FLUCTUAT NEC MERGITUR

By Gil Pezza

My first Olympic memory is of the 1964 Tokyo Games, whose Opening Ceremony coincided with my birthday. Watching it on TV in Italy, I saw it in black and white. Yet, the lack of color didn't diminish the magic and inspiration of the experience.

The Opening Ceremonies of Tokyo, Mexico City, Munich, Montreal, and Moscow followed a similar pattern: a Parade of Nations, ceremonial speeches, the entrance of the Olympic flag and anthem, and the torchbearer's arrival, culminating in the lighting of the cauldron and release of doves. This moment of solemnity bridged the ancient past with the modern world, conveying a message of peace (i.e., the flight of the doves). Interestingly, this message was often followed by technological displays rooted in weapons of war, such as a salute of cannons or the flight of military jets over the Stadium’s sky but the context and intent behind these militaristic displays were understood and appreciated.
The Opening Ceremony made us yearn for the large excitement that the coming days would yield (paraphrasing Tennyson), and, hence, was part and parcel of the Games. In a simpler time, the release of thousands of balloons, like in Tokyo '64, to me was both breathtaking and mesmerizing. As a young fencer, I would sit close to the small TV screen (despite warnings about eye strain from my parents) trying to catch a glimpse of the Italian fencers during the Parade of Nations. These memories remain vivid, symbolizing the excitement that the Olympics generated in me as a child, which then evolved into a lifelong passion that continued to inspire me as I grew into adolescence and adulthood.
The 1984 Los Angeles Olympics marked a turning point in the history of the Games, revolutionizing the Olympics and its Opening Ceremony forever. For the first time, the Olympics were organized with a profit in mind, and the Opening Ceremony was transformed to include a grand artistic show. This new paradigm extended the ceremony to a minimum of four hours, setting a new standard for all the Games to come. I recall distinctly the entrance of the US delegation into the Los Angeles Memorial Coliseum; a sea of red, blue, and white that flowed in a wave-like motion, breaking away from the traditional, orderly marching formation. But, to me, the highlight was the arrival of a man flying into the stadium via jetpack, evoking the iconic James Bond scene from Thunderball (an earlier childhood memory) - a moment that left an indelible mark on my memory. Just as the Paris 2024 Olympic Cauldron lighting -a masterful blend of artistry and innovation, will be forever etched in my memory too.

The 1984 Olympics set an exceedingly high standard for subsequent Opening Ceremonies to become increasingly sensational and spectacular. Henceforth, the artistic show had a dual purpose: to captivate global TV audiences and surpass the showmanship of the previous Olympics, all while staying true to the Games' theme and providing the host nation a platform to showcase its history and culture in a way that resonates with the Olympic spirit and mission. The goal, even now, is to strike a delicate balance, crafting an unforgettable experience that would not only leave a lasting impression on global viewers but also unite them in the spirit of the Olympics. In essence, “art” acting in support of the Olympic Theme and not art as an end unto itself. A notable example is the opening ceremony of the 2012 London Games, where the traditional release of live doves was replaced by dancers dressed in dove-inspired costumes, conveying the message of peace in a creative and impactful way. This subtle yet powerful approach ensured that the artistic expression remained true to the Olympic values while avoiding potential controversy or distraction.

It goes without saying that Imagery at the Olympics, both in the ceremony and artistic show, plays a vital role in promoting Olympic ideals and values, often operating on a subliminal level. The history of torchbearers who lit the Olympic Cauldron serves as a testament to humanity's progress. Eminent examples include:

- Tokyo 1964: Yoshinori Sakai, dubbed the "Hiroshima Baby" due to his birth on the day of the atomic bombings
- Mexico City 1968: Enriqueta Basilio, the first woman to light the cauldron

- Los Angeles 1984: Rafer Johnson, an African-American athlete and the first person of African descent to light the cauldron - Sydney 2000: Catherine Freeman, a renowned Aboriginal-Australian athlete.
Host nations have leveraged symbolism in a positive, redemptive manner, promoting unity and inclusivity. The selection of Rafer Johnson as the torchbearer in LA 84, for instance, was a powerful statement aligned with the Olympic spirit, celebrating progress and diversity in post-World War Two America. In contrast, a depiction of slave owners whipping or hanging African slaves in the artistic show would have been historically accurate but jarringly out of place in the context of an Opening Ceremony.
Honestly, this is not rocket science - it is more like Strategic Planning 101. You identify the problem, reframe it as a positive affirmation, and that becomes the solution. The same principle applies to Olympic Marketing 101: messaging must be positive, relevant, and aligned with the Olympic Theme. Indeed, the biggest mistake would be to promote a message with a misaligned negative connotation. For instance, featuring an artistic depiction of JFK's assassination in the Los Angeles 2028 Artistic Show would be a huge misstep, as it would introduce a negative and unrelated element into the celebration. The fact that JFK’s assassination is part of our history does not qualify it per se to be part of an Artistic Show. Effective Olympic marketing demands a thoughtful, uplifting approach that is aligned with the Games' values and themes.

Here, it is necessary to open a parenthesis on tableau vivant, a form of art (that fascinates me) that combines the essence of theater, visual art, and human expression. It involves a group of people positioning themselves (formerly required to remain strictly still) often in elaborate costumes and scenery, to precisely recreate a famous painting, scene, or moment in time. Note that when addressing a global television audience, it is crucial to consider the subconscious impact of iconic images. For example, if I proposed a tableau vivant of a crucified man in an irreverent context, it would be pointless to later explain that it represented Dysmas (according to the apocryphal book, The Book of Nicodemus), the thief crucified to the right of Christ, since most people would immediately associate that image with Christ himself. This is because iconic images can overpower intentions, evoking deeply ingrained cultural connections. Moreover, the tableau vivant has evolved to sometimes recreate parodies of famous paintings, images, and moments that do not strictly adhere to the original's fidelity, unlike the 19th-century practice. In fact, a LGBTQ-themed Last Supper tableau vivant is not novel at all, as admitted by the individuals who appeared in the one in Paris 2024. Historically, the tableau vivant has also been used as a tool for protest and political activism.
Similarly, if I depicted a White House Cabinet meeting with the President seated centrally, flanked by advisors on one side of the table with food, a journalist might sensationalize the image, entitling it "The President and his Disciples drawing a parallel to Da Vinci's iconic Last Supper.” This holds true even if the headcount at the table would be seventeen rather than twelve. (NB: the President’s Cabinet includes the Vice President and 15 Executive Department Heads). The real issue is that most people are unfamiliar with the tableau vivant (and how it has evolved) and the history of the Olympics. This lack of knowledge makes it difficult to understand the context and impact of the controversial tableau vivant presented in Paris within the Olympic framework.

This highlights the importance of considering the potential subconscious effects of iconic imagery on audiences; and the Artistic Director of an Opening Ceremony -in this case a theatrical artist named Thomas Jolly, must be aware of the potential unintended consequences of using iconic images out of context, lest they evoke unwanted associations, misinterpretations, or emotional responses that detract from the intended message or artistic vision. Thomas Jolly structured twelve tableaux vivant during the Artistic Show; yet it took only one to generate a huge controversy.

The reactions from Muslim representatives, through the Muslim Council of Elders, and the French Bishop's Council were immediate. Muslim Council of Elders: Sporting Events Should Be Platforms to Celebrate Cultural Diversity and Mutual Respect and Not Insult Religious Symbols and Beliefs (muslim-elders.com). Furthermore, Iran's government has called in the French ambassador to Tehran for an official meeting because Muslims revere Jesus as a prophet of God. The insulting representation of Jesus Christ in Paris yesterday was completely offensive and crossed all red lines. https://alphanews.am/en/iran-summons-french-ambassador-for-insulting-representation-of-jesus-christ-during-olympic-opening-ceremony/. Pope Francis weighed in a week later, after Turkish President Erdogan put on some pressure. According to Erdogan's office, he told the Pope that the Olympic opening ceremony was immoral and made a mockery of sacred values, and asked for a joint condemnation, as reported by Reuters. https://www.usccb.org/news/2024/vatican-says-it-was-saddened-olympics-opening-ceremony
Following the controversy, Thomas Jolly provided an explanation claiming that he had intended to recreate a pagan festival centered around Dionysus, the Greek God of wine and ecstasy (also known as Bacchus to the Romans). It is worth noting that the reference to the painting "The Feast of the Gods" by a lesser-known Dutch painter was made by others, not the Artistic Director himself. However, neither version seems to match the account given by Piche, an actor in the tableau and a Drag Queen and Rapper, who stated that the tableau depicted Leonardo's Last Supper. JO 2024: la drag-queen Piche répond aux critiques après sa performance à la cérémonie d'ouverture (bfmtv.com). It should also be underscored that the producer of Paris 2924 initially stated too that the controversial tableau recreated Leonardo’s Last Supper. Paris Olympics Say The Last Supper Inspired Opening Ceremony (thewrap.com)

Achieving a delicate balance in planning an Olympic Opening Ceremony is a daunting task. It requires navigating a complex web of pressures from various stakeholders, including artistic, commercial, financial, political, technological, and media interests. To succeed, a multidisciplinary approach is necessary, combining core competencies with a system of checks and balances to ensure the artistic show remains true to its theme. One exemplary model is Marco Balich, Chief Creative Officer of Balich Wonder Studio, who has demonstrated exceptional skill in striking this balance in organizing many prestigious sporting events, including the Olympics. Note that there is a significant difference between a Chief Creative Officer and an Artistic Director. The former uses a creative vision to accomplish business and marketing objectives while the latter is focused on bringing his or her specific artistic vision to life.

Fast forwarding ahead to Paris 2024, France challenged conventional wisdom by reimagining the traditional stadium-based Opening Ceremony. In a bold move, the organizer decided to break free from the traditional stadium setting and utilized the city of Paris itself as the canvas for the Artistic Show. The Seine River functioned as the unifying thread, weaving together the various parts of the city in a celebration that embodied Paris' Latin motto, Fluctuat nec mergitur ("It floats, but does not sink"). By breaking free from the constraints of a single venue, the French organizers attempted to create a truly unique and memorable experience that would set a new standard for all future Games.
Truly, one must appreciate both the ingenuity of this radical change as well as the effort of all professionals who collaborated on it.

The Opening Ceremony kicked off at 13:30 EST US, and by 14:25, my phone began buzzing with texts from friends and family: "Are you watching this?" I replied to a few and started sending some messages of my own. But one text struck a chord with me. It came from a friend who was running a summer fencing camp at his club. for thirty kids aged 9-11. It stated that the campers were not at all interested in the Opening Ceremony.

The rest is history.

My Observations

Decentralizing the Opening Ceremony through an extended section of Paris was brilliant in the abstract but it required then a stronger tie-in with the Olympics, which instead became incidental in the Artistic Show portion of the ceremony . In fact (and this is what I texted to my friend) had it been a festival of Paris I would have l liked it. There was incredible artistry and ingenuity involved; besides Paris is just always beautiful to see. As for the Opening Ceremony of the Olympics, it is the one liked the least. That said, I am really looking forward to the Closing Ceremony, which will take place at the Stade de France.

The use of Fellini-like phantasmagoria made it even more difficult to capture the underlying Olympic theme in the Artistic Show. Indeed, the phantasmagoric effect enhances the merger of reality and imagination, which intentionally allows people to perceive things subjectively (hence the controversy). For example, the fashion show missed a wonderful opportunity to tie into with the Olympic theme. Rather than parading characters that seemed out of Fellini’s Satyricon, it could have highlighted the impact of fashion on the official Olympic uniforms worn by athletes at the Olympics from 1896 to the Present.

The Olympic Ceremony itself (NB: the Opening Ceremony has two components: The Artistic Show and the Ceremonies) was spectacular in its innovation and setting at the Jardins du Trocadéro. Even if some of its components lost momentum and power. Case in point (and this is my opinion), if I were a flag bearer for my country, I would rather carry the flag walking in a stadium with thousands cheering than do it by standing on a boat.

Personally, I was not offended by the tableau even if I recognized immediately that many would find it offensive. This is because I understand that art cannot always be in service of power and institutions. Art must also challenge the status quo, and even offend at times. But not when it must act in support of a specific theme - the Olympics in this case; even if this was done unintentionally or to recreate historical accuracy.

Case in point, in the example used in the preceding paragraph, I would advise against featuring nude athletes in the fashion show to illustrate the evolution of the Games from ancient times to the modern world. Personally, I do not find it offensive, but I am aware that many people would find it unacceptable. What matters is respecting others' opinions and not ridiculing those who might be offended due to their beliefs.

Regardless, the global audience has undergone a significant shift over the last two Olympic cycles. A substantial portion of viewers are now deeply polarized along political lines, making them increasingly prone to taking offense. The rise of the term "micro-aggression" reflects this growing sensitivity. Moreover, the erosion of context in public discourse often leads to irrational and divisive debates about what constitutes offensiveness. Compounding the issue, each political faction claims moral superiority, ridiculing the opposing side for their perceived sensitivities. This toxic environment poses a daunting challenge for the organizers of the Olympic Games, who must navigate treacherous waters to create a unified and uplifting experience for a fragmented global audience.
My Recommendations

The organizing committee should hire a Chief Creative Officer (CCO) and not an artist as Artistic Director. In the alternative, hire both (CCO and an artist) but give them veto power over each other. Needless to say, the final approval must always rest with the organizing committee.
The organizing committee should have a mix of core competencies aimed at avoiding controversies in the first place, including but not limited to marketing, media, public relations, theology, art comparative cultures, as well as an Olympic historian.

Art in the Artistic Show should NOT be self-serving. Rather, art within this context must be used in support of the Olympic Theme.

Avoid getting embroiled in the post-controversy debate (it was intentional or not) It is a futile discussion because the fact that the Organizing Committee had to hold press conferences to apologize or explain what the intent behind the tableau vivant, is a failure in it by itself. This because it created division rather than unity.

Distinguish the Artistic Show from the Ceremonial section and do not let one controversial factor in either one of those sections invalidate the whole effort. In other words, do not throw out the baby with the bathwater. And do not judge the Olympic Games only by their opening and/or closing ceremonies. In Paris from what I have seen, they did a super job with respect to the venues and organization of each event. That is what really matters.

If using phantasmagoria and/or a tableau vivant, use a narrator to explain it and provide context during the artistic show. In fact, an explanation in real time of the tableau vivant in this case would have avoided the whole controversy.

To those who were offended, just accept the organizer’s apology, and move on. Consider focusing on the sports events instead. And to those who like to call others ignorant, try this: instead of laughing at what others don't know, think about what you don't know, and be humble.
Lastly, what I found most concerning was the lack of interest in the Opening Ceremony shown by the 30 kids at my friend's fencing summer camp. This was particularly striking to me because I remember being their age and feeling incredibly excited about the Olympics. With this in mind, I would strongly recommend that the organizers of LA 2028 prioritize the under-twenty age group as their primary target audience, ensuring that the event resonates with the next generation.