Olympics Taster: Paris Race Celebrates the Waiters and Waitresses Who Nourish City’s Life and Soul

Waiters and waitresses in work outfits take the start of a traditional "Course des cafes" (the cafes' race), in front of the City Hall in central Paris, on March 24, 2024. (AFP)
Waiters and waitresses in work outfits take the start of a traditional "Course des cafes" (the cafes' race), in front of the City Hall in central Paris, on March 24, 2024. (AFP)
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Olympics Taster: Paris Race Celebrates the Waiters and Waitresses Who Nourish City’s Life and Soul

Waiters and waitresses in work outfits take the start of a traditional "Course des cafes" (the cafes' race), in front of the City Hall in central Paris, on March 24, 2024. (AFP)
Waiters and waitresses in work outfits take the start of a traditional "Course des cafes" (the cafes' race), in front of the City Hall in central Paris, on March 24, 2024. (AFP)

Usain Bolt’s sprint world records were never in danger. Then again, even the world’s fastest-ever human likely wouldn’t have been so quick while balancing a tray with a croissant, a coffee cup and a glass of water through the streets of Paris, and without spilling it everywhere.

France’s capital resurrected a 110-year-old race for its waiters and waitresses Sunday. The dash through central Paris celebrated the dexterous and, yes, by their own admission, sometimes famously moody men and women without whom France wouldn’t be France.

Why? Because they make France’s cafés and restaurants tick. Without them, where would the French gather to put the world to rights over drinks and food? Where would they quarrel and fall in (and out of) love? And where else could they simply sit and let their minds wander? They have penned songs and poems about their “bistrots,” so attached are they to their unpretentious watering holes that for generations have nourished their bodies and souls.

“That is where you will find the population’s fine flowers,” sang songwriter-poet Georges Brassens, but also “all the miserable, the down on their luck.”

So drum roll, please, for Pauline Van Wymeersch and Samy Lamrous — Paris’ newly crowned fastest waitress and waiter and, as such, ambassadors for an essential French profession.

And one which has a big job ahead: Taking the food orders and quenching the thirsts of millions of visitors who will flock to the Paris Olympics this July.

The resurrection of the waitering race after a 13-year hiatus is part of Paris’ efforts to bask in the Olympic spotlight and put its best foot forward for its first Summer Games in 100 years.

The first waiters’ race was run in 1914. This time, a couple of hundred of waiters and waitresses dressed up in their uniforms — with the finest sporting bow ties — and loaded up their trays with the regulation pastry, small (but empty) coffee cup and full glass of water for the 2-kilometer (1 1/4-mile) loop starting and finishing at City Hall.

Van Wymeersch, the runaway winner in the women’s category in 14 minutes, 12 seconds, started waitering at age 16, is now 34 and said she cannot envisage any other life for herself.

“I love it as much as I hate it. It’s in my skin. I cannot leave it,” she said of the profession. “It’s hard. It’s exhausting. It’s demanding. It’s 12 hours per day. It’s no weekends. It’s no Christmases.”

But “it’s part of my DNA. I grew up in a way with a tray in my hand,” she added. “I have been shaped, in life and in the job, by the bosses who trained me and the customers, all of the people, I have met.”

Van Wymeersch works at the Le Petit Pont café and restaurant facing Notre Dame cathedral. Lamrous, who won the men’s race in a time of 13:30, waits at La Contrescarpe, in Paris’ 5th district. Their prizes were medals, two tickets each for the July 26 Olympic opening ceremony along the River Seine and a night out at a Paris hotel.

Although all smiles on this occasion, competitors acknowledged that’s not always the case when they are rushed off their feet at work. The customer may always be right in other countries, but the waiter or waitress has the final word in France, feeding their reputation for being abrupt, moody and even rude at times.

“French pride means that in little professions like this, they don’t want to be trampled on,” said Thierry Petit, 60, who is retiring in April after 40 years of waiting tables.

“It’s not lack of respect, rather it’s more a state of mind,” he said. Switching to English, he added: “It’s very Frenchie.”

The capital’s mayor, Anne Hidalgo, said cafés and restaurants are “really the soul of Paris.”

“The bistrot is where we go to meet people, where we go for our little coffee, our little drink, where we also go to argue, to love and embrace each other,” she said.

“The café and the bistrot are life.”



Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
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Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)

In a historic building in central Tripoli, Libyans wander past ancient statues and artifacts, rediscovering a heritage that transcends political divides at their national museum which reopened this month after a 2011 uprising.

"I got here barely 15 minutes ago but I already feel like I've been transported somewhere. It's a different world," said architecture student Nirmine Miladi, 22.

In the waterfront building known as the red citadel -- once the seat of power -- visitors journey through a history that includes ancient art, Greek and Roman antiquities and Ottoman-era weapons and jewellery.

Miladi's sister Aya, 26, an interior design student, said she liked the bright new museum's layout, "the careful lighting, the screens and interactive tools" that all help make the museum accessible to all.

Libya plunged into chaos after a NATO-backed uprising toppled and killed longtime leader Moammar al-Gadhafi in 2011, and the country has struggled to regain stability.

Since then, the North African country has been divided, with two rival executives vying for power: a Tripoli-based Government of National Unity and an administration based in Benghazi in the country's east.

Mohamed Fakroun, head of international cooperation at the antiquities department, said the museum went through "a dark period during its 14-year closure".

Fearing looting and vandalism after Gadhafi's overthrow, the antiquities department removed "all the artifacts until the country re-stabilized", said Fakroun, 63, who has worked at the French archaeological mission to Libya for almost four decades.

- 'National symbol' -

Curator Fathiya Abdallah Ahmad is among a handful of people who knew the location of secret, sealed rooms where the museum's treasures were taken into hiding for more than a decade.

She said the antiquities department and staff worked to "preserve a historic and cultural heritage that belongs to all Libyans".

This allowed the works to be safeguarded until the museum could reopen "in a modern format that conforms to international standards", she added.

The bright new facility includes digital projections and interactive screens as well as videos, audio guides and QR codes enabling visitors to delve further.

Fakroun noted the museum has a room dedicated to Roman emperor Septimius Severus, who was born in the ancient city of Leptis Magna -- now a UNESCO World Heritage site east of Tripoli.

Another room is dedicated to stolen items that have since been returned, including from the United States and the United Kingdom, he added.

Interior design student Aya Miladi said many Libyans saw the museum's inauguration as the "return of a national symbol".

It is also "a step towards reconciliation between Libyans and with their often little-known past", after years of war, as well as a sign of stability, she added.

- 'Not without past' -

Teacher Fatima al-Faqi, 48, said there was "a world of difference" between the reopened museum and the dark, dusty facility she visited 30 years ago on a school trip.

This time, she was leading a group of high-school students to help them "discover Libya's history and nourish their sense of patriotism", she said, as pupils goggled at items from Roman statues to stuffed animals in the natural history section.

The Tripoli government has invested more than five million dollars in rehabilitating the museum and its surrounding area, despite the oil-rich country's economic woes including frequent cash and fuel shortages.

Fakroun said the six-year renovations were carried out in cooperation with the French mission and the ALIPH foundation -- the International Alliance for the Protection of Heritage.

The museum seeks to convey a hope-filled message about Libya's identity to its visitors, most of whom "were not born when it was last open before 2011", he added.

Visitor Sarah al-Motamid, 34, said that "many people don't know about our country's ancient history and look at us as if we were worthless".

She said she was visiting with her six-year-old daughter Mariam because she wanted her to "understand that we are not without a past or civilization".


Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
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Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA

The cultural camp is a key feature of the 10th King Abdulaziz Camel Festival, held in Al-Sayahid desert. The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity, according to SPA.

It offers a range of programs, including live performances and interactive events, that highlight camels' historical significance in Arab culture and illustrate the values of patience, strength, and belonging.

The camp has attracted over 2,000 guests from 71 nationalities, emphasizing its global appeal as a cultural platform for diversity and tradition.

Visitors engage with cultural content through innovative methods that merge authenticity with modern technology, enhancing awareness of the camel's cultural legacy. This initiative aligns with Saudi Vision 2030 by preserving heritage and connecting younger generations with their roots.


Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
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Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA

Under the Royal Commission for Riyadh City and Riyadh Art, Tuwaiq Sculpture has announced the selection of 25 artists for the seventh edition of the annual sculpture symposium and exhibition, taking place from January 10 to February 22, 2026.

This year’s edition unfolds under the curatorial theme “Traces of What Will Be,” inviting artists to reflect on how sculptural form can express the physical, cultural and conceptual traces that shape the future of cities and communities, SPA reported.

A total of 25 artists from 18 countries, including Saudi artists, have been selected for the seventh edition. Their proposals reflect a diverse range of artistic approaches, responding to the theme through explorations of transformation, place, and materiality.

Director of the Tuwaiq Sculpture Symposium Sarah Alruwayti said: "The seventh edition of Tuwaiq Sculpture received more than 590 applications, reflecting the cultural diversity and global interest in the symposium. The selection of the 25 participating artists was carried out by a jury of industry experts and specialists. Their proposals show meaningful engagement with the theme and reflect the strength and diversity of contemporary sculptural practice. We look forward to welcoming them to Riyadh for the creation of new works that will become lasting additions to the city.”

Building on the evolving material practice of the symposium, Tuwaiq Sculpture 2026 introduces two sculpting categories: granite with optional stainless-steel integration and reclaimed metal. Twenty artists will work in granite, while five will create new works in reclaimed metal. Over four weeks, they will produce large-scale sculptures that will later be added to Riyadh Art’s permanent public art collection.

The 2026 edition features a month-long live sculpting phase alongside a community engagement program, inviting visitors to witness the creation of artworks and take part in panel discussions and workshops. The symposium will conclude with a public exhibition showcasing the completed sculptures from its seventh edition.