HOT ON THE HEELS of the Marche Mondiale des Femmes that took place just over a week ago to mark International Women’s Day, Paris was celebrating women again yesterday this time with Le Carnaval des Femmes.
Organised by L’association Cœurs Sœurs, the Carnaval des Femmes is a revival of the traditional Fête des Reines des Blanchisseuses de la mi-Carême dating back to the eighteenth century. The current president of L’association Cœurs Sœurs, Basile Pachkoff, the man responsible for reviving the Carnaval de Paris, is one of the driving forces behind reviving this historic festival.
An 1880 report prepared by the chambre syndicale des blanchisseurs for the Ministry of the Interior estimated that some 94,000 women and 10,000 men worked in laundries in Paris, either in brick-and-mortar laundries across the city, or in the bateaux-lavoirs – wooden constructions floating on the river. Their ages ranged from about 15 to 60 and they worked 12 to 15 hours a day for a remuneration of between 18 to 35 francs a week.
A laundry on the banks of the Canal Saint-Martin
Léon et Lévy (1864-1917). Lavoir sur le canal Saint-Martin. Phototypie. Paris (Xème arr.), vers 1900. Paris, musée Carnavalet. Image courtesy of Paris en Images
It was mainly the women who did the washing and the ironing but although the work may have been long and hard and poorly paid, once a year Paris treated them like royalty.
At mi-Carême, or Mid-Lent, an air of celebration gripped Paris with a hugely popular festival often referred to as une grande fête feminine, or a great female party. And it was the blanchisseurs, the laundresses who took centre-stage.
A Queen was elected from each laundry and during the mi-Carême festival all the Queens paraded through the streets with much fanfare.
The 1874 election of a laundry Queen in a lavoir
La fête des blanchisseuses dans un lavoir du quartier de Plaisance, à Paris, le jeudi de la Mi-Carême 12 mars 1874. Image – Le Monde Illustré
In 1891, the président de la chambre syndicale des maîtres de lavoirs took the initiative to create a committee to bring together all the individual laundry processions in Paris thus giving rise to one large procession and to the Queen of Queens of Paris.
Yvonne Béclu, Queen of Queens, 3 March 1921. Image – l’Agence Rol
Like the Carnaval de Paris, the Fête des Reines des Blanchisseuses de la mi-Carême faded away in the mid-twentieth century but thanks to Basile Pachkoff and others, both have now been revived.
Now in it’s seventh year, the revived Carnaval des Femmes may be a shadow of the huge nineteenth century festival but at least it has been revived and judging by the procession yesterday it certainly contains some of the same enthusiasm and exuberance as its predecessor.
Sounds of the Carnaval des Femmes 2015:
SUNDAY, 8th MARCH was International Women’s Day and a large number of events took place in Paris to mark the day.
To mark la Journée internationale de la femme last year I went to the Marie Curie Museum in the 5th arrondissement where there was an exhibition in the garden of the museum of photographic portraits celebrating the careers of prominent women, past and present, who worked or are currently working in the fields of science and medicine. You can see my report about that exhibition here.
To mark the day this year, I thought I would do something completely different!
I arrived in Place de la République on Sunday afternoon to record the sights and sounds of my first manifestation of the year, the Paris contribution to the Marche Mondiale des Femmes 2015.
It was a very lively and good-natured manifestation and although both women and some men took part I decided to mark my contribution to International Women’s Day 2015 by only recording the sounds of the women.
No further words from me can add anything to the words of these women marching through Paris yesterday, they were quite capable of expressing themselves.
Just a word of warning:
So as not to offend anyone, I should point out that there is a rather explicit picture at the end of this blog piece so if you think you might be offended by it then I suggest you just listen to the sounds and don’t scroll down any further.
That said, I’ll simply let the women tell their own story.
The sounds of International Women’s Day 2015 in Paris:
THE SIGHTS AND SOUNDS of a colourful carnival procession are guaranteed to brighten up a dull February afternoon.
Last Sunday afternoon, the annual Carnaval de Paris wound its way through the east of Paris from Place Gambetta to Place de la République. The theme for this year’s carnival was “ Chevaliers, dragons et chatelaines” (Knights, dragons and ladies of the manor) and it involved a long procession of people wearing colourful costumes accompanied by dancers and the throbbing rhythms of drums, cymbals and cowbells.
Sounds of the Carnaval de Paris 2015:
The Carnaval de Paris has a long history going back to at least the sixteenth century. In those days it was a time of rejoicing lasting from Epiphany until Lent. People of different origins, professions and social status took part and it was a time of dances, feasts, and marriages. The carnival parade would take place on the Sunday prior to Mardi Gras and was led by the traditional “Promenade du Boeuf Gras”, a decorated live ox.
The Carnaval de Paris continued up to the twentieth century but in 1952 it came to an abrupt end. It was revived though in 1997 by Les Fumantes de Pantruches and Droit à la Culture groups and it has continued every year since.
Although it no longer stretches from Epiphany to Lent, it’s simply a one-day event now, the Carnaval de Paris with its dancers, masks, music and colourful costumes still retains the spirit and exuberance of the medieval festival.
Here are some more sights of the Carnaval de Paris 2015:
AFTER THE SPECTACULAR sound and light show attended by some 600,000 people in the Champs Élysées the night before, New Year’s Day 2015 saw la plus belle avenue du monde filled with marching bands, colourful floats and circus performers for le défilé du jour de l’An, the New Year’s Day parade.
Organised by the association, Le Monde Festif, under the chairmanship of the celebrated showman, Marcel Campion, the parade consisted of musicians, clowns, jugglers and acrobats from five famous circuses (Pinder, Bouglione, Muller, Phoenix and Romanès), as well as fifteen marching bands from a dozen countries and a fleet of classic cars and decorated floats.
I spent the afternoon of New Year’s Day in the Champs Élysées capturing the sounds and savouring the atmosphere.
Showtime in the Champs Élysées:
LA FÊTE DE GANESH, along with the celebrations for the Chinese New Year and the Carnaval Tropical, bring an annual wave of colour and spectacle to the streets of Paris highlighting the city’s cultural diversity.
Indian communities across the world celebrate la Fête de Ganesh at this time of the year and yesterday I went to join the celebrations in Paris.
The Sri Manicka Vinayakar Alayam temple, in rue Pajol
Genesha, the Hindu deity of wisdom, propriety and good fortune, has a temple dedicated to him in Paris, the Sri Manicka Vinayakar Alayam temple, in rue Pajol in the 18th arrondissement. It was from here that a colourful procession set off yesterday on its tour of the surrounding area.
Strands of jasmine were on sale everywhere
To experience la Fête de Ganesh is to experience a multi-sensory feast with the colourful costumes and the equally colourful sounds overlayed with wonderfully exotic smells.
Unfortunately, I can’t recreate the exotic smells for you to enjoy but I can share with you this year’s Fête de Ganesh in sounds and pictures and let them tell their own story.
La Fête de Ganesh 2014 in sound:
The Deity Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art
This is the pile of coconuts that you can hear being smashed in my recording
Lunch after the parade … if you can find a seat! Then the clean up begins …
LA FÊTE NATIONAL forms the centrepiece of the Parisian summer. It’s the French National Day and it commemorates the 1790 Fete de la Federation, held on the first anniversary of the storming of the Bastille on July 14, 1789. It also marks the start of the French holiday season. In Paris the day starts with the défilé, the parade of military and civilian services, marching down the Champs Elysées to be reviewed by the Président de la République and his army of guests.
The Défilé at a glance courtesy of RTL
In the Champs Elysées this year the défilé comprised 3,752 men and women from the military and civilian services, 285 vehicles, 82 motorcycles, 76 dogs and 241 horses from the Garde Républicain. This year marks the centenary of the outbreak of the First World War and among those taking part in the défilé were representatives of 80 countries who fought in that conflict.
This year also marks the 80th anniversary of the founding of l’armée de l’Air, the French Air Force and, in a spectacular display of precision flying, 54 aircraft led by nine Alpha Jets of the Patrouille de France, the French aerobatic display team, approached over La Défense in the west of Paris and flew along the Avenue Charles de Gaulle, the Avenue de la Grand Armée and into the Champs Elysées.
Being both a sound and an aircraft enthusiast I record this fly-past each year and this year I decided to record it from the Esplanade de la Défense.
The green arrow indicates the direction in which the aircraft fly and the yellow arrow indicates the position from which I chose to record
The aircraft fly-past:
The green arrow indicates the fly-past route from la Grande Arche de la Défense to the Presidential review stand at Place de la Concorde
Getting 54 aircraft of different sizes, weights and speeds into exactly the right place at exactly the right time is a complex business but each year the French Air Force accomplishes it faultlessly.
If the défilé in the Champs Elysées is to proceed seamlessly, the first aircraft, the Patrouille de France, have to appear over the plus belle avenue du monde trailing their bleu-blanc-rouge, blue, white and red smoke, at exactly 10.36 am and the last aircraft must arrive 8 minutes and 30 seconds later. For this to happen, the aircraft have to arrive at la Grande Arche de la Défense at precisely the right time, at the right speed and with exactly the right separation between each aircraft or groups of aircraft even though they are all flying in from different places.
The way they do it is similar to the way that air traffic controllers bring commercial airliners in to land at busy airports. The aircraft are directed to fly a given route at a given speed and then at a pre-determined point they are fed from different directions into a single stream taking into account their size, speed and wake turbulence.
For a military fly-past like this one over the Champs Elysées though there is a further complication. Some of the aircraft fly in clusters; the Patrouille de France for example flew in a formation of nine aircraft, the large E3F aircraft with its flying radar dome had three fighter aircraft flying close behind it and the KC135 tanker aircraft had two fighter aircraft flying either side of its tail. These clusters of aircraft have to get into formation and effectively fly as one aircraft as they turn into the stream.
Once in the stream and heading for the Champs Elysées the pilots, as well as keeping a constant height and compensating for the wind speed and direction, must maintain their allotted separation from each other. While it’s just about acceptable for an experienced fast-jet pilot to fly a relatively small fighter aircraft dangerously close to a much larger four-engine tanker aircraft for example, it would be catastrophic for a smaller propeller-driven aircraft to try to do the same, the wake turbulence from the larger aircraft could overturn the smaller aircraft in the blink of an eye.
It was with all these things in mind that I settled down to record the aircraft fly-past.
The Patrouille de France passing over my recording position in La Défense
I was fascinated to watch how all the aircraft entered the stream. The turning point was just beyond la Grande Arche de la Défense and just as with the approach to commercial airports, they approached from the left, the right and from straight ahead.
The Patrouille de France were the first to appear from the far distance. Nine Alpha Jets in perfect formation with their landing lights blazing from the front and blue, white and red smoke issuing from behind. Alpha Jets have a very special sound and by the time they passed me the next cluster of aggressive fast jets were approaching.
From then on it was pure theatre – clusters of aircraft turning in from the left followed by more coming from the right punctuated by those coming from directly ahead, all with perfect timing, perfect separation and all culminating in a faultless display of military might over the Champs Elysées.
If you listen to the sounds I recorded you will probably notice several things. Of course, you will hear the distinctive voices of each aircraft as they pass overhead but you will also hear the subtle differences in the critical separation of the aircraft clusters. In the relatively quiet separation pauses you will hear the sound of young children. As with my recording of the same event last year, I find that the juxtaposition of the voices of innocent young children on the ground and the mighty war machines flying overhead speaks volumes. For those of you with an eye for detail, you will also find that the time taken from the first aircraft passing overhead to the last is exactly 8 minutes and 30 seconds, exactly as it should be.
All these aircraft passing in what I call a fly-past, is officially known as the Défilé arien d’ouverture (the opening aerial parade would be a rough translation) but that implies that more was to follow. And indeed there was.
At 11.20 precisely, a stream of 36 helicopters was scheduled to pass over the Champs Elysées in what is called the Défilé arien de cloture. Still at my recording position on the Esplanade de La Défense I waited until they appeared.
Getting the helicopters into a stream is much less complicated than with the aircraft. All 36 helicopters approached me from over la Grande Arche in a single line and I could see all of them as they passed over me and headed to the Champs Elysées.
Défilé arien de cloture – The helicopter fly-past
The stream of 36 helicopters included 21 from l’aviation légère de l’armée de Terre, 6 from l’armée de l’Air, 3 from la Marine nationale, 3 from la Gendarmerie nationale and 3 from la sécurité civile.
In previous years I’ve spent the afternoon of la Fête Nationale visiting the Franciliens accueillent leur soldats displays that pop up around Paris. But this year I came upon something a little different.
Bearing in mind that this year is the centenary anniversary of the outbreak of the First World War I went to the Jardin des Tuileries where I came upon a display of First World War vehicles and memorabilia including men and women dressed in costumes of the period.
But what really caught my eye were two magnificent examples of original Taxis de la Marne, Marne Taxis.
What we now refer to as Marne Taxis were originally the Renault Type AG Parisian taxicabs designed by Louis Renault and built between 1905 and 1910.
The 1,205 cc, two-cylinder, 12 horsepower, Renault AG was a robust motor car for its time but it became really popular during these years thanks to a car-rental company who ordered 1,500 of them to which they attached a new invention, the taximétre or, taximeter, which automatically calculated how much the passenger had to pay.
But this little taxicab was about to achieve a fame far beyond that which could be imagined.
By the beginning of September 1914 Paris had lost its glitter. War had been declared, the Germans were approaching the capital at an alarming pace and the French Government had decamped to Bordeaux leaving the defence of Paris to its military governor, General Joseph Simon Gallieni. Retiring from the army in April 1914, Gallieni was recalled in August to oversee the defence of Paris. His only directive: to defend Paris to the last.
With the German army perilously close to the city, fate took a hand. Confusion on the German side, almost inevitable in the fog of war, together with a stroke of good fortune for the French revealed that there appeared to be a gap in the German defences. In order to take advantage of this, Gallieni needed to move his troops quickly. With the rail lines nearly crippled and few army motorised vehicles to hand, Gallieni instructed his staff to commission all of Paris’ taxis to drive French troops to the front.
On the evening of 6th September, hundreds of taxicabs assembled on the Esplanade des Invalides and by morning they were heading off for the front. By the end of the following day some 600 taxis, each making several runs, had delivered over 3,000 troops. The taxi drivers, like taxi drivers the world over, insisted on being paid for their efforts but, after some hasty negotiations and in a spirit of patriotism, they finally settled for 27% of the full fare for each trip.
The troops that the taxi drivers delivered became engaged in what we now know as the First Battle of the Marne, often known because of its significance as the Miracle of the Marne. It was fought from the 5th to the 12th September and it resulted in an Allied victory against the German army commanded by Chief of Staff, Helmuth von Moltke. It was also the prelude to the stalemate that was to ensue for most of the next four years.
Looking at these two original Marne Taxis in the Jardin des Tuileries it was hard to imagine that they had actually taken part in this momentous event.
But both were obviously well loved, well cared for and in pristine condition: a fitting tribute to their contribution to the Miracle of the Marne.
THE FIRST OF MAY is a public holiday in France, La Fête du Travail or Labour Day as it’s known in some countries.
Traditionally, the First of May is also the day when Lily of the Valley, or Muguet, is sold everywhere on streets across France as a of the symbol of springtime and of good luck.
Muguet (Lily of the Valley) being distributed in rue de Rivoli
La Fête du Travail is primarily an opportunity to campaign for and to celebrate workers’ rights and in Paris many people take to the streets to make their voices heard.
For me, as a sonic journalist and dedicated collector of the sounds of Paris, the First of May always marks the start of the Parisian marching season. I know that over the next few months I will spend many hours on the streets capturing the sounds of marches, demonstrations and protests covering every shade of political opinion.
In Paris it’s become traditional for the two extremes of political opinion to take to the streets on the First of May. In the morning the right-wing Front National march from the Palais-Royal to Place de l’Opéra and in the afternoon the left-wing Socialists and Trades Unions march from Place de la Bastille to Place de la Nation. I used to record both of these marches each year but latterly I’ve taken to recording them alternately, the left one year and the right the next.
This year it was the turn of the Front National and so an hour before the march was due to begin I arrived in the Place des Pyramides in front of Emmanuel Frémiet’s gilded statue of Jeanne d’Arc, heroine to the far right, and jostled with the seasoned TV and Radio crews and the press photographers to get the best vantage point.
I recorded the march as it approached along the rue de Rivoli and then passed the statue of Jeanne d’Arc and then I followed it to the Place de l’Opéra.
Front National March:
Two things struck me about this year’s march. First, the last time I recorded this Front National march was in 2012 and my impression was that there were more marchers then than there were this year. I have no statistical evidence to base that on but it was just my impression. And second, although this year’s marchers were vociferous, they seemed to me to be a little more subdued than in 2012.
If, like me, you are a seasoned observer of Parisian political marches and demonstrations from whatever part of the political spectrum, you cannot fail to be impressed by the importance that sound plays. I believe that the rhythm and constant repetition of the chants not only gives everyone a voice but it also acts as a means of discipline.
As an outside observer on the street, you can see that the rhythm and repetition of the chanting has an almost hypnotic effect on the marchers – although I doubt that they would probably accept that. In any of these political marches there are leaders who dictate what the chant should be, the pace and the rhythm of the chant and how many times it should be repeated and then there are the followers who do exactly that, follow the leader’s command.
It seems to me that through this constant chanting the marchers not only have a voice but they feel that their voice is being heard.
I am convinced that the power of sound through rhythm and constant repetition is the main reason why marches like this seldom become unruly or descend into mindless violence.
I followed the march to Place de l’Opéra but, unlike in 2012, I didn’t stay to record the speeches. Instead I had a fascinating chat with a French radio reporter who gave me a guided tour of her Nagra ARES C sound recorder before she went off to file her report for the lunchtime news bulletin.
I WENT TO THE fascinating Musée Curie last week. To coincide with International Women’s Day the Musée Curie opened a temporary exhibition in the garden of the museum made up of photographic portraits celebrating the careers of prominent women, past and present, who worked or are currently working in the fields of science and medicine.
A photographic portrait of Marie Curie in the garden of the Musée Curie
The Musée Curie was founded in 1934 just after the death of Marie Curie. It’s located on the ground floor of the Curie Pavillon of the Institut du Radium in the 5th arrondissement and it was formerly Marie Curie’s laboratory where she carried out her research from 1914 until her death in 1934.
Marie Skłodowska-Curie was a remarkable woman. Born in 1867 in what was then the Kingdom of Poland, part of the Russian Empire, she completed her early education in Warsaw before moving to Paris in 1891 to continue her studies and to begin her scientific career.
Despite the disadvantages and indignities that went with being a woman in what was considered then (and many argue still is) a man’s world, Marie Curie’s achievements were prodigious. She was the first woman to win a Nobel Prize, she was the first person to win the Nobel Prize twice and she remains the only person to win the Nobel Prize in two different sciences. She won the Physics Prize in 1903 for the discovery of radioactivity (shared with her husband Pierre Curie and the physicist, Henri Becquerel) and the Chemistry Prize in 1911 for the isolation of pure radium.
Her achievements included not only creating a theory of radioactivity (a term that she coined) and isolating radioactive isotopes but also the discovery of two elements, polonium (which she named after her native Poland) and radium. She was also the first woman to become a professor at the University of Paris and, under her direction, the world’s first studies were conducted into the treatment of tumours using radioactive isotopes. She founded the Curie Institutes in Paris and in Warsaw, which remain major centres of medical research today. During World War I she established the first military field radiological centres and it was the excessive doses of radiation that she was exposed to while doing this work that contributed to her subsequent death.
Marie Curie was also the first woman to be interred in the Panthéon in Paris in her own right.
Institut du Radium – Pavillon Curie
Marie Curie’s achievements were indeed prodigious but so were those of the rest of her family, between them they were awarded five Nobel Prizes.
As well as the 1903 Prize for physics, which Marie shared with her husband Pierre and the 1911 Prize for Chemistry which was hers alone, her daughter and son-in law, Irène and Frédéric Joliot-Curie each received the 1935 Nobel Prize for Chemistry for their discovery of artificial radioactivity.
From L to R – Pierre Curie, Marie Curie, Irene Joliot-Curie, Frédéric Joliot-Curie
Marie Curie’s husband, Pierre Curie, was a physicist working in crystallography, magnetism and piezoelectricity when they first met but he became so interested in the work Marie was doing that he joined her and they began to work together.
Marie and Pierre Curie in the garden of the Musée Curie – Note how Marie is on the left and Pierre is on the right but in the text below their names are reversed.
Sadly their partnership was all to short, Pierre died in a street accident in Paris in 1906. Crossing the busy Rue Dauphine in the rain at the Quai de Conti, he slipped and fell under a heavy horse-drawn cart. He died instantly when one of the wheels ran over his head, fracturing his skull. They were reunited though in 1995 when both Pierre and Marie were interred in the crypt of the Panthéon.
Housed in Marie Curie’s former laboratory, the Musée Curie contains a permanent historical exhibition about radioactivity and its applications, notably in medicine, focusing primarily on the Curies and it displays some of the most important research apparatus used before 1940. It also contains an historical resource centre, which contains archives, photographs, and documentation on the Curies, Joliot-Curies, the Institut Curie, and the history of radioactivity and oncology.
So here is the record of my visit to the Musée Curie on International Women’s Day:
Inside the Musée Curie:
Marie Curie’s office where she worked for 20 years
Marie Curie’s chemistry laboratory next to her office
An original laboratory report
In 1921, Marie Curie was welcomed triumphantly when she toured the United States to raise funds for research on radium. US President Warren G. Harding received her at the White House to present her with the 1 gram of radium collected in the United States. This is the specially lined box that contained the precious radium handed to Marie by the US President.
Above and below – In their time, cutting-edge research apparatus
The Garden Exhibition:
Institut Curie – Hôpital de Paris – Part of the Institut Curie, one of the leading medical, biological and biophysical research centres in the world.
Marie Curie’s pioneering work affects us all and today we take it for granted – from our simple luminous wristwatch to the most sophisticated cancer treatments. Yet in her lifetime and despite her huge achievements she faced enormous prejudice, not for her work, but for simply being a woman.
Marie Curie succeeded by rising above that prejudice as have all the enormously talented and successful women portrayed in the photographic exhibition in the garden of the Musée Curie.
Musée Curie, 1, rue Pierre et Marie Curie, 75005 Paris
Open Wednesday to Saturday, from 1pm to 5pm. Admission is free.
The exhibition in the museum garden runs from 8th March to 31st October 2014.
IT’S THAT TIME OF the year again, Chinese New Year. Last year was the year of the water snake and this year it’s the year of the wooden horse.
On Sunday, the 13th arrondissement was awash with people participating in and watching the glittering annual parade to celebrate Chinese New Year. The parade began in the Avenue d’Ivry and wound its way along Avenue de Choisy, Place d’Italie, Avenue d’Italie, Rue de Tolbiac, Boulevard Massena and back to Avenue d’Ivry in south-central Paris. I along with thousands of others lined the streets to listen to and watch the spectacle. As always, it was a magnificent cavalcade of sound and colour.
Sounds of the year of the wooden horse:
LAST WEEKEND WAS the annual Journées du Patrimoine, the wonderful weekend in September when it’s possible to visit a wide variety of well-known but usually off-limits places in Paris and indeed in the rest of France. Places like the Elysées Palace, the French Senate, or the Assemblée Nationale as well as a wide variety of theatres, museums, historical monuments and public buildings open their doors to the public for this weekend in September and entry is free. Even my local mayor opened up his office and was there to greet visitors from my neck of the woods as they passed through.
And my choice of place to visit …
I went here to the Quartier des Célestins the home of the cavalry regiment of the Garde Républicaine. The barracks occupy a rather grand building on Boulevard Henry IV in the 4th arrondissement, a short walk from Bastille.
It’s called the Quartier des Célestins because it stands of the site of the former Couvent des Célestins, the Convent of the Celestines. Philip the Fair introduced the Celestines into France in 1300 and the convent was built in 1352 on the site of what was a former Carmelite convent. The convent was closely associated the French Royal family and it became the second most important burial site for royalty after the Basilique Saint-Denis, albeit for minor Royals. By the 18th century the convent was in decline and it’s demise came in 1778. The buildings were demolished in 1847 and the Célestins barracks of the Garde Républicaine, designed by French architect Jacques Hermant, was built on the site of the convent gardens and opened in 1901.
Picture via Wikipedia
The Garde Républicaine, formed in 1802 by Napoleon Bonaparte as the Municipal Guard of Paris, is part of the French Gendarmerie. Today, it comprises two infantry regiments, including a motorcycle squadron, and a cavalry regiment. It also has several musical formations including a mounted band and fanfare trumpeters as well as an eighty – piece orchestra.
As well as it’s State ceremonial duties, including representing France at international events abroad and receiving important dignitaries at home, the Garde Républicaine is responsible for guarding important public buildings and supporting other law enforcement forces with intervention groups or horseback patrols. It also has responsibility for transporting and escorting organs for transplant.
The cavalry regiment of the Garde Républicaine is the last unit in the French Army to have horses. It comprises around 500 men and women along with some 550 horses. The regiment includes a training school based at Saint-Germain-en-Laye, three squadrons of cavalry, one of which is based at the Quartier des Célestins and a squadron hors rang, also based at the Quartier des Célestins, which includes the musicians, farriers and veterinary services .
And so to my visit to the Quartier des Célestins …
Passing through the cluster of rather burly but not at all unfriendly Gendarmerie at the main gate, my first port of call was the Salle de Traditions, the museum.
It’s a small museum but I found it really fascinating. It covers the history of the Garde Républicaine from its inception to the present day and it includes an array of exhibits covering every aspect of the life and work of the regiment both from its service at home and overseas.
From the museum, I walked to the exercise yard – this is a cavalry barracks after all and horses need plenty of exercise.
I also had a look at the stables …
… and the enormous riding school.
I never go anywhere without my sound recorder and I’m always on the hunt for fascinating sounds to capture. I did record the sounds inside the museum and in the riding school and later on I recorded the man responsible for making the hats for the infantry regiments of the Garde Républicaine explaining how it’s done. But the sounds I want to share with you are sounds that tell a story – the sounds of the farriers at work shoeing a cavalry horse.
The first thing you need to shoe a horse is a horseshoe, a fer à cheval in French, and the Garde Républicaine make their own – lots of them.
The farriers making horseshoes:
Once the horseshoe is made to approximately the right size the process of shoeing the horse can begin. Here are the sounds of the entire process which I recorded standing in the rain sans umbrella amidst a group of inquisitive children who were fascinated by it all.
Shoeing a cavalry horse:
First, you have to remove the old shoe …
Then you have to tidy up the horse’s hoof with lots of scraping and filing. Next, you present the new shoe to the hoof and see what adjustments need to be made to ensure an exact fit. This involves heating the shoe in the forge and then shaping it by hitting it with a hammer. Once the shoe is tailored to the right size it’s edges, in the best military tradition, are ground down to make them bright and shiny. The shoe is then heated again and presented to the horse’s hoof while the shoe is still hot.
It’s a very steamy process!
Once the shoe is fitted, special nails are hammered in to fix the shoe in place. The points of these nails penetrate the hoof and come out the other side. Some of the exposed parts of the nails are pinched off and then a clinch block is set under each nail on the outer hoof wall and the nail head is hit with yet another hammer and the nail is set into the hoof.
All that remains is a final pedicure and the horse is good to go to a round of applause.
I didn’t know any of this until my visit to the Quartier des Célestins. I’d never seen a horse being shod before so not only did I learn a lot, I also recorded it for posterity – and it made my day.
Here are some more sights of the Quartier des Célestins …
I’m sorry madam, candyfloss does not pass muster as a cavalry plume!