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Bonjour,

Désolé pour le titre, nettement plus provoc’ que la suite. Bon, c’est surtout pour discuter d’autre chose que du matériel.

Après avoir grillé de la pellicule sur les petites bêtes, le ciel, la famille, la terre vue du ciel et j’en passe, quoi de plus naturel que de continuer en voyage. Un peu de tri dans la montagne d’accessoires, d’objectifs, les films diapos les plus adaptés achetés et voilà, c’est parti. Bon, l’équipement prend de la place et il faut faire quelque choix dans les bagages. Le conjoint compatissant alourdit son sac. Et nous voilà sur place. Au fil des ans, les exigences augmentent : sujet, cadrage, composition, lumière, narration. On aimait son appareil, on se met à aimer la photo. Bref, çà prend plus de temps, met plus à contribution les nerfs du reste de l’équipe. On pense au montage du reportage au retour. Le voyage devient un récit à raconter et non plus une aventure à vivre. Il faut faire absolument la photo pour la transition entre les deux sujets. Attente, clic, clac et c’est reparti. Puis, voilà le retour. Le diaporama, hantise de ceux qui sont restés et vont se le voir infliger, plaît et ils en viennent même à en redemander. Formidable. L’histoire du voyage coule bien, le grand paysage comme le petit détail qui signent « l’ailleurs » sont au rendez-vous. Vous repartez quand ? Mais voilà, les années passent, diverses contraintes espacent les voyages ou les rendent plus courts. Le regard change. La manière de voyager aussi. Plus de subtilité, plus de patience. Et finalement, si l’appareil restait à la maison. Chiche ? Tiens, déjà, on déambule les mains dans les poches. Agréable en ville. Les regards ne se fixent plus sur le sac mais sur la personne. Plus de spéculations sur ce que l’on porte. Et déjà, oui, on fait moins touristes, plus visiteurs. Bref, différents. Il n’y a plus qu’à attiser un peu cette différence pour engager la conversation –ou la gesticulation. Et c’est parti pour une improbable liste à la Prévert : les gosses, l’école, la pluie, le beau temps, le foot, le président qui ne veut pas entretenir les éoliennes, les jeunes qui ne sont plus ce qu’ils étaient, l’âne qui boite. Pas de souci dans un coin de la tête comme « formidable cette lumière du soir sur la place, comment la capter avant qu’elle ne s’en aille ». Allez, on se quitte et on continue. Quelques cartes postales à ramener pour résumer le lieu et illustrer le récit au retour. Il a eu tout son temps pour les prendre lui (ou elle). Elles sont parfaites. Tiens, on demande au marchand quand passe le bus ? Une famille passe, avec un gamin du même âge que la nôtre. Echange de sourires. Bonheur d'être ailleurs et respirer un autre monde sans intermédiaire. Vivons déjà l'instant présent. Demain viendra assez tôt. Alors, prochain voyage : avec ou sans matériel ?

Bonjour je propose ce nouveau sujet de discussion. Parlez des livres que vous avez lu, qui traitent du voyage, et qui donnent encore plus envie de partir. Je sais, c'est pas bien de faire ça, c'est malsain, parce qu'on a tous suffisamment envie de se barrer, mais c'est plus fort que nous, n'est-ce pas? J'ouvre, avec l'Usage du Monde de Nicolas Bouvier. Entre 1951 et 1953, Nicolas Bouvier est parti avec un ami peintre (Thierry Vernet) en fiat facile à réparer qui tombe tout le temps en panne à travers l'Europe Balkanique, puis la Turquie, le Kurdistan, l'Iran, l'Afganistan. Il raconte ses souvenirs et ses analyses d'une manière simple et très émouvante. Les rencontres et les moments insolites donnent particulièrement envie de vivre des instants similaires, même s'ils ont quand même pas mal galéré. Mais la galère est un véhicule comme un autre... Donc voilà, pour ceux qui n'aiment pas voyager, lisez ce bouquin, les autres, surtout, abstenez vous, sinon, vous serez irrémédiablement perdus, korzéam.

March 2nd — Departure by bus from Latour at 6:50 AM. The journey isn’t direct: we pass through Elne then Corneilla. In Perpignan, I switch to a BlablaBus heading to Barcelona’s northern bus station. Before reaching Le Perthus, French police stop us to check IDs. Several people aren’t in order, but after about fifteen minutes, we’re on our way again. We’re checked again at La Jonquera: this time, the wait lasts almost forty-five minutes while police identify those in violation and wait for a vehicle to pick them up. The driver then tries to make up for lost time; we finally arrive at our destination half an hour late.

I quickly head to the Arc de Triomphe metro station, located 200 meters away: you have to cross the bridge along the bus parking lot, then walk through a large garden; the station is on the right before the garden entrance. The trip to the airport isn’t direct: I have to change at Tomasso and take the line to the airport, where I arrive at 1 PM.

At the Emirates counter, I learn my flight was just canceled due to the war in Iran; they offer me another flight for the next day. I have to wait at the airport until 7 PM before being taken to a hotel; the next morning, I’ll take a flight to Vienna (with an 8-hour layover), then an Air India flight to Delhi, and finally a flight to Kolkata. I agree: I don’t know Vienna, so it’ll be an unexpected discovery.

At 7 PM, a small group is taken to the hotel, 35 minutes from the airport, where we’re served a light dinner upon arrival.

March 3rd — A taxi picks me up at 6:30 AM; the flight to Vienna takes off at 9:30 AM and arrives at noon. I’m free until 7 PM; the metro is direct to the city center. The weather is pleasant and not too cold, luckily, since my clothes are light.

When I exit the metro, I spot the St. Stephen’s Cathedral tower in the distance and approach it: the roof, made of glazed tiles, is remarkable.



Entry is free, and the interior, a mix of Gothic and Baroque styles in the center, is stunning.



Not far from there is St. Anne’s Church



, also Baroque, adorned with beautiful frescoes



—a music concert adds an enchanting atmosphere to the visit. I continue my walk at random through the pedestrian streets lined with magnificent buildings: I’m charmed by the city.







Before heading back to the airport, I stop at a lovely tea salon. My flight will eventually leave with a delay.

Wednesday, March 4th — Delhi and a little luggage scare We arrive in Delhi shortly after noon. Immigration is quick, and good news: my bag was checked through from Barcelona to Kolkata. I head to the connecting terminal and arrive half an hour before boarding: the flight goes smoothly. Upon arrival, the luggage comes out quickly… except mine. After filing a report, I’m told my bag is in Delhi—I have to retrieve it before taking another flight. I didn’t know (or had forgotten): with the delays, I wouldn’t have had time to pick it up and make the connection.

I take a taxi to the Ichamati Hotel. The welcome is warm, and the room is clean but very small. Without my bag, I feel a bit lost—I have nothing to change into.

Tonight, I’m dining with Raja and his friends at a beautiful restaurant, an old colonial house turned into a hotel.





We’re happy to see each other and have a comforting evening together.

Wednesday, April 1st

Hazaribagh I’ve got a meet-up with Adam Iman, a guide and painter. He picks me up from the hotel at 10 AM. Another traveler from Bangalore is supposed to join us, but while we wait for him to arrive, Adam takes me to see the paintings his mother and sister created at Hazaribagh station. The town became famous thanks to these murals, which can also be found in several surrounding villages. This art form has earned recognition and is now protected, a sign of its cultural importance. Once the visit is over, we go to pick up the other traveler and then head to our first village: Belwara, where Sohrai art is practiced. At the entrance, a sign proudly announces that we’re entering an artists’ village, where this art is created by women organized into micro-enterprises. Some even offer workshops for those who’d like to learn this tradition.



Sohrai art is tied to the harvest season, from October to mid-November. The motifs, in natural colors, celebrate fertility and abundance. The artists use pigments from the earth: red oxides, ochre, white kaolin, and black manganese. On the walls, you’ll see animals, fish, birds—all symbols of life and prosperity. As I look closer at the murals, I start to realize that each motif tells a story. Large animals like cows or bulls often take center stage. Their bodies are filled with intricate, almost hypnotic patterns. They symbolize wealth and prosperity for the household, as well as the deep respect for cattle, which are essential to daily life. On some facades, elephants stand out—massive and decorated with the same precision. They evoke quiet strength and protection. But it’s when I stop in front of one of the houses that I really take the time to look. The wall, a soft ochre, is entirely covered in murals. Two large animals stretch out on either side of the door, their elongated bodies fitting the length of the wall. Their silhouettes are filled with geometric patterns and incredibly fine curved lines, as if every space was patiently filled. Around them, stylized plants, flowers, and small decorative elements fill every gap. The door, dark and worn, becomes almost the silent center of the composition, framed by these living, protective forms. To the right, a more colorful motif catches the eye—a flower or a stylized lamp—like a touch of light on the earth. The whole thing gives an impression of perfect balance, between the rigor of the patterns and the freedom of the gesture.



Elsewhere, birds and freer forms bring movement. Peacocks, recognizable by their stylized silhouettes, embody beauty and vitality, while fish symbolize water, fertility, and the continuity of life.

On some paintings, the scenes become almost narrative: you can make out figures, everyday gestures, like a memory of the village inscribed in the walls. The decorative frames around the doors aren’t left to chance either—they symbolically protect the house, like a boundary between the inside and the outside world.







During the Sohrai festival, cattle are led into the jungle in the morning. Meanwhile, the women finish the *aripans*—these floor paintings—and continue the wall murals. Around noon, the animals return to the village, and the bulls’ horns are anointed with oil and vermilion in a gesture of gratitude, amid the vibrant colors adorning the houses. We visit several artists, including Parvat Devi, a well-known woman who has received many awards. Her arms are adorned with intriguing tattoos, which I’ll talk about in more detail later.



On another wall, the style changes completely. Here, no massive animals—just birds occupying the space, light and graceful, as if caught in mid-movement. Two silhouettes face each other, their long necks arched almost like mirrors, while their outstretched wings seem to vibrate with the patterns that compose them.



The design is more graphic, almost airy. The lines are smoother, more fluid, as if drawn in one confident stroke. The birds’ bodies aren’t solid—they’re filled with repetitive motifs like scales, stylized feathers, and spirals, giving a sense of continuous movement. Around them, everything comes to life: flowers burst open, arabesques swirl, and even the simplest shapes seem alive. What strikes me here is the sense of lightness. Where the large animals evoked stability and grounding, these birds bring something freer, almost joyful. They seem to embody movement, the circulation of life, like a breath flowing through the village.



The colors remain the same—deep reds, intense blacks, and chalky white—but the rhythm is different. Faster, more spontaneous. As if each wall had its own personality, while still speaking the same language.

That’s probably why I’m so moved. I’d heard about these paintings from my friend Raja, and last year, I saw an exhibition in a village near my home. That first encounter made me want to come here. But seeing them in person is a whole different experience. These paintings are unique. This ancient art is passed down from mother to daughter, or mother-in-law to daughter-in-law, in a quiet, deeply living continuity. At first glance, it might seem almost childlike in its simplicity and pared-down forms. And yet, everything is thought out, balanced, mastered. Nothing is left to chance.



That apparent simplicity, combined with such rich symbolism, touches me deeply. There’s something sincere and essential in these walls—and that’s what moves me.

Hi everyone, I’m Patrick, 67 years old, a seasoned traveler (already 22 trips outside Europe). In autumn 2025, I took my first 3-week trip to Japan, with stops in Tokyo, Kamakura, Matsumoto, Kamikochi, Takayama, Kanazawa, Kyoto, Nara, Osaka, Koyasan, Tokyo again, and Nikko. I wanted to go back in May 2026 and explore some lesser-known places to complement my first trip. Last year, there were four of us traveling together to discover Japan (a fairly classic itinerary). This time, I’ll be traveling solo for part of the trip and with a couple of French friends for the rest. The weather was gorgeous in May, averaging around 25°C, with two very hot days in Kyoto and only two rainy days. As usual, I organized everything myself, gathering plenty of information from various sites, including this one.

Transportation: An ICOCA card is essential. I got a 5-day Kansai-Hiroshima pass because I took the shinkansen between Hiroshima and Osaka three times, and it paid for itself quickly.

Accommodations: Mostly through Booking. No issues at all. Average cost was 46 € per night.

Meals: For breakfast, I alternated between buying food at a konbini to eat in my room or on the train and grabbing something at local cafés. For lunch and dinner, I tried to vary my meals as much as possible—lots of sashimi, sushi, and ramen. Okonomiyaki in Osaka and Hiroshima. Oysters in every form (raw, grilled, fried) in Onomichi and Hiroshima. A variety of seafood (shrimp, shellfish) in Hiroshima and Matsumoto. Fish whose names often escaped me, but notably mackerel and eel (unagi). Tempura and gyoza. Chicken skewers (yakitori) and one teppanyaki meal. One omakase meal (9 different dishes). In the end, not much meat aside from a few yakitori skewers. No splurges on super expensive wagyu or Kobe beef. Average dinner cost: 4,800 yen, drinks included.

The Itinerary: Day 1: Departure from Brussels Day 2: Arrival in Osaka Day 3: To Himeji, then Kurashiki Day 4: To Fukuyama, then Tomo no Ura, then Onomichi Day 5: Cycling the Shimanami Kaido Day 6: To Takahara, then Hiroshima Day 7: To Kyoto to attend the Aoi Matsuri parade Day 8: To Miyajima Day 9: Hiroshima, then Kyoto Day 10: Southern Kyoto Day 11: Northern Kyoto Day 12: Final day in Kyoto, then to Nagatsugawa Day 13: Start of the Nakasendo Trail (Magome to Tsumago) Day 14: Second day of the trail (Kiso Fukushima) Day 15: Third day of the trail (Narai), then Matsumoto Day 16: To Mt. Fuji (Kawaguchiko) Day 17: To Tokyo Day 18: Excursion to Enoshima and Kamakura Day 19: Flight home, with a 10-hour layover in Hong Kong Day 20: Arrival in Brussels

Preamble: Africa was calling to me, so a year ago, with our usual travel companions, we decided to return to the continent we love so much. Where to go? Uganda quickly caught our attention—wildlife we’re used to seeing, plus gorillas and the shoebill we missed in Zambia. We got in touch with Paul, who’s been mentioned several times on the forum back in September, booked our flight tickets, secured the gorilla permits, and by early October, the most important things were done. We still had plenty of time to hold our "prep meetings" for the final itinerary.

Three days before departure, I sprained my ankle (my weak spot, as you’ll recall from our Colombia trip). I wasn’t in great spirits, but after a year of waiting, nothing was going to stop me. We’d see how it goes! Off we went for our new adventures

Hello, We’re a group of four active seniors (still in great shape!) and we’re planning to visit this part of Canada for the first time. We usually travel with a self-drive tour package that includes accommodations and site visits. Our trip is scheduled for June 2027, and we’d love some advice from the community on how many days we’ll need for this first visit, given the distances involved. We’d also appreciate any tips on our route, as we want to see the main highlights: Niagara Falls, Quebec City, Montreal, Charlevoix, whale watching, and more... We’ll be arriving either from Toronto and returning via Montreal, or the other way around—still deciding. Thanks in advance for your suggestions—they’ll be much appreciated!