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

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      When the athletes march in — or float in, as they will in Paris on Friday — you can enjoy the illusion that it’s a small world after all.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 rendering of the opening ceremony of the Paris Games. Participants will sail upriver to the Eiffel Tower and the Trocadéro: two landmarks of the capital that were built for 19th-century World’s Fairs.Florian Hulleu/Paris 2024, Agence France-Presse, via Getty ImagesA 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.This year’s parade of nations will be on the water. Teams will process through the city center on nearly 100 boats before arriving at the Trocadéro.Florian Hulleu/Paris 2024, Agence France-Presse, via Getty ImagesWe 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

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      When the Paris Olympics Begin, the Seine Is His Stage

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      To open the Games, the theater director Thomas Jolly has masterminded a spectacular waterborne ceremony depicting 12 scenes from French history.In French, the word for stage, “scène,” sounds exactly like the name of the river that runs through Paris.The Seine.That’s one of the first things the director Thomas Jolly liked about the idea of creating an opening ceremony that would float through the heart of Paris.For the past two years, the river has become his workroom, offering challenges unknown to most theater directors: currents and wind tunnels, a vulnerable fish hatchery, a plan for thousands of athletes to float through in boats, 45,000 police officers scattered around for security. Also required: regular check-ins with the French president and Paris mayor.As artistic director of all four Olympic and Paralympic ceremonies, he also has perks most directors could only dream of: a budget of nearly $150 million and more than 15,000 workers, including dancers and musicians. He can also expect a live audience of half a million and 1.5 billion spectators on television.If Jolly pulls it off, this will be the first time an opening ceremony is unfurled outside the secure confines of a stadium. The Seine has not seen such a celebration in 285 years, since King Louis XV celebrated the marriage of his daughter to the prince of Spain.A time-lapse video of a boat rehearsal for the opening Olympic ceremony on the Seine.By Dmitry KostyukovWe 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

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      France’s Army Is Singing for Ukraine

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      The Choir of the French Army will join the Ukrainian Freedom Orchestra in Paris to show support for Ukraine in its war against Russia.When President Emmanuel Macron of France refused in February to rule out sending Western troops to Ukraine, he shattered a taboo and spooked his NATO allies. But five months later, his statement looks more like a provocation than a promise, and the idea of French boots on the ground seems a distant prospect.There are other ways, however, that France’s military can aid the Ukrainian cause.In a Paris church on Friday, 30 members of the Choir of the French Army will lend their voices to a free concert to honor Ukraine’s fighting spirit.“We are here on a mission,” said the conductor Keri-Lynn Wilson during a recent rehearsal for the concert, “a mission to support Ukraine, on the artistic and cultural front.”Then she led the singers of the all-male military choir, joined by 30 female members of a Ukrainian vocal ensemble, through a rendition of the last movement of Beethoven’s Ninth Symphony, the famous “Ode to Joy.” The massed voices soared in the echoing space.At Friday’s concert, Wilson, a Canadian with Ukrainian roots, will conduct the singers alongside the 74-musician Ukrainian Freedom Orchestra in Saint-Eustache church. Since Russia’s full-scale invasion of Ukraine in 2022, the orchestra — some of whose members still live in the country at war — have been coming together each summer to perform across Europe, with Wilson conducting.The concert in Paris is the first stop on the orchestra’s third tour. The ensemble will perform with local choirs when it plays concerts in London, Poland and the United States, where it will perform in Washington and, on Aug. 1, at the Cathedral of St. John the Divine in New York.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

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      The Windmills Are Back Up on the Moulin Rouge

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      The Paris landmark has completed its restoration after the blades fell off this spring — and just in time for the Summer Olympic Games to begin.The moulin is back. The rouge never left.The Moulin Rouge, the famed Paris cabaret, has restored its iconic windmill after its blades broke and fell to the ground in April. The construction was finished weeks before the Paris Olympics are set to begin — and before the flame passes by on its relay route through Paris on July 15.“We wanted to be ready for this special moment,” said Jean-Victor Clerico, the managing director, whose family has run the cabaret since 1955, adding, “The Moulin Rouge without the blades? It’s not the same.”The cabaret, whose name means “red windmill” in French, has stayed open through the repairs. But it had stood functionally topless since April, when parts of the lettering also fell. No one was injured; a spokeswoman blamed a mechanical problem.Sympathy poured in from around the world, Mr. Clerico said. Fans sent in letters of support, he said. Some even wrote poems. For two months, the Moulin Rouge raced to remount the aluminum blades, pushing a metalwork company to work quickly to meet their deadline.Finally, right on schedule, the cabaret celebrated its full return to glory on Friday evening with a street show. As the bright neon lights on the windmill flicked back on, a crowd of about 1,500 people burst into cheers, Mr. Clerico said.Dancers performed the cancan — an emblem of the city, and of the cabaret culture epitomized by the Moulin Rouge — in blue, white and red costumes. They yipped and kicked, rustling their ruffles and shaking their skirts. Mr. Clerico said that the outdoor show was only the second time that the cabaret put on a cancan on the street. (The first was on its 130th anniversary in 2019.)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

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      Why More French Youth Are Voting for the Far Right

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      Most young people in France usually don’t vote or they back the left. That is still true, but support has surged for the far right, whose openly racist past can feel to them like ancient history.In the 1980s, a French punk rock band coined a rallying cry against the country’s far right that retained its punch over decades. The chant, still shouted at protests by the left, is “La jeunesse emmerde le Front National,” which cannot be translated well without curse words, but essentially tells the far right to get lost.That crude battle cry is emblematic of what had been conventional wisdom not only in France, but also elsewhere — that young people often tilt left in their politics. Now, that notion has been challenged as increasing numbers of young people have joined swaths of the French electorate to support the National Rally, a party once deemed too extreme to govern.The results from Sunday’s parliamentary vote, the first of a two-part election, showed young people across the political spectrum coming out to cast ballots in much greater numbers than in previous years. A majority of them voted for the left. But one of the biggest jumps was in the estimated numbers of 18-to-24-year-olds who cast ballots for the National Rally, in an election that many say could reshape France.A quarter of the age group voted for the party, according to a recent poll by the Ifop polling institute, up from 12 percent just two years ago.There is no one reason for such a significant shift. The National Rally has tried to sanitize its image, kicking out overtly antisemitic people, for instance, who shared the deep-seated prejudice of the movement’s founder, Jean-Marie Le Pen. And the party’s anti-immigrant platform resonates for some who see what they consider uncontrolled migration as a problem.Young people at an anti-far-right gathering in Paris after the results of the first round of the parliamentary elections. 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

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      How A Fashion Critic Mentally Catalogs Fashion Week Shows

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      Theater and dance critics can’t own the subjects they cover, but a fashion critic can — at least imaginarily — by making a hits compilation as the clothes go by.If fashion is a storytelling business, it should follow that runway shows are narratives.Yet they can’t be. For starters, they lack a plot. True, designers can be relied upon to spiel about inspirations, travels or philosophies as a listener’s eyeballs roll back in his head. The truth is that most fashion shows are best consumed, as everything else now is, in fragments. They are elements of an ongoing internal scroll, as continuous, algorithmic and addictive as Instagram reels.That, anyway, is how this critic began viewing the collections in Milan and Paris this season, with the result that the following is best thought of as a mixtape, not anchored to specific nationality or geography or context, random and in some sense impressionistic and probably also solipsistic in the way everything is fundamentally forced to be in an attention economy.Take Hermès. The designer Véronique Nichanian is anything but a household name, probably not even among those in the economic stratosphere this label was created to serve. So what? She’s as consistently fine as — and in many ways better than — other fixtures in the pantheon of men’s wear, people like Giorgio Armani or Helmut Lang. There is a reason you don’t know her.“We don’t do marketing,” Axel Dumas, the Hermès chief executive, said at the company’s show. “We don’t even have a marketing department.”Véronique Nichanian’s jaunty looks for Hermès whispered quiet luxury. Vianney Le Caer/Invision, via Associated PressWhy bother when you are producing jaunty collections for those people whose own initials are enough, as the old Bottega Veneta tagline once held. So-called quiet luxury generally tends to make a racket. Ms. Nichanian’s is a muffled version and whispers wealth.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

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      In Paris, Using Dance to Uncover Hidden History

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      Benjamin Millepied, an organizer of La Ville Dansée — a daylong event in Paris and its environs — wants “to tell the invisible stories of the city.”Benjamin Millepied thinks big.La Ville Dansée, a free festival of outdoor dance on Saturday, is the first large-scale initiative from Millepied’s Paris Dance Project. Starting at 11 in the morning and ending after midnight, it involves 12 choreographers and seven commissions; 10 neighborhoods in Paris and its outlying suburbs; podcasts, screenings and live streams. The Paris Dance Project, which Millepied formed last year with Solenne du Haÿs Mascré, is not a dance company, but an organization that creates educational programs and accessible performances. La Ville Dansée (“the dancing city”), part of the Cultural Olympiad — a program of arts events around the Olympics — is its biggest splash yet, intended to show Paris and its environs not just as gorgeous settings for performance, but as places with hidden or forgotten histories.Millepied returned to live in Paris last year after a decade spent mostly in Los Angeles. His last Parisian sojourn, 2014-2016, included a brief, contentious, term as the director of the Paris Opera Ballet, which he said provided some seeds for the idea of La Ville Dansée.“I was running the best-funded institution in France, but only a fraction of society felt invited,” Millepied said in an interview in Paris in May. “It made me think about how much segregation there is, how people can have a very different experience in the same place. I decided we would commission works to tell the invisible stories of the city to gather people together who would never go to the theater, to build empathy and community.”Millepied and du Haÿs Mascré gathered a small core team that included, unusually, a political theorist, Françoise Vergès, and a sociologist, Fabien Truong, as well as the dramaturg Christian Longchamp. Over months of weekly meetings, they discussed and identified sites for dance — some famous, like the Eiffel Tower and the Jardin du Luxembourg; others little known, like an abandoned supermarket in the town of Grigny and Saint-Bernard de la Chapelle, a church that was the site of a notable police raid on migrants in 1996.Millepied researched and chose the diverse group of choreographers. Then came the logistics of raising money, getting permissions and coordinating technical teams across the city.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

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      Dancing Past the Venus de Milo

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      I fell in love with the Louvre one morning while doing disco moves to Michael Jackson’s “Don’t Stop ’Til You Get Enough” in the Salle des Cariatides.The museum, a former medieval fortress and then royal palace, had not yet opened, and I was following instructions to catwalk and hip bump and point in the grand room where Louis XIV once held plays and balls.The sun cast warm light through long windows, striping the pink-and-white checkered floor and bathing the marble arms, heads and wings of the ancient Grecian statues around me.“Point, and point, and point,” shouted Salim Bagayoko, a dance instructor. So I struck my best John Travolta poses and pointed around the room, my eyes landing on the delicate sandaled foot of Artemus, the wings of a Niobid and the stone penis of Apollo.The woman beside me caught my eye. We giggled.Over the years, I have felt many things in the world’s most-visited, and arguably most-famous, museum — irritation, exhaustion and some wonder, too.This time, I felt joy.The classes are part of an effort by museums and galleries across France to put on Olympics-themed shows as Paris prepares to host the Olympic Games.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