How was Réunion Lontan?


Black and white for colors all in nuances. Colors of life, colors of facts, look inside a Meeting always present all in force and certainty. Work scenes in intimate situations, lthe images speak of human. And dignity.

As much as the children's smiles, the gesture of cane cutter or the ascetic environment of the Mafate factor tell us abouta life without cheating whose rhythm, today as yesterday, ignores the futilities of an easy world.

Value time, value efforts, value Peace, these portraits do not take us to the past, on the contrary, they reinforce another reality of the present.

Workers, day laborers, farmers, breeders or fishermen, these men and women live today. They grow up and get old. They love, hate, work and have fun. Their children play like all children in the world. Here the pestle is not a decorative object, the cooking pot on the wood fire is not only typical and the dominos constitute a real game hobby. Here, even the landscapes seem to have another grandeur, nourished space and serenity.



The only link between the city and the circus. It makes its rounds on foot and can cover up to nearly 100km of trails per week. Mail deliverer, but also bringer of good news, he is the hyphen toilet bag et an essential between the different isolated islands.


Iconic culture of the island, sugar cane no longer represents the same economic force than in the past, even if Reunion's agriculture is essentially based on it. Like yesterday, the canes are hand cut, saber, before being sent to reception centers to end at thesugar factory.


Under the sweetness of the veranda or on a table next to the refreshment bar in the shop, the opportunity to meet for endless parties that wear out the passage of time while allowing to exchange news about each other.


Forests, waterfalls, lush vegetation, small isolated villages: between cirques and plains, the heights of the island exude beauty. Today inhabited by small farmers et breeders who live to the rhythm of lontan traditions, they were first of all the refuge of fleeing slaves, chestnuts ".


Originally the music of slaves, maloya has long been censored. Based on a solo voice performed by a choir, it is supported by traditional instruments such as the " Kayamb ", The" Calabash "or the" timbal "and includes music and dance. Today, more recognized, it is claimed as a element of creole heritage.


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