Revue de presse Inde / France

Revue de presse Inde / France
Date d’édition : 30,/11/& 1,2/12 2013
Lisztomanias Festival - First lecture
Liszt (Lehmann portrait)
Music/Concerts
Liszt (Lehmann portrait)
Lisztomanias Festival - First lecture
This lecture is the first event of « Lisztomanias in India », organised in cooperation with Balassi HHI, Institut Français,
Région Centre, The Neemrana Music Fondation and Neemrana France.
Mr Jean-Yves Clément, writer and author of a book about Liszt (translated in hungarian language), Mr Nicolas
Dufetel, musicologist and former scolar of the Liszt Academy and Liszt Memorial Museum in Budapest, Mr Alain
Rechner, President of Lisztomanias International association, will give a lecture about Franz Liszt (1811-1886), the
great hungarian pianist, composor, humanist, who was friend of George Sand, Chopin, Delacroix, Wagner. They will
present to the indian public the project to set up in India the unique opera of Liszt « Don Sanche of the Castle of Love
» (1825).
Lecture in Delhi: Date: 1st December Time: 6 pm
Venue: Hungarian Information and Cultural Center,
1/A Janpath (Near Hotel Claridges), New Delhi, India 110011
Lecture in Chennai
Date: 6th December Time: 4 pm Venue: KM Music Conservatory
19 Vinayakapuram 2nd Street, MMDA Colony, Arumbakkam, Chennai, Tamil Nadu 600-016
Songs with a message
The Hindu
November 30, 2013
Spanish-French musician Manu Chao. Photo: Kavi Bhansali
Spanish-French singer Manu Chao combines music and journalism, says the author
Much of the crowd at Mehrangarh Fort, Jodhpur, hasn’t heard 52-year-old Manu Chao’s
music before or is familiar only with two of his big hits — ‘Me Gusta Tu’ and the addictive
‘King of the Bongo’. But his is the kind of music that finds a natural home in India — big, syncopated beats that are
naturally punctuated when Spanish-French Manu Chao beats the microphone against his bare chest in a trademark,
amplified heartbeat that is utterly fitting.
In India last month, Chao played to enthusiastic audiences in Jodhpur (at the RIFF Festival), Mumbai and Delhi in
classic Chao gear: shorts, open-to-the-navel shirt, multiple necklaces. The crowd couldn’t understand a lot of the
lyrics — Manu Chao’s mainstay as ‘musical revolutionary’ deals with immigration, life in the ghettos, drugs and, of
course, love — but his appeal was contagious.
Influenced by punk, rock, salsa, reggae, ska and even Algerian Raï, Chao’s music has raised a generation of college
students to loyal adulthood. He began in the 1980s alternative Paris music scene with a band called Hot Pants
(initially by busking, even), then made it big after he and his brother founded a band called Mano Negra, with the hit
‘Mala Vida’. They were a musical guerrilla movement, playing out of a ship around South American port cities and
hiring a train to play to peasants and drug traffickers. Later, Chao began to play with Radio Bemba Sound System (a
reference to the Cuban Revolution’s rebels’ communications) all over South and Central America, incorporating the
popular sounds of street music. The hit album Clandestino followed; then two more albums, the last one in 2007.
Chao is an unusual star, in that he actually seems to be all about the music. He lingers with students, journalists and
hangers-on alike, avoids five-star treatment and VIP areas, seems to hate being busy or scheduling his time, saying
that the biggest luxury is not having to decide what to do for the day. Fans jump up on stage — one even kissed him
when he played in Delhi at Blue Frog, at his last concert — but he played on unfazed. The trappings are secondary,
the simple, open heart of his music first. Excerpts from an interview:
Were you tempted to write? Your father was a journalist, and much of your music deals with socio-political
issues.
To be a journalist myself? I found a way to be a kind of journalist through my music, as it talks a lot about social
issues. I always thought there was a little part of journalism in my music.
How do you deal with this issue — of when is it music, when is it art? Music first or words first?
You never know when you are going to write a song. I never know what it’s going to talk about, inspiration comes
whenever it wants; it’s not me that decides. I try to be writing always; sometimes it’s two words, sometimes it’s a lot.
The important thing is to be ready.
You always think you are going to remember it in the morning – do you wait till then?
No, no, no, write it right away, in the moment!
You said in an interview that you wanted to come to India some time ago, partly because of the cows. Any
collaborations planned while here?
Yes, I’ve been planning for a long time. I don’t know if I’m going to collaborate with anyone yet, it’s just been a few
days: I’ll watch everything, taste everything, do everything, hear everything. Of course I’d like to collaborate with
Indian artists, but they will decide, not me.
Any music you particularly like here?
I don’t know too much yet. This first trip is going to be to get in touch with the scene and what’s happening here. I
have some information about the folk tradition, before Jodhpur, that was sent me.
What about gypsy/folk music in Spain? Was there ever any desire to collaborate back home?
Flamenco, flamenco? No, I play rumba! In my neighbourhood in Barcelona, we sing in the tradition of Rumba
Catalana.
Do you go back often to Latin America? It was your first big accepting audience.
Yes, of course! Argentina, Chile, Brazil, Mexico, Colombia. Some people think I’m from Argentina. My family is there
too, I have a son there. I was born in Europe, grew up in France; my mother is from Bilbao and father from Galicia,
they left because of political reasons. [Chao’s grandfather was sentenced to death by Franco].
How do these politics inform your music today? I read that you were asked to represent the antiglobalisation protests by the Italians, for example.
That’s not true, the media sometimes misrepresents things, or need a ‘head’ for something. I was never asked this.
But, yes, my music has a message.
When you play, in Barcelona now, where do you spend most of your time?
I play at my local bar, in my neighbourhood, Poble Nou; play guitar with the local kids. I enjoy all of it.
At Bar Mariachi! (It is his Barcelona favourite, I’ve read.)
Yes! (He brightens when we talk about the big favourites of Barca; old bars in Raval which used to stay open till
forever.) Those old bars with barrels as tables, in Raval. Now, they are trying to close all of them early these last few
years, make money off them. It’s the same everywhere. People are trying to control music, dancing
‘Indian secularism is about mediating between different communities’
November 30, 2013
Sanjay Subrahmanyam: “In India, we are dealing with a situation where for a very long period of time … you had a
kind of shifting equilibrium between many different communities.” Photo: Special Arrangement
An interview with Sanjay Subrahmanyam, historian
Professor Sanjay Subrahmanyam, eminent Indian historian, has been elected to the Collège de France in
Paris, a prestigious centre of learning, where he will hold a Chair in Early Modern World History. Educated at
the Delhi School of Economics, Professor Subrahmanyam taught economics and history in India, France and
the U.K. before joining the University of California, Los Angeles (UCLA) in 2004 as Professor and Doshi Chair of
Indian History. Earlier, in 2002, he was the first holder of the Chair in Indian History and Culture at Oxford. He was
elected to the American Academy of Arts and Sciences in 2009. He spoke to Vaiju Naravane. Excerpts:
You are a historian of Modernity. What are the kinds of shifts and upheavals we are witnessing today?
In terms of political organisation, there have been many shifts and upheavals. The world I’m dealing with in the 17th
century is still really one of monarchies. But the changes today are also visible in the technologies in movement and
transportation, changes in notions of distance, social relations and what social groups are, down to the level of the
family.
What about past and present migration patterns? How have these changed in the long term? How has the debate on
migration changed?
Earlier, there were waves of migration that took place in the context of empire-building and imperial expansion. For
instance, migration to colonial America, and even in the late 19th and early 20th centuries, was broadly within a
matrix of imperial expansion. There were arguments made that we might not accept today: that these were “empty
lands” being settled — arguments that were still being made in Australia in the 1940s and 1950s. After World War I
and the Depression, European or white migration became a minority phenomenon. What we are looking at now are
often population movements from non-European parts of the world, and it is not being done in the context of political
restructuring. Today’s constituted states are thus resisting, wishing to shape developments, preferring one type of
migrant to another — racially, professionally, etc. However, if the world population density remains unequally
distributed like this, there have to be adjustments. But it’s one thing to make broad arguments and another to come
down to the fact of how people move and how they are allowed to move.
Do you see a great deal of international tension in the coming years? And how does that link up with the fear of Islam
and migration? Are we going to see dual, interlinked tensions?
Yes, certainly. Currently, in the U.S., their main obsession is with population movements from Latin America, but in
Europe, the matter is posed differently. At times, this question of Islam is an excuse. Look at the question of the
Roma, or “gypsies.” This has nothing to do with Islam, yet absurd ideas, medieval myths of them being child
stealers, are resurfacing. This is suggestive of a larger paranoia. In France and Italy, for instance, there are
many Bangladeshis, but the public often does not perceive them as Muslims. On the other hand, the Turks, with
whom the West has had dealings for a very long time, and who made efforts over the 20th century to abandon a part
of their culture to become “western,” got nowhere when they tried to enter the European Union. Apparently, Greece
has more in common with Europe than Turkey!
The question of immigration leads me to secularism, which has been one of your concerns. What is the main
difference in the way secularism is practised in India and in France?
First, there are differences linked to the concepts of secularism and “laicité” and, second, with the institutional
practices as they exist today. The conditions of the emergence of laicité are to be seen in the context of the religious
wars — and a history going back to the French Revolution and its aftermath, where it was thought that the Catholic
Church had a hold on power that posed a problem at various levels. Therefore, we get the argument that the State
had to be extracted from the Church’s grasp. Even today, when the problem of Muslims and Islam is posed, it’s
actually posed subconsciously in the context of the Catholic Church. When they talk of the veil or the voile
in France, they are really thinking of the Catholic nuns, and many French see Islam as a symbol of oppression of
women, as they once saw the Church.
In India, we are dealing with a situation where for a very long period of time, ever since the establishment of the first
Muslim polities, you had a kind of shifting equilibrium between many different communities. Since there was no such
thing as a constituted Hinduism with defining institutions, nobody ever saw the problem as extracting the state from
religion as such. It was actually the problem of mediating and finding a balance between different communities and
groups. The metaphor was often that of the king as the doctor and the kingdom as the body, where the doctor
balances the humours in the body.
Is the flurry of anti-Islam and anti-mosque laws passed in France, Belgium or Switzerland a case of excess, of not
respecting the balance between the many communities and forces that make up society?
Yes, it is a question of whether they are capable of redefining for themselves their way of thinking. Can France, in
particular, get out of this “laicité” bind? Because it is really not the appropriate language with which to talk about
relationships between communities. What French republicanism has produced is an extreme form of inflexibility,
where they don’t have the appropriate conceptual tools to deal with a sizeable non-Christian minority. I once
suggested to the great ire of the readers of Le Monde that the French might even want to look for institutional
solutions in India.
How do you look at French schizophrenia — on the one hand, they are obsessed with the idea of decline
and, on the other, of rebuilding their greatness through the propagation of the French language and culture
overseas?
It’s not entirely unique to France. The division of Germany allowed France the space to develop their cultural shadow
during four decades after the war. The Germans have largely given up on language, and now accept English while
the British console themselves with the idea that the Americans have become their heirs. The problem for France is
that there is no “overseas France” that really emerged. Moreover, the French have a system that is heavily
dominated by the state even with regard to cultural production. So, when people talk of decline they are actually
talking of the relative decline of the French state. France is facing a world that is hostile to state activity — Europe
itself is diluting the powers of individual states. The question is: can we imagine a France where the state plays a
lesser role? Even writers and thinkers like Pierre Bourdieu were ultimately the social products of state intervention,
exemplifying its triumph whether they were critical of the state or not. They were not the products of strong civil
society institutions.
You have been elected to the Chair in the Early Modern World History at the Collège de France. What are the
specific issues on which you have decided to focus?
The Chair has been given a very broad definition and you then pick an overall theme for each year. The theme for
this year is global history in the 17th century. The way in which history has typically been organised at the Collège de
France has been either as national histories or “civilizational histories.” So, this is something of an experiment. They
felt they were interested in my approach over the last 15 to 20 years, looking into histories on a more flexible basis,
what I call “connected histories” — flexible histories from a geographical perspective.
Could you share some of the topics with us?
This year’s topics include the so-called global crisis in the 17th century, which some see as related to climate
change, for instance. But I shall also treat specific questions. For instance, the 17th century is a great moment for the
history of piracy.
A Frenchman called Alexandre Exquemelin wrote the most famous book on the subject. It was a
phenomenon which had to do with the political conditions and contested sovereignty in Europe, and in
particular, England in the context of the civil war; where you get contested sovereignty. Piracy is often a
question of contested sovereignty, of a breakdown of the state.
Entre l'Inde et Tours : les Beaux-Arts
LUNDI 2 DÉCEMBRE 2013 |
Une découverte de l'Inde à travers un itinéraire artistique…
Depuis 2002, Peter Briggs, professeur de sculpture, organise des stages à l'étranger, plus particulièrement en Inde,
pour des étudiants de l'école des Beaux-Arts. Tout un réseau s'est créé, qui permet d'exposer là-bas mais aussi de
découvrir les nouveaux talents locaux : « L'Inde est l'un des pays attractifs pour l'art contemporain. Promouvoir
ces artistes, véritables ambassadeurs, est essentiel à l'heure de la globalisation », insiste Sarah Zürcher,
directrice du lieu. Ils ont reçu le soutien de l'Institut français, qui finance la réalisation de projets à l'étranger.
C'est ainsi que quelques étudiants tourangeaux sont partis trois mois à Dehli avec la volonté de croiser leur
savoir-faire avec celui d'artisans locaux qui travaillent le fer, le bois, la corde et ils ont ainsi réalisé des
œuvres qui « font sens ».
Que ce soit le « rickshaw » de Manon, vélo à trois roues très utilisé, sur lequel elle a transporté une petite maison en
bois, « celle des gardiens, espace confiné dans lequel ils dorment », explique-t-elle, ou la « Cité de briques »,
matériau local, construite par Grégoire, en miniature, telle une ville qui se construit et se déconstruit, symbole de la
disparition des traditions urbaines et artisanales, ou encore « Shoes » d'Emmanuelle, énorme chaussure en alu, qui
symbolise l'énergie des femmes, mais aussi ce lit métallique, expression d'une soumission qui se traduit aussi par
une violence sexuelle, sans oublier la « Méduse » géante de Chloé, faite de cordes ou d'acier, exaltant les creux et
les volumes, le féminin délié mais aussi la toute puissance masculine. Tous ces jeunes ont su, par leurs recherches
créatives, mettre en valeur ce qu'ils qualifient « d'expérience extraordinaire ».
Jusqu'au 30 novembre à l'école des Beaux-Arts, jardin François 1er à Tours. Entrée libre.
Correspondante NR : Marie Gosselin
French Touch for Indian Music
http://afmagazine.in November 28, 2013
Deux événements majeurs musicaux se produisent en Inde à Mumbai et Chennai : il s’agit de l’India Music Week du
4 au 5 décembre 2013 et du festival XCHANGE 2013 du 6 au 8 décembre où une délégation de professionnels
français sera largement présente.
Le projet INDIALINK fait suite à de nombreuses initiatives dans le domaine des musiques actuelles depuis 2010
portées par la Région Centre et ses opérateurs culturels. Il consiste à conduire une délégation de professionnels
français à la découverte du marché de la musique en Inde pour favoriser les échanges et créer des connexions
professionnelles fortes. Au total, ce sont treize professionnels français qui se rendent sur deux plates-formes
professionnelles indiennes pour présenter la scène française de leur point de vue et nouer des contacts
pour le développement d’échanges France-Inde.
Le groupe français Success
Cette année, la France et ses professionnels de la musique sont présents en force pour favoriser des
développements économiques et culturels avec des artistes et des professionnels indiens à l’occasion de deux
événements musicaux majeurs sur le territoire indien : India Music Weeket XChange. Ces deux plates-formes
regroupent le milieu de la musique indépendante de toute l’Inde, allant des artistes aux labels en passant par les
producteurs, les salles, les festivals ou encore les radios ou les nouvelles plates-formes numériques de
téléchargement. Durant plusieurs jours et sur deux villes, programmateurs, distributeurs et artistes se rencontreront
pour définir les enjeux du développement du marché des musiques actuelles et travailler sur des réseaux de
partenaires. Les groupes electro-rock Success et le groupe rock French Cowboy and the One soutenus
également par les conventions IF/ Région Centre et l’Institut Français en Inde, se produiront lors de ces
événements.
XCHANGE 2012 à Chennai
Dans le cadre de la première édition du Salon professionnel Xchange à Chennai, Frédéric Robbe, directeur de
l’Astrolabe et Jean-Noël Bigotti, chef de projet à la Fraca-Ma, ont collaboré avec Earthsync pour accompagner la
mise en œuvre, définir les thèmes et contenus des conférences et rencontres de ce salon, notamment en cherchant
à répondre aux difficultés de structuration rencontrées par les acteurs indiens. est un événement incontournable
dans le dispositif de coopération existant. La volonté affichée est de réussir à créer une plate-forme de discussion,
préalable nécessaire à la construction du premier réseau de professionnels français et indiens.
La délégation française comprend des représentants de l’Astrolabe et de la Fraca-Ma à Orléans, du VIP à SaintNazaire, de l’Emmetrop à Bourges, du Paloma à Nîmes, du Festival Marsatac à Marseille, du label Zutique
production de Dijon, de l’EMB (Espace Michel Berger) à Sannois, du label Sakifo basé sur l’île de la Réunion, du
Camji à Niort, de la Vapeur à Dijon, et des festivals Eurockéennes de Belfort, Festival Cabaret Vert à CharlevilleMézières.
Une découverte de l’Inde par les livres
lavenir.net- 29 //11/2013
Namaste! La bibliothèque de Mouscron a présenté sa collection de livres d’auteurs indiens dans le cadre de
l’exposition Europalia.
La plupart des Mouscronnois connaissent Bollywood et le cinéma indien, mais pas les auteurs du deuxième pays le
plus peuplé au monde. Pourtant les étagères de la bibliothèque regorgent de livres de romanciers venus d’Inde.
Dans le cadre d’Europalia, celle-ci a décidé de les mettre sous les feux des projecteurs. «La littérature indienne offre
un vent nouveau. Les auteurs essayent de mettre toute l’Inde dans leur roman et proposent un reflet tragicomique de
leur pays », explique Isabelle Fauquembergue, animatrice du «petit déjeuner lecture». «De plus, la génération
d’écrivains nés après l’indépendance de l’Inde en 1947 a étudié à l’étranger. Ils mélangent donc leur propre culture à
celle du pays où ils ont fait leurs études, souvent l’Amérique ou l’Angleterre.» Une vingtaine de livres
Pendant près de deux heures, Isabelle Fauquembergue a transmis son savoir à la trentaine de personnes présente.
Une liste alphabétique avec une sélection de livres disponibles à la bibliothèque avait été distribuée avant que la
session ne commence. Ainsi, chacun pouvait facilement retrouver dans la liste le nom de l’auteur, qui n’est pas
toujours simple. Jugez par vous-même: Bhagat, Singh, Tejpal.
La littérature indienne n’est pas forcément différente de la nôtre. «Elle est plus exotique et touche plus que la
littérature française. Les auteurs venus de France nous racontent leurs propres petits bobos, tandis que les auteurs
indiens se tournent davantage vers le monde», commente notre interlocutrice. Mais il y a aussi, dans la littérature
indienne, des styles de romans bien «européens». Des recueils de nouvelles, où chaque personnage raconte une
histoire différente, il n’y a pas que Chaucer et Boccaccio qui en ont fait. Divakaruni par exemple raconte dans son
livre 'L’histoire la plus incroyable de votre vie' les aventures de neuf personnes qui se retrouvent coincées après un
tremblement de terre.
Slumdog Millionaire
Vikas Swarup est un autre auteur contemporain indien. Son nom ne vous dira sûrement pas grand-chose,
mais vous connaissez sûrement l’adaptation cinématographique de son livre 'Les fabuleuses aventures d’un
Indien malchanceux qui devint milliardaire'.
En effet, Swarup est l’homme qui a permis au film 'Slumdog Millionaire' de voir le jour. «Avec humour ce livre retrace
la vie d’un jeune homme à trois prénoms qui réussit à répondre aux questions du jeu 'Qui veut gagner un million de
roupies' grâce à son parcours de vie », résume Isabelle Fauquembergue. «Le livre me fait penser à 'Candide', car
l’auteur réussit, comme Voltaire, à dénoncer des choses graves avec humour.»
Les Mouscronnois présents lors du petit déjeuner ont apprécié les différentes histoires. De plus, Mina Parbhoo, une
maman indienne originaire de Mumbai et vivant à Mouscron avait aidé Isabelle Fauquembergue à décorer la salle de
la bibliothèque avec des saris et autres toiles du Taj Mahal, une des sept merveilles du monde. Pour quelques
heures, les participants ont ainsi eu l’impression de se trouver en Inde.
From Mayyazhi to Mahe.. a magic history
PUDUCHERRY, November 28, 2013
Historian Jean Deloche hopes to revive interest in 18th Century Mahe, through old maps and plans
Hidden history:The exhibit, ‘Le Vieux Mahe’ at Puducherry, put together by historian Jean Deloche, allows locals and
tourists to trace the evolution of a picturesque village called Mayyazhi to a fortified town named in honour of French
general Mahe de Labourdonnais —Photo: T. Singaravelou
Mahe may always be remembered as a former French colony, but, unlike Pondicherry, the coastal town set within
the State of Kerala has barely any remnants of its colonial past. Puducherry-based historian and researcher Jean
Deloche hopes to revive interest in Mahe’s standing during the 18{+t}{+h}Century, through a cachet of old maps and
plans of the town.
“Mahe was not just a small fishing village in the 18{+t}{+h}Century. It was a trade centre of considerable importance,”
says Mr. Deloche, researcher with the Ecole Ecole Française d’Extrême Orient.
The exhibit, ‘Le Vieux Mahe’, allows locals and tourists to trace the evolution of a picturesque village called Mayyazhi
into a fortified town named in honour of French general Mahe de Labourdonnais. The maps between 1721 and 1817
show forts put up by the French, and private buildings by native Malayalis. “Mahe had a Franco-Indian heritage that
bears interest to both Indians and French,” says Mr. Deloche.
“Ask around town and hardly anyone remembers Mahe’s past today,” says Mr. Deloche, ruing that nothing of the
original buildings is left today. Popular sites like St. Teresa’s Church were built in modern times, though at the same
site where the original church stood. What Mr. Deloche has attempted is to trace the 18{+t}{+h}and early
19{+t}{+h}Century edifices depicted in the old plans, in present-day Mahe. “Identification was not an easy task, when
no traces remain.” Mahe was razed to the ground thrice when the British possessed Pondicherry intermittently. But
with certain landmarks like the church, a rock battery, among others, Mr. Deloche has recreated Mahe of yore.
The small hills that dotted the landscape were crowned with forts between 1728 and 1761 by the French, to keep the
area under their control. Today, a burial ground and a general hospital stand in the place of Fort Conde and Fort
Dauphin. The latter is designed as a star-shaped fort. Plans and maps also show the church, a choultry converted
into a prison replete with dungeons, a large warehouse by the sea with separate godowns for various spices.
A map depicts the course of the river Mayyazhi. “The river was navigable by boats and was instrumental to the spice
and paper trade that was carried out of Mahe,” explains Mr. Deloche. An early map also shows scattered portions of
Mahe outside the town, like Pandakkal, Chalakkara, Pallur and Chembra, which were gifted by Hyder Ali.
Incidentally, the British held on to these territories till 1853, even after they relinquished Mahe for the third time to the
French.
Some interesting details that emerge include a bamboo hedge between the two principal forts. “Back then, a bamboo
hedge was a form of defence to keep the English at bay. The bamboo grew so close together than no one could
breach the forts. The strategy was also adopted by Tippu Sultan.”
Though the hedge was never penetrated, Mahe fell when Pondicherry surrendered. But, nothing of the forts remains
today. For, when Mahe was rebuilt for the third time, the treaty that the French signed with the British had forbidden
fortifications of any kind.
Another unusual mention in an official plan is the Allee des soupirs, says Mr. Deloche. Translated as the Lane of
Sighs, it is speculated to have been a tryst for lovers.
The historian who has walked around the town several times over the years was excited to stumble upon any
description that matched the old maps. “I was looking for a kurup battery — a rocky ledge mentioned in the maps. I
came across the place and it was exciting to confirm it was the same battery as the river skirts it just like it is shown
on the map,” he adds.
Mr. Deloche hopes to put together an exhibit on Chandrnagore next, though there are fewer maps and he admits he
cannot boast of intimate local knowledge, as with Mahe or Pondicherry. Close to 80 maps of the former and over 300
of the latter are preserved in Paris and Aix en Provence in Southern France. Today, they can be accessed on CDs
and Internet archives. But the exhibition would be taken up by the Alliance Francaise in Pondicherry and Mahe to
revive local interest of the past.
The exhibit, supported by the EFFE, the French Institute of Pondicherry and the Department of Art and Culture,
Puducherry will be on at Maison Colombani, Rue Dumas, till December 6 between 9 a.m. and 6 p.m.
Ambassador Richier inaugurates “Xperience Efficiency Yatra”, 25 November 2013
France in India French Embassy in New Delhi , publie le 28 November 2013
Inauguration of Schneider Electric’s “Xperience Efficiency Yatra” by Ambassador Richier in Chennai, 25th
November 2013
The Ambassador of France to India, H.E. Mr François Richier, inaugurated Schneider Electric’s “Xperience Efficiency
Yatra Marketplace” in Chennai, on 25th November 2013, on the occasion of the celebration of the 50 years of the
French group’s presence in India. Ambassador Richier was accompanied by Mr Philippe Janvier-Kamiyama, Consul
General of France in Pondicherry, and from Schneider Electric India, Mr Anil Chaudhry, Country President, and Mr
Prakash Chandraker, VP-Energy Business.
With operations in more than 100 countries, the French major Schneider Electric offers expertise on energy
management and integrated solutions across multiple market segments worldwide. The company launched an
awareness campaign “50for50”, emphasizing the need to save energy and ensure access to energy for all.
More than 650 people attended the inaguration in Chennai, which was an occasion to collaborate and share
experiences, best practices and ideas with industry leaders and experts.
23rd - 28th November : The French International School of Bombay organised a discovery tour to Gujarat
for its young students [ fr ]
Consulate General of France in Bombay France in India lpublie le 29 novembre 2013
A group of 25 students from the secondary school section of the French International School of Bombay visited
Gujarat from 23rd of November to 28th. The purpose was to discover the natural and cultural diversity of Gujarat,
focusing on Ghandi’s heritage.
Itinerary : Ahmenabad-Zainabad-Rajkot-Junagadh-Sasan Gir-Diu
The Gujarat trip organised for our high school students is not a just a trip, but an educational and cultural initiation
into a country with a thousand facets, that still knows how to guard its secrets, whatever the circumstances.
The students discover, learn and enlighten themselves with the support and attention of their teachers, who have a
knack for pointing out the essential. Children mingle, help each other, share an experience in a new context, that of
living outside the protective walls of the institution and the family. This is both ; a personal enrichment as well as
learning to live together, in the absence of parents, moments that the children revel in, that lead to responsibility and
autonomy under the guidance of their teachers.
From the sixth standard to the last year there is still a long voyage of learning, but everyone instinctively learnt how to
find the optimum equilibrium in this unique joint experience across this beautiful state of Gujarat, which, we bet, will
not remain a mere memory associated with some pictures.
Yves Michel GEFFROY, Principal of the French International School of Bombay