By Ed Elliot, PA, Paris
The sun shone on the Champs-Élysées as athletes from across the world descended on a packed Place de la Concorde to launch Paris’ first Paralympic Games.
Medal hopefuls from 168 delegations paraded through the French capital in glorious weather conditions for an ambitious opening ceremony designed to put disability at the heart of society.
‘From Discord to Concord’ was the theme of the extravaganza, with artistic director Thomas Jolly aiming to expose the paradox of a world which claims to be inclusive but remains full of prejudice.
Wow. 🇫🇷#Paris2024 pic.twitter.com/BimZP7xQP9
— ParalympicsGB (@ParalympicsGB) August 28, 2024
The thought-provoking concept seemed particularly apt coming just two days after Tanni Grey-Thompson – one of Britain’s greatest Paralympians – crawled off a train in London en route to the Games.
Accessibility issues on Paris’ metro system have further highlighted the daily struggles endured by the world’s disabled population ahead of their sporting prowess being thrust into the spotlight for the next 11 days.
Tens of thousands of spectators primed for a party surrounded the host city’s largest public square to witness the launch, while an estimated 300 million across the globe tuned in on television.
French president Emmanuel Macron was among the audience at a site synonymous with the French Revolution and, later, reconciliation.
While the Olympics last month began on the river Seine amid relentless rain, Wednesday evening’s jubilant exhibition capped a scorching day in the shadow of the Eiffel Tower.
Zinedine Zidane, Lady Gaga, and Celine Dion sprinkled stardust 33 days ago but it was Frimley-born former 200m bronze medallist John McFall in a leading role on this occasion as he took time out from training to become the first man with disability to travel into space to carry the Paralympic flag.
Canadian musician Chilly Gonzales kick-started proceedings with a piano sequence before the idea of paradox was introduced by an allegorical storyline depicting a ‘strict society’, performed by 140 dancers, and a ‘creative gang’, represented by 16 disabled performers, with contrasting approaches to life.
The disparate groups ultimately set aside their differences to unite as French artist Christine and the Queens performed a new version of Edith Piaf’s ‘Non, je ne regrette rien’.
The Patrouille de France – the aerobatics unit of the French Air Force – then soared overhead, leaving behind the red, white and blue of the tricolore in vapour trails and signalling taekwondo athlete Ebrahim Danishi – Afghanistan’s sole competitor – to commence a 90-minute procession of nations in alphabetical order.
The enthusiastic welcomes for the refugee and Ukrainian contingents were uplifting moments before the warmest reception was, understandably, reserved for the host country.
A moving orchestral performance of La Marseillaise followed as the square’s ancient obelisk – brought back from one of Napoleon’s colonial conquests – illuminated in the colours of the French flag.
Before Maurice Ravel’s Bolero, which conjured memories of Torvill and Dean’s figure skating gold at Sarajevo in 1984, and fireworks celebrated the entrance of the Paralympic flame and subsequent lighting of the cauldron, International Paralympic Committee president Andrew Parsons renewed calls for a more inclusive world.
“The Paris 2024 Paralympic Games will show persons with disabilities what they can achieve at the highest level,” he said.
“The fact that these opportunities largely exist only in sport in the year 2024 is shocking. It is proof that we can and must do more to advance disability.
“That is why 225 years on from when Place de la Concorde was central to the French Revolution, I hope that Paris 2024 starts a Paralympic revolution – the inclusion revolution.”
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