Tag Archives: France

Saint Malo: Corsair City on France’s Emerald Coast

30 July 2014

Less than an hour west of Normandy’s famed and much-visited Mont St. Michel lies the Breton port of Saint Malo, long a haunt of corsairs and trans-Atlantic fishermen. In its seafaring heyday, St. Malo was a walled fortress island, connected to the mainland only by a narrow causeway. Today its harbor has been reconfigured to serve yachts and pleasure ferries that traverse the English Channel or merely cruise along the capes and headlands of the Emerald Coast.

The delicate bend of St. Malo's sea wall protects swimmers from the rougher waters of the open Atlantic.

The delicate bend of St. Malo’s sea wall protects swimmers from the rougher waters of the open Atlantic.

While the Cathedral of St. Vincent anchors the center of the city and the famous Breton crêperies line the inner wall of St. Malo’s ramparts, its face is truly turned more towards the wide world of the sea than to its own hinterland. From the Aquarium Intra-Muros (inside-the-walls) to the seafaring exhibits in the Musée de la Ville, from the cross-channel ferry port to the fine sand beaches and fortress-islands just outside the city ramparts, St. Malo is a seafarer’s paradise.

This is a city whose importance is far bigger than the compact cobbled streets of its walled domain. Evidence of its civic pride can be seen in the splendidly carved shop signs throughout the commercial area, in the varied and accomplished street performers who gather inside the Porte St. Vincent and on every open corner, in the massed grey-stone facades and mansard roofs of its government buildings.

St. Malo's merchants pride themselves on elaborate shop signs, often embellished with floral arrangements.

St. Malo’s merchants pride themselves on elaborate shop signs, often embellished with floral arrangements.

The old corsair history is somewhat downplayed—though pirate motifs abound in the shops—but all Malouins point with pride to their connection with Jacques Cartier, European “discoverer” of the mighty St. Lawrence River in French Quebec. Cartier was born in St. Malo and sailed from there in 1534 to the Gaspé Peninsula in modern-day Quebec. He returned with two Iroquois warriors and news of a vast new fishing grounds waiting to be exploited.

Even today, standing on the ramparts looking out to sea, the eye is drawn past the beaches, the islands, the lines of sailboards silhouetted in the evening sun. To the north lie les Iles Anglo-Normandes, known in the English-speaking world as the Channel Islands. Beyond them is the Channel itself (or, as the French call it, Le Manche) and the wide open sea of the North Atlantic.

High-speed ferries and catamarans sail daily from St. Malo to Jersey and Guernsey (and beyond, to the English coast). Other boats slip along the Emerald Coast to Dinard, Cap Frehel and inland, up the Rance Estuary, to the medieval village of Dinan. Book in advance with Emeraude Lines or Condor, both of whom offer special family and day-return rates.

But even confirmed landlubbers will find plenty of diversions.

Just wandering the streets is a treat. Specialty shops abound, selling perfumes, pastries, and pirate-effigies. Besides the ubiquitous crêperies, there are restaurants featuring Turkish, Italian, and Javanese cuisine. Haute couture jostles with pavement vendors and, in season, sunburned bathers seeking a shady street side perch to sip their coffee or wine. It is not so much that there are specific sites to see in St. Malo, but rather an ambiance, a salty taste to the air, a soft subliminal lapping of waves that enlivens the spirit.

This street performer in St. Malo's main square poses quite convincingly as a marble statue and expects suitable compensation in return.

This street performer in St. Malo’s main square poses quite convincingly as a marble statue and expects suitable compensation in return.

By all means, visit the museums for historic details and insight into the mindset of the Malouins. But when the cobbles grow bumpy under your feet, climb the stairs to the city ramparts—and beyond to the beach at Sillon Isthmus and its sister, Plage de Bon Secours, where old men play boules in the shade of trees and bathing beauties nestle in sun-drenched rock clefts.

These extra-muros sections of St. Malo change each day, in accordance with the tides. The St. Malo basin has some of the highest tides in the world—upwards of 40 feet—and the long empty sand beaches disappear rapidly beneath incoming waves.

At low tide, a causeway leads out from Bon Secours beach, to Ile du Grand Be and the tomb of the illustrious 18th century French writer, Chateaubriand. Around the point, a smaller island houses a crumbling fortress and more piles of sea-girt, rust-colored rocks. Here is Grande Plage, which stretches on for miles. These are great play areas for kids, but beware the incoming tides! Try building a sandcastle and watch it disappear with the setting sun.

Evan and Alex Gabriel witness the final moments of their sand castle.

Evan and Alex Gabriel witness the final moments of their sand castle, as the incoming Atlantic tide encroaches.

Then climb back up the cobbled boat ramp into the dusk-softened streets and the strollers delaying their evening meal. It’s all of a piece—the sea, the stones, the shoulder-to-shoulder building facades. Let the days stretch out ahead—more side street exploring? A revisit to that special shop? Maybe it’s time to rent that para-sail or hope for luck at Le Casino.

From a People Old as Time: Inside the Musee Basque

23 December 2013

The Basques are the most ancient people in Europe; their language still unrelated to all others.

The Basques are the most ancient people in Europe; their language unrelated to all others.

Housed in the Maison Dagourette, a quayside mansion in the fervently Basque district of Petit Bayonne in southwestern France, the Musee Basque has become one of the finest ethnographic museums in the world.

The museum houses a variety of collections—including special rooms on the history of Bayonne and its connections to the sea. Bayonne is the cultural and commercial center of the French Basque region. Set on a pair of rivers just inland from the Atlantic, Bayonne has long been home to piratical and legitimate sea trade. Evidence of both endeavors is amply provided in the Musée Basque. Besides scale models of the city in 1805 and numerous ship artifacts (both miniature and full-size), the Bayonne History section utilizes video to great effect—at certain locations the visitor watches a soundless screen that shifts from scenes of the present to those of the past and even blends the two to evoke the passage of time and the endurance—or obliteration—of landmarks and lifestyles.

But it is beyond these, in the Basque culture rooms, that the museum really shines. One section, organized around the almost-mystical Basque concept of exte, or “home,” walks the visitor inside the house gates and down under heavy wood-beamed ceilings through the rooms and furniture that typify the Basques. Distant music plays; a storyteller’s voice recites hearthside tales . . . It might almost be time for supper around one of the great carved wooden tables.

There are also key cultural accoutrements on display, cleverly lit and majestically displayed—strange musical instruments, ceremonial costumes, collections of the walking/sword sticks called makhilas which are family heirlooms. It is said that a Basque would no more part with his makhila than he would sell his mother.

Depending on one’s interest, there are many other sections in the museum to explore as well: farming, maritime activity, mourning in the Basque country, the role of the Separdic Jewish community in Bayonne life.

One skylit room features a collection of flat stone tomb markers, often incised with symbols of the Christian era or the peculiarly Basque laubura, which looks something like a wavy cross with the wooden heads of golf clubs attached to each end.

The traditional laubura design is woven into this ubiquitous Basque scarf on sale in the gift shop.

The traditional laubura design is woven into this ubiquitous Basque scarf.

If your feet tire, sit down and watch the slide shows and videos of traditional village dances. What is most astonishing about them is the traditional festival clothing and dance styles of the men. Hulking fishermen and shepherds prance and mince with intricate foot patterns while wearing frilly tutu-like skirts, wild hats and tights. There is one especially notable figure—an apparently standard man-horse costume which appears frequently—where the participant appears to be wearing a wide oval lampshade around his waist and a very unfortunately-placed skinny wooden horse head sticking out of the front from his groin.

Sports fans will gravitate towards the pelota wing. Here, the Basque love of the game—or games, really, as pelota has at least a dozen variants—is displayed in paintings, sculpture, and artifacts. Even to a non-participant, the pelota area resonates with cultural identity. Some of the paintings feature individual players—often pre-20th century, including some with hair down to the middle of their back and a priest in full cassock. Other paintings are of village scenes such as a procession from the church, or a wedding, or farmers at harvest. In all these communal scenes there are games of pelota going on in the background, like an eternal backdrop to the everyday.

 

The artifacts in the Musee Basque dwell heavily on traditional Basque life, like this exquisite wrought-iron gateway that honors the sport of pelota.

The artifacts in the Musee Basque dwell heavily on traditional Basque life, like this exquisite wrought-iron gateway that honors the sport of pelota.

The feel is akin to that of the Baseball Hall of Fame. This sensation is heightened by the game-tested artifacts. Blackened balls (slightly smaller than a baseball, but with the same raised seams and leather covers) are inscribed “Ainhoa 50, Bilbao 23, 1888 Border Championship,” and the like. The development of the lachua (a leather scooped-shaped glove which is worn on one arm), is traced from crude calf-skin mitts, to tightly woven rawhide, from flat to curved, and on up to examples of lightweight metal mesh design. Scoreboards, softball-sized balls, an entire career’s collection of lachua belonging to one of pelota’s famous early 20th century players . . . the Hall of Fame motif rolls on.

Whether in sports or celebrations, music or art, the museum makes its point: We are Basques. These—the ballgames, the costumes, the cozy hearth of home—are what bind us together. We are too old a people to ever lose our way.