Leaving on a jet plane

From the brochure Responsibilities & Guidelines for Fellows 2008-2009:
“Fellowship funds may be used for only one trip from and to the United States, unless a flight connects through such cities as Los Angeles, New York, or Miami when flying from one continent to another or if the reason for the return is a health or personal emergency. If such an emergency occurs, you should contact the fellowship office as soon as possible in order to determine if the situation warrants a return to the United States.”
(clearly, in my case, not the US but Poland)
On Thursday, February 19, I was ultimately obliged to temporarily interrupt my Watson adventure. Escorted to the airport by Chantal and Victorio (and also greeted goodbye by Yourek), and for medical reasons accompanied during the entire journey by Wilfrid, I boarded the CorsairFly plane to Paris, and from there to Warsaw.

It felt strange to so unpredictably find myself in this situation.
Suddenly an active project turns into a passive period of convalescence.
Day after day I have been forced to remain in bed, not counting the short walks to the bathroom.
Worst of all, I do not know how long the treatment might take.
Will I soon be able to continue my Creole journey?

After the first 7.5 months of the Watson voyage, I am taking home all the beautiful memories from Guadeloupe, Martinique, and the Seychelles. I hope to be able to continue the project very soon…

Zanmi Gwadloup

Cette galerie est consacrée à tous ceux qui ont rendu mon deuxième séjour en Guadeloupe inoubliable. Merci !
(I dedicate this gallery to all my friends in Guadeloupe. Thank you for all the fantastic memories!)

-MY-

Nie pamiętam już, jaką piosenkę zanuciłam Jurkowi w sierpniu, kiedy po raz drugi spotkaliśmy się w piekarni – tej bliżej plaży w Gosier. Aria operowa to to nie była, a jednak temu Polakowi mieszkającemu od wielu lat na Gwadelupie głos mój spodobał się na tyle, że już po kilku tygodniach otrzymałam od niego na krążku pierwszą wersję linii melodycznej utworu, który on sam ochrzcił tajemniczym tytułem „M”.
I cannot recall now which song I sang to Yourek in August, when we met for the second time at the bakery in Gosier, located closer to the beach. It certainly was not a great opera aria, yet Yourek apparently liked it. So much so, that only a few weeks later I received from this Polish emigrant – who has been living in Guadeloupe for many years now – the first arrangement of what he so mysteriously titled “M”.

W międzyczasie Jurek pochwalił mi się próbką swojego dotychczasowego dorobku muzycznego. Na płycie zgrał mi może z dziesięć utworów na wszelkie instrumenty (ale przede wszystkim na trąbkę) i w różnych stylach (romantyzm przeplatany rytmami karnawału, sambą, etc.). Jedno nagranie szczególnie wpadło mi w ucho i za zgodą autora dopisałam do melodii prosty tekst i opatrzyłam tytułem: „Jesteś tu” (później przemianowane na „Tu es là”).
Yet even before I first listened to “M,” Yourek shared with me some of his earlier compositions. On the CD there were about ten melodies for various instruments (yet for the trumpet above all) and of all music styles (ranging from some romantic work, to a Carnival composition, to a samba, etc.). Among these I particularly liked one melody. With the author’s permission I wrote lyrics and titled the new song: „Jesteś tu” (later also known as „Tu es là”).

Podczas mojego dwumiesięcznego pobytu na Seszelach Jurek nadal dla mnie komponował, a ja wsłuchiwałam się w każdy z nowych utworów, by najpierw przesłać pierwsze komentarze autorowi, a następnie zabrać się do pisania tekstów. Praca była o tyle ciekawa, że wiersze po polsku tłumaczyłam potem kolejno na angielski i francuski. Wszystkie trzy wersje rozsyłałam do korekty zaprzyjaźnionym miłośnikom języka w Polsce (Ani), Stanach Zjednoczonych (Kayli) i we Francji (Wilfridowi). Tak powstał projekt nagrania międzynarodowego albumu, który nieco później zatytułowaliśmy z Jurkiem „-MY-”: M – Magda, Y – Yourek.
Yourek continued composing for me even when I was in the Seychelles. We communicated via email. I carefully listened to each of his new works, to then send him my comments, and to next begin writing lyrics. The work was the more interesting given that, having finished the first draft in Polish, I would then translate each poem in English and in French. Friends in Poland (Ania), United States (Kayla), and in France (Wilfrid) corrected my texts and helped me nicely phrase each sentence. Here is how the project of an international CD was born. A bit later together with Yourek we titled it “-MY-,” which stands for: M – Magda, Y – Yourek.

Jeszcze będąc na Seszelach poznałam lokalnego uznanego artystę-malarza, Colberta Nourrice. Dzieła Colberta urzekły mnie swą prostotą i żywą kolorystyką. W porozumieniu z Jurkiem i z „Watsonem” umówiłam się z artystą na wykonanie projektu okładki do powstającego albumu. W galerii w Anse aux Pins Colbert zaprezentował mi swe dotychczasowe dzieła. Na podstawie oglądanych motywów razem ustaliliśmy, co wdzięcznie oddałoby serce Seszeli i kwintesencję „-MY-”. Po kilku tygodniach powstało symboliczne dzieło w barwach piasku, pomarańczy i zachodzącego słońca – obraz idealnie oddający mój zamysł. Jeszcze w trakcie pracy Colbert parokrotnie pokazywał mi postępy. Wyznał przy tym, że moje zamówienie tak go zainspirowało, że w międzyczasie powstało kilka podobnych mu wersji. Jednak oryginał trafił w moje ręce i już po kilku tygodniach figurował na wstępnym projekcie okładki albumu.
While in the Seychelles I met a recognized local painter, Colbert Nourrice. Colbert’s works are delightfully colorful and simple. With the Watson Organization’s permission and having discussed the matter with Yourek, I asked Colbert to make a cover design for our album. In his gallery in Anse aux Pins I compared some of Colbert’s earlier works, which served as an inspiration for what would nicely portray the soul of the Seychelles and the quintessence of “-MY-.” After several weeks, having from time to time showed me the work in progress, Colbert finally shared with me the ultimate result – a beautiful symbolic painting in the colors of sand, oranges, and the setting Sun. The work fully met my expectations. Apparently, Colbert also liked the idea as, seemingly inspired by the painting for me, at the same time he made several similar projects. Yet the original version was mine. Within a few weeks the painting became a component of the “-MY-” album cover.

W grudniu, tuż po moim powrocie na Gwadelupę, dość przypadkowo poznałam Michaëla, który na pewnym wieczorku literackim zainteresował mnie wykonywanym przez siebie slamem. Teksty Michaëla są pełne wymowy, a głos – silny i głęboki. Ten aktor-amator Martynikańskiego pochodzenia, deklamując akompaniuje sobie na bębnie Ka. Właśnie takiego lokalnego brzmienia potrzebowaliśmy z Jurkiem, by nadać kolorytu naszemu wspólnemu muzycznemu przedsięwzięciu.
Just after my return to Guadeloupe in December last year I met Michaël – a Martiniquais musician-amateur, who writes and performs his own slam with the drum Ka accompaniment. Michaël’s texts have a profound meaning and his voice is deep and strong. With Yourek we had been thinking of adding this sort of a local sound to enrich the selection we had so far. Hearing Michaël on that Tuesday night was a fantastic discovery.

Michaël z marszu odniósł się do projektu bardzo entuzjastycznie. Nie tylko zezwolił nam na uwzględnienie jednego z jego utworów („Ouvè tchèw”) na planowanej płycie, ale też udzielił się przy nagrywaniu innej z naszych wcześniejszych kompozycji, „Souvenirs de septembre”. Kilka z sesji nagraniowych odbyło się u Michaëla w domu, że nie wspomnę o późniejszych celebracjach.
From the start Michaël was very enhusiastic about the project. Not only did he agree to record one of his works for us, “Ouvè tchèw,” but also participated in recording of one of our earlier songs, “Souvenirs de septembre.”

By płyta oddawała pełną gamę inspiracji, jeszcze na jesieni zwróciłam się do autora hymnu Seszeli i zaprzyjaźnionego muzyka – Davida André, o pomoc w tłumaczeniu jednego z utworów na kreolski Seselwa. W ten sposób „Tu es là” uzyskało nowe oblicze, „Ou lanmenm”. Natomiast już na Gwadelupie znajomy Chantal, Serge, pomógł mi przełożyć fragmenty „Souvenirs de septembre” na lokalny kreolski. Zresztą i sama Chantal zgodziła się uczestniczyć w nagraniu tego utworu. Dawna chórzystka znanych solistów Gwadelupy, moja sąsiadka bardzo profesjonalnie odniosła się do zadania, co zostało udokumentowane na kilku zdjęciach.
For the album to fully reflect all of our inspirations, in the fall I asked the author of the national anthem of the Republic of Seychelles, David André, to help me translate one of my and Yourek’s songs in Kreyol Seselwa. “Tu es là” has since been given the alternative title “Ou lanmenm.” Upon my return to Guadeloupe I asked a Chantal’s friend, Serge, to help me translate yet another song in the Gwada Kreol. Chantal then kindly agreed to participate in the recording. Having in the past worked with many local musicians as a choriste, she was very professional while recording, which was documented in the photos.

Najbardziej jednak całej sprawie przysłużył się autor pomysłu, Jurek. Po miesiącach komponowania i wprowadzania poprawek do projektów melodii, już podczas nagrywania całkowicie oddał się on „masteringowi” płyty. Z zapałem odsłuchiwał nagrane utwory, by potem godzinami regulować natężenie poszczególnych elementów. Pomocą techniczną wiernie służył mu w tamtym okresie zaprzyjaźniony Jean-Luc. Do samego dnia tłoczenia płyt Jurek co i raz wprowadzał kolejne korekty. Wskutek tej drobiazgowości i oddania sprawie jego domowe Nomad Studio na pewno wyprzedziło niejedną profesjonalną wytwórnię.
Yourek was the person who consecrated the most time and energy to the project. Having first spent many hours composing and making changes to his melodies, he then did his best when it came to mastering. He listened to each work many, many times, to meticulously correct any earlier errors and to balance various elements of each recording. His friend, Jean-Luc, was of great professional help at the time. Yourek kept making changes to the recording up until the day when he finally sent them for ultimate production. Nothing was ever 100% perfect. I am sure that given Yourek’s complete devotion, his home-based Nomad Studio would easily beat many professional companies.

18 lutego 2009 roku „-MY-” wreszcie ujrzało światło dzienne. Po miesiącach dyskusji, prób, nagrań i nanoszenia poprawek, pierwsze 50 krążków trafiło najpierw w Jurka, a potem i w moje ręce. Jeszcze tego samego dnia owocem wspólnej pracy podzieliliśmy się z przyjaciółmi…
(Bodajże 150 kolejnych płyt zostało wytłoczonych w połowie marca, po zakończeniu strajków od stycznia nękających wyspę.)
On February 18, 2009 “-MY-” finally came out! After many months of discussions, rehearsals, recordings, and correction-making, we finally received the first set of 50 brand-new CDs, which were distributed among friends…
(Yourek picked up 150 more CDs in mid-March; that was short after the end of the long-lasting strike, which had literally been blocking the island since January.)

Welcome back home

Yesterday was the Valentine’s Day. For me, simply a day of great joy. After a week spent at the hospital in Pointe-à-Pitre I finally returned home. Home typed without quotes this time! - Paul and Marie welcomed me with a big poster that read “Bienvenue chez toi Magda.” A very touching idea!
Below – some photos from the party on the day of my return from the CHU. Despite the ongoing strike, even friends from places further away managed to show up… Some danced until 5am! Although forced to remain on my “beloved” red sofa at all times throughout the soirée, I just loved that night.

L'Îlet du Malheur

Excerpts from my diary (post dated: Feb. 1st, 2009):

Here the story begins…
I was supposed to leave Guadeloupe on January 29 (Thursday) at 3pm. On Wed. afternoon I went for a “goodbye swim,” together with Christine and Wilfrid. And… “c’est le drame,” as Wilfrid would put it.

Around 5:30pm we were all in the water. A beautiful sunset, the ocean - quite stormy, but no bad signs besides. Wilfrid and I went a bit faster – with “palmes” on our feet. Christine was slightly behind so I would turn back from time to time to see if she was doing ok. Then I would continue swimming. We were almost reaching the shore of the Îlet du Gosier when suddenly I heard the sound of a fast-approaching motor boat. When I looked to my right, I saw the front of the boat (no idea how big), coming straight into my face. I dived as fast as I could and just a moment later touched the sand at the bottom. Too late though – the propeller of the boat slid on my right calf. At first I only sensed it touch my leg slightly. Not feeling any pain (water!), I was relieved to have avoided scars. Once I appeared back at the surface though, I glimpsed at my calf and saw “meat” stick out of it.

I cried out to Wilfrid, who had been swimming slightly to my left, to come help me as I was injured. I saw him talk to the guy in the motor-boat. I later learned that Wilfrid too was touched on his back (fortunately, he was not wounded) and that at that moment he was yelling at the fisherman for not having noticed him. Once he heard my calling, Wilfrid had the guy return to pick me up from the surface and both of them took me back to the embarcadero in Gosier. Christine continued swimming behind, unaware of the whole incident.

Waiting for the ambulance seemed like ages. The calf was hurting like hell and above all I did not want to look at it. Wilfrid was right next to me when we were waiting for the ambulance in the rain. Then he ran back home to grab my insurance documents. Chantal accompanied me to the CHU (hospital in Pointe-à-Pitre).

Fortunately, our stay at the CHU lasted for only an hour or so. But I will retain it as a particularly painful experience. First, they did not give me any painkiller when I was still in the ambulance (these were actually les pompiers, the fire brigade, and as far as I know they are not allowed to treat transported patients with any medication). Then the doctor seemed quite brutal (potentially because of la grève... - The strike had begun only one week before) – he first yelled at me because I was not looking at him when answering his questions (I was in pain!) and then criticized me for having been swimming where I should not have (although we were in the “swimmer zone”).

The surgery took ages. I now have 20 stitches on my calf – 3 big scars and a “representative” hématome right below. Quite a souvenir from Gwada! (Even now, after these 3 days – although the cuts have started to heal, my leg is very sensitive to touch…)

I was only comforted when I saw Wilfrid, and Chantal, and Yourek, previously waiting for me in the hospital salle d’attente. Wilfrid was the first one to appear in the door. He was visibly relieved to see me “in all pieces” (I have to admit that – although conscious at all times – I had some difficulties speaking and reacting while being transported to the hospital – all due to the pain). Yourek was particularly preoccupied. He constantly made sure that I did not need anything.

Clearly, the evening at the CHU left me with some unpleasant memories – all the pain, many unnecessary questions, the visit of a police officer who came to interview me right when I was having the stitches put on (!), the atmosphere of the strike at the hospital,… and at last, the impossibility to find a nurse who’d take care of me in the days to come.

I was truly happy to finally arrive back “home” in Gosier – surrounded by friends, being taken good care of, in my bed, calmed…

Danièle passed by around 10-11pm, as soon as she learned about the accident. At first she cried out that we should immediately return to the hospital, as the wounds were bleeding profusely. But this was probably due to the fact that I had been holding the leg too high up and that when lying on the sofa, I had been pressing directly on the wounds.

Right when I was about to go to bed I fainted by the bathroom (I stood up too fast from the sofa). I only remember having said to Wilfrid: “j’ai la tête qui tourne.” When I opened my eyes again, I was lying on my bed, surrounded by those who came to visit (Danièle, Yourek, Chantal, Michel, Océane, Christine, and Marine). Then, having taken the antibiotic and the painkiller – I went to sleep…

PS. Unfortunately, Danièle was right. Because of a skin necrosis, on February 6 I was back at the CHU.