Why the Olympics’ Parade of Nations Is the World’s Costume Party

Welcome back to the Olympics, and a five-ringed circus of sport and security, national pride and international sponsorship.

This summer’s Games begin in Paris this Friday, with an uncommon opening ceremony: athletes and acrobats floating along the Seine for as many spectators as the antiterror police will allow. “No other country would have tried this,” crowed President Emmanuel Macron in an interview this week, though the ministers by his side will be from a caretaker government. France is still processing its recent snap legislative election, which nearly brought the far right to power. The ceremony will be all about France’s openness to the world. Not all the local spectators will approve of the message.

A big modern show, then, after the Covid-shocked, zero-spectator Summer Games in Tokyo. But for all its contemporary soft power — the “Emily in Paris” tie-in, the medals displayed in Louis Vuitton trunks — these Paris Olympics will also be a throwback.

The modern Games are a French invention, after all: a projection of Panhellenic manhood onto contemporary Europe by a romantic educator and “fanatical colonialist” (as Pierre de Coubertin, the founder of the modern Games, called himself). The opening ceremony, especially, plunges the world’s athletes into the nationalist structures of the late 19th century. The flag-waving of the Olympics, the it’s-a-small-world amusements of the universal exhibition, or the repellent human zoos at colonial fairs: there have been many ways to bring the whole world to Paris.