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In the past two generations, heritage studies – and heritage conservation along with it – have embraced broader notions of what constitutes a heritage worthy of recognition and protection. Although much of the broader understandings of built heritage have included recognizing and conserving vernacular heritage like industrial sites, agricultural locations, and heritages of everyday home life, heritages of sport, leisure, and recreation have too become part of the contemporary conservation movement. Although it may, on some level, be a stretch to position monumental structures like sports venues – along with the elite (and, in recent decades, well-compensated) athletes who now work there – as heritages of the everyday, these “new cathedrals” are nevertheless important symbols in the community and to the people who use or are impacted by them. In particular, they become more than utilitarian places when they are demolished or when a team elects to move venues. As such, sporting venues become remnants like any other form of built heritage: they are symbols of a past, a repository of memory, and a place that, in many cases, is important to conserve. However, unlike a stately home or even an old factory, an abandoned sporting venue does pose a unique conservation challenge, in whether it makes sense to preserve and conserve a sporting venue when its primary use – a place where sport is played – no longer occurs.
(The former Maple Leaf Gardens in Toronto, now home to – among other things – a grocery store and university athletics facility. Photo courtesy of Kate Blair)
Although the much of the focus in the conservation and preservation of sporting venues focuses on the grand and famous, many sporting venues have much more local and regional meanings and, often, are associated more with community leisure and recreation than professional and elite sport. In 2002, English Heritage commissioned a report titled A Sporting Chance which looked at the recognition and conservation of a variety of sporting venues, from famous football grounds through to community pools and leisure facilities to factories which made sporting equipment. In 2011, Historic England (the successor to English Heritage) provided an updated prospectus on the preservation of sport heritage venues, arguing that
Sport and recreation play a major role in modern life. Historic buildings in these categories can therefore elicit strong emotional and sentimental responses. At best, buildings for sport and recreation can be structures of architectural elegance, imbued with considerable social history interest. More commonly they are merely functional in appearance. Yet many of those that survive – and the losses have been considerable – transcend mere utility, and have a character all of their own. (p.3)
The report notes that historic sporting venues have come under threat from commercial and real estate development, from changing health and safety initiatives, and from the need and desire for sporting clubs and sport organizations to maximize revenues (and which may threaten the historic integrity – or continued use – of a historic venue). Furthermore, the report provides numerous other forms of sport venue preservation, including locations associated with ancient and medieval sports like cockfighting and real tennis, as well as more community-based sporting facilities such as billiard halls, cricket clubs, velodromes, gymnasia and drill halls, race tracks (horse, greyhound, and auto), and many more.
Although architectural and historic considerations are important in preserving sporting venues, often it is the emotional connections to these venues which are most pronounced. Losing a beloved venue can be a challenging and even traumatic event for fans and supporters, particularly when it is associated with a the move of a team or the end of a particular era of play. The demolition of Ebbets Field in 1957, the stadium where Jackie Robinson became the first African American player in Major League Baseball, following the Brooklyn Dodgers move to San Francisco has been eulogized numerous times, most notably by filmmaker Ken Burns in his landmark 1994 documentary series “Baseball”:
In 1912, construction began. By the time it was completed a year later, Pigtown had been transformed into Ebbets Field – baseball’s newest shrine, where some of the game’s greatest drama would take place. In the years to come, Dodger fans would see more bad times than good, but hardly car, listen to the southern cadences of a pioneer broadcaster, and witness first-hand baseball’s finest moment – when a black man wearing number 42 trotted out to first base.
In 1955, after more than four decades of frustration, Brooklyn would finally win a world championship, only to know, two years later, the ultimate heartbreak, as their team moved to a new city, 3,000 miles away, leaving an empty shell in Flatbush that eventually became an apartment building, and an even emptier spot in the soul of every Brooklyn fan.
The “empty shell” of a venue no longer has a purpose if games are no longer played there, thus the justification for conservation or preservation becomes a challenge. Nothing is so dead as an empty stadium. In recent years, however, the heritage value of sporting venues have been reconsidered – including for venues that, even a few short years ago, would have struggled to be defined as “heritage.” Sites such as the Astrodome, which ushered in the era of the multipurpose stadium, are now considered important representations of a particular form and type of sport heritage.
There are few sites in professional sport that are as much aligned with sport heritage, heritage sport tourism, and sporting pilgrimage as Boston’s Fenway Park, home of the Red Sox baseball club. The stadium opened in 1912, sells-out virtually every game, has a quirky, unique design (particularly the large, left field wall known as the “Green Monster“) that has inspired the design of numerous contemporary stadium design features – and even several replicas at the minor league level, attracts hundreds of thousands of visitors on non-game days and in the off-season (making it one of the most visited tourist attractions in Massachusetts), and is listed on the National Register of Historic Places for its age and design, links to baseball history, connections to New England identity, and role as a “muse” for numerous literary and artistic works. Even some of the areas surrounding the stadium – such as the prominent “Citgo” sign over the outfield wall – are considered part of the heritage infrastructure of Fenway Park. In terms of its role in sport heritage research, Fenway Park makes numerous appearances – most notably in the work of Michael Friedman, who looks at how sport heritage has been created and marketed at Fenway as well as how Fenway has actually borrowed features from retro ballparks like Oriole Park at Camden Yards in Baltimore (particularly in the creation of Yawkey Way outside of the ballpark, which is based off of Eutaw Street in Baltimore).
My purpose for going to Fenway Park, aside from the fact that I had never been before, was as part of a long-time promise my brother and I made to our father to one day take him to see a game at the stadium. My father isn’t a Red Sox fan, my brother doesn’t follow baseball at all, and I am a Toronto Blue Jays supporter – a division rival of the Red Sox. However, going to Fenway was, in truth, on all of our sporting “bucket list” in large part because of the stadium’s infamy. As such, we finally fulfilled our promise to take our father to a game, an August 27, 2016 matchup between the defending World Series champion Kansas City Royals and the hometown Red Sox.
Although many sporting venues use sport heritage for a variety of purposes, from establishing a sense of place tangible link between past and present to creating a sense of legitimacy, few sites – if any I have experienced – commodify their heritage in the same way Fenway Park does. From the old timey street carnival on Yawkey Way, to the Fenway-inspired “antiqued” souvenirs, to the colour of the stadium (a kind-of “heritage green”) to the use of an antiquated manual scoreboard, to the Fenway traditions like the singing of “Sweet Caroline” in the eighth inning, the entire experience is very much managed through the lens of sport heritage. Of course, there is a price to be paid for this – our tickets, which at similar vantage points in other stadiums would retail for around $40 – had a $120 face value. The seats were not overly comfortable either, and many concourse areas of the stadium were significantly more “1912” than “2016” in terms of space. There is also very little heritage dissonance or few ideas of Fenway being anything other than “goodly heritage.”
And yet, despite a long-held antipathy for the Red Sox and many of their fans, it was hard not to feel that Fenway is a very special place. Certainly, much of this feeling had to do with who I went to the game with – the experience was made that much more special because it was a family pilgrimage. The heritage of the venue also made it special. It wasn’t just going to a random ballgame at a major league stadium. It was going to Fenway with my brother and father.
Similarly, I was pleased to see numerous – and almost discreetly-placed – heritage markers throughout the stadium, most of which had to do with changes in design and features (such as when stadium lights were added, or when elevators were installed). In many ways, it felt a little like going to a National Historic Site – that there was a realization that the heritage of the stadium is multifaceted, perhaps not necessarily in terms of narratives but in terms of approach. I think this reflected what the National Register of Historic Places designation set out to do – Fenway is not just an old ballpark, it is a symbol and a conduit between past and present.
Finally, it was just fun. I have been to many ballparks throughout the United States and Canada, and few gave the feeling of both gravitas and the sense that every game was an event like going to Fenway Park. Going to a game at Fenway just feels special, and that you are dipping a toe in a river of baseball lore that existed before you and will continue long after you are gone. I can’t say I’ll become a Red Sox fan anytime soon, but I’m already planning my next trip.
On Friday evening, I will be going to Turner Field in Atlanta (the former Olympic Stadium which will close at the end of this season) to watch the Atlanta Braves take on the Miami Marlins. Though there are several reasons for going to this game in particular – perhaps, in part, connecting a summer leisure activity to a kind-of American traditionalism and nationalism, not to mention the fact that though I dislike the Braves immensely, I like the Marlins…and I love attending live baseball games in the middle of summer – one of my main considerations is seeing Ichiro Suzuki play one final time before he, likely, retires at the end of the season.
Ichiro was, in many respects, baseball’s first global superstar, having established himself in Japanese baseball before joining the Seattle Mariners in his late 20s. Recently, his combined professional hits total topped that of Pete Rose – and though there is some controversy as to whether his Japanese career “counts,” there is little doubt that Ichiro changed the game of baseball, both through his playing ability and through his global reach. He is certainly a first-ballot Hall of Fame player, and arguably one of the best baseball players of all time.
I first saw Ichiro play live in Seattle in 2006. I took a seat in right field – Ichiro’s then position – and was surrounded by fans from Japan, all there to see him play. In fact, much of the in-stadium signage – as well as many of the on-field advertisements – were in both English and Japanese, suggesting just how much of a magnet Ichiro was for fans overseas. Friday’s game will be my third time seeing Ichiro (the other was a mid-April Braves-Marlins game last season), and though I don’t expect to see the same reaction as I experience in 2006, I wouldn’t be surprised if there weren’t a few fans there who, like me, want to see him play one last time.
In many ways, my desire to see Ichiro play reflects on our understandings of sport heritage, namely that athletes represent a kind-of “living” artefact or heritage object. Sean Gammon, in his 2014 paper “Heroes as Heritage“, argues that athletes represent a type of dual sport heritage, in that they themselves are living heritage objects and that their accomplishments and feats represent a type of intangible heritage. I wrote, in response to Gammon’s paper, that
The heroes and the sporting moments they create then, as Gammon argues, become artefacts, and though we can relive and replay the achievement (and, in a sense, preserve the moment(s) in time, perhaps through both personal memory and vicariously through media) we cannot preserve “the object” in the same way that we might other forms of tangible heritage. The relationship between the achievement and the athlete, in fact, demonstrates a paradox in sport heritage. Athletes age, change, and are no longer what they were – indeed, athletes are some of the few heritage “objects” that are not aided by the patina of age. However, their achievements may become more glorious – or heroic – as time goes on.
Ichiro is certainly not the player he once was, and though he’s had a bit of a renaissance as of late, at 42 years of age he now a fourth outfielder (essentially filling in from time to time from starting players) and is battling well down the line-up (as he often strikes out more than he puts a ball in play these days). But, I am not going to see Ichiro as he is now – I am creating anticipatory heritage for myself (the “tell my grandkids about” moment), and celebrating his past achievements – making them, and he, more glorious and heroic as we are farther removed from them.
The idea of dissonance as perhaps the central, innate characteristic of heritage is not new. Indeed, if we accept that all heritage is not neutral, the notion that all heritage could have a counter narrative seems reasonable. In this, we understand – as many in critical heritage studies do – that heritage is often, and perhaps always, about power.
In sport heritage, we have not necessarily considered dissonant heritages that often. While Sean Gammon and I, back in 2005, argued that the sporting past in tourism ought to be called heritage rather than nostalgia – in large part because heritage had the capacity for dissonant narratives – there actually aren’t that many dissonant narratives at sport heritage sites. Of course, there are many reasons for this – as most sport heritage sites like museums and halls of fame are primarily about celebration of achievement and, as such, more challenging views are frequently ignored. Still, there appears to be very few outlets where more challenging approaches to the sporting past – at least in terms of cultural sites like museums – are seen. Similarly, many non-sport cultural entities tend to avoid sporting exhibitions, perhaps viewing sport as too common and popular to represent at, say, a gallery or as part of a broad-based exhibition.
However, there are a few examples I am familiar with where art, dissonance, and sport heritage have met. Perhaps the best example was the Arena: The Art of Hockey exhibition at the Art Gallery of Nova Scotia in 2008. The exhibition both embraced and challenged many of the links between hockey and Canadian national identity. On the one hand, many of the works embraced – if, somewhat subversively – the role hockey plays in Canadian identity. I recall one work which was little more than a nude male and female holding hockey sticks. On the other hand, there were many works that challenged hockey culture and heritage. One work, in particular (and, forgive, I forget the name – though it appears that there are still exhibition guides available) was a collage of images set on an indigenous reserve that featured scenes of hockey as well as suicide, alcoholism, racism and sexual abuse. Although I suspect the work could be read in many ways, I took it as the fact that hockey – and sport in general – does not necessarily address, and perhaps masks, larger social issues.
Similarly, a 2008 exhibition called “Hard Targets: Masculinity and Sports” looks at the violence and voyeuristic aspects of sport consumption. Like Arena, this exhibition appeared to take sport cultures and heritages into an unfamiliar space, both critiquing and celebrating the physicality of sporting practices.
Although there are certainly many other examples of art, dissonance, and sport heritage than these, and there are many sporting sites and places that do address dissonant heritages (Although I have a chapter coming out in early 2017 which looks at several sites that employ dissonant sport heritage narratives), there appears to be space within art galleries in particular – which, perhaps is not available to traditional sport heritage sites like museums and halls of fame – to both celebrate and challenge sport heritages. Perhaps some of this has to do with visitor expectations: hall of fame patrons may be looking to celebrate and nostalgize, while gallery patrons may expect subversion. However, these not need be polar opposites – and can exist, in many cases, side by side (as was recently featured in a post about Argentina). Certainly, many stadia – such as Marlins Park in Miami – have incorporated public art into stadium design (and not simply for nostalgic purposes). While this is not always necessarily addressing major social issues – as some of the art in the Arena exhibit might – it nevertheless demonstrates that so-called “high” and “low” cultures and heritage are not necessarily incompatible.
For the past ten days, I have been in Argentina – specifically Buenos Aires and Rosario – leading a course about soccer and globalization in conjunction with the Clemson men’s soccer program. The students had a series of lectures and presentations pre-departure, mostly based off of Franklin Foer’s How Soccer Explains the World: An Unlikely Theory of Globalization. Foer’s thesis is that “globalization has failed to diminish soccer’s local cultures, local blood feuds, and local corruption, and may have actually increased the power of local entities.” The students have been asked to reflect on this global/local tension of soccer cultures through a series of seminar discussions and journal entries while we are in country. Upon our return to the United States, the students will have to complete a major paper that, in part, addresses Foer’s thesis as viewed through the lens of their own experiences in Argentina, including playing games against local squads (such as the reserve teams of San Lorenzo and Newell’s Old Boys, to name but two), going to local matches (including at River Plate and Argentinos Juniors), and through their own informal interactions with the sporting and non-sporting cultures of Argentina.
As you can imagine, the students have experienced many different aspects of globalization and its local resistance throughout the journey thus far, from playing an impromptu five-on-five street match against locals in the La Boca community to being swept-up in the atmosphere of El Monumental during a match.
(Street match in La Boca)
During my conversations with the students, and perhaps because of my own research interests, the role of heritage and its relationship to Argentinian fútbol has become a focal point of our discussions. One of the aspects I pointed out to the students, particularly after we toured La Bombonera – home of Boca Juniors – and visited the team museum, is that heritage (including team traditions, history, rituals, and culture) is one of the products that is packaged and sold to fans both locally and globally. Similarly, I told them that touring team museums and stadiums was, in a sense, an entry-point for many to acquire or re-enforce their fandom. Judging by the number of students who left La Bombonera with Boca merchandise (and who said they would support Boca upon their return to the US, despite the fact we did not actually see Boca play in their home stadium), there is something to the theory that experiencing heritage may lead to support and fandom.
(Touring La Bombonera)
The students noticed that, despite the local cultures and chants, the teams were largely sponsored by international companies – and, often, American companies like DirectTV. They also commented that most of the music played in the stadiums we went to were American or British artists.
(Watching a game at El Monumental, home of River Plate)
However, the interesting thing that the students did mention – and related to both globalization and heritage – were the styles of play they were encountering when playing against Argentinian clubs. They noted that it was a very distinct style of play, similar to the style that the Argentinian national team plays, primarily in terms of speed and aggression. Interestingly, they noted that some of the teams they’ve played anticipated a very “American” style of play from Clemson, and were surprised when Clemson played above expectations. Similarly, they have noted both the style of refereeing to be different and, in some cases, more knowledgable than US referees (with a few exceptions). They have also been enamoured with the fact that they are immersed in a soccer culture all the time, something that they rarely get to experience in the US.
(Clemson versus San Lorenzo, with the Estadio Pedro Bidegain in the background)
One of the interesting aspects I have noticed at each of the grounds we have visited are the murals situated outside of the stadiums. While many are fútbol-related, others appear to be more about social and political struggle.
(Two murals, one fútbol-related at San Lorenzo, the other more politically related at Boca Juniors)
We still have a few days remaining in-country, and I expect there will be more lessons to be learned – both on and off the pitch. We have seen some of the impacts of inflation in the country, and while in Buenos Aires we witnessed several major protests right on our doorstep. The students have two more games to play in Rosario, as well as a number of non-sport activities including a city tour, and I expect we will have many more interesting discussions about globalization, heritage, and soccer.
I am pleased to announce the publication of “Sport heritage and the healthy stadia agenda: an overview” in the Sport in Society journal. This paper is part of a special issue about the healthy stadia agenda.
From the abstract:
The healthy stadia agenda and sport heritage research appear to have much in common, though their relationship has not yet been explored in any detail. Many sport heritages involve playing particular sports, which may enhance physical activity aims of the healthy stadia agenda, while stadium tours – a staple of sport heritage industry – may also incorporate healthy stadia narratives. Similarly, sport heritage and the healthy stadia agenda are potential partners in public education, both through informal stadia-based public programmes and venue displays as well as more formal curriculum-based programming at sporting venues. However, the relationship between sport heritage and the healthy stadia agenda may also have some issues and challenges as well, as many sport heritages involve health risks and unhealthy behaviour. Ultimately, managers and researchers alike may wish to further consider the relationship between sport heritage and the healthy stadia agenda.
Health-based approaches and perspectives are relatively new in the the sport heritage field, and this paper is – as far as I am aware – the first that links sport heritage to the healthy stadia initiative, and one of the few that specifically attempts to link sport heritage to health-based agendas.
A limited number of free copies of this paper are available by accessing this link.
I would like to thank the editors and manuscript reviewers, particularly Dr. Dan Parnell of Manchester Metropolitan University, for their comments and suggestions, and for being receptive to a different approach to the healthy stadia agenda.
One of the major issues facing historic preservation appears to be making the case for the preservation and protection of relatively recent sites and structures. I think this is particularly the case for buildings that were, at the time, considered futuristic or having a space-age design, or represented some kind of forward-thinking, progressive age – in fact, the polar-opposite of heritage. A recent non-sport example would be something like the site of the Kennedy Space Center, which seems to be much more about the glorious past of the US Space Program than about any kind of future discovery. Seemingly overnight, the site went from a symbol of the future to almost a relic of the past, although in some respects it still exists in a kind-of liminal space where there are still echoes of a future to come. Of course, the Kennedy Space Center still has a purpose, primarily as a tourist attraction as well as the site of occasional launches from private firms, and as such is probably spared from any real threat. However, most recent historic structures aren’t so fortunate, and it can sometimes be difficult to position them as worthy of preservation and protection.
Many sports stadia and venues from the recent sporting past also exist in a kind-of liminal space, particularly as cities and communities struggle with whether the multi-use, multipurpose venues built in the 1960s and 70s are worthy of designation, protection, and repurposing. I have argued many times – both in this forum and in academic publications – that nothing is so dead as an unused and abandoned stadium. A stadium can’t often simply exist to exist, as other historic properties might. In many cases, such as in Atlanta, St. Louis, and Philadelphia amongst many others, multipurpose venues were simply demolished. However, the case of the Houston Astrodome, and the current debates over of what to do with it, might add to the broader debate about the preservation of recent sites and buildings.
The history of the Astrodome is well documented, though needless to say it has arguably been the most important sporting structure – in events, design, and legacy – in the US in the past 50 years. It is undeniably an important building in telling the story of American sports since the mid 1960s, and if it were a more conventional building the debate over its preservation wouldn’t be in doubt. However, because it is a large, abandoned sports venue, it becomes a little more complicated. There remains an ongoing debate about what to do with it, from the unusual suggestion of maintaining it as site for “ruin porn” tourism to the more conventional adaptive reuse options, but the fact that it hasn’t been torn down and that there are various proposals about what to do with it is encouraging – not just for those who value the building itself, but for proponents of a much broader understanding of historic preservation. The idea that sports venues are not only icons of place but repositories for memories and intergenerational bonding, sites where spectacular feats happened and amazing people performed, and sources of all kinds of artistic inspiration, are not new. However, the notion that the much-riducled multipurpose sports venue also possess heritage qualities is unique, and might make us re-think all kinds of structures from our recent past. Of course, we probably don’t want to save every stadium or every building built since the early 60s – this is simply neither feasible nor desirable. But, the example of the Astrodome demonstrates that historic properties come in all shapes and sizes, and that heritage value is much more than simply a case of a structure being particularly old or particularly ornate.
As many sports organizations have realized, heritage is an asset that can be used for a variety of needs and in numerous circumstances. We have seen many kinds of ways heritage have been used in sports, from throwback apparel and uniforms to retro stadiums to nostalgia-based events and experiences (like fantasy camps). Many teams, such as the Chicago Cubs and Boston Red Sox, also view their historic stadiums as assets which provide both cultural capital as well as economic benefits (the Red Sox have the second highest revenue generating ballpark in MLB, despite the capacity, in large part because of Fenway’s history and heritage).
When a team moves venues, often for economic reasons, there is normally a celebration of the old venue. Often, as in the case of Yankee Stadium, Anfield, or the Montreal Forum, the old stadium was beloved and reflect the fact that – paraphrasing sports geographer John Bale – sports stadiums are more than utilitarian structures and many supporters feel a strong sense of attachment to them. In the case of both the new Yankee Stadium and the Molson Centre (which replaced the Montreal Forum), care was taken to provide a blend of old and new – where the new venue has either direct references or explicit echoes to the previous stadium (as Anouk Belanger notes, the Montreal Canadiens had a parade of ghosts from one venue to the other). There was generally an acknowledgment by the teams that, though fans loved the old venue, the new venue would provide the club much needed benefits while also maintaining the sense of place and tradition.
However, this year there are two examples of teams celebrating the final seasons at venues that – to employ an overused phrase – they “threw under the bus.” The Edmonton Oilers, who are set to move to the new Rogers Place in Fall of 2016, are celebrating the final season in their longtime home, Rexall Place (nee: Northlands Coliseum; Edmonton Coliseum; Skyreach Centre).
Rexall Place, architecturally, is unimpressive, but as a venue that has hosted numerous notable events – particularly as a hockey venue – it undoubtedly has broad historic value. However, in securing a new arena deal, the arena was denigrated as “antiquated and outdated“. In fact, there appears to have been little mention that the venue had any heritage value at all until the “Farewell Season” commemorations were announced.
Similarly, the Atlanta Braves are set to commemorate the final season at Turner Field during the 2016 season.
The Braves inherited Turner Field, as it was previously built for the 1996 Olympics then converted to a baseball stadium. As such, the Braves were never particularly fond of the stadium or location, and so a celebration of the final year at a (shockingly recent) venue is a bit odd.
Celebrating the final season at a venue can have benefits for both team and spectator. For the team, it can provide an additional revenue stream through memorabilia, as well as an incentive to come to games that season. For fans, it allows them to experience the venue one more time, relive memories, and provides a transition to the new stadium. The tone of both the Oilers and Braves commemorations are a little different though, in that neither organization will shed a tear for their old venues given the apathy and, in the Oilers case, hostility towards their former homes. While I suspect the teams would have had commemorations anyway, the fact that both are teams have had or are expected to have little success in their final seasons, the heritage angle to “visit one last time” is probably an effective motivator for fans to go to games, purchase merchandise, and perhaps acquire memorabilia like seats, turf, signage and the like after the final out/whistle. It is the one season when, very likely, “just being there” rather than victories is incentive enough for fans to turn out. That said, these two celebrations this year come across as slightly hollow, particularly when compared to how other teams have seemingly handled these occasions.
One of the aspects which, I believe, separates sport heritage from other forms and types of heritage is that it is often corporal in nature. That is to say, sport heritage requires us to continue to play and to watch sport in order to both compare with the past and to create more sport heritage for the future. It must continually be made and remade through play, performance, and spectacle. No heritage building is more “dead” than an empty, abandoned stadium.
Perhaps because of the sensual and emotional nature of sport, we can understand and empathize with the sportsperson. Even though most of us have never played at elite levels, or maybe not have played at all, we can still understand something of what it is like to taste victory and defeat. In Sweet Summers, the collection of JM Kilburn’s cricket writing, the excerpt below perhaps best describes the empathetic connections between all those who have played:
Every boy who has defended a lamp-post wicket is in blood brotherhood with Bradman, and knows Hobbs or or Sutcliffe as himself…every man who has by reflex action or conscious effort flicked a boundary past point knows a thrill of intense physical delight when he sees Woolley bat.
(“The Don” – Don Bradman. Do all who’ve played share a connection to him?)
In many ways, this goes beyond simple childhood imagination and flights of fancy, and rather an understanding of what it’s like to be a sportsperson. When I was an ice hockey goaltender in my youth, for example, it wasn’t that I was prentending to be Grant Fuhr or John Vanbiesbrouck or Ron Hextall when I played, but rather that I knew – like them – what it was like to make a fantastic save or let in a bad goal. We shared an emotional connection that only we, as goaltenders, could understand.
Perhaps our ability for empathy – or, perhaps, our desire to feel empathy for the sportsperson – makes certain sport heritage experiences both desirable and memorable. One of my earliest memories of being at a sports museum was at the ski jump simulator at Canada Olympic Park in Calgary, Canada. Using a point-of view immersive film screen, hydraulics, and several industrial-sized fans, the simulator gave me a taste of what it might be like to ski-jump, and provided me a level of empathy and understanding that wouldn’t have been possible by simply looking at the ski jump tower. Of course, it was also a mediated form of authenticity – I could “ski jump” without actually ski jumping. However, I never forgot that experience, nor could I ever forget the sensations and emotions it created. It is also top of mind every time I watch ski jumping at the Olympics, knowing something of what each skier must be feeling.
Naturally, the ability to experience something of the athlete, particularly in a unique and historic place, is also one of the features that sets sport heritage apart. It can also be a way for visitors to create connections – such as fandom and support – with particular athletes, teams, and sports. Of course, all heritage sites – to some degree – use empathy by, for example, comparing our lives to those of our ancestors. However, these are more cerebral connections; they are not immediate and current in the same ways that sport is, and perhaps not as sensually felt. We often don’t think about empathy as a topic in heritage, and it seems that sport heritage might be a good vehicle for exploring it.
The city of Liverpool has numerous heritage-based claims to fame. It’s role in immigration, shipping, and transportation is well known. Of course, it is also home to the most famous band of all time, The Beatles. However, it is also a major centre for sport heritage – and, as a recent trip to Merseyside revealed – the city’s sporting past is well represented through museums, tours, and other heritage-based experiences.
Of course, Liverpool’s sport heritage begins – most notably and publicly – with the city’s football teams. Liverpool FC is, far and away, the most broadly and widely represented – at least in the tourist areas in the city centre and at the Albert Dock. In fact, there is a dedicated hop on/off Liverpool FC tour bus that runs between the Albert Dock and the team’s home stadium, Anfield.
The bus runs all day (with the team’s famous anthem, “You’ll Never Walk Alone”, blaring from the bus’ speakers). En route to Anfield, the guide provides a thirty minute commentary about the team’s background, as well as it’s historical connections and rivalry with Everton, before arriving at the gates of Anfield.
In speaking with our guide, Paul, he mentioned that the tour bus has been running for a little over a year and has been immensely successful. Specifically, he noted that the bus was initally only going to run during the summer peak tourist season, but that demand pushed it to a year-round venture. It should be noted that my colleague and I were the only patrons on the bus during our tour, though Paul mentioned that this was quite unusual. He did say, however, that as Anfield was undergoing extensive renovations, the stadium tours were somewhat limited and they did notice a dip in visitors this summer. That said, Liverpool boasts over 500 million global supporters and, as such, there seems to be the potential for a steady supply of sport-based pilgrims. It is also fascinating – and, as far as I know, unique – to have a city tour and tour company dedicated to a specific sport club. Indeed, this appears to signal a growing demand – at least in certain places – for sport heritage experiences and particular forms of heritage sport tourism. Places like Anfield appear to be able to welcome a variety of visitors who wish to “make a day” out of experiencing the club’s heritage and culture. Arriving at the stadium, tourists could take a standard stadium tour, a tour with an ex-player (demonstrating the links that both myself and Sean Gammon of the University of Central Lancashire have explored linking sport heritage to “living” artefacts like ex-athletes), as well as visit the team museum, take their picture next to several team statues and plaques, visit a large team shop, and dine at a team-themed restaurant (complete with team and player artefacts adorning the walls).
Just across Stanley Park from Anfield resides Goodison Park, home of Everton FC. Although the two squads compete in the same league, and the stadiums reside steps from one another, they feel like a world away – at least in terms of touristic support. Everton feels like a local club, whereas Liverpool appears to have much larger global ambitions. Similarly, a tourist could spend much of a day at Anfield, whereas Goodison Park did not offer a stadium tour and had a small shop across the road . In fact, my colleague and I appeared to be the only people visiting the stadium. That said, there is still a very prominent representation of the club’s history and heritage around the stadium. For example, the entire circumference of the stadium is ringed with a club timeline, highlighting the club’s major victories, players, and accomplishments.
The main gates to Goodison Park also featured a statue of Everton’s greatest and most beloved player, Dixie Dean.
While the heritage experience at Everton was much more muted, and less public, that at Liverpool, there was a strong appeal to it as well. In many respects, it was a heritage for the faithful; for people who already loved and supported the club, rather than as primarily a commodity for a large international fan base. As complicated as this word is, it felt more real and, in that I suppose, that give it a greater sense of authenticity.
The importance of both Liverpool and Everton football clubs are also prominent in the Museum of Liverpool’s popular culture gallery. In particular, the events of the Hillsborough disaster, where 96 Liverpool supporters were killed at a match in Sheffield in 1989, are described and commemorated in the gallery, and specifically how the two local rival clubs came together in remembrance.
However, the gallery represents much more than football, demonstrating the variety of different sports, pastimes, and athletes that make up the city’s sporting heritage. From horse racing, to athletics, to boxing, the gallery shows just how many different sports are “played in Liverpool.”
Indeed, one of the surprising elements of the gallery are the variety of different sports played in Liverpool and how they have shaped different parts of the city. Perhaps most surprising is that the city has a significant baseball heritage stretching back several generations.
Many cities seem to hide their sport heritage, or don’t actively represent or promote it, perhaps viewing it as less serious than other cultural markers. However, Liverpool is a perfect example of how sport cultures can be embraced, and exist beside – and even enhance – other heritage attractions. Indeed, having the Liverpool FC bus or the city museum’s popular culture gallery displayed next to Beatles exhibits, or contemporary arts galleries, or a slavery museum simply demonstrates the broad heritage palate of the community. Tourists and locals can be both interested in a Jackson Pollock exhibition AND maritime heritage AND architecture AND sport. Liverpool is a great example how these different topics can co-exist in telling the stories of a community, and other cities should look to their example to see how this can be accomplished.