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Aya Nakamura Reflects on Olympic Performance: Controversy, Pride, and Triumph

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Aya Nakamura shares her emotional journey and the challenges faced during her performance at the Paris 2024 Olympic Games, addressing controversies and celebrating her artistic triumph.


For the first time, Aya Nakamura opens up about her experience performing at the Paris 2024 Olympic Games during a live TikTok session. The singer faced significant backlash and controversy prior to her performance, which took place on July 26 at the Pont des Arts. During the session, she expressed her surprise at the intensity of the criticism she received, noting that she was unaware of the event's significance when she accepted the offer to perform.

Nakamura performed a medley of her hits, including 'Pookie' and 'Djadja', alongside the classic 'For me, formidable' by Charles Aznavour, backed by the Republican Guard. Reflecting on the challenges she faced, she stated, 'I didn't know at all the weight the event had.' The singer also addressed rumors about being pressured by French President Emmanuel Macron to perform songs by Edith Piaf, clarifying that their conversation was more of a discussion than an imposition.

Despite the controversies, Nakamura expressed pride in her performance, highlighting the fun she had with the Republican Guard. She acknowledged the intense scrutiny she faced as a black artist and the impact of discrimination in her career. Following her performance, her streaming numbers surged, with a reported 40% increase in listenings on Spotify, showcasing the positive reception of her work abroad. 'The hardest part was when there were the controversies,' she said, emphasizing the emotional toll of public criticism.

In conclusion, Aya Nakamura's experience at the Paris 2024 Olympic Games serves as a reflection of the challenges faced by artists in the public eye, particularly those from marginalized backgrounds. Her candid discussion about the pressures of performance and the weight of public expectation offers valuable insight into the intersection of art and social issues.

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Refs: | Le Figaro | Le Parisien |

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