Tag Archives: Featured

Small Streets Make a City Walkable

Story and photos by Anaïs-Ophelia Lino

“There’s a bar around the corner,” my hostess told me a few days after I had been living with her in the south of France for my study-abroad program. “You’ll see a lot of men outside, but I’ve never felt unsafe walking past at night.” It was the first time I thought about how safe the neighborhood was.

When I prepared for my trip to Arles with ieiMedia, I researched the little town next to the Rhône and its culture. I learned that French cafes close between lunch and dinner. I worried about making a fool of myself when ordering iced coffee because it isn’t popular in France. But I never considered how I would get home at night, let alone how safe I would feel, even though it’s ingrained in my routine back home.

The night before my conversation with my hostess, I walked from a pub to the apartment pretty late down the skinny streets lined with old houses and apartment buildings. Of course, harmful situations for women can happen anywhere, but I didn’t feel at risk. 

I didn’t consider why I felt this way until I had walked home with another student who said her route felt “sketchy” to her. And when a third student agreed, I began thinking about the differences I saw on her way home. Her route was sparsely lit with big, wide streets more suitable for cars.

Her walk home is very similar to my walk in California. I also have to go under an overpass and walk through a dim street. I walk on the opposite side of incoming cars and always call my mother or a friend as a sort of safety net. I change my routes and make sure no one follows me home. 

There could be many reasons why I feel safer walking in my neighborhood in Arles. It doesn’t get dark until 10 p.m. and the buildings are much closer together compared with the wide open car-oriented streets of San Francisco.  Cars barely squeeze by in my Arles neighborhood, which dates back to the medieval era, and when the sun does go down, lamps illuminate most, if not all, of the street.

When I walk in the morning, I see parents greet other parents as they take their toddlers to school and I watch friends chatting over their morning espresso at a little cafe. Seeing all the Arlesians meet for dinner or drinks while I walk home makes the neighborhood feel like a community, and I myself encounter acquaintances on the street. I also feel more efficient because Arles is so compact that I don’t have to carve out time to run across the city for a single errand. 

Meanwhile my colleagues back home talk about how American cities are so car-dependent. Anytime I encounter friends spontaneously, it seems like an outlandish coincidence instead of just a probability.  If my city was as walkable as Arles, I think I would feel more calm there as well.

This is a personal reflection and does not necessarily express the opinion of The Arles Project or program sponsors ieiMedia or Arles à la carte.

The Body and its Images

Story and photos by Alexie Zollinger

As I walk the narrow streets of Arles, I find myself pausing periodically to admire a piece of graffiti, art displayed in storefront windows, or the occasional flier posted around the city, of which there are plenty. Many of the pieces I am stopping for are public art that display entirely nude figures or they incorporate messages of sexuality or love. 

My assumption is that these are no more than your average piece of artwork to the French and to Arlesians, hence their public display. While I was eating lunch Tuesday and absentmindedly watching French cable television, none of which I understood, on came a commercial depicting a group of nude male and female models being doused in colorful plumes of smoke. It wasn’t until the end of the commercial that I even knew it was an advertisement for deodorant. I sat back and thought, “Wow, that would never fly in Salt Lake City, Utah.”  

Utah is largely known for its five beautiful national parks, outdoor recreation opportunities and, of course, its impressive population of members of the Church of Jesus Christ of Latter Day Saints (LDS), in which I was raised. The religion itself is a branch of Christianity which shares many of the same beliefs as other Christian religions, but varies in certain aspects. For the purpose of this reflection, I’ll stick to the beliefs I grew up with surrounding sex, modesty and virtue. 

As a young girl, I was first introduced to the concept of sex and intimacy through the context of the LDS church. I was instructed to treat sex as an extremely intimate and sacred act only permitted between a married couple, (additionally– only between a heterosexual and cisgendered couple) for the purpose of reproduction and an important stepping stone towards a primary goal of LDS members, to bear and raise children. 

As a pre-teen and teenager in the church, I learned the church’s guidelines on morality. 

For women, there were no tank tops, no shorts shorter than three inches above the knee, same deal with skirts, no midriff visible, no tattoos or facial piercings beyond one ear piercing in each ear, no low T-shirts or dresses, etc. What I disliked about these messages, even from a young age, was how closely these rules were tied to self worth. 

In Salt Lake City, if someone is not viewing intimacy through a religious lens they are talking about it in a way that is so hypersexualizing that it is dehumanizing. It feels as though there is very little room for healthy sensuality.

Thankfully, being raised by a rather feminist mother, I was taught that I am very capable and what other people think of me is not my concern. I was never attracted to the “better than” narrative I was picking up on through these lessons: “Women who show lots of skin are often women of bad morals,” “Women who have sex out of marriage lack dignity and self respect.” 

In high school, I pierced a second hole in each of my ears, and the glances and suspicion really only increased from that point up until last year, when I signed a letter, had it notarized and sent to the LDS Church’s lawyers, notifying them of my wish to be removed as a member and have my records erased. I had stopped attending church a few years previous to this, but the decision still made my mother cry, and my father sigh. My extended family still doesn’t know, as far as I know.

In Arles and perhaps in all of France, nudity and sexuality appear to be less of a taboo subject than in the United States with its Puritan roots.

I am grateful that through personal growth I have come to find my body as a gift given unto myself, one that is capable and is able to feel all things from sensuality to sadness. I am grateful for having open conversations with friends that help normalize intimacy and encourage comfortability in my skin. 

I am grateful that in other areas of the world, such as Arles, nudity and the human figure are spoken about in terms of art and beauty, and not in privacy and shame. I hope one day to see nudity and physicality and intimacy portrayed in this manner at home, where women feel uncomfortable in their feelings and skin. I will bring more of this approach home with me, and will continue to discourage negative language around the human body, sexuality and intimacy, and act as the French seem to–as though it is something normal and even beautiful. Because it is.

This is a personal reflection and does not necessarily express the opinion of The Arles Project or program sponsors ieiMedia or Arles à la carte.

Taking Flight

Story, video and photos by Louis Denson

Last Tuesday in Arles, I was walking back to my host home when I  heard a smack and a splat. Looking over my shoulder, I saw a small black sparrow spread-eagle on the ground looking around like it was waiting for me to tell it what just happened. 

After watching the bird make a few failed attempts at flight, I thought to myself, “I’ve  never touched a wild bird before.” It seemed its shock at hitting a wall had turned into helplessness as it just lay  there with its wings spread wide. Stroking the wings and body with the back of my middle  finger, I could see that this bird was in no immediate presence of death. “Maybe a broken foot?” I thought as it gave another effort of flight that jumped me back into the street. Natalia Puglia, a  language teacher and interpreter for Arles à la carte, stopped on her bike and told me that  sparrows can’t fly from the ground and need wind or velocity from height to take flight; so this  bird was not broken, it was just stuck in a rut. 

Before I could think of anything to do, a woman approached the three of us and had a  quick exchange of words with Natalia in French that went along the lines of “What happened?”  “This sparrow ran into the wall and can’t take flight on its own.” Without hesitation, this woman  scooped up the sparrow in her hands and gently examined its body. Not only was I surprised that  the sparrow made no attempt to prevent this from happening, but I was also slightly jealous that I  missed the opportunity to hold and help the bird. After only a few seconds and the lifting of her  hands, the sparrow took flight in the direction it had been going when it crashed and landed on a  windowsill. We exchanged glances, assumed the bird was safe and said, “Bonne nuit,” and went  our separate ways. 

How quickly, confidently, and casually all parties–other than myself–handled this  situation really shed light on the different air in the streets of Arles. I’ve seen and been a part of  conversations that consisted of strangers asking about each other’s children and wellbeing,  and leashless dogs looking over their shoulders to check in with their owners as they walk down busy  streets in the middle of the day. Arlesians show a calmer attitude than I see in people back home toward flies and mosquitos. Their sensitivity to nature almost brings to mind stories I’ve heard of Native Americans who could pick up a scent in the wind as they ran without sound or shoe  through woods and forests. There is an energy that is quick acting but also calm and collected, that is so natural and harmonious with its surroundings that I can’t think of another way to say it  other than that Arlesians are tapped into something special.

This is a personal reflection and does not necessarily express the opinion of The Arles Project or program sponsors ieiMedia or Arles à la carte.

Comment dit-on?


By Ella Slade

I point to my dinner, a full plate of tomato salad and fried egg crêpes, and rack my brain for the French translation of “this looks good.” The words exist only in English, and I stifle a sentence I know my host won’t understand. 

Communication with my host “mom,” a wonderful woman named Djamila, involves an amalgamation of French (with the aid of Google Translate), English, gestures and facial expressions. I have never before experienced this kind of difficulty in finding the correct words; English was always my strong suit, and I have nearly three years of communication-related college courses under my belt. 

When it comes to speaking French, however, the average second-grade student could shamelessly wipe the floor with my written and verbal abilities. I now feel slightly ignorant in calling myself an expert communicator, as I’d only ever attributed the skill to communication in my native language. 

The frustration I feel at not being able to exactly express my thoughts is a new and special experience. If I could tell Djamila anything, I’d ask her where she found each and every one of the paintings that ornament her apartment walls. I’d speak precisely about the differences between my town in Iowa and Arles, France. Instead, I use choppy French to say something about how Iowa has a lot of farmland, a lot of corn, as she nods and smiles. 

Surprisingly, I continually find that being “taken down a notch” in my preferred area of expertise is not discouraging. As my proficiencies are challenged, I gain new skills. 

After one of Djamila’s home-cooked meals, I now can express my satiety in French, thanks to her teaching. We laugh together without use of complete sentences, and respond to the television with sighs and smiles and eye-rolls. 

This is a personal reflection and does not necessarily express the opinion of The Arles Project or program sponsors ieiMedia or Arles à la carte.

Watching death through a lens

Story and photos by Sam Guzman

When I heard there was going to be a bullfighting event at a ranch on the outskirts of Arles, I jumped at the opportunity to photograph it. I had been to rodeos before, but I’d never attended a bullfight.

“La Corrida” is a centuries-old tradition for the people of Spain and Southern France.  Bullfighters wear traditional outfits –- short jackets, knee-length trousers and boots — and dance with the bulls as spectators watch. It ends in the death of the bulls, one sword to the body and another to the head. To many people in this region, it is an act of honor. 

I thought I was going to a practice session where the animals would not be killed. Marie-Anne Devaux, my guide for the day, introduced me to three of the matadors who were to be performing that day. Everyone there was incredibly charming and kind. They really made me feel welcome, and I was excited to shoot photographs of the bullfight. 

Lalo de Maria was the matador up first, and it was fascinating to see him work. Lalo threw a red cape in front of the bull, and the animal charged towards him. Then a man on a horse provoked the bull to check its bravery. It was at that moment when Devaux turned to me and said, “Oh, they’re gonna kill the bull; you can tell because he has his sword in his hand.” 

Matador Bruno Aloi uses a red cape on a pole to attract the bull and hide his sword.

In this moment I felt conflicted; I didn’t come to this event to see a bull die. It was against my very nature to want to see something like this. However, I also knew that as a journalist it’s not my job to decide what’s right and what’s wrong. It’s not my right to go to a country I’ve never been to before, with a language I don’t speak, with customs I don’t understand and say that what they’re doing is wrong. 

Photographing the bull as it’s dying, blood leaking from its mouth, its eyes starting to fade away, was the most important thing I could do in that moment.

As I put the camera to my eye, I thought of a photograph I had studied in school.

After being stabbed, the bull collapses to the ground before dying.

On July 22, 1975, in Boston, Massachusetts, 19-year-old Diana Bryant and her 2-year-old goddaughter were on a fire escape during an apartment fire, waiting for firefighters to rescue them. But the platform they were on broke and the two of them fell to the ground. Bryant died; her goddaughter survived. 

A few feet away, Stanley Forman, a photographer for the Boston Herald American, was shooting the entire incident. He took a series of heartbreaking photographs, capturing the two bodies as they fell through the air. The photographs sparked a lot of outrage, and the press was charged with invasion of privacy. However, the photographs led to change; within 24 hours, the city of Boston altered its policies on the regulation and maintenance of fire escapes and other cities around the U.S. also passed new legislation, inspired by Forman’s photographs.

As I looked at the bull through my viewfinder, lying there, its life slowly leaving its body, I realized the power we photographers have in capturing death as well as life. Whether or not I support the practice of corrida, it’s my job to photograph this and show it to the world.

This is a personal reflection and does not necessarily express the opinion of The Arles Project or program sponsors ieiMedia or Arles à la carte.

Dancing in the Streets

The streets of Arles transformed into music halls on June 21 as the town joined in the annual French celebration of Fête de la Musique. Some of the musicians and their audience shared stories with our reporters.

Photo and interview by Sophie Wyckoff

Janis and Jacques Lemay are Canadian tourists who traveled to Arles, France, for their third time to feel the words, rhymes, and beats of la Fête de la Musique. They intended to listen to only La Chorale Coeur Escandihando at 3 p.m. but stayed and listened to a Latin-American choir until 6:30 p.m. Janis explained how the pianist was so theatrical that she “stood up screaming and cheering” once the conductor signed for the end of the song. The couple is already planning to travel to Arles for the fourth year in a row.

Photo and interview by Sam Guzman

Juan San Juan, 79 and retired, has lived in Arles for 24 years. He goes to Fête de la Musique sporadically. “I’m alone, all of my friends are in Spai, so I just occasionally come to enjoy. Look around, it’s Wednesday night and there are people from everywhere, on every street.”

Photo and interview by Destene Savariau

Wissem Agagg of Arles performed at the festival with other rappers. “It’s a party. Friends, music and lit vibes.”

Photo and interview by Louis Denson

Lous Martial has traveled far and wide over the last 50 years. He lived in France from 1970 through 1993 before traveling from New York to Vermont, India, and Morocco. Returning to Port-Saint-Louis-du-Rhône five years ago, he has made yearly trips to Arles to enjoy and participate in La Fête de la musique. Martial plays blues and electric music with a friend who plays the bass. Rather than performing cover music or their own composed pieces, the duo prefer to jam and let the music take them where it leads. “It could go for hours.” 

Photo and interview by Ella Ehlers

Sebastian Denez is a member of a band in Arles and he plays the drums. The band plays a lot of old music and they play Spanish songs a lot too. ”Sharing energy is what I like to do and the drums allow me to do so.”