Wednesday, February 12, 2025

IS THERE ANYTHING NEW TO SAY ABOUT PARIS?

French version

MAIS ABSOLUMENT!

Noticing what is usually skipped reveals a different story and asks new questions. 

  • For example, when houses crowded up to the facade of Notre-Dame Cathedral... 

     Twelth century, Grez computer image

The space in front of the church was used for a market, for religious performances and for the condemned to ask pardon before execution. But it was small.

...the edifice surged up over daily life, the impression its builders intended. 

    Claude Abron 

  • The huge esplanade of 1853, leads to seeing it from afar. It then seems smaller and less imposing, and the reminder of eternity vanishes: 

Uncredited photos are mine.  

Why? That transformation used to be mentioned and explained: not anymore. 

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This guidebook stresses observation for the present and the role of the underlying economy for the past. My credentials: a French-American who has lived in Paris for decades, professor of history in the U.S. and tour guide in Paris (as a former member of the Office of Tourism I know its priorities). 

The method used here transforms how one sees the city. For its wider relevance, please click.

There's space for comments at the end of each page: political discussions welcome.

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TRAILERS TO PART I

PARIS NOW:

Commercial tourism does not say that brands have taken over the historic center (as shown here, here and here) or that the outskirts are where now creativity flourishes... 

The passage under the aerial métro in the distant 13th, illuminated through 2026.

The 13th district in the southeast used to be Paris's most miserable area. It now hosts two major festivals, that of the Chinese New Year mentioned below and the city's most recent, described here. It is a hub of innovative art.

In shunned La Goutte d'Or on the city's northern fringe a Gaul* actor made the streets a stage and an Iranian refugee has created a major center for world and urban music

*"Gaul" is a precise term that refers to origins, not race ("our ancestors the Gauls" is how French children's history books began).  

People know of these inventions by posters, newsletters and word of mouth, not by mainstream media. 

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Paris and its surroundings include the greatest concentration of Asians, Maghrebis and Africans in Europe, but their creativity is almost never recognized. 
 
  • Touristic publications finally discovered the spectacular Chinese New Year parade in 2025, forty years after it began. Because once it spread to districts outside its homeland they had no choice? They still say nothing of the celebrations that take place over three weeks...

Boulevard Vincent Auriol, 13th
 The day before the parade of 2026

...or of the Asian neighborhood, which bursts with color and produce to discover. 
              
  • Barbès, with its extremely dynamic market under the aerial métro and bracelet of Muslim shops along its tracts, is Paris's most visited site. But in my seven years as member of the Office of Tourism I never heard that said, or that during Ramadan succulent specialties are displayed before you on the street:

The boulevard next to the métro tracks. For the exuberant ambiance, please click.

  • The coiffures, moustaches and beards that youths have universally adopted... 


...come from Black neighborhoods like La Goutte d'Or, where barbershops flourish... 

Bouno coiffure, 51 rue de la Goutte d'Or, 18th 
One of four barbershops in the immediate neighborhood, it closes at 11 p.m.

..and posters that propose innumerable styles line the streets:


They come from signs in African markets:

   Panel from Abidjan's Treichville market, 1973 (notice the "Kennedy" haircut).

 

  • Those styles are part of an art in which appearance is a composition that communicates:

On rue Doudeauville, "Main Street"

"Art must reveal a philosophy. Otherwise it is just decoration," an art critic told meThose looks express an upbeat affirmation of individual uniqueness and the signs, a homogenous, supportive community.

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THE PAST:
A city of kings and insurrection

Long, wide, straight streets that lead to a point of focus are at the heart of the city's allure. Kings built them to proclaim their grandeur, and fear of 19th-century insurrections multiplied them to march troops fast. But kings are reduced to anecdotes and insurrections so ignored that many people think the figures in an iconic painting are storming the Bastille:

La Liberté guide le people by Eugene Delacroix, 1830-1831 (cropped) / zoom
  
*Clicking on "zoom" leads to the original image and information about it.

  • But the Revolution of 1830 inspired the work. Its three days of combat finished what the French Revolution had begun: eliminate nobles' power. That let capitalism take wing and to endemic revolts between 1830 and 1871, which are now largely forgotten. 
For an account, please click here, for the terror of "barbarian" rebels here and for the urban transformation that resulted, here.

  • The last and most tragic upheaval led to the Paris Communewhen inexperienced young leaders whom the humble backed ran the city from March to May 1871. They kept the continent's largest city (population a million and a half) running while sketching out a society that was genuinely democratic 
"Bloody Week" recalls the ferocity of their repression. 

          Proclamation de la Commune le 26 mars 1871, anonymous engraving / zoom

     Un Peloton d'exécution [firing squad] pendant la Semaine sanglante by V. Sarday / zoom 
A painting made a generation later, based on prints of the time and opponents' grudging statements of respect.

La Commune still inspires the left.

  Commemorative parade, 2021  

For schoolbook views click here and here, and for the section on the historical museum's take on that upheaval and others, here.

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TRAILER TO PART II:
AN APPROACH TO THE PAST
THAT IS CROSS-CULTURAL AND ECONOMIC 

One example: Ostentation erases investible profits to maintain the status quo. 

       A Royal Army on the March,16th-century tapestry (detail), Renaissance Museum
Traditional horsemen in Northern Nigeria / zoom


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This is a "blook,"a book that makes its points briskly through headlines and pictures.

It includes drawings by Harald Wolff. Like the vast majority of Parisian artists he is foreign (German), and lives not in the places associated with them (Saint-Germain, Montmartre, Montparnasse) but in a plebeian suburb (Montreuil) where rents are lower. So he is part of the reality that these pages describe. 

The index, under the menu on the right, gives immediate access to the main ideas. Contents is more detailed. 

Epilogues and History, a tool of enlightenment suggest their wider relevance.

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