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. 

Article
Culture
Sport
Wildness
4 min read

The surfers seeking the stoke of cold water enchantment

The reverence of waves breaks over beach-bums and ancient monks alike.

Riley is a writer and journalist, originally from Oregon. 

A sufer carries a longboard into the waves
Surfing Oregon's coast.
Megan Nixon on Unsplash.

Long before Malibu or the post-industrial North Shore of Oahu, surfing held an integral role in Pacific Island societies. As Ben Finney and James Houston explain, surfing was a religious practice for ancient Hawaiians. With stocks of morning glory, they lashed the ocean’s surface, chanting “Arise, great surfs from Kahiki.” This compelled the spirits - animating the swells - to foster good waves, therefore good “stoke” (to use a modern idiom). 

When I first started to surf, I detected such enchantment. Almost nothing brought me closer to transcendence. On good days, my Sabbath rituals would be galvanized by peeling waves paired with a cold saltwater plunge, somewhat like those Russian Orthodox plunges on January 6th (minus the ice).  

And despite the rapid secularization of the West, surfing remains a precious religious ritual. For Christians, Buddhists, New Age spiritualists, etc.—anyone who meets the ocean on her own terms. All speak with reverence about the waves. 

Surfers tend to be deeply serious people, distanced from their hash-smoking, dread-headed depictions in pop culture. Some might argue that they take themselves too seriously, one day conducting American counterculture and the next protesting the Vietnam War on the grounds that war disrupts the proverbial Tao. 

  Such is the genius of Francis Ford Coppola’s iconic surfing motif from the film Apocalypse Now. Here, Lieutenant Colonel Bill Kilgore, trying to find a rational explanation for the Vietnam War, declares “Charlie don’t surf!” with an odd tone of vulnerable bravado. Somewhere in this declaration, we find a longing for peace and transcendence, despite the chorus of machine guns and napalm that inevitably follow. For him, surfing was an antidote to chaos—a sort of victorious peace ritual following the horrors of battle.  

Despite the chaos––constant chorus of swells and seagull cries––the ocean remains noiseless in a spiritual sense. She quiets anyone nearby.

Jaimal Yogis, author of Saltwater Buddha, forthrightly connects surfing to enlightenment. In Hawaii, he studied dharma and traditional philosophy, living like Jack Kerouac and Kelly Slater combined: “[mastering] all the waves (internal and external).” There exist many paths to enlightenment, Yogis adds in his follow-up A Surfer’s Guide to Buddhism. Surfing is just one route through the ocean of suffering, albeit more appealing than ancient asceticism. 

Surfing, Peter Kreeft claims, is akin to Buddhism in that they both contain unique words for their unique “highs”: ‘stoke’ and Nirvana. In a little book called I Surf, Therefore I Am, Kreeft regards surfers as Aristotelian disciples, chasing life’s greatest good (happiness) before anything else. In that respect, surfers live truthfully to the Ethics.  

The activity of surfing, he says, transports a person into timeless happiness. ‘Stoke’ is a mystical ebullience, ecstasy of a sacred kind because ‘stoke’ is not a fleeting thing. It sustains itself both during and after the activity which creates it––a pure and lasting joy. “Maybe surfing brings us back to the timelessness of Eden,” Kreeft says. 

Ancient Celtic monks found the seashore ideal for spiritual refuge, regarding their pilgrimage to the sea as following Christ into the desert. Visiting the ruins of one of these seaside monasteries, Dr. Ed Newell (author of The Sacramental Sea), felt himself overcome by its solitude. The ascetic life on the isle of Papa Stronsay seemed spiritually claustrophobic, he says.  

These monks were not surfers (to our knowledge). They were beach bums. They recognized a simple, solemn truth about the sea: its intense solitude. Despite the chaos––constant chorus of swells and seagull cries––the ocean remains noiseless in a spiritual sense. She quiets anyone nearby, leaving them, as Kierkegaard puts it, silent and “nothing before God.” If we can learn from the lilies and the birds then surely waves and pelicans offer similar wisdom. 

When I moved away from the coast for school, this was the most intense realization. Now, my life is full of constant noise. I thirst for that vast silence that nourished me back home. And while Kreeft is right, that ‘stoke’ never truly dissolves, adjusting to life away from the waves has been a terrible trial. During the first week in the dorms, the thought of rolling swells kept me awake and staring at the ceiling. I would instinctively open my window, only to realize that there was no distant sound of crashing waves to put me to sleep. There was, and has been, something dislodged ever since leaving the sea. 

And so, today, I skipped class and stood at the edge of the Pacific Ocean. A fierce storm – bearing the name La Ninia – raged across the Oregon Coast. Sideways rain pelted my face. Though coated in a 5mm wetsuit, my fingers were already painfully numb before stepping into the sea, which was probably 5°-10°C. 

I paddled past the breaking waves and rediscovered what was missing. The part of myself that never made it to university. I ditched my nine-foot fiberglass longboard for a moment and thought about nothing: floating, staring into the blankness of the gray sky. My body went numb and became weightless, the existential burdens vacating with each rise and fall of the swell. Once again, I was alone and silent before God. And despite losing myself in the vastness––the overwhelming silence––of that moment, I found myself entirely. 

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief