Review
Art
Culture
5 min read

The collective effervescence of sport’s congregation

Art captures how sport and religion are entwined throughout history.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

An impressionist painting of runners bunched together on the bend of a track.
Robert Delaunay's Coureurs.
Public domain, via Wikimedia Commons.

In 2022 I had the opportunity to attend the launch of Football and Religion: Tales of Hope, Passion & Play, a mixed media exhibition with works by Ed Merlin Murray, at the Aga Khan Centre Gallery. The exhibition explored the relationship between football and religion and how the two are often connected, with players praying on the pitch and fans observing religious rituals in tandem. The exhibition also examined football’s ability to champion social causes, promote marginalised voices, and create opportunities for inclusion and diversity 

The accompanying historical exhibits also revealed important collaborations with a variety of organisations and specialists in the field of football and religion. Among the archive material shown, books such as Thank God for Football! reveal that nearly one third of the clubs that have played in the English FA Premier League owe their existence to a church, while Four Four Jew: Football, fans and faith and Does Your Rabbi Know You Are Here? uncover a hidden history of Jewish involvement in English football. 

In an associated essay, ‘Football Is More Than A Secular Religion’, Dr Mark Doidge, Principal Research Fellow in the School of Sport and Health Sciences at the University of Brighton, noted: “Sport and religion are intimately entwined throughout history. Ancient Greek funerary games were seen as the most fitting way of honouring the death of heroes. The Olympics were held in honour of Zeus, which is why the ancient site of Olympia is home to sanctuaries, temples, and sports facilities.” 

Sport metamorphosed into a practice of effort, competition, and record-setting, sanctioned by artists in works that reinforced the cult of sporting heroes, relayed by the press.

While not focusing specifically on religion, as did the Aga Khan Centre exhibition, exhibitions organised for the Paris 2024 Olympics are also exploring stories of sport as culture, impacting on gender, class, race, representation, celebrity, science, and art.  

En Jeu! Artists and Sport (1870-1930) at Musée Marmottan Monet, Paris, builds up a portrait of the society of the second half of the nineteenth century, which gradually took pleasure in taking advantage of its free time to pursue sporting and leisure activities on land or water. Ranging from Impressionism to Cubism, the exhibition shows how sport and sportspeople were made into icons of modernity and the avant-garde. It also explores the ethical challenges and aesthetic aspects of how sports were perceived by artists such as Claude Monet and Edgar Degas and examines the metaphorical meanings of the heroic figure of the artist as a sportsperson, characterized by determination, stamina and a form of resistance. 

The changing social codes of sporting circles, where venues became theatres of physical prowess, are also examined. Sport metamorphosed into a practice of effort, competition, and record-setting, sanctioned by artists in works that reinforced the cult of sporting heroes, relayed by the press. Artists like Henri de Toulouse-Lautrec and Paul Signac identified with the qualities of determination and endurance of these sportspeople who sought to surpass themselves.  

Paris 1924: Sport, Art and the Body at Fitzwilliam Museum in Cambridge explores how the modernist culture of Paris shaped the future of sport and the Olympic Games as we know and love it today. The exhibition looks at a pivotal moment when traditions and trailblazers collided, fusing the Olympics’ classical legacy with the European avant-garde spirit. Paris 1924 was a breakthrough that forever changed attitudes towards sporting achievement and celebrity, as well as body image and identity, nationalism and class, race and gender.  

The fusion of modern Parisian cultural style with the Olympics’ classical inheritance gave the event a striking visual impact. Curators Caroline Vout, Professor of Classics, University of Cambridge and Professor Chris Young, Head of the School of Arts and Humanities University of Cambridge say: “The exhibition explores the look and feel of Paris 1924 as trailblazing and traditional, local and global, classical and contemporary. It brings together painting, sculpture, film, fashion, photography, posters and letters.” 

The exhibition also highlights the extraordinary achievements of the Cambridge University students who won no fewer than 11 Olympic medals for Great Britain that year, including the sprinter Harold Abrahams whose story inspired the award-winning film Chariots of Fire

Regular congregation at a sacred space to perform collective rituals creates a ‘collective effervescence’... 

Mark Doidge 

Paris 1924-2024: the Olympic Games, a mirror of societies at the Shoah Memorial in Paris highlights the issue of prejudice and discrimination, past and present by drawing on a century of the Olympic Games. Bringing together emblematic images of these sporting events, archive documents, films, extracts from the sporting press and personal accounts, the exhibition reveals the Games to be marked by friendship and excellence, but also as capable of being used for political ends which often reflect deep-seated trends in our societies. The exhibition pays particular attention to the Berlin Olympic Games organised by Nazi Germany in 1936 and to the athletes interned at Drancy during the Second World War. It also shows that the values of Olympism can be a real lever in the fight against racism and anti-Semitism and for a better society. 

Taken together, these exhibitions highlight the development of sport as a culture in ways that have a wide impact on society, including religion. In his essay, Mark Doidge highlights the work of the French sociologist Emile Durkheim who ‘identified that the key social components of religion are the foundational components of society’. Doidge notes that “Regular congregation at a sacred space to perform collective rituals creates a ‘collective effervescence’ where the individuals become a community and identify themselves as such”. He also notes the similarities with sport which provides a “way of understanding who we are - who we socialise with, how we see other people, and the ways in which we interact with others” – and which is, like life, “about rivalries and competition, solidarity and teamwork, division, and unity”.  

These similarities can lead some to privilege sport over religion but Doidge argues that sport “should recognise that religion is a key part of many people’s identity and sense of self, and work hard to be inclusive for all”. 

 

En Jeu! Artists and Sport (1870-1930), 4 April to September 2024, Musée Marmottan Monet, Paris. 

Paris 1924: Sport, Art and the Body, 19 July to 3 November 2024, Fitzwilliam Museum, Cambridge. 

Paris 1924-2024: the Olympic Games, mirror of societies, 6 May to 9 June 2024, The Shoah Memorial, Paris. 

Snippet
Comment
Community
Sport
4 min read

What really happens when the Grand National comes to town?

Enjoy those great experiences but remember the neighbours.

Stuart is communications director for the Diocese of Liverpool.

Smartly dressed people crowd a station platform and stairs.
Racegoers arrive at Aintree station.
Merseyrail.

I love watching the periphery of events. Frequently I will be at a gig and find my eye and mind drifting to what is going on at the fringes of the stage. Security distributing water to the thirsty souls of the mosh pit whilst removing the crowd surfer of crushed individual (who invariably rushes back through the stadium to dive back into the fun). You have the semi interested standing at the back trying not to let a good gig interrupt their conversation. You see the road crew retrieving dropped mics, endlessly swapping guitars and nervously following the antics of the lead performers. It is all part of a community drawn together for a couple of hours, from the passionate obsessive to the mildly involved all being sucked into the occasion. 

And for over 30 years I have watched the very fringe of the world famous Grand National event. My wife has taught at a school about half a mile from the famous racecourse so twice daily we pass it by to and from her workplace. I have been to corporate events, our diocese has even held some there, in the stands so have overlooked the course but I have never nor will I ever attend the race meeting. 

But I am fascinated to look in and see the build-up. 

It starts around February as you start to see the white hospitality marquees being erected. You get the big advertising wraps proudly displaying the meeting’s sponsor. Then this week the TV outside broadcast vans turn up, signs directing people to the correct car parks and drop off points appear and the sense of the scale of operations looms large. 

Then there are the signs that someone like me trying to go about the ordinary business of the week don’t want to see. Road closures, no parking zones, diversions all being signposted telling me that this week will be challenging. Gone are the days then I was able to easily move house on Grand National day snaking past the ground while the horses hurtled round the course. 

Travelling in early on race day mornings you see the workforce that comes in to support the enjoyment of the many on race day. A small army of mostly young people dressed in the white and black of waiting staff decamp from the early Merseyrail trains heading to set up in readiness for the day’s punters.  

That’s the bit I mostly miss but it is when the community kicks in. Hordes of people in cars, coaches and trains descend on the area and while most are fine I know from friends living in the area that problems of low level anti-social behaviour affect many local residents when high jinks and too much alcohol spill over to a lack of self-control. And potentially a lack of respect with the notion that my enjoyment trumps anyone else’s rights. 

To be fair I see this type of things coming out of a gig. The moment the house lights go on the crowd that had not minutes before been singing as one voice to the bands biggest hit become engaged in the understandable desire to get home, to get the car out of the car park. As we boisterously leave the venue hyped up by the adrenalin rush you get from a good gig the signs plea to respect the venue’s neighbours is readily dismissed or overlooked. Of course, that sign doesn’t apply to me. 

Behaviour specialists will have no doubt studied the way this works in more detail and there is some research on how crowds behave which I believe informs safety management. This has got to be a benefit for all. And this may have been how things always were but around these events more and more local communities suffer from the impact of thousands suddenly descending and rapidly disappearing. It is similar to the impetus that has led to a backlash against tourists in cities such as Venice and Barcelona. Yes, these events do bring money into the economy, Taylor Swift’s Anfield concerts brought a great amount of revenue for Liverpool. However, a question would have to be how much that benefits the communities that take the brunt. 

The Grand National is big but not unique. And I hope the hundreds of thousands who visit have a tremendous experience but as they do I also hope that they respect the community that they become and the community they land in. 

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