Paris apologizes after controversial opening ceremony

AMIRA FAISAL

In the opening ceremony of Paris Olympics 2024, as Paris buzzed with the euphoria of the Olympic Games, an unexpected storm brewed on the sidelines.

The city was aglow with festive lights, and the streets were teeming with spectators from around the globe, all eager to witness the grand spectacle. The anticipation was palpable, with every corner of Paris adorned in Olympic colors, and the air thick with excitement and pride.

However, it was not just the Olympic athletes or the grandeur of the venues that captured the world’s attention. Amidst the jubilant celebrations, an innocuous yet contentious event emerged from the shadows, becoming the talk of the town. This event was a dinner, but not just any dinner. It was hosted under the provocative banner of “The Last Supper in Paris.”

Paris apologizes after controversial opening ceremony — The provocative banner of “*The Last Supper in Paris*.”

The dinner’s theme, evocative of Leonardo da Vinci’s iconic painting, was intended as a cultural and gastronomic homage. However, its title sparked a flurry of debates and discussions. The phrase “The Last Supper” carried heavy religious and historical connotations, and its use in a celebratory context during such a globally significant event raised eyebrows.

The venue for the dinner was an opulent hall, adorned with lavish decorations that aimed to merge the historical grandeur of Paris with contemporary elegance. The guest list included a mix of dignitaries, celebrities, and influencers, all dressed in their finest attire, ready to partake in what was billed as an unforgettable culinary experience.

Renowned chefs from across the world had collaborated to curate a menu that promised to be a feast for the senses, blending traditional French cuisine with innovative modern twists.

As the evening unfolded, the atmosphere inside the hall was one of opulence and revelry. Yet, outside, the streets buzzed with a different kind of energy. Protesters and critics had gathered, expressing their discontent over what they perceived as a distasteful and insensitive appropriation of a sacred symbol. Social media platforms were ablaze with heated discussions, with opinions sharply divided.

Some defended the dinner as a creative expression and a celebration of culinary arts, arguing that it was meant to honor and not to offend. Others saw it as a crass commercial exploitation of a revered religious moment, inappropriate for the context of the Olympic Games, which are supposed to epitomize unity and respect among diverse cultures.

As the night drew to a close, the dinner left behind a trail of mixed feelings and unresolved debates. It had succeeded in drawing attention, but perhaps not in the way its organizers had envisioned. The “The Last Supper in Paris” became a poignant reminder of the delicate balance between cultural expression and sensitivity, especially on a stage as grand and diverse as the Olympics.

The storm surrounding the dinner lingered in the days that followed, casting a shadow over the otherwise jubilant atmosphere of the Games. It was a lesson in the power of symbolism and the importance of mindful celebration, particularly in an era where global audiences are more connected and vocal than ever before.

The segment, which echoed the biblical scene of Jesus Christ and his apostles at the Last Supper, included drag queens, a transgender model, and a naked singer dressed as the Greek god Dionysus. This portrayal sparked disapproval from the Catholic Church and the religious right in America.

The Figures of performance

The performance includes neumours of famous historical figures such as Jesus, faceless torchbearer.

headless Queen Marie Antoinette was the last Queen of France before the French Revolution, and the performance featured a drag queen in what many viewers saw as a parody of Leonardo Da Vinci’s famous “The Last Supper.” The performance involving children sparked outrage and was condemned for exploiting children in a display with sexual connotations.

Criticisms

The Catholic Church of France expressed its displeasure, beginning with its X account: “Unfortunately, this ceremony included scenes that mocked Christianity, which we deeply regret.”

The controversy has prompted C Spire, a US-based technology company, to withdraw its advertisements from the Olympics.

C Spire stated on X: “We were shocked by the mockery of the Last Supper during the opening ceremonies of the Paris Olympics. C Spire will withdraw its Olympic advertising.

On the other hand, The Anglican Communion of Egypt expressed “deep regret” on Sunday, stating that the ceremony could cause the IOC (International Olympic Committee) to “lose its distinctive sporting identity and its humanitarian message.”

Andrew Tate and his brother Tristan Tate, both controversial media personalities, were among the critics. On Sunday, they stood in front of a church near the French Embassy in Bucharest to protest the opening ceremony.

Elon Musk also shared his views on the ceremony controversy, posting on X: “Unless there is more bravery to stand up for what is fair and right, Christianity will perish.”

Paris apologies

The Paris Olympics organizers issued an apology to anyone who was offended by a tableau that resembled Leonardo da Vinci’s iconic painting “The Last Supper” during the opening ceremony on Friday. This particular segment of the ceremony ignited outrage among religious conservatives around the globe, who found the depiction to be disrespectful and inappropriate. The backlash was swift and widespread, with critics arguing that the tableau trivialized a sacred image deeply revered within the Christian faith.

Despite the strong negative reactions, the organizers defended their artistic choice, emphasizing that the intent behind the tableau was not to offend but to pay homage to a masterpiece of Renaissance art. They reiterated their commitment to artistic expression and creativity, suggesting that the tableau was meant to evoke reflection and dialogue rather than controversy.

The organizers also highlighted the diverse range of cultural and historical references woven into the ceremony, which aimed to celebrate humanity’s shared heritage and inspire unity among the international audience.

There was absolutely no intention to show disrespect to any religious group,” Paris 2024 spokesperson Anne Descamps stated at a news conference on Sunday. “On the contrary, our aim was to celebrate community and tolerance. We believe we achieved this ambition. However, if anyone has taken offense, we are truly sorry.”

eiffel tower standing against the sky — Photo by Tatiana Tzviatkova

30-07-2024

Amira Faisal is from Morocco and a journalist.

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