A detail from this year's poster

Grenoble Life editor James Dalrymple met with Grenoble’s foremost English theatre group, Upstage, to find out about their 20th anniversary plans. Here is what he has to report.

Just before Christmas I had the pleasure of meeting David Simpson, Claude Deladoeuille and Katherine Upjohn of Upstage, all buzzing with excitement about this year’s production, which coincides with the theatre group’s 20^th anniversary.

For the 2012 anniversary production the Upstage team have chosen Patrick Barlow’s farcical stage adaptation of The 39 Steps, based on John Buchan’s 1915 novel and the 1935 film of the same name by Alfred Hitchcock. As always, the choice of play depends on the possibility of featuring an ensemble cast comprising a balance between male-female roles and major-minor parts, while providing a contrast to the year before (Upstage 2011 was a production of Arthur Miller’s comparatively laugh-free The Crucible). Although Patrick Barlow’s script requires four actors to share a multitude of roles, Upstage have reworked it for a cast of 11 in what promises to be a “heady mixture of suspense, romance and espionage,” and, of course, laughs.

The other news is that Upstage is now an association which, while continuing to draw its cast and crew and from pupils of the International Lycée at Cité Internationale Scolaire, is now also officially independent from it. While this change of status will change little ostensibly for the time being, in the future Upstage looks set to become more open to individuals and organisations outside the framework of CSI.

Now that Upstage’s structure has changed, so too has the scale of its ambition. With previous alumni returning to offer their support, the team emphasizes the transformative “blossoming” effect Upstage has on its participants, some of whom have gone on to study at renowned film and theatre schools. One such former Upstage actor, Matias Gaggiotti, will be returning to direct two new Upstage productions in collaboration with Le Créarc (Centre de Création de Recherche et des Cultures) for the annual festival in Grenoble, Les Rencontres du Jeune Théâtre Européen, 5–14 July 2012. Watch this space for news on that.

Casting is already in place and members of the public are welcome at rehearsals, which are well under way. The team are, however, thus far holding their cards close to their chest as concerns how they plan render for the stage – among other spectacular things – a plane crash, a fight on a moving train, Scotch mist, and scenes that take place on a mile-long bridge. As always, Upstage promises imaginative solutions to these demands, with lighting and sound to be provided by a technical crew which is also drawn from the English section at CSI. While this year’s participants have sworn not to watch the Hitchcock film and to interpret the Patrick Barlow script their own way, the team will be hoping to better the movie’s authentic 1930s costume aesthetic.

Watch this space, or the Petit Bulletin, for news on performances; tickets will be made available at the usual outlets (FNAC, Carrefour, Géant, U).

As you read these lines, the collège students of the English section of the Cité Scolaire Internationale are busy, busy, busy, fine-tuning their seventh pantomime production, “Snow White.”

Rehearsals have been going on since September, and the young cast are absolutely bubbling over with excitement and anticipation. For many, this will be the first time that they appear on the school stage, in this exciting landmark event in the Grenoble anglophone calendar.

With a hand-knitted script full of local flavour, this year’s show looks set to be another success. The show is only a fortnight away, and the actors, dancers and singers are already starting to feel just a little bit of pressure …

We spoke to three members of the cast about their Panto experience: Melissa, who is in troisième, and who comes from a family with a long involvement in the C.S.I. Panto, Clara, also in troisième, who is performing for the first time this year, and Daniel, quatrième, the resident joker.

So, we asked them what made them want to get involved with the Panto.

Clara: I’d seen last year’s Pantomime, “Robin Hood”, and I thought it was awesome! And since I try to never turn an opportunity down, and I love singing, acting and dancing, I thought it would be fun to try it. I also love meeting new people, having fun and getting involved in the school’s activities.

Daniel: I’d been to see the school Panto lots of times and this year I wanted to take part because I thought it looked like really good fun.

Melissa: I joined this year’s Panto because I wanted to re-experience the fun that I had for these past two years in “Peter Pan” and “Robin Hood.” I also wanted to act and be on stage again as it is something I enjoy doing very much.

Grenoble Life: Which roles do you play in this year’s show?

Daniel: I play the part of Herman the Henchman, who is supposed to kill Snow White in the forest … but I’m a good guy, really!

Melissa: I play the part of Lord Montague (also known as Monty). He is the Prince’s trusted best friend and travelling companion. I am one of the members of the Panto’s double act.

Clara: I play the prince, Prince Caspian.

GL: How are rehearsals organised, and how much work does it take to put on a show like this?

Melissa: Rehearsals take place twice a week from 5pm until 6pm. We also rehearse some Saturday mornings from 8am until 12pm. Rehearsals are organised so that only the actors who are needed in the scenes that will be worked on need to come. That means that the Pantomime doesn’t take up too much of our week. Lots of work needs to be put in for the Pantomime but the key to it is dedication and we’re having fun at the same time so it doesn’t really feel like we are working.

Daniel: We rehearse two evenings a week after school and also sometimes on Saturday mornings from 8 till 12. It does take a lot of your spare time to rehearse for the show but it is great fun. We even get chocolate treats during the rehearsals on Saturdays.

GL: How were you chosen for your part?

Clara: I auditioned! I think I was chosen because of my acting and singing; the dancing part of the audition was terrible because I didn’t know the moves very well … At least I tried to be positive during the whole audition because I know that being optimistic was what the crew was looking for.

Daniel: There were auditions where we had to sing, dance and act out one scene. I think I was chosen because there were not many boys at the audition!

GL: Have you ever seen a “real” Panto? If so, how do your school productions compare?

Melissa: Yes I have seen many real pantomimes before in England. The school Pantomime is fairly similar to professional pantomimes. The biggest difference would be the stage/lighting/special effects. But our acting and talent are very similar!

Daniel: Lots of times. My English grandparents take me to see one every Christmas. I think the school productions are quite close to the real thing because they have all the ingredients of a good Panto, for example we throw out sweets to the audience, we sing and dance and make lots of jokes about school and Grenoble.

Clara: I have only seen last’s year’s Panto, but if I happen to come across a “real” Panto, I’ll definitely go and see it!

GL: How do you think the Panto is received in Grenoble? Does the French public “get” Panto? How do they react to the “audience participation” part of the show?

Melissa: The Panto is well received in Grenoble, most of the audience is part English and the Panto feeling is easily adopted. As for the audience participation adults are fine some small children are sometimes a bit slow to catch on but by the end of our show the audience is engulfed in Panto spirit (I hope!!)

Daniel: I think most of the audience are British!

Clara: I think that people from Grenoble are quite excited to experience something different from traditional French plays, because they can explore a different culture.

I’m French, and personally, when I went to see last year’s Panto, I thought the “audience participation” was a bit strange at first, but I quickly got into it. So that proves that the French public really does get Panto!

GL: What is your favourite aspect of the show, and Panto in general? The dodgy jokes? Is it the singing and dancing? The team experience with the whole cast and stage crew?

Melissa: I don’t have a favourite aspect really as I love all of it! The experience of putting on a show with a group of people you sometimes know very little who then become great friends is amazing, but I think that my favourite part must be when the audience claps at the end of the show. It is a great reward for all the hard work that has been put into place.

Clara: I really love everything about the Panto, but my favourite part is the singing and acting. To be performing in front of an audience is all new for me, and I’m normally a bit shy so it helps me get over that. I was also getting sick of singing to myself!

The team experience is also pretty cool, because I have made new friends and spoken to people that I would’ve never met if I hadn’t done the Panto.

Daniel: I really enjoy acting my role as Herman and I also enjoy the dance routines.

GL: What have you got out of your experience of the Panto so far?

Clara: So far, the Panto has been everything I had hoped it would be, and more! I have had the chance to discover what it feels like to “be in the spotlight”, to meet new and fantastic people and to just have tons of fun.

Daniel: At first I thought I would never be able to learn all my lines!! But now I realize that it’s not so difficult. I have also enjoyed making new friends.

Melissa: Lots and lots of fun really! A new fantastic bunch of friends and lots of lines to learn!

The Panto is a collège activity, but also involves a swarm of busy Lycée bees backstage, many of whom are previous Panto performers who just can’t get enough, and come back year after year to give a hand and relive the Panto experience, which is a delightful testimony of the bond that this kind of school activity can create within the school and amongst its pupils.

Here’s what one die-hard, backstage busy bee, Alba Besson, had to say about her Panto experience:

“I have loved being involved in the production of costumes, props and scenery for the school Pantos at every stage of the process: from the design, to the sourcing of materials to the construction and final preparation for performance. The vision of the ‘bigger picture’ needed to successfully bring together all these elements is such an exciting challenge. These moments are memories in the making.”

With a hefty sprinkling of full cast dance & song numbers, dozens of fantastic costumes, great scenery produced by the cast, and plenty of jokes, sparkle and glitter, this Panto is sure to entertain and delight. A show for all the family, and something quite unique in the Grenoble area.

The show is written, directed and produced by a group of volunteer parents, aided and abetted by two members of the school staff. If you are interested in getting involved in future productions you can contact the team at panto2012@orange.fr

The show runs from 25^th January till 28^th January, and tickets can be obtained from panto2012@orange.fr Hurry, though, as it is almost a sell-out!

The shape of things to come!

In the third and final part of her blog about being an expecting mother in France, Shonah Wraith describes the last three months of her pregnancy.

Before you leave your house this trimester you might want to read this article! There is an ever increasing need to use facilities, rest and organise at this stage of the process.

This trimester follows on very closely to the second, in terms of what you have to do at the doctors and the laboratoire d’analyses médicales. You continue on your monthly visits to the doctor and they basically follow the same template:

Doc: “Hello. How are you feeling?”
Me: “Good thank you, all seems well”
Doc: “Good, Please go behind that screen…”
Doc: “OK, all looks good, blood pressure fine, weight OK”
Me: “OK”
Doc: “See you next month, thank you”

By the time my last appointment came and went within a matter of five very small units of time I was really upset that that was all. I had been reading many books from the UK saying that in the last month you see a midwife every week, they hold your hand and walk you through every step of this nerve-racking time. Because, even though for the last six months you have known you are pregnant, it is not really until you are doing ante-natal classes, practising breathing, visualising the work that is in front of you that you really realise you are pregnant and you have to get this “little” bundle out into the world, somehow!

Perhaps France is pregnancy for the fearless! No hand-holding. No floaties. Just jump in at the deep end and swim and here are some cold hard medical facts to help you keep afloat! Speaking of the medical side of the third trimester, there are some prescriptive activities you need to undertake within these three months.

You will continue to have your monthly blood tests, plus some. At about 28 weeks you will have to have your blood glucose measured – allow time for this. You have to go to the laboratoire d’analyses médicales in the morning, have blood taken, drink an extremely sweet drink, sit in the waiting room for an hour and then have more blood taken. Take a good book! Apparently it is a good idea not to indulge in delicious sugary goodies in the 24 hours preceding this. Unfortunately I read this the morning of my test, so I could not take back the scones, cappuccino and caramel slice I had eaten the evening before! But, to put your minds at rest, I passed.

Somewhere closer to the end of the pregnancy you have to have a swab taken – and just a heads up, this is not a mouth, ear or nose swab. This is also done at the laboratoire d’analyses médicales, no book necessary!

The French are very pro-epidural – péridurale – therefore it is necessary to have a visit with an anaesthetist before giving birth. He or she will ensure you are physically able to have the procedure done, then you will have a big green tick on your file to say YES you are able. Then they can wait outside the salle de travail for you to give them the nod of approval, which allows them to come and relieve your discomfort with a really huge needle! You may want to check with you doctor where this appointment takes place – mine was at the clinic I was going to give birth in – then any number of the 20 anaesthetists that worked there would be the one to administer the epidural.

It is also a good idea – if where you are going to give birth offers it – to do a tour of the facility. As each clinic/ hospital is different it is good to see what you need to do in terms of checking in (I went to the clinique Belledonne and I did not check in until about two months prior to giving birth. However, as mentioned before, each clinic and hospital have their own regulations. It is worth checking with your doctor what the process involves. From speaking to other Mums to be, some had to check in within the first three months!), where to arrive, do you need to call before-hand, who is allowed in the salle de travail and what happens in the cases of unexpected emergencies. This process helps you to feel more in control over a situation you really have no control over!

And, of course this trimester you have the final look at your baby before you meet them in person, in the third of three ultrasounds. If you have made the decision not to find out the sex of your little one, I would be tempted not to look at the screen during this process. I only say this as the only thing we saw – and could definitely decipher – of our son’s anatomy during this scan was two rather large appendages directed squarely at the transducer (on two separate occasions mind you!), and he wasn’t waving with both hands or “hanging ten”! So, if we didn’t know before that moment we were having a boy, we would have had NO DOUBTS after this ultrasound.

One last piece of paperwork that you may need to deal with. Fully paid maternity leave in France is 16 weeks in total. It is mandatory to have six weeks leave prior to giving birth. This leaves you with 10 weeks post birth (and they take into account delivering late or early). But, if you would like to have more time post birth, you can get a doctor’s certificate – from your gynaecologist – to say you are fit and healthy and able to work longer. Be aware if you do get this letter, you MUST give it to your social security office immediately, otherwise they will dispute your “extra” time off post natal. Also when considering this remember, by the end of the third trimester you will more than likely want some time to rest, the baby could come early, and if there is such a thing as a “rest bank” now is the time to make mammoth deposits as post birth the withdrawal rate is phenomenal!

Now relax, enjoy and prepare to close the covers on one story in preparation to commence another – of epic proportions.

Bonne chance!

Please note this is purely a subjective account of this situation in France

The façade of Cité Scolaire Internationale, host to the American School of Grenoble

ASG headmistress Carol Margaret Bitner

The ASG logo

An ultrasound scan. Photo: j.dopf

In the second part of a blog about her experience as an expecting mother in France, Grenoble Life’s Shonah Wraith describes her second trimester.

Now comes the very exciting and somewhat invigorating part of this process. The wonderful second trimester. Somewhere around the 13th or so week there is a renewed sense of vigor. There is no need to put your head down on the nearest solid surface and close your eyes for the uncountable time that hour! Amazing!

Holding onto this feeling – and a very full bladder – you are able to walk into the darkened ultrasound room and see what was last a peanut and now resembles something larger than a peanut and perhaps for the first time your partner gets to see this phenomena too!

There are lots of measurements taken and not a lot of them will make sense. However the very reassuring aspect about having a baby in France is that, medically speaking, you and your growing foetus are well taken care of. If the doctor* notices anything out of the ordinary he/ she will tell you and give you instructions accordingly. And adversely when things are OK, they will let you know.

From my experience after this ultrasound the doctor gives you (yet another) prescription to have (yet more) blood tests done and very specifically a blood test to check for the possibility of downs syndrome. Now, before you go to the laboratoire d’analyses médicales to fill this script, you have to wait until you receive a very specific letter from your doctor and go between the dates he/she gives. Armed with these bits you can go and have your blood tests done. Alternatively, you can do what I did and not listen to the doctors’ instructions (or I put it down to being totally overwhelmed by experiencing the ultrasound – and I am standing by this!) then have the lovely secretary at the laboratoire try to explain in her slowest French that you have done it all wrong! As a side note, the laboratoire will become very familiar to you and everyone is more than happy to help. My only piece of advice is to get the little container for your “sample” at the visit before you need it, as the “sample” needs to be fresh from the morning of your visit.

This ultrasound was the marker for my husband and I to tell people. We asked more than once, during the ultrasound, if the doctor thought everything was OK, and given his countless reassurances we felt confident we could tell our most treasured secret to the world! This was at week 14, so not only did we have to tell the world, but the French authorities in the form of the CAF and the CPAM.

At your ultrasound the doctor will also give you the appropriate paperwork to give to these authorities, which by law you have to do by week 14. But be aware of all the other information you will need – passport, titre de séjour, husband’s taxable income for the previous year, your taxable income for the previous year if applicable, social security numbers, work contracts, bank codes and what you ate for breakfast for the last 10 consecutive days.

Now, do not fear if you forget something they will surely let you know, but this will delay the process of you being “on the books”. All of this running around (see full training in process!) will be well worth it, as: 1) you won’t have to do it in the foggy haze of the post-partum period; and 2) If it is all done on time the government gives you a financial reward in the seventh month to assist with the baby (I believe it is more a prize for passing the French bureaucracy test!) … but do not fear if you have not done it correctly or on time, you will still receive this reward, with a delay.

AND now ENJOY! You should be “glowing” and showing. SO instead of just feeling a little bloated, your pregnancy body should be well visible. On this subject you may need pregnancy clothes, underwear, oils and potions. There may be some fabulous shops in Grenoble – and if there are I would like to know for future reference – but I was not able to find any for clothes or underwear and outsourced all of mine from the UK and Australia.

Mothercare is great, but sadly do not deliver internationally anymore – time to reconnect with long lost friends and relatives in the UK! Also bio-oil is one of the nicest things I have ever applied to my body. Sadly, it is not available in France (it supposedly helps prevent the dreaded stretch marks) and would well be worth getting it from somewhere/someone!

Another activity that is wonderful to add to your training regime is yoga and, posssibly at the end of the trimester, starting ante-natal classes. A compassionate sage-femme who conducts all of this (and more for the post-partum period) is Catherine Muguet. She will even do your ante-natal classes in English (fully refundable on social security)!

Toward the end of the semester your old friend fatigue may come knocking on your door. Welcome him in and put your feet up – remember you are growing a person in there!

You then enter the tapering off stage of the training and preparing for “the event”. Where the line seems but a hazy memory and your expanding mid-section reminds that you are closer to the end of this process and nearer to the start of another.

*My doctor did three out four of the ultrasounds. The 4th was done by a partner doctor in the practice. I understand from speaking to other people, it really depends on where you go as to the process you must undertake to have your ultrasounds done. Also when I say four ultrasounds I am also counting the internal ultrasound you have at six weeks, mentioned in the previous post.

Please note this is purely a subjective account of this situation in France

Wing It Productions logo

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

Grenoble Life: Who is Wing It Productions?

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

Vicki Bernard: Sounds like the beginning of a joke…

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

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

GL: What is the philosophy of the group?

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

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

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

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

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

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

Vicki: Our lips are sealed.

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

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

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

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

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

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

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

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

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

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

Hélène: Or Venus …

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

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

GL: Tell us a bit about your theatrical backgrounds

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

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

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

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

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

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

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

A detail from The Crucible poster

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

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

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

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

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

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

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

Breastfeeding baby. Photo by fikirbaz

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Test de grossesse

In the first part of a blog about her experience as an expecting mother in France, Grenoble Life’s Shonah Wraith (née Kennedy) talks about finding out she was pregnant.

Even though discussions had been had, plans had been made and action put into place, it was a big shock when suddenly I found myself at the chemist asking for a test de grossesse.  The pharmacist was very kind explaining the best time to do this test for the best results – and as I am a stickler for rules I then had to wait until first thing the next morning to do the business on the stick. So it happened that at 5am I was attempting to re-read instructions, aim onto a very narrow stick to do what seemed to be the most difficult test I had ever sat – one that I couldn’t ever have studied for. It did not take long to realise what I had suspected for a few days.  All I can say about this moment is – savour it. This is the time you can breath and realise that what you have wanted has become a reality.  Take time before the other reality of doctors appointments, blood tests, getting a mutuelle and possible incomprehensions take over.

Ahhhhh! Breathe in, breathe out…

Once you have done this as many times as is necessary you have to get une ordonnance from your médecin traitant for a blood test to confirm the heart palpitations of excitement the little purple/ blue/coloured line gave you. I merely rang my doctor and asked for the prescription, rather than making an appointment with him.  He had the prescription waiting for me in his surgery, I picked it up and went to the local laboratoire d’analyses médicales for the blood test.  The following afternoon I had the positive confirmation.

Then you have to ring – who now seems like your best friend – your doctor and see him/her. The doctor will read the results and reiterate to you that you are indeed pregnant! They will then give you an estimated date of arrival, another ordonnance for a blood test to determine your blood type (you will then be given a carte de groupe sanguine – you will need to keep this for the whole process), toxoplasmosis and rubella and also suggest a gynécologue/obstétrician. Of course you could choose your own, if you had a preference of where to go. It seems to me, the place you give birth is determined by where your gynaecologist is located. Next mission* is to call this doctor, make an appointment and wait.

And waiting seems to be the word for the first trimester.  You know you have crossed the line, but there are so many potential obstacles that you don’t feel like you are truly training for the race properly. Your daily life is meant to continue, but somewhere in the background (more often than not in the foreground if you suffer from morning sickness, tiredness and uncountable trips to amenities!) of everything you do there is “that thing” that no one else knows. You go to the gynaecologist’s office and feel like an imposter amongst all the big-bellied women!

Oh!  And while you are waiting you might want to look into a mutuelle if you don’t already have one.  Especially if you want to go down the clinique route and have a private room when the time comes. As I previously said this whole process happened a lot quicker than we had anticipated, so I was looking for an appropriate mutuelle before crossing the line, however had not made a decision before the result. I was nervous that I would then not be able to have a mutuelle. However, in France, with the company I decided to go with, pregnancy is not classed as a pre-existing “condition” and I was covered instantly.

Next to the first appointment, which in a word is amazing.  Once again the doctor will confirm to you what the stick, laboratory and your first doctor told you, but this appointment is like watching your favourite movie – that you have seen countless times – in technicolour WITH surround sound … you see this tiny peanut shape and hear “the” heartbeat.

Now, it is such a personal choice whether or not you tell people within the first trimester that you are pregnant.  My husband and I decided to wait to tell anyone, so wait we did for another agonisingly long six weeks.  During this time, though, there are many places to visit virtually.  You can follow what your creation is up to, while you can’t physically see what is going on.  Some sites I found really useful during this time were

• Baby Centre (where you can choose UK or US)
• Huggies (where you can choose the country of your choice)
• Having a baby in France practical information

And if you are impatient to buy books the bookworm café has a great selection.  However, if you are trying to be discreet you can buy books from Amazon.fr and the book depository, both of which have free delivery.

You then enter into the declaration and echographie stage!  When the line is well and truly behind you and the training moves into full swing!

*My doctor also gave me un’ordonnance for an echographie.  However, when I visited my gynaecologist he did the echographie in his office, and there was no need for me to go to a seperate place for this.  This may depend on your gynaecologist.

Please note this is purely a subjective account of this situation in France

The Upstage 2011 cast and crew

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

Francesco Amadori 

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

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

Alba Besson 

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

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

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

Mariam El Boudi 

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

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

Jaicy Elliot 

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

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

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

Matias Gaggiotti 

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

Andrew Hanlon 

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

Anthony du Hecquet de Rauville 

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

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

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

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

Yannick Jamey 

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

Astrid Lund 

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

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

Colleen Massé 

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

Mairwen Perenon 

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

Fred Shahani 

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

Lewis Smith 

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

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

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

Nicholas Smith 

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

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

Camille Tabary 

Aye love! 

I am Cheever, the prison guard. 

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

Teo Taylor 

Lights On! 

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

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

See poster below for ticket and performance information 

The Crucible poster

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

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

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

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

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

Jessica: I’m fourteen and currently in troisième.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What interests you about the story of Robin Hood? 

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

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

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

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

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

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

Can’t wait to see you at the show!! 

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

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

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

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

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

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

Robin Hood Poster

Graines de Polyglottes

Grenoble Life editor James Dalrymple chatted to Elisabeth Malandrino, Directrice at Graines de Polyglottes, a new language centre for children in the city.

Grenoble Life: What do you do at Graines de Polyglottes?

Elisabeth Malandrino: Graines de Polyglottes is a language center that welcomes children from 3 to 11 years for them to learn foreign languages: English, German, Spanish, Italian, Russian.

In small groups of 5 up to 8 children organized by age and level, children come one hour per week. 

GL: How, when and why did get involved?

Elisabeth: Graines de Polyglottes was born naturally - coming myself from a multicultural family, the idea of speaking several languages has emerged very early.

My mother was born in Spain, my father was born in Italy, one of my sisters lives in the United States, I have a American nephew and a German one.

At my daughter’s birth, I thought that other parents would also like their own children to learn other languages.  Graines de Polyglottes was then born!

It’s a project which required several years of preparation and we welcomed our first students in September 2010.

GL: What is the Graines de Polyglottes philosophy and method?

Elisabeth: Our philosophy rests on the pleasure of learning through play.

In a child-friendly environment, children are happy to come and share these moments with their teachers and other children.

They learn without effort, having fun and, of course, they repeat words.

For this we use an active, structured and playful method.

We aim at awakening auditory, visual and gestural language for the youngest (3-6 years) by mobilizing all the sensory abilities of children. We use puppets, rhymes, songs, drawings …

For older children (7-11 years), we develop the understanding and expression, both oral and written skills by role playing, the media …

GL: What is the typical profile of the parents of children at Graines de Polyglottes?

Elisabeth: We have many different cases:

- French families, who understand the importance of foreign languages and want to give their child this advantage.

- Mixed families who speak one or more languages at home and want to improve achievement.

- Families coming back from abroad to France who want their children to continue speaking and writing their new language.

GL: What is the typical profile of a teacher at Graines de Polyglottes?

Elisabeth: The teaching team consists of language teachers with a proven track of several years of teaching experience with young children.

Their knowledge of the French educational system and the one of their countries of origin is a valuable asset in developing programs.

Our teachers bring their professionalism and enthusiasm in the centre.

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

Elisabeth: The sooner the better, babies are able to distinguish the sounds of all languages.

A baby’s mother and entourage will make him or her familiar with the phonemes of the language spoken within the family and little by little, he will keep only the sounds that are part of that language.

That’s why the more a young child hears different languages, the more he/she retains more language skills, both for listening and speaking.

At Graines de Polyglottes, we welcome children from kindergarten age for practical reasons.

GL:  Why have you set up a Graines de Polyglottes particulary in Grenoble?

Elisabeth: First, for personal reasons because Grenoble is my hometown.

Then, for reasons peculiar to the city, Grenoble became multicultural and cosmopolitan. Many families around the world come to live for a year or more for professional reasons.

Increasingly, we hear other languages in the street.

I think Graines de Polyglottes responds to the requests of many parents.

GL: Will you have any recruitment opportunitues? What are the advantages of working at Graines de Polyglottes?

Elisabeth: We recruit motivated graduate teachers with experience of teaching young children.

We work in an atmosphere where everyone works together and exchange between cultures takes place naturally.

GL: How can people contact you?

Elisabeth: You can contact us by phone 04.76.87.37.01 or by email:  contact@grainesdepolyglottes.fr.

For more information, see the website www.grainesdepolyglottes.fr

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

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.

Trudi Penkler: Active Adaptation Counselling

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Trudi Penkler

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

Grenoble Life: What is an Intercultural Consultant?

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

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

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

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

GL: Tell us a little about your background

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

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

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

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

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

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

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

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

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

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

GL: What services do you offer?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Upstage website

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

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

Listen to the full show: here

Just landed in Grenoble? Don't worry, there's a club for you. Photo: Guillaume Brialon

Just landed in Grenoble? Grenoble Life editor James Dalrymple gives his rough guide to Grenoble’s expat clubs and Anglophone businesses and services.

I have been asked by the French Entrée website to write a post with general advice for expats in Grenoble and the surrounding area, including relevant clubs and associations to join. Where to begin? Maybe you have already heard claims that Grenoble has one of the biggest Anglophone communities of any French city. I’m not sure of the real stats, and I will resist the temptation to invent some here, but suffice to say you stand a good chance of meeting other English-speakers whether you wish to or not.

It can be a bone of contention. Some people get defensive about the expat thing, saying something along the lines of, “I didn’t come to France to meet other [insert relevant English-speaking nationality here], I came to meet French people etc.” I don’t really subscribe to this view. When I lived in the UK, I always gravitated towards people who were very international in their outlook, and counted many cultures among those I called my friends. Just because I came to live in France, doesn’t mean that I should only spend time with French people just to feel good about myself. Among the expat groups and associations listed below, one may find many Anglo-French couples, so-called ‘third culture kids’, and all manner of general pan-European activity that belies the widely held view of what expat communities are.

Most new English-speaking Grenoble residents, particularly those with families, are likely to encounter Open House, the city’s long-established and possibly largest expat association. Among the activities Open House organizes are children’s parties, excursions, wine tastings, lunches, outdoor activities, book groups, coffee meetings and French-English language exchange.

The more student-orientated Happy People 38 organizes intercultural social events and language exchanges. Meanwhile, Celtic Connection promotes Irish and Scottish culture and sport in Grenoble and hosts Hallowe’en and St Patrick’s parties, a Burns’ supper, and summer picnics. Scottish expats and a host of other nationals can also be found at a weekly Knitting Bee at Café Leyritz, Place Vaucanson, every Tuesday afternoon at 2pm.

Although not Anglophone I feel duty-bound to make you aware of the lovely people at Le Club Danemark – Rhône Alpes, who are known to organise Glögg parties, Danish lessons and excursions, including cross country skiing. For more info contact: danemark-rhonealpes@live.com

English Talk Radio, presented by Vivian Draper, is a bi-monthly show on 90.8 Radio Campus Grenoble.  The show talks about film, theatre, finance, restaurants and travel, and has a variety of topical local guests; every Sunday at 12.30pm, and every Wednesday at 7pm on 90.8, Radio Campus Grenoble.

For those expats who want their young children to have plenty of contact with the English language, there are some associations which can help with this, including Communication Café and ABC Anglais. Alternatively, French language classes for adults can be obtained from a variety of institutions and associations outlined in depth here.

If you are looking for American or British style cakes there is The Cake Shop and Bookworm Café. The latter also hosts book and poetry groups, language classes, local artists’ exhibitions and occasional musical performances. They also buy and sell second-hand English books, and have English newspapers and magazines to peruse. Furthermore, if you meet French friends yet to be convinced of the potential merits of American cuisine, Pumpkins might be wise place to convert them.

If you can’t find the book you are looking for at Bookworm Café there are two Anglophone libraries, La Bibliotèque Anglophone de Meylan and the English Library at Babel, which also runs book groups for teenagers and adults. Many municipal libraries also have English-language selections, particularly the International Public Library.

Given the dubious French proclivity for dubbing foreign language films into la langue maternelle, you may want to exercise caution when going to the cinema. Le Club (rue du Phalanstère) and La Nef (boulevard Edouard-Rey) are two theatres with dependably interesting programmes, all in version originale. For more info on the city’s movie theatres and film festivals, check out this comprehensive guide.

For church-goers, members from about 10 different denominations and 15 nationalities are welcome to attend The English Speaking Church of Grenoble, which also has a programme of social activities including dances, crafts nights, family evenings, visits to local attractions and walks.

In terms of professional development, the most dynamic and active association is the Working Women’s Network of Grenoble, which organizes networking lunches, workshops and seminars, and is run by a very helpful and efficient body of women. For opportunities to do volunteer work there is VSArt, an association that brings cultural opportunities to disadvantaged and elderly people. The Grenoble chapter was set up and is run by American Meredith Charreyron.

Grenoble also has a number of amateur English-speaking theatre groups. Students of different ages from Cité Internationale Scolaire de Grenoble participate in an annual pantomime and Upstage, respectively. The latter puts on very high quality plays every year at Ste-Marie-d’en-Bas, a 166-seat theatre off Place Notre Dame. Likewise, students of the English department at Stendhal University put on productions on campus every year. English-speakers are also invited to join a new Grenoble English Theatre Group, run by Nathalie Joshua. Novices welcome. For more information contact her at nathaliejoshua@hotmail.com

For health and well-being, Anglo-style therapeutic massage and aromatherapy can be obtained from Amy Cannata (waterfallwellness@me.com) and Shiatsu massage from Rebecca Skillman.

Finally, of course, I mustn’t forget to mention your very own Grenoble Life, which has articles and practical info for English speaking residents past, present and future. It also includes photo sharing, free classified ads and interviews with prominent members of the Anglophone community.

If I have forgotten any essential clubs or organizations, please use the comments box below to add to the list.

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.

Grenoble Life: What is VSArt?

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

GL: What sorts of activities?

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

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

GL: How did you get involved?

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

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

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

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

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

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

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

GL: Tell us about some upcoming events organized by VSArt

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

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

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

GL: How can people participate in VSArt activities?

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

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

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

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

'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)

Les Caves de la Chartreuse, Voiron

Gill Baconnier has lived in France for over twenty years – seven of them in Grenoble. She teaches English, works with dyslexic children and, in her spare time, tries very hard to actually finish writing her children’s novel. A former feature writer for an English regional magazine, her articles about life in France can now be found at her blog French Windows. She kindly agreed to share this article about Chartreuse with Grenoble Life.

“They say Christianity is in decay; but no religion that invented green Chartreuse can ever die”  Saki

by Gill Baconnier

Grenoble lies in a hollow encircled by three mountain ranges: the Belledonne, famous for its ski slopes; the Vercors, a stronghold for the Résistance during World War II – and the Chartreuse, home to the Carthusian monks and their famous green liqueur. Now, I’m not a great skier and I wasn’t around during World War II but I do know a bit about the liqueur: it has a beautiful colour; it smells and tastes like a summer’s evening in an Alpine meadow and … it gives you a Day-Glo hangover that you’re not expecting because it is really strong.

A bottle of Chartreuse

The Order of the Grande Chartreuse was founded in 1084 by a German writer and academic, Bruno, who taught at the University of Rheims. Weary of the endless piles of marking, pointless administration and mind-numbingly boring staff meetings – or perhaps simply obeying a call from God – Bruno decided to become a monk. Together with six friends, he scoured France for a suitable isolated spot and happened on the Chartreuse Desert, an inhospitable snowbound place near Grenoble. The group built themselves seven simple wooden cells, a chapel and a dining hall and enjoyed a life of prayerful contemplation and light snacks, thus establishing the first Carthusian (Charterhouse) monastery. Today there are twenty-four of these communities around the world and their way of life has not changed for over nine hundred years.

In 1605, the monks at a Carthusian monastery outside Paris were given an ancient manuscript of unknown origin, entitled An Elixir of Long Life. At that time, few people knew how to use herbs and plants for medicinal purposes and the monks were only able to understand and use parts of the recipe. By 1737, the manuscript had found its way to the Grande Chartreuse near Grenoble where the monastery’s apothecary managed to unravel the complex formula and create the Herbal Elixir de la Grande Chartreuse from the maceration and distillation in alcohol of one hundred and thirty plants, flowers and various other bits of vegetation.

This new medicine was distributed locally, by mule, to Grenoble and the surrounding villages. It became surprisingly popular and the monks soon caught on to the old ‘for medicinal purposes’ routine and adapted the recipe to make a milder drink – that is to say, ninety-six rather than one hundred and twenty-four proof – which they called Chartreuse verte, Elixir de Santé.

During the French Revolution, members of all religious orders were driven out of the country. The Carthusian monks fled in 1793 and as a precaution, made a copy of their precious manuscript. One monk was allowed to stay in the monastery and he was given this copy to look after while the original was given to another monk. Unfortunately, the latter was arrested and thrown into prison in Bordeaux but was able to pass the manuscript to a mysterious hero who somehow smuggled it back to the Chartreuse, where he gave it to a monk who was in hiding near the monastery.

This monk didn’t have a clue what to do with the manuscript – and who could blame him? He had his own problems to deal with (imminent death by guillotine, hypothermia, starvation and so forth), and he promptly sold it to a local chemist, Monsieur Liotard – who didn’t have a clue either, so why he bought it in the first place is anybody’s guess.

The Chartreuse massif

In 1810, Napoleon ordered all secret recipes of medicines to be sent to the Ministry of the Interior, and a relieved Monsieur Liotard dutifully sent in his white elephant of a manuscript. Despite being experts in irrelevant waffle, nobody in the Ministry could decipher the thing, but rather than admit that, they sent it back marked REFUSED. When Monsieur Liotard died, his heirs returned the manuscript to the monastery with, one imagines, a puzzled shrug.

The monks were thrown out of France once more in 1903 under a law that prohibited all religious orders. They were allowed back in 1932, when they began producing their liqueur again. In 1935, their distillery in Fourvoirie was destroyed by a landslide and a new one was built in Voiron, which is where Chartreuse is produced today. The blending of the plants, however, is done in the monastery by two monks – the only two people in the world to be in possession of the formula. Each monk knows half the recipe and because they don’t talk to anybody – not even to each other – it remains a secret. They are linked to the distillery by computer and are therefore able to oversee production while keeping their vows of solitude and silence and doing a bit of online shopping at the same time. Green and yellow Chartreuse – the yellow is sweeter and not as strong as the green – is matured in oaken casks in the longest liqueur cellar in the world.

The original elixir is still used for medicinal purposes today but frankly, you’d have to be pretty ill not to notice the taste. I’m not sure what it’s supposed to cure – although farmers here do swear by it for the treatment of flatulence in cows (note to tourists: do not be alarmed at the sight of staggering cows. They are not suffering from bovine spongiform encephalopathy – it’s Happy Hour on the Prairie). Green Chartreuse, however, is one of my favourite drinks; it is so sweet and fragrant that I hardly notice how potent it is – but the fact that Saint Bruno is traditionally depicted nursing a skull (even if it isn’t his own) should have alerted me. Hmm … If you ask me, these monks have a lot to answer for!

Possibly flatulent Chartreuse cows

You can visit the Chartreuse Cellars in Voiron (less than half an hour from Grenoble by car but if you’re driving, you’d be wise to skip the Chartreuse-tasting part of the guided tour!):

Les Caves de la Chartreuse
10, boulevard Edgar Kofler
38500 Voiron
Tel : 04 76 05 81 77

There is also a museum, housed in 12^th century building that was once part of the monastery, at St Pierre de Chartreuse (half-an-hour’s drive from Grenoble):

Musée de la Grande Chartreuse
“La Correrie”
38380 St Pierre de Chartreuse
Tel : 04 76 88 60 45

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.

Sales Rep of the Month? Copyright: Divine Hervester

A friend of mine recently remarked that new parents are second only to tourists for being treated with utter contempt by marketers and sales representatives. Us freshly minted mums and dads are targeted as sentimental fools to be parted from our hard-earneds, our judgement having been subsumed in the mists of a post-natal emotional hangover. We are soft touches to be bullied, cajoled and even emotionally blackmailed into buying things we don’t really need, with extra zeros added for good measure. I wouldn’t have expected such voraciously capitalist thinking in France but I had such an experience recently here in Grenoble that I feel duty bound to share. It might interest anyone who has been subject to a home sales visit in France or finds that increasingly in this country the price of a product has absolutely no relationship to its value.

After the birth of our daughter my wife and I were approached at the Clinique Mutualiste aux Eaux Claires by a woman photographer from the ABC Photo agency who offered to take some professional shots of our baby. We were told one print would be free and that we would be under no pressure to buy anything else. ABC has an arrangement with the clinic – something of a monopoly in fact – in going from room to room offering new parents this service. The woman took what appeared to be some nice pictures and told us she would be in touch to let us choose those we wished to have printed.

However, when we were contacted – two months later – it was by a different woman, an ABC Photo sales representative who wanted to visit us at home. We were not really in a position to refuse because we wished to see the pictures, but immediately braced ourselves for some kind of hard sell. What transpired was so ridiculous that it would have been laughable if it didn’t smack of incredible cynicism on the part of ABC.

When the woman arrived at our apartment with giant portfolio carriers, dollar-sign shaped alarm bells immediately started ringing. After some cursory chit chat and some nosey questions about why I wasn’t at work on Monday morning at 10.30, she slipped a hardback book out of her bag, with the stagey delicacy of one proffering something Very Precious Indeed.

In fact it was an album with pictures of our daughter used repeatedly in different backgrounds, which the sales representative proceeded to present page by page, explaining the logic of each themed chapter: bathtime baby, dinnertime baby, bedtime baby etc. The suggestion that was she was showing some bespoke emotional souvenir that had been created uniquely for us. She kept the price discretely to herself at this stage as she continued with her pitch.

Then things took a turn for the surreal, as she preceded to pull out very large framed baby portraits; just examples, thankfully not pre-made ones of our daughter this time. Some were photographic reproductions, and others had been transformed – presumably on Photoshop, and with extraordinary lack of taste – into fake watercolour paintings.

It was hard to keep a straight face in an apartment of a meagre 55 square metres and have someone try to flog you a huge picture of your own baby – who you can see at any time – that would dominate your living room. I resisted the temptation to ask the saleswoman if she would put such a thing up in her own home, or asking her why she thought we would contemplate transforming our salon into an enormous shrine to our baby.

If if this wasn’t ridiculous enough she started setting down her formule on paper, in her neatest script, as if she was going to offer us the deal of the century. The book, plus the painting, plus some prints, for a mere 770 euros! She even had the cheek to condescend us with the analogy that it was just like in a restaurant, that if we ordered a menu it is cheaper than à la carte! She would even throw in a free teddy bear wearing a t-shirt with a print of our daughter on it, just to show us it’s not all dollars and cents (or, rather, euros and centimes)!

Given that we had expressed little enthusiasm for the watercolours or the bear she announced that the book alone would cost a mere 200 euro. I almost spat hot coffee all over it. If the price had born some resemblance to the normal market price – 30 euro? – I might have felt inclined to buy it as a present for our daughter. Such standardised, cheaply manufactured products are easily ordered over the internet, and many people have them made as a memento of their holidays. ABC evidently think people – or specifically new parents – are unaware of this, and pre-print the book without asking, assuming parents would feel obliged to pay a vastly over-inflated price.

We politely explained that this was not really in our budget; I’m never rude in such situations. But I’m still annoyed that the photographer had given us the impression we would be able to choose the prints freely, while the saleswoman was leading us to believe they were not sold as such, but only part of some exhorbitant deal including other, unwanted items. I told her this as politely as I could, and she relented, allowing us to choose the prints only. We sent her on her way having purchased 60 euros worth of prints, feeling as if we’d had a narrow escape even though we had been blatantly robbed.

It hasn’t escaped my attention that France is starting to seem very expensive indeed, but only someone without any sense of the relative value of things would be foolish enough to pay 200 euros for a book. I have limited edition art catalogues with tritone lithograph prints that cost half that. Money doesn’t always equal taste of course, but who does have the best part of a grand down the back of their sofa to blow frivolously on such things? Since the visit I’ve amused myself with visions of buying a number of the enormous, vulgar, fake watercolours of my daughter and having them shipped at massive cost to relatives. I could clear my rainy day account to blow several thousand on tasteless, unwanted tat! It would all be so easy!

This type of sales pitch has never happened to me in England and I’m left wondering if France is stuck in a bit of a time-warp as concerns to sales. One of the great advantages of the internet is that it means people can avoid being pressured into buying things in their own homes. People are aware of what things should cost and can make their price comparisons freely in their own time. They can order uniquely personalised gifts cheaply at the touch of a button.

The techniques employed by ABC seemed shockingly retrograde. Why not just set up a website and let your clients select the prints at their own leisure? Here’s a novel idea: sell people what they really want and what they had originally agreed to buy! Then you can charge a price that does not include the salary of an entirely unnecessary sales rep. No need for that extra zero! The home sales pitch is not even yesterday’s economy, it belongs to the last century.

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

Open House was founded in 1987 to support the growing English-speaking population in Grenoble and the surrounding area. We have currently over 150 members and their families, from 27 countries, all of whom are linked by the English language and the fact that they are living, or have lived, as expats. Our members all know what it means to pack up and come to live in a foreign country, where the language and customs may be very different from home. The support offered by kindred spirits helps the transition at this exciting but challenging time.

We run a wide range of activities for people of all ages and from all walks of life. We have two regular groups for those with young children, plus children’s parties and occasional days out. There are also regular get-togethers such as Wine Tastings, Lunches, Outdoor Activities, Book Groups, evening chill out evenings and simple coffee chats where you can get to know other English speakers in the area. If you want to learn French or improve your language skills, we have a fortnightly French-English exchange. We have guides about almost everything you would need to know about living here. Plus, our members are a source of information on just about anything you could need to know during your time in Grenoble.

Welcome to Grenoble. Welcome to Open House!

For more information about any of our activities, please contact us at president@openhousegrenoble.org

Coffee and Chat

French Xmas

Halloween Party

Picnic

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.