How I came to love my new neighbours

Moving to Liverpool, home to the team he hated, challenges football supporter Sam Tomlin’s sense of belonging.

Sam Tomlin

Sam Tomlin is a Salvation Army officer, leading a local church in Liverpool where he lives with his wife and children.

Silouhetted by red flare smoke, celebrating footballs wave red flags.

Liverpool football fans celebrate.

Fleur on Unsplash.

I was born in Exeter, England but my family moved to Oxford when I was two. I don’t remember Exeter at all. I am sometimes envious of people who proudly share how they were ‘born and bred’ in a city or town and trace their lineage there back generations. I profoundly identified with Nick Hornby in his brilliant book Fever Pitch when he describes being a white, middle-class, southern English man or woman as being ‘the most rootless creature on earth; we would rather belong to any other community in the world. Yorkshiremen, Lancastrians, Scots, the Irish… have something they can sit in pubs and bars and weep about, songs to sing, things they can grab for and squeeze hard when they feel like it, but we have nothing, or at least nothing we want.’

I began to love football and started attending games. My Dad, born in Bristol, took me to Oxford United and while I enjoyed going with my friends, I could tell he didn’t care as much when Oxford scored compared to when we went to Bristol City games when I would see a normally calm and controlled man hug random strangers and fall over seats. This is much more exciting – so I committed myself as a Bristol City fan which I am to this day.

Growing up in a school in Oxford, however, it’s not particularly cool to say you support Bristol City, so if you supported a lower league team you also pick a Premier League team. Mine was Manchester United for the very unoriginal reason that they were the best. I had posters of Roy Keane – my hero on whom I modelled my playing style and I even travelled up to Old Trafford when a ticket very occasionally presented itself. They were my second team – and a very close second.

Over the years I have come to deeply love the streets, landmarks and people who call this home as I have lived and served alongside them.

When you support a football team, you also commit to disliking other teams as part of the deal. Most teams have a local rival they enjoy hating, and while I certainly disliked Bristol Rovers, my particular ire was reserved for Liverpool, partly because they were Man Utd’s main rivals in the late 90’s and partly because some of my friends supported them (for the same reason I’ve always had an irrational dislike of QPR but that’s another story). I really disliked Liverpool – I didn’t quite have a poster of Michael Owen or Phil Babb to throw darts at but it wasn’t far off. Football rivalry is a serious business – in the 70’s and 80’s people lost their lives to football hooliganism and while this has thankfully decreased in recent decades, additional police presence is still required at local derbies as passions continue to run high.

I feel quite vulnerable sharing this publicly because it’s something I’ve never shared with the congregation I’ve been leading with my wife for over seven years. The reason for this is that we now live in Liverpool. God, it seems, has a great sense of irony – we became Salvation Army officers and not choosing where we were sent, the letter we opened in 2016 telling us where we would be ‘appointed’ said: Liverpool!

'The very first person you meet is the neighbour, whom you shall love… There is not a single person in the whole world who is as surely and as easily recognised as the neighbour.’

Søren Kierkegaard

Jesus says that the greatest commandments are to love God with everything that you are, and to love your neighbour as yourself. In response to a question about ‘who’ our true neighbours are, he shares a story about a man on a journey far from home who is beaten up and left for dead. His compatriots walk on the other side of the road, but someone from another, distrusted and strange land comes and takes care of him.

Søren Kierkegaard reflects on these stories and observes how humans like to abstract these commands to suit us better. We think our neighbours are those who look and sound like us as much as possible – this is the impulse of patriotism or love of country. But I have never been to Middleborough, Lincoln, or Dundee and while these people might be my compatriots, they are not really my neighbours – to some extent my love for them is an abstraction from reality. For Kierkegaard, ‘The very first person you meet is the neighbour, whom you shall love… There is not a single person in the whole world who is as surely and as easily recognised as the neighbour.’ In this regard, Kierkegaard suggests, Christian loyalty and love is more appropriately applied to a neighbourhood, town or city than it is to a nation or country (this essay by Stephen Backhouse explains more on this with reference to Kierkegaard).

The people I meet every day, walking around the streets of Liverpool are my neighbours and as such I am commanded as a follower of Jesus to love them. This love of God has not only helped me fall in love with a city I once did not know, but even transform something as ingrained as football rivalry. The most fundamental and formative songs I sing are about Jesus, not of a city and the narrative I try and organise my life around is found in the Bible not the history of a city or football club. But we are embodied creatures, and God creates us in and calls us to particular places, where we live, breathe and encounter our neighbours. I don’t think I’d go as far as saying I have become a Liverpool fan! I would still want Liverpool to lose if they played Bristol City and Man Utd, but the God who is able to transform even the deepest hatred into love has softened the heart of this southern, middle-class boy into a love of his new city, its people and perhaps even one of its football teams I once intensely disliked.

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.