Category Archives: Museums and Exhibits

4 Days in Paris: Wandering the Marais District Highlights Day 3

Paris’ Marais District is a colorful combination of the venerable and contemporary, trendy cafes, a mélange of architecture and street art, and historic, heritage and cultural sites © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

On the third and last full day of my stay in Paris, I could have planned a visit to Versailles, but I just want a day to wander without a plan. Still, I have on my list several places that I keep seeing street signs for in this fascinating Marais district where I have cleverly chosen a hotel.

Paris’ Marais District is a delightful mixture of venerable and contemporary © Karen Rubin/goingplacesfarandnear.com

The Marais District is a colorful combination of the venerable and contemporary, trendy cafes, a mélange of architecture and historic, heritage and cultural sites, all packed into a relatively small (walkable) area. It is particularly wonderful to wander because the narrow, winding streets are a bit of a maze, and you keep coming upon architectural jewels – even a medieval tower – that span the centuries, trendy cafes and shops, street art, and historic places, especially sites that recall that the Marais was once a Jewish neighborhood. The main thoroughfare is Rue Vielle du Temple, and another is Rue du Temple. I had already come upon the Memorial de la Shoah, and have yet to find the Square du Temple-Elie Wiesel, le Carreau du Temple, a former clothes market that was transformed into a cultural center in 2014, or the Jardin Anne Frank.

I go in search of Place des Vosges, described as the oldest public square in Paris and an “early urban planning marvel”.

Parvis des 260 Enfants is a reminder that Le Marais used to be a Jewish neighborhood © Karen Rubin/goingplacesfarandnear.com

I get lost and instead come upon Parvis des 260 Enfants – a plaza where a marker recalls 260 Jewish school children were deported and murdered in the Holocaust. Behind a locked gate is the “Ecole Primaire Commudej Garcons Israelites Mode Mutuel.”

I finally find the Places des Vosges – which strikes me as reminiscent of Gramercy Park in Manhattan with townhouses all around. It was built for a king for jousting and festivals – the townhouses came later. It isn’t what I expected.

Places des Vosges is the oldest public square in Paris and an early urban planning marvel. One of the townhouses is now the Victor Hugo Museum © Karen Rubin/goingplacesfarandnear.com

Though I have on my mental wish list to visit the Victor Hugo Museum, I don’t realize that it is actually one of these townhouses on Places des Vosges. (Years ago, I actually visited Victor Hugo’s “home in exile” on the quaint Channel Island of Guernsey and found it fabulous). But I get distracted and forget to look for it when I leave the square.

This is a huge regret – “Discover the private world of Victor Hugo. Get to know the man, the visionary artist, the proactive thinker and, of course, the writer of genius,” the museum promises. The museum incorporates the apartment that Victor Hugo rented from 1832 to 1848 is located on the 2nd floor of 6, Place Royale (now Place des Vosges). Its layout takes you through his life by means of the furnishings, objects and works of art that he created himself, owned, or are related to his writing.

While living in this apartment, Hugo wrote some of his major works: Mary TudorRuy BlasLes Burgraves [The Commanders], Les Chants du crépuscule [Songs of Twilight], Les Voix intérieures [Inner Voices], Les Rayons et les Ombres [Beams and Shadows], a large part of Les Misérables, and the beginning of The Legend of the Ages and Contemplations.

The Marais District is full of surprises, like coming upon this medieval tower © Karen Rubin/goingplacesfarandnear.com
 

More than the writer’s house, the Maison de Victor Hugo is an important museum with a collection of 50,000 works of art- paintings, drawings, sculptures, prints, photographs, objects, a library, and collection of manuscripts and archives, all bearing witness to the life and work of Victor Hugo.

(Booking in advance is not required but is recommended. Admission to the museum’s permanent collections is free; an admission is charged for special exhibitions.)

Maison de Victor Hugo, place des Vosges, 6 place des Vosges, 75004 Paris,
Phone : 
01 42 72 10 16; open 10-6, Tuesday-Sunday, https://www.maisonsvictorhugo.paris.fr/en/paris/museum/visit-apartment-today

(Add to my regret: I discover too late that in the Marais district is an Henri Cartier-Bresson Foundation, celebrating the ground-breaking photographer and founder of Magnum and photography, at 79 Rue des Archives, 75003 Paris, www.henricartierbresson.org)

Musee Carnavalet

But leaving the Square in the opposite direction from Maison de Victor Hugo (why I didn’t see it), I happen upon the Musee Carnavalet, dedicated to recounting the history of Paris and its inhabitants. It is absolutely fabulous – for the story, the artifacts, the art it presents, and it answers the question I had been wondering about: how Paris, as fabulous a city as it is, came to be.

The Musee Carnavalet, housed in two exquisite historic mansions, is dedicated to recounting the history of Paris and its inhabitants. © Karen Rubin/goingplacesfarandnear.com

The museum occupies two neighboring historic mansions: the Hôtel Carnavalet, was purchased by the Municipal Council of Paris in 1866 and opened to the public in 1880 (the oldest of Paris city museums); and the former Hôtel Le Peletier de Saint Fargeau which was annexed and opened to the public in 1989. Both are exquisite.

The Musee Carnavalet, housed in two exquisite historic mansions, is dedicated to recounting the history of Paris and its inhabitants. © Karen Rubin/goingplacesfarandnear.com

The Carnavalet, which dates from the 16th century, contains stunning furnished rooms from different periods of Paris history, historic objects, and a huge collection of paintings of Paris life depicting the city’s history and development, as well as its notable characters. There is a huge collection of antiques and artifacts from the French Revolution that bring this era to life in your mind (I note a portrait of Ben Franklin); from the Second Republic of 1848, and the siege of the commune in 1870 (the era depicted in Hugo’s “Les Miserables”). The horror of the Nazi occupation is also represented.

Paintings arranged like a 19th century salon, at Musee Carnavalet © Karen Rubin/goingplacesfarandnear.com

You come to  a grand room that looks like the 19th century art salons the painters would exhibit in, with its walls filled with works by artists including Joos Van Cleve, Frans Pourbus the Younger, Jacques-Louis David, Hippolyte Lecomte, and Simon-Auguste.

Dramatic historic paintings on view at Musee Carnavalet help tell the story of how Paris came to be © Karen Rubin/goingplacesfarandnear.com

“At the crossroads of archaeology and history, the decorative arts and fine arts, urban history and social anthropology, the museum provides the keys to understanding the history of this unique city-capital-metropolis.”

It houses both well-known masterpieces along with little known treasures that tell the complex story of Paris, from its origins to present day, spanning 8,500 years and holds a mind-boggling 625.000 objects, presented in 85 permanent exhibition rooms

You need to spend at least two hours here. (Tuesday-Sunday, 10-6)

Musée Carnavalet, 23 Rue de Sévigné, 75003 Paris, http://carnavalet.paris.fr/en

So much fun to get lost in the Marais District © Karen Rubin/goingplacesfarandnear.com

Carnavalet Museum, which proves a highlight of my Paris stay and the best reason for just wandering around, is one of the 14 City of Paris’s museums that have been incorporated since January 1, 2013, in the public institution Paris Musees. Others include: Catacombes de Paris, Crypte archéologique de l’Ile de la Cité, Maison de Balzac, Maison de Victor Hugo – Hauteville House (and in Guernsey), Petit Palais City of Paris Museum of Fine Arts, Musée d’Art Moderne de la Ville de Paris, Musée Bourdelle, Musée Cernuschi, Museum of Asian Art, Musée Cognacq-Jay, Musée Galliera, Museum of the General Leclerc and the Paris’ Liberation – Jean Moulin Museum, Musée de la Vie Romantique, Zadkine Museum

The Musée Picasso-Paris

The Musee Picasso-Paris boasts the world’s richest public collection on Picasso © Karen Rubin/goingplacesfarandnear.com

I set out next for the The Musée Picasso-Paris which is also in the Marais district – housed incongruously (considering Picasso’s art) in another classic historic mansion. The museum makes the claim to “the world’s richest public collection on Picasso” with 297 paintings, 368 sculptures and 3D works, 200,000 archived items, 92 illustrated books by Picasso. It also boasts a collection of 50 pieces of furniture by Diego Giacommetti.

The Musee Picasso-Paris boasts the world’s richest public collection on Picasso © Karen Rubin/goingplacesfarandnear.com

Musée National Picasso-Paris, 5 rue de Thorigny, 75003 Paris, https://www.museepicassoparis.fr/en

Museum of Jewish Art & History

From the Picasso Museum, I find my way to the Musée d’Art et d’Histoire du Judaïsme (Museum of Jewish Art & History).

As I walk up Rue de Place Republic to Rue de Temple, I find a marker that says 76,000 Jews were deported by Nazis to concentration camps; 2000 returned. Among those who were deported were the residents of 71 Rue de Temple, a 17th century historic mansion which today houses the Jewish Museum (mahJ), and when you first go in, there is a sort of tribute to them. 

A statue of Dreyfus is in the courtyard at the entrance to the Museum of Jewish Art & History © Karen Rubin/goingplacesfarandnear.com

The museum traces Jewish artistic and cultural heritage, focusing on the history of the Jews in France since the Middle Ages to the 20th century, and evoking the communities of Europe and North Africa. Its collection, which it boasts is one of the finest in the world, comprises religious objects, manuscripts, textiles, and archival documents, such as concerning the Dreyfus Affair. (A statue of Dreyfus is in the courtyard at the entrance to the museum).

A painting by Marc Chagall on view at the Museum of Jewish Art & History © Karen Rubin/goingplacesfarandnear.com

Special emphasis is given to the Jewish presence in the arts. The museum’s collections include works of art from painters of the School of Paris, Marc Chagall, Kikoine Soutine and Amedeo Modigliani and contemporary artists such as Christian Boltanski and Sophie Calle.  

At the Museum of Jewish Art & History, art and religious ritual come together as in this historic shul © Karen Rubin/goingplacesfarandnear.com

I find the exhibit more about Jewish ritual objects and such, than it is about Jewish history, culture and art – but I am really at a disadvantage in understanding since there are no English translations.

Musée d’Art et d’Histoire du Judaïsme,  Hôtel de Saint-Aignan, 71 Rue du Temple, 75003 Paris, France, https://www.mahj.org

Next I head toward the Place de la Bastille where the notorious Bastille prison once stood, until it was stormed and destroyed between 14 July 1789 and 14 July 1790 during the French Revolution. No vestige of the infamous prison remains. Instead, the July Column (Colonne de Juillet) commemorating the July Revolution (1830) at the center of the square and the Opera house.

The Place de la Bastille where the notorious Bastille prison once stood is nothing like I envision © Karen Rubin/goingplacesfarandnear.com

And while the square is now the site of concerts, cafes and nightclubs, it is also often the centerpiece for political demonstrations.

Another square, the Place Royale, which is close to my hotel, Le 20 Prieure Hotel, is also important for France’s history, but today is a place for skateboarders, misting station who seem to be completely unimpressed by the fabulous plaques, reliefs and inscriptions that decorate the statue at its center.

The Place Royale © Karen Rubin/goingplacesfarandnear.com

Many of these attractions are included in the Paris Museum Pass, http://en.parismuseumpass.com/ and Paris Pass (ParisPass.com).

More planning help from the Paris Tourist Office, https://parisjetaime.com/eng/. Online ticketing at https://parisjetaime.com/eng/tickets.

For Olympics planning (and where you can purchase tickets that become available), https://www.paris2024.org/en/

Next: Day 4 in Paris: Montmartre

See also:

ROMANCE IS AT THE HEART OF THE HOTEL NAPOLEON IN PARIS, CITY OF LOVE

VISITING PARIS THIS YEAR? PLAN IN ADVANCE

4 DAYS IN PARIS: MUSEE D’ORSAY HIGHLIGHTS DAY 1

4 DAYS IN PARIS: LE LOUVRE HIGHLIGHTS DAY 2

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© 2024 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures 

4 Days in Paris: Le Louvre Highlights Day 2

Le Louvre is SOOO big, so famous and so very popular – in fact, the world’s largest art museum at 652,300 sq. ft., housing some 35,000 objects from prehistory to the 19th century © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Le Louvre is SOOO big, so famous and so very popular – in fact, the world’s largest art museum at 652,300 sq. ft., housing some 35,000 objects from prehistory to the 19th century – the best strategy is simply to just surrender to it, go with the flow, and be surprised.

In 2018, the Louvre welcomed 10.2 million visitors, 3.5 million more than the Vatican Museums which is the second largest in Europe. The collection is valued at well over $35 billion plus another $10 billion for the building!  

Once the home to French Kings including Louis XIV, this monumental palace, Le Louvre was converted to a museum during the French Revolution in the late 18th century © Karen Rubin/goingplacesfarandnear.com

Once the home to French Kings including Louis XIV, this monumental palace began as a fortress built in the late 12th century under King Philip II. It was converted to a museum during the French Revolution in the late 18th century. (Hence my observation that such magnificent structures that make Paris so fabulous could only have been built by a monarchy, but opened to the public by a democracy.)

Once the home to French Kings including Louis XIV, this monumental palace, Le Louvre was converted to a museum during the French Revolution in the late 18th century © Karen Rubin/goingplacesfarandnear.com

The galleries span 15 acres, which is why, except for the Mona Lisa and some of the other majorly famous items, it is possible for 15,000 people a day to come through and you can still have some areas almost to yourself.

The grand lobby of Le Louvre is at the base of the glass pyramid © Karen Rubin/goingplacesfarandnear.com

It is massive and overwhelming – like culture shock, really, especially after having visited the comparatively calm Musee D’Orsay the day before. The connecting rooms through three wings of the palace that surround the massive courtyard seem to go on and on and on.

Considering that it would take 100 days to see all the art in Le Louvre, I decide the best thing is to just go with the flow – and get the Mona Lisa out of the way – and then just wander and be surprised. (Besides the Mona Lisa, the other blockbuster attractions are Venus de Milo, and the Winged Victory.)

It is also one of the most fabulous buildings you will ever have the chance to visit, and just going room by room (be sure to look up at the decorated ceilings), is thrilling.

I follow the signs –and the crowd – into the hall with the Mona Lisa, “La Gioconda.”

The scramble to see Leonard DaVinci’s “Mona Lisa” © Karen Rubin/goingplacesfarandnear.com

It’s a bit of a jungle to make your way to the painting (they could have alleviated by putting up ropes that guide you along, like they do outside at the ticket counter, which would also give everyone their turn at seeing the painting from all angles). I move through the middle, row by row.

The sitter for the portrait is believed to be Lisa Gherardini (1479-1542) who lived in Florence, the wife of Francesco del Giocondo, a wealthy silk merchant. “Leonardo aimed to bring his portrait to life by depicting Lisa as if she were naturally turning to welcome us. Her upper body is in three-quarter view, but her gently smiling face is frontal,” a poster analyzing the painting notes.

I learn that Leonardo da Vinci used the afumato painting technique of applying multiple layers of pigments bound in oil to create subtle transitions from shadow to light, which is how he brought his model’s gentle smile to life.

DaVinci never finished “Mona Lisa” but took the painting with him everywhere until his final trip to France in 1516 at the invitation of King Francois I. The king bought the painting, which is how the “Mona Lisa” entered the French royal collection. © Karen Rubin/goingplacesfarandnear.com

I also learn that the landscape is imaginery – “Leonardo mastered so-called ‘atmospheric perspective’ using different shades of blue to blur the outlines and give the scene a striking depth. A path on the left draws our gaze to mountains bordered by lakes. This wild majestic landscape suggests the slow formation of the Earth, the battle of the elements and the erosion caused by time.”

Leonardo began this partially experimental painting around 1503 and never finished it. Yet, it is intriguing to learn that he took it with him everywhere he went, until his final trip to France in 1516 at the invitation of King Francois I. The king bought the painting, which is how the “Mona Lisa” entered the French royal collection.

Monumental paintings at Le Louvre provide a record of history, or at least a version of it © Karen Rubin/goingplacesfarandnear.com

Near to where you exit from Mona Lisa is a great hall lined with monumental historical paintings.

There is one where Emperor Napoleon is crowning the Empress Josephine. Another depicting Napoleon at the Battlefield of Eylau (9 February 1807), a battle Napoleon’s troops won against Russians and Prussians but paid a high price in lives.

Monumental paintings at Le Louvre provide a record of history, or at least a version of it © Karen Rubin/goingplacesfarandnear.com

“For the purposes of propaganda, the artist Antoine Jean Gros (who painted it in 1808) depicted Napoleon as a compassionate conqueror ensuring aid for the wounded enemy soldiers. The zeal of the doctors and the emperor’s serenity temper the horrors of war.”

There is also Jacques-Louis David’s a portrait of Napoleon Bonaparte (1769-1821) painted when he was a young dashing fellow (1797-1798).

Jacques-Louis David’s portrait of a young Napoleon Bonaparte © Karen Rubin/goingplacesfarandnear.com

You realize that such paintings (as well as statues, busts, coins and stamps) were the only way people could record what someone looked like or a historic event (and therefore eminently exploitable for propaganda).

After getting the Mona Lisa under my belt, I just kind of wander, with no specific plan, just being surprised as I go through palatial rooms. (As a general rule, the further away from the Mona Lisa you get, the less crowded until you find rooms that you can have almost to yourself.)

As it happens, I practically fall upon another of Le Louvre’s famous statues, “The Winged Victory of Samothrace,” that graces the top of the monumental Daru staircase. Dating from 190 BC, “Winged Victory” is of major importance because it is one of the few surviving examples of original Hellenistic sculpture.

“The Winged Victory of Samothrace,” that graces the top of the monumental Daru staircase, dates from 190 BC © Karen Rubin/goingplacesfarandnear.com

But at one point, I decide to search for the Venus de Milo – the third in the triumvirate of Le Louvre’s iconic works – get lost, and, instead, find myself amid Mesopotamian, Greek and Roman artifacts, instead (I never find Venus).

Just being in Le Louvre, housed in a fabulous palace built for kings, is thrilling enough, but coming upon the Code of Hammurabi, makes for an incomparable experience © Karen Rubin/goingplacesfarandnear.com

In fact, I am stunned when I stumble upon the Code of Hammurabi – in fact, one of the most exciting works in the Louvre. This black stele of basalt stands over two meters high and is engraved with the earliest collection of written laws in human history. It was engraved in Babylon (today’s Iraq) around 1760 BC and recovered in 1901 in Susa (present-day Iran).  (The Ten Commandments is dated between 16th and 13th centuries BCE.)

The upper part of the stele depicts Hammurabi himself, symbolically receiving the laws from the sun god Shamash, the patron of Justice © Karen Rubin/goingplacesfarandnear.com

Hammurabi was the first sovereign who decided to convert rules formerly passed on through oral tradition into an actual code of laws. The upper part of the stele depicts Hammurabi himself, symbolically receiving the laws from the sun god Shamash, the patron of Justice. The lower part is the text documenting 282 laws. The most prominent (famous) is establishing the legal standard of retaliation – the right to inflict damage in equal measure on those who intentionally harmed you (“an eye for an eye and a tooth for a tooth,” though equality of punishment took into account the same social level), according to an article by Stefano Zuffi e Davide Tortorella (https://mywowo.net/en/france/paris/louvre-museum/hammurabi-stele-richelieu-wing-hall-3)

Le Louvre is a fabulous palace © Karen Rubin/goingplacesfarandnear.com

Le Louvre is really a palace – one of the grandest you have ever seen or have the opportunity to be in. Just walking through the galleries, so opulently decorated from floor to ceiling, the ornamentation is quite fabulous.

You need at least 4 hours to visit.

If your schedule allows and you book early enough, visit the Louvre Museum at night when the vibe is less frenetic and the famous pyramid is illuminated. (Wednesday and Friday, open until 9:45 pm.). Otherwise try to book a morning time as early as possible.

There are several ways to avoid waiting in a long line to get into the Louvre: purchase the Paris Museum Pass (you still must book a time slot in order to guarantee access into the museum; you provide the serial number of your Museum Pass, https://www.ticketlouvre.fr/louvre/b2c/index.cfm/pmpevent/eventCode/PMP, here); book a timed entry ticket online in advance at the official Louvre website, €17 (https://www.louvre.fr/en/visit/hours-admission); or take a tour (https://www.getyourguide.com/louvre-museum-l3224/). 

Le Louvre, https://www.louvre.fr/en/visit/.

All the bridges across the Seine become venues for “love locks” © Karen Rubin/goingplacesfarandnear.com

Ile de la Cite

I cross the Seine on the Pont Royale and walk along the Quai Voltaire to return to the Isle de Cite for another look at Notre-Dame Cathedral, hoping to see workmen on a Monday.

A photo exhibit documents the destruction of Notre-Dame Cathedral, as well as the reconstruction © Karen Rubin/goingplacesfarandnear.com

The tragic fire in April 2019 destroyed so much of the iconic 860-year-old limestone and the latticework of ancient timbers that formed Notre-Dame’s attic, melted the roof’s lead sheath, and endangered the stability of the stone structure. The cathedral’s spire was sent crashing into the interior.  It has since been raised again, “one of the most visible and most potent symbols of the cathedral’s rebirth,” a newspaper account states.

There is an outstanding photo exhibit by photographer Tomas van Houtryve with notes documenting the dramatic story of Notre-Dame’s restoration.

“I trained with teams of rope technicians, perched on ancient stones above the abyss, to access the heights of the cathedral,” Photographer Tomas van Houtryve relates. “It felt more like being on an alpine expedition than in the center of Paris. Bit by bit, the technicians carefully removed debris and consolidated stones.”

Getting a glimpse of the reconstruction of Notre-Dame Cathedral © Karen Rubin/goingplacesfarandnear.com

While I am standing in front of this exhibit, I learn that Jean-Louis Georgelin, the French general in charge of Notre-Dame’s reconstruction, had died just three days before, on August 18, in a fall while trekking in the Pyrenees mountains; he was 74 years old.  Regarded as the architect of Notre-Dame’s rebirth, “The nation has lost one of its greatest soldiers,” President Emmanuel Macron said of him.

Getting a glimpse of the reconstruction of Notre-Dame Cathedral © Karen Rubin/goingplacesfarandnear.com

In an interview with the newspaper Le Monde in April, General Georgelin had insisted that “everything is being rethought.” Innovations include “cutting-edge” fire prevention technology like misting systems, thermal cameras and fire-resistant doors, as well as a recovery system to treat rainwater running off the lead roof before it goes into Paris’s sewers. “We are rebuilding Notre-Dame identically,” Georgelin had stated. “But we are building a 21st-century cathedral.”

Getting a glimpse of the reconstruction of Notre-Dame Cathedral © Karen Rubin/goingplacesfarandnear.com

I wonder if this tragedy would also put a monkey wrench into the restoration efforts. So far, the plan is to reopen in December (it would have been a miracle to reopen in time for the Olympics this summer). But renovation work — especially on the exterior — will continue for years after the cathedral reopens for religious services and visitors (12 million used to visit every year).

There are signs that acknowledge and express gratitude to the worldwide community that has contributed to the restoration.

(Friends of Notre Dame publishes updates on the restoration: https://www.friendsofnotredamedeparis.org/)

Zone of the charming cafes on Ile Saint-Louis © Karen Rubin/goingplacesfarandnear.com

From Île de la Cité, I cross Pont Saint-Louis to Île Saint-Louis – more of a residential neighborhood with pleasant boulangeries, quaint cafes and delightful ice cream shops, and find a small park overlooking the Seine to enjoy my ice cream.

Zone of the charming cafes on Ile Saint-Louis © Karen Rubin/goingplacesfarandnear.com

For a different Parisian experience, I had checked out my junior suite in the five-star boutique luxury historic Hotel Napoleon just steps away from the Arc de Triomphe in the tony 8th Arrondisement, and took an Uber to my hotel for the second part of my Paris visit, Le 20 Prieure Hotel, a modest but pleasant three star in the Marais district which I find on hotels.com (my booking includes breakfast).

Zone of the charming cafes on Ile Saint-Louis © Karen Rubin/goingplacesfarandnear.com

From here the Ile Saint-Louis, it’s a mostly straight shot walking across the bridge and up Rue Vielle du Temple Boulevard to my hotel, Le 20 Prieure Hotel (20 Rue du Grand Prieuré, 75011 Paris, https://www.hotel20prieure.com/en/) about two miles through the Marais District.

Today, Le Marais district is considered “trendy” with charming streets full of hip cafes, boutiques, and bookstores, Gay Pride flags and rainbow-painted crosswalks, and street art.

The Marais, though, was once a predominantly Jewish neighborhood, that still has the marks, remnants, and scars of being uprooted in the Holocaust.

Memorial de Shoah in the Marais district © Karen Rubin/goingplacesfarandnear.com

I come upon Allee Des Justes Parmi Les Nations, which I quickly realize borders the Shoah Memorial Center, a museum, information and research center on the history of the genocide of the Jews in World War II.

Allée des Justes at the Memorial de Shoah in the Marais district records the names of the righteous © Karen Rubin/goingplacesfarandnear.com

This 60 meter section of the rue Grenier sur l‘Eau was transformed into the ‘Allée des Justes’ 12 years ago, and refers back to the “Righteous Among the Nations,” a title awarded by the World Holocaust Center in Jerusalem, Yad Vashem, to non-Jews who risked their lives during World War II by helping Jews to hide, flee or survive. The memorial lists the names of the French ‘Justes’ and the locations of their deeds. One side remembers the Jewish victims on the ‘Wall of Names’ and the other side, the “Wall of the Righteous,” the French rescuers of Jews. Since Yad Vashem still awards this title to people throughout the world each year, French names continue to be added. On January 1 2012 France counted 3.513 Justes. (The Netherland has 5,204, Poland has 6,339).

As I walk about the district, I note on schools and certain public institutions, France’s credo, “Liberte, Equalite, Fraternite” (so much better than America’s relatively recent motto, “In God We Trust” adopted in 1956 in reaction to Communism.)

On one building, there is also a plaque dated December 2001 which I translate, “Arrested by the police of the Vichy Government, complicit with the Nazi occupiers, more than 11,000 children were deported from France between 1942-1944 and sent to Auschwitz because they were Jews.”

There is a street sign pointing the way to the Museum of Jewish Art & History, and I put it on my list to visit.

Many of these attractions are included in the Paris Museum Pass, http://en.parismuseumpass.com/ and Paris Pass (ParisPass.com).

More planning help from the Paris Tourist Office, https://parisjetaime.com/eng/. Online ticketing at https://parisjetaime.com/eng/tickets.

Next: Day 3 in the Marais

See also:

ROMANCE IS AT THE HEART OF THE HOTEL NAPOLEON IN PARIS, CITY OF LOVE

VISITING PARIS THIS YEAR? PLAN IN ADVANCE

4 DAYS IN PARIS: MUSEE D’ORSAY HIGHLIGHTS DAY 1

_______________________

© 2024 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures 

4 Days in Paris: Musee D’Orsay Highlights Day 1

The grand Musee D’Orsay, one of the most important museums in the world, is housed in a magnificent Beaux-Arts train station built for the Universal Exhibition of 1900 © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

On my first morning in Paris, as I set out from the Hotel Napoleon just across from the Arc de Triomphe in the tony 8th Arrondisement, at 10 am for a beautiful walk down Champs-Elysee to Place de la Concorde, passed the Grand Palais, across the Seine, passed the National Assembly to my destination, the Musee d’Orsay, I am immediately under the city’s spell.

Paris is regal. Majestic. Monumental. The scale of the boulevards, the buildings, the structures. It is big and bustling, but curiously, you don’t feel choked or overwhelmed – probably because no structure is taller than the Eiffel Tower and you can see out, and because the city is designed around open spaces –the wide boulevards, gigantic plazas, parks, the Seine flowing through. There are places to sit, even water fountains and misting stations, while the smaller neighborhoods, with their narrow twisting roads, are quaint and quiet (little traffic).

The level of grandeur is breathtaking, and for a moment I am thinking that only a monarchy could have built this, a democracy never would have. But in the next, I am reminded that only the Revolution opened them for public purpose.

A view of Le Louvre. Paris is one of the most beautiful cities in the world, making strolling ideal.
© Karen Rubin/goingplacesfarandnear.com

I walk everywhere and Paris makes it easy (and safe). Paris is one of the most beautiful cities in the world, making strolling ideal. But for getting around, Paris is also a biking city with superb bike lanes, traffic signals (get preference over cars, in fact), and huge number of bike share stations.

It is helpful to have paper map, and not just rely on cell phone GPS (remember to download maps when you have WiFi so can access offline – I keep forgetting), but it is part of the joy of the travel experience to rely on the kindness of locals to point you in the right direction, even with limited French.

It is essential to plan your visit to Paris’ top museums and attractions in advance, and pre-purchase timed ticket, or book a time if you have the Paris Museum Pass (http://en.parismuseumpass.com/) or Paris Pass (parispass.com), and try to book as early a time as possible, or evening hours.

And though it is better to try to visit on weekdays, considering that the Musee D’Orsay is closed on Monday (I book my Le Louvre visit for that day), I pre-booked my visit for Sunday.

Musee d’Orsay

The grand Musee D’Orsay, one of the most important museums in the world, is housed in a magnificent Beaux-Arts train station built for the Universal Exhibition of 1900 © Karen Rubin/goingplacesfarandnear.com 

The Musee d’Orsay is housed in what had been a truly grand train station, a Beaux-Arts jewel built for the Universal Exhibition of 1900. It is famous for its fabulous collection of French art from 1848 to 1914 – paintings, sculpture, furniture, photography – including the largest collection of Impressionist and post-Impressionist masterpieces in the world.

Here you can experience for yourself (in relative peace, mind you) the exquisite works of Van Gogh, Monet, Manet, Degas, Renoir, Cezanne, Seurat, Sisley, Gaugain and Berthe Morisot – actually it seems just about all my favorite paintings by my favorite artists, as well as being introduced to outstanding works I am unfamiliar with.

The grand Musee D’Orsay, one of the most important museums in the world, famous for its collection of Impressionist and Post-Impressionist artists including Van Gogh, is housed in a magnificent Beaux-Arts train station built for the Universal Exhibition of 1900 © Karen Rubin/goingplacesfarandnear.com

The layout of the galleries is exquisite, and the views from the fifth floor gallery where the Van Goghs are displayed and from the Restaurant (you look through the massive clock to Sacre Coeur on Montmartre, like those scenes in the movie, “Hugo”) take your breath away.

The Musee D’Orsay makes for exquisite viewing of masterpieces © Karen Rubin/goingplacesfarandnear.com

Though the Musee D’Orsay is one of the largest museums in the world and the second most popular to visit in France after Le Louvre, it doesn’t feel large or crowded or intimidating. The clever layout – a warren of smaller galleries off a main, open hall – makes it feel more intimate and calm, even as I stand in front of such a popular painting as Van Gogh’s “Starry Night” (I think this is the equivalent of the Mona Lisa in Le Louvre). The way you realize just how vast the museum is – at any time about 3,000 art pieces are on display – is by realizing you’ve been there for four hours. Time melts away, like the humongous clocks you get to see through to Paris’ magnificent skyscape.

View to Montmartre through the Musee D’Orsay clock© Karen Rubin/goingplacesfarandnear.com

The museum has 24 Van Goghs including such renowned works as L’ArlésienneBedroom in ArlesSelf Portrait, portrait of his friend Eugène BochThe SiestaThe Church at AuversView from the ChevetThe Italian WomanStarry NightPortrait of Dr. GachetDoctor Gachet’s Garden in AuversImperial Fritillaries in a Copper VaseSaint-Paul Asylum, Saint-RémySelf Portrait.

As popular as Van Gogh’s “Starry Night” is, you still get a moment almost to yourself to enjoy it, at Musee D’Orsay © Karen Rubin/goingplacesfarandnear.com

The Van Gogh gallery on Level 5 has an added attraction: the most magnificent views across the Seine of Le Louvre to Montmartre from one set of windows, the Eiffel Tower from another.

View from the Van Gogh Gallery at Musee D’Orsay © Karen Rubin/goingplacesfarandnear.com

There are 81 Renoirs including “The Swing” (significant when I visit the Musee de Montmartre and see the spot where he painted it!), and 18 by Toulouse-Lautrec, plus James McNeill Whistler’s famous “The Artist’s Mother’, better known as “Whistler’s Mother.”

As I go through galleries of portraits, I wonder whether the sitters contemplated becoming immortal, that their visages would be admired and their personas wondered about for centuries.

“A Street in Paris,” by Maximilien Luce shows the power of painting to document © Karen Rubin/goingplacesfarandnear.com

Besides seeing “in person” the art works that are among the most famous in the world (and it seems just about all my favorites), there are masterpieces by artists that may not be as “top of mind” to explore and discover as well. One, “A Street in Paris,” by Maximilien Luce, that is so haunting, depicting “Bloody Week” of May 21-28, 1871, and the brutal suppression of the Commune, a revolutionary movement that emerged from the political chaos after the French defeat in the Franco-Prussian War of 1870 and the fall of the Second Empire, events immortalized in Victor Hugo’s “Les Miserables” and the musical “Les Mis” which Luce painted 30 years after the event that so affected Luce.

It is a further demonstration of the power of art to document history, events, and bring faraway places to people, especially before photography.

Thank goodness, the really excellent notes are presented in French and English (not so in many other places).

The atmosphere of the museum is like putting yourself into the canvas.

Restaurant at Musee D’Orsay © Karen Rubin/goingplacesfarandnear.com

Besides the full-service restaurant, there is an absolutely delightful café in the lower level – reasonably priced and very comfortable, where I get refueled.

Towards the end of my visit, I find myself in a grand ballroom which feels weird.

Captivated by the clocks at Musee D’Orsay © Karen Rubin/goingplacesfarandnear.com

It’s a feeling of complete joy of being in that space stays with you, that rushes back like warm water, even as I review my photos later.

Open from 9.30 am to 6 pm daily, except Mondays; late night on Thursdays until 9.45 pm

Musee D’Orsay, Esplanade Valéry Giscard d’Estaing, 75007 Paris, https://www.musee-orsay.fr/en/

Ile de la Cite

From the Musee D’Orsay, I stroll down the quai along the Seine, with the marvelous book/magazine sellers, to the Pont Neuf (the oldest bridge in Paris) to Île de la Cité, a small island in the center of Paris where Notre-Dame and Sainte-Chapelle are found. It is the historic heart of Paris.

Colorful vintage magazine and newspaper sellers line the Quai © Karen Rubin/goingplacesfarandnear.com

I am really interested to see the progress on the restoration of Notre-Dame Cathedral, after that devastating fire of April 15, 2019.

There is an excellent photo exhibit by photographer Tomas van Houtryve with notes documenting the dramatic story of the restoration.

A photo exhibit explains the reconstruction project of Notre-Dame Cathedral © Karen Rubin/goingplacesfarandnear.com

A short walk from Notre-Dame, in a small park, I come upon Holocaust Memorial to the 31,000 Parisians sent to Auschwitz.

Holocaust Memorial near Notre-Dame Cathedral © Karen Rubin/goingplacesfarandnear.com

Also close to Notre Dame on the Ile de Cite is Sainte-Chappelle, famous for its stained glass windows.

Sainte-Chapelle is considered one of the finest examples of Rayonnant period of Gothic architecture. Built between 1238-1248, the royal chapel was commissioned by King Louis IX to house his collection of Passion relics, including Christ’s Crown of Thorns – one of the most important relics in medieval Christendom. It served as the residence of France’s kings until the 14th century.

Sainte-Chapelle, Paris © Karen Rubin/goingplacesfarandnear.com

A curious chart outside the chapel shows that Sainte-Chappelle cost 266,000 gold francs for the elevation of its spire and the restoration of the roof, equivalent to 1.06 million Euros, total weight 232.4 tons, 75 meters high from ground level, work done between 1853-1855.

Sainte-Chapelle, Paris © Karen Rubin/goingplacesfarandnear.com

Notre Dame Cathedral: cost 500,000 gold francs for the elevation of its spire, equivalent of 2 million euros today; total weight 750 tons, 96 meter high from ground, work from 1859 to 1860.

Adjacent to Sainte-Chapelle is La Conciergerie, the palace where Marie-Antoinette was held before her execution (it’s closed by the time I arrive).

Sainte-Chapelle and Conciergerie, Paris © Karen Rubin/goingplacesfarandnear.com

Sainte-Chapelle and Conciergerie are operated as a museum by the French Centre of National Monuments.

La Sainte Chapelle, https://www.sainte-chapelle.fr

I pick up food for my dinner at a boulangerie on the quai.

Tuileries Garden, Paris © Karen Rubin/goingplacesfarandnear.com

Walking back to the Hotel Napoleon, I stroll alongside the full length of Le Louvre museum – once a palace – stunned by how large, and how exquisitely ordained it is (I will be visiting the next day), through Tuileries Garden to the Place de la Concorde, the largest square in Paris, where King Louis XVI, Marie Antoinette and Robespierre were executed by guillotine during the French Revolution.

Place de la Concorde, Paris © Karen Rubin/goingplacesfarandnear.com

I walk by the Petit Palais (where there is a Sarah Bernhardt exhibit I wish I could have seen; free admission to the collections!), to the Champs-Élysées. (There is really good signage that direct you to the places visitors most want to see.)

Petit Palais, Paris © Karen Rubin/goingplacesfarandnear.com

Eiffel Tower

I get back to the Hotel Napoleon and rest awhile before heading out again to see the Eiffel Tower at night.

I walk down the Champs Elysee, cross over toward the Seine and take in the classic café scene. There are innumerable couples in this City of Love.

Café George V, Paris © Karen Rubin/goingplacesfarandnear.com

The view from across the Seine – with the Bateaux Mouches (sightseeing boats) passing by – is enchanting enough, but seeing the Tower from its base is breathtaking.

View of Eiffel Tower across the Seine © Karen Rubin/goingplacesfarandnear.com

The Eiffel Tower is one of most beautiful structures in world – so elegant, so graceful, seemingly as light, delicate and intricate as filigree. I am surprised to learn that the design was criticized, even ridiculed when Gustave Eiffel, the engineer whose company designed and built the tower from 1887 to 1889, proposed it.

Eiffel Tower, Paris © Karen Rubin/goingplacesfarandnear.com

Nicknamed “La dame de fer” (“Iron Lady”), it was constructed as the centerpiece of the 1889 World’s Fair, and to crown the centennial anniversary of the French Revolution. (The tower also was supposed to be a temporary installation, but Eiffel pushed to have its lease extended and ultimately, became a permanent fixture of the city.)

Eiffel Tower, Paris © Karen Rubin/goingplacesfarandnear.com

We marvel at its beauty but in 1889, the tower was celebrated more as a historic feat of engineering: the first structure in the world to surpass both the 200-meter and 300-meter marks in height. At 330 meters (1,083 ft.) high, the Eiffel Tower is equivalent to an 81-storey building, and still is the tallest structure in Paris, dominating the skyline from wherever you are. During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest man-made structure in the world, a title it held for 41 years until dethroned by New York City’s Chrysler Building in 1930.

Eiffel Tower, Paris © Karen Rubin/goingplacesfarandnear.com

The tower has three levels that visitors can reach, with restaurants on the first two. The top level’s upper platform is 276 m (906 ft) above the ground – the highest observation deck accessible to the public in the European Union.

It is fascinating to learn that the top level was actually a private apartment built for Gustave Eiffel’s personal use, which he decorated with furniture by Jean Lachaise and invited friends such as American inventor Thomas Edison. Today, you can’t visit the entire apartment, but there is a reconstruction of Gustave Eiffel’s office. Through the windows, you can see wax figures of Gustave Eiffel and his daughter Claire being visited by Edison.  

Eiffel Tower, Paris © Karen Rubin/goingplacesfarandnear.com

There is also a new immersive experience that takes you inside Gustave Eiffel’s office (accessed by scanning a QR code on the first floor). While waiting for the lift on the first floor, you can also peruse historical documents with monitors, tactile screens, display cases, digital albums and photocopies of objects.

There are also new guided tours which must be booked online

The Eiffel Tower is one of the highlights of visiting Paris – in fact, one of the most-visited pay-to-enter monuments in the world, with almost 6 million visitors a year. It is almost essential to book a timed ticket ahead of time.

The wait for tickets – if they are not totally sold out – can be long. If you have interest in going to the top, book your tickets as soon as you know your dates for Paris. (Online tickets go on sale 60 days in advance for the elevator.) 

But for a completely different experience (and if tickets for the elevator are sold out), you can also climb the stairs – from ground level to the first level is over 374 steps, and 300 more to the second, making the entire ascent 674 steps – about 20 minutes per level.

Stairway tickets for the second floor are sold online (up to 10 days in advance) or sold on-site. If you want to go to the top, you would need to purchase “stairway + lift” tickets. These tickets are only sold on-site in the South leg of the tower, guaranteeing minimal queueing times (only the most gung-ho visitors), where you take the stairs up. In peak periods, another leg may be opened for stairway ascents.

Other experiences: Madame Brasserie offers a lunch and dinner menu on the first floor (reservations strongly advised; the reservation includes the ascent to the 1st floor of the Eiffel Tower, but not to visit to the 2nd floor or to the top).

Reservations for dining or eating at the Jules Verne (2nd floor) must be made on the dedicated website. If you make a reservation for the Jules Verne, a private lift in the south pillar will take you directly to the restaurant when you arrive. The visit of the Eiffel tower is not included.

You can book your ticket for the top of the Eiffel Tower and add a glass of champagne at the champagne bar. The champagne bar at the top is open every day, from 10.30 am to 10.30 pm. 

I would say the most enchanting time to experience the Eiffel Tower is at night.

Eiffel Tour, Champ de Mars, 5 Av. Anatole France, 75007 Paris, France, https://www.toureiffel.paris/en/planning-smooth-visit, https://www.toureiffel.paris/en/rates-opening-times

I stand in a park at the tower’s base, where there is a festive atmosphere among the throngs of people gathered – but for the Olympics, there will be a stadium built in front of the tower, before walking back to the Hotel Napoleon.

What a day – I must have walked 12 miles plus 3 hours worth in the museum. Here’s where I went:

Musee D’Orsay

Notre-Dame Cathedral

Sainte-Chapelle

Tuileries Garden

Place de Concorde

Champs-Elysee

Eiffel Tower at night

More planning help from the Paris Tourist Office, https://parisjetaime.com/eng/. Online ticketing at https://parisjetaime.com/eng/tickets.

Next: Day2 Highlighted by Le Louvre

See also:

ROMANCE IS AT THE HEART OF THE HOTEL NAPOLEON IN PARIS, CITY OF LOVE

VISITING PARIS THIS YEAR? PLAN IN ADVANCE

_______________________

© 2024 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures 

Visiting Paris This Year? Plan in Advance

If you have a hope of seeing the Mona Lisa at Le Louvre, book your timed ticket as soon as you book your travel to Paris © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

If you are planning to visit Paris his year, it is especially important to make plans really early, lock in reservations to visit the sites, attractions, restaurants, hotels, even train or bus transportation you most want to include if you are going outside Paris.

Paris (with 85,000 hotel rooms) is expecting about 15 million visitors as it hosts the Olympics (July 26-August 11) and Paralympics (August 28-Sept. 8. Other events to keep in mind: Tour de France, from June 29 to July 21; and Tour de France Femmes, from August 12 to 18.

The fact is, Paris is so popular (for good reason), there is no longer the “shoulder” season or “off season” (especially as more travelers seek the comparative comfort of cooler seasons, known as “coolcationing”). No matter when you travel, to get the most out of your visit, it is essential to do pre-planning. The days of just strolling into the major attractions are well gone, so advance purchase of timed- and capacity-controlled tickets will still be essential. Book online as soon as you know your dates of travel. In that way, you can avoid wasting valuable time and money waiting on line for tickets (followed by the line for security). Moreover, having a set time to visit the key attraction on your list will help you structure your day – while still allowing for serendipitous experiences and discoveries.

I must admit that my decision to spend four days in Paris at the end of my European Waterways canal boat cruise in the Alsace-Lorraine was a bit spontaneous and I didn’t have as much time as I would have liked to do the research and preparation which I am recommending here. (So I didn’t get to go up the Arc de Triomphe or the Eiffel Tower.) And planning out my visit for a city as big (and yet, as I found, not so big that I couldn’t walk everywhere), with as many highlights, was intimidating from a logistics point of view. So I began as I would hope other travelers do: I consulted what other travel writers have written about “four days” in Paris, and checked the various lists of “top attractions” like on tripadvisor.com.

Listen, while most travel writers will focus on the “off the beaten track” and “hidden gems” and “local favorites,” if, like me, you haven’t been to Paris in eons or ever, you want to experience what everyone else is talking about. They are the top attractions for a reason. But by preparing in advance in order to reduce wasting time waiting on lines, you will (I guarantee) have those serendipitous discoveries of “hidden gems” and “less known” that you can then boast discovering.

I had my list of top attractions, but how to organize in the best way?

Book your tickets to Musee D’Orsay in Paris in order to have more time to really enjoy the spectacular art collection, housed in this former Beaux Arts train station, in relative calm © Karen Rubin/goingplacesfarandnear.com

I started with figuring out the priority attractions – Le Louvre, Musee D’Orsay – that would require advance, timed tickets, and made each of them the centerpiece of a day. Musee D’Orsay is closed on Monday; Le Louvre is closed on Tuesday. Then I looked to what was around, but much of how I spent my day after was pretty spontaneous.

The city was hopping with visitors this year – as tourism recovered globally after pandemic closures and it seems the world decided never to put off again their dream destinations. I visited in late August, a very busy time in any year, and the city is already preparing for the Olympics (I happened upon a city-wide practice run for security street closures.)

And most surprising to me, was how easy it is to get around Paris – especially walking and by bicycle (with loads of bicycle share stations), with its special biking lanes and traffic signals, and traffic signals and crossings that favor pedestrians. For those who prefer, the superb metro and bus system has multi-day tickets.

I walked everywhere – because it is the whole of Paris that is the attraction – the architecture, the people, the street activity, and the sheer beauty of the city, absolutely one of the most beautiful, enchanting in the world. And not just around the stunning sites of the Eiffel Tower, Le Louvre, Musee D’Orsay and Notre Dame (which you can see as it is restored), but neighborhoods that are so picturesque, interesting, and full of character. So I plot the walking time into my day.

It is thrilling to watch the progress of the restoration project at Notre Dame © Karen Rubin/goingplacesfarandnear.com

But walking around, is the best way to come upon those “hidden gems” that no one else knows about. You have a cascade of serendipitous experiences, compelling places and surprises around every corner. It’s like surrendering yourself to the universe, or in this case, the city, and let it find you. And sometimes, when you set out in search for something, all these other things emerge.

(GPS is only helpful when you already have internet, but you should plot your route and then download so you have the maps offline or at least download the Paris map, which I kept forgetting to do, so I often relied on actual maps and the kindness of wonderful strangers, even with my very limited French, to point me in the right direction.)

During my four days in Paris, I visited:

Arrival afternoon:

Arc de Triomphe

Stroll the quais along the Seine for the magnificent views of Eiffel Tower at sunset into the night

Day 1: (Sunday)

Musee D’Orsay

Isle de la Cite (to see the restoration of Notre Dame)

Sainte-Chappelle

Tuileries Gardens

Place de la Concorde

Stroll the quai along the Seine to the Eiffel Tower at night

*

Day 2 (Monday)

Le Louvre

Notre Dame (again)

Isle de France

Marais District/Holocaust Memorial

*

Day 3 (Tuesday)

Marais District/Holocaust memorials

Place des Vosges

Museum of Paris History (a highlight)

Musee d’Art D’Histoire du Judaism

Musee Picasso-Paris

Bastille monument

Place Royale

*

Day 4 (Wednesday)

Montmartre

Musee Montmartre

Dali Gallery

Sacre Coeur

(Not on my list: Versailles, which I visited many years ago but any first-timer should visit)

And here are my regrets at having missed out: Victor Hugo’s House (turns out I was right there but didn’t know to look); Petit Palais which has marvelous exhibits (couldn’t time it right); the Crype Archeologique de L’Ile de la Cite (right beside the Notre Dame, but I never time it right to visit); and Catacombs (intriguing!). And yes, I regret not climbing the stairs up the Eiffel Tower (didn’t realize you can get that ticket on the spot) and seeing the museum and climbing inside the Arc de Triomphe

Yes, these are the most popular sites, but they are popular for very good reason, and if you are not a frequent visitor to Paris, you would be doing yourself a disservice not to experience them yourself. But there are ways to make the experience your own. Your list of “highlights” might be different – like the bateaux mouches cruise on the Seine (included in the Paris attractions pass).

Try to book your visit to Le Louvre either early in the morning or on one of the evenings the museum is open late © Karen Rubin/goingplacesfarandnear.com

I highly recommend getting the Paris Museum Pass (https://www.parismuseumpass.fr/t-en, which provides admissions to 34 museums in Paris and 11 more in the region) or the Paris Pass (parispass.com) which not only makes attractions and experiences more affordable, but will absolutely add to what you see and do, and also provides such helpful information as hours, location, proximity to where you are. When booking, try to book the earliest available times or evening times, and midweek over weekend.

You are likely to arrive in Paris at the Charles de Gaulle Airport, which has easy train connection to downtown – purchase your metro ticket in advance at a wonderful visitor information office as you walk out, and even a multi-day ticket. This will cut down on wasted time waiting on line to buy a ticket and the confusion of knowing what zone you need. And it saves quite a lot of money. But the best part is you don’t think about how much you are spending – it all seems free.

If you are traveling in France, remember to book your train or bus tickets in advance © Karen Rubin/goingplacesfarandnear.com

Coming from Strasbourg by train at the end of my six-day canal cruise of the Alsace Lorraine aboard European Waterways’ Panache, I arrived at Gard d’Est and made my way on the metro (after going in the wrong direction on the metro) to a stop just in front of the Arc de Triomphe. My hotel, the Hotel Napoleon Paris, a five-star boutique hotel which put me perfectly into the atmosphere of Napoleon’s Empire period, is not even a half-block away, and one boulevard over from the magnificent Champs Elysee. (Note: book train tickets in advance, www.raileurope.com)

It was afternoon, and I quickly checked in to this charming boutique hotel, dropped my bag, and went out to explore the Arc de Triomphe.

Arc de Triomphe

Visitors along the Champs-Elysee on their way to the Arc de Triomphe © Karen Rubin/goingplacesfarandnear.com

This iconic symbol of France is set in the middle of a roundabout (the Place D’Etoile, like a star”) where 12 busy boulevards converge, including the magnificent Champs Elysee which is aligned with its center. Don’t even think about trying to cross the roundabout – you must walk through underground passageways to get across the busy boulevards that encircle the monument (There’s a pedestrian tunnel at Place Charles de Gaulle on the north side of the Champs-Élysées that will take you down to the arch.)

Don’t even think about trying to walk across the roundabout encircling the Arc de Triomphe. Use the underground walkways © Karen Rubin/goingplacesfarandnear.com
 

Building the Arc de Triomphe began in 1806 on Napoleon’s orders. Just a year earlier, in 1805, Napoleon’s forces won a decisive victory over Russian and Austrian troops at the Battle of Austerlitz. French architect Jean-François-Thérèse Chalgrin took his inspiration from the great arches of the world and designed Triomphe to be the largest in the world. The arch is 164 feet tall, and twice a year, the sun sets directly in the center. It took 30 years to complete the arch which was officially opened by King Louis-Phillipe on July 29, 1836.

The Arc de Triomphe is a triumph of architecture and decoration © Karen Rubin/goingplacesfarandnear.com

In the years since, soldiers have marched past the arch as a victory lap – France and its allies did in 1918, 1944 and 1945; Germany in 1871 and  1940. Every year, a ceremony at the Tomb of the Unknown Soldier, buried below the arch, marks the anniversary of the armistice signed on Nov. 11, 1918.

The Arc de Triomphe is a triumph of architecture and decoration © Karen Rubin/goingplacesfarandnear.com

Today, the Arc de Triomphe is more of a symbol of peace and is very recognizable as the end point for the Tour de France cyclists. For the French, the Arc de Triomphe goes well beyond being commemorative, but is foundational in the French national psyche.

Each day at the Arc de Triomphe, there is a ceremony to honor France’s fallen soldiers © Karen Rubin/goingplacesfarandnear.com

In 1921 the Tomb of the Unknown Soldier was incorporated into the monument, and today the tomb’s flame is rekindled every evening at 6.30 p.m. to show respect for All of France’s fallen.

One such event was just winding up as I arrived.

The Arc de Triomphe is a symbol of the French people’s national pride © Karen Rubin/goingplacesfarandnear.com

I was transfixed by the arch, the spectacular bas-reliefs of historic events that grace each pillar – The Entry of Napoleon, The Conquest of Alexandria and The Battle of Austerlitz. The most famous of them, The Departure of the Volunteers, also known as La Marseillaise, was created by the Romantic sculptor François Rude in 1792. The others were crafted by two other sculptors, Antoine Etex and Jean-Pierre Cortot Plaques list the names of hundreds of generals and battles.

Stunning reliefs decorate the Arc de Triomphe, recalling France’s history  © Karen Rubin/goingplacesfarandnear.com

Admittedly, I didn’t know that you could enter the monument and climb the 284 steps to to the terrace (an elevator is available for those who require it) for a view, or that there is a museum inside – The Permanent ‘Great Moments of French History’ exhibition which traces the story of the Arc de Triomphe and explains the architecture, friezes and sculptures. So I definitely did not book tickets in advance. But the line to purchase tickets was ridiculous so I happily contented myself to just study the stunning reliefs and be transfixed by the arch’s form. (Having a Paris Museum Pass would have provided free admission without the need to reserve a time.)

Stunning reliefs decorate the Arc de Triomphe, recalling France’s history  © Karen Rubin/goingplacesfarandnear.com

What I missed though was the dramatic view from the top: looking down the Champs-Élysées to the Louvre, out to La Defense, around to the Eiffel Tower. And you look straight down at one of the world’s largest round-abouts, where the 12 avenues come together.

The Arc de Triomphe is a triumph of architecture and decoration © Karen Rubin/goingplacesfarandnear.com

You can purchase tickets in advance; the Arch is also included on the Paris Museum Pass http://en.parismuseumpass.com/

I continued my walk well into the evening, following the route the concierge at the Hotel Napoleon laid out for me: strolling down the Champs Elysee, turning onto the Avenue George V (and passed the famous Hotel George V), to the Seine.

Paris is truly magical, truly the City of Light and romance. Couples walk along the quai, attach a lock to just about any wrought iron they can find, pose for a selfie.

That first view of the Eiffel Tower at night, reflected in the Seine, is breathtaking © Karen Rubin/goingplacesfarandnear.com

That first view of the Eiffel tower from across the Seine, the bateaux mouches sailing by (I’m seeing Audrey Hepburn and Cary Grant in “Charade”) as the sky takes on the rosy tones of sunset, fills you with a giddiness that can be described as joie de vivre. By the time I headed back along the quai, passing couples in amorous embraces, night has descended and the views of the lighted tower, bridges, and reflections on the river take your breath away.

Walking back to the Hotel Napoleon on a tony residential street just off the Champs Elysee, I felt more like I am going back to my swank Parisian apartment rather than a hotel. I get another view of the Arc de Triomphe as I turn the corner.

Walking back to the Hotel Napoleon Paris at night, you get a view of the Arc de Triomphe © Karen Rubin/goingplacesfarandnear.com

Hôtel Napoléon Paris 5,40, av. de Friedland 75008 Paris, Direct phone   +33156684480, www.hotelnapoleon.com, https://www.historichotels.org/hotels-resorts/hotel-napoleon-paris/, https://preferredhotels.com/hotels/france/hotel-napoleon-paris

More planning help from the Paris Tourist Office, https://parisjetaime.com/eng/. Online ticketing at https://parisjetaime.com/eng/tickets.

For Olympics planning (and where you can purchase tickets that become available), https://www.paris2024.org/en/

Next: Musee D’Orsay Highlights Day 2 in Paris

See also:

ROMANCE IS AT THE HEART OF THE HOTEL NAPOLEON IN PARIS, CITY OF LOVE

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© 2024 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures 

Experts at NY Travel Show Offer Tips for Satisfying, Meaningful, Purposeful Travel

A wedding couple in Hangzhou, China. Travel is how ideas, innovations and progress, improved living standards and quality of life are spread among peoples, as Marco Polo proved. Travel is humanity’s best hope for peace and cooperation as people from different places see and appreciate that we are more alike than different, and appreciate the differences. © Karen Rubin/goingplacesfarandnear.com.

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

It’s like this: travel is humanity’s best invention to promote the advancement of civilization. Travel is how ideas, innovations and progress, improved living standards and quality of life are spread among peoples, as Marco Polo proved. Travel is humanity’s best hope for peace and cooperation instead of zero-sum annihilation, as people from different places see and appreciate that we are more alike than different, and appreciate the differences. Travel is a community’s best hope for providing the economic underpinnings that provide jobs, upward mobility and enable people to stay on ancestral lands, have the funds to preserve and protect the environment, culture and heritage, and yes, make the adaptations and mitigations to prevent the ravages of climate change. Indeed, just as the travel industry has led the way with e-commerce, yield management, and  loyalty programs, the industry – the third largest in the world – is leading the way on climate solutions,

Tourism is what provides the economic underpinnings to support jobs and upkeep of such treasures as the Treasury at Petra, Jordan. To avoid crowds, stay overnight and enter the ancient city in the early morning © Karen Rubin/goingplacesfarandnear.com

Travel also is life-enhancing, enriching, potentially life-changing and among the best therapies against despair – providing a conduit for forging social connections, self-improvement, overcoming fear, anxiety and apprehension by fostering understanding and empathy, broadening perspectives. The experience of travel fosters resilience, self-confidence, self-reliance, adaptability, forges lasting bonds of family and friendship and broadens perspective and outlook.

That’s not just me saying it. It’s what travel experts with collective experience of decades (including myself), have seen and experienced firsthand.

“When we travel, experience the world, it changes us in a deep and profound way,” Pauline Frommer of frommer.com, told a standing room only audience at the most recent New York Travel & Adventure Show at Javits Center. “Right now we live in such a divided word – different facts inform our view but when we travel, we see the truth on the ground, that other countries have something to teach us, we can bring that back, and present an impression of America that is positive in places that may not have positive impression of America. Even with climate change, travel is one of the best tools in our ongoing search for creating world peace. So have wonderful, relaxing vacations, but your trips also can be meaningful and you can make a difference when you travel.”

“Consume news, but don’t let that make you a frightened person,” advises Rick Steves of ricksteves.com. “Be outward looking. If we want world to be peaceful, we have to build bridges. We can be challenged and stimulated by smart people who do things in smart ways. We can celebrate the Moroccan dream, the Bulgarian dream, just like the American dream – there is room for lots of dreams, As a traveler, we get to enjoy them all….[If we want a world of] peace and stability, the most powerful thing we can do as individual Americans is to travel and get to know people.”

Machu Picchu, Peru: travel has the potential to be life-enhancing, life-changing. But don’t put off your “bucket-list” experiences because you never know if there will be a pandemic, a political issue, a climate disaster. “Carpe diem,” says Patricia Schultz, author of “1000 Places to See Before You Die”

The COVID pandemic reinforced the value of travel – the three years of lockdowns and constrained travel upended local economies, while shutdowns that kept people from traveling underscored the human need for connection, for renewal, for new horizons to broaden perspectives.

“A life lesson we took away from COVID and postponed pleasure is that there is never a guarantee that we will be able to travel tomorrow or next year- our health, our need to care for people, political situation, climate disasters. Carpe diem,” says “1000 Places to See Before You Die” author Patricia Schultz.  She reflects on the places that she had included but have had to drop off her list recently – Ukraine, Syria, Iran even Jerusalem. “The lesson from this image [of people at the Western Wall] is carpe diem – if some place is on your bucket list and you think, well, the Pyramids will always be there, guess what? Don’t take anything for granted.”

And so with the pandemic in the rearview mirror (at least for now), people are traveling with furor and we are back to worrying about being crowded out and the potential impacts – and actions to prevent – overtourism. COVID-generated technologies and policies for advance purchase, capacity control are here to stay.

The excitement for traveling to the four corners of the globe and in every style, from decompressing on a beach, to joining an expedition to see gorillas in Uganda, to standing up for Ukraine by showing up in Ukraine, was evident at the New York Travel & Adventure Show, where booths were crammed and talks by experts including Rick Steves, Peter Greenberg, Pauline Frommer, on traveling smart, well and meaningfully were standing room only.

But because there is a whole world out there, you can make choices of where and when to travel. Don’t like crowds? Try to visit a destination when less crowded (though there is less of an “off-season” or “shoulder” season these days); find the “hidden gems” that offer as much atmosphere, experience and character; visit attractions either very early or later in the day (to avoid the hoards of cruise passengers and daytrippers); overnight in those charming, historic cities and villages (preferably in or within walking distance of the historic district) so you are there in the early morning and the evenings to enjoy the stillness and light without the hoards of cruisers and daytrippers; and pre-purchase tickets, city/museum/attractions passes so you don’t waste valuable time and money standing in line to purchase tickets. Climate and weather also have become major issues that should factor into where and when you travel.

Their message: By all means, experience the highlights of a place, but go further afield to seek out local experiences, opportunities to visit or stay in neighborhoods. Be a mindful traveler, a purposeful traveler: enhance the experience by learning the background, the stories and back-stories, hire a local guide, take a “free” walking tour (you basically tip the guide), sign up for some volunteer opportunity to give back to the community; seek out those tour programs that provide immersive opportunities to engage with locals.

The Pont du Gard aqueduct, for example, is the most-visited ancient monument in France. A UNESCO World Heritage Site, it is one of the best-preserved Roman sites in the world. Most people see it as a pretty photo op and do not understand how innovative the engineering was – how the Romans brought water from 30 miles away – and what a difference it made in the lives of people who didn’t have to spend hours of their day in pursuit of water.

Meet the people who live on Inle Lake, Myanmar © Karen Rubin/goingplacesfarandnear.com

“For a lot of tour groups, it is just a pretty bridge, a potty break, a souvenir stand. [But learning the backstory], humanizes this site,” says Rick Steves says. “How to carbonate the travel experience is about how to connect with people..Too many tourists sit on folding chairs watching yodeling on stage, but not connecting, and back in the hotel, only interact with other Americans. It’s a vacation, to be sure, but what is missing is what it means to travel.

Steves urges travelers to “get out of their comfort zone, to see culture shock not as something to avoid, but as the growing pains of a broadening perspective.”

“Become a cultural chameleon – physically change from culture to culture because it’s different.” That means going to where the locals hang out in the evening, drinking Ouzo in Greece, whisky in Scotland, tea in England, red wine in Tuscany, beer in the Czech Republic.” Go three blocks off the main drag to find the restaurants popular with locals; for some meals (breakfast, lunch) go to local groceries and markets and picnic. Seek out the family owned two-star hotel, inn, lodge, hostel or AirBnB – that not only saves money but adds enrichment because of a more “authentic” experience.

Pre-planning is the way to mitigate wasting time and money in line or with crowds.

“There are two types of travelers: those who wait in lines and those who don’t. Think carefully of minimizing lines,” Steves notes.

Crowds in front of the “Mona Lisa” in Le Louvre in Paris. Travel experts at the New York Travel & Adventure Show offered tips on how to avoid crowds and the lines, especially in places like Paris, where advance purchase of tickets to major museums and attractions is essential. In Paris, purchase the “Museum Pass.” © Karen Rubin/goingplacesfarandnear.com

Before you go: get an idea of the attractions and sites you want to visit (I query “Three days in….” at TripAdvisor and other travel writers to get some idea). Then, go to the attractions’ websites to get all the visitor FAQs (can I take a water bottle into the Vatican; a backpack into Le Louvre – not likely after the latest incident of vandalism against the “Mona Lisa”). As soon as you have your travel dates (that is, your air fare), immediately reserve the tickets– if the attraction is a highlight for you it is a highlight for most others. Your priority places will set the framework for your itinerary, and the time saved by not waiting on line can go to those serendipitous experiences and discoveries. The same with restaurants you have your heart set on frequenting – book a reservation as soon as you settle your dates.

Take advantage of city passes, museum passes (a must for Paris) and attractions passes from companies like GoCity.com and CityPass.com, as well as the passes offered by the cities themselves, like the PragueCoolPass.com. They not only let you breeze through, but give extremely helpful information about current exhibitions, hours, directions, visitor information.

The PragueCoolPass maximizes your enjoyment of this historic city, like visiting its famous Castle © Karen Rubin/goingplacesfarandnear.com.

Try to book the earliest opening hour of the day in order to minimize the crowds, but in any case, book the earliest time available in order to have the most amount of time.

If you are visiting an outdoor site like the Acropolis in Athens, avoid mid-day when it is not only hot as blazes, but overrun with thousands of visitors who have come off cruise ships or day trippers. Come either as soon as the Acropolis opens in the morning, when it is cool and uncrowded, or at the end of the day (as I did), when the light is a gorgeous golden, the views of the city are amazing, it is cooler and the biggest crowds have left.

Visit attractions like the Acropolis at the beginning or at the end of the day to avoid the crowds and the heat and enjoy the golden light © Karen Rubin/goingplacesfarandnear.com.

This is also the advantage of overnighting in the most charming cities like Bruges, Strasbourg, Seville, Venice, Prague, Amsterdam, Fez and important sites like Petra – choose a hotel in the historic district that is walking distance to everything but you get to enjoy in the early morning and evening when the lights/lighting/colors are so amazing, the canals like mirrors, the city streets are quiet and empty, before the onslaught of cruisers and daytrippers.

Overnighting in the boutique Flanders Hotel in Bruges’ historic district means you get to have this impossibly picturesque city to yourself at night and in the quiet of the morning before the daytrippers overrun it © Karen Rubin/goingplacesfarandnear.com.

Take advantage of “free” walking tours in cities – local guides work for tips. These are great way to get an orientation. Search “free walking tours” and read the reviews.

Also, in major cities like Paris and London, you can buy mutli-day transit tickets for the train/bus (you can also do bikeshare), so that instead of paying the price of a taxi or Uber from airport into downtown, you can purchase the pass that includes the train or tram from the airport, and not have to wait on lines to purchase individual tickets from machines and deal with the confusion of zones and station names.

Searching muiti-day tour finders is a great way to get an idea of how to organize your time, what to see, what you should pay, and find tour programs that might best meet your needs. Frommer recommends Travelstride.com and Tourradar.com. These marketplace sites, she notes, can introduce you to local companies instead of the big-name tour operators.

Considerations for choosing the right tour company: price (per diem) is only one consideration, also consider what is inclusions (all meals aren’t necessarily a good thing, you might prefer to be able to go off and find those local favorites instead of a restaurant that caters to foreign groups); traveling companions (it is fun to travel with people from other countries, not just Americans); expertise of the guide; demographics of the tour company (often there are family itineraries; women-only; solo travelers; small groups (EF Tours, Audley Travel); price (luxury versus mass market) and age such as younger travelers (Contiki) versus older (Road Scholar) (visit www.frommers.com: How to pick the right tour company for you”).

Discovery Bicycle Tours stops at a winery at the end of the day’s ride in the Eastern Townships of Quebec. Bicycle tours are ideal for women and solo travelers © Karen Rubin/goingplacesfarandnear.com

To find day tours, attractions, guides: Getyourguide.com; airbnb.com/experiences; tripadvisor.com. Foodies could look to TravelingSpoon and Eatwith. I like contexttravel.com.

Also be sure to pre-book rail (for example, raileurope.com) and bus transportation (flixbus.com is terrific) between cities. Find schedules at Rome2Rio.com.

Taking the train from Paris to Strasbourg, France. Be sure to book your ticket in advance © Karen Rubin/goingplacesfarandnear.com

To find the best airfares (always tricky), Frommer recommends searching Momondo.com/Kayak.com, Skyscanner.com, and CheapoAir.com. Momondo (and Kayak, which are owned by the same entity) tended to consistently find the lowest fares, and have filters that let’s you select for everything from the type of plane (if you wanted to avoid a Boeing 737 Max 9, or if you wanted to find the airlines with the cheapest fares with a checked bag.

But the experts also recommend that after searching for the best fares, you book directly with the airline, ”because if you book through a third party, you can’t rebook as easily as directly through the airlines” if there is some delay, cancellation or need to change. “Search but don’t book,” Frommer says.

Frommer also railed against “drip pricing” – the extra fees that airlines attach (even though Biden has waged a campaign against junk fees.) US airlines average $78 in added fees; European airlines average $58. So for United, the average is 122% of the base fare; for jetblue it’s 147%; but for Sun Country its 201% and for Frontier, its 376%, so the added fees can be higher than the fare.

When you search for an airline, Frommer consistently recommends you “Hide your identity” “Use a privacy setting on the browser, or use a different browser and different computer if you return to search fares” because the airline will track you, gauge your interest and post higher fares.

Also, there are optimum times to search and book:

  • Purchase airfare on Sundays (6% cheaper domestic travel, 13% cheaper international)
  • Book 28 days out (“the sweet spot”) for domestic travel (24% savings), 2-4 months out for international (10% savings)
  • Start your trip on a Thursday (16% savings over flying on a Sunday)
  • Fly before 3 pm (to avoid the 50% increased risk of being cancelled or delayed)

For best hotel rates, book 3-plus months in advance for resorts like Hawaii, Mexico, Caribbean, Florida but just one week before in business cities (New York, London, Paris, Denver). “It takes courage to wait to book one week before travel, so book a refundable room in advance, then search a week ahead of travel.”

“For first time in 20 years, I am having to research New Jersey hotels for people coming to New York City, because on September 18, the city got rid Airbnb, and all the cheap hotels are filled with migrants. Hotels were  charging $900 in December compared to $129 in January for the same room.”

Welcome to Riad el Yacout, built in 1347 for Professor Laharchi, philosophy who taught at the famous Al Qaraouvine university, which stayed in the family until 2000, when it was converted to a 33-room guesthouse, Fez, Morocco, booked on hotels.com © Karen Rubin/goingplacesfarandnear.com

To find “secret hotel discounts, Frommer is recommending seeking out travel clubs like RoomSteals, the new Travel & Leisure Club, professional associations’ travel clubs – some which have fees to join – and @Hotel on Instagram (no fee to belong).

How do clubs have “secret: rates? “Hotel companies have contracts with Expedia, Orbitz, Travelocity etc. and are not allowed to offer publicly deeper discounts (more than 5-10%) than they give to expedia, orbitz). But if they can’t fill their rooms, they turn to the clubs.”  On the other hand, the clubs often do not show as much information as you need about services and the like.

Also, Frommer notes, Airbnb isn’t necessarily a bargain over hotel rates. “Now because so many extra fees, a recent study showed in 48 of 50 states you pay more at Airbnb than hotel (two exceptions are Nevada and Louisiana). But AirBnB is great for groups, families, if you need a kitchen (and want to save money cooking), but on average, you no longer save money on a rental vs. hotel.”

On the other hand, Frommer has always been a big booster for home exchanges – where you actually trade the use of your home for someone else’s – a way to save money but also really live like a local.

“You can go anywhere in the world – a Paris apartment, a houseboat in Sausalito.” Among the exchanges are HomeExchange.com.

Pauline Frommer cautions about getting too cautious – fearful – of traveling abroad,

Pointing to the recent US State Department’s worldwide travel advisory in the wake of the Israel-Hamas war, she notes that Australia, Canada, France, Germany, Japan, Mexico, Uruguay, and Venezuela all have travel advisories against coming to the US because of the gun violence epidemic. “Venezuela thinks it is too dangerous to come here.”  The State Department’s worldwide caution for Americans, is as if to say, “’Don’t travel anywhere, the world is too dangerous. That’s mind boggling. Yes, listen to the US State Department, read the cautions, but understand the rest of the world is terrified to come here.” There is a lot to listen to, though – such as where women of child-bearing age should be mindful of Zika, or where there is political instability or widespread crime, and urges travelers to enroll in the State Department’s “Smart Traveler” program.

The experts advise purchasing travel insurance and soon after you purchase your flights, so that you are covered if for some reason you have to cancel.

Pauline Frommer suggests looking for travel insurance that covers “Cancel for any Reason” (CFAR), includes medical evacuation and covers pandemics (policies do not necessarily cover “fear of travel” if there is a pandemic but a destination isn’t closed by authorities).

“Say the destination has a new strand of COVID but didn’t shut down, and you decide not to go – if you cancel with regular insurance, it won’t be covered – because ‘fear of travel’ is not included. A CFAR policy allows you to cancel for any reason – it’s more expensive, but will repay 75% of costs.

All the experts discourage purchasing travel insurance from the travel provider (tour operator, cruiseline), but to use apps that give you different policy recommendations based on your needs (date of travel, who traveling, age, destinations) such as Squaremouth.com, Insuremytrip.com and Travelinsurance.com.

“Inevitably the most expensive policy covers the least, but the best is usually in the middle,” Frommer advises. “Never ever buy from the travel company you are going with – if they go belly up, you’ve lost insurance too.”

Angel Castellanos (www.angelestravellounge.com) offered more tips on traveling smart with technology, like Google Fi (which makes its own SIM cards and has free international data roaming in most countries) and T-Mobile (which do not charge roaming fees for international calls; calls are 25c/minute; unfortunately, it is rare to get internet service with T-mobile abroad; you use the available WiFi) instead of having to pay for an international phone/data plan. Also, consider purchasing an international SIM card for $2.

For digital safety, he recommends installing a VPN (a virtual private network) on to mask your identity when you are on a public network, with digital thieves trying to steal passwords. He recommends ExpressVPN which works all over the world.

Flying, definitely register for TSA Precheck (costs $75, good for 5 years, and some credit cards rebate the charge), and CLEAR, which uses biometric data to verify your identify, and let’s you go directly from the kiosk to the front of the line “like a VIP. In certain airports that can make the difference in making the flight.” And several business credit cards like American Express Platinum rebate the cost of Clear.

Denver International Airport. Use TSA PreCheck, CLEAR, MyTSA, to breeze through the airport © Karen Rubin/goingplacesfarandnear.com

You can also install the MyTSA app on your device, a free app that gives real time information for what is happening at airport – how long the security line is taking, if one area of the airport is closed and you need to go through TSA in a different location.

Now, the Homeland Security department offers mobile passport control, even if you are not registered for Global Entry (which is similar). You can enroll by submitting passport information and responses to CBP (Customs & Border Patrol) – the free version requires you to enter passport information each time – answer the questions, then you get to whisk through a third line (the regular line, the Global Entry kiosk, and now the Mobile Passport control).

“Google is one of biggest game changers for international travel,” he notes. You can download maps in advance so they are available when you do not have access to WiFi.

The same is true for languages. “Language is no longer a barrier. You can program a phrase like ‘I’m allergic to peanuts,’ and it will show it written as well as speak. You can download the language in advance so it can translate even when offline. You can use the camera function to translate foreign languages into English.”

Of course this eliminates the delight and satisfaction of finding a local person who can either speak English or mime an answer to “I’m lost, Can you tell me how do I get to….?”

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© 2024 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures 

‘Billy Joel-My Life, A Piano Man’s Journey’ Exhibit is Must-See at Long Island Music Hall of Fame

Billy Joel at the preview of the first exhibit devoted to his life and career, Billy Joel – My Life, A Piano Man’s Journey at the Long Island Music and Entertainment Hall of Fame: “This is quite an honor. I didn’t expect it to be that extensive. I’ve had a life.” © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, www.goingplacesfarandnear.com

After nearly a year of planningthe Long Island Music and Entertainment Hall of Fame (LIMEHOF) opened the first-ever exhibit dedicated exclusively to LIMEHOF Inductee and Long Island’s own music legend Billy Joel, at its Stony Brook museum location .

Billy Joel – My Life, A Piano Man’s Journey, created with Joel’s support and chock-full of his personal items, is this incredible showcase that brings you into his decades long career. It includes some of Billy Joel’s most cherished items, rare memorabilia, behind-the-scenes videos, awards, rare audio and video recordings, vintage instruments and historic photos, many donated by Billy Joel and never seen before in public.

This exhibit, the second since the museum opened in November of 2022, is a precious opportunity to experience Billy Joel’s life-spanning career from his roots in Levittown through his record albums, tours, inspirations, and personal experiences. You follow his life from his early days in bands like the Lost Souls, the Hassles and Attila through his solo career from his 1971 “Cold Spring Harbor” debut album, his monumental concert series with Elton John, his historic concert in the Soviet Union, at Shea Stadium, as Madison Square Garden’s artist in residence, to the present.

While Billy Joel has shunned such attention in the past, his incentive for cooperating on this exhibit was his desire to boost Long Island. “Historically Billy Joel has never done an exhibition. He doesn’t like to blow his own horn because he’s kind of a humble guy next door,” said Kevin O’Callaghan, LIMEHOF board member and Creative Director, who designed the exhibit. “When I said to Billy, ‘I think Long Island really needs this,’ he gave me the thumbs up. It was a home run.”

That humility – and his commitment to Long Island – was on view at a preview of the exhibit on November 21, just before its official opening.

Billy Joel at the preview the exhibit “Billy Joel – My Life, A Piano Man’s Journey” at LIMEHOF, “This is a little overwhelming. Did you ever find yourself surrounded by you? I guess I lived. I always wondered, did I pick this life or did it pick me? ‘Cause I really didn’t think I had much of a choice. I was going to do this no matter what because I love music.” © Karen Rubin/goingplacesfarandnear.com

“Where did they get all this junk? I didn’t know where they were storing all these things,” Joel joked. “This is quite an honor. I didn’t expect it to be that extensive. I’ve had a life.”

“This is a little overwhelming. Did you ever find yourself surrounded by you? I guess I lived,” Joel reflected, surveying the room. “I always wondered, did I pick this life or did it pick me? ‘Cause I really didn’t think I had much of a choice. I was going to do this no matter what because I love music.”

Joel also declared that even though he’s currently selling his Centre Island home, he’s not leaving Long Island.

“This is my home and it will always be my home,” said Joel. “We will come visit this place a lot.”

Bob Buchmann, who had been a DJ at WBAB for 20 years (he’s now director of music programming for Sirius XM) came from Los Angeles to be at the exhibit preview, noting that Joel named his charity, Charity Begins at Home. “That tells you where his head is. Few people know the commitment Billy Joel has to Long Island.” © Karen Rubin/goingplacesfarandnear.com

Bob Buchmann, who had been a DJ at WBAB for 20 years (he’s now director of music programming for Sirius XM) came from Los Angeles to be at the event. He reflected that he began working with Billy Joel 29 years ago on his charity that Joel named Charity Begins at Home. “That tells you where his head is. Few people know the commitment Billy Joel has to Long Island.” He started working with Joel after “The Stranger.” “He was already a big deal. Then he became a bigger deal.” (For his accomplishments as a musician and humanitarian, Joel was honored as the 2002 MusiCares Person of The Year by the MusiCares Foundation and the National Academy of Recording Arts & Sciences.)

To construct the biography that fills the notes in the panels, O’Callaghan “did deep research. I interviewed 100, contacted other musicians. The funny thing is that on Long Island, everyone has a Billy Joel story, met him, spoke to him.”

Kevin O’Callaghan, LIMEHOF’s Creative Director who designed the Billy Joel exhibit, said “I did deep research. I interviewed 100, contacted other musicians. The funny thing is that on Long Island, everyone has a Billy Joel story, met him, spoke to him.” © Karen Rubin/goingplacesfarandnear.com

Were there any revelations in the course of his research? “The amount of success he had after “Piano Man.” Every record he did had 2,3,4 hits, a nonstop train, then he stopped recording and went into touring.” Billy Joel produced 13 studio albums, the last one more than 20 years ago.

“It has been a thrill and an honor to work with Billy in creating this extraordinary testament to his life and music,” O’Callaghan remarked.  “It is one of the highlights of my long career and I’m sure visitors will be thrilled with the result.” O’Callaghan, who also designed LIMEHOF’s first exhibition, and Canadeo presented the exhibit plans and designs to Billy Joel several times during the past year and incorporated his input.

The centerpiece of the exhibit is a grand piano Billy Joel used on his “Face to Face Tour” with Elton John which spins on a 16-foot revolving turntable © Karen Rubin/goingplacesfarandnear.com

The centerpiece of the exhibit is a grand piano Joel used on his “Face to Face Tour” with Elton John that sits on a 16-foot revolving turntable with a wall-sized backdrop of live concert clips of him playing the piano with audio – including performing with Paul McCartney. On top of the piano is Joel’s harmonica and neck brace that O’Callaghan said he found inside the piano. “This is like holy grail stuff.”

The grand piano Billy Joel used on his “Face to Face Tour” with Elton John features has a wall-sized backdrop playing live concert videos© Karen Rubin/goingplacesfarandnear.com

The Rocket Man and The Piano Man came together in July 1994 and began what is considered the longest-running, most successful collaboration in pop music history. They played in stadiums across the globe from 1994-2010.

Other highlights: in 1987, Billy Joel brought his band and his family to the USSR for six concerts in Moscow and Leningrad, making history when they played at Olimpiyskiy Stadium in Moscow as the first Western artist to perform behind the Iron Curtain. “Billy thought himself a diplomatic musician. ‘I was very proud of that trip, and I think we helped kick the door in a little bit to open it up to democratic stuff’.”

Billy Joel played the last concerts before Shea Stadium was torn down and played the first concerts at Citifield © Karen Rubin/goingplacesfarandnear.com

Shea Stadium was opened in 1965 with a concert by The Beatles, and Billy Joel headlined the final act before it closed in 2008. “The Last Play at the Shea” had epic performances including Tony Bennett singing “New York State of Mind”, but then Paul McCartney surprised him, running onstage to perform “I Saw Her Standing There,” and “Let it Be,” ending the circle The Beatles began in 1965. The two played together again to open Citifield.

The most remarkable relationship, though, is Billy Joel’s 45 year relationship with Madison Square Garden, beginning in 1978. In 2013, he became MSG’s first-ever music franchise, starting a residency in January 2014 with a line up of one show per month “as long as the demand continues.” By 2018, he had hit 100 performances; a banner in the exhibit lists 125, and he is expected to hit 150 before the residency finally ends next year.

The exhibit celebrates Billy Joel’s 45 year relationship with Madison Square Garden © Karen Rubin/goingplacesfarandnear.com

Throughout the exhibit, there are these incredibly personal insights into his music.

Of the items of which O’Callaghan was most proud to display are the music instruments that his band, The Hassles, would have used, including the keyboard and a rare scroll bass and a piano (the drum with The Hassles name is original, but the musicians would not part with their actual instruments).

Of the items of which O’Callaghan was most proud to display are the music instruments that Billy Joel’s band, The Hassles, would have used when he was 17 © Karen Rubin/goingplacesfarandnear.com

“The Hassles. That was the beginning, his first success. One hit record – he got a taste of what it was like to be a star. It was pivotal to make contact with them, it was fun.”

In a panel titled “Billy the Kid,” Joel is quoted as saying, “I could make my piano talk for me. The piano spoke what I was feeling.”

It’s because the exhibit is so personal, so intimate that it is so inspiring. You see Billy Joel’s house in Levittown, considered the birthplace of America’s Suburbia (he changed the name to Allentown for the song), where his parents moved from the Bronx soon after he was born in 1949. There is actually a program for his first recital at age 11, and a photo of him playing in a high school band.

“Billy Joel – My Life, A Piano Man’s Journey” traces the music icon’s life and career from his childhood in Levittown, Long Island © Karen Rubin/goingplacesfarandnear.com

His father was a virtuoso concert pianist as well as a businessman who was born in was born in Nuremberg, Germany, to a Jewish family who emigrated to the US by way of Cuba (because of US quotas) to escape Nazi Germany. His mother, born in Brooklyn to Jewish parents who emigrated from England, was the one who insisted on Billy taking music lessons.

“Beginning lessons at the tender age of four, he was precocious,” we learn from one of the panels. “‘I love this, I thought. There was wizardry to it, a kind of sorcery to the manipulation of sound. And it enchanted people.’ High school wasn’t a concern for Billy – music was. At 14 he would regularly miss class due to playing in bands all night. One day, Hicksville High School music teacher Chuck Arnold caught Billy playing Tchaikovsky’s Piano Concerto No. 1 and nurtured the talented teen, encouraging him to pursue music professionally.”

“Billy Joel – My Life, A Piano Man’s Journey” at the Long Island Music and Entertainment Hall of Fame traces the music icon’s life and career © Karen Rubin/goingplacesfarandnear.com

Billy dropped out of Hicksville High to focus on his music. But in 1992, after submitting essays to the school board in lieu of the missed exam, he finally was awarded his diploma at Hicksville High’s graduation ceremony 25 years after leaving. He returned 25 years after that, in 2017, to give the commencement address. Meanwhile, he has earned honorary doctorates from Fairfield University (1991), Berklee College of Music (1993), Hofstra University (1997), Southampton College, Syracuse University (2006), Manhattan School of Music (2008) and Stony Brook University (2015).

Another panel describes his influences. In addition to Gershwin and Beethoven, we learn that “In the late 50s, Billy was fascinated by Elvis Presley, impersonating him during a ‘Hound Dog’ performance in third grade. The Beatles heavily influenced Billy’s life, confirming his determination to become a professional musician.” His tastes widened to embrace 60s rock and roll, soul and blues, with influences like Ray Charles, Otis Redding and Chuck Berry, jazz greats Art Tatum, Dave Brubeck and Oscar Peterson. The Beach Boys were also important to him: he opened for the Beach Boys early on in his career, and later performed “Don’t Worry Baby” at a Brian Wilson tribute concert in 2010.

We are brought back in time to Billy Joel’s early band: The Hassles were “a blue-eyed soul band” formed in 1964 on Long Island, most notable for recording the first release featuring Billy Joel (he was 17 when he joined). The Hassles earned $250 a week as the house band for My House, a club run by Danny Mazur. “The band often played 20-hour days in clubs throughout Long Island and Manhattan, sneaking into shows like Led Zeppelin and Jethro Tull during their free time. The Long Island band served as an educational experience for Billy, signing with United Artists and getting his first taste of success.” (If you saw LIMEHOF’s first exhibition, you would appreciate the impact that Long Island’s many music venues had on birthing the talent that now fills its Hall of Fame.)

“Billy Joel – My Life, A Piano Man’s Journey” at the Long Island Music and Entertainment Hall of Fame traces the music icon’s life and career © Karen Rubin/goingplacesfarandnear.com

We learn that “The Piano Man” (1973), Joel’s second album and first with Columbia, “is what really went on when I was a piano man in this piano bar,” Billy Joel said in 2017. “All the characters have the same name. There was John at the bar, the bartender, Davy was in the Navy, a guy named Paul, who was a real estate agent and was trying to write the great American novel, and the waitress, who was my girlfriend at the time and then became my wife.”

There are stations where you can listen to albums like “The Stranger” (1977), Joel’s first critical and commercial breakthrough album, which sold over 10 million copies and spawned hit singles including “Just the Way You Are,” “Movin’ Out,” “Only the Good Die Young,” “She’s Always a Woman” and “Scenes from an Italian Restaurant,” which is notably one of Joel’s favorites of his own songs. You can also listen to “52nd Street” (1978), his first album to peak at No.1 on the Billboard 200 chart, among others.

You can listen to Billy Joel’s albums at the LIMEHOF exhibit “Billy Joel – My Life, A Piano Man’s Journey” © Karen Rubin/goingplacesfarandnear.com

He has gone on to sell 160 million records, making  him one of the world’s top-selling music artists; had 33 Top 40 hits and 23 Grammy nominations since signing his first solo recording contract in 1972, winning six.

He has gone on to sell 160 million records, making  him one of the world’s top-selling music artists; had 33 Top 40 hits and 23 Grammy nominations since signing his first solo recording contract in 1972, winning six. He has won the Grammy Legend Award (1990), was inducted into the Songwriters Hall of Fame (1992), the Rock & Roll Hall of Fame (1999), and the Long Island Music Hall of Fame (2006). He’s won the Johnny Mercer Award (2001)Diamond Award from the Recording Industry Association of America for albums that sold over 10 million copies; got a star on Hollywood’s Walk of Fame (2004), and received The Library of Congress Gershwin Prize for Popular Song (2014).

What such a retrospective shows is that Billy Joel’s songs are less the typical love sought or love lost that are typical of pop, but more ballads that “meant something during the time in which I lived … and transcended that time” – like “We Didn’t Start the Fire”. Indeed, he was presented with the Kennedy Center Honor (December 2013), given for influencing American culture.

Billy Joel has remained true to his Long Island roots © Karen Rubin/goingplacesfarandnear.com

Joel has remained true to his Long Island roots. His first solo album was named for the hamlet, Cold Spring Harbor. He recorded Live from Long Island, his first video special, at the Nassau Veterans Memorial Coliseum in Uniondale on December 30, 1982. When he premiered his new song “Christmas in Fallujah”. on December 1, 2007, it was performed by Cass Dillon, a new Long Island based musician. (The track was dedicated to servicemen based in Iraq. Joel wrote it in September 2007 after reading numerous letters sent to him from American soldiers in Iraq. “Christmas in Fallujah” is only the second pop/rock song released by Joel since 1993’s River of Dreams; proceeds benefited the Homes For Our Troops foundation).

On December 12, 2012, Joel performed at the Concert for Sandy Relief at Madison Square Garden in support of victims. In October, 2013, Joel held a surprise concert at The Paramount in Huntington to benefit Long Island Cares. His August 4, 2015 concert at Nassau Coliseum was the final concert before prior to the arena’s $261 million renovation and he returned to on April 5, 2017 to play the first concert at the newly renovated venue.And in 2010, Joel opened a shop in Oyster Bay to manufacture custom-made, retro-styled motorcycles and accessories. One of his motorcycles is on exhibit at LIMEHOF.

One of Billy Joel’s motorcycles in the LIMEHOF exhibit “Billy Joel – My Life, A Piano Man’s Journey” © Karen Rubin/goingplacesfarandnear.com

“We are thrilled and honored to present the Billy Joel exhibit everyone has been waiting for,” said Ernie Canadeo, LIMEHOF Chairman. “Billy has been very cordial and involved in the planning, and it is appropriate the exhibit is on Long Island, where he has long been identified, written so many songs and lived most of his life. It is a fitting tribute to Long Island’s most successful entertainer and is guaranteed to thrill his legions of fans.”

The LIMEHOF Billy Joel exhibit is supported and sponsored by Catholic Health, The Joel Foundation, Madison Square Garden Entertainment, Jake’s 58 Casino Hotel, The Haugland Group, M&T Bank, The EGC Group and Lessing’s Hospitality.

“Catholic Health is very proud to be the presenting sponsor of the Long Island Music and Entertainment Hall of Fame and this particular exhibit really captures what it’s all about,” said Joe Carofano, Senior Vice President of Strategy and Chief Marketing Officer of Catholic Health. “Billy Joel, The Long Island Music and Entertainment Hall of Fame and Catholic Health all share a common love of Long Island; its spirit, its heritage and its unique character. Our roots are intertwined; bringing us together to celebrate the joy of life that Long Island inspires in all of us.”

“Billy Joel – My Life, A Piano Man’s Journey” at the Long Island Music and Entertainment Hall of Fame traces the music icon’s life and career © Karen Rubin/goingplacesfarandnear.com

Timed entry tickets are available at www.TheBillyJoelExhibit.com and at LIMEHOF (VIP “any time” tickets good for the duration of the exhibit, are also available). The exhibit is open Wednesday, Thursday, and Sunday (11 am-6 pm); and Friday and Saturday (11 am-7 pm). The exhibit is expected to run at least through August 2024.

Founded in 2004, the Long Island Music Hall of Fame is a 501(c)(3) organization dedicated to the idea that Long Island’s musical and entertainment heritage is an important resource to be celebrated and preserved for future generations. The organization, which encompasses New York State’s Nassau, Suffolk, Queens, and Kings (Brooklyn) Counties, was created as a place of community that inspires and explores Long Island music and entertainment in all its forms. In 2022, LIMEHOF opened its first Hall of Fame building location in Stony Brook, New York. To date, the organization has inducted more than 120 musicians and music industry executives, and offers education programs, scholarships, and awards to Long Island students and educators.

For more information about LIMEHOF visit www.LIMEHOF.org

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© 2023 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/NewsPhotoFeatures 

Beyond Van Gogh, Beyond Monet Immersive Experiences Offer New Way to Appreciate Masters and Their Masterpieces

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, www.goingplacesfarandnear.com

What the leading edge technology of Beyond Van Gogh: The Immersive Experience does is to turn a static, albeit emotional, experience of appreciating a painting, into an active, dynamic, cinematic one.

On view at Samanea New York Mall, Westbury, Long Island only until January 2, in the course of 40-minutes, you see some 300 of Van Gogh’s paintings surrounding you, projected on all four walls and the floor in a 30,000 sq. ft. space the size of a basketball court. The paintings fill the entire wall, large enough to walk into, become animated, turning stills into images that grow, change, emerge, ripple, wave, flow and blossom over you – in essence, animating the movement that Van Gogh so powerfully created with his paint strokes.

It is as if you see the painting develop from Van Gogh’s perspective, his mind’s eye and hand.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

And I have to say, it is more stirring to see his works this way, than when I have seen “Starry Night Over the Rhone” which attracted the biggest crowds in a room in the Musée d’Orsay in Paris, or “Sunflowers” at the Museum of Modern Art, or his famous self-portrait at the Metropolitan Museum of Art. Is it blasphemous to say that these manifestations are more emotionally captivating than the original? Or is it enough to say, the paintings presented this way are as emotionally captivating but in a different way that adds cinematic drama.

The other benefit is that you see in this incredible 40-minute presentation some 300 of Van Gogh’s paintings – and not just zipping in front of your eyes, but well paced, magnificently and respectfully presented, each scene staying long enough to absorb what you are seeing all around you, to music perfectly curated to convey mood and emotion, before changing again.

It begs for active engagement in the sense of walking around, changing your visual perspective, even as the scene changes. There is a sense of immediacy as well as immersion.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

Timed tickets, the vast openness of the space and enormous scale of the paintings almost insure you will have enough space to feel yourself a part of the paintings, large enough as if you could walk into any scene.

The music that provides the backdrop for the different scenes and themes of the works presented are equally well curated.

You are in tune with Vincent, as well, because the paintings seem to originate as if from his own hand – the basis are these sensitive quotes that mostly come from the letters between Vincent and his loving brother Theo, which document how he came to his artistic expression.

the heart of man is very much like the sea, it has its storms, it has its tides and in its depths, it has its pearls too,” he wrote Theo from Isleworth in 1876.

“…in all of nature, in trees for instance, I see expression and a soul, as it were,” Vincent writes Theo in 1882.

“I don’t know if you’ll understand that one can speak poetry just by arranging colours well, just as one can say comforting things in music,” he writes his sister Willemien from Arles, in 1888.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

Van Gogh’s biography is very much abbreviated – the focus is on his art and creativity. But there are these important nuggets that provide a context for better appreciating the paintings, that come from revealing quotes from the letters between Vincent and his loving, supportive brother Theo, which document how he came to his artistic expression and what art, color, light, nature meant to him.  I had no idea he came so late to being an artist, beginning when he was 27, in fact, the vast majority of his 1000 canvases, painted in only a decade, were painted in the last three years of his life, or that he became an art dealer like his brother, Theo, then, briefly studied to become a preacher, before devoting himself to his art.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

But it is intensely personal – throughout the exhibit, you see and hear snippets of Van Gogh’s letters to his brother, Theo, that provide such insights into Van Gogh’s essence, and burst the monotone myth of a man in a constant state of anguish: “the heart of man is very much like the sea, it has its storms, it has its tides and in its depths, it has its pearls too,” he wrote Theo from Isleworth in 1876.

 “In life and in painting too,” he writes Theo in 1888 from Arles, “I can easily do without the dear Lord, but I can’t, suffering as I do, do without something greater than myself, which is my life, the power to create.”

Paintings emerge like brush strokes, or like ripples of hot air, or like waves that wash over the canvas, splashing across the floor.

Sometimes the paintings themselves are made to animate, like the smoke that rises from the pipe he smokes in a self-portrait; and a windmill’s fans actually turn (a game for the viewer, a device to engage).

The scenes unfold, linger long enough to be appreciated, then another scene emerges.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

It is stunning to see his famous “Starry Night Over the Rhone” (1888) take over the walls and splash over the floor, the reflections of light in the water not at all static but shimmering, glittering and rippling.

 “..the sight of the stars always makes me dream…” Vincent writes Theo from Arles in 1888.

In another scene, trees grow up with springtime blossoms multiply,  blow in the wind, gathering more and more, becoming a storm of petals. You hear the wind.

Another display imagines a score of canvases stacked up against the wall – then transmute to stilllifes.

A roomful of the portraits he painted is profound – going beyond their surface image to create these characters.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

When a whole roomful of his self-portraits unfold, you are struck by the honesty. “It is difficult to know oneself, but it isn’t easy to paint oneself either,” he writes from Saint-Remy in 1889

Van Gogh didn’t sell any of his art during his lifetime. He suffered from clinical depression that in those days, had no medical treatment. But he seemed to have a desperate desire and even an inclination that his works would survive him, as when he refers to his subjects as becoming “ghosts” visiting future viewers.

An artist who today is considered one of the greatest of all time was considered a failure (as an artist). In this, Van Gogh gives hope and inspiration to every other failed, un- and under-appreciated artist.

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

The show, brilliantly, sensitively, imaginatively done, is itself a work of art – multi-media, performance art – because it takes all of these works and creates something new, a new way to experience the paintings, that will engage young people being introduced to art as well as devotees, artists and academics.

“I came to recognize and appreciate that the world was witnessing the cusp of a new art form- a reinterpretation of the fascinating narrative between master and masterpiece,” writes Gilles Paquin, Founder, Chairman, Executive Producer of Paquin Entertainment Group, Inc., in the forward to the show’s publication. “Combining fine art and artifacts with music and cinema, curated, staged and presented in a way that can be enjoyed by an audience so diverse it transcends the confines of age, gender and cultural demographics.”

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

“At the start of this creation, we searched for a refreshing perspective of Van Gogh’s vision of the world,” writes Mathieu St-Arnaud, Creative Director & Art Direction, Normal Studio. “What we found was unexpected and captivating: we were met with Vincent, a human being like all of us, an artist devoted to his craft, yearning for beauty and moved by purpose. It became a personal journey for us, one that we wanted to extend to audience members around the world: to go beyond the myth that is Van Gogh and instead meet Vincent, the man behind the vision. Wielding colour and light, Vincent transformed hardship and darkness into light and joy, infusing his work with a contagious sense of hope that it still exudes today. Amidst the challenges of today, there’s something truly inspiring in Vincent’s will to focus on the wonders of the world and his determination to both capture and share them with all of us. In more ways than one. Vincent is the artist we need right now.”

The end of the loop is a series of Vincent’s famous signature that emerge from scores of his paintings – we learn that he only signed “Vincent” because he feared his surname would be too difficult to pronounce. “yours very truly, Vincent.”

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

This scene is like Van Gogh’s final word as if to say, “This is me. This is what I created. This is what I have left to the world.”

Vincent Van Gogh left this world in 1890, 37 years old, just as his work was gaining critical recognition. “to succeed, to have lasting prosperity, one must have temperament different from mine,” he writes Theo in 1889. “I make a point of telling myself, yes I am something, I can do something.”

Beyond Van Gogh: The Immersive Experience is a multi-media, performance art showpiece that inspires new ways to appreciate Vincent Van Gogh’s genius © Karen Rubin/goingplacesfarandnear.com

Beyond Monet: The Immersive Experience

Long Islanders are lucky because Beyond Van Gogh: The Immersive Experience which was brought back after a hugely successful run through the holidays, alternates days with Beyond Monet: The Immersive Experience.

Beyond Monet: The Immersive Experience gives guests a glimpse into the emotions and perspectives of the leading figure of Impressionism: Claude Monet, with some 400 of his works. Taking inspiration from Musée de l’Orangerie in Paris, the designated home of Monet’s masterpieces, guests can freely roam the Infinity Room to absorb the artist’s bright and colorful paintings. Monet’s stunning imagery encompasses every surface of the room, transporting guests inside the paintings themselves. It is a haven for awakening the senses as the ebb and flow of the artwork is accompanied by the rhythm of an original score.

“When you stand inside Beyond Monet, you truly feel like you are part of Monet’s passionate quest for the effervescent beauty of the world,” Beyond Monet Art Historian Fanny Curtat said. “Experiences like these create fresh and original perspectives, allowing us to form new relationships with notable masterpieces in dynamic and fascinating ways.”

Beyond Monet: The Immersive Experience © Karen Rubin/goingplacesfarandnear.com

“Through cutting edge technology, Beyond Monet: The Immersive Experience is redefining what art means to people,” stated Paquin Entertainment Group’s President of Exhibitions and Theatrical, Justin Paquin “It has elevated artwork to the next level, allowing us to form new relationships with notable masterpieces that were just not possible in previous years.”

Ideal for enjoying through the holidays (both Beyond Van Gogh and Beyond Monet end the Long Island presentation on January 3), but there are other cities where the exhibitions are on view or will be).

Beyond Van Gogh: The Immersive Experience has sold over 6 million tickets worldwide and may be seen in San Diego and Tulsa and will be coming to Baltimore, Dayton, Grand Forks, Tallahassee, Tucson, Ventura, Washington DC, West Palm Beach.

See schedule and purchase timed tickets to Beyond Van Gogh: The Immersive Experience in advance at www.vangoghlongisland.com (on Wednesdays and Fridays) alternating with alternating with Beyond Monet The Immersive Experience at www.monetlongisland.com (on Thursdays, Saturdays and Sundays), at Samanea New York, 1500 Old Country Road, Westbury, NY.

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© 2023 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/KarenBRubin 

New Brunswick Roadtrip: Metepenagiag Heritage Center Highlights Miramichi Visit

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Metepenagiag Heritage Center has artifacts that show 3,000 years of habitation of the Mi’kmaq people in Miramichi, New Brunswick, Canada © Karen Rubin/goingplacesfarandnear.com

So often the best travel experiences happen by serendipity. I had left the Bay of Fundy coastal trail behind in Moncton this morning to continue our New Brunswick roadtrip, driving 90 minutes to Miramichi, a small city that’s the gateway to northern New Brunswick, Canada, renowned for hunting and fishing. I meet up with Amanda Craig, from Miramichi’s tourism office who was taking me to hike a mile-long trail to Fall Brook Falls (at 108 feet high is the highest in New Brunswick). It’s located in Irving Woodlands private preserve, but alas, the access road is closed. I had spotted a sign along the highway to the Metepenagiag Heritage Park and was really excited to learn more about New Brunswick’s First Nations history and so we head there.

Metepenagiag is so much more than a museum exhibition – it preserves, documents, honors and resurrects the Mi’kmaq heritage and culture.

Metepenagiag is an active archaeological site and research center where artifacts unearthed have provided proof the Mi’kmaq have been occupying this land for at least 3,000 years. When you first walk into the exhibition building, you can look into the lab where researchers examine artifacts. Some of the items, like a 1200-year old Earthenware pot, arrowheads and other items are on display.

Earthenware 1200 years old is on display at Metepenagiag Heritage Center, Miramichi, New Brunswick, Canada © Karen Rubin/goingplacesfarandnear.com

The significance of this place is clear when you learn that it was after decades and generations of a national policy to eradicate First Nations’ cultural heritage, when even speaking the language, so critical to passing along its oral history and tradition, was banned and children were forced from their community into residential schools to strip away their native identity, that in the 1970s, a Mi’kmaq member, Joe Augustine, discovered the Augustine Mound and Oxbow.

“When a company was planning to expand its gravel pit in our community, our beloved and respected Elder Joe Augustine remembered being told from his Elders before him of an old burial ground in the area,” state the notes accompanying a photo of Joe Augustine and Yvonne (Paul) Meunier digging at the pit state. “He went to the site they described and found what was to become the Augustine Mound – a cemetery dating back to over 600 BC.

Mi’kmaq Elder Joe Augustine discovered the Augustine Mound and Oxbow archaeological sites in the 1970s which provide evidence of 3,000 years of habitation in Miramichi, New Brunswick, Canada © Karen Rubin/goingplacesfarandnear.com
 

The concept of preserving, protecting and presenting the rich Mi’kmaq culture is expressed by our Elder and lives on in our community.”

In 1977, archaeological work began on another site Elder Joe Augustine uncovered: the Oxbow, a village site situated at the head tide, showing Metepenagiag has had over 3,000 years of continuous settlements right to the present day.

Artifacts uncovered at the Augustine Mound and Oxbow show that for the past three millennia, aboriginal people have repeatedly come to this oxbow in the Miramichi River to fish, hunt and gather plants © Karen Rubin/goingplacesfarandnear.com

Constructed about 2500 years ago, the circular Augustine Mound is a rare example in the Maratimes of the elaborate burial tradition associated with the Adena culture, which originated in the Ohio River Valley and then spread throughout eastern North America. The rich archaeological record found at the site includes well-preserved textiles and basketry, ornaments of Lake Superior native copper, Ohio fireclay pipes, and distinctive Adena-type stone tools dating back 7000 years.

The types of objects retrieved from the Augustine Mound are exceptional for this area of Canada – copper beads on leather, small pieces of baskets, textiles, animal hides, moose-hair work, porcupine quills, feathers and wooden-handled tools. The salts from thousands of copper beads helped save the raw natural fibers from decomposing.

Artifacts uncovered at the Augustine Mound and Oxbow show that for the past three millennia, aboriginal people have repeatedly come to this oxbow in the Miramichi River to fish, hunt and gather plants © Karen Rubin/goingplacesfarandnear.com

The earth mound, the types of burials and the artifacts suggest that the Mi’kmaq of Metepenagiag probably carried on complex trading and cultural relations with other Aboriginal societies as distant as central Ohio.

Oxbow is one of the largest pre-contact archeological sites in the Maritimes and remarkable for its rich and deeply stratified record of almost continuous human occupation. The artifacts uncovered show that for the past three millennia, aboriginal people have repeatedly come to this oxbow in the Miramichi River to fish, hunt and gather plants. Seasonal flooding covered their camps with silt, preserving evidence of their everyday life, including stone tools, ceramics, and fire pits.

Archaeological research is actively underway at Metepenagiag Heritage Center, Miramichi, New Brunswick, Canada © Karen Rubin/goingplacesfarandnear.com
 

Known today as the Mi’kmaq (from the word nikmaq, meaning my kin-friend), in ancient times they called themselves Lnu’k, The People. The Mi’kmaq are an Eastern Algonkian-speaking people closely related to the Wolastoqiyik, Passamaquoddy, Penobscot and the Eastern and Western Abenaki. Together, these nations formed the Wabanaki Confederacy.

“The findings of these two archeological sites scientifically prove the ancient oral history we have always known, passed down through many generations. This is our legacy and how two national historic sites came to be.”

“Elder Joseph (Joe Mike) Michael Augustine (1911-1995) left an important legacy: the rediscovery of the Mi’kmaq identity and culture as a people and as a nation.” Joe Mike served two terms each as Chief and as a Band Councillor.

Metepenagiag Heritage Center guide Marcus Alexander LaViolette poses with a photo of his great grandfather, Mi’kmaq Elder Joe Augustine discovered the Augustine Mound and Oxbow archaeological sites that proved Mi’kmaq habitation for 3,000 years © Karen Rubin/goingplacesfarandnear.com

“This is archaeological proof of living here 3000 years,” says our guide,  Marcus Alexander LaViolette, heritage interpreter, a 20-something fellow who turns out to be the great grandson of Joe Augustine, making his remarks all the more poignant.  

One room displays how the Mi’kmaq would have lived, season by season (they lived along the river in warm seasons, and moved to the forest in cold).

Mi’kmaq ancestors lived in wikuoms (wigwams), not tipis. Some cone- shaped wigwams could hold up to 30 people; A or V-type usually held large groups, which typically would have been built by women.

Marcus shows us a re-created canoe and the skin of an Atlantic sturgeon, which grew to a size “as long as a canoe.” A main food source for generations, the sturgeon, which could grow over 3 meters long and weigh 400 kilos, are now exceptionally rare – the last one was caught 30 years ago. “Sturgeon are an ancient fish in an ancient river; they haven’t evolved,” Marcus tells us.

Metepenagiag Heritage Center guide Marcus Alexander LaViolette with a canoe and skin of a sturgeon that once provided sustenance to Mi’kmaq, but now is virtually extinct © Karen Rubin/goingplacesfarandnear.com

The birchbark canoe “was likely the most remarkable Mi’kmaq construction.” It ranged from 3 to 8 meters long; with high ends and raised sides, a uniquely Mi’kmaq design, that kept the canoe from taking on water. Using this type of canoe, the Mi’kmaq ancestors traveled out to sea, up streams and down rapids. The canoe could transport large loads but was light enough so one or two people could easily carry it.

“We lost the tradition of canoe making,” Marcus tells us, “so this is a generic style for birch bark canoe.”

The exhibit hall is a portal to ancient history, he tells us, stressing that it is a point of pride that all the notes are equally translated in English, French, and Mi’kmaq, especially since only 5% of Mi’kmaq people can understand their native language. There are about 200,000 Mi’kmaq in Canada and in Maine.

Marcus notes that there the pots do not have a flat bottom but would be designed to wedge into the ground. They would boil or cook using superheated sand – which would form a crust around bread and not get into the bread. When it was done, they would pat it like a drum so the sand comes off, leaving the bread. “That they can recreate the process shows proof of concept – shows can do it, re-creatable.” (In the “Taste of Metepenagiag” package, guests learn how to make traditional bread.)

Metepenagiag Heritage Center displays how the Mi’kmaq would have lived, season by season © Karen Rubin/goingplacesfarandnear.com
 

The ancient Oxbow village was next to one of the best salmon fishing pools. For centuries the Miramichi River was a river of fish – so many salmon swam up the river that they would keep villagers awake at night as they fell on the water after leaping into the air. The ancestors smoke-dried a lot of the salmon catch for winter or to use in trade.

The Mi’kmaq ancesters knew the names and uses of trees, plants, flowers and herbs. Foods included fiddleheads, cat-tail roots, raspberries and blueberries. The bloodroot plant provided dye. Balsam fir helped to cure wounds. Canoes and containers were made from birchbark, wood and root, and mats from reeds and rushes. Sweetgrass and tobacco are still used in ceremonies.

Metepenagiag Heritage Center displays how the Mi’kmaq would have lived, season by season © Karen Rubin/goingplacesfarandnear.com
 

“We slowed down First Contact,” Marcus says, then adds, “The Mi’kmaq way of life did not last. With the first Europeans came dramatic changes. The ancestors began to spend more time gathering furs to trade for the prized European goods. They became dependent on Europeans for food. European diseases killed whole Mi’kmaq villages. With few people left to pass on tradition, much knowledge and history was lost.” In fact, the British barred them from hunting or fishing.

This place had always been important for trade – there is even evidence of the Vikings having come. European merchant traders set up a commercial fishery on the Miramichi River in the 1760s that destroyed much of the traditional salmon fishery. “The few Mi’kmaq living at Metepenagiag struggled to survive.”

Local women made this re-creation of the magnificent embroidered, beaded coat made in 1841 for British sea captain Henry O’Halloran who was made an honorary chief of the Mi’kmaq, on view at the Metepenagiag Heritage Center © Karen Rubin/goingplacesfarandnear.com

This is what made a magnificent embroidered, beaded coat that is on exhibit all the more significant, and treasured by the community: it is a re-creation of a fabulous coat, meticulously crafted by local women for a British sea captain, Henry O’Halloran. At a time when the Mi’kmaq were forced onto a reserve and weren’t allowed to hunt or fish, Captain O’Halloran traded with the indigenous people, provided food and formed a close relationship. The coat was made in 1841on the occasion of making him an honorary chief. This one is an exact replica, made by the local women, which if sold, would be valued at $300,000. (Marcus proudly says he got to model it.)

Marcus points to the Treaties of Peace and Friendship, saying, “When our ancestors signed treaties with the British Crown, such as in 1779, they did not give up ownership of our traditional lands. They also kept our rights to fish, hunt, gather and trade.” But these rights were not honored.

In 1994 Metepenagiag signed a historic “loss of land-use” agreement with the government of Canada. But it did not include all of the lands and access to resources that have been taken from our community. Negotiations are continuing in an effort to obtain a fair settlement.” Only recently, each tribal member received $20,000 from the Canadian government as compensation for land.

It is important to note that First Nations people – there are about 2 million in Canada – only received the right to vote without losing their native Indian status in 1960; the last residential school closed as recently as 1995. In 2014, Canada passed the Truth & Reconciliation Act, apologizing for the harm in trying to eradicate indigenous heritage, prompting a policy toward promoting indigenous rights and heritage. Indigenous tourism, a key tool for both economic development and preservation of indigenous heritage and culture, is now Canada’s the fastest growing industry, Amanda says.

At the end of our visit, Marcus says, “First Nations people don’t believe in goodbye – everything is a circle, comes back – even if in next life.”

Metepenagiag Heritage Park has 1800 meters of groomed trails (30 minutes walking time) that let you “walk in the footsteps of our ancestors” to the water.

You can overnight at the Metepenagiag Heritage Center in a tipi, lodge or cabin and be immersed in Mi’kmaq experience © Karen Rubin/goingplacesfarandnear.com

What is more, you can overnight in a tipi (glamping), cabin or lodge, have a First Nations dining experience, storytelling and be immersed in the 3,000-year heritage around a campfire. Or take part in “A Taste of Metepenagiag” and learn about foods and cooking techniques. New experiences are also being developed.

The Mi’kmaq operate SP First Nations Outdoor Tours, authentic indigenous experiences that begin with a traditional welcome, a river tour by canoe or kayak, storytelling; and authentic First Nations dining and accommodations (56 Shore Road, Red Bank NB, Metepenagiag, 506-626-2718).

Metepenagiag Heritage Park, 2156 Micmac Road, Red Bank NB, 506-836-6118, [email protected] 1-888-380-3555, metpark.ca.

To get to the Metepenagiag Heritage Center, you go through a Mi’kmaq residential community of about 600 people, where you have to be a community member to own the home (but do not own the land). It looks like a typical suburban neighborhood. with its own school (the federal government subsidizes the public school but teachers are paid less than regular school teachers) and shopping center. After the museum was built, the community opened a woman’s shelter, health center. The community also owns Riverside Entertainment (gaming room, restaurant), downtown.

Sportsman’s Paradise

Miramichi is world renowned as a sportsman’s paradise for fishing, hunting, hiking, kayaking, tubing down the rivers, and the longest zipline in New Brunswick (1200 feet). Indeed, the rivers, filled with salmon, and lush wilderness that provided the food and shelter to sustain the Mi’kmaq even 3,000 years ago, continues to sustain Miramichi today.

Miramichi is so prominent for salmon fishing (baseball star Ted Williams used to invite major celebrities including Marilyn Monroe to his family cottage in Blackville), that there is actually an Atlantic Salmon Museum, founded by the local historical society in 1982, that displays 5,000 artifacts “celebrating the artistry of fly tying, the beauty of a well-crafted rod and, above all, the nobility of that ‘king of fish’ the Atlantic salmon.”

One of John William Keith-King collection of 150 plates on view at the Atlantic Salmon Museum in Doaktown, New Brunswick © Karen Rubin/goingplacesfarandnear.com

Most notably, the museum is the repository for the internationally revered John William Keith-King collection of 150 plates that feature exquisite flies combined with stunning artwork and historic photos, plus artwork, reels, fishing rods, fishing tackle, fish replicas and antique outboard motors. The collection is valued at $500,000 (the plates alone valued at $5,000 each), Believe me, I never thought such a museum could be so fascinating even to someone who has never fished for salmon. This place is pure bliss for fishing enthusiasts. (Admission is free. Check hours. 263 Main St, Doaktown NB, 506-365-7787, www.atlanticsalmonmuseum.com

The Ledges Inn, a sportsman’s retreat, Doaktown, New Brunswick © Karen Rubin/goingplacesfarandnear.com
 

People come from all over for the opportunity to fish and hunt, staying in upscale places like The Ledges Inn,  a 4.5-star outfitter with 10-room lodge, picturesquely set on the bank of the Miramichi River, where you can enjoy salmon fishing, upland bird-hunting, four-wheeling, snowmobiling (30 Ledges Inn lane, Doaktown NB, 1-506-365-1820, Ledgesinn.com); and the historic Wilson’s Sporting Camps, family-owned hunting lodge, offering sportsmen retreats since 1855(23 Big Murphy Lane, McNamee NB, 1-877-365-7962, Wilsoncamps.nb.ca).

Another local attraction is the Priceville Footbridge, which, local lore has it, was built in 1938 to unite two lovers who lived in villages separated by the river. At 656 feet, it’s the longest suspension bridge in New Brunswick, was damaged and rebuilt in 1939, then replaced in 1988 (McNamee Road. https://tourismnewbrunswick.ca/listing/priceville-suspension-footbridge).

Enjoying a plate of mussels at Vera’s at Richie Wharf, Miramichi, as the sun sets © Karen Rubin/goingplacesfarandnear.com

Back in Miramichi, I spend a pleasant evening at Richie Wharf, a charming waterfront park and historic site, where on Friday nights locals come out for music and dancing, After enjoying this scene, I have a delightful dinner (mussels!) at Vera’s patio with a gorgeous view of the sunset on the river. (84 Norton’s Lane, Miramichi, 506-625-2300)

Other Miramichi highlights: There are loads of historic sites we didn’t have time to visit but sound so interesting: Doak House commemorates Scottish entrepreneur Robert Doak who settled here in the early 1820s (386 Main St. Doaktown, 506-365-2026); Wilson’s Point Historic Site, a provincial historic site, contains the Scottish ancestry of Miramichi, but has archaeological significance for the Mi’kmaq people as well as the French Acadians and Loyalists (8 Enclosure Rd., Derby Junction, www.wilsonspoint.com, 506-627-0162); Miramichi History Museum (182 Wellington St., 506-778-4050); Tabusintac Library & Museum (4490 Rte 11, Tabusintac); and W.S. Loggie House & Cultural Centre, a Victorian home with artifacts from 1850 to 2000 (222 Wellington St., Miramichi, 506-775-4996).

Also: Miramichi River Interpretive Trail (1.4 km long, 158 main Street, Blackville; 90-min, Miramichi River Boat Tours out of Richie Wharf; Gallan’s Miramichi River Tubing (Doyles Brook, miramichirivertubing.com); Escuminac Beach (escuminacbeach.com); Historical Beaverbrook House Haunted Tour.

Rodd Miramichi River Hotel © Karen Rubin/goingplacesfarandnear.com

I overnight at the Rodd Miramichi River Hotel, picturesquely set in the waterfront village (1809 Water Street, 506-773-3111).

The next morning, I meet up with David and Laini at the Calico Café; they have been exploring Prince Edward Island and Shediac, where they had a fabulous dinner at Le Mogue Tortue, a restaurant with an Alice-in-Wonderland like setting (tea cups,clocks!), and we continue on our roadtrip to French Acadia, where we will bike on the new Veloroute (bikeway) along the coast, through French fishing villages.

Miramichi Tourism, 800-459-3131, discovermiramichi.com.

Travel planning assistance from Tourism New Brunswick, 800-561-0123www.tourismnewbrunswick.ca.

See also:

NEW BRUNSWICK ROADTRIP BEGINS IN ST. ANDREWS

NEW BRUNSWICK, CANADA ROADTRIP: SAINT JOHN, CITY OF FIRSTS, OLDESTS, AMAZEMENTS

NEW BRUNSWICK ROADTRIP: DISCOVERING FUNDY TRAIL PARKWAY, FUNDY NATIONAL PARK, CAPE ENRAGE

NEW BRUNSWICK ROADTRIP: MESMERIZING HOPEWELL ROCKS

Next: Exploring French Acadia’s culture and heritage by bike!

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© 2023 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/KarenBRubin 

Trail to Discover British Columbia’s Indigenous Heritage Weaves Through Whistler-Blackcomb

Audain Art Museum, Whistler, is a world-class art museum with one of finest collections of indigenous masks going back to mid-1800s and British Columbia artists © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

My whirlwind odyssey to learn about the renaissance of British Columbia’s indigenous heritage takes me to Whistler-Blackcomb, the world-famous ski resort. The mountain resort, one of the largest in North America, is on First Nations land and is where a cultural center, a joint endeavor of the Lil’wat and the Squamash nations, has opened.

I hop the Skylynx shuttle bus, packed with skiers, that leaves from the Hyatt Regency Vancouver downtown (also close to the Bill Reid Gallery and the Fairmont Hotel) for a pleasant, scenic two-hour ride to Whistler Village Centre.

The skiing even this late in the season looks fantastic but I am here to continue my study of the indigenous heritage – past and present – that permeates this place. The spirit is very strong here in Whistler. While the skiers all head to the gondola, I find my way to a trail that leads to the Squamish Lil’wat Cultural Centre.

The idea for a world-class cultural center originated with the Resort Municipality of Whistler in 1997, which met with the Lil’wat Nation to discuss its participation and presence in Whistler. Mindful of its historic collaboration and shared interest in land stewardship with the Squamish Nation, in 2001, the two nations signed a historic Protocol Agreement, the only one of its kind in Canada. The Squamish Lil’wat Cultural Centre opened in 2008. In 2020, a framework Agreement was signed between the Nations and the Resort Municipality of Whistler, providing for collaborations on economic development, tourism and promotion of cultural awareness.

Dalilah conducts a “What We Treasure” tour of Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

The building is a beautiful space with floor-to-ceiling windows that look out to the woods. I join nine others for the center’s signature tour, “What We Treasure,” which are led by cultural ambassadors who share their own stories and first-hand cultural experiences. The tour begins with an excellent 15-minute orientation film.

Our guide is Dalilah, whose Lil’wat name is T’ac T’ac , or “sweet sweet” like sweetie or sweatheart. She is a 17-year old high school student interning on her spring break. She begins by singing in her native language, “We belong to the land, the land is our people, we belong to the land.” We view artifacts and hear stories that give us a sense of the past and present way of life of the Squamish and Lil’wat peoples. 

It is fascinating to seen the differences in clothes at the Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

As we go through the center, I am struck by how different the clothes, foods and therefore the traditions and daily habits are for these two peoples who live “where rivers and mountains meet.”  It is starkly clear how culture and lifestyle is linked to the ecology and topography of their land and the materials and resources at hand. The Squamash are coastal, the Lil’wat live on the mountain.  Culture is a manifestation of the ecosystem we inhabit – even and especially today.

It is fascinating to seen the differences in clothes at the Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

It is these traditions and lessons of living in close harmony with nature (Mother Earth), to the point of spiritual devotion, that the indigenous people impart today, all the more relevant in light of the climate disasters of a planet out of sync with nature.

The displays are less historic artifacts and more contemporary examples of the traditional arts and crafts being revived; often these are not just re-creations of centuries-old design and form, but with modern twists.

We learn how their societies were so careful to live in harmony with their environment – their canoes are made from red cedar bark, but they only harvest a precise section of the tree – hugging the tree so that there are two hand-widths.

“We make sure to only take a piece of the tree so we don’t kill it. We are connected to the cedar through the things we make with it,” notes Joy Joseph-McCullough, a Squamish weaver.

Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

There is an element of mythology, mysticism, handed down from the ancients, that continues to underpin their worldview, reflected in the urgency to save language, and the oral tradition, and resurrect traditional arts and crafts.

It is reflected in Joy McCullough-Joseph’s notes about the traditional Coast Salish Blanket she named “The Message.” “I twilled and twined on a Traditional Coast Salish Loom. I named my blanket, “The Message’ because the design for the blanket came to me in a dream. In my dream our Ancestors told me to weave in Mother Earth to remind us of our responsibility to the Earth. The second message is to honour and remember the sixteen families that amalgamated to form the Squamish Nation. The last message is to honour our Ancestors who were weavers.”

Another note reads “when you wear the blankets, you feel the protection of all who have been called to protect you… We feel the prayers offered by the weaver and our ancestors, when we wear the robes.”

You have to wait a year before you can weave cedar bark and it can three apprentices six months to weave a cedar mat, Dalilah tells us. “When we are sad, we don’t weave, otherwise it would transfer negative thoughts.”

Dalilah the importance of weaving at the Squamish Lil’wat Cultural Centre © Karen Rubin/goingplacesfarandnear.com

We learn how mountain goat wool was used in Salish weaving, an ancient art form that dates back to the ice age. A mountain goat wool blanket in those times could mean the difference between surviving or succumbing to the elements. The inner wool of the mountain goat was gathered during spring molt, collected off of bushes from wool shed by the goat or from harvested animals. “It takes 5 to 10 years to collect enough for a blanket,” she tells us.

The wool was mixed with hair from a specially bred dog. Natural dyes were derived from plants, berries and clays. Intricate geometric designs reflected elements of nature and families held the rights to use those designs.

I am lucky to see a special photography exhibit on view: “Unceded – Photographic Journey into Belonging”. This temporary exhibit makes graphic the meaning of “unceded” – land that was considered stolen, taken by force, without a legal treaty. The photos show contemporary indigenous people in places like downtown Vancouver. But it is actually speaking more to the First Nations people, prodding them to see themselves in this modern world, but retaining their connection to their heritage. Unceded “doesn’t mean our people aren’t still there.”

“As urban cities, farmland, towns, and recreation parks built up around us, our Ancestors are still here, living in the blood of the people of this land. While pop culture, fashion trends and global connection are influencing how people move through society, people residing on and off reserve are living deeply in their culture, engaged socially and politically with the world around them, reviving ancient traditions, re-enforcing a stewardship that guides their climate and lands safely through the first 50 thousand years before contact.”

I have a delightful lunch at Thunderbird Café, and survey a marvelous gift shop at the center before heading off to do a bit of sightseeing on Whistler’s famous Peak 2 Peak Gondola.

Squamish Lil’wat Cultural Centre, 4584 Blackcomb Way, Whistler, 1 866 441 SLCC (7522), https://slcc.ca/.

Peak 2 Peak Gondola

Considering how vast Whistler-Blackcomb is, it is actually surprisingly easy to get around (once I figure it out).

Whistler-Blackcomb, the site of 2010 Winter Olympics events, is a world-class ski resort and one of the biggest in North America © Karen Rubin/goingplacesfarandnear.com

I take the Blackcomb Gondola from the base of Blackcomb Mountain for the ride to the top of Blackcomb Mountain. From here it is a short walk – skirting the skiers and snowboarders – to the Peak 2 Peak Gondola which links Blackcomb Mountain to Whistler Mountain. I’m feeling jealous of the skiers but I am sightseeing today and this is an absolutely gorgeous ride. A man I ride up the Blackcomb Gondola with tells me to look for special sightseeing gondolas that have a plexiglass bottom you can look through – we sightseers stand on a separate line so we get first dibs when the car comes around.

Sightseeing on the Peak 2 Peak Gondola linking Whistler and Blackcomb mountains © Karen Rubin/goingplacesfarandnear.com

After opening on December 12, 2008, the massive gondola revolutionized the way skiers, riders and hikers experienced the mountains. The Peak 2 Peak Gondola, as part of the world’s longest continuous lift system, isn’t just to move skiers, it also gives summer guests access to Whistler Blackcomb’s high alpine for sightseeing, hiking and mountain-top dining.

The Peak 2 Peak Gondola travels a span of 2.73 miles giving sightseers and hikers a serene aerial flight showcasing flora and fauna (even black bears in their protected habitats), Whistler and Blackcomb Mountains; the Coast Mountain Range’s many glaciers and peaks; and Whistler Village, surrounded by lakes.

Sightseeing on the Peak 2 Peak Gondola linking Whistler and Blackcomb mountains © Karen Rubin/goingplacesfarandnear.com

It is notable that Whistler Blackcomb (now part of Vail Resorts, which means the resort is part of the Epic Pass) is consistently ranked one of the top ski resorts in North America. With more than 8,100 acres of terrain, variety is an understatement: there are steeps, deeps, chutes, bowls, glades, long cruisers, and high alpine and gentle rollers. And the numbers speak for themselves: one vertical mile drop; two side-by-side mountains connected by a pedestrian village, more than 200 trails, three glaciers, 37 lifts, and 16 alpine bowls – all of it top quality.

Sightseeing on the Peak 2 Peak Gondola linking Whistler and Blackcomb mountains © Karen Rubin/goingplacesfarandnear.com

Even this late in the season, the snow looks great and the trails look gorgeous– plenty of easy, intermediate runs!

Riding the Peak 2 Peak Gondola is such fun and the view so beautiful, that I actually ride it back and forth and back again for an hour before downloading via Whistler Village Gondola into Skiers Plaza in Whistler Village. (Whistler Blackcomb, https://www.whistlerblackcomb.com/)

Audain Art Museum

Audain Art Museum, Whistler, is a world-class art museum with one of finest collections of indigenous masks going back to mid-1800s and British Columbia artists © Karen Rubin/goingplacesfarandnear.com

Back down in the charming village, I pass lovely shops and eateries on my way to the Audain Art Museum. Outside is the invitation to see the “Masters of Print: Rembrandt and Beyond”- a clue that this is a world-class museum. I did not expect to see Rembrandt prints at Whistler. Nor did I expect to see what is arguably the world’s finest collection of First Nations masks, dating from the mid 1800s.

Sure enough, the Audain Art Museum delivers on its promise of a transformative experience for appreciating the art of British Columbia as well as exhibitions from around Canada and around the world. It’s in this part of the world but very much of the world. It is as local as local can be but brings the reaches of the globe into this small section of it.

The Audain Art Museum’s Permanent Collection of some 200 works  – nearly all of it from the collection of Michael Audain and his wife, Yoshiko Karasawa, or purchased with their funding – is a visual journey through the history of art from coastal British Columbia.

Audain Art Museum, Whistler, showcases one of finest collections of indigenous masks going back to mid-1800s © Karen Rubin/goingplacesfarandnear.com
Audain Art Museum, Whistler, showcases one of finest collections of indigenous masks going back to mid-1800s © Karen Rubin/goingplacesfarandnear.com

Most astonishing is the room housing Audain’s collection of Northwest Coast First Nations masks. They are extraordinary because you see the individualism of the artist as well as the subject (many seem to be representations of actual people rather than mythic figures) and different techniques. I wonder if this reflects changes over time (spanning the mid 1800s to the present), regional differences and styles or perhaps just the artist’s own creativity.

Audain Art Museum, Whistler, showcases one of finest collections of indigenous masks going back to mid-1800s © Karen Rubin/goingplacesfarandnear.com
Audain Art Museum, Whistler, showcases one of finest collections of indigenous masks going back to mid-1800s © Karen Rubin/goingplacesfarandnear.com

A truly monumental piece, an exquisitely carved red cedar “Dance Screen” (2010-2013) by Haida Chief 7idansuu (James Hart) who was a friend and collaborator of Bill Reid, takes up an entire wall of this room.

James Hart’s striking ‘The Dance Screen (The Scream Too)’, 2010-2013, red cedar panel takes up an entire wall at the Audain Art Museum Collection, gift of Michael Audain and Yoshiko Karasawa © Karen Rubin/goingplacesfarandnear.com

The next room has a huge collection of a beloved British Columbia artist, Emily Carr. You see her in her Impressionist phase, when she studied in France in 1911; how she incorporated First Nations elements into her landscapes when she returned in 1912. There are also post-war modernists including E.J. Hughes, Gordon Smith and Jack Shadbolt as well as works by internationally renowned, contemporary British Columbia artists including Jeff Wall, Dana Claxton, Marianne Nicolson, Rodney Graham and Stan Douglas.

Emily Carr is a beloved British Columbia artist who studied impressionism in France, then integrated indigenous subjects into her landscapes when she returned © Karen Rubin/goingplacesfarandnear.com
Audain Art Museum, Whistler, showcases a stunning collection of Emily Carr’s work © Karen Rubin/goingplacesfarandnear.com

I’m told that Audain had never even been to Whistler before, but his friend, who designed Whistler Village in the 1980s, encouraged him that he could build a museum in Whistler which would connect to nature, where people could quietly contemplate art. They worked with award-winning architects John and Patricia Patkau. The museum opened in 2016. (Open Thursday to Monday 11am – 6pm).

It is fascinating to see traditional symbols, subjects reflected in contemporary indigenous British Columbia artists work, on view at the Audain Art Museum, Whistler © Karen Rubin/goingplacesfarandnear.com
It is fascinating to see traditional symbols, subjects reflected in contemporary indigenous British Columbia artists work, on view at the Audain Art Museum, Whistler © Karen Rubin/goingplacesfarandnear.com

The website includes this statement:  “Audain Art Museum is grateful to be on the shared, unceded territory of the Sḵwx̱wú7mesh (Squamish) Nation and Lil̓wat7úl (Lil’wat) Nation.”

Audain Art Museum, 4350 Blackcomb Way, Whistler, British Columbia, Canada, V8E 1N3,  [email protected]  604-962-0413, https://audainartmuseum.com/

The stunning design of the Audain Art Museum, Whistler, provides an exquisite ambiance to experience art © Karen Rubin/goingplacesfarandnear.com

I have a rushed dinner at Caramba! Restaurant (#12 4314 Main Street (Town Plaza), Whistler, BC V0N 1B0 Phone: 604.938.1879 www.carambarestaurant.com/), a fun, casual place before I get back on the Skylynx shuttle for the 7 pm departure back to Vancouver (get there early because the bus fills up), arriving back to downtown Vancouver at 9:30 pm.

Indigenous Tourism BC offers travel ideas, things to do, places to go, places to stay, and suggested itineraries and a trip planning app (https://www.indigenousbc.com/)

Next: GRANVILLE ISLAND, VANCOUVER’S NEARBY GETAWAY, IS CORNUCOPIA OF ART, CULTURE

See also: 

ON THE TRAIL TO DISCOVER VANCOUVER’S REVIVED INDIGENOUS HERITAGE

WALKING TOURS, DINING EXPERIENCES REVEAL VANCOUVER’S REVIVED INDIGENOUS HERITAGE

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© 2023 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/KarenBRubin 

On the Trail to Discover Vancouver’s Revived Indigenous Heritage

The view from the seawall at Stanley Park across Burrard Inlet to West Vancouver, where indigenous peoples had lived for thousands of years taking advantage of rich fishing and hunting before being forced out of land considered “unceded.” Expression of indigenous culture was banned in Canada for more than 100 years © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Who could have imagined such an immersive experience into British Columbia’s indigenous culture revival in the heart of a bustling, modern metropolis like Vancouver?

I come to Vancouver intent to see how indigenous heritage culture is being resurrected, revived, and coming to the forefront of national consciousness and respect.

My trip is very much a voyage of discovery, in so many ways so surprising, illuminating and enriching, especially once I am sensitized to look.

My itinerary is arranged by Indigenous Tourism BC, one of Canada’s oldest (at 25 years) provincial entities to promote the economic and social benefits tourism brings to revive and sustain a heritage that had been relegated to shadows.

These efforts have accelerated after Canada signed its historic Truth and Reconciliation Act, in 2014, acknowledging the harm of 140 federally run residential schools that operated from 1867 up until 1996, and other laws, like the Indian Act, banning the practice of indigenous culture that amounted to cultural genocide.

It was only in 1951 that amendments to the Indian Act removed restrictions on rituals, customs and culture. Canada’s indigenous peoples – who account for five percent of the population – could not vote until the 1960s.

Skwachays Lodge, Canada’s First Aboriginal Art Hotel

Skwachays Lodge, Canada’s first aboriginal art hotel, affords the nearest thing to staying in a First Nations community you might find in a major modern city © Karen Rubin/goingplacesfarandnear.com

My voyage of discovery starts as soon as I check in to my hotel, Skwachays Lodge, the nearest thing to staying in a First Nations community you might find in a major modern city.

Skwachays Lodge, Canada’s first aboriginal art hotel, opened in 2012 as a social enterprise that turned a derelict building into a boutique hotel combined with an artist-in-residence program supporting indigenous artists with housing and studio space.

Skwachays Lodge, a social enterprise, provides housing and studio space for 24 indigenous artists © Karen Rubin/goingplacesfarandnear.com

Even though it is late, Rick, the night manager, is eager to show me around to the art studios and introduces me to two of the 24 artists in residence who live for up to three-years in apartments on the 2nd, 3rd, and 4th floors. The hotel also has a gallery and a superb shop.

The 18 guest rooms and suites, which occupy the 5th and 6th floors, have been individually designed by six indigenous artists – there is the Water Room (502), the Sea Kingdom Suite, Northern Lights Room, Forest Spirits Room, Earth Room, King Salmon Suite.

The gold-painted ceiling in the Moon Room. Each of the 18 Skwachays Lodge rooms and suites has been designed by an indigenous artist © Karen Rubin/goingplacesfarandnear.com

Mine is the Moon Room (505), designed by Sabina Hill and Mark Preston, equipped with a kitchenette, desk/workspace, and a giant round bed on a platform. The ceiling is decorated with the moon’s radiance in gold, and the wall, in gold calligraphy, tells the legend of the trickster god Raven who stole the sun, the moon and the stars, and released them into the sky. “Delivered to its heavenly perch by the daring Raven, the Golden Moon watches over the world below.” It’s almost like finding yourself in a painting, in the story.

The gallery and shop at Skwachays Lodge © Karen Rubin/goingplacesfarandnear.com

The hotel also offers opportunities to do a Sweat Lodge ceremony in the rooftop garden; a Smudging Ceremony in the traditional Smudge Room; as well as studio visits with the artists in residence. Its Kayachtn (“Welcome”) room, where breakfast is served, also provides a traditional community gathering place as well as a gallery.

Atop the hotel is a totem, a marvelous counterpoint to the arch that marks the entrance to Vancouver’s Chinatown, a half-block away.

The Kayachtn (“Welcome”) room at Skwachays Lodge, where breakfast is served, also provides a traditional community gathering place © Karen Rubin/goingplacesfarandnear.com

It should be noted that the hotel is one block over from East Hastings, considered Canada’s “Bowery” – but I had no problem walking everywhere, including to the marvelous Gastown district – the historic district offering boutique shopping and dining famous for its gas-spewing clock – just 10 minutes walk away. Actually, I was able to walk everywhere.

Skwàchays Lodge 31 W Pender St Vancouver, BC V6B 1R3 604.687.3589, 1 888 998 0797, [email protected], https://skwachays.com/.

Bill Reid Gallery

My first morning, after a marvelous breakfast (served 8-10 am in the Kayachtn “Welcome” room), I walk over to the Bill Reid Gallery, which is just around a corner from the Vancouver Art Gallery and the historic, grand Fairmont Hotel.  

The Bill Reid Gallery opened in 2008 to celebrate Haida cultural heritage, diverse living artists of the Northwest Coast, and the life and work of master artist Bill Reid (1920-1998). Reid arguably was responsible for bringing indigenous art from the shadows (after having been suppressed for 150 years) into the national consciousness, awareness and respect.

The Bill Reid Gallery celebrates Haida cultural heritage, diverse living artists of the Northwest Coast, and the life and work of master artist Bill Reid © Karen Rubin/goingplacesfarandnear.com

Bill Reid, I learn, is a national treasure. Two of Reid’s most popular works depict a canoe filled with human and animal figures: one black, “The Spirit of Haida Gwaii,” is at the Canadian Embassy, Washington, D.C.; and one green, “The Jade Canoe,” is at Vancouver International Airport (and was featured on the Canadian $20 bill).

Here at the gallery, you not only trace his own artistic evolution and self-discovery, but see his most famous works, including “Mythic Messengers” (1984), a multi-ton, 8.5 meter long frieze referencing folk stories that is the gallery’s piece de resistance.

Bill Reid’sMythic Messengers” (1984), a multi-ton, 8.5 meter long frieze referencing folk stories,  is the gallery’s piece de resistance © Karen Rubin/goingplacesfarandnear.com

There is an artist’s proof in white onyx of another famous work, “Raven and First Men” that depicts the Haida creation myth – how the Raven discovers a massive clamshell on the beach with humans protruding from it and coaxes the humans out, unleashing civilization. (The full-sized, cedar wood version is at the Museum of Anthropology on the University of British Columbia campus; Reid depicted this myth in many forms and sizes throughout his career.)

Another famous Bill Reid work, “Raven and First Men” that depicts the Haida creation myth, in white onyx © Karen Rubin/goingplacesfarandnear.com

Bill Reid, probably more than anyone, is responsible for resurrecting indigenous art, raising awareness, appreciation and respect, and bringing this heritage that had so long been subject to cultural genocide, into Canada’s cultural mainstream. His story is remarkable and I soon come to appreciate why he was uniquely able to achieve this.

Bill Reid represented “Raven and First Men” myth in many versions and genres © Karen Rubin/goingplacesfarandnear.com

As I look at a miniature (I mean really tiny) tea set that Reid carved from chalk in 1932 when he was 12, my guide, Wayne Louie, explains that Reid’s father was of German-Scottish descent and his mother was born to the Haida nation. She was part of the residential school system which took First Nations children from their families and put them in prison-like boarding schools designed to “kill the Indian inside the man” (as I learned at the Buffalo Nations Luxton Museum in Banff).

“His mother didn’t reveal her ancestral roots – that was the effect of residential schools, aimed to culturally cleanse the indigenous side,” Louie tells me. “He didn’t discover his ancestral roots until his teens.”

He began exploring his Haida roots at the age of 23. He visited grandparents and slowly and deliberately rediscovered and incorporated his heritage into his art. This journey of discovery lasted a lifetime and shaped Reid’s artistic career.

Glass artist John Nutter, whose studio is the site of Bill Reid’s studio on Granville Island, shows a $20 bill featuring Bill Reid’s famous “The Spirit of Haida Gwaii” © Karen Rubin/goingplacesfarandnear.com

Reid became a pivotal force in building bridges between Indigenous people and other peoples. Through his mother, he was a member of the Raven clan from T’aanuu with the wolf as one of his family crests. In 1986, Reid was presented with the Haida name Yaahl Sgwansung, meaning The Only Raven. Many of his works incorporate the raven.

“Reid’s quest for understanding the essence and the roots of a unique art form led him to discover his own ‘Haidaness’ and, in the process, restored much of the dynamic power, magic, and possibility to the art. In doing so he became the catalyst to empower a whole Nation,” the gallery notes say.

Reid’s story also shows how an artistic spirit cannot be suppressed. Even later in his life, when he contracted Parkinson’s, he created wire sculptures, some of which are on view –art is irrepressible, it must be expressed.

Bill Reid carved this tiny tea set out of blackboard chalk when he was 12 © Karen Rubin/goingplacesfarandnear.com

“Somewhere along the line, I developed a unique art: blackboard chalk carving,” he reflected in 1982. “I started it in school because I was very bored. Round chalk was such a fine medium that I made little tea sets, cup and saucers, and finished them with nail polish…It showed me I could do fine work. The first totem pole I ever made was out of blackboard chalk.”

But the reason he was able to spur a renaissance in indigenous art is that Reid had become a popular CBC announcer with a national audience. He got his first job in radio in 1939 and became a radio broadcaster for the CBC in Toronto in 1948. As a CBC announcer he had a platform, was known and accepted, and connected to more people.  I imagine promoting his indigenous identity was almost like “coming out.”

Bill Reid was perhaps uniquely positioned to revive indigenous art and bring it into mainstream of Canadian culture because of his celebrity as a CBC broadcaster © Karen Rubin/goingplacesfarandnear.com

His interest in making art had already been ignited. In 1943, he made his first visit to the Haida Gaiia since his early childhood. “He was a goldsmith at heart and hoped to build a career focused on modernist jewelry,” the notes say. “He was fascinated by the simple engravings his grandfather made and bracelets by John Cross his aunts wore. When he later saw the deeply carved bracelets by his great, great uncle Charles Edenshaw, he said, ‘Life was not the same after that’.”

Bill Reid was a goldsmith who incorporated French repousse technique to gold bracelets with traditional Haida elements he learned from his relatives © Karen Rubin/goingplacesfarandnear.com

He set up a studio in his basement, and then on Granville Island (which I later come upon almost by accident). He combined traditional Haida forms and figures with contemporary innovations, notably the European technique of repousse – pushing the metal out from behind, to bring a three-dimensional quality to his Haida-inspired work.

“Well, I don’t consider myself Haida or non-Haida or white or non-white,” Reid wrote. “I am a citizen of the West Coast of North America and I have availed myself of all the inheritance I got from all directions.”

Bill Reid infused Haida traditions with his own modernist aesthetic to create both exquisite small as well as monumental works that captured the public’s imagination.

“Reid was biracial,” Louie tells me. “He had to learn who he was – observe art of his ancestors, reinterpreted into his art. He started with jewelry, small pieces, then large, monumental works.”

Reid was in the vanguard of the revival of indigenous art, Louie tells me. “During the time these pieces created no other indigenous artist was doing this – now there are many.”

Throughout Reid’s life, he encouraged young artists as he was encouraged, and that is reflected in this gallery, which features exhibits of a dozen contemporary artists.

James Hart’s totem pole is the centerpiece of the Bill Reid Gallery © Karen Rubin/goingplacesfarandnear.com

The centerpiece of the gallery is a full-scale totem pole carved by James Hart of Haida Gwaii, featuring the Wasgo (Haida Sea-Wolf).

What strikes me as interesting is how some of the artists seem intent on reproducing the traditional symbols and techniques (like weaving), while others veer off into modern forms, like graffiti. But when you think about it, for these First Nations artists who live on lands that were never officially ceded to Canada (there was never a treaty so technically, according to Canadian law, the land is illegally occupied), the essence of street art is a form of rebellion, a means for people who feel displaced and disempowered to mark territory and establish identity, so it seems like a very appropriate form.

“Raven Who Kept Walking” (2021) by Corey Bulpitt, one of the contemporary British Columbia indigenous artists  on exhibit at the Bill Reid Gallery © Karen Rubin/goingplacesfarandnear.com

Monthly workshops, artist talks; guided tours are offered June-August. There is an excellent shop. Summer hours, open daily 10-5.

Bill Reid Gallery, 639 Hornby St, Vancouver 604-682-3455, https://www.billreidgallery.ca/, [email protected]

Indigenous Tourism BC offers travel ideas, things to do, places to go, places to stay, and suggested itineraries and a trip planning app (https://www.indigenousbc.com/)

Next: Walking Tours, Dining Experiences Reveal Vancouver’s Revived Indigenous Heritage

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