A stroll in the park is something I am intimately familiar with. Most parks grab my attention, and I can’t help but get sucked inside. I am always curious to see how each park can feel unique when the idea of a park does not require much thought. Parks are places where I can instantly take my mind off whatever I’ve been dealing with throughout the day and simply relax and observe. What I’m looking for in a park is variety and stability. Variety in the sense of being able to do different things there and stability, as I can go there all the time and rest assured that it will be there for me to experience.

Throughout four months living in Paris, I’ve felt obliged to enter every park I come across and note its unique elements. There are parks that feel like manicured gardens that have been perfectly done up and presented with a promise of who knows what. Some feel like small courtyards that happen to have benches and trash cans yet provide a tranquil corner amongst cars and constant movement. Some parks want you to walk through them; some want you to sit and stay still, become a part of the scenery.

When I was on a long walk one day in the 5th arrondissement, I was starting to feel my legs give out under me. I typically go on walks where I wander much farther than expected, and halfway through, I desperately need a break to make the walk back. I could stop and take the train back. Still, for me, it is much more of an exhaustive process to walk down to join the crowd packed into a subway car and deal with all the stress that comes with being on the subway than to simply take a break wherever I find myself in the city, also a way to explore someplace new that I literally get to stumble upon. When thinking about this way of exploring the city, I was brought up to think about how a city can be entirely made up of transient and stationary spaces. I am still present in my home, a space in a city until I must move to go to school or work, etc. It is then that I step into the city as a transient space. I experience the city through pure movement. That is until I get to my next stationary space. But what about the time when I leave my house with no clear destination in mind? Then, I am experiencing the city completely differently, as a place to be and to look around.

In the heart of Paris, amidst the grand boulevards and iconic landmarks, lies a hidden gem that defies the conventional notion of a historical monument. The Arènes de Lutèce, with its ancient ruins and tranquil surroundings, offers a unique perspective on the interplay between transient and stationary spaces within the urban fabric. This paper explores the sociological dynamics of the Arènes de Lutèce, examining its historical significance, contemporary usage patterns, and its role as a counterpoint to Haussmann’s vision of a monumental city.

Constructed in the 1st century AD, the Arènes de Lutèce was an amphitheater for gladiatorial combats and public spectacles during the Roman era. However, the site fell into obscurity and was eventually rediscovered in the 19th century during urban development led by Baron Haussmann. Haussmann’s ambitious renovation projects aimed to transform Paris into a modern, monumental city characterized by wide boulevards, uniform facades, and grand public spaces. Baron Haussmann’s legacy looms large over Paris’s cityscape, shaping its architectural identity and urban layout. His vision of a planned-out monumental city sought to impose order and uniformity upon the chaotic urban sprawl of 19th-century Paris. The wide boulevards and grand squares, epitomized by landmarks like the Place de la Concorde and the Avenue des Champs-Élysées, became symbols of Haussmann’s vision of modernity and progress.

In contrast to Haussmann’s monumental vision, the Arènes de Lutèce stands as a testament to the city’s ancient past, resisting the forces of modernization and urban renewal. Unlike the grand boulevards and monumental squares of Haussmann’s Paris, the Arènes de Lutèce offers a more intimate and secluded experience, hidden away from the bustling streets and tourist crowds. Its circular layout and tranquil surroundings provide a stark contrast to the ordered symmetry of Haussmann’s urban plan.

During my first observation session on February 13th, I witnessed approximately 52 individuals present within the mapped area. Notable activities included children playing soccer against the arena walls and a group of older men engaging in a game of Pétanque. The predominance of the French language in conversations and the presence of local residents, including school children on break, suggested that the Parisian community primarily enjoys the Arènes de Lutèce.

On May 1st, a workers’ holiday in France, an upsurge of activity mirrored the Arenes of the past. I observed close to ~72 people in the circular arenas only engaging in what seemed like a sizeable multi-game pétanque tournament with referees, posts, and many, many small silver metal balls. It was like I’d never seen before; close to a hundred families seemed to be enjoying the space freely, engaging in games and playing of all kinds. I observed many young children all playing freely through the confines of the arenes, without worry of cars or external “danger” that can be found in the city. As a result, the atmosphere was almost like that of a schoolyard, where adults and children alike engage in pure play and relaxation under the spectatorship of fellow Parisians.

On February 20th, lunchtime influenced the activity at the site, with individuals using the space for relaxation and dining. A group of men continued their game of Pétanque while young adults gathered on the stone walls for lunch and conversation. The arrival of a large group of schoolchildren added to the lively atmosphere, with playful interactions and observations of the arena’s architecture. Notably, the confined space led to tensions when children accidentally disrupted the ongoing Pétanque game, highlighting the shared use of the arena by various age groups.

During my final observation on March 11th, I observed a quieter atmosphere, possibly due to the overcast weather and brief rain shower. Despite the reduced activity, I noted the presence of individuals engaging in different pursuits, such as rehearsing a scene from a play and enjoying the surrounding nature. The emergence of spring was evident in the budding trees and blooming flowers, contributing to the site’s aesthetic appeal.

Ethnographic observations at the Arènes de Lutèce reveal a diverse range of visitor activities and usage patterns. From leisure games like Pétanque to quiet moments of relaxation and socialization, the park attracts a predominantly local demographic, fostering a sense of community and belonging among Parisian residents. Unlike traditional monuments, which often serve as passive sites of historical reverence, the Arènes de Lutèce functions as a vibrant public space, actively used and enjoyed by its visitors.

Despite its ancient origins, the Arènes de Lutèce remains relevant and functional in the modern urban landscape. Its practical use as a public park transcends time, offering a sanctuary of stillness and tranquility amidst the ceaseless motion of Parisian life. While Haussmann’s monumental city may have sought to impose order and uniformity upon the urban landscape, the Arènes de Lutèce stands as a reminder of the city’s rich and diverse history, resisting the forces of urbanization and preserving a connection to the past.

The Arènes de Lutèce serves as a compelling embodiment of the contrast between circular and linear spaces within the urban landscape of Paris. In a city defined by its linear pathways and directional flow, the circular layout of the Arènes de Lutèce stands out as a distinct departure from the norm. Rather than serving as a conduit for movement from one point to another, the circular arena beckons visitors to inhabit its space and immerse themselves in its timeless ambiance. Here, the boundaries between observer and observed, spectator and spectated, blur as visitors become participants in the unfolding drama of everyday life. Situated within the 5th arrondissement, this ancient amphitheater presents a stark departure from the linear thoroughfares and boulevards that characterize much of the city’s urban fabric. Unlike the linear trajectories of city streets, which propel pedestrians forward in a continuous flow of movement, the Arènes de Lutèce offers a circular expanse that invites visitors to linger and engage with the space in a more contemplative manner. This juxtaposition of circular and linear spaces within the urban fabric of Paris speaks to the duality of human experience in the modern city. While linear spaces facilitate movement and progress through space and time, circular spaces offer a respite from the relentless march of urban life, inviting introspection and reflection. In the case of the Arènes de Lutèce, the circular layout of the amphitheater encourages visitors to pause and linger, fostering a sense of connection and belonging within the heart of the city.

The circular nature of the Arènes de Lutèce serves as a metaphor for the cyclical rhythms of urban life, where the past intersects with the present in an eternal dance of continuity and change. As visitors traverse the ancient stone steps of the amphitheater, they are reminded of the enduring legacy of Paris’s rich historical heritage, even as the city continues to evolve and reinvent itself in the face of modernity. In this way, the Arènes de Lutèce transcends its status as a mere archaeological site, emerging as a living testament to the timeless allure of circular spaces within the urban landscape.

Pierre Nora’s concept of “lieu de mémoire,” or sites of memory, provides a poignant lens through which to understand the significance of the Arènes de Lutèce within the broader context of French cultural identity and collective memory. Nora contends that these sites serve as tangible embodiments of a nation’s history and heritage, functioning as repositories of collective memory that evoke a sense of shared identity and continuity across generations. In the case of France, a country steeped in centuries of rich historical and cultural heritage, the Arènes de Lutèce emerges as a quintessential lieu de mémoire, encapsulating the multifaceted layers of Parisian history and identity within its ancient stone walls. For the French people, experiencing a city such as Paris is not merely a matter of navigating physical space but also a profound act of affirming cultural identity and connection to history. As visitors traverse the weathered steps of the amphitheater and gaze upon the remnants of ancient Roman civilization, they are confronted with a tangible link to France’s storied past, evoking a sense of continuity and belonging that transcends the boundaries of time and space. Here, amidst the hustle and bustle of modern urban life, individuals can commune with the ghosts of history, forging a deep and abiding connection to the cultural narratives that have shaped the French nation. In this way, the Arènes de Lutèce embodies Pierre Nora’s vision of lieu de mémoire, functioning as a tangible manifestation of French cultural identity and historical consciousness. As visitors immerse themselves in the ancient amphitheater’s storied past, they reaffirm their connection to the broader narratives of French history, forging bonds of solidarity and belonging that endure across generations.

How is this different from other park experiences? Though this is not the first time I have seen an “unorganized” game and play take place in a public park. I have seen wonderful examples of this in the larger, more “foresty” Bois de Boulogne and Bois du Vincennes. There is something unique and special about the Arènes that allows this type of play and leisure to occur right in the heart of a bustling and industrial corner of Paris. Most of the people who seem to use the park are local. I came to this conclusion by watching. During the weekdays, when I was typically at the arenes during lunch hours, I saw men on work breaks with briefcases and professional dress. I saw young groups of university students with backpacks loudly speaking French in their casual and fluid manner. I saw young school children, sometimes with parents, sometimes with teachers

The Arènes de Lutèce serves as a compelling microcosm of the dynamics of play and freedom within an urban space, offering a refuge from the constraints of modern life and providing a canvas for spontaneous acts of leisure and recreation. Anthropologist David Graeber’s notion of play as the ultimate form of freedom finds resonance within the ancient amphitheater’s hallowed grounds, where visitors are invited to cast off the shackles of routine and embrace the spontaneous joy of communal interaction.

Pétanque, often regarded as the quintessential French game, has a rich and storied history that stretches back over a century. Its origins can be traced to the southern region of France, particularly the coastal city of La Ciotat, near Marseille, where it emerged as a popular pastime among fishermen and laborers in the late 19th century.

The game’s roots lie in an earlier form of boules, a traditional sport played throughout the Mediterranean region for centuries. However, pétanque distinguished itself with its unique rules and playing style, emphasizing precision and strategy over raw strength and athleticism. The precise origins of pétanque are somewhat murky, but it is widely believed to have been invented around 1907 by Jules Lenoir, a boules player from La Ciotat. Legend has it that Lenoir, who suffered from rheumatism, devised the game to continue playing boules without exerting himself physically. By remaining stationary while throwing the boules, players could compete on equal footing regardless of age or physical condition. The name “pétanque” itself is derived from the Provençal dialect, with “pès” meaning “foot” and “tanco” meaning “anchored” or “planted.” This reflects the game’s defining characteristic: players must keep both feet firmly planted on the ground within a small circle while throwing their boules toward a target ball, known as the cochonnet or “little pig.”Pétanque gained widespread popularity in the early 20th century, spreading rapidly throughout France and beyond. Its accessibility and simplicity appealed to people from all walks of life, from working-class laborers to aristocrats and intellectuals. By the 1920s, pétanque had become a beloved national pastime, with organized tournaments drawing large crowds and fierce competition. Over the years, pétanque has evolved and adapted to changing times, maintaining its popularity as a beloved leisure activity and competitive sport. Today, it is played in parks, squares, and boules clubs across France, as well as in countries around the world where it has been embraced as a symbol of French culture and camaraderie.

In contrast to the regimented rhythms of the workday, the Arènes de Lutèce emerges as a haven of unbridled play and creativity, where individuals of all ages come together to engage in spirited games of football or pétanque. Here, amidst the weathered stones and dappled sunlight, the boundaries between work and leisure blur, allowing participants to revel in the sheer pleasure of physical activity and social camaraderie. The implications of these games extend far beyond mere recreation, offering profound insights into the social dynamics and cultural fabric of contemporary urban life. In a city marked by the relentless pace of modernity, the Arènes de Lutèce stands as a testament to the enduring human need for play and connection, providing a space where individuals can reclaim agency over their leisure time and forge meaningful bonds with their fellow citizens.

The Arènes de Lutèce’s unique spatial layout and historical significance contribute to its appeal as a site of communal play and leisure. Unlike many other public parks in Paris, which are often designed with manicured lawns and formal walkways, the ancient amphitheater’s circular layout and weathered steps offer a sense of intimacy and enclosure, fostering a spirit of spontaneity and exploration among visitors. As individuals gather in the shadow of the amphitheater’s ancient walls to engage in games of skill and strategy, they not only reaffirm their connection to the past but also lay claim to the present moment. They embrace the timeless allure of play as a means of asserting agency and freedom within the urban landscape. In doing so, they embody David Graeber’s vision of play as a radical act of resistance against the regimented logic of capitalism, reclaiming public space as a site of joy, creativity, and collective expression.

In the Arènes, people followed their roles and are considerate of one another. People don’t smoke in very public areas, and they don’t leave piles of trash behind. No one is disruptive and loud. When soccer games or pétanque games were going on, people were respectful of the others’ space and there were never large disputes about sharing the space. Observing self-regulation and adherence to certain norms within the Arènes de Lutèce offers intriguing insights into the dynamics of social order and control within urban spaces, particularly in contrast to the broader context of contemporary Paris. Marcel Mauss’s concept of the “social contract” provides a framework for understanding the implicit agreements and mutual obligations that govern social interactions and behavior within a community. In the case of the Arènes, the observed behaviors, such as cleaning up after oneself and refraining from disruptive actions, can be interpreted as manifestations of the social contract in action. Mauss argues that social norms and practices are not simply arbitrary rules imposed from above but emerge organically through collective agreements and shared understandings. Within the Arènes, the absence of a visible police presence suggests that individuals are not being externally coerced into compliance but rather voluntarily adhere to certain behavioral expectations as part of their participation in the social group. This self-regulation reflects a tacit acknowledgment of the importance of maintaining the integrity and harmony of the communal space. Michel Foucault’s concept of the panopticon offers a compelling lens through which to analyze the dynamics of surveillance and power within the urban environment. The panopticon, originally conceived as a prison design by Jeremy Bentham, operates on the principle of constant visibility and internalized discipline. In the context of the Arènes, while there may not be a physical panoptic structure, the awareness of being observed by others can still exert a disciplining effect on individual behavior.

The lack of a visible authority figure, such as a police officer, does not negate the presence of surveillance within the Arènes. Instead, the collective gaze of fellow park-goers serves as a form of decentralized surveillance, encouraging individuals to conform to accepted norms and expectations. This internalized sense of accountability and scrutiny contributes to maintaining order and decorum within the space, illustrating how power operates through subtle mechanisms of social control. The observed patterns of self-regulation and adherence to social norms within the Arènes de Lutèce highlight the complex interplay between individual agency, collective responsibility, and the dynamics of power and surveillance in urban settings. By examining these dynamics through the frameworks of the social contract and the panopticon, we gain deeper insights into the underlying mechanisms that shape behavior and maintain social order within public spaces.

Amphitheaters were central in ancient Roman society, serving as venues for various events and activities. These grand structures served as focal points for entertainment, socialization, political control, and cultural expression. From the bloodthirsty spectacles of gladiatorial combat to the elaborate theatrical performances and mock naval battles, amphitheaters provided the Roman populace with a myriad of experiences that both entertained and captivated. At the heart of the amphitheater experience was the communal aspect, drawing together people from all walks of life to share in the spectacle. It was a place where social barriers dissolved, and individuals could come together as equals to witness the drama unfolding before them. Additionally, staging these events served political purposes, allowing rulers and elites to assert their authority and maintain social order. Authorities could placate the masses and reinforce their legitimacy by providing entertainment and distractions. Furthermore, the cultural significance of amphitheaters extended beyond mere entertainment, with events held in these venues reflecting Roman society’s values, beliefs, and aspirations. Overall, amphitheaters were not just architectural marvels but dynamic spaces that played a vital role in shaping ancient Rome’s social, political, and cultural fabric.

In addition to the renowned Arènes de Lutèce, Paris boasts several other examples of ancient amphitheaters or amphitheater-like structures. The Arènes de Nanterre, situated in the western suburbs, dates back to the 2nd century AD and shares similarities with its Lutèce counterpart, possibly serving as a venue for gladiatorial combat and public entertainment. On the Butte Montmartre, the excavated Arènes de Montmartre provide further evidence of Roman presence in the area, though they are not as extensive as the Arènes de Lutèce. Furthermore, the Théâtre Antique de Paris, also known as the Gallo-Roman theater, once stood near the present-day Place du Châtelet, accommodating large crowds for theatrical performances and gatherings. These archaeological sites collectively underscore Paris’s rich historical heritage and enduring connection to the ancient Roman civilization.

Children are often left out of spaces where adults are meant to relax and vice versa. The Arènes de Lutece subverts this by being a place where kids and adults can feel equally at ease. Even with the presence of the children’s playground adjacent to the Arènes, I often observed children choosing to play on things that weren’t exactly play structures or specific areas for children to play. They preferred to play with the sand, or climb up and down the steps or slide down the handrail. How does this show how people like to be able to make their own choices in a public space while still acknowledging the importance of options being provided by a city?

The observation of children at the Arènes de Lutece highlights the importance of providing individuals with the autonomy to make their own choices in public spaces while also recognizing the value of options provided by the city. Despite the presence of a designated children’s playground adjacent to the amphitheater, children often preferred to engage in unstructured play activities within the confines of the Arènes.

This behavior underscores individuals’ desire for autonomy and self-directed exploration, even at a young age. Rather than adhering to predefined play structures or designated areas, children at the Arènes exercised their freedom to choose how they interacted with the space. Whether it was playing with sand, climbing the steps, or sliding down handrails, they embraced the opportunity to explore and engage with their surroundings in a way that felt authentic and fulfilling. At the same time, the presence of options provided by the city, such as the adjacent playground, acknowledges the importance of catering to diverse needs and preferences within the community. While some individuals may gravitate towards structured play equipment, others may prefer the open-ended opportunities for exploration offered by spaces like the Arènes. By offering a range of options and amenities, the city accommodates varying interests and preferences, thereby enhancing the overall quality of urban life. Children at the Arènes de Lutece illustrates the delicate balance between individual autonomy and the provision of options by the city. By allowing people to make their own choices within public spaces while offering diverse amenities, cities can create environments that promote both freedom and inclusivity, enriching the urban experience for residents of all ages.

As of 2024, the city of Paris has implemented various government infrastructure initiatives to enhance parks and public spaces throughout the city. One notable example is the ongoing efforts to increase green spaces and pedestrian-friendly areas as part of the “Reconquête des rues” (Reconquest of the Streets) initiative. This initiative seeks to reclaim urban space from vehicles and promote sustainable modes of transportation, such as walking and cycling.

Additionally, the city has focused on renovating and maintaining existing parks and gardens to improve accessibility and amenities for residents and visitors alike. Projects such as the “Plan Canopée” aim to increase tree coverage and biodiversity within urban areas, contributing to the overall health and well-being of the city’s inhabitants.

The city has invested in the development of innovative park infrastructure, such as transforming abandoned railway lines into linear parks and green corridors. Examples include the Promenade plantée (also known as the Coulée verte René-Dumont) and the Petite Ceinture, providing unique recreational opportunities and ecological benefits to urban dwellers.

In addition to physical infrastructure, the city of Paris has implemented various programs and initiatives to promote community engagement and participation in park management and maintenance. These efforts include the establishment of Friends of Parks groups, volunteer programs, and participatory budgeting initiatives that give residents a voice in decision-making processes related to park development and upkeep. Government infrastructure initiatives reflect Paris’s commitment to creating vibrant, inclusive, and sustainable public spaces that enhance the quality of life for residents and visitors while preserving the city’s cultural and natural heritage.

I am grateful to have seen the people of Paris experiencing the Arènes. Couples see this as a place to relax or have dates. I noticed, on 4 occasions, that more than 4 couples were relaxing and reclining on the steps or the grass together. Showing the comfort or familiarity with the space. The students seem to enjoy the freeform setting that the steps provide in the Arènes, as anywhere from groups of 2 to 10 can comfortably sit and chat and eat lunch together.
Children seem to love the space for the endless possibilities of play that can go on in a space like this. Kids use the staircase and arena floor as obstacles or play areas where the play is entirely up to them.

And then there is me. I used the place as a calming third place, and I often visited it during my school days. The proximity to many cheap student-catered lunch spots and to my university. I found that the Arènes acted as a substitute schoolyard or cafeteria where I could feel like I belonged yet could still get away for a break from school. The quiet nature and constant low French chatter was charming, and I loved to watch kids play football, and the adults play pétanque. when I often felt like my stationary places in the city were limited to either my university building or a paid establishment like a restaurant, the arenes provided a 3rd stationary, circular space where I could take a break and nap, read, draw, eat between classes without having to feel like I was in anyone else’s space.

The Arènes de Lutèce is a microcosm of the complex interplay between transient and stationary spaces within the urban landscape. Its historical significance, contemporary usage patterns, and subversion of Haussmann’s monumental vision highlight the dynamic nature of urban space and the enduring allure of historical landmarks in a modern city. As we navigate the complexities of urban living, spaces like the Arènes de Lutèce offer a refuge from the frenetic pace of city life, reminding us of the importance of preserving our connection to the past in an ever-changing world.

Works Cited

Crampton, Jeremy W., and Stuart Elden. Space, Knowledge and Power: Foucault and Geography. Ashgate, 2007.

“Debt: The First 5000 Years.” Wikipedia, Wikimedia Foundation, 5 May 2024, en.wikipedia.org/wiki/Debt:_The_First_5000_Years.

Karsenti, Bruno. Marcel Mauss: Le Fait Social Total. Presses Universitaires de France, 1994.

Nora, Pierre. Les Lieux de Mémoire. Editions Gallimard, 1997.