My new favorite online anthropology depot, PopAnth, recently published writing by Erin Taylor about Trobriand Cricket, titled, “If the home team always wins, is it really a sport?” Given the focus on authenticity and sport in my dissertation, I was certainly interested in her arguments.
She explains that the British introduced Cricket in the Trobriand Islands to replace ritualized warfare. “However, the Trobriand Islanders didn’t adopt cricket in the way that the British intended. It was an instant hit, but rather than stick to the white man’s rules, Trobriand Islanders mixed together the style of cricket with the aesthetics and rituals of warfare. Over time, they invented new chants–many of them lewd–and transformed the game into a social event with plenty of food and drink.”
Much like Trobriand Cricket, lucha libre and other forms of exhibition wrestling around the world mix together sport style with local aesthetics. In fact, I use the phrase exhibition wrestling rather than professional wrestling because rather than exemplifying pure athletic competition, these events also incorporate elements of performance. Though debates over whether exhibition wrestling is “real” or “fake” span generations and continents, the extent to which the productions engage an audience with flashy costumes, charismatic characters, and compelling storylines is undeniable. Exhibition wrestling events sometimes have predetermined winners and choreographed moves. There are referees but they often function as symbols of sport rather than actually enforcing rules, and sometimes even help wrestlers break the established rules.
She explains that the British introduced Cricket in the Trobriand Islands to replace ritualized warfare. “However, the Trobriand Islanders didn’t adopt cricket in the way that the British intended. It was an instant hit, but rather than stick to the white man’s rules, Trobriand Islanders mixed together the style of cricket with the aesthetics and rituals of warfare. Over time, they invented new chants–many of them lewd–and transformed the game into a social event with plenty of food and drink.”
Much like Trobriand Cricket, lucha libre and other forms of exhibition wrestling around the world mix together sport style with local aesthetics. In fact, I use the phrase exhibition wrestling rather than professional wrestling because rather than exemplifying pure athletic competition, these events also incorporate elements of performance. Though debates over whether exhibition wrestling is “real” or “fake” span generations and continents, the extent to which the productions engage an audience with flashy costumes, charismatic characters, and compelling storylines is undeniable. Exhibition wrestling events sometimes have predetermined winners and choreographed moves. There are referees but they often function as symbols of sport rather than actually enforcing rules, and sometimes even help wrestlers break the established rules.
Supercatch luchadores in a match on 23 March, 2012
So then as Taylor asks, are these really sports? I argue, along with Grindstaff and West that theatrical aspects of performance should not necessarily be placed in contrast to sport. They point out that in a number of athletic contests such as figure skating, cheerleading, and gymnastics, planned performance for an audience is integral to the activity (2006:508-509). Thus, to discount wrestling as “fake” because of its planned performative aspects disregards the athleticism necessary to execute flying summersaults and two-person flips. But at the same time, audience appeal is central to its nature, and its aspects of performance and must not be ignored either. As Taylor writes, “All sports, whether social or professional, involve rituals as well as rules.”
Grindstaff, Laura and Emily West
2006 Cheerleading and the Gendered Politics of Sport. Social Problems 53(4):500-518.
Grindstaff, Laura and Emily West
2006 Cheerleading and the Gendered Politics of Sport. Social Problems 53(4):500-518.
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