The Wizard of Oz and Where the Wild Things Are.       

This year’s annual Festival isérois du film sur la Résistance, organized in connection with the Museum of Resistance and Deportation, will take place from March 15^th to 25^th.  Classics of European cinema, documentary films, and conferences will be held in various theaters in Grenoble and the surrounding area. 

From April 20^th to 27^th, the organization Vues d’en face will hold its annual Festival international du film gay et lesbien. The films are not yet selected. 

While it’s not film, there is also a Marionnette Festival happening now, from February 15^th to 28^th, on stages across Isère. 

Listing of independent/art house cinemas: 

La salle Juliet Berto
Passage du palais de justice, 38000 Grenoble
04 76 54 03 08 

Le Méliès
3, rue de Strasbourg, 38000 Grenoble
04 76 47 99 31

Mon ciné
10, avenue Ambroise-Croizat, Saint-Martin-d’Hères
04 76 44 60 11 

Espace Aragon
19 bis boulevard Jules Ferry, 38190 Villard-Bonnot
04 76 71 22 51 

Commercial movie theaters: 

La Nef
18, boulevard Edouard-Rey, 38000 Grenoble
08 92 68 00 31 

Le Club
9 bis, rue du Phalanstère, 38000 Grenoble
04 76 87 46 21 

Multiplex Pathé-Chavant
21, boulevard Maréchal-Lyautey, 38000 Grenoble
08 92 68 00 31 

Les 6 Rex
13, rue St Jacques, 38000 Grenoble
08 92 68 00 31 

*Film showings for the theaters without websites can be seen on www.allocine.fr or in the weekly publications GreNews and Grenoble & Moi.

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: