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The race was so close that when it was over, seven of the eight sprinters saw “PHOTO” next to their name on the large scoreboard inside the Stade de France. The term indicates a closer inspection of the finish is required. In this case, the timing was extended to the thousandth of a second to […] More
A program of arts events shown in conjunction with the 2024 Olympic and Paralympic Games looks at the relationship between art and sport.In dance and in sports, there is a common ritual: warming up. As much an art as an activity, it energizes not just the body, but also the mind, speaking less to effort than to surrender. What does it take to get into the zone, that place where the body and mind show up as equals?Since 2022 France has been warming up — on a grand scale. Culture, along with sport and education, is a pillar of Olympism, and France has taken that seriously with its Cultural Olympiad, a program of multidisciplinary arts events directed by Dominique Hervieu, a choreographer, an experienced leader in the arts and a former dancer as well.The thread running through this Olympiad is the connection between sports and art. When do they find symbiosis? When do they diverge? As Hervieu sees it, what binds the Olympic Games is culture, and there, the dance values she embraces play a role: “It’s a way to think with your body,” she said in an interview in Paris. “To think about society, to think about individuality, to think about space.”In other words, to be aware of yourself in the larger world. The contemporary mandate for including a cultural component with the Games began in 1992 in Barcelona, Hervieu said. But how to integrate it is a choice made by the host city, and Hervieu decided on the sports-art connection.Dominique Hervieu is the director of the Cultural Olympiad, a vast program of arts events that began in 2022. “We have 2,500 projects, and it’s incredible,” she said. “It could have been only 500. And everybody would be happy with 500. Me too!”Benjamin BoccasThere are obvious similarities between the two — the idea of excellence and surpassing oneself — but Hervieu also wanted to “show that art is not sport and vice versa,” she said. “The dimension of physical performance, which is the goal of sport with a view to winning, is not the goal of art. This difference is fundamental, because virtuosity in art is always a means of creating a space for meaning or poetry.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
After a fencer from Hong Kong beat an Italian for a gold medal, Pizza Hut’s offer of free pineapple toppings in Hong Kong was the city’s second jab at Italy.Losing an Olympic fencing title bout to the champion from Hong Kong was difficult enough for the Italian. Then came the pizza slander.Cheung Ka Long’s triumph over Filippo Macchi of Italy in the gold medal bout in men’s foil on Monday has led to a sour fallout that has spilled off the fencing strip: Pizza Hut’s Hong Kong and Macao branch has offered free pineapple toppings on its pies as fans on social media praised the combination widely shunned by the losing side.“All Hong Kong people are very happy and excited today!” the branch said in a Facebook post on Tuesday announcing the offer, adding it was also celebrating a bronze medal the Chinese territory had won on Monday, in the women’s 200-meter freestyle.Pizza Hut Hong Kong and MacauFor Hong Kong, which has already doubled its total historical gold medal count, to four, this week, the Paris Olympics have been an occasion for major celebration. After winning one in 1996 and another in 2021, it has won two golds this year, both in fencing. Vivian Kong clinched a title in the women’s épée individual competition.People in Italy, which has the most Olympic fencing medals of any nation, were disgruntled after referees ruled in favor of Hong Kong in what was a tightly fought men’s foil match. Controversy surrounded the final point, awarded after referees replayed footage on three separate occasions while both players were convinced they had won.Cheung eventually came out on top, with a 15-14 victory. He became the first athlete from Hong Kong to win two Olympic gold medals, and the third man to defend his title in the event.“It’s insane for me because I try hard every day to fight, to come to Paris, to France, to qualify for the Olympics,” he said after his win. “Now, another dream has come true.”The Italian Fencing Federation said in a statement on Monday that it would file a formal complaint over what it called “unacceptable refereeing.”“Filippo Macchi is the real winner,” Paolo Azzi, the federation’s president, wrote on social media. “He was denied the gold he deserved.”In response, Hong Kong fans launched a full-scale assault on Italian cuisine. “I like pineapple pizza and pasta with soy sauce,” one user wrote on Cheung’s Instagram page. The comment was followed by others celebrating the scandalous faux pas in Italian cooking.Advertisements for Pizza Hut and KFC in Hong Kong, in 2022.Budrul Chukrut/SOPA Images, via Getty ImagesMacchi, who was competing in his first Olympics, said on social media that he did not want to blame the referees.“A long time ago, a person dear to me, as well as a great champion, told me: ‘You always celebrate a medal!’” he wrote. “And indeed this medal deserves joy and happiness.” More
The war has torn apart old alliances and heightened the acrimony. A Ukrainian fencer is competing after her refusal to shake hands with a Russian rival got her barred from the world championships.Olha Kharlan of Ukraine shouted in celebration under the vaulted glass dome of the Grand Palais on Monday, after an early round victory in her pursuit of a fifth career Olympic medal in saber fencing.She had reached the semifinals by late afternoon. But just her mere presence confirmed that this niche sport, perhaps more than any other, illustrates the acrimony and caustic feuding that have resulted from Russia’s invasion of Ukraine.Kharlan, 33, was disqualified from the world fencing championships last summer for refusing to shake hands with her Russian opponent. But Thomas Bach, the president of the International Olympic Committee and himself a 1976 Olympic fencing champion, gave Kharlan an exemption to participate in the Paris Games, citing her “unique situation.”There she was on Monday, competing in the Olympics, while Russia was absent from the biggest international event in fencing, a sport in which it has long been a power athletically and administratively.Ohla Kharlan, right, competing against Shihomi Fukushima of Japan in the Grand Palais on Monday.Andrew Medichini/Associated PressWith Russia banned from these Games because of its invasion, only 15 of its athletes are competing in Paris, all designated as neutral, without the accompaniment of the country’s flag or national anthem. There are none in fencing, a huge blow to the country’s Olympic prestige given that Russia and the former Soviet Union rank behind only Italy, France and Hungary in fencing’s overall medal count.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
Some church leaders and politicians have condemned the performance from the opening ceremony for mocking Christianity. Art historians are divided.A performance during the Paris Olympics’ opening ceremony on Friday has drawn criticism from church leaders and conservative politicians for a perceived likeness to Leonardo da Vinci’s depiction of a biblical scene in “The Last Supper,” with some calling it a “mockery” of Christianity.The event’s planners and organizers have denied that the sequence was intended to mock or offend, and have remained largely vague about the references associated with the images.In the performance broadcast during the ceremony, a woman wearing a silver, halo-like headdress stood at the center of a long table, with drag queens posing on either side of her. Later, at the same table, a giant cloche lifted, revealing a man, nearly naked and painted blue, on a dinner plate surrounded by fruit. He broke into a song as, behind him, the drag queens danced.The tableaux drew condemnation among people who saw the images as a parody of “The Last Supper,” the New Testament scene depicted in da Vinci’s painting by the same name. The French Bishops’ Conference, which represents the country’s Catholic bishops, said in a statement that the opening ceremony included “scenes of mockery and derision of Christianity,” and Robert Barron, an influential bishop in Minnesota, called it a “gross mockery.”The performance at the opening ceremony, which took place on and along the Seine on Friday, also prompted a Mississippi-based telecommunications provider, C Spire, to announce that it would pull its advertisements from Olympics broadcasts. Speaker Mike Johnson described the scene as “shocking and insulting to Christian people.”The opening ceremony’s artistic director, Thomas Jolly, said at the Games’ daily news conference on Saturday that the event was not meant to “be subversive, or shock people, or mock people.” Speaking broadly about the ceremony, he said, “The idea was to send a message of love and of inclusion.” On Sunday, Anne Descamps, the Paris 2024 spokeswoman, said at the daily news conference, “If people have taken any offense, we are, of course, really, really sorry.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
In a blaze of French style blending history and artistic audacity, the Paris Olympic Games opened beneath plumes of blue, white and red smoke, as thousands of athletes defied a downpour to sail through the city’s heart, down the Seine toward the Eiffel Tower.Steady rain and rising security concerns could not deter the athletes from more than 200 delegations. They laughed, they danced and they waved national flags, some from the decks of converted sightseeing boats, in a ceremony dedicated to the theme of togetherness to heal a divided France and a fractured world.Lady Gaga, emerging from behind pink puffballs in a black bustier, performed in French. Cabaret artists can-canned on the riverbanks. Aya Nakamura, a French-Malian singer whose presence was contested by the nationalist right, emerged from the august Académie Française, bastion of the French language, to offer her slang-spiced lyrics as she gyrated and stroked herself to the music of an impassive Republican Guard marching band.A new and diverse France confronted an old and traditional France. At a moment of sharp political confrontation that has left the country deadlocked, the ceremony was an invitation to think again about the meaning of the nation and the possibility of understanding. The Republican Guard relented at the last and tried some modest dance moves in their military uniforms to Ms. Nakamura’s massive hit “Djadja.”Team France during the opening ceremony.Jeremy White/The New York TimesThough a steady rain chased away many spectators before the ceremony was over, thousands stayed. Daniel Berehulak/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
The network hired the rapper for an expanded role on its broadcasts of the Summer Games in Paris after posting record-low viewership of the Tokyo competition.Once Snoop Dogg had waded through electrical cords on the floor and ambled his lanky frame around the disorderly equipment in a partially constructed television studio in Paris, he was able to peer out over a balcony overlooking the Eiffel Tower and survey the city he hopes to conquer during the Olympics.“This is my home,” he said triumphantly to himself. Below, a handful of people flashed their phones.The man who NBCUniversal hopes will become the breakout star of the Paris Games was right where he wanted to be.The Olympics are always about the athletes, and as usual the focus this year will be on the brightest ones: Simone Biles, Katie Ledecky, Noah Lyles, Novak Djokovic, LeBron James.But the event’s billing as the pinnacle of athletic achievement has not been enough to prevent NBC’s Olympics television ratings from skidding amid a fractured media landscape, and the network hopes Snoop Dogg’s aura as one of the most recognized and beloved figures in pop culture will energize viewers of all ages.Ratings for the Summer Games have dropped steadily since an average of 31.1 million prime-time viewers watched the 2012 London Olympics. NBC executives cite pandemic-related restrictions and an unfavorable time zone for Americans as reasons the Tokyo Games averaged 15.5 million prime-time viewers, its lowest audience ever.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
The Paris Games began with a new look and sparkled with Celine Dion. But the show suffered from bloat similar to TV’s other spectacles.About six hours before Celine Dion gutted out the final number of the Paris Olympics opening ceremony, the streaming service Peacock emailed a promo for its coverage with the headline, “We’ll all be crying by the end of this.” So maybe they knew more than they were letting on.The homestretch of the marathon four-hour broadcast, when the celebrating athletes and dance extravaganzas and speeches were out of the way, had some starkly lovely images and moving moments: the speedboat carrying former champions up the Seine in the dark (like a real-life echo of Leos Carax’s great water-skiing scene in “Les Amants du Pont-Neuf”). The grand scale and dramatic lighting of the Louvre as the torch was carried, like a firefly’s flame, through its courtyards. The torch coming to the hand of a 100-year-old French cyclist, steady in his wheelchair, and Dion defying her illness to belt out “Hymne à l’Amour” on the Eiffel Tower.Celine Dion’s performance of “Hymne à l’Amour” provided a triumphant finale.Chang W. Lee/The New York TimesBut it took endurance to get there — for the athletes, performers and spectators drenched by the summer rain, and for the viewers at home watching the ceremony as it was conceived by the French organizers and packaged by NBC and Peacock.The decision to abandon the event’s traditional format — the long, formal parade of athletes marching into a stadium — for a waterborne procession along the Seine intercut with performances had a twofold effect. It turned the ceremony into something bigger, more various and more intermittently entertaining. But it also turned it into something more ordinary — just another bloated made-for-TV spectacle, like a halftime show or awards show or holiday parade that exists to promote and perpetuate itself.Those spectacles can be fun, of course, and the traditional Olympics opening ceremony could feel dull and interminable. But it was not quite like anything else, and it played a key part in making the Games feel special.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
