Project Description

This Dancerie: The Paris Project
A collaboration project by Tony Whitfield, Sebastiano d'Ayala Valva, Klaus Fruchtnis, Thierry Micouin, Nils Nusens, Patricio Sarmiento and Andrew Alden


This Dancerie is a multi-event, multi-site, multi-media work that explores the ways in which gay men have created public expressions of desire despite mainstream prohibitions of manifestations of those aspects of their lives in the context of Paris as a complex historical cultural arena for this exploration.

The pretext of This Dancerie is urbanization as a prerequisite for homosexual subculture and the understanding that despite the absence of “gay ghettos, ” gay men developed and carried on forbidden lives in public it cities around the world. This Dancerie focuses on Paris as a cross-road of queer life in which, although, technically, homosexuality was legal since 1791, decency was legislated and under surveillance.

This Dancerie will create a series of foci on Paris as a site of refuge for queer men and the environments they historically frequented. Particular attention will be placed on developing narratives that include a range of differing intersections of class, race, creeds, ethnicities and gender the collaborators will develop a movement based-work for male groupings drawing upon culturally specific traditions. The role immigration plays in these narratives will also be underscored.

This Dancerie is a multi-event, multimedia collaborative work under the artistic direction of Tony Whitfield. This project will be a collaboration between Whitfield, as Executive Producer and Artistic Director, Thierry Micouin as Director of Choreography, media artist Klaus Fruchtnis as Technical Director, fashion designer Patricio Sarmiento, filmmaker Sebastiano d’Ayala Valva and composer/musician Nils Nussen, all from France and composer/ musician Andrew Alden, and filmmakers Joe Lumbroso and Dyana Winkler, from the United States. Eight to ten sites across the City where same sex desire has created a shifting landscape of criminalized activity, class-complicated entanglements, immigrant freedom, forbidden commerce, transgressive beauty and encoded seduction will be the context for short filmed dance/movement based narratives since 1870. Each three to five minute films will begin with a cruising ritual and be filmed in those spaces. For several evenings the films will be presented in situ as projected images activated by passersby movement. Ideally these installations would be debuted as part of Paris’ La Nuit Blanche in 2017.

These films would then be brought together into a single space to produce an additional evening long performance or “dance party” that would be digitally randomized and improvisationally scored for classical ensemble and world pop musicians. Ideally the space would be situated in a cultural center and include a live performance component that involved local gay residents. Various forms of social media will be employed to augment and reveal aspects of the project's narrative content during the culminating dance party and its scatter site installations.

Several aspects of this project should move it beyond the context of performance based works that explore cultural identity and history. They include: the site specific nature of the public installation that will seek to revive unknown queer histories in ways that immerse the audience in the projected work; the creation of apps that will allow the participant to access deeper know of the history behind the narrative they have stumbled into as well as information about the artwork itself and other components of the work at other sites across Paris as well as multifaceted entries into the "dance party."

It is anticipated that audiences for This Dancerie will include: post modern dance, experimental music, expanded cinema, public art and contemporary performing arts audiences. In addition general public members who are attending events associated with Paris' La Nuit Blanche 2017 and local commmunities adjacent to the various sites in which This Danceries' short constituent works will be situated.This project will seek to engage LGBTQI populations including scholars, artists, performers and youth. Social media, print and electronic media associated with La Nuit Blanche and the venue that will host the culminating event will be drawn upon in addition to apps established specifically for This Dancerie.

The primary goal is to reveal the queer past and present of Paris as an urban geography that has been multifaceted, ethnically, economically, and culturally diverse while also revealing those aspects of queer life that defy normalization, concealment behind closed doors challenge notions of "decency" are tied to desire and find expression despite histories of policing and surveillance. In addition this work will seek to engage collaborative, improvisational and interactive structures and technologies to create social points of entry and discussion among various queer communities across Paris and beyond as a means of expanding current discussions about same sex desire.


Thursday, March 26, 2015

Potential Site for early 1960: La Place Blanche

La Place Blanche in 2014


















La Place Blanche at Night



Food for Thought: Cafe De Flore, Deux Magots and Le Drugstore on Blvd St. Germain

HIDDEN PARIS - 
Article published the Thursday 04 November 2010 - Latest update : Tuesday 08 November 2011

Carlos the Jackal's Parisian trail of destruction

The aftermath of the grenade attack on the Drugstore Saint Germain
Ina

By Molly Guinness
In the early 1970s, the Drugstore Saint Germain was part of the fashionable circuit of restaurants and bars on Paris’s Left Bank. But on Sunday 15 September 1974, mayhem hit when a grenade blast ripped through glass, tables and people, killing two and injuring 34.

“An eerie stampede of living dead trampled over each other. I saw a little boy staring at his left arm with overwhelming incredulity - there was no hand,” singer Jean-Jacques Debout, who narrowly avoided the blast, told author John Follain.
A map of Carlos's alleged activities in Paris
A map of Carlos's alleged activities in Paris

Waiters from neighbouring Brasserie Lipp bandaged wounds with table cloths.
The man held responsible, Illich Ramírez Sánchez - usually known as Carlos the Jackal - continued to be a regular customer at the Drugstore when it reopened four months after the blast.

Nine months later, French security forces traced him to number 9 rue Toullier.

Carlos’s former accomplice Michel Moukharbal led three unarmed secret service officers to the house. Moukharbel and two officers, Raymond Dous and Jean Donatini, were shot dead. The third officer, Jean Herranz, survived and reportedly could never again look at a picture of Carlos without starting.
"Paris became for me the home of Carlos. Places that were more or less haunts of my everyday life would take on a different meaning. The whole map of Paris changed.”
Stephen Smith, researcher for the film Carlos

But according to his lawyer, Isabelle Coutant-Peyre, Carlos is innocent of all his alleged crimes in Paris.
 
“It’s a thesis," she says. "It’s not the reality. In the files you have nothing. Even for the question of Rue Toullier, there’s nothing, no witness, nobody.”

After representing Carlos for seven years, Coutant-Peyre married her client in 2001.

In her office on the Boulevard Saint Germain, Coutant-Peyre says the governments of France and the US have fabricated the evidence against Carlos.

Dressed in black and smoking a miniature cigar, she speaks in a voice that sounds as if the cigar is always on the go, punctuating the conversation with an occasional engaging burst of laughter.

The only crime Carlos admits to is an attack on the headquarters of the Opec oil producers' cartel in Vienna in 1975, in which three people died and 66 hostages were taken.

Olivier Assayas's film about Carlos’s life is, Coutant-Peyre says, part of the French government’s misinformation campaign.

“This big budget film was designed as propaganda against Carlos and against the Palestinian fight and to try to smear his life, his struggles and the Palestinian fight,” she says.

It is “bullshit", a slander on a man who devoted his life to political strugle, especially the Palestinian struggle against Israeli occupation, she declares.

Indeed, Carlos joined the Communist Party in Venezuela when he was only 15. When he came to Europe, he joined George Habash's left-wing Popular Front for the Liberation of Palestine (PFLP) and participated in operations on their behalf all over Europe.

“Even now it’s a world conflict,” say Coutant-Peyre. “The instatement of Israel was decided by the United Nations. When the Germans were in France, the French resistance were called terrorists and after the end of the war they became heroes.

"These organisations were fighting with weapons, of course, as the Israelis were using against them. It’s a war. There are people on each side.”

CARLOS'S CAPTURE
In 1994, Carlos had an operation in Khartoum. Two days later, he was told by Sudanese officials that he needed to be moved to a villa, where he would be given personal bodyguards for protection against an assassination attempt.
One night later he was tranquillised, tied up, and kidnapped. On 14 August 1994 he was handed over to French agents and flown to Paris.
On 23 December he was sentenced to life imprisonment.
She calls on Venezuela, whose leader Hugo Chavez has praised Carlos as a revolutionary fighter, to intervene on her husband’s behalf.

However, Coutant-Peyre is almost a lone voice in her defence of Carlos.

“He had a major role as an individual,” says Paul Wilkinson, of the Centre for the Study of Terrorism and Political Violence at the University of St Andrews. “He was actually involved in what one might call an early form of international terrorism because he was interested in cooperating with groups in various countries.”

Sometimes described as a dishonest businessman, Carlos was allegedly in the pay of several organisations. PFLP member Bassam Abu Sharif and former Red Army Faction member Hans-Joachim Klein, who was freed from jail after the Opec raid, later accused Carlos of taking a large sum of money from Saudi Arabia to spare the lives of Arab hostages. Others claim that he turned terror into a profitable enterprise.

“Carlos is very, very clever, a man high in the relations with the heads of many states,” says Coutant-Peyre. “In a kind of way, all the states were participating in this movement. Syria, Libya,Saudi [Arabia] and even France. But every time he obtained money, it was for Palestinian fight not for his pocket.”

Wilkinson concedes that Libya dealt with Carlos, but draws the line at France.

“I don’t think we should be too carried away by claims that he was a friend of the great,” he says. “He had friendly relations with Kadhafi who was using state sponsored terrorism as a regular weapon, but he was regarded as a very dangerous individual by the democratic governments of all the European Union countries.”

As an international terrorist, though, Carlos’s record was rather patchy.

His first foray was in London when he allegedly attempted to kill Joseph Edward Seif with a malfunctioning gun. The first shot was deflected by the businessman’s tooth and then the gun stopped working and Carlos made his escape. He left traces behind him in Paris that led to many of his accomplices.

On another occasion he tried to bomb a bank but got the wrong door.
“That’s not what you’d call professional,” says Stephen Smith, who researched Assayas's film. “But if you look at his cold-bloodedness, you would definitely say that he was a top-notch terrorist.”
In fact, one of the aspects of the film that has particularly annoyed Carlos is the gun-slinging portrayal of his international operations.
"He’s a very serious man,” says Coutant-Peyre. “I saw fighters - it’s completely ridiculous - shooting in the air like Guignol [a clown]. It’s not serious. These were very difficult political operations."
In February 1982 Carlos hit Paris again, according to prosecutors in a case still pending.
Two of his group, Swiss national Bruno Breguet and his then-wife Magdalena Kopp, who is German, were arrested near the Champs Elysées in a car containing explosives.
A series of bombs were detonated, claiming 11 lives and injuring more than 100, as Carlos lobbied the French for their release.
Smith says Carlos has changed his view of Paris.
The rue Toullier, the Boulevard Saint Germain, the sites of pro-Israeli newspapers that were targeted by bombs and even the road where Carlos’s predecessor was blown up when a pressure mine was placed under his driver’s seat (see map for more details), have all taken on new significance.
“He entirely changed my topography of Paris,” says Smith. “As someone who had worked onMorocco and Ben Barka, I was very familiar with Brasserie Lipp, and all of a sudden I would see it very differently because of what he had done.

"Paris became for me the home of Carlos. Places that were more or less haunts of my everyday life would take on a different meaning. The whole map of Paris changed and a few more highlights were added to my topography.”
VIDEO OF THE GRENADE ATTACK ON THE DRUGSTORE ST GERMAIN
retrouver ce média sur www.ina.fr
TAGS: CARLOS THE JACKAL - FRANCE - HIDDEN PARIS - ISRAEL - JAPAN - MEDIA - PALESTINE - PARIS - POLICE -TERRORISM - VENEZUELA

Gay clubs in Paris During the 70s and 80s

LE SEPT / LE PALACE

Le Monde de la Nuit - Les 'Nightclubbers'

VÊPRES LAQUÉES : des photos du Palace, de la Main Bleue et des Bains-Douches
tirées du livre de Michel SALOFF COSTE


LE SEPT
Fabrice EMAER ouvrit d'abord le Pimm's, premier club gay de la rue Sainte Anne en 1964, puis le Sept en 68. Au départ, c'était un restaurant, puis une boîte au sous-sol. Le succès fut immédiat et dura pendant plus de 10 ans.
J'ai commencé à aller au Sept dans les années 74/76, après la fermeture de La Bulle, et c'était là qu'on entendait LA MEILLEURE MUSIQUE DE PARIS, grâce au DJ Guy CUEVAS : la Soul, avant qu'elle ne devienne la Disco, de plus en plus commerciale : c'était le temps du 'Philadelphia Sound', avec les O'JAYS, Billy PAUL, Teddy PENDERGRASS (qui était alors le chanteur de Harold MELVIN and the Blue Notes), Marvin GAYE.
Gay, je ne l'étais pas, mais je me sentais bien dans cet endroit, qui, à la différence d'autres clubs de la rue Sainte Anne, comme le BRONX, était mixte et n'était pas un ghetto. Tout le monde dansait toute la nuit. Et puis, quand une femme vous plaisait, il n' y avait pas trop de concurrence...


Une rétrospective des lieux gays à Paris dans les années 60, 70

Photo : François DYMANT
LE PALACEEn 1977, c'est la vague disco et le succès des grandes boîtes comme le Studio 54 à New York ou la Main Bleue à Montreuil. Fabrice cherche alors un endroit plus grand. C'est Michel Guy, ministre de la culture du 1er gouvernement de Giscard et qui lança le festival d'automne qui lui donna l'idée d'acheter le Palace, théâtre du Faubourg Montmartre alors presque à l'abandon. Après d'importants travaux réalisés en un temps record, c'est l'ouverture le 1er mars 1978, avec un show de Grace Jones. Les serveurs sont habillés en rouge et or par Thierry Mugler. Fabrice voulait en faire un lieu ouvert à tous, différent de la rue Sainte Anne, tout en en gardant l'esprit : ce fut une réussite complète. En plus d'être la discothèque la plus courue du moment, élevée au rang de phénomène sociologique, ce fut aussi un endroit où furent données de nombreuses fêtes (Kenzo, Karl Lagerfeld), et aussi une salle de concerts, organisés par Paul Alessandrini puis par Rosebud avec Frédéric Serfati et Assaad Debs.

CLIQUEZ ICI pour savoir ce qui s'est passé pendant la 1ère année du Palace

Bernard B
Moi, période night clubbing
En juillet 79, ce fut l'ouverture du Palace de Cabourg. J'y allais avec Diane. Fabrice avait vu les choses en grand : il avait réservé un train entier pour ses invités, ainsi qu'un car ! Une vision inoubliable fut l'arrivée sur le quai de Roland Barthes, plus professoral que jamais avec son cartable à la main et entouré d'une nuée de jeunes minets ! La nuit d'ouverture me laissa un goût bizarre : j'ai eu l'impression d'être dans un rassemblement de zombies. Peut-être était-ce la poudre blanche qui encombrait les narines d'une grande partie des invités ? Il paraît qu'au petit matin, un père de famille local est venu chercher sa progéniture sur la plage transformée en lieu de débauche ! Le lendemain, quelques happy few dont Diane, Babsy et moi, passèrent la journée au Club 13 de Claude Lelouch près de Deauville. Etaient également là, à part l'équipe du Palace, Helmut Berger, ivre mort, avec Clio Goldsmith, et dans l'après-midi Serge G. et Jane B. Le Palace de Cabourg ne connut pas le succès attendu.
 
Dîner au Privilège, 1980 : Edwige, Ursula Rodel, Frédérique Lorca, Lisa Rosen,
Vincent Daré (extrait du blog d'Edwige)

En 1980, Fabrice ouvrit le Privilège, sous le Palace, plus élitiste.
La première partie de l'histoire s'est terminée le 14 juin 1983 avec l'enterrement de Fabrice, mort non pas du sida comme beaucoup l'ont cru mais d'un cancer du rein.


A lire : 'LES ANNEES PALACE' de Daniel Garcia (Flammarion)
LE PALACE : REMEMBER de Jean Rouzaud et Guy Marineau

 Philippe MORILLON Une dernière danse ? Journal d’une décennie (7L – Steidl)
 Alicia DRAKE Beautiful People : Saint Laurent, Lagerfeld : splendeurs et misères de la mode (Denoël)
Un article sur le Palace de Didier Lestrade dans 'Têtu'






Autres lieux :
La rue Sainte Anne : le COLONY, le PIMM'S, le BRONX...
La MAIN BLEUE, à l'origine une boîte d'immigrés africains à Montreuil et qui est devenue en 77/78 le rendez-vous du Tout Paris noctambule : spectacle surréaliste de toutes ces Rolls garées en pleine zone. Karl Lagerfeld y organisa une soirée Moratoire noir qui fit scandale à cause d'un spectacle de fist fucking. Serge Kruger y fut DJ, avec l'aide de Djemila.

Les BAINS DOUCHES, rue du Bourg l'Abbé. A connu plusieurs ouvertures et réouvertures, à partir de 1978 : ce fut pendant les deux/trois premières années un endroit glacial (on était alors en pleine cold wave) mais où il fallait être vu : il y avait là souvent COLUCHE (qui était un des propriétaires), Claude CHALLE, Philippe STARCK, Serge KRUGER et sa bandePhilippe KROOTCHEY, qui était DJ - Il y avait aussi des concerts : j'y ai vu Suicide et Clint Eastwood le chanteur de reggae. Je me souviens que ce soir là, certains étaient venus en croyant voir le VRAI Clint Eastwood ! C'est devenu ensuite LA boîte des années 80.

LINDO VEGAS, des Go-Go Pigalle, a pris des centaines de photos aux Bains-Douches quand il y travaillait dans les années 80. Vous pouvez en voir un grand nombre sur sa page 

Le BROADWAY MELODY, rue de la Ferronerie, qui était au départ vers 1973 un bar rétro dans une cave tenu par un couple gay, et qui est devenu par la suite le BROAD, plus hard.

L'AVENTURE, avenue Victor Hugo, la boîte très Jet Set de la chanteuse DANI
L'APOCALYPSE, rue de Ponthieu, qui méritait bien son nom
L'ELYSEE-MATIGNON, très fréquenté par le showbiz, Gainsbourg et Roman Polanski y traînaient tous les soirs -

Cafés : le FLORE - Le MABILLON, la terrasse clone de Paris - le DAUPHIN, la rue de Buci

'LA VAGUE ELITISTE', une aventure en BD de Z Craignos

L'équipe : Fabrice EMAER - Claude ARENSAN - Guy CUEVAS, DJ - Sylvie GRUMBACH, l'attachée de presse - Gilles ROIGNANT - Gérard GAROUSTE, décorateur du Palace - Dominique SEGALL - Elie SCHULMAN - A l'entrée : PAQUITA PAQUIN - EDWIGE et Jean-Louis JORGE, qui fut aussi son mari - Jenny BEL AIR - MARILYN - François BAUDOT -

Alain PACADIS
et Jenny BEL'AIR

Les habitués : Alain PACADIS - Karl LAGERFELD - Jacques DE BASCHER - Loulou de LA FALAISE et Thadée KLOSSOVSKI - Paloma PICASSO - Joan Juliet BUCK - Antonio LOPEZ - Odette MORLOCK - Bernard MINORET - Le capitaine CAPTA - DOUGLAS, un viking américain hétéro qui tint la porte du Sept en 1974 et fit fantasmer pas mal de folles - Michel GUY - Johnny PIGOZZI - Clio GOLDSMITH - Mick JAGGER -Maria SCHNEIDER - DANI - Frédéric MITTERAND - Andrée PUTMAN - Jean-Paul GOUDE - Grace JONES - JOELLE - MARIE-ANGE - KENZO - Yves SAINT-LAURENT - Pierre BERGE - Joël LE BON - MARILYN - François DYMANT, qui photographiait tout ce petit monde pour 'Le Palace Magazine' - Diane et Babsy OSSUDE - FOC KAN, qui possède un trésor de photos de cette époque - Diane et Minnie de BEAUVEAU-CRAON - Andy WARHOL - - Patrice CALMETTES - Martin FRANCK - FANFAN et FABRICE - JEAN-FRANCOIS - FREDDIE, le Jamaïcain qui faisait partie de 'Sheila B. Devotion' - Yves MOUROUSI - Alice SAPRITCH -Thierry LE LURON - Serge KRUGER et la 'bande au bandeau' - Yves ADRIEN - Philippe MORILLON - Dominique GANGLOFF - TITI ROGNON - DAPHNE - BABETTE - MARIE-HELENE MASSE - Adeline ANDRE - ELYETTE - Marie BELTRAMI - François WIMILLE - David ROCHELINE - Patrick EUDELINE - Thierry ARDISSON, Alain BENOIT et l'équipe de FACADE - L'équipe d''EGOISTE DE LUXE' - Philippe HEURTAULT - Henri FLESH - Dominique FURY - Philippe KROOTCHEY qui fut le DJ des Bains-Douches - Roland BARTHES - PIERRE ET GILLES - Caroline LOEB ("C'est la ouate") - Leslie WINER - Les "Juniors" : Cyrille PUTMANEva IONESCO, Christian LOUBOUTIN, Ann SCOTT -
Le monde des nightclubbers vu par Philippe MORILLON
Eté 77 :Torpeur et punkitude. Au cœur de la métropole, prisonniers de l'asphalte qui fond, 8000000 New Yorkais se voient invités au Grand Trianon.
...Aujourd'hui comme hier dans l'air bruissant de mille choses étaient réunis ici , Maria Niarchos et Ghislaine de Polignac; Gilles Dufour et Jean-C. Pigozzi; Jacqueline de Ribes et Michel de Grèce; Thierry Beherman, Jean-Charles et Jackie de Ravenel; Diane de Beauvau-Craon et Florence Grinda; Georgina Brandolini et Betty Catroux; Marie-Hélène et Guy de Rothschild; Christina Onassis et Andy Warhol; Mick Jagger et Sao Schlumberger; Stavros Niarchos et Inès de la Fressange; Karl Lagerfeld et François Wimille; Nicole Wisniak-Grumbach et Edmée de la Rochefoucauld qui tous passeraient, à n'en point douter, la plus délicieuse des soirées. (Yves Adrien)

Patrice CALMETTES, Paloma PICASSO et un ami. Patrice a fait venir à Paris le groupe de danseurs travestis brésiliens 'Dzi Croquettes' qui ont été la coqueluche du tout Paris en 1973-74. Parmi eux, Wagner, Ciro, ..

Martin FRANCK, qui fut une des premières victimes du sida à Paris

Bal costumé au Privilège
"Rose Palace", le documentaire de Colin LEDOUX, avec plusieurs témoignages d'anciens,dont votre serviteur, a été diffusé sur Planete TV en avril 2005

Food For Thought: Paris and James Baldwin

Homosexuality in the Time of James Baldwin

by Evan Williams
Every country in Europe that participated in War World II found its male to female ratio out of proportion.  Hysteria ripped through the population as news of the drop in the population of men spread.  The idea of homosexuality filled newspapers and magazines, as observers feared an increase in lesbian activity due to the decrease in the number of men and an increase in gay activity, which Dagmar Herzog attributed to the “lack of a heterosexual outlet during the war” (164).  Europe was also facing a high divorce rate due to the pool of newly single women looking for companions and the economic and emotional difficulties many people were pitted against after the war.  These lifestyle changes, coupled with the Nazi’s conservative view on homosexuality, created a division of thought about what was appropriate or not for members of society. Herzog called this time a “sexually conservative era” and France and the recently arrived James Baldwin would have felt the confusion surrounding it (165).
The Nazis condemned homosexuality politically, using tactics such as castration, torture, and murder to scare its citizens into being heterosexual (Herzog 168).  The homophobia that arose from such condemnation caused many citizens in occupied territories, such as France, to shy away from accepting homosexuality and some even came to resent homosexuals.  The Nazis themselves were publicly sexually conservative, but as it was later avowed, were not shy about sexual fulfillment.  Highly ranked officials in the Nazi regime admitted to holding sexual pleasure in high regard after the war.  The conservative messages that were sent during wartime and the truth that came out after the war were extremely different, and this confused many citizens as to what the right path of acceptance was.  The natural response to this confusion socially was carefulness and conservativeness.
In comparison to Europe, the America that James Baldwin left had sodomy laws that existed in all 50 states until the early part of the 1960s.  The number of arrests related to sodomy (consensual or not) rose sharply in the 1950s (Eskridge 77).  Sodomy laws were not declared unconstitutional in the United States until 2003, and there are still citizens incarcerated for sodomy across the country.  The laws in America were more stringent than those in Europe, but the entire Western world felt the effects of the laws in action, and France was no different.
In Paris, homosexuality was openly discussed and openly written about, but people were still being condemned to prison for acts related to homosexuality.  As Florence Temagne points out, a law in 1960 called homosexuality “a social plague” (263-264).  In French society homosexuality was rebounding after its repression, but its presence was still struggling for acceptance from some heterosexuals.  Therefore, it is possible that manycitizens of France accepted James Baldwin during his time there, but it is clear that he must have proceeded with caution because there was still much reservation about homosexuality.
Works Cited
Eskridge, William N. Dishonorable Passions: Sodomy Laws in America, 1861-2003. New York: Viking, 2008. Print.
Herzog, Dagmar. “Desperately Seeking Normality: Sex and Marriage in the Wake of the War.” Life after Death: Approaches to a Cultural and Social History during the 1940s and 1950s. Ed. Richard Bessel and Dirk Schumann. Washington, D.C.: German Historical Institute, 2003. NetLibrary. Web. 8 Nov. 2010.
Tamagne, Florence. A History of Homosexuality in Europe: Berlin, London, Paris, 1919-1939, Volume I & II. New York, NY: Algora, 2006. NetLibrary. Web. 8 Nov. 2010.

Food for Thought: Sébastien Vion


Food For Thought: Gay and Muslim in Paris

Straight in Dakar, gay in Paris

 BRENT MEERSMAN
"I felt I had a white man's disease," he said. As everyone knows, there are no local cures for white men's diseases.
Being openly gay can be a death sentence in many countries, so it often remains in the public closet.
Musa grew up in Dakar, where his parents lived. They were Wolof, and from an even more elite minority within the Wolof: they were property developers. His parents were moneyed, socially well positioned and Muslim. To have un pédé [a faggot] for a son would be a catastrophic disgrace. Even his mother didn’t know, not even in that “not knowing but knowing” way mothers of gay children acquire. Besides, it was against the law in Senegal.
He went to a privileged boys-only school, but his childhood was lonely. He learned to hide his feelings. He lived in terror of exposure.
“I felt I had a white man’s disease,” he explained. It was deeply wrong, woundingly shameful. And as everyone knows, there are no local cures for white men’s diseases. Panic-stricken, Musa started having girlfriends.
But the fantasies about men returned. He couldn’t help feeling aroused, rubbing shoulders at sports, at football in the changing rooms, noticing handsome strangers passing on the street, catching an eye here and there.
He fell quietly in love with one of his uncles. He had erotic dreams at night.
Yet trying to actually picture himself physically with another boy was awkward. He couldn’t figure out how exactly men could copulate. Thinking about it frightened him. He put the idea away. Perhaps he was cured.
After schooling, he went to Paris to complete his economic studies, attending Sorbonne Nouvelle University. One day, a classmate, a white French boy, made his sexuality public by giving a male friend a lingering, exhibitionist kiss in front of everyone in the canteen. At first Musa shunned him, then he became curious. He furtively arranged to meet the boy for a drink. That night turned out to be the first time.
Soon, Musa was having a lot of sex with men. He met all kinds of people. Today, he knows scores of gay people, also through his business, which brings him to Paris regularly.
His parents export African cloth to France. They keep a stall at the Porte de Clignancourt market. He lives close to it, in the 18th arrondissement, a colourful and cosmopolitan area that includes Pigalle’s Moulin Rouge and the red-light district.
I asked Musa if he has met other gay black Africans while in Paris. He said he has indeed, and it does make him feel better about himself. Many of them have opted for a completely gay lifestyle and are what people call “coconut queens”. Some of the less educated even use Dax hair pomade, and he knows of at least two men who use Tenovate cream for skin lightening, though they claim it is to hide blemishes.
Musa’s life in Paris is irreconcilable with how he sees himself when living in Dakar. He knows of one or two closeted cafés in his home city where homosexual men go but, he said, he’d never think of setting foot in such dens. He is not gay, he is “un homme qui a le sexe avec les hommes, you understand?” A man who has sex with men. Gay is some white thing; it isn’t even particularly French. I got the impression he slightly looks down on “gays”.
We had finished our falafel. I hoped this wasn’t goodbye. “You know,” he said, “I have never told my story before. Not like that, from how I came here.”
I asked him if he wanted to meet up again that night; we could go to one of the big clubs on the Champs-Elysées – my treat. “Only if I can fuck you proper, comme animal.” He chuckled wickedly.
In Dakar, he is straight; in Paris, he is gay. In both worlds, I suspect he is as yet unfulfilled. As a successful, erudite young man with international connections, he is immune from family suspicion.
I wondered, silently, if this double life fragmented his personality – made him Jekyll and Hyde. Is his straight life in Dakar more than an elaborate deception? Could it really in fairness be described as a lie? Or is it simply we who are confused?
As we left the restaurant, he said: “You know, I am thinking of going into politics.”
His family is well connected, and he has a good education with a university degree. Doubtless he even knows some political people in Paris.
“But that means public life. Media scrutiny,” I pointed out. “And enemies without principles.”
Musa was smiling.
“You know, you should come to Dakar, to my wedding. It is next month.”
Brent Meersman is a food writer and novelist. This is an extract from his latest book, 80 Gays Around the World, published by Missing Ink