Songs and Tourism
Although tourism is not a predominant theme in Francophone popular songs quantitatively, these songs draw inspiration from it. The following work does more than merely utilise data from this unexplored corpus. Two perspectives emerge from this body of work and are considered here: the political dimension of the phenomenon, and the role of couples as key agents in tourism, reciprocally highlighting how tourism influences couples’ dynamics. This gives rise to several insights into what it means to inhabit the world as a tourist.
Approaching tourism as a way of inhabiting the world (Lazzarotti (ed.), 2018) invites us to consider how this viewpoint can inspire a re-evaluation of traditional interpretations of the phenomenon, or even unveil new ones. Regardless, given the relative abundance of academic publications on the topic, this task is far from straightforward. Perhaps exploring new material can help. This forms the basis of the dual aim in intersecting tourism with popular songs (Lazzarotti, 2021).
Tourism and Songs: Two ‘Popular’ Phenomena
If the definition of tourism is under scrutiny, so too is the definition of popular song. In a rather simplified but not overly vague manner, one might say that a popular song is composed and written to appeal to a wide audience. By focusing predominantly on Francophone songs, particularly those available through online resources such as YouTube, it has been possible to compile nearly 250 songs as of 31 March 2023, whose lyrics explicitly address tourism or, at the very least, tourist practices. Here, we shall highlight only a selection of the most characteristic examples to illustrate our point. The next step is to define the heuristic value of these songs: in what ways might they contribute to geographic reflection, which always differs from the work of historians, sociologists, anthropologists, or philosophers, to name just a few of the most common social and human sciences present in the field?
A reservoir of experiences
Produced to be sold, popular songs must capture the attention of occasionally distracted listeners immediately. This requires relatively simple melodies, with minimal intervals between notes and uncomplicated keys. The aim is for these songs to be easily memorised and repeated, regardless of the accuracy of their rendition. Furthermore, the lyrics must communicate directly to a broad audience. Everyone must see themselves in the story, project their dreams onto it, and resonate with its themes, which is why the words should evoke shared experiences. That is why these songs often recount rather banal tales, usually within the world of clichés. However, each song—wherein lies the artistry of the lyricist—uniquely interprets these clichés. Thus, popular songs present a variety of tourist scenarios, serving as a reservoir of experiences that ultimately create a broad and diverse panorama.
A performance
Songs are more than mere snapshots. Take, for instance, the scopitone of “Il fait trop beau pour travailler”, performed by Les Parisiennes and the jazzy ensemble of Claude Bolling (1964, lyrics by Franck Gérard, music by Claude Bolling). Set against the backdrop of an airport and the Caravelle Le Poitou, it offers a genuine education in the experience of air travel and the practices of boarding. From this perspective, songs are not merely descriptive. They are also performative. They contribute to the promotion of tourism, especially given that the golden era of francophone song occurred in the 1960s, extending into the 1970s. Notably, these years coincide with the Second Tourism Revolution, marked by the popularisation of travel and its permeation within the country’s borders. In essence, these songs highlight a phenomenon that is not new but has recently become popular, thus facilitating its spread. That said, what can we learn about tourism through these songs?
Listen to “Il fait trop beau pour travailler”
Tourism as a political practice
Often dismissed, if not scorned, as a trivial pastime, tourism deserves a more thoughtful analysis, especially in recent years, particularly regarding its political dimensions.
Campaigning for a “new society”
Let us consider how Henri Salvador, a prominent figure in the realm of tourist songs, critiques the notion of work in his song “Le travail, c’est la santé” (1965, lyrics by Maurice Pon, music by Henri Salvador). Although the lyricist is a fervent advocate of hard work, this does not prevent him from launching a scathing critique of its apparent drawbacks. At the heart of his message lies a vision for an alternative society, embodied by Henri Salvador himself. Having transitioned from the role of a convict to that of a tourist, he relishes the pleasure of lounging in a deckchair while sipping a delightful drink.
Listen to “le travail, c’est la santé”
Next, let us listen to Sheila as she boldly takes aim at the tyrants of time in “L’école est finie” (1963, lyrics by Jacques Hourdeaux and André Salvet, music by Claude Carrère). Making a break as soon as the chimes of an old bell ring out, we quickly find ourselves by a river – with a direct view of factories, no less-. This setting proves ideal for burning books and notebooks – a recurring theme in songs of that era – and preparing to embrace independence within the framework of liberated time, as dictated by holiday regulations.
Continuing with Sheila’s “Papa t’es plus dans l’coup” (1963, lyrics by Jil, music by Jan). The setting is slightly more touristy, complete with a swimming pool and bungalows. Here, the visuals do more than merely illustrate the lyrics. They put them in perspective. The hapless father, baffled by modern life: work is now obsolete. Honesty no longer pays, and so on. The only thing that truly matters, of course, is love. Along with the sense of fraternity it brings. This camaraderie is referred to as “copinage” (Morin, 1963). Sheila again captures this sentiment in her song: “Vous, les copains” (1964, lyrics by Claude Carrère, music by Manfred Barry). As a rallying cry, the song asserts solidarity between all. This is not a novel concept. It echoes the fundamental tenets of the French Revolution.
Listen to “Papa t’es plus dans l’coup”
A political programme
By challenging what had been deemed the foundational “values” of previous Republics, work, family, and… education, these songs collectively constitute a puzzle whose with an overall picture is unmistakably clear: a desire to transform society.
In this context, the Renault 4 L is one of the great players of this mobilisation. The one gifted to Sheila by the Régie is aptly named “Parisienne”. Even more emblematic of the “Flower Power” movement is the version promoted by Michel Fugain: “Fais un tour en Renault 4”, etc. (1973). In short, whether by car, train, or plane, France’s tourism scene is changing. And France is changing with tourism. Change is afoot. Tourist practices are also changing, exemplified once again by Sheila in “En maillot de bain” (1968, lyrics by Jacques Monty and Claude Carrère, music by Georges Aber). Based on a British model, the practices of previous generations were scoffed at in favour of renewed approaches in which the joys of fitness are at the forefront. New society, new tourism? Or the other way round…
Listen to “Fais un tour en Renault 4”
Listen to “En maillot de bain”
Engaging in tourism, being a tourist, or referring to tourism is not – as demonstrated here for the period – an activity that exists outside of society, divorced from its time and that of others, in an inconsequential other world. In this respect, tourism is a form of advocacy for a “new society”, a promise first made by the politician Jacques Chaban-Delmas in 1969, after the revolutionary fervour of May 1968 adopted it as one of their slogans… In any case, people found a “social ground” ready to hear and incorporate their opinions and ideas. This readiness for change stemmed from a slow but perceptible process that was undermining the very foundations of post-war society, with songs set to the backdrop of tourism helping to break the somewhat stagnant era of Gaullism.
However, the message here is not that tourism is always linked to a process of societal transformation in this precise manner. The lesson of these songs is to highlight that tourism is always also a political practice, or, in other words, that tourism has political significance, even if this significance differences according to period and location. Its role in 19th century colonial construction (Boujrouf and al., 1998), or in more current context of a China-World, as presented by Benjamin Taunay (2022), serves to confirm this notion.
In light of this, Henri Salvador, Sheila, and Les Parisiennes, who may not be broadly seen as “political” performers, are indeed politically engaged singers. Maybe even more so than if they had tried to be.
Couples, stakeholders of tourism
While studies on tourists have explored them both individually and in groups, more rarely do analyses focus on a category of stakeholders which feature prominently in songs: the couples. Listening to these tunes, it is clear at the heart of tourism lies love. It is not merely a matter of recognising the connection between tourism and love, at least in song. It also necessary to consider what, according to songs, tourism means for couples, and vice versa. Without claiming to exhaust the topic, and based on songs and notions already discussed (Lazzarotti, 2023), let us take a few examples.
When love transfigures places
With “Les gondoles à Venise” (1973, lyrics by Michaële and Claude Carrère; music by Lana and Paul Sébastien), the ever-present Sheila, now accompanied by her husband, the highly virile Ringo Willy Cat, recounts a fusional love story. Its impact on the sites is immediate with the backdrop of criticism of certain already very busy sites. There is no more need to venture far, for they are in love. The most mundane locations and practices in tourist terms are transfigured.
Listen to “les gondoles à Venise”
In a similar vein, Serge Reggiani proceeds in much the same way, with Venise n’est pas en Italie (1977). Therefore, it is enough simply to love each other for any place—even a dreary attic—to become Venice.
Listen to “Venise n’est pas en Italie”
In both cases, the location, conceived as a tourist destination, comes after love, serving both as a reward and a testament to it. One might even say, rather ironically, the lack of need for it.
One to the other
This does not hold true for everyone.
An unlikely encounter
With Une belle histoire (1972, lyrics by Pierre Delanoë, music by Michel Fugain), Michel Fugain describes a different tourism scenario. When one person returns from the south heading northwards, another departs from the north heading south. They cross paths in a mundane service area, the last place you would expect a fortuitous encounter to take place. Yet, this is precisely what happens. Can it be said, then, that tourism defies statistics?
Two analyses come to mind. The first is that tourism increases the opportunities for meetings in tourist destinations, including marginal ones. The second is that while these encounters may be fleeting, they can still leave a lasting impression. Possibly because they may be the first of their kind.
Listen to “Une belle histoire”
Anticipated love
Est-ce que tu viens pour les vacances? (1988, lyrics by Didier Marouani, music by Didier Barbelivien and Jean Vanloo) is a far more intriguing song than it appears. It is worth noting that, for it to be comprehensible, David and Jonathon refer to a tourist model rooted in the repetitive nature of summer practices, the fact that year after year, in the same location, the society of tourists congregates. But does this always recreate the same experience?
The song claims that tourist experiences are not limited to the duration of the holiday. On the one hand, during it, they participate in personal development—no doubt, holiday romances are, at least in some respects, rites of passage -. From this perspective, tourist practices make romantic experiences easier since they partly remove social constraints. On the other hand, the absence related to separation throughout the rest of the year may heighten their idealisation. Such experiences are vivid in memories generating anticipation, and hope of seeing the other again.
Listen to “Est-ce que tu viens pour les vacances ?”
One with the other?
But that is not all because tourism is also associated with decisive moments for couples.
Getting together?
In Tes vacances avec moi (2004, lyrics by Sonia Dierson, music by Joël Grégoire), Sonia Dierson continues her pursuit of love by devising a strategy to bring it to fruition: inviting her partner to go on holiday with her. Thus, the promise of a holiday serves as both pretext and bait. She wonders if, after a successful trial period, their romance could last beyond the holiday.
Listen to “tes vacances avec moi”
Getting back together?
Pierre Lalonde puts himself in the position of a man who has been unfaithful. “Be careful,” he thinks, but a little late. How can he win her back? Never mind. Le temps des vacances (1963, lyrics by Donald Lautrec, music by Howard Greenfield) offers a solution. Offering the other a fresh start, a reset. It involves a shared tourism experience that, as one might expect, comes with a series of promises: fidelity, exclusivity, and so forth. Perhaps a shared tourism experience might serve as a great way to work on reconciliation and offer him more chances?
Listen to “Le temps des vacances”
One without the other
Couples can also separate, and in this case, tourism is one of the ways of showing the other that the relationship is truly over.
Travelling, alone
Newly single in the song Les grandes vacances (2005, lyrics by Pascal Mathieu, music by Florent Marchet), Florent Marchet seeks to overcome his heartache. He decides that a tourist trek would be the best solution, probably because it seems the best way to help him forget the breakup. However, things are quite the opposite as every small event, typically shared with a partner, serves only to amplify his sense of solitude. Therefore, the song outlines some of the limits of tourism, and even goes beyond that. Travelling, including for an activity that is fun and chosen, does not mean forgetting everything. It also means go away with all your questions, doubts, and regrets. The worst outcome would be taking them home with you.
Listen to “Les grandes vacances”
Being alone
Another depiction of solitude is presented by Patricia Ferrari (1976) in Il pleut sur mes vacances. In a setting soon identified as a somewhat outdated seaside resort reminiscent of those found in southern England, everything that should bring joy instead turns against the unfortunate tourist, reflecting only the agony of her loneliness, especially the absence of her partner. While we know nothing about the summer weather, her internal weather conditions are far from fair. Here, tourism amplifies suffering, no doubt because it is more difficult to be alone in places where you are surrounded by the happiness of couples.
Listen to “Il pleut sur mes vacances”
A more dynamic variation of this situation is found in Que c’est triste Venise by Charles Aznavour (1964, lyrics by Françoise Dorin, music by Charles Aznavour). This song tells the story of a couple in Venice. The destination is commonly associated with people in love. But, in this case, nothing is as usual. This couple experiences nothing that normally is found in Venice. In short, being in Venice leads them to face an uncomfortable truth, they no longer love each other. A truth they may have wished to ignore for a little longer, but which emerges here in all its stark clarity: tourism can often be a trial for couples.
Listen to “Que c’est triste Venise”
Leaving each other
With Adieu jolie Candy (1969, lyrics by Alain Boulbil and Michel Hursel, music by Raymond Jeannot), Jean-François Mickael not only recounts a story of separation but also suggests that holiday romances are unlikely to last longer than the tourism itself. At Orly airport, a young English tourist has fallen in love with a young Frenchman. However, if she decides leave him it isn’t only prompted by the end of her stay. After much soul-searching, she weighs up the reasons to stay with him against those prompting her departure. Without mentioning the modernity of the theme of the song, especially regarding transportation, it is clear that her holiday experience led her to make an important decision, a choice of where to live. To live her love in France or return to her life in England, a decision that has a major impact on her future. Therefore, the song goes beyond her situation. It shows that tourism can also be a challenge involving existential choices.
As such, the tourism phenomenon is described as a storyteller: the cross-cutting themes of encounters, love, and, in some cases, separation provide fodder for songs, because they represent some of the most significant moments in romantic life, if not in life itself. It is worth noting that these popular songs typically present conventional relationships. Couples are generally well-matched in age and, in the vast majority of cases, are heterosexual. Nothing is presented that might upset the intended audience.
Therefore, tourism is as a somewhat muted yet significant term that enhances these key moments in the dynamics of relationships, whether romantic or otherwise. This highlights that tourism not only serves as an emotional operator but also as an amplifier of feelings. For those in love and the heartbroken. In short, in line with everything that can be drawn from a reflection on living in a space, tourist sites are a term of this particular case of cohabitation, cohabitation between two people. This does not automatically foster love, but rather contributes, in all possible ways, to the dynamics of relationships, whether through formation, maintenance, or even the deformation of couples. Therefore, even as it is suggested, couples in love participate, automatically, in adding a touch of longing, to the allure of tourist destinations.
Inhabiting as a tourist
By insisting on tourism as a political practice that subtly touches on revolutionary ideas while highlighting the situations of couples in tourist locations, and vice versa, the collection of songs offers a less conventional view on tourism.
By combining this data with reflections on inhabiting a space, they support the notion that the cohabitation relationship involves a geographical dimension, a little like they want. The place and the moment are always the terms of human interrelations, which transform these locations from mere backdrops into meaningful challenges. When it comes to couples, the prevailing norm is that of the couple in love, those who find happiness in such a situation are fortunate, while those who do not, or no longer, are not. Thus, these perspectives highlight how an analysis of tourism as a way to inhabit the world can provide a much broader project to develop.
Bibliography
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