Article
Creed
Sport
6 min read

Sweating the soul

A mantra-laden spin class generated more than sweat for Alianore Smith, it raised philosophical questions too.

Alianore  is a theologian, communicator and author. She works for a global charity based in London.

A spin class rider smiles and gives the thumbs up sign in front of other riders.
SoulCycle.

Last year, I learnt an important lesson: cycling and spin classes are not the same thing. 

Of course, they both take place on bikes – one moving, one stationary. And they are both exercise. But the similarities stop there. 

Let me explain. 

I’m a cyclist – and a smug one at that. My cycle commute to work, three times a week, comes to a round trip total of about 15 miles.  

So, when I was invited last summer to take part in a SoulCycle class in aid of a charity I care deeply about, I jumped at the chance. How hard could it be? I can ride a bike. My cardio-vascular fitness is above average. It’ll be an easy way to raise awareness of the charity, and maybe have some fun in the process. 

How wrong I was. 

My first clue that a SoulCycle class wouldn’t be like my normal commute was found on my visit to its website. The About Us page informed me that at a SoulCycle class – a ‘sanctuary’ – ‘tears will be shed’ and ‘breakthroughs happen’. The only time I ever cried whilst commuting was when I got my second puncture in a week, three miles from home, in the January rain. And, quite frankly, when you’re dodging taxis and swerving around pedestrians, breakthrough feels a long way off. 

And so, I headed off to my SoulCycle class, equipped with my padded shorts and my charity-branded cycling jersey. I arrived, hired my shoes, and headed into the changing rooms. And it was there that I was greeted by the SOUL Etiquette sign: 

SOUL Etiquette ‘To preserve soul sanctuary, we have a few simple requests’ 

  1. No text & chat 
    No cell phones or communication devices in the studio. If you are a doctor or your child is sick, kindly leave your phone with the front desk and we will get you if there is an emergency 

  1. Skip the cross talk 
    Talking during class is a major distraction for the spiritual folks around you 

  1. Laundry 
    We ride close together so we can feel each others’ energy. That being said, your neighbour does not want to feed off your odor. 

  1. Kindness is cool 
    Respect the rider on your left and your right. Treat the front desk the way you would like them to treat you. 

  1. The pack 
    There is a direct correlation between your energy and your neighbour’s ride. If you want to do your own thing, please don’t ride in the front row. 

I was fascinated. What lay ahead of me? 

Well, let me tell you: nothing could have prepared me for the class I took. 

A dark room, filled with mirrors, motivational quotes and – for some reason – grapefruit scented candles. About 30 stationary bikes, lined up in three rows. An instructor whose enthusiasm knew no bounds.  

I took a bike at the back.  

Within 10 minutes, I was sweatier than I have ever been, and questioning all my life choices up until that moment. Within 15 minutes, I had removed my charity-branded cycling jersey and drunk half of my bottle of water. There was still 30 minutes to go. I wasn’t sure I was going to make it. 

And yet by the end, I was buzzing. Whether it was the endorphins, the sense of community, or the relentless cheerleading of the instructor, I wanted more. It was… remarkable. I very nearly signed up for another class there and then. 

From the signs in the changing rooms to the instructors’ soundbites, I was continually told what I could achieve if I tried. 

The instructor – a bouncy brunette whose name I can’t remember – led the class with an exuberance that I am yet to see anywhere else. At one point, she got off her bike and danced up and down the aisle in front of the class. Quietly rasping for air at the back, I had no idea how she had the energy to speak whilst pedaling, let alone dance. 

The thing that I found most fascinating about my SoulCycle class, though, was the ‘spiritual’ aspect. From the signs in the changing rooms to the instructors’ soundbites, I was continually told what I could achieve if I tried. That the ability to breakthrough my problems, to succeed, to achieve my dreams, was all held within me – I just needed to dig a little deeper, peddle a little harder, put my mind to it. 

At one point, the instructor made us repeat after her: ‘I can do all things…’ it was there that she paused. As someone who grew up in the church, learning memory verses of Scripture week after week, I immediately wanted to yell ‘through Christ who strengthens me!’, but instead was encouraged to complete the sentence with something (I can’t remember exactly what) about my own abilities and force of will. 

The whole class was deeply motivating. I left feeling like, quite frankly, I could achieve anything.  

Thing is, though, I’m an able-bodied, middle class, professional, white woman. I come from a two-parent family, and I’m happily married to a non-abusive partner. I have a stable income. Although some of these things are because of the work that I’ve done or choices that I’ve made, many of them are an accident of birth. The odds are – for the most part – stacked in my favour. The very fact that I would have been able to afford to attend this class if I’d wanted to (new riders pay £16 for their first class, and £26 per class from then on) shows a level of privilege that was seemingly completely overlooked.  

When things are working in your favour, it’s easy to assume that it’s because you’re the one doing something right. That was the philosophy that was shouted in catch phrases from the front – you can do it, just try a little harder.  

Breakthrough is on the other side of this spin class. Mind over matter. That’s the message of SoulCycle. 

But every life philosophy, every ‘spiritual experience’, has a flip side to it. 

But the problem with that philosophy, of course, is its flip side: if things go wrong – if you’re in an accident, if you get made redundant, if you lose your house or your health fails you – then, logic dictates, it must be that you’ve done something wrong.  

If you can no longer afford a SoulCycle class, it’s because you didn’t try hard enough, or you didn’t peddle fast enough, or you didn’t put your mind to it. 

Of course, this was never said during the class – it was far too positive for that. But every life philosophy, every ‘spiritual experience’, has a flip side to it. If everything happens for a reason, then sudden seemingly random acts of cruelty – cancer, the death of children, natural disasters – must be there to teach us something. If we can control the good things in our lives – the promotions, the achievements, the relationships – then if stuff goes wrong then it must be our fault as well. 

Is that really true? 

Human beings are relentlessly fickle. And we have a deep and overwhelming desire to think that we’re in control, that life is in our hands. And it’s comforting – when things are going well. But what when they aren’t? 

In her book Everything Happens for a Reason: And Other Lies I’ve Loved, professor of the history of Christianity and Stage 4 cancer patient Kate Bowler writes that ‘control is a drug, and we’re all hooked’.  

I can see how SoulCycle could get addictive. In fact, the day I was there, someone was celebrating their 750th ride at SoulCycle London. The endorphins, the encouragement, the relentless pursuit of ‘breakthrough’ and ‘growth’ and ‘progress’ – it’s intoxicating.  

When you grow up in the church, you learn a different way of existing. It’s not that you can do all things through yourself, but – as aforementioned – through Christ who strengthens you. The idea of relying on something outside of yourself, something all-powerful, all-loving, is one of the ideas at the heart of Christianity. It’s less of an emotional crutch, and more of a ‘catch-all’ reality for those of us who have realised that we’re not as in control as we once thought, or as we would like to be. 

 

Review
Art
Culture
5 min read

The collective effervescence of sport’s congregation

Art captures how sport and religion are entwined throughout history.

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.