Ultras

1968-2007. Mellem disse to årstal udspiller historien om de italienske ultraer sig: fra grundlæggelsen af den første gruppe til politibetjenten Filippo Racitis og fanen Gabriel Sandris død. Og det kan blive enden på historien, hvis undertrykkelsen af ultraverdenen for enhver pris skal gennemføres. Der er gået fyrre år, men der er stadig mange mennesker – inklusive de kommentatorer, der kun ser fodbold i fjernsynet, og de politikere, der kun betragter publikumspladserne fra de behagelige VIP-tribuner – som stadig kun ved lidt om ultraernes verden Det er de sønderlemmende domme, der fylder avisernes spalter: ”De er alle kriminelle.” ”De er blot nogle udyr, og skal behandles som sådanne.” ”Fodboldens absolutte bærme.” Mens vi venter på en mere effektiv terapi end den, der hidtil er praktiseret hidtil – nemlig irettesættelser og advarsler – og på en mindre anakronistisk ledelse af stadionerne, er det det rette tidspunkt til at løfte hykleriets slør og kaste lys over et fænomen, der langtfra er den mest rådne del af det kontroversielle ”fodboldsystem”. Det er en ærlig og provokerende bog, der ærligt og redeligt fortæller om, hvad der går for sig på tilskuerpladserne. Og så er den fortalt af én, der selv har befundet sig der. Uddrag af bogen Det er den 11. november 2007. Klokken er ni om morgenen. To biler, den ene med fire, den anden med fem Lazio-fans, har forladt Rom og sat kursen mod Milano for at se Inter-Lazio, stopper ved Badia al Pino-motorvejsstationen på A1, tæt på Arezzo. En anden bil ankommer: Det er Juventus-fans, som også kommer fra Rom, men er på vej til Parma, for at se Parma-Juventus. De to små grupper genkender hinanden. Nogle fornærmelser flyver gennem luften. De klassiske sætninger: ”Hvad fanden kigger I på?” De skændes. De slås. Måske flyver der nogle sten. En scene, der mange gange er set på den tankstation, som ofte er et mødested for udebanefans. Og som næsten altid slutter sammenstødet hurtigt, uden konsekvenser for nogen. Alt ser ud til at være overstået, bilerne kører af sted igen, da noget smadrer den bagerste siderude på bilen, som folkene fra Lazio kører i, og som kører på motorvejen. ”Bastarder, de kastede en sten efter os,” råber den unge fyr ved rattet. Men det er ikke en sten. Det er et pistolskud, som rammer Gabriele Sandri på otteogtyve år, en kendt romersk DJ, i nakken. Og skuddet dræber ham. Om forfatteren Giovanni Francesio (f. 1970) var på stadion for første gang i 1976 og stoppede aldrig med at komme der. I mange år var han en ultra. Det indebar, at han rejste tusindvis af kilometer for at tage del i sammenstød med modstandere fans og med politiet. Han oplevende at flygte, at være bange, men også at opleve sit livs eneste oplevelse af at tilhøre et fællesskab, at glæde sig med andre og at lide sammen med dem.

Since its emergence in Italy in 1968, one model of football fandom has become the most dominant in the world: the ultras. Producing choreography, chants, banners and pyrotechnics, ultras represent a highly organised style of fandom that has an increasing global reach and visibility. Over the last fifty years, ultras fandom has spread from Southern Europe across North Africa to Northern and Eastern Europe, South East Asia and North America. Their collective performance not only distinguishes ultras from other football fans, but from many other forms of group behaviour. Focusing on their common form of expression, this book shows how members build an emotional attachment to their club that valorises the insignia of that team while mobilising members against opponents. As a collective with a shared, coherent sense of identity based on an act of consumption, ultras represent an important site of enquiry into masculinity and nationalism in contemporary society.

Since its emergence in Italy in 1968, one model of football fandom has become the most dominant in the world: the ultras. Producing choreography, chants, banners and pyrotechnics, ultras represent a highly organised style of fandom that has an increasing global reach and visibility. Over the last fifty years, ultras fandom has spread from Southern Europe across North Africa to Northern and Eastern Europe, South East Asia and North America. Their collective performance not only distinguishes ultras from other football fans, but from many other forms of group behaviour. Focusing on their common form of expression, this book shows how members build an emotional attachment to their club that valorises the insignia of that team while mobilising members against opponents. As a collective with a shared, coherent sense of identity based on an act of consumption, ultras represent an important site of enquiry into masculinity and nationalism in contemporary society.

Since its emergence in Italy in 1968, one model of football fandom has become the most dominant in the world: the ultras. Producing complex choreography, chants, banners and pyrotechnics, ultras represent a highly organised style of fandom that has an increasing global reach and visibility. Over the last fifty years, ultras fandom has spread from Southern Europe across North Africa to Northern and Eastern Europe, South East Asia and North America. Their collective performance, unity and harmonisation not only distinguish ultras from other football fans, but from many other forms of group behaviour. By focusing on the common form of expression through the performance of choreographies, chants and sustained support throughout the match, this book shows how members build an emotional attachment to their club that valorises the colours and symbols of that team while mobilising members against opponents. This volume seeks to make a clear theoretical shift in studies of football fandom by asking fundamental sociological questions concerning group formation, collective performance and emotional relationships. As a collective that pride themselves on having a shared, coherent sense of identity based on an act of consumption, ultras represent an important site of enquiry into masculinity and nationalism in contemporary society.

Since its emergence in Italy in 1968, one model of football fandom has become the most dominant in the world: the ultras. Producing complex choreography, chants, banners and pyrotechnics, ultras represent a highly organised style of fandom that has an increasing global reach and visibility. Over the last fifty years, ultras fandom has spread from Southern Europe across North Africa to Northern and Eastern Europe, South East Asia and North America. Their collective performance, unity and harmonisation not only distinguish ultras from other football fans, but from many other forms of group behaviour. By focusing on the common form of expression through the performance of choreographies, chants and sustained support throughout the match, this book shows how members build an emotional attachment to their club that valorises the colours and symbols of that team while mobilising members against opponents. This volume seeks to make a clear theoretical shift in studies of football fandom by asking fundamental sociological questions concerning group formation, collective performance and emotional relationships. As a collective that pride themselves on having a shared, coherent sense of identity based on an act of consumption, ultras represent an important site of enquiry into masculinity and nationalism in contemporary society. -- .