Montessori school shelves with toys. Photo: 3neus

In a three-part blog Camille Bromley describes a day in the life of a teacher at the Montessori International School of Grenoble. Read part I.

7:38 am

Bus stop, Place Verdun.  As the number 31 bus to Meylan: Maupertius approaches I’m hastily devouring the remaining third of my Big Chocolate, freshly purchased for 1 euro from Sandwich House located behind the Maison de Tourisme tram stop, outgoing side. Ordinarily the Big Chocolates from this Sandwich House are not especially good pain au chocolat, but they’re easily the size of two regular pain au chocolat, a good bargain at 1 euro (the American in me is always a sucker for bargains), and in the morning when they’re warm they’re still pretty darn tasty.

The Big Chocolate is the ritual first step in my once-weekly workday as an English teacher at Montessori International Primary School in Meylan, as this is the only day in the week I exit the house early enough to catch one while still warm. The other days of the week I work as an English assistant in public primary schools.

Teaching at Montessori International School is not like teaching in French public school.  It’s vastly different, in fact.  If you’re not familiar with what’s called the Montessori Method, I’ll briefly explain: The Montessori Method of children’s education was originally developed in the early 20th century by an Italian educator named Maria Montessori. It’s an alternative approach to schooling, encouraging a child’s individual self-directed learning using the support of materials and teacher observation. 

From what I understand, while many schools worldwide function under the heading of Montessori School there are no defined guidelines for the specific practical application of this education system. However, the general idea is that children learn best when they follow their natural instincts and interests. In other words, it’s self-study for kids; less academically-put, the kids do what they feel like.

This “do-what-you-feel-like” philosophy is most decidedly not the norm in French public schools, from what I’ve seen in my year’s experience there, the essential part of a teacher’s oral utterances consisting of phrases such as, non, tu n’as pas le droit!; vous levez la doigt pour avoir la parole!; TAISEZ-VOUS! [yelled shockingly loud]; vous êtes insupportables aujourd’hui! [tone of resignation and accompanying sigh]; and finally the much-loved Bravo!, with exaggerated sarcasm. Thus, Montessori International reputedly offers an alternative to parents who prefer their kids to receive more positive encouragement than negative during the first 6–9 years of their educational development.

However, I haven’t given an entirely clear picture of the Montessori International School in Meylan. This school is foremost an international school, with instruction provided in French and English. I am the English-instruction teacher (on Mondays anyways), and a woman with a confounding last name, Martine Grzelak, functions as school director and French-instruction teacher. 

We take care of the primary-age children, age 6–12. The children in this group, about 25 of them, are mostly Francophone, with a solid group of Anglophones and couple French-English bilingual kids. There is another, separate class of students at the school, the pre-school age group (ages 3–6), also Francophone or Anglophone or both, headed by Emilie Ballivy. The pre-schoolers are called Les petits castors, which gives an accurate impression of their work ethic and focused accomplishment under the guidance of Ms. Ballivy.

The school makes use of an impressive collection of Montessori materials and supplies, and the curriculum is organized around the French National Education program, so that children are expected to cover a similar material to public school students. More on the Montessori Method as the day progresses.

Part II

Part III

Part III

12:00 pm

Lunchtime. The microwave cart is wheeled in, desks are cleared, chairs fetched. The students eat in the classroom. The children are expected to be settled quietly in their chairs, ask to go wash their hands, and then ask to get their lunchboxes before they are allowed to eat. Meanwhile, the child in charge of setting the table this week goes to get the silverware and dishes.   

12:30 pm

Everyone is finally sitting and has more or less the complete tableware set in front of them: plate, fork, knife, little yogurt spoon, and plastic cup (Martine’s cabinet has slowly but surely been rid of all the glassware glasses, not intentionally).

The table setting procedure always takes much longer than is logically necessary, probably because the child assigned to set the table is for some reason 90% of the time the same small boy, who due to his diminutive size and severely ADD nature seems the absolute worst person in the room to give the task of distributing various separate pieces of cutlery to students sitting in disorganized clumps around the big room, not to mention that when you see him trying to lug the heavy glass water pitchers around to each table you get the sinking sense of futility of watching someone trying very hard to complete a Sisyphean task. Half the pitcher will have been emptied on the floor by the time he gets to the table, and he’ll be sent to get more in five minutes.

I send the children in groups of two or three to the cloakroom to get their lunchboxes. I imagine that you can tell a lot about the home life of individual children from their lunchboxes. A lot of the older children seem to have the freedom to creatively fashion their own concept of a meal; there’s a group of three girls (who aggressively defy the assertion that social cliques don’t exist in small schools) that bring their lunches in family-style portions to share with each other: a bag of Lay’s potato chips, a Tupperware box of pasta and sauce, an entire sleeve of Speculoos cookies.

The Anglophone children belong to a different breed of household, one that clearly holds in contempt the irresponsible consumption of low nutrient-to-calorie ratio foods and environmentally unfriendly packaging. S—, a six-year-old with extraordinary feminine style (how a child of that age is able to exude such class is beyond me), declares matter-of-factly that she hates ice cream and cake. Her treat of choice is the green pressed seaweed paper that sushi rolls come wrapped in — in French it’s translated as algae, which expresses better, I think, the total bizarreness of a six-year-old reveling in the taste of a seaweed wrap (imagine an apple cheeked little girl saying with a charming missing-front-tooth smile, “My favorite food is algae”).  

1:15 pm

The kids are fairly hopping to get outside after a full morning of being together in one room. They go into the cloakroom to remove their slippers and put on their outside shoes, most of which resemble work boots or what English people call “wellies” rather than the slick bright white Pumas or the metallically shiny girl-sized heels (!) public school children wear. This is because the playground provided for amusement and the venting of various child frustrations during the lunch recess is not actually a playground, it’s an empty field behind the Montessori school building accessible only by a quick jump across a ditch (a wide step for you or me, a brief air-bound thrill for the 11-year-olds, and an unbreachable chasm for the 3-year-olds, who nevertheless enjoy the jump immensely so long as you’re holding their hand.

Supervising, I can’t help thinking that innovative playground developers, with their tangle of curved colored bars and knotted rope systems, are entirely missing the point — the kids have more fun rolling around in the grass and throwing rocks at trees than with any preconstructed equipment education authorities can buy. I’m reminded how innocent and sweet children are at heart when I hear G— and S— playing a sort of tag-zombie game which seems to consist of yelling “I’m going to suck your brain!” and attempting to grab the skull of another player.

2:00 pm

Emilie and I file the children back into school, past the company workers in button up shirts and pencil skirts taking their smoke break. Monday afternoon is devoted to art class and Spanish class, and the children are sent in small groups to participate in those activities. Otherwise, the students can continue the projects of the morning. The students complete impressive individual projects throughout the year that don’t sacrifice depth or quality for the lack of collaborators.

S— is working on a postcard project; she’s contacting friends and acquaintances across the U.S., asking them to send her postcards at the Montessori school address, teaching her about their town or state. She’s gathered a large number of postcards and will organize them into a visual presentation. O— has completed a project about the state of Israel, its history, people, and culture, and the poster is hanging on the classroom wall.

One of the goals of the Montessori school is to effectively link all subjects together in the child’s mind; to create a truly interdisciplinary understanding of the world. This objective makes for very creative project ideas, and the results are evident in the variety of student-made artwork and presentations on display around the school.

3:30 pm

The school day is over, but many students will stay for the next one to two hours, playing the gymnasium or participating in an activity Martine or Emilie has organized. I, however, say my rounds of “See you next week” and am out the door.

The next day I’ll be at one of the public primary schools in Grenoble. Not being an education expert, I’m not going to offer my judgment of the effectiveness of the education system in public schools compared to the Montessori approach. The purposes and needs of the two school systems are vastly different and require different methods of teaching and classroom management. Montessori schools may give more individual attention, but they also provide a lot less guidance and structure. This may or may not work well, depending on the character of each individual child. One thing I do know, however, is that I’ll be doing a lot more yelling in my public school.

Part I

Part II

For more information:
http://www.montessori-grenoble.com/UK/school-montessori-grenoble.htm
http://en.wikipedia.org/wiki/Montessori

Part II

8:12 am

Terminus on the number 31 bus line. The bus halts in front of a grouping of new, enterprise-y looking buildings with big reflective glass windows framed in a shade of blue that suggests innovation and forward-thinking. The school is rather unexpectedly housed in one of these buildings, towards the back of the complex, sharing quarters with some kind of company that requires men and women in business attire to enter and exit through the same doors as the free-spirited, frequently-in-high-speed-motion Montessori kids.

The school is essentially three large rooms, the primary schoolroom, the pre-school room, and the gym, which is carpeted and doubles as an art studio and Spanish nook. There is also Martine’s office, a nap room for the preschoolers, a storage room, and a cloakroom where the children hang their coats, bags, and change their shoes into indoor shoes. They are only allowed to wear slippers inside the school, as it is carpeted. This reminds me of Japanese schools, except that here the children are allowed to bring their own slippers. In Japan the slippers are part of the uniforms and must be regulation color and design.

8:45 am

The kids wander in the room one by one and are by this time more or less all present. After some general comments and reminders, Martine starts the weekly routine of designating “responsibilities” onto each child. This is performed by use of a chart listing cleaning tasks to be completed each day and a small canvas sack containing the names of each child on Velcro tabs.

It took me a few months to figure out that the responsibility entitled Muffin referred to the class hamster. Insisting that the responsibilities be assigned by a random pull from the bag, Martine cheats openly on her own rule by fishing for names that she believes merit a particular nasty chore this week. The kids either suffer tremendously from the injustice of this favoritism or get a kick out of it, depending on how you choose to interpret the situation.

The responsibilities I find to be an ingenious system for ensuring an attitude of collective care and respect from all the students towards the cleaning and upkeep of the school room and materials. By being allowed to choose, in a fashion, what chore they do each week the child is given some autonomy and feels like she’s making a voluntary decision to contribute. This is probably a distinctive Montessori touch. Japanese schoolchildren also clean the school as part of their daily duties, although there they are responsible for the bathrooms as well, which I remain convinced is a mistake (imagine how what kind of clean job a second-grader might do on a bathroom — then repeat that every day for the whole year).

8:52 am

Work time. The children are either broken up into groups or sent to a desk to work individually. All the primary school kids, from 6 to 12, work in the same room, some in groups and some independently, and they pursue different activities. Martine keeps an eye on all of them and remains aware of how they’re doing and what progress they’re making, a remarkable feat for about 15 different students and different levels.

There are no set subject periods or age groups. The children have more or less the choice to work on one activity the entire morning or change subjects freely. There’s no morning recess, although there is a snack, which the children are expected to provide, following a rotation schedule. If the children tire of one activity and want to do some less-strenuous but still constructive activity such as reading, it is permitted within reason.

I take the group of English speakers. There are two first grade girls, a third grader, a fifth grader, and sometimes a first grade boy. We either do a language-arts activity all together, harder versions adapted for the third and fifth graders, or I split them up to work in pairs or alone. It’s my choice based on what we’re doing that day and how well the children are working together. When the English speakers take breaks to work on another subject, I choose a group of French children to do an English language lesson.

11:00 am

With Martine in the room, the classroom functions smoothly. With some notable exceptions, the children work quietly, although their rate of productivity is subject to debate. Clearly, some children are more ideal Montessori students than others. A group of three boys writes a bilingual dialogue together concerning an inept motorist and a driving instructor for their upcoming play. Another boy does French grammar exercises on the computer. A girl visualizes multiplication with wooden beads and a counting board.

Meanwhile, little G— sulks at his desk, complaining that his work is “too hard” and he doesn’t “understand nuffing,” and I— doodles on the margins of his essay and gazes out the window. I remind I— to get back to his work and Martine appears over G—‘s shoulder to investigate the veracity of his claim.

Part I

Part III

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

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

Listen to the full show: here

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

Nicola Piroth at work and at play

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

Grenoble Life: Tell us a little about your methodology.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GL: What languages do you work in and why?

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

GL: Why did you come to Grenoble?                   

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

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

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

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

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

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

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

Listen to the show: here

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

A filled blackboard. Photo: Rainer Ebert

In response to criticism of the education system on Grenoble Life and from the Anglophone community in France, Iain Smears mounts a passionate defence of French schooling.

Many people in the Anglophone community in Grenoble will come into contact with the French education system either through their studies or those of their family members. There are aspects about it which seem to draw criticism from a considerable proportion of the English-speaking community.

In this article, I would like to depict how my own experience of doing maternelle, primaire, collège and lycée in Grenoble, then of going to university in the UK, has shown me the many benefits of the education on offer here. In fact, it is precisely some of those aspects of the system which are often criticised which I would argue have been of value to me in my university studies. I will focus on secondary education, or more specifically the Bac Général, as I have only glimpses and second hand experience of French higher education and cannot claim to know much about the other paths in secondary education.

A major concern for some is the long hours of schooling throughout collège and lycée. I did the Bac Scientifique with the OIB (L’option internationale du baccalauréat), and I’m the first to admit that it was demanding. On a few occasions, I’ve been asked by parents with children about to embark on this path if it’s true that I did 50 hours of work a week. Their frowns of anguish are of little surprise to me when I place a finger on my lip, recollect, then declare that it was probably a dozen or so hours more than that.

I do see the sense in many of the objections to long school days and I will readily concede that perhaps the content of lessons from 5-6 pm isn’t what I remember the best – however, little is said of the end result of French schooling: how does it influence one’s experiences in higher education and after that?

I chose to study mathematics in the UK. Bit by bit, I noticed how my fellow students were finding the course more trying than I was – some would find it hard to do their work on time, others found it hard to get out of bed, some needed vast amounts of caffeine or chocolate to feel ready to take on their work. Someone put my thoughts into words by calling it a “great big hangover for having partied for the previous 18 years.”

For my part, I continued at my usual rhythm inherited from Terminale by learning my lectures as well as I could and doing my homework sooner rather than later. I think that strong discipline not only leads to successfully acquiring the material, but also helps to explore the subject to its fullest, satisfy one’s curiosity and therefore enjoy one’s studies.

The extensive testing and harsh grading schemes in French education also attract criticism. Yet I believe that it is instead very beneficial to get substantial practice of long examinations. Being able to focus and to stay sharp under pressure is an important part of exam technique and I am glad I was able to get practice in this before end-of-year exams at university.

As for the unforgiving grading, it made those good grades well deserved – something in which I found satisfaction. I found that for me and other pupils at school, it encouraged a determined attitude towards trying one’s upmost. Compare this to the comments I have heard of several students in the UK about how they were “spoon-fed just to pass exams” and “weren’t proving [their] own ability, but that of [their] teacher”, which has not helped them find self-confidence and belief in their ability. I think that learning that someone can indeed rise up to a challenge is important for him to value and appreciate his work and also helps in face of future challenges.

It is true that some people can find the difficult grading scheme discouraging. But even though grades matter for later progression, it should be remembered that what is learnt matters most. Whether someone gets a B or C on an A-level or roughly equivalently [i] a 10 on the Bac, what they have gained from school will likely be the same. When that person goes onto university, it is what that person has acquired that will be key. I know of some who struggled in a subject throughout lycée, then needed that knowledge to some extent in their later studies, and have told me since that they felt they were at an advantage against others in their group.

However if there is a clear-cut problem with the grading system, it is that it puts at a disadvantage French students who wish to study abroad, e.g. the UK. This is because admissions tutors might not be aware of the discrepancies between the systems and take estimated grades for the Baccalaureate at face value – i.e. they would assume, say, that an A is worth 16 on the Bac. Things are made worse by the fact that high numbers of UK students get the top mark: according to wikipedia [ii], 43.7% of students taking an A-level in Mathematics got an A in 2007. And unlike A-levels, Baccalaureate students cannot retake exams to improve their grades. This can result in disproportionately demanding offers for Baccalaureate pupils.

A final advantage of the French education system, which is not immediately apparent to those still undertaking it, is that it offers flexibility in later choices. Of those who did the Bac Scientifique in my class, some have gone into media relations, politics, languages, nursing… Some feel that the schooling did not suit them, but what they have done enables them to embark on a wide range of paths afterwards.

In conclusion, even though the French secondary education system has its faults, I hope it will not be forgotten that the overall result of the extensive schooling is threefold. First, it is an opening to numerous topics – it showcases vast bodies of knowledge and works to stimulate the pupil’s mind in all forms. Second, it helps to equip its pupils with the attitude, determination, self-confidence and ethos which are important in all walks of life. Third, it aims to keep as many doors open as possible all the way until the end of the Baccalaureate. Combined, I think these three aspects allow the education system to offer what one generally wants: the freedom to choose one’s way through an opening to the world.

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.

Garvin at the Radio Campus studio

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

Listen to the full show: here

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

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”.

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

Trudi Penkler

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

Grenoble Life: What is an Intercultural Consultant?

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

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

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

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

GL: Tell us a little about your background

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

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

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

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

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

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

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

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

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

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

GL: What services do you offer?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Upstage website

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

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

Listen to the full show: here

Microphone. Photo: hiddedevries

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

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

Classroom. Photo: sfar

Gregg West is an American history and geography teacher at Cité Scolaire Internationale. He also handles the school pantomime, organic gardening club, interpersonal communication classes and music club.  In this explosive article for Grenoble Life, he describes his career-long efforts to change the education system in France.

It would be preposterous to assume that any education system in the world does its job correctly, when one observes the amount of poverty, crime, violence, drug addiction, alienation, loneliness, pollution, general unhappiness, and other symptoms of human foolishness, frailty, or limitations.  But one could just say, “Oh well, people do their best and one can’t ask more of them than that.” Nevertheless, when one is a teacher and has to face an educational system day in and day out with its many constraints, it can be very trying, for even if he or she sees many kids succeed and go on to brilliant careers and happy, if not totally unperturbed, lives, there are a lot of others who will live troubled existences.

Over the last 37 years, I have tried to learn to teach and have perpetrated my teaching upon unsuspecting people, both children and adults, in North America, Scotland and France, but I have also had these teaching systems (pardon my syntax) perpetrated upon me. The following observations about the French system are not at all intended to exonerate other systems from similar criticism.

More is better

Since settling permanently in France in 1983 I have witnessed a system which believes that more is better despite the famous saying of Montaigne (loosely translated) that a “well-made head is better than a full head.” Indeed, in the Connexion of February 2010, the minister of Higher Education, Ms. Valerie Pécresse went so far as to say to a journalist “you seem to be contradicting yourself when you cast doubt on the level of lycée students passing the Bac but then suggest reducing the number of hours.”  Really, Ms. Pécresse, this is a national disease, thinking that more is always better. So why not give children 16-hour school days? Children need time for other things than school work to become thinking, feeling, well-balanced individuals. I thought everyone knew that … hmmm.

A second aspect of the French system that is curious for those of us from English-speaking cultures is the belief held by many that school is only for instruction of specific subject matters, does not require a global education of children in terms of understanding their social and psychological context, learning to motivate them, inciting them to improving their citizenship, social relations, and so forth and that, therefore, teachers do not need to learn anything but their own subject matter at university. No interpersonal communication, no group dynamics, no pedagogical methods, no interdisciplinary knowledge to coordinate interdisciplinary projects … It apparently threatens many whose work status and contract only commits them to knowing their subject … even if inspectors put pressure on them to teach better … and the French government has just decided to shut down IUFM (teacher training institutes), something highly consistent with this view.

In this extremely cerebral environment, a third characteristic of the French system, at least insofar as it concerns university-bound students, is that they needn’t develop artistic, manual or day-to-day skills like typing, driving a car, first aid, or cooking at school. (Well, they DO learn road security, but only the theory … ) In short, learning does NOT involve doing things, except writing essays, carrying out a few carefully limited classroom experiments, doing research and other relatively abstract tasks. So these other skills surprisingly only get developed among a minority of people who have the money to do them outside of school or have families patient and qualified enough to help them learn these things. When I see high school kids pecking away with their fingers on a keyboard, when I have to fork out over 1000€ for driving classes, or when I see the beginnings of obesity among French young people like in my native America, I do wonder about these priorities.

Lip service

Finally, as with many other school systems, the French speak of democracy, but practice dictatorship, pay lip service to cooperation and solidarity but practice competition, praise acceptance of differences, but punish those who do not “fit in” with ridicule, humiliating grades, and other forms of social exclusion, lecture people about human rights while submitting high school students to 50 hour weeks (35 hours of class plus 15 hours of homework a week), claim to be ecological while using throw-away pens, producing millions of tons of new, bleached, non-recycled fibre paper waste that are not even recycled, and brag about their great cuisine while abandoning their children to canteens that serve poor quality, poorly balanced meals that contain pesticides, instead of making quality and organic food priorities.  What is the saying, “Do as I say, not as I do?” Problem is, it doesn’t work that way and, as Leonard Cohen said, “Everybody knows…” Kids’ strongest learning experiences stem from doing and from example.

In such an unnatural neurotic environment, is it any wonder then that many French kids suffer from depression, insomnia, smoke a lot of cigarettes, become fashion victims or anorexics, drop out due to a lack of motivation (around 10%), or decide not to care about politics or association activity, plunging into a life of semi-blind consumption as adults, with no personal artistic side that they can cultivate to express themselves healthily? Is it any wonder that they become recalcitrant at suggestions that they drive less (so little physical exercise during their childhood), watch less TV (when did they learn how to entertain themselves?), vote more (when did anyone ask their opinion anyway?), or think about important issues (weren’t they only supposed to give teachers the answers required?), or question notions the media and political elite expound as evident (nuclear energy and genetically modified organisms aren’t dangerous, are they, or THEY would tell us … like our teachers … wouldn’t they?) Once you’ve got people conditioned, it is very hard to change them. Some would even suggest that this conditioning has been done CONSCIOUSLY to preserve the privileges of elite, but I’m not much of a conspiracy theory advocate, so I’ll leave this idea aside. I think it’s just force of habit and past conditioning … an unwillingness to question what came before.

Unfamiliar future

At any rate, all that I have described is what one would call a SCHEMATIC, OVERDRAWN picture of the French Educational system. Of course, there are positive sides, but you all know those; France is one of the world’s leading countries in social programs, economic productivity, democratic freedoms, and so forth … well, for the moment at least … But is this preparing us for an oil-poor, resource-poor future in a world where company relocation to Newly Industrialized Countries may force us to reorganize a great deal of our economy and learn to share, be happy with less, and use our imagination to find new, workable ways of life?

But of course changing things is never easy. People are afraid of unfamiliar ways, they think that what they know is the only way, there are vested interests, it involves calling habits and training into question, it doesn’t suffice to throw money at problems, and even good ideas, if poorly or insufficiently applied will lead to failure. In short, it isn’t a technical impossibility, but it remains a political improbability.

Political debate

I decided in 1987 to try to do something about all this. I spent five years in a minor political party which seemed highly motivated to lead change in society as the chairman of their education commission, consulting hundreds of students, parents, teachers, and others involved in education, as well as union representatives and school directors. We worked out propositions to change school radically (more on what these were later) … something in line with the party’s desire to “create a cultural majority for change.”

I sent the propositions to the hundred or so representatives of various regions in the party’s governing committee a few months before it was scheduled for debate on the agenda. But the day of the debate, there were “more urgent matters” so debate was pushed back till the very end of a Sunday afternoon when one third had already left to take their trains, leaving only 10 minutes to debate a topic that concerns every single citizen of a democratic country. Of those remaining, fully half were teachers … and a plurality of these opposed all the measures which might require them to retrain to handle new functions. So without any guidelines on HOW to change our propositions, we were sent back to the commission to “work on the propositions some more…” Thoroughly disgusted, I resigned as commission chairman.

An alternative school

In the U.S., as a young teacher, I had already experienced the difficulties of even modifying one local system of education, so I reasoned that if what I considered the most progressive political party in France and its host of teachers were unable to be open towards real change, then there was little hope of changing such a huge system from within. I worked for the next seven years on the idea of creating an alternative school, parallel to the system, in hopes that an example outside the system might show people what is possible. But here too I was to be foiled. Among the enthusiastic parents supporting this idea, most were penniless; among the enthusiastic teachers supporting this idea, most, not surprisingly, wanted to be paid! Real estate was too expensive to rent in large towns, and small towns placed obstacles in our path, fearing we might lower already precarious enrolment figures, provoking the closing of their public schools. There were also dreamers who talked about “borrowing seven million francs” from a bank as if any bank would ever entertain such an idea. A subscription among political activists raised some 135,000 francs, but we were never able to establish a three year budget that promised any hope of surviving, even on minimum incomes, so we were obliged to abandon the plan and send people’s money back.

At this point I decided to give up. I had a good job in a public school and began trying to develop extracurricular activities to compensate for the unidimensional aspects of school. I created a music club and later a theater program where kids could learn self-management, cooperation, create, express themselves, develop their confidence, teamwork and self-esteem, associate with older students and adults as role models instead of submitting to age segregation, and receive recognition without grades from those around them.  I found no need to involve parents for the music club, but broke an additional taboo when I got parents involved heavily in the theater program … something few French school teachers like to see … parents in the school working with kids … perhaps because it threatens their own prerogatives to teach as they see fit … but this was only outside of class …

In my own classes, I developed a method of teaching involving considerable debate and discussion, with occasional projects and games, but the program was often so immense that time was always pressing us to return to a teacher-centered curriculum.

Moving the mammoth

I suppose this is why when I was approached by a sympathetic political activist, I accepted getting involved in an association whose goal, like mine, was to move the mammoth (change the educational system) even though I remained very sceptical about the possible success of such an effort.

Over a period of about three years, we developed a support group of some 300 people, including thirty to forty teachers and three school headmasters, and we elaborated propositions very similar to those the education commission I’d managed had put forth only to be rejected. We outlined a plan for creating special schools, particularly in the junior high years (collège), and hopefully one or two in each department, which would function differently and thus serve as an illustration of alternative approaches to education. The basic ideas behind these schools included:

• Only four hours of academic solids per day, so less Math, less French, less language, less science, less history and geography (oh dear!!!). Interdisciplinary projects as a way of exploring basic subjects.
• Groups for enrichment, remedial work and orientation for one hour a day.
• Workshops to learn practical subjects, develop artistic abilities, and physical education 1 hour a day.
• Collective expression and action a few hours a week to put democracy into practice.
• A severe limit on homework and no grading, but still evaluating and testing.

One can like or dislike these propositions, but the fact remains that they allow schools to handle a number of the objections mentioned above and the existence of a certain number of schools of this type in the Northern part of Europe tends to confirm that they can be a positive experience, developing well-rounded, independent, thinking students … if properly applied.

We sent a 10-page summary and a longer 40-page detailed version of the project to various people in positions to make decisions. We met with those in charge of education at City Hall and the Conseil Général, as well as the man in charge of innovation at the Rectorate and the Academic Inspector of Isère. All reacted favorably, saying the idea looked great. When we said we also had a list of teachers and an administrator to run the school though, the Rectorate and Academic Inspection suddenly began hemming and hawing about the fact that they would need to talk to unions about it, that they couldn’t name people on the basis of aptitude or motivation, but only on the basis of seniority points (meaning the death of the project) and that they would have to check with their hierarchy on whether this was all possible (i.e., if it wasn’t pursued, it wouldn’t be THEIR fault …) Despite attempts to get them to put this on paper, they refused and they began doing what bureaucrats do when they don’t want something to happen. They sat on it, refusing further meetings, correspondence or any other indication of their position, killing the project.

Things I can do

So, at age 57, tired of spending so much energy for nothing, I chose to devote myself instead to things I CAN do without political games and support from people higher up. I continued with my teaching job, interpersonal communication classes, the music club with its concerts and CDs, the theater program with up to five shows and 750 spectators per year (our headmaster even had a stage built for us … and other groups in the school to use.) And I created an organic gardening club in our school.

None of this however will make the changes I believe that France (and other countries) desperately need in their education systems if they want to create a vast majority of real human beings capable of adult behaviour, wisdom, commitment, values, and coherent behaviour emancipated from the manipulative, narrow channels that current systems carve for them.

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

'my guitar'. Photo: Chewy Chua

Gregg West is an American history and geography teacher at Cité Scolaire Internationale. He also handles the school pantomime, organic gardening club, interpersonal communication classes, and music club, which he has written about here for Grenoble Life.

by Gregg West

About ten years ago, I had a student in ninth grade (3ème) who had stopped working at school. As I listened to her, I discovered a deeper cause.

“My parents have a wonderful house and a swimming pool, but they work 60 hours a week and I never see them. And school is beginning to resemble that for me. I can’t be bothered. I don’t care about these things.  I don’t want to grow up and be like that!”

“Well you don’t have to if you make different choices. You know, one can live with a lot less.  Happiness isn’t about wealth though many confuse them.  But I can see you feel discouraged.  What really interests you in life?”

“I’d love to learn to play the guitar,” she replied “’cause I love music. But the school day’s so long and I live so far away that there’s no possibility. And anyway, everybody says you can’t make a living at that.”

“Well, life isn’t just about money, is it?  You can do music on the side and still learn a profession.  What if I taught you a bit here at school when you have an hour between classes, would that interest you?”

Her face was transformed, “Oh, Mr. West! I’d love that!” So we organized a little guitar class. And this girl began studying again, her motivation back, started a rock group, and finally got her Bac and went on to university.

Soon, the rumour got around and the demand for guitar lessons became a problem because there was no place in the school where we could do this without bothering classes.

But creative, manual and self-run, co-operative enterprises are a sorely missing aspect of education in France. Children need these to round out their personalities, to develop a sense of self-esteem and responsibility, a sense of meaningful activity that they choose for a change that is not imposed, and, of course, to have fun!

So when the new International High School was created in 2001, I immediately identified a place where we could set up a club. At first I lent my own equipment and we built a drum set out of wood and plastic paint cans until concerts brought in enough money to purchase equipment: guitars, a bass, a synthesizer, amplifiers, drums, microphones, cables, and a digital studio. I encouraged all those who knew how to play to teach others and little by little the club grew. The Foyer Socio-Educatif in the Collège and the Maison des Lycéens in the High School also gave us some help buying equipment.

The club now has about 100 members, and 10 supervisors chosen from among the students involved run the club, keeping a check on how members put things away, notifying me of problems, and organizing three or four concerts a year, including one with pay entry to help finance equipment repair and purchase. There are groups that rehearse there an average of about 12 hours each week, free tutorials by experienced members to teach others to sing or play an instrument, and we have even put out two multilingual albums, one in 2006 about AIDS (Sept langues contre le SIDA) with 17 songs which sold about 160 copies and led to a 1000€ contribution by the club to an anti-AIDS association and a more recent album Etat Planète (Et Ta Planète/Et Tape-là-nette) which has sold about 70 copies so far, allowing us to finance an organic gardening club.

The club is only open to our own students for obvious reasons of security and competition for the time slots, but if others want to know how we did it, they can contact me at: gregg.west (at) ac-grenoble.fr

CSI Panto 2008-2009

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

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

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

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

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

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

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

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

GL: How is the script chosen?

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

GL: How are the actors chosen?

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

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

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

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

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

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

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

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

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

Parents and their Toddler Talkers enjoying a story. Helen McEwan is second from left

abc anglais is a brand new English speaking playgroup in Grenoble for the youngest of children and their parents no matter where you are from. Mums, dads, toddlers and babies are totally immersed in an English-speaking environment during the session, joining in the nursery rhymes and songs, listening to favourite stories, playing age-appropriate games as well as taking part in art and craft activities all conducted in English. It’s run by me, Helen McEwan, a UK qualified Speech and Language Therapist and experienced English language teacher.

Every session is structured around a subject, which forms part of a five week theme, for example, ‘On the Farm’. We always have at least one story, one song, one nursery rhyme per subject, e.g., ‘cows’, and plenty of games and craft activities to keep the children actively interested. There is also a story and a couple of songs on the general theme which we come back to every time to reinforce the learning of the theme and to allow the children (and parents) to familiarise themselves with the English songs and stories.

There are currently three levels – “Baby Babblers” for babies up to 12 months old, “Toddler Talkers” for one to two year olds, and “Chatterbox Children” for two to three year olds.

My idea of exposing very young children to a language they do not normally speak at home is based on the theories of language development in general. There are still many mysteries surrounding language acquisition (and even more so around the thorny issue of bilingualism), but it is believed that a child learns the fundamentals of his/her own language by age three. So, in order to maximise the chances of a child learning an additional language as naturally and easily as possible, it is best to start early.

In addition, there is clear evidence that learning the sounds of language is done in the first year of life, much research quoting just the first six months as the time limit on acquiring the speech sounds specific to your language. So, if you noticed your baby being able to trill or click and make sounds more akin to more ‘exotic’ languages in its early months, this is because your baby was born with the ability to make all speech sounds, but quickly hones into the sounds s/he hears in her environment and continues to practise only those in the babble phase, around six–nine months. Therefore, if you want to pronounce another language well – especially if it sounds very different to your own, (French vs. English!), ideally you need to be exposed to the sounds of that language in the first six months of life, or certainly no later than the first year in order to reproduce them accurately later on!

Making spider bracelets with Chatterbox Children at Halloween

For this reason, I choose stories which use repetition, rhyme, have a strong rhythm, are not very ‘wordy’, but have captivating story lines as well as bold, striking artwork to capture the child’s imagination, even if s/he doesn’t know any English yet. For any form of learning, familiarisation of the subject matter is essential. Repetition is therefore a valuable learning tool, and so we come back to the stories and songs and rhymes during one session, during a theme, and also during the course of the year, but from different angles. ‘Noah’s Ark’ can be used in a session on rain, as well as animals, boats, or counting for example.  In any case, children love returning to their favourite books, toys, programmes over and over again.

The same principle applies to the songs we sing. They are carefully chosen for their ease of learning, and because they are fun, and tuneful and worth singing. Learning through song is almost primeval. Often it is easier to learn a phrase with music or with a strong rhythm – do you remember doing this when revising for an exam, or learning a new language? – as you are allowing your brain more chances of storing the data and hence more opportunities of retrieving it via various routes – the linguistic and the musical. Singing is an almost instinctive response to childcare. Many cultures use music for child rearing, and children respond instinctively to the human voice, particularly their mother’s. In this way singing constitutes a fundamental form of early interaction between parent and child.

I set up abc anglais because of my own experience of coming to Grenoble six months pregnant with my first child. Although I have worked with children, including newborns and premature babies, I had no idea what to expect with my own baby, particularly in a very new and foreign environment. And I was very disappointed to discover that actually there is very little available for parents and babies in particular. It was a very isolating and disorientating experience. Thank goodness for Open House and the Baby and Toddler Groups there, which I quickly became involved with (and I encourage all similar families to). Running the groups there and doing prototype abc sessions at my daughter’s garderie gave me the idea to combine my professional skills with offering something that I feel is lacking in Grenoble – a service for our youngest of citizens. In the UK, I worked in nurseries and clinics for the under fives, and ran parent-child interaction groups which encourage positive communication. I draw on this experience and other principles of my profession in designing and running the abc sessions.

Helen McEwan

So, abc anglais is as much an opportunity for parents to have some quality play time with their young children, as it is an opportunity for the children to become exposed to English at the optimum time for language learning. It is also an opportunity for parents to practise their English, and enjoy being in an English-speaking environment. abc anglais is as much for parents as for children, and this is a fundamental basic principle. And it’s open to everyone, not just Anglophones. Families from USA, Asia, as well as many different European countries, and French families are currently attending.

Sessions are held in two locations in Grenoble – at Les Petits Bilingues, place de Metz, on Mondays and Tuesdays, and at the new English café – Bookworm, rue St. Laurent, on Wednesday and Saturday mornings. The new block starts the week of 9 November. It will run for five weeks, with a special Christmas session in the week of 14 December. Come and join us, it’s lots of fun!

(Check out the Bookworm Café blog and the fantastic Mômes à Grenoble blog for further information on forthcoming events, or contact me: abc.anglais (at) free.fr)

A montage of Upstage publicity

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

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

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

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

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

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

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

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

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

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

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

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

1. The plateau of St Hilaire, where the Coupe Icare takes place

Suzanne Bonnefond is an enthusiastic amateur photographer and contributor to the Grenoble Life gallery. In the first of a series of posts on local walks, she takes us to a ruined mill near St Hilaire du Touvet.

by Suzanne Bonnefond

An interesting place to go to on a fine autumn day, ideal for those who like unusual historical spots …

Near St Hilaire du Touvet, go to “Les Gaudes” and leave your car in the car park just nearby. It is next to the paragliding launch point – if the weather is fine you can watch them taking off (photos 1–3). Then, follow the yellow signs to “Porte Traine – Cascade des Dioux” a twenty-minute walk across the fields (photo 4). Next, take the little trail that goes down along the stream (photo 5) – be careful as it can be slippery – and admire the waterfall “Cascade des Dioux” (photos 6 –7). A bit further down, cross a bridge (photo 8), and there you will discover this strange place: old millstones covered with moss, a medieval oil mill (9 –13). We would like to imagine this place is haunted by Jacques de Porte Traine, the miller of the Bishop of Grenoble, who ran the place in 1275 and – with Photoshop – it’s possible (photo 14)!

2. Paragliders

3. Paragliding

4. Morning on le plateau des petites roches

5. the path

6. la cascade des Dioux

7. cascade des dioux

8. the bridge

9. le moulin de porte-traîne

10. le moulin de porte-traîne

11. Millstone

13. Ruined mill - we can imagine we were in the jungle

13. le moulin de porte traîne

14. Ghost of Jacques de Porte Traine

Par une belle journée d’automne, une promenade idéale pour ceux qui aiment les lieux insolites : le plateau des Petites Roches, la cascade des Dioux et le Moulin de Porte Traîne … un lieu historique et mystérieux

Prendre la direction de St Hilaire du Touvet,  puis les « Gaudes » . Se garer sur le parking des Gaudes … On est tout près du terrain de décollage des parapentes, alors s’il fait beau, c’est un plaisir de les voir décoller (Photos 1–3). Puis suivre les pancartes jaunes « Porte-Traine – Cascade des Dioux »  20 mn – c’est donc très proche – une courte ballade à travers les prairies (photo 4). Puis on emprunte un sentier (photo 5) – qui descend, et qui peut être très glissant car il longe le torrent, et admirer « la cascade des Dioux » (6 – 7). Un peu plus bas, on traverse un petit pont (photo 8) et voila un lieu mystérieux : un ancien moulin à huile qui date du moyen âge … Il reste quelques meules de pierre… (photos 9–13). On se plait à imaginer ce lieu hanté par Jacques de Porte Traîne, meunier de l’Evêque de Grenoble, qui exploitait ce moulin vers 1275 (photo 14). On en rêvait !! Photoshop l’a fait !!

Alexa Meresse carrying her son in one of her wraps

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

by Rebecca Marcenac

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

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

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

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

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

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

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

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

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

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

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

RM: What challenges did you face?

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

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

RM: Where are your customers based?

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

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

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

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

A barn in Vercors

Suzanne Bonnefond is an enthusiastic amateur photographer and contributor to the Grenoble Life gallery. A long-term resident of the Grenoble who has also lived in Paris and London, she kindly agreed to share her sightseeing photos around Grenoble.

by Suzanne Bonnefond

Photography is my hobby. I like to take pictures of scenery, romantic places and close-up portraits of flowers. I always try to give my photos a poetic touch.

In Grenoble we can easily reach a lot of beautiful places without having to walk for a long time. These photos will show you wonderful places for family walks.

waterfall near la Grave

in summer … Lavaldens

Chartreuse, le Granier

la Meije

Fishing in a mountain lake in Belledonne

le Chazelet, Oisans

le Chazelet in July

Wild flowers in Oisans – Gentian

Just a leaf

le Chazelet

The glacier – la Meije (you can reach it by cable car)

la Meije

la Meije

The glacier – la Meije (you can reach it by cable car)

la Meije seen in summer from l’Alpe d’Huez

From The Side. Photo: Patrick Gage

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

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

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

GL: When and why was the library created?

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

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

GL: How is the library run?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GL: Who comes to the library?

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

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

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

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

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

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

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

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

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

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

GL: What’s next for the library?

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

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

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

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

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

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

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

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

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

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

Elizabeth Stone Matho

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

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

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

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

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

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

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

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

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

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

GL: Is your practice bilingual?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GL: Why did you come to Grenoble originally?

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

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

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

GL: Give us some contact information for your practice.

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

Kelly Rigotti writes Almost Frugal, a blog about being smart with your spending, saving and money goals. As probably the only American living in France writing about frugal living, we invited her to share her personal finance tips for her adopted home town of Grenoble. Part I in the series is about food.

by Kelly Rigotti

Although I’ve been writing about frugality and learning how to be frugal since late 2007, this is the first time I’m writing a post about frugality from a local perspective. My blog is called Almost Frugal and most of my readers live in English-speaking countries, especially the United States. I’m American and I’ve lived in Grenoble since January 2000 and I think it’s safe to say that I’m the only American blogging about personal finance and frugality in Grenoble. I could be wrong, but I bet I have the niche covered!

Although I do talk about living in France and the challenges of trying to handle money as an expat (especially paying back my American student loans, most of the topics I cover on Almost Frugal are general enough that anyone can relate to them, no matter where they live. I’m really excited though, to finally be able to talk about frugality and living frugally in my (adopted) city, Grenoble. Today I’ll be talking about the best places to spend less on groceries.

Groceries can make up a significant part of any household’s budget. Certain French grocery chains, such as Lidl or ED are relatively inexpensive, but they don’t always have the best quality food (although I’ve never gone wrong with their canned goods, juice or wine selections). I prefer to take advantage of fidelity programs from stores like Carrefour, Géant or LeClerc. The fidelity programs from all three of these stores are free to join, and if you don’t mind your personal shopping habits being mined by the stores for information, you can recoup significant discounts on your grocery shopping.

Carrefour’s fidelity program offers discounts of 5% on their store brand products, as well as other discounts on time-limited promotions. Often these promotions don’t give the best, cheapest option, but every once in a while Carrefour will have a doozy of a sale – buy one get two free and so on. Carrefour does not put the store credit on your card, instead it mails you a fidelity check at the end of every month, good for use on your next shopping trip.

Géant is the most expensive of the three stores I’m talking about here, and in my opinion, the one with the worst customer service. But it does have one of the best selections of expat foods (Campell soup, anyone) and so I brave the high prices and rude salespeople every once in a while to stock up. Like most grocery stores, Géant will often have loss leaders: products priced quite low to get you in the store to buy everything else. As a side note, did you know that it is illegal in France for supermarkets to price products below cost? Supermarkets are not allowed to lose money on their stock. This is why you won’t find any true bargains at a French supermarket- it would be illegal.

The best supermarket, in my opinion, for customer discounts, is the LeClerc supermarket in the Espace Comboire shopping center in the town of Echirolles. Unlike Carrefour or Géant, which are both chain stores, LeClerc is a series of licensed franchises. This means that the discounts and promotional offers found at one store might not necessarily be found at another.

The LeClerc in Espace Comboire has a series of great, ongoing promotions, a different one for every day of the week. The best is Thursday’s, when, for every €50 of goods purchased you get €5 in store credit on your fidelity card. Combined with other in-store promotions, I often manage to save €20 or more per shopping trip.

Unlike the United States, France is not big on coupons. You will find them every once in a while, either on your register receipt at the grocery store, or as a manufacturer’s coupon, but there isn’t the overwhelming coupon mentality here as in the United States.

Another excellent way to save money in your grocery bill is by buying online – this way you can keep an eye on your total as you go and save money on gas. Both Carrefour (called Ooshop) and the Intermarché in Seyssins have online delivery services. Depending on where you live the delivery charge can be free to quite expensive.

If you’re looking for bio (organic) or locally sourced food, then there are two good online options, neither of which is very expensive and both of which deliver. The first is called The Label Bio and sells a variety of organic and local food. I like them because they sell preselected baskets (panniers) of a variety of food – whatever is in season for €12 to €55 depending on the size and selection of the contents. The second is called The Pannier de Johanna and although they don’t sell preselected baskets of food, they have a wide variety of products to choose from, from patés to flour, all locally sourced or organic.

Here are some of my favorite posts on Almost Frugal on saving money, food and frugality:

Food Shopping and Menu Planning
Stretch Your Food Budget
Your Favorite Frugal Food

Bio: Kelly Rigotti is American and has lived in France for a lot longer than she thought she would when she first arrived. As well as writing about frugality at Almost Frugal, she has a day job as a marketing and communication consultant. In her spare time, she attempts to ride herd over her three children, four cats and handsome French frog of a husband. You can follow her at Almost Frugal, on Facebook or on Twitter.

Congregation at The English Speaking Church of Grenoble

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

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

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

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

GL: Tell us about your time in Africa

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

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

GL: What do you miss about England?

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

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

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

Maria Montessori

Martine Grzelack runs The Montessori International School of Grenoble, opening September 2009. Grenoble Life wanted to know more about the new centre, the background of the staff and the famous Montessori method.

Grenoble Life: When does the Montessori International School of Grenoble open and what is your role?

Martine Grzelack: In September 2009, we’ll be lucky to find a bilingual Montessori School in the suburbs of Grenoble. It will be situated in Meylan. This school will enable children to study and work while developing their personality. My mission will be to look after the children and to run this school so that everything works out well to the benefit of everyone.

GL: What is the Montessori method?

MG: The Montessori International School of Grenoble is a private school, ruled by a not-for-profit association (association loi 1901).

The school curriculum follows the French national education programmes for early childhood and primary schools.

Committed to the highest education standards, the school proposes a bilingual curriculum in French and in English.

The MIG team will provide an individual learning experience for each child, which promotes physical, social, emotional and intellectual development to help them achieve their maximum potential.

Following the Montessori requirements, the children are dispatched into two age groups: 3 to 6 years old (early childhood) and 6 to 12 years old (elementary).

GL: What is your experience with using this method?

MG: I have been working for six years according to the Montessori pedagogy. First, I attended a teaching practice course at the Centre de recherche d’études de formation et de liaison des activités Montessori (CRELAM) in Rennes – a French institute which doesn’t grant an Association Montessori Internationale diploma. Then, I went to Switzerland to obtain an AMI diploma for children from 6 to 12. This method enables the children to open out in their development while being in the pleasure of learning and discovering. Children gain an autonomy and maturity which enables them to make choices.

GL: Why did you originally train to teach the Montessori method?

MG: I discovered this pedagogy while thinking about the educational system in France. Coming from a very different horizon – I graduated as a geologist – I wanted to work with children after having worked with engineers-to-be (I was in charge of professional training in my firm).

After preparing the examinations to be a school teacher, I realized that the “group pedagogy” wasn’t satisfying for me. I looked for something different. Some friends had their son in a Montessori school and that’s how this wonderful adventure started.

GL: What age groups do you teach at the Montessori International School of Grenoble?

MG: The International Montessori School is open to children from 3 to 12 years old. They are dispatched in groups of three or six years according to Maria Montessori’s method. It is important not to keep a child exclusively in his or her age group.

GL: How does the methodology differ from that used in the French state schools for these age groups?

What is different from the French school is mainly the learning approach through the senses, with the help of the adequate and attractive equipment created by Maria Montessori herself. Moreover, the work in classes with mixed ages enables each child to learn with pleasure because there are no barriers between the different learning activities.

Montessori International School of Grenoble

GL: Do you have classes in French and English? Will these classes be taught separately?

MG: In each class, there is a French teacher and an English speaking assistant who participates throughout the school day. The teachers offer help to the children that ask for it in their mother tongue, in order to encourage interest in languages. There will also be Spanish classes organized.

GL: Why has it been decided to open a school here in Grenoble?

MG: I wanted to work in a school where the pedagogy is adapted to each child and gives them what they need academically for their future studies. I want to be able to share with these families a teaching method which deeply respects the child as an individual and as a learner.

GL: What is the profile of the parents who have registered their children to come to the school?

MG: The parents who send their children to a Montessori school come from different backgrounds: managerial staff in large firms, teachers at “public” schools, professional workers, employees, people working in tertiary industries … they have varied profiles but they have the same aim: their children’s well-being.

GL: Tell us about the teaching team.

MG: The teaching team is composed of two educators with an international Montessori diploma and an English or French speaking assistant according to the class. It is a dynamic team, very motivated to help the children improve, respectful of the Montessori pedagogy.

GL: Will you have recruitment opportunities in the future? What are the advantages of working at Montessori International School of Grenoble?

MG: Yes, we hope that we’ll have to recruit next year, or in two years to open new class. Why not offer children the opportunity to learn another language like German for example … but we don’t want the school to lose its soul by recruiting too many pupils or staff. We thank you for these questions.

GL: You’re welcome, thank you!

The Montessori International School of Grenoble
Boulevard des Alpes, 38240 Meylan
+33 6 72 66 76 32
ecole@montessori-grenoble.com

Lolly the taxi, Les Petits Bilingues mascot!

Shaké Manoukian is manager of Les Petits Bilingues in Grenoble, an English language  learning centre for children. Grenoble Life wanted to find out more about her background, the school, the methodology and their new centre opening in September.

Grenoble Life: What is your involvement at Les Petits Bilingues?

Shaké Manoukian: I’m the manager of Les Petits Bilingues – Grenoble. We are part of a national network. Les Petits Bilingues was founded in 1992 in Lille as a family oriented playgroup, and now is a big network with 30 centres in all of France (even in La Réunion!). We all profit from a strong pedagogical staff, with a deep knowledge of English teaching to children.

Personally I’m Italian and I learnt French and English in my childhood with no effort. I wanted to give the same opportunity to my children and that is the reason why we came to Grenoble four years ago. For the same reason last year I decided to set up les Petits Bilingues in town. I wanted to offer French children the chance to improve their English. I was tired of my French friends saying, “Ah nous les Français nous sommes nulls avec les langues….”. Learning other languages as children is much easier and more efficient.

Les Petits Bilingues is a periscolaire learning centre – we provide English lessons to children aged 3 to 11. We work mainly on Wednesdays and Saturdays, but also late afternoons after school. During the week our lessons are one hour long, on Saturday they are 1h30 and we share a snack with the children.

GL: Les Petits Bilingues is a franchise. Who brought the franchise to this region and why?

SM: In summer 2008, I brought Les Petits Bilingues to Grenoble, and their mascot Lolly, a real Black Cab from London. I was looking for some experience in English for my daughter and I realized that what was on offer in Grenoble was weak and unstructured. I discovered the national network and built it up in our region.

GL: What is the methodology at Les Petits Bilingues?

SM: At LPB we want to have fun. Children and teachers come here to share a fun experience in English. In French there is the word ludique which is a mix of pleasure and education, and that is exactly what we do.

Our approach is by immersion, we never use translation, we talk non-stop, we repeat continuously and we indicate with pictures, actions, and gestures.

We have a yearly program, with a specific theme each week and a defined phonetic subject we practice with children. Our tools are games, songs, rhymes, arts and craft…

We really try to make the children speak spontaneously in English.

GL: What is the typical profile of the parents of children at Les Petits Bilingues?

SM: I would say that 70% of our families are French. They want that their children to become comfortable with foreign languages from the very young age. They are aware of the advantages that represents.

The other 30% are either  “mixed families” with two or more languages spoken at home, or families who have lived abroad, where children already have good English and wish to keep it fluent.

GL: What is the typical profile of a teacher at Les Petits Bilingues?

SM: All my teachers are required to be  native speakers, and this is part of our pedagogical project. Our kids are in direct contact with a person coming from an other culture, they can discover traditions, tricks, and accents. Our teachers spent their childhood in an English environment and therefore are the only ones who can transfer this atmosphere to our students.

They are all child-teaching professionals with at least two years of full time experience.

GL: Why do you think parents want their children to come to Les Petits Bilingues?

SM: There are different reasons related to the age of children. For the very young ones, under six, parents with a bilingual project for their children don’t have in Grenoble the choice of a bilingual  école maternelle, they are then very happy to find a place where their children can approach English with a specific program for this age group.

For the children at this age it is very important to identify language with a place, when they come to LPB it is as if they were doing a trip to an “English speaking country”. Our classes are always decorated with posters and pictures related to English Countries and that helps them understand why they learn English.

For the primary school parents, reasons are similar: they want a professional approach and even if most of schools have some English lessons it is never enough, and it is rarely taught by native speakers.

GL: What is the ideal age for children to start learning English as a second language?

SM: It is never too early, before the age of six children are developing their phonetic system. Even babies can tell the difference between mother tongue and a second language;  they can tell the difference and parents shouldn’t be concerned over confusion. Learning a second language very early makes it very easy to learn other languages in the future because the brain is already organized to learn them.

We accept children from three years old for practical reasons, we offer group activities and without parents.  We are evaluating a new project “mums, dads and babies” groups, starting next year to answer the need for under-threes.

GL: Why do you think learning English has become so important in France?

SM: It is not just in France: despite the efforts of a few English has become the international language, and it is not only in the business world, it is also necessary for travelling (and French people love to travel around the world!). If you want to check something on internet, watch a movie, listen a song, English has become a fundamental need. As I said before, English can be the first language learnt but children will often add more foreign languages, and if you start as a child it is so much easier!

GL: Have you faced any resistance from parents to the methodology used at Les Petits Bilingues?

SM: I guess that our main problem was to “educate” parents, since often in France people want concrete results. In the process of learning languages everybody needs time, and everybody has their own rhythm. If you think that a toddler needs at least two years to speak fluently in his or her mother tongue, you can’t expect with one hour per week to have a bilingual child after one year. Some children love to repeat everything, others prefer to be really sure about their knowledge and they may surprise you with a full sentence from one day to another.

GL: I understand that you are opening a new centre soon – tell us about that.

SM: From September 2009 we will have a second centre in the Grésivaudan area, in Montbonnot, on the Route Nationale. We know that in this area there are a lot of international families planning to relocate to English speaking countries, and we want to offer them a centre closer to their homes.

GL: What recruitment opportunities do you have? What are the advantages of working at Les Petits Bilingues?

SM: We search for native English speaking teachers with a lot of energy and consistent professional experience working with children. We are a group and we work a lot together, sharing ideas and teaching approach. We work in a specific atmosphere where we enjoy our work; we can be very creative but at the same time we are very vigilant of our pedagogy.

GL: What kind of feedback have you had from parents of students at the school?

SM: They are all very happy, we provide also extra activities such as a puppet show with an English company, a LPB Day, a visit to Natural History Museum, and for next year we have many other projects … parents also like to join us in these activities and practice their English too!

GL: Give us some contact info

SM: Starting September we will have two centres in Grenoble : one in town (9 place de Metz) and one in Grésivaudan (508 rue Général de Gaulle in Montbonnot). For further details please contact us at 04 38 92 01 01 or grenoble@lespetitsbilingues.com or visit our websites for 3 to 12 years and 12 to 18 years.

Communication Café kids painting

Reia Farrall – Bilingual Education in Grenoble

The battle has been won for the moment … with my husband constantly speaking to our daughters in French and I in English (and having an amazing English nounou one day a week), and with regular visits from respective grandparents: our children appear to be bilingual and quite happy in either French or English. Now, we are just about to embark on making that all-important ‘next’ decision that seems to affect English-speaking families in Grenoble – which primary school will our children go to? Do we leave them in their local school? Do we put them in La Houille Blanche: where English is taught for one hour for a day, but has a competitive entrance; and would require a lot of organisation for getting ourselves together to get there? I really enjoy the fact that my girls can go to their local school, so that they can still be with the friends from their local area. And given the lack of resources, the teachers and school where our girls go do amazing things with 30+ in their nursery school classes.

However, being a teacher, and having specific ideas on the ways in which I would like our girls to learn, I do sometimes feel a little battered by the French school experience where the girls are consistently assessed according to the ‘norm’ of what French students should know at certain ages. I know that us English-speaking people are often criticised for our ‘positive reinforcement‘ – but I feel that it is lacking a little in my daughters’ education.

Education for me is not just about learning facts. Knowledge is important but education is also about showing our children the different paths that they can follow in life, and how to think for themselves. A school education should help our children to become dignified human beings, respectful of others, conscious that we live in an interconnected world where our decisions affect not just ourselves. The question as a teacher becomes how to encourage ‘learning’ and to help students discover the individual intrinsic worth of each person and themselves.

So rather than worry about the fact that I feel the French system is not doing this and put our girls into another French school, my friend Zoë Atkinson – a speech therapist – and I have taken the plunge and set up an association called Communication Café to help our children learn English. We want our children to embrace their dual cultures, to learn English in a way that we both feel helps our children’s confidence in themselves, and with positive reinforcement. We want to above all encourage our children’s English language development, to help our children feel good about themselves, and to meet other children like them. So it looks like it is not the French system at La Houille Blanche for now…

Results!

Zoë Atkinson – Speaking English in Grenoble: a speech therapist’s view

As far as French cities go, I feel lucky being in Grenoble as an English-speaker, the town being cosmopolitan and open-minded beyond its size. Being an English-speaker has not caused me many problems, apart from the occasional blank when faced with needing to talk about something beyond my French experience. So knowing that my child was going to be French, and not English like myself, didn’t pose as much of a problem for me as it did for their grandparents! Most people react positively when they know that my three year old can speak French and English almost fluently (even if a little mixed up!). I, however, have a few reservations.

Being Mum to a bilingual child, I wanted my daughter to have the chance to mix with other kids in English, to be comfortable with the English part of her identity, and to learn to read and write in English. To summarise, I wanted her to be able to make the most of her opportunity to be bilingual and for it to not be an embarrassment to her. If ever we need to go back to an English-speaking country, I would like her to be able to re-integrate without difficulty.

Being a speech therapist, I was aware that bilingual children integrated into French schools and, learning English at home only, may miss out on academic vocabulary that they would learn in French in school (concepts relating to specific subjects, such as maths, science, technology, religious study or art). I also felt that their use of English is often restricted, and that kids may find it difficult to speak to other kids in English. The French sound system is also different to the English, which affects the ability of bilingual kids to learn how to read and write in English.

Communication Café

Communication Café

We created the Communication Café association to provide another solution to our English-speaking frustrations in Grenoble. We currently run groups in English for children who have at least one English-speaking parent. We start young with Baby-Signing for 0-2 year olds and offer classes for ‘Maternelle’ and Primary ages. We have small groups, with fun theme-based sessions. For the ‘Maternelle-aged’ kids, we have adapted communication objectives taken from speech therapy, plus the foundation objectives from the British National-Curriculum. For the Primary ages, we have adapted objectives from the British National Curriculum, primarily English, but we also dip into other subject objectives with themes that suit those subjects.

Here is a quote from one of our mothers:

I can’t put in words properly the joy we share, watching Oscar spotting English words and wanting to read them and seeing the flash of satisfaction and brightness across his face when he “gets it”. I cant pin point exactly why or how, but it seems you have given him a quiet, assured confidence to try and have fun with words and seeing that confidence develop within him is very rewarding – so thank you very much to you both. Oscar has always been a very curious person but sometimes can lack true confidence to give things a try. So, seeing this natural confidence with words evolve in Oscar is a parental pleasure money can’t buy, if you know what I mean.

Reia Farrall is an Australian-qualified teacher. She has lived in Grenoble for six years, is married to a Frenchman and has two daughters. She currently teaches at Grenoble University at the Institut d’études Politiques. Zoë Atkinson is a UK qualified Speech and Language Therapist. She moved to Grenoble in 2000 with her French partner, and has a daughter. For more information visit our website or contact us via info@communication-cafe.com. Additionally, the Babel association offers English classes for children from English-speaking families: association.babel@laposte.net

Reia Farrall at work

What's French for 'ga ga' again?

Looking down on the improbably cherubic face of my week-old daughter I already find myself pondering her future. As a Brit who’s been living in Grenoble for nearly two and a half years, and married to a genuinely bilingual wife, there are some important decisions to be made soon concerning the language of our child. I’m making slow but steady progress in French although my wife and I normally converse in English. We met at University in the UK and we spent most of our first six years together in England. There was no effort – language-wise – on her part: she grew up near Grenoble in a bicultural household with a French father and an English mother. Despite having grown up in France my wife has strong roots in the UK, particularly Greater Manchester, where her mother comes from and where she spent all of her summers and Christmases since birth.

However, now that we live in France it is difficult to make the transition to speaking French together. We do sometimes, but it never progresses far beyond the pedagogic and often lapses into English if we want to refer to the numerous cultural shared references and jokes that resist translation. The other major excuse factor counting against my accelerated progress is the fact that I teach English for a living, and whereas I come into regular contact with French, in principle I am not allowed to use my students’ native language as it is contrary to the methods employed by the school at which I work (and indeed most theories of language learning). Thus, of all the knowledge I am likely to impart to my daughter, naturally pronounced (or even, for the moment, fluent) French is not one of them. Nor should it be of course. My daughter will grow up in France and no doubt have no difficulties assimilating the language.

One of the overlooked factors of language is its synonymousness with culture. My daughter will be three quarters British by blood and naturally I expect her to be bilingual but also bicultural, to embrace the British side of her identity as much as the French, more or less in the same way that my wife was able to do. My wife’s family had specific rules about language in the household that remain today: she speaks to her parents in their respective mother tongues, to one of her two brothers in English and the other in French. These bonds are hard to break or to invert: language is after all emotional too – which might be a good reason she and I found it difficult to make a meaningful switch to French.

Grenoble being very international, there are a number of organisations sprouting for Children to learn English. These range from associations which aim to support the needs of parents of mixed nationality, for example The Communication Café (more from them soon!), to those – such as the franchise Les Petits Bilingues – which offer predominantly French children a head start on the school system. The latter camp owe their existence less to Grenoble’s Anglophone base as to the increasing importance of English as a core requirement in the diplôme-centric French job market. Whereas such organisations do no harm, the word bilingual or bilingue is often misused as a selling point to French parents who want to give their children the best possible start in life. Bilingual is clearly not the right word. In my (unscientific) opinion it is practically impossible to be genuinely bilingual without growing up in a bicultural environment. Semantics aside, the traditionally globalisation-resistant French are getting pragmatic about the world’s international language.

Initially we discussed the idea of speaking to our daughter in different tongues: English individually with me, French for my wife, and English as a family. However, the early signs are that my wife feels more comfortable speaking English to our daughter, as that is what seems most natural in the context of our relationship. This may change but it will certainly not be to the detriment of our child. Where it leaves me is another question. I’m not overly worried about my abilities in French, it will come with time, but I may not get the kind of exposure to the language that I had envisaged before my arrival in the country.

It has been said to me on several occasions that I will never feel French, significantly by long-term ex-patriots fluent in the language. I agree: fluency in a language doesn’t necessarily amount to complete cultural integration. Having grown up in multicultural London, it has taken me time to adapt to the notion of my own otherness: I was surprised by what a curious specimen I seem to be to the Grenoblois. Being French wouldn’t raise too many eyebrows in the UK, I imagine. There are times when I feel like the French are from a completely different planet, though I’m sure the feeling is mutual (at least where I live). However, it is with a small modicum of sadness that my daughter will feel French, perhaps (but not necessarily) more than she feels English, and that will make me a little exception to the rule in my little bilingual household.

What is certain is that my wife and I can give my daughter a rich future accented by the best of France and Britain (perhaps meaning a British sense of humour and taste in music, with French taste buds and Gallic good looks!). We must be disciplined, but we shouldn’t be overly anxious. Unlike many couples of mixed nationality my wife and I have the advantage of both being native English speakers. I just hope that by starting a family in France, I will feel less and less étranger and increasingly at home.

There is a fair amount of literature on the web concerning bilingualism, from personal experiences to practical help, none of it particularly conclusive. However, there seems to be a general consensus that there are two principal methods to bringing up your child bilingually: 1) one parent, one language; 2) speak the minority language at home. Your opinions on the most effective are most welcome.