Cultural Excursions

There haven’t been many things I’ve missed about the UK since moving to Strasbourg. Loved ones. The NHS. British Aldi and Lidl. I can add the London theatre scene to that list. 

I’ve not availed myself of the French theatre tradition either. That is until now. The Bienvenue á Strasbourg association have finally organised an event I can attend. It’s a production of the satirical two-hander ‘Ciel, Mon Mari est muté en Alsace !’ or (Heavens, My Husband has been Transferred to Alsace!’), staged at the Munsterhof, a stone’s throw from the Cathedral. It’s told from the perspective of a sophisticated Parisian wife highly reluctant to head East, based on the many stereotypes about the hybrid Franco-German culture, odd social mores and bad weather (Please. I grew up in Britain).

The audience is filled with a fair amount of Alsatians, making sure the region isn’t done a disservice. One native spends the night apoplectic with mirth. Her male companion teasingly nudges her after one of several fits of hysteria. I don’t understand all the jokes nor, frustratingly, a lot of the dialogue during the poignant Second World War historical overview. I do learn that the Marx Bros and Django Reinhardt all have Alsatian roots. In the end, it’s not a bad first encounter with French theatre. The male actor’s absurdist turns are sufficiently entertaining and any language practice is useful.

The play finishes earlier than expected. Great. It’s a school night anyway. As I’m heading towards the exit, I’m lured into an adjacent room by the smell of grub. I vaguely recall mention of an after-show reception. Ah. Vol-au-vents. How I’ve missed thee. This is doing my post-Lent austere intentions no good. I capitulate somewhat, squirrelling away snacks with the intention of freezing them and indulging on a ‘treat day’.

(courtesy of L'Alsace)

Looking around, I suddenly feel maudlin. There are contexts in the UK in which I’d be confident speaking to strangers. In Strasbourg, I’m too self-conscious about my imperfect French. I leave the venue, self-chastising and feeling guilty about my hors-d’oeuvres haul. I seize an opportunity to divest myself of them when I spot a couple sleeping rough.

Walking from the venue to my bus stop, the fresh Spring evening air lifts my mood before I know it. Strasbourg beguiles me with its beauty despite myself; even at night.

That weekend I’m back at the Munsterhof to attend the award ceremony for the annual Anglophone short story competition for Strasbourg residents. The invitation arrives in my nom-de-plume inbox, contained in the same email informing me that my entry was not successful. Not surprisingly, I don’t have much interest at first in attending the ceremony. If my story wasn’t good enough for your poxy competition, leave me be. Besides. I don’t want to be reminded of my own inadequacy when hearing the shortlisted entries. Half are written by authors for which English is not their first language. Oh yes and there’s a junior under-18 category too, to twist the knife into my mediocrity.

Then again, it’s an excuse to dress up, go out and meet those with a common interest. I might also learn a thing or two from the winning entries.

Considering the prize is now in its 10^th year, it’s a curiously informal affair; almost chaotic. I’m over-dressed -as always- judging by most of the casual apparel (where is the sense of occasion?). I sit next to a woman whose handbag is wide-open. Upwards of 100 euros cash is visible through a transparent wallet. I wonder what sort of economic security can make a person so lax with their belongings. There’s a fair share of guests milling around. A few walk out mid-ceremony.

The main event is not the soul-destroying experience I have feared. Yes, the all female finalists from the under-18 categories are depressingly accomplished. (It does make me wonder how ‘non-native’ English has been defined. This year’s Junior Laureate, Ferre Wuchner, is young and proficient enough to be classified as a first language speaker. My question is never answered). However, most of the ‘native’ level shortlist are reassuringly hoary-haired. There’s time yet for me to hone the craft.

I’m also heartened by the encouragement and advice from co-host and one of the three competition judges, Michael Wright. A successful journalist and author in his own right, he admits to never having won a writing contest. Also comforting are his empathetic observations about artistic insecurities and how the inner critic’s voice only becomes louder with age. The solution he says, is simply to persevere. The man is All Wright. Even if he has written for the Daily Telegraph. To my shame, this latent prejudice precludes me from thanking him in person after the ceremony. Once again, I’m not feeling up to the required post-show socialising. I’m knackered from the night before, having returned in the early hours of the morning. (Nothing untoward, of course).

I head straight to my bus stop, strolling through the bustling sun-drenched streets. My heart skips to see more evidence of blossoms in full bloom. Despite being flanked by a seasonal melancholy these past couple of weeks, I can’t begrudge the advent of Spring and all it promises.

The following day I’ve arranged to attend a photography exhibition at La Chambre with recently-made acquaintance Muriel. It showcases the work of Stephen Shames, focusing on his documentation of the Black Panther movement during the 1960s and 70s. I originally invite my unofficial French tutor Bernard but he flakes without warning.

A few minutes before we meet, Muriel sends me a text asking if I mind if the boyfriend tags along. Damn it. I don’t like the idea of being the third-wheel in this couple-based trinome but I can hardly say no at the last minute. I will myself to be gracious.

La Chambre is smaller than I anticipate. Cosy. We are shown around by an enthusiastic and attractive young brunette who speaks a mile a minute. Miraculously, I can follow most of it. Muriel and I look on in envy at the full Afros, carried regally by African-Americans with amazing bone structures. 

The exhibition isn’t limited to Shames’ work with the Black Panthers, coming right up to date with the Black Lives Matter movement. The photographer has spent several decades documenting the inhabitants of deprived areas in his native New York; mostly in monochrome. 

Muriel and I marvel at how Shames earned the trust of his subjects. Some portraits are incredibly intimate. Naked adolescents scrub down in the communal showers of an adult prison. A shirtless Huey Newton stands in the middle of his living room, following his release from prison. He’s holding a Bob Dylan LP, sporting a rakish (maybe even triumphant) grin. A young man clutches his girlfriend in what looks like perturbed sleep. A smirking biker yanks down his lover’s top, exposing her bare breast. She also smiles, complicit in her degradation. There’s an image from the early 90s of the open-casket funeral of a 12-year old slain by bullets, his family understandably ravaged by grief.

(c) Stephen Shames

Afterwards all three of us head to Place d’Austerlitz for a natter. Muriel and boyfriend Gustav have plans to catch a film later. We chat about Strasbourg vs. London life, my work at the Organisation, pop culture, Gustav’s Slavic/Germanic roots and Afro hair maintenance. Gustav is bemusedly fascinated by the mysteries of the latter. He makes one or two comments that verge on the casually racist. Or perhaps I'm just being sensitive.

He and Muriel bicker affectionately like an elderly couple but I don’t feel excluded. Once in a while these things turn out better than expected.

This week's soundtrack:

'Black on Blonde' + 'The Anchorman Mixtape' by K-Os