Review

Books

Culture

Football

Identity

Music

Sport

Taylor Swift

11 June 2024

4 min read

What makes fans tick?

Fandom’s remarkable fusing.

Simon Burton-Jones

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

Scottish football fans wearing kilts march down a street singing and waving their arms alogt.

Scotland's Tartan Army of football fans.

"A fat, sarcastic Star Trek fan: you must be a devil with the ladies."

This put down of Comic Book Guy in The Simpsons neatly sums up a prevailing attitude to fans. To be a committed fan is to devote yourself to a niche pastime; to be weird and nerdy and, simply, not cool. At its worst, the fan becomes a fanatic, from which the noun is derived; an obsessive who stalks the object of their passion online and, at its most dangerous, offline.

Times are changing, though, and the internet is chiefly responsible. Where once fans could feel isolated and able only to relate to fellow afficionados slowly via the postal system, now they can find people who share their love in a handful of clicks and build relationships in real time. A lot of anguish is spent on how the internet allows people to find extremist chat rooms where abhorrent behaviour is normalised; less attention is given to the wonder of being able to find fellow lovers online of Massey Ferguson tractors, Australian mullets or Rubik’s Cubes. Many fans feel less alone online, building a new sense of belonging and purpose – a realisation that others will take them seriously.

Yet experienced from the inside, a remarkable bonding is taking place, where fans not only fuse with others, but with the team itself.

In Fans: A Journey into the Psychology of Belonging (Picador, 2024), the academic Michael Bond gives a perceptive and generous insight into the world of fandom. There are Beliebers, Directioners, Trekkers, Swifties, Janeites, Ricardians. For the uninitiated, that’s lovers of Justin Bieber, One Direction, Star Trek, Taylor Swift, Jane Austen, Richard the Third; though strangely one of the biggest bases of all simply goes by the title Star Wars fans. Bond spends some time looking at the phenomenon of Michael Jackson. Professor Gayle Stever has researched the pop star’s fans and found them, like many other fans, to be ‘normal people carrying on normal lives with functioning relationships and jobs, who just had this passion for Michael Jackson’. Despite the discomfort of idolising a celebrity who lived, and died, with serious child abuse allegations made against him, they saw Jackson as ‘the target of racist abuse and unwarranted criticism throughout his career’.

Fans often identify very personally with their idols. Cosplaying conventions allow fans to reinvent themselves and Houston University studies have shown that people can ‘feel less lonely and less anxious in the face of rejection simply by thinking of a favourite TV show’.

But what of football fans? Many find the aggressive tribalism involved hard to accept. I have observed young male fans of London Premier League teams chanting loudly at train stations in a way that made young women nearby shrink away, making me wonder whether my opening line from The Simpsons ought to be re-purposed. The ritualised conduct of football crowds – the fist pumping, jumping and embracing at a goal, the verbal and hand abuse of opposing players and referees, and the chants that defy pre-match announcements about tolerance at games – can look bizarre and scary. Yet experienced from the inside, a remarkable bonding is taking place, where fans not only fuse with others, but with the team itself.

‘... the best of sport is not the earthy moment of victory, but the privilege of watching athletes tilt at divinity.’

Emma John

The deeper the love for a club, the greater the joy and the pain at success and failure. It is a high-risk investment that many stake because it makes them feel so alive. The peerless interpreter of football fandom, Nick Hornby, says that football is a context where watching becomes doing’. Anyone whose leg has involuntarily jerked as a player reaches for the ball will grasp that.

I wonder if some football fans who identify as Christian struggle with the secret reality of uncontrollable mood swings every weekend? Should a win on a football pitch matter that much, when so many things are so much more important? They may aspire to the whimsy of Ecclesiastes (there is a time to win and a time to lose, the author nearly said) but feel the coursing testosterone of Samson instead.

God made us playful, and football is a disarmingly simple game to watch and play. There is also breathtaking beauty in the movements of its finest exponents, like the choreography of Michael Jackson himself. If we are called to life in all its fulness, isn’t this also a part of that fulness (even if some games are a stretch)?

In recent interviews, Nick Hornby has said he couldn’t write Fever Pitch again, his pained love letter to Arsenal FC; middle age has brought a new perspective. Writing in Prospect magazine (May 2024), sports journalist Emma John says: ‘I have observed many of my sports-loving friends follow the same trajectory…the best of sport is not the earthy moment of victory, but the privilege of watching athletes tilt at divinity’.

At least, until the final penalty shoot-out, when for the diehard fan it’s absolutely all about the earthly moment of victory.

Review

Art

Culture

23 July 2024

5 min read

The collective effervescence of sport’s congregation

Art captures how sport and religion are entwined throughout history.

Jonathan Evens

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.