FOR THE LAST eight years I’ve been recording and archiving the contemporary soundscapes of Paris. Searching for and capturing the sounds of this city is a fascinating occupation; it has taught me how to listen attentively to the city, it has taken me to places I would never otherwise have visited and it has introduced me to some fascinating people I would have never otherwise have met.
But it’s done more than that. Aware that sounds don’t exist in a vacuum, I am always thinking about the social, cultural and historical context of the sounds I find and that has taught me how to explore and appreciate the rich history, complexity and diversity that is Paris.
For example, on Saturday I was exploring the sounds at La Plaine de Saint-Denis on the northern outskirts of the city. Although Saint-Denis and neighbouring Aubervilliers are two of the poorest communes around Paris, La Plaine Saint-Denis has become a vast media city, home to TV giants like Euro Media, Endemol and the Parc E.M.G.P with it’s 12 television studios where some of France’s most popular TV programmes are made.
But had I not been exploring the soundscape around les plateaux de télévision I would never have discovered this:
This is a former station of the Chemin de Fer de la Plaine de Saint-Denis et d’Aubervilliers, part of a 15 km industrial railway network comprising 13 tracks of 200 to 250 meters each, opened by the Riffaud-Civet Company in 1884. The first wagons on this railway were pulled by horses.
And had I not been exploring the soundscape around La Plaine de Saint-Denis I would never have discovered this alien looking building:
This I discovered is the recently opened Maison des Sciences de l’Homme Paris Nord, a research institute specialising in cultural industries, health and society, globalisation and contemporary cities.
I’ve made a note to seek permission to explore the sounds in the undergrowth at the base of this architectural spaceship.
Having made this foray to La Plaine de Saint-Denis in the far north of Paris, I decided to board Métro Line 12 and travel the 40-minute journey to Issy les Moulineaux on the southern outskirts of the city. There was continuity to my thinking because Issy les Moulineaux boasts more plateaux de télévision; it is home to the TV channels, Eurosport, the Canal + Group and France 24.
Like La Plaine de Saint-Denis, Issy les Moulineaux is a place I have visited before but never really explored.
On Saturday, the first thing I encountered was a statue of General (posthumously Maréchal) Philippe François Marie Leclerc de Hauteclocque, or simply le maréchal Leclerc or just Leclerc as he’s best known. Leclerc and his 2nd Armoured Division liberated Paris in August 1944 and it was to Leclerc that the last commander of Nazi occupied Paris, General Dietrich von Choltitz, surrendered on 25th August.
Although Leclerc’s bust was the first thing I encountered when I arrived in Issy les Moulineaux, I would have missed it completely had I not been on my way to record the sounds of the fountain behind the Hôtel de Ville.
After a day’s walking, a bumpy 40-minute Métro ride across Paris (all of which I recorded for my Paris Soundscapes Archive) and several hours of concentrated listening I decided it was time for a visit to a café, the Comptoir d’Issy, for a coffee and well-earned rest.
But even there I couldn’t resist working. I just had to record the sounds in the Comptoir d’Issy to add to my already enormous collection of Parisian café sounds.
But while I was doing that I spied something that caught my imagination.
Sounds in the Comptoir d’Issy:
I know very little about clocks but my first impression was that this one on the wall of the Comptoir d’Issy looked rather like a station clock. Fortunately, there was a clue – the name Paul Garnier on the clock face.
I was anxious to know more so I consulted the lady who lives in my iPhone and in un clin d’œil she revealed that Jean-Paul Garnier, known as Paul Garnier (1801-1869), was a Horloger et Mecanicien a Paris, a Parisian watch and clock maker who, amongst many other things, provided all railway stations in France with station clocks!
Paul Garnier was a member of the French Society of Civil Engineers and also a Chevalier de la Légion d’honneur. He was honoured for his work on electromagnetic telegraph clocks and, in 1861, he was chosen by the French government to make proposals for the development of the watch industry. He donated his entire collection of watches and clocks to the Musée du Louvre where he has a room named after him. He died in 1869 and is buried in the Cimetière du Père-Lachaise.
The purpose of my expedition on Saturday was to explore the soundscapes in parts of Paris that I’ve visited but haven’t really explored before. I spent many hours listening and much less time recording. As I get older, I listen more and record less.
But exploring these unfamiliar soundscapes also inspired me to explore my surroundings and helped me to not only put the sounds into context but also to discover new things – things that I would probably never have discovered had it not been for the sounds that surround them.
THE TEMPLE DE LA SIBYLLE may not be the highest point in Paris but it does sit atop a man-made cliff fifty metres above an artificial lake in the Parc des Buttes Chaumont.
Inspired by the Temple of Vesta near Rome, the Temple de la Sibylle is the central feature of the Parc des Buttes Chaumont, a park opened in 1867 for the recreation and pleasure of the rapidly growing population of the then new 19th and 20th arrondissements of Paris, which had been annexed to the city in 1860.
Situated close to the former Gibet de Montfaucon, the gallows and gibbet of the Kings of France where, up until 1760, the bodies of executed criminals were left hanging as a warning to the public, the site on which the Parc des Buttes Chaumont now stands became, after the 1789 Revolution, a refuse dump and then a place for cutting up horse carcasses and a depository for sewage.
Fascinating as this is, I will leave a more detailed exploration of the park with its former gypsum and limestone quarries, its temple, its lawns, its lake and its grotto for another time. In this post I want to explore something different.
For several years I’ve been visiting the Parc des Buttes Chaumont, partly because it’s a nice place but more importantly because it’s a place that has become a focus for a particularly challenging aspect of my work.
I record urban soundscapes, particularly the soundscapes of Paris, and I’ve learned a lot about how to record urban soundscapes by studying the philosophy, images and techniques of great photographers.
The best photographers seem to be able to condense wisdom into succinct sentences:
“There is nothing worse than a sharp image of a fuzzy concept.”
– Ansel Adams
“The eye should learn to listen before it looks.”
– Robert Frank
“If your pictures aren’t good enough, you aren’t close enough.”
– Robert Capa
Although the context of these quotations is of course photography they apply equally to sound recording and particularly to the recording of urban soundscapes.
Robert Capa’s dictum, ‘If your pictures aren’t good enough, you aren’t close enough’, is especially relevant to my work. Key to recording urban soundscapes is to become part of the soundscape without changing the soundscape, in other words to get close to the sounds without changing the overall soundscape. Over the years, and after much trial and error, I’ve developed techniques for doing this.
But there remains a challenge in my urban soundscape recording work that is not covered by Robert Capa’s dictum, in fact it’s the antithesis of it, and it’s a challenge that I’ve been trying to address in the Parc des Buttes Chaumont.
This is the view over the 19th arrondissement from the Temple de la Sibylle on top of the cliff in the park. The lake is 50 metres below the Temple and the tower blocks in the distance are 1.5 km away.
Although my photograph is unlikely to win any prizes it does I hope reflect the prospect from the Temple de la Sibylle along the Avenue de Laumière to the tower blocks at La Villette. The picture has a sense of perspective with the lake and its surrounding path in the foreground, the road crossing from left to right and the start of the Avenue de Laumière in the centre, the tower blocks in the distance and the hill beyond in the far distance.
My challenge is: how to capture the soundscape associated with an image that took 1/250th of a second to make, which stretches from 50 metres below me to over 1.5 km ahead of me. In other words: how to capture in sound the elusive concept of perspective.
With today’s sophisticated technology it’s possible to manipulate sounds in post-production to create almost any effect you want. But despite all the gadgetry, perspective remains perhaps the only thing that cannot be created in post-production; it has to be captured on location in real time.
If you listen to wildlife recordings you will often hear wonderful examples of perspective captured in sound but capturing perspective in a busy urban environment is an enormous challenge.
Getting Things in Perspective:
This recording is a 20-minute sonic exposure of the scene looking out over the 19th arrondissement recorded from the edge of the cliff directly in front of the Temple de la Sibylle. Whereas Robert Capa’s dictum would require me to be close to the sounds, here I am doing the opposite – attempting to capture a sense of perspective by recording from a distance.
I chose to make this recording in the middle of a weekday afternoon – exactly the wrong time one might argue to achieve a ‘perfect’ recording. It would surely have been better to record at six o’clock in the morning as the area was waking up or at eleven o’clock at night as it was going to sleep. Well, apart from the fact that the Parc des Buttes Chaumont is closed at those times, it depends upon what one means by a ‘perfect’ recording.
“There is nothing worse than a sharp image of a fuzzy concept”, Ansel Adams tells us and, in the context of my work in Paris, ‘perfect’ recordings are a fuzzy concept. The Parisian soundscape is what it is, and not always as ‘perfect’ as I would like it to be, so I try to make good recordings of course, but I’m much more interested in capturing reality than perfection.
Robert Frank suggests that, “The eye should learn to listen before it looks” – good advice that translates well to the world of sound recording. I usually describe myself as a ‘professional listener’ rather than a sound recordist. Time spent listening before pressing the ‘Record’ button is always time well spent.
While hearing is instinctive, listening is an art that has to be learned and while my recording from the Temple de la Sibylle may seem to be dominated by the ribbon of traffic passing across the centre of the scene, attentive listening will reveal much more.
People it seems are wedded to their motorcars so, like in most cities, traffic overwhelms most of the streets of this city. The Mayor of Paris is trying to alleviate this to some extent but I fear she is facing an uphill struggle. In the meantime, the sound of traffic will continue to dominate the Parisian soundscape and subjugate pedestrians to unacceptable levels of noise and noxious pollution. As I said earlier, the Parisian soundscape is what it is, and not always as ‘perfect’ as I would like it to be!
But underneath the ribbon of traffic other sounds are fighting to be heard.
The sound of ducks in the lake below me can be heard throughout the piece, as can a distant church clock sounding three o’clock and an even more distant church bell chiming.
A testosterone fuelled young man makes an appearance to my right shouting to his friend on the far side of the park, there are the obligatory sirens, this time from the red ambulances of the sapeurs-pompiers de Paris, and in the far distance the very faint sound of a car alarm.
But perhaps the most surprising thing in the piece is one of the shortest and quietest sounds. It occurs twelve minutes into the piece and it’s the sound of an angler sitting on the bank of the lake fifty metres below me reeling in a fish. The sound only lasts for six seconds (it must have been a very small fish) so don’t blink or you’ll miss it.
This recording is one of many I’ve made from the hills in the Parc des Buttes Chaumont over the years attempting to capture the perspective looking out over the 19th arrondissement.
All the recordings are different but so far none of them have quite managed to capture the idyllic perspective I have in my imagination. Chasing that ideal continues to be a challenge – but that’s why it’s so endlessly fascinating.
“To me, photography is an art of observation. It’s about finding something interesting in an ordinary place… I’ve found it has little to do with the things you see and everything to do with the way you see them.”
– Elliott Erwitt
Judging an appropriate level to listen to sounds can be a tricky business. As a guide, the traffic at the head of the Avenue de Laumière was approximately 500 metres from my recording position so the level that you listen to these sounds at should reflect that. Less is more!
ORIGINALLY A FOCUS for celebrations in Belleville before that commune was consumed into the City of Paris in 1863, today’s Place des Fêtes in the 19th arrondissement stands in the midst of the experiment that was 1970s urbanism.
Surrounded by 1970s tower blocks, the Place des Fêtes is a large pedestrianised space, 200 metres long and 150 meters wide, occupied for three mornings a week by a popular outdoor market. At its centre is an obelisk created by the Hungarian artist, Zoltán Zsakó.
The obelisk stands on a granite base and is made mostly from translucent glass with bass reliefs surrounding the graffiti encrusted lower portion.
Although I have no idea what the artistic intent behind the obelisk is, it does have a practical purpose. It covers the emergency exit from the underground car park beneath the Place des Fêtes.
Another artistic feature of the Place des Fêtes is la fontaine-labyrinthe, the fountain-maze, created by another Hungarian artist, Marta Pan.
La fontaine-labyrinthe is one of the fountains to emerge from the 1978 competition to create seven contemporary fountains in different squares in Paris. Another winner of that competition was La Fontaine Stravinsky in the centre of the city featured in this blog one year ago.
Sounds in Place des Fêtes:
The sounds I recorded in the Place des Fêtes on a hot August afternoon included the sounds of energetic youths skateboarding and young children enjoying the final days of summer before returning to school on 1st September.
Relief from the 1970s concrete jungle can be found on the western edge of the Place des Fêtes in the Square Monseigneur-Maillet, a garden designed by the ingénieur des ponts et chaussées, Jean-Charles Alphand, who worked for Baron Haussmann and his renovation of Paris in the late 19th century.
The garden was opened in 1863 and redeveloped, along with the rest of the Place des Fêtes, in the 1970s.
Today, the garden honours the memory of Monseigneur Fernand Maillet (1896 – 1963), a parish priest born close by who, in 1924, took over the direction of the renowned boy’s choir, la manécanterie des Petits Chanteurs à la Croix de bois. In 1963 he founded la Fédération internationale des Pueri Cantores, an international association bringing together twenty-seven national choral associations on five continents.
It seems entirely appropriate that the centrepiece of the Square Monseigneur-Maillet, the kiosque à Musique, or bandstand, reflects the musical association with Monseigneur Maillet.
At the eastern end of the Square Monseigneur-Maillet is a reminder of the garden in Alphand’s time, a nineteenth-century Wallace fountain.
This is not the classic large model fountain resting on an octagonal pedestal on which four caryatids are affixed with their backs turned and their arms supporting a pointed dome decorated by dolphins. This is the small model version, a simple pushbutton fountain that one can find in squares and public gardens across Paris and on a hot, late August day it was a fountain much in demand.
Today is August 15th, Assumption Day, a Holy Day of Obligation for Catholics in France and a public holiday. It’s a day when most businesses and shops are closed and coming as it does in the midst of the holiday season it’s a day when it seems as though Paris is shut!
There are only two days of the year when my normally bustling little street is deserted, Christmas Day and August 15th, so at lunchtime today I went out to experience the atmosphere.
The street had a surreal feel to it. In this usually busy street the shops were shut and there were almost no people.
The Monoprix, the bane of my life, was shuttered:
The cheese shop was closed:
And so was the butchers.
Save for the Monoprix, most of the shops in my street are not closed just for today; most of them are closed for the month of August! It has always puzzled me how shopkeepers can afford to do that.
While I’m perfectly happy to go without chocolate from Jeff de Bruges for a month, I find it much harder to forgive my local hostelry for shutting up shop throughout August.
So what does my little street sound like in August when it’s empty?
During this year’s holiday season, when sensible Parisians abandon the heat and excessive humidity of the city for more agreeable climes, I’ve been taking advantage of their absence to try to search out ‘quiet’ sounds of Paris. It’s a Sisyphean task, ‘quiet’ is a rare commodity in the Parisian soundscape.
August sounds in my street:
Today, my little street was remarkably quiet although ‘quiet’ is a relative term. The incessant sound of the traffic from the eight-lane Avenue Charles de Gaulle in the distance still drifted in on the wind but the usual sounds of people going about their daily lives were absent. Without the sounds of the people my street seemed to take on a melancholy air.
During this holiday season I’ve been thinking about ‘quiet’ and what quiet actually means in the context of the urban soundscape. I’ve concluded that ‘quiet’ isn’t necessarily the absence of noise, but rather it’s a state where individual sounds, which are always there but usually shrouded in a cloak of more aggressive often unwelcome sounds, are allowed for once to speak and tell their own story.
For example, I’ve walked along this street for over seventeen years and never before heard the rustle of the leaves on the trees or the sound of birdsong. I heard both today. The rustle of the leaves and the birdsong have always been there but they’ve always been shrouded in a cloak of dominant man-made sounds – people and endless traffic. Today, a passing car was an event worth listening to rather than a perpetual nuisance.
At the end of August, Parisians will return from their vacances and we will enter that bizarre period known as la rentrée, the fifth season of the French year nestling between summer and autumn. But, despite that, I shall continue my search for ‘quiet’ Paris – something almost as elusive as a pink unicorn!
THE SQUARE DANIELLE MITTERAND, formerly the Jardin de la rue de Bièvre, is a small green space at N° 20 rue de Bièvre in the 5th arrondissement.
The Jardin de la rue de la Bièvre was created in 1978 but on 8th March 2013, International Women’s Day, it was renamed Square Danielle Mitterand.
Danielle Émilienne Isabelle Gouze was born in October 1924 at Verdun in the Meuse department in Lorraine in north-eastern France. During the Second World War she was a liaison officer in the French Resistance where she met François Mitterrand. They were married three months after the Liberation, on 28th October 1944. François Mitterand went on to become President of France from 1981 to 1995.
The Square was named after Danielle Mitterand in recognition of her work in the Resistance movement and her subsequent work for human rights.
In 1986 she founded the Fondation Danielle Mitterand – Frances Libertés, an organisation dedicated to building a fairer and more socially-responsible world by defending human rights and protecting shared assets, specifically by promoting the right to water access for all and ensuring that people’s right to utilise their resources is recognised and respected.
The foundation’s work has three component parts: support for projects run by communities at grassroots level, citizen, civil society and political decision-maker awareness raising work, and finally advocacy work with the public authorities and in the United Nations. The Foundation has consultative status on the UN Economic and Social Council.
Over the years, the Foundation has participated in many issues including the right to free potable water for all, the fight against racism, support for the Tibetan people and the struggle against apartheid in South Africa. It has also worked for the reconstruction of the educational and social system in Cambodia and on issues surrounding health security in Africa.
The location of the Square Danielle Mitterand is appropriate since it’s just two doors away from N° 22 rue de Bièvre, the private residence of François and Danielle Mitterand from 1972 to 1995.
Although Danielle lived at N° 22 during that time, François commuted between there and rue Jacob in nearby Saint-Germain and the home he shared with his long-time mistress, Anne Pingeot and their daughter, Mazarine.
The Mitterand ménage was undoubtedly complicated but nevertheless seemed to work remarkably well. In 1958 Danielle acquired a long-term lover of her own, a gym teacher who sometimes fetched the morning croissants and then sat down to a friendly breakfast with François.
All this was widely known in Parisian society but a compliant and complacent French press kept it under wraps until the end of Mitterrand’s presidency in 1995.
Both Danielle Mitterand and Anne Pingeot attended Françcois Mitterand’s funeral in 1996.
Danielle Mitterand died in Paris on 22nd November 2011, aged 87.
Sounds in the Square Danielle Mitterand:
The Square Danielle Mitterand is not the most elegant square in Paris but I like it. Sitting at the back of the Square on an August afternoon I was content simply to listen to life passing by in the Square and in rue de Bièvre.
Rue de Bièvre
I LAST FEATURED rue Dénoyez, the plein air art gallery in the 20th arrondissement, in this blog in November 2014. At that time, under the banner ‘Sauvons la rue Dénoyez’ – Save rue Dénoyez, a petition had been drawn up to challenge a plan by the local authority to demolish part of rue Dénoyez and replace the artists’ workshops and galleries with subsidised housing and a community centre.
‘Sauvons la rue Dénoyez’ – November 2014
The other day, I went back to rue Dénoyez to see what has happened since I was last there.
Rue Dénoyez – July 2016
The development proposal calls for the buildings between N°18 bis and N° 22 bis to be demolished and replaced with 18 subsidised housing units and a crèche as well as the redevelopment of N° 24 and N° 26 rue Dénoyez and N°10 Rue de Belleville into 29 subsidised housing units and a community centre.
Despite the petition opposing the development receiving 10,000 signatures in six months it seems the project is still going ahead.
Although the demolition work was due to have been completed by April this year I found that little seems to have happened so far except that the occupants have left and the buildings stand hauntingly empty.
Undaunted though, I found one street artist still leaving his mark.
A soundwalk in rue Dénoyez:
At the end of my soundwalk I came upon a man who had lived in rue Dénoyez in the early 1970s and he reflected upon life here in those days.
If all goes to plan, work on the new development will be completed in the spring of 2018.
While new social housing is to be welcomed one can’t help feeling that some of the character of this unique street will be lost in the process. As the man who spoke to me said, “il faut que ça change”.
You can see the presentation prepared by the local authority about the new development here.
IN THE WAKE OF the disappointing news that the UK had voted to leave the European Union in the recent BREXIT referendum I was in need of a distraction so I went to one of my favourite gardens in Paris, the Parc de Bagatelle.
Located on the western end of the Bois de Boulogne, the 24-hectare (59-acre) Parc de Bagatelle is a naturalistic English landscape style garden complete with a neoclassical château, an obelisk, a pagoda, grottoes, waterfalls and sham ruins.
Château de Bagatelle
The Château de Bagatelle was built on the site of a former hunting lodge originally built for the Maréchal d’Estrées in 1720. In 1775, the hunting lodge was acquired by the Comte d’Artois, younger brother of Louis XVI, who planned to demolish the decaying structure and replace it with something grander. Work began on the new château in September 1777 but in rather unusual circumstances.
Louis XVI’s Queen, Marie-Antoinette, wagered the Comte d’Artois, her brother-in-law, that the new château could not be completed within three months. The Comte accepted the wager and engaged the neoclassical architect François-Joseph Bélanger to design the building and begin construction. Some eight hundred workers were drafted in, around three million livres were spent and the new château was completed in just 63 days. Included in the design was a formal garden surrounding the château, which was subsequently expanded by the Scottish botanist and gardener, Thomas Blaikie, into the Parc de Bagatelle.
Having escaped the ravages of the French Revolution, the Bagatelle changed hands several times before being bought in 1835 by Francis Seymour-Conway, 3rd Marquess of Hertford, a British Tory politician and art collector. When he died in 1848, the Château de Bagatelle was inherited by his son, Richard, the 4th Marquess. Lord Hertford was brought up in Paris by his mother who had become estranged from his father. They lived in a large apartment in Paris and also at the Château de Bagatelle. Their London home was in Manchester Square, now home to the Wallace Collection, which houses the Hertford’s art collection much of which came from the Château de Bagatelle.
Lord Hertford died in 1870 whereupon the Bagatelle passed to his adopted son, Sir Richard Wallace – the same Richard Wallace who donated numerous water fountains (Wallace fountains) to the City of Paris.
Richard Wallace added the Trianon, two sentry pavilions and two terraces around the château.
In 1905, the Château de Bagatelle and the park were purchased by the City of Paris and the French landscape architect, Jean-Claude Nicolas Forestier, began redeveloping the gardens while retaining their style.
One of the sentry pavillions
Walking around the Parc de Bagatelle was a perfect way to escape my post-BREXIT referendum depression. I even found a new friend to confide in together with a ‘small model’ version of a Wallace fountain.
Sounds of the Parc de Bagatelle:
The soundscape of the northern half of the Parc de Bagatelle is dominated by the sounds of waterfalls and the distinctive sounds of the magnificent pride, muster or ostentation of peacocks (depending upon which collective noun you prefer) that roam freely over the park.
As well as its neoclassical château and renowned gardens, including a magnificent rose garden with 10,000 rose bushes comprising 1,200 different species, the Parc de Bagatelle has other claims to fame.
In 1777, to celebrate the completion of the château, a party was held in honour of Louis XVI and Marie-Antoinette during which a new table game was revealed. It comprised a small billiard-like table with raised edges and cue sticks, which players used to shoot ivory balls up an inclined slope with fixed pins. Count d’Artois dubbed the game bagatelle and it was soon to become fashionable throughout France. This 18th century French invention was to evolve into the modern day pinball machine.
And to continue the game theme, the Bagatelle hosted the first French Rugby Union Championship match in 1892 and some of the polo events in the 1924 Olympic Summer Games.
In 1906 an historic event took place.
Three years earlier, across the Atlantic, four miles south of Kitty Hawk, North Carolina, Orville and Wilbur Wright made the first controlled, sustained flight of a powered, heavier-than-air aircraft.
On 23rd October 1906, the pioneering Brazilian aviator, Alberto Santos-Dumont, repeated the feat. In the grounds of the Château de Bagatelle he succeeded in flying a heavier-than-air aircraft for a distance of 60 metres (197 ft) at a height of about five meters (16 ft). This was the first flight of a powered heavier-than-air machine in Europe to be verified by the Aéro-Club de France.
Alberto Santos-Dumont flew here
On 12th November 1906, also in the grounds of the Château de Bagatelle, Santos-Dumont set the first world record recognised by the Federation Aeronautique Internationale, by flying 220 metres (722 ft) in 21.5 seconds
The 14 Bis, the canard biplane flown by Alberto Santos Dumont in 1906
A less well-known fact is that Santos-Dumont was indirectly responsible for the invention of the wrist watch.
While dining with his friend Louis Cartier in Paris, Santos-Dumont complained of the difficulty of checking his pocket watch to time his performance during flight. He asked Cartier to come up with an alternative that would allow him to keep both hands on the controls. Cartier went to work on the problem and the result was a watch with a leather band and a small buckle to be worn on the wrist.
You don’t need ‘green fingers’ to enjoy the Parc de Bagatelle. For those with a keen interest in gardens and gardening the significant trees and plant species are clearly labelled so you can discover new things and add to your knowledge, but for the rest of us, the history, the wildlife and the tranquillity is sufficient to escape the tribulations of everyday life.
And it’s certainly a perfect antidote to BREXIT – even the peacocks seem to talk more sense than most politicians.
FOR SEVERAL MONTHS I’ve been following and recording the street demonstrations in Paris in response to the new French labour law, the law El Khomri.
Demonstrations protesting against the new legislation have been taking place on the streets of Paris and across France since March this year and I’ve reported three of them on this blog; one in April, one on 1st May and one towards the end of May, the latter of which found me shrouded in a cloud of tear gas.
The government and many employers argue that the new labour law makes working practices more flexible thus helping to address the high level of unemployment but some unions, particularly the CGT, the country’s largest trade union, see it as toxic; too pro-business and making workers’ positions more precarious.
Since the government forced the legislation through the Assemblée Nationale in May using emergency constitutional powers to avoid a vote that it would almost certainly have lost, the street demonstrations have become increasingly violent.
To coincide with a debate about the new labour law in the French Senate, protestors took to the streets again last Tuesday.
Organised by the CGT union, who reportedly laid on some 600 buses to ship people in from around France to swell the numbers, Tuesday’s demonstration was one of the largest and certainly the most menacing I’ve seen in my seventeen years of observing street protests in the city.
Sounds of Tuesday’s Manifestation:
At the head of the demonstration were the casseurs, the hooded and masked youths intent on creating havoc – and that’s exactly what they did.
I followed the demonstration from its starting point in Place d’Italie until it reached Boulevard Montparnasse where violence broke out as demonstrators stormed a building site and began to hurl wooden palettes at riot police. When a group of casseurs then attacked and trashed the ground floor of the Hôpital Necker, the Paris Children’s Hospital, I decided that enough was enough. I stopped recording and left.
Philippe Martinez, leader of the CGT union, blamed hooligan elements on the fringe of the protest for the attack on the hospital saying it was ‘scandalous’ and ‘completely unacceptable’. And he may be right. But hooligans aside, there was a tone to Tuesday’s demonstration that seemed to make violence inevitable.
Recently, I watched again the film Sicko by the American documentary filmmaker, author and activist, Michael Moore, in which there is a quote which says: “The difference between America and France is that in America the people are frightened of the government whereas in France the government are frightened of the people.”
Faced with the current impasse between the French government and the CGT further demonstrations are planned for the 23rd and 28th June. It remains to be seen to what extent the government are frightened of the people, assuming the CGT can be considered to represent the people.
In any event I shall not be there to record what happens. The attack on the children’s hospital was only one of the disgusting acts I saw on Tuesday – and not only from the ‘hooligans’. For me, enough is enough!
I did record the sounds of the violence in Boulevard Montparnasse and the trashing of the children’s hospital. The recordings have been consigned to my Paris Soundscapes Archive so they will be available to researchers in the future but I thought the sounds inappropriate to include here.
SEARCH WIKIPEDIA FOR ‘Paris Flood’ and this is what you will most likely find:
“In late January 1910, following months of high rainfall, the Seine River flooded Paris when water pushed upwards from overflowing sewers and subway tunnels, and seeped into basements through fully saturated soil. The waters did not overflow the river’s banks within the city, but flooded Paris through tunnels, sewers, and drains. In neighbouring towns both east and west of the capital, the river rose above its banks and flooded the surrounding terrain directly.”
Fast forward a hundred years or so to the beginning of June 2016 and the question on most Parisians’ minds was: “Will history repeat itself?”
Place Louis Aragon; 4th Arrondissement; June 2016
After a prolonged period of rain last month, the waters of the Seine, Loire and Yonne rivers began to rise alarmingly. In the départements of Loiret and Seine-et-Marne the rivers broke their banks causing what French President, François Holland, described as a “real catastrophe”.
In Paris, the Seine didn’t break its banks but, rising to some 6.3 metres above normal on the night of Friday 3rd June, it came dangerously close.
The sight of dirty brown water and debris floating through the centre of the city was surreal.
Although the Seine didn’t break its banks in the city, the quais on either side of the river were completely flooded giving a clue at least as to what those in the worst affected départements were experiencing.
A five-minute walk from my home, the Seine had completely covered an island jutting out into the river. The Parisian green benches, the skateboard park and the honey farm with its beehives were completely submerged.
A nearby tennis court was looking the worse for wear.
And the péniches (houseboats) had been cast adrift.
On Saturday 4th June the news was that although the water hadn’t fallen, at least it had stopped rising and so, with the photograph of the policemen shown at the beginning of this post standing in front of the Viaduc d’Austerlitz in 1910 in mind, I went to the same place to see what I could find.
Completed in 1904, the Viaduc d’Austerlitz is a 140-metre single-span bridge built to carry the trains of Métro Line 5 over the Seine from the Quai de la Rapée to the Gare d’Austerlitz and back again. With an 8.5 metre wide deck suspended 11 metres above the river the bridge was designed to make it easily navigable for river traffic.
During the recent crisis all river traffic was suspended because the exceptionally high water level made the bridges over the Seine impassable.
Underneath the bridge the quay is usually open to pedestrians and vehicular traffic but on Saturday it was flooded despite a hastily erected barrier being in place.
What does a flood sound like? Would there be a sound-rich raging torrent of water crashing it’s way through the city?
I thought about this as I watched the water rise over several days and I discovered that it didn’t happen like that. There was no raging torrent but instead, an almost silent, inexorable flow of water calmly engulfing everything in its path.
On Saturday, with the floodwater passing by me and the trains of Metro Line 5 passing overhead, I recorded the sounds around the Viaduc d’Austerlitz. It wasn’t the sounds of the vast quantity of ugly brown water flowing along the river that caught my attention but rather the more delicate sounds on the flooded quais.
The Paris flood 2016 around the Viaduc d’Austerlitz:
With a repetition of the catastrophic Paris flood of 1910 avoided, the floodwater is beginning to recede. Water pumps have been drafted in, the clean-up operation has begun and the cost is being estimated somewhere between €600 million and €2 billion.
It’s easy to lament the situation in Paris over the past few days: the flooded quayside bars and restaurants, the péniches cast adrift, the closure of the Louvre and the Musée d’Orsay to move their collections from ground level to higher floors, the occasional power outage and the closure of some Métro stations and part of RER Line ‘C’.
But let’s not forget the 4 dead, at least 24 injured and thousands of residents in towns such as Nemours and Montargis who saw their homes submerged and shop owners left counting the cost as the town centres were inundated by the floods.