The government is opening the call for another round of applicants to put their hands up for state-owned apartments in the new Testimonio II project, this time in the second tower.
As one of Monaco’s largest residential projects nears completion, tenants are being sought, namely those of Monegasque nationality who are entitled to rent-controlled accommodation.
On Wednesday 24th August, the Housing Department announced that Monegasques interested in renting state apartments in Testimonio II bis can submit their application file online from Monday 29th August.
The process is accessible via the website https://teleservice.gouv.mc/logement-domanial-monaco or on MonGuichet.mc.
Those who were unsuccessful in their first applications are invited to renew their forms.
Citizens with a digital identity will be able to connect to their personal account using the MConnect service, while others will still be able to reconnect or create a new account.
Paper applications can be handed in at the reception of the Housing Department located at 10 bis, quai Antoine Ier in Monaco.
The applications must be completed by Friday 23rd September at 5pm.
Testimonio II (T2) will have a total of 348 state-owned units, with T2 housing 181 state-owned flats and T2 bis having 167. There will also be 59 private residences and five villas on the site. Additionally, there will be 1,100 public parking spaces, a creche with the capacity to look after 50 children manged by the Town Hall, and new premises for the International School of Monaco.
As the end of the transfer window approaches, AS Monaco are fine-tuning their squad for the season, which includes the outgoings of Chrislain Matsima and Harrison Marcelin on loan.
Philippe Clement had previously stated a desire to reduce the size of his squad. Although he highlighted that the need to sell and loan players isn’t as pressing as it is for many Ligue 1 rivals, such as PSG, he nonetheless stated a desire to work with a less bloated squad.
Matsima loaned to Lorient
Having brought in Takumi Minamino, Breel Embolo, Thomas Didillon, Malang Sarr and Mohamed Camara, the focus, for now at least, is on balancing out those arrivals with some outgoings.
Chrislain Matsima last week moved on loan to Ligue 1 rivals Lorient. The deal includes a purchase option reported to be €10m, according to L’Équipe. The 20-year-old French centre-back has three-years remaining on his current deal at the Principality club.
Last season, he featured 13 times for the Monégasques having come through the ranks at the club. Overall for the club, he has made 24 appearances, whilst he is also a regular feature in the France U20 side.
Marcelin returns for second stint in Belgium
Another young centre-back has also departed, which currently leaves Benoît Badiashile, Axel Disasi, Guillermo Máripan, Malang Sarr and Yllan Okou as Clement’s centre-back options. Harisson Marcelin has struggled with injuries at Monaco. He will be given the chance to work his way back to fitness, whilst earning game time at satellite club Cercle Brugge.
It will be the France U19 international’s second stint at the Belgian club, after he spent the 2020/21 at the club. During that spell, he made 20 appearances in the Jupiler Pro League, before a torn muscle fibre put an abrupt end to the loan spell.
There is no purchase option in the loan, so the hope for Monaco is that he accrues experience, builds back his fitness and returns to the Principality next summer. He joins fellow Monégasuqe Radoslaw Majecki, who also joined the Belgian top division side on loan this summer.
One player who isn’t making a move this summer is Vanderson. Despite only arriving in January, he has earned himself a one-year contract extension, due reward for his impressive start to life in the Principality.
The 21-year-old Brazilian’s contract now runs until June 2027. Last season, he made five goal contributions having arrived from Gremio in January for a reported €11m fee.
Speaking in a press release, Vanderson said, “It’s with great satisfaction that I extend my contract with AS Monaco for another season. At this club, I am very happy to have found an ambitious sporting project that offers me the possibility to continue my progression. I would like to thank AS Monaco for placing their trust in me and now it is up to me to continue to work hard in order to help the team in this season’s challenges.”
It remains to be season whether Monaco will dip back into the transfer window in order to further strengthen their squad. They have just under a week to do so with the window slamming shut on 1st September.
Get ready for airborne adventures when the Monaco Aero Club, Omère Longevity Solutions and the Ultim8 Private Club host a meet-and-greet day where visitors also have the chance to take a helicopter ride for a birds-eye view of the Principality.
For those whose heads and hearts are in the clouds, 15th September, Helicopter Day, will be a can’t miss occasion.
The Monaco Aero Club, Omère Longevity Solutions and the Ultim8 Private Club are planning an event with private jet and helicopter owners, aviation experts, and top decision makers from the aviation industry all there to meet with those interested in these aerial forms of transport.
Attendees will also have the opportunity to hop on a quick ride around the Principality on a chopper, seeing the beauty of the country from a unique bird’s eye view.
This business casual event is a one-off chance to get to know the people behind one of Monaco’s oldest clubs, the Monaco Aero Club, as well as learn about Omère, who offer personalised health solutions and treatments aimed at enhancing and elongating life, and Ultim8, a private members club of UNWI’s focused on creating exclusive experiences with complete discretion.
Monaco Life, in partnership with the Princess Grace Foundation-USA, is proud to present a monthly series highlighting the lives and artistic work of the Princess Grace Foundation-USA’s illustrious Award winners.
In this month’s exclusive interview, Princess Grace Foundation-USA’s Director of Programming Diana Kemppainen catches up with Princess Grace Award winner Jacqueline Green. After 11 years as one of the stars of Alvin Ailey American Dance Theatre (Ailey), Jacqueline retired from the company to build her own dance training center in Chicago. Below she shares some of her favorite moments with Ailey – from taking on iconic roles, how to maintain her physical and mental health during a rigorous tour schedule, and her favorite travel destinations – as well as the importance of mentors in dance, and her next steps.
“Ailey dancers are superb because they can do any style and look like experts. In my first year in the company, I was the lead in a hip-hop piece by Rennie Harris.”
For 11 years, Jacqueline Green was one of the stars of Alvin Ailey American Dance Theatre. During her tenure, Jacqueline performed Ailey’s most iconic roles, including those originally set on Judith Jamison. She started her dance training at age 13, and since then has performed works by choreographers Wayne McGregor, Jirí Kylián, Ronald K. Brown, and Kyle Abraham, among many others.
In 2016 she was a guest artist with The Royal Ballet and is a 2018 ‘Bessie’ Award nominee for sustained achievement. Since retiring, Jacqueline is co-founder and co-director of The Dance Prep, a training institution based in Chicago that provides dancers with customised dance training and preparation for a professional career.
Looking at you, you clearly have the grace and stature of a dancer; but you actually didn’t start dancing until you were 13. That’s a little later than most dancers. Tell us how you discovered dance.
I was one of five siblings, and my mum was looking for high schools that were customised for each of her children. Something drew her to Baltimore School for the Arts. It was 2nd in academics in the state; I was a big nerd and was flexible, so she thought I would do well at an arts high school. The audition was my first class – I remember standing there and they were speaking another language, which I later learned was French. The class was ballet, musicality, and stretching. I remember the instructors saying “good, good” to me, and I was accepted. Once school began it was a lot to learn, and my teachers were very good at starting at a basic beginner level for me. When I finally got it, I was bit by the dance bug.
But I still considered it as a hobby because I didn’t see anyone who looked like me with a professional career. It wasn’t until my sophomore year, when Linda-Denise Fisher-Harrell (principal dancer with Ailey, now Artistic Director of Hubbard Street Dance Chicago) came to the school. She was an alumnus of Baltimore School of the Arts and she took a class with us; she looked like me and she was just perfection. I finally understood that this was something I could do. She was dancing and traveling the world, and I wanted to do that as well. I learned more about Ailey, the company she danced with, and the more I learned, the more I related to the company, its repertory, and history.
Ailey is a demanding company, performing a variety of repertory from Ailey classics using Horton technique to more contemporary styles. How do you prepare for that variety?
My foundation is classical ballet and I went to Ailey/Fordham University for college. I learned codified modern techniques (Horton, Graham, Limón, etc.). Both institutions really prepared me for Ailey’s rep. However, even with all of that, there is still something new and as a professional dancer, you need to catch on quickly. Ailey dancers are superb because they can do any style and look like experts. In my first year in the company, I was the lead in a hip-hop piece by Rennie Harris. Hip hop was not a technique I was familiar with, so I needed to do work on my own and ensure I felt comfortable.
You have taken on some of Alvin Ailey’s most renowned work – pieces that were originally set on the iconic dancer (and former Artistic Director of Alvin Ailey American Dance Theatre) Judith Jamison. How do you take on those roles and make them your own?
It’s always an honor. I was Robert Battle’s (Princess Grace Award winner, 1991) first hire as Artistic Director. Ms. Jamison was still working with the company, and I was able to learn a lot from her.
She set Pas de Duke, a duet she originally did with Mikhail Baryshnikov on me. She is amazing; she would break down every step, and there’s a wealth of knowledge and mentorship. She’s skilled at communicating and helping you manifest the work in your body. Looking back, especially in my new position, I really understand how precious it is.
Ailey is a company that tours – 7-8 months of performance – do you have favorite places and experiences from travel?
Yes! I have a top five: Tel Aviv and performing in Jerusalem; Copenhagen and Tivoli Gardens, it’s the place that inspired Walt Disney; London at Sadler Wells, South Africa was a life-changing experience; and Paris. We would spend three to four weeks there, and it felt like you were living in Paris. You found your lunch spots and practiced your French.
“I didn’t know I had it (scoliosis) until I started dance in high school, and it turns out I have a 48-degree curve.”
You are on the road so often. How do you maintain a schedule/routine to be at the top of your game?
It’s very individual. For me, I have scoliosis so I have a specific workout I need to do on my own. I also give myself goals for each tour – some of those goals include turnout, alignment and artistry. I appreciate work ethic, and even when I’m off, I’m taking class. For me, it’s a check in for my body.
You mentioned scoliosis. Can you speak about being a dancer with scoliosis?
I didn’t know I had it until I started dance in high school, and it turns out I have a 48-degree curve. Dance educated me about my body. By the time we found out, I didn’t need a brace, my teachers taught me posture and that information was priceless. When you work with the right tools, you can heal it. Now, I know what to look for and how my body needs to feel. Physical fitness will always be a part of my regime.
I learned that Wendy Whelan (former Principal Dancer at New York City Ballet) also has scoliosis. I watched her dance – and again it’s the representation of seeing someone like yourself – and knew that it was not something that could hold me back. I fell in love with it. When Wayne McGregor worked with Ailey, my torso could move in ways that other company members couldn’t, and I loved it.
You joined Alvin Ailey in 2011 and performed with the company for over 10 years. What’s next?
I got married this year, and we were doing long-distance. He’s based in Chicago and I was on the road or in NYC. During the pandemic we literally built a school – we put the floors in – and now we guide students. It’s called the Dance Artist Prep. We customise the dance journey for the young dancer and assist the parents. We help them through all of it; provide resources, training, etc.
My husband was my dance coach, and I worked with him throughout my career. As a professional dancer, it’s your job to maintain your technique and artistry; you should be as good as your audition or better. He held me accountable and I stayed injury free throughout my career. Now we are passing that on to our students.
Was this transition a reflection of Covid-19 or was this long brewing?
In the span of a flight from Iowa City to Dallas, our tour was canceled. At that point NYC was a bit crazy, so I asked to be sent to Chicago. I had my tour clothes for months. While we were there, my husband and I got our own studio for teaching and for me to rehearse in when we were in virtual rehearsals. It really grew from there into what was needed in the dance world.
Last question – you left Ailey at the pinnacle of your career. In some ways this parallels Princess Grace, who also left Hollywood at the height of her career. What would you want to talk to her about?
I would ask her about transference of passion and how is that fueled. For over a decade you’re in an art form that fuels you – your passion, work ethic, routine, etc. and then it’s a complete flip to something else. I have passion and work ethic in working with young people and helping them find their purpose. It’s different, and I would love to know how that felt for her when she transitioned, and her perspective on what’s to come. It feels good right now, and if I could predict, I think it will continue to feel good. It’s different from me being the performer and affecting thousands of people for two hours, versus affecting one child’s life for a lifetime. It’s a different purpose, and seeing how that felt for her.