This dissertation proposes that groups of particularly passionate football fans are a form of craft community. The ‘ultras’ create extravagant displays which enhance their performances during football matches. Much attention has been paid to hooliganism and football violence, but very little has been written about the positive and creative aspects of football fandom.
This paper asks if the ultras are a community of practice. They are compared with the ‘craftivists’, and the notion of ‘home’ is discussed within the context of football and the re-evaluation of private spaces. The political nature of the ultras is considered and the concept of ‘the political‘ is addressed, with reference to Chantal Mouffe’s insights into the failure of politics to embrace the political and the importance of antagonism in political discourse.
The performative nature of the ultras raises the question whether this can be considered artistic practice, in the light of Grant Kestor’s discussion of ‘dialogical aesthetics’ and the role of dialogue-based artistic interventions.
The conclusions drawn from this study suggest that the ultras are a community of practice through expressing a shared repertoire and through the organisation of public events. The artistic practices of the ultras are evident but difficult to define. The manner in which the ultras support their club and the criticisms they direct towards the authorities contradict their apolitical position; Kestor’s dialogical aesthetics, particularly the role of empathy, could be used to heal the rift between the ultras and the football associations.
Table of Contents
Introduction
Chapter 1: Who are the ultras and are they a community of practice?
Chapter 2: What are the similarities with craftivists and what is the notion of ‘home’?
Chapter 3: What is the political nature of the ultras?
Chapter 4: Are the ultras artists?
Conclusion
Research Objectives and Core Themes
This dissertation explores whether groups of dedicated football fans, known as 'ultras', function as a community of practice and can be considered artistic practitioners through their performative and creative displays.
- Analysis of the 'ultra' phenomenon as a community of practice using Etienne Wenger's theoretical framework.
- Comparative study between the tactics of 'craftivists' and ultra groups.
- Investigation into the notion of 'home' and the redefinition of private and public spaces within the context of football.
- Examination of the political nature of ultras, referencing Chantal Mouffe’s theories on antagonism and 'the political'.
- Evaluation of the artistic and performative qualities of ultra culture using Grant Kestor’s 'dialogical aesthetics'.
Excerpt from the Book
Chapter 1: Who are the ultras and are they a community of practice?
According to the European Commission’s report for the International Conference on Ultras, the ultras are described as ‘particularly passionate, emotional, committed and above all very active fans’ (Pilz and Wölki-Schumacher, 2010 p5). They are motivated to create a better atmosphere within the stadiums and support their teams creatively, while adopting a critical attitude to ‘modern’ football. They do not wear traditional fan clothing, as they reject the commercialisation of the modern game, but are still distinctively dressed in dark-coloured and sport-orientated clothes. Some groups have chosen particular branded clothing that presents their unique identity; this appearance is often reminiscent of the 1980s ‘casuals’ youth culture. The ultras’ identities are reflected in their attitude to supporting their club. Their fanatical support and ‘love’ for their club disguises the awareness of their own presence. The separation of players and fans in recent times has led to the ultras to perceive themselves as the most loyal fans. Players, managers, even owners of the clubs are transient, yet the fans remain loyal to the club and the ultras see themselves as the true fans (Pilz and Wölki-Schumacher, 2010).
The preparation of displays is a huge undertaking and these are financed through donations, membership fees or selling the group’s merchandise. The ‘merch’ also serves to promote the image of the group, as clothing and badges displaying their unique logo or symbol present a collective identity.
The majority of ultra groups want to influence the way the game is run, whether to reduce ticket prices, to obtain permission to develop their activities or to put forward their own ideas on anti-hooligan laws. These aims and protests against the commercialisation of football are in contrast to their apolitical stance (Pilz and Wölki-Schumacher, 2010).
Chapter Summaries
Introduction: Outlines the research focus on ultras as a craft community and sets the research questions regarding their identity as a community of practice, their political dimension, and their artistic nature.
Chapter 1: Who are the ultras and are they a community of practice?: Examines the definition of ultras, their motivation for creative support, and applies Etienne Wenger’s theory of 'communities of practice' to their structure and shared repertoire.
Chapter 2: What are the similarities with craftivists and what is the notion of ‘home’?: Explores parallels between craftivist tactics and ultra activities, while analyzing the changing boundaries of private and public spaces within football stadiums.
Chapter 3: What is the political nature of the ultras?: Investigates the political dimensions of ultra groups, specifically looking at the concept of 'the political' and antagonism through the work of Chantal Mouffe.
Chapter 4: Are the ultras artists?: Evaluates whether ultra performances constitute artistic practice by discussing Grant Kestor’s 'dialogical aesthetics' and potential collaborations between artists and football fans.
Conclusion: Synthesizes the findings, concluding that while ultras may not perfectly fit the 'dialogical' definition, they operate as a significant community of practice with inherent political and artistic elements.
Keywords
Ultras, Football Fans, Community of Practice, Craftivism, Performative Art, Modern Football, Public Space, Private Space, Antagonism, Dialogical Aesthetics, Political Ideology, Fan Culture, Collective Identity, DIY Activism, Artistic Practice
Frequently Asked Questions
What is the core subject of this dissertation?
The work investigates the subculture of 'ultras'—passionate football supporters—and proposes that they function as a 'community of practice' engaged in creative, performative, and occasionally political activity.
What are the central themes explored?
The core themes include the definition of ultra identity, the parallels between fan displays and craftivism, the role of football stadiums as agonistic spaces, and the intersection of art, politics, and fan support.
What is the primary research question?
The research asks if ultras can be defined as a community of practice, whether their actions have political implications, and if their performative displays can be categorized as artistic practice.
Which theoretical methods are used?
The author employs Etienne Wenger’s theory of communities of practice, Chantal Mouffe’s theories on politics and agonism, and Grant Kestor’s concept of dialogical aesthetics to analyze the ultras.
What does the main body address?
The chapters detail the structure of ultra groups, compare their grassroots efforts to craftivists, discuss the political tensions in modern football, and analyze the artistic value of the banners, chants, and displays created by fans.
Which keywords best describe this research?
Key terms include ultras, community of practice, craftivism, agonistic space, dialogical aesthetics, modern football, and collective identity.
How is the concept of 'home' applied in the context of football?
The paper explores how 'home' is re-conceived as an alternative space for performance and identity, rather than just a physical domestic location, particularly regarding the 'territory' fans claim within stadiums.
Is there a connection between ultras and political activism?
Yes, the paper discusses how some groups hold specific political ideologies, such as those associated with FC St Pauli, and how the performative displays of many ultras serve as a critique of the commercialization of modern football.
Why are ultras compared to craftivists?
The comparison is drawn based on shared tactics: both groups engage in collaborative, DIY 'artefact' production and performative actions in public or semi-public spaces to assert identity and challenge dominant structures.
- Arbeit zitieren
- Adele Retter (Autor:in), 2014, Get your knits out for the lads: Are the ultras the new craftivists?, München, GRIN Verlag, https://www.grin.com/document/276692
