Running 400

SPORT & SOCIETY The Summer Olympics through the lens of social science www.bl.uk/sportandsociety

Running [the 400 m] with Jon Silman: a phenomenological insight Tanya Bunsell, School of Social Policy, Sociology and Social Research, University of Kent

Despite the explosion of academic work into sociological informed ‘body studies’ since the 1980’s, the ‘sporting body’ as a living, breathing, feeling and sensual phenomena has been severely neglected. This is perhaps somewhat surprising given that sport is an overtly embodied practice, with many participants’ citing phenomenological and sensuous elements in their experiences. The endeavour of this piece is thereby to contribute to ‘filling in’ and ‘fleshing out’ of this breach in essential knowledge. Through phenomenological description and visual imagery, we invite the reader into the world of Jon, a 400m sprint athlete. We follow his journey from the moment he arrives at the stadium and begins his mental preparation to the actual experiences, body techniques and sentiments that occur during the race itself.

Sport is movement, belief and desire, bound together in a multisensual event whose epicenter is emotion Duquin (2000: 477)

Historically, social theory has ignored the fact that we have real fleshy bodies, which enable us to feel, see, hear, smell and taste (Shilling, 1993). Since the 1980’s however, sociology as a discipline has responded to the demand ‘to bring bodies back in’ resulting in an explosion of ‘embodiment studies’ amongst a whole range of other ‘body studies’ (Shilling, 2003:xviii). Despite this increasing corpus of academic work, research into the ‘sporting body’ appears hesitant to engage in the ‘lived experiences’ of athletes. This is

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Sport and Society: the Summer Olympics through the lens of social science

perhaps somewhat surprising given that many participants’ cite phenomenological and sensuous elements in their experiences, and that sport is a very obvious and highly visible examine of embodied practice (Hockey and Allen-Collinson, 2007:118). Whilst the sociology of sport has centred on issues such as the athletes identity ( including gender, ethnicity, sexuality, class, disability and subculture), the disciplining and rationalisation of the body, injury and pain, drugs in sport and the commodification of the body, these studies have largely taken place at an abstract and theoretical level, ignoring ‘the carnal realities of the sporting body’ (Sparkes, 2009:27, Ford and Brown, 2005; Hargreaves and Vertinsky, 2007). Apart from the rare exception, such as Wacquant’s (2004) pioneering book on the apprenticeship of boxing, few texts have focused on the sensual dimensions of the sporting endeavour. The athlete’s body has been frequently depicted as a finely tuned ‘robotic’ machine, with little creativity and experiential feeling, and yet, as Hockey and Allen Collinson (2007:118) point out, participants ‘move, see, hear, feel, touch, and smell in the sporting milieu’. Furthermore the body schema of the athlete sees and feels in a different way to the uninitiated, for example, for athletes such as Sally Gunnell (British Olympic champion in the 400 m hurdles) the ‘world narrows and becomes harmonised with the track that lies between them and the finishing line’ (Shilling, 2008:53). Other elite athletes depict an incredible sensation, as the harmony between mind and body results in an almost spiritual transcendence. Pablo Morales (2x Olympic gold-medallist in the 100 m butterfly)1 describes this feeling as one of ‘being lost in focused intensity’. Lee Evans (winner 400 m athlete)2, in contrast, articulates a type of detachment during the race. These are just a few examples that serve to emphasise the importance of taking seriously issues concerned with the experiential dimensions of the sporting body.

This is the context in which we can understand Hockey and Allen Collinsons’ call for more embodied, phenomenological writings on the subject that fleshes out the ‘corporeal realities of the lived sporting body’. Phenomenology is a very broad term that encompasses a range of diverse academic theories. Simply put, the origins of phenomenological thought focused on the ‘lived’ experiences as understood from the first person perspective. Merleau-Ponty (1962, viii) describes this technique as ‘a manner or style of thinking’ without any prior formal experience or education. As Wertz (2009) notes ‘in focusing on the person’s ways of being-in-the–world, phenomenology descriptively elaborates structures of the I (‘ego’ or ‘self’), various kinds of intentionality (experience), and the constitution of the experienced world’. This approach is, then, conducive to advancing our understanding of an athlete’s sporting experiences, perceptions, imaginations, desires, actions, emotions and physical sensations. Furthermore, using this approach allows the differences that exist between athletes and their experiences of life in sport to become apparent (Douglas, 2009).

In what follows I shall focus on the ‘lived experiences’ of an athlete - Jon, a 400 metre runner, who is in contention to represent Italy in the 2012 Olympics. Through phenomenological description and visual imagery, we explore what is considered to be one of the most gruelling and demanding of events. The 400 meters is an endurance sprint which requires the competitor to develop both skills of the endurance half-miler and the quickness and speed of the sprinter. The race is run anaerobically (oxygen de-efficient), imposing a great deal of physical stress on the body. Running for a 400m race, is far from a ‘natural condition’ but a complex activity that has to be learnt through pedagogical socialisation of the body and hours of repetitive practice (Mauss, M. (1973 [1934])). Like Wacquants’ boxers, it is only when these ‘techniques’ have been

1 Gumbrecht, U., Leland, T.,Schavone, R., Schnapp, T.‘The Athlete’s Body, Lost and Found’ , Stanford Humanities Review (1998)– Volume 6.2 2 [http://www.watfxc.com/TF/Clinics/Lee%20Evans%20Article.htm] Planning Training and Racing for Quality 400 Meters, accessed 15/09/2009

Running [the 400 m] with Jon Silman: a phenomenological insight of 12

http://www.watfxc.com/TF/Clinics/Lee%20Evans%20Article.htm


‘assimilated by the body in and through the endless physical drills repeated ad nauseam that it becomes in turn intelligible to the intellect’ (Wacquant, 2004:69). Running techniques then become incorporated into the body’s schema through daily practices. For Jon this involves four hours a day of training, using various training cycles depending on the season (e.g. strength, endurance, racing etc). We now turn to the place which is the culmination of all this hard work, dedication and sacrifice – the race itself.

Race start : -2 hrs Jon enters the stadium. He starts by looking around his surroundings and getting his bearings. He is no longer daunted by the sheer size of the stadium (though recalls being ‘petrified at the start’ of his career). The subtle sights, sounds and smells of the stadium ‘which are weird to describe – the ultimate athlete’s experience’ trigger memories; he tries to banish the bad ones away and embrace the positive ones. He walks around the shiny track, feeling that ‘brilliant’ sensation of exuberance and buoyancy as his training shoes make contact with the ground’s surface. The atmosphere is relatively quiet given that the main events (the 100 and 400m race) are later on that day. Jon watches some of the other athletes competing, trying to emulate their appearance of composure and calmness to make himself ‘dissociate from the nerves’. Coaches can be heard ‘trying to psych up their athletes’ and some opponents have family and friends present for support. Jon prefers to be left alone, so that he can focus entirely on the race ahead. The majority of time spent before the race is dedicated to mental preparation, ‘to plan for the race and understand the feelings that are going on inside of me...[the] mental preparation is as important as the physical’.

ace start: -1:45

n sits down quietly in the dedicated area for athletes and coaches. Taking his time, he

.

R Jobegins to disassociate and ‘zone out’ from his surroundings. To achieve this meditative like state he utilizes the power of music, listening to particular songs on his headphonesWhilst sports psychologists have long advocated the positive effect that music can have



, despite music

fore

reasing

rigger

ing

hen Jon feels like he has reached a state of calm energy he turns off the music in order

r.

et nd

ly

me

on athletic performance (e.g. Dorney and Goh, 1992; Karageorghis and Terry, 1997; andKrumhansl, 2002), Sorenson et al (2008) point out that research into the phenomenological experiences of athletes and music has been overlookedoften playing a pivotal role in athletes mental preparation. Most of the time Jon will listen to soothing and calming music with beats slower than a natural heart–beat. ‘Bea race’ he says, ‘you don’t want to be too over adrenalized - you want to stay in control’. Listening to music of a slow tempo then acts to control his emotions by regulating arousal ( Nilsson, Unosson, and Rawal, 2005) reducing anxiety and decstress and tension (Seaward, 2002). On some occasions however, Jon listens to rap and hip-hop music, to particularly memorable tracks that he enjoys and makes him feel happy. These strong beats, which he associates with confidence and energy, act as amood enhancer and provide motivation (Gfeller, 1988), allowing him to block out distractions and concentrate on mental imagery. Furthermore, his favourite songs tpositive memories – reminding him of previously successful races. As he listens to the calming music, Jon also focuses on his breathing: ‘Breathing helps me to control my emotions...I take slow, rhythmic, deep breaths, filling my rib cage up with air – breaththrough my nose and out through my mouth...letting go of any tension I’m holding in my body’.

Wto completely focus on his mental preparation. This time he concentrates on the race itself, envisioning and preparing for both the worst and best scenarios that might occuFirst he pictures a bad event and then imagines himself reacting to it in a positive manner. By pre-empting any negative situations that might occur, this helps Jon ‘gaway from the fear and clear the mind’. For example, ‘If there is an idiot running aroushouting ‘I am the best’ – then I just ignore him as I’ve already thought about him, likewise my biggest fear is getting a hamstring injury’. Having torn his hamstring badon several occasions before, when it ‘snapped at the end of the race’, he found himself automatically ‘tightening and seizing up’ towards the finish, frightened that it may happen again. By using these psychological mind techniques, Jon is able to let go ofthese nightmare thoughts and worries, which would inevitably impact on his racing tiand performance. He then turns his attention to his perfect race and ‘thinks about how well it can go’. In his mind’s eye he sees himself in pole position accelerating towards thelast 100 meters, his body feeling supernaturally light and quick.



art: -0.45

Jon begins his physical preparation using various exercise drills: ‘I start off with a few laps round the circuit, for the warm up - listening to music – and do a range of sport specific exercises, like, plyametric lunges , for the start – getting off the blocks; sprint starts ,

and so on’.

He stretches out any tight muscles ensuring that the connecting tissues and nerves between his body and mind are working in perfect tandem3.

Race start: -0.01

With less than a minute to go, Jon visualises for the very last time, every second of his ‘perfect race’. The evoked imagery of the race is broken down into four sequential sections: The start (the first 100m), the straight (100 m), the bend (50m) and the final

Race st

strides

150m. He lives it out in detail.

efore the race begins. The pressure begins to mount and there’s nsion in the air. The athlete must remain calm. The mind game continues. Each athlete

o r marks’, he hears the words and retracts into the blocks, to put him

the best position for the start. It’s deadly quiet. In the set position - thumbs and ds

tract, beads of sweat his brow. He’s aware of the tingling sensation of nerves that are emanating

It is just moments btemust focus on their own race. ‘Do my perfect race, do my perfect race, do my perfect race’, Jon recites repetitively, to blank out all other distractions and fears that might hinder or disturb his performance. Like some other athletes, Jon wants to be the last tget down. ‘On youinforefingers on the track, shoulder width apart, shoulders slightly rolled over the hanand parallel to the starting line, hips in line with shoulders, Jon waits for the starter’spistol to go off. He looks forward, about two meters onto theforming on

3 It is ironic, though perhaps hardly surprising, given the increasing rationalisation and medicalisation of sport, that Jon’s articulations are imbued with Cartesian dualisms. Consequently the fundamental language and paradigm of the analysis is inescapably constrained by the mind-body dichotomy.



ody. He knows how important this moment is. Whilst the race can’t e won at the start, it can certainly be lost at this point.

up and down his bb

to ‘run as fast as possible, as efficiently as possible’. His posture at this point is very moving swiftly and smoothly back and forth to

eate more speed as he moves through the field. For Jon, the arena and other people He is aware of other competitors only through his peripheral vision. His mind

ells) that

‘ BANG’,

Jon instantly pushes off - feeling the cathartic force of enhamstrings and glutes - and accelerates out of the blocks first 50 meters of explosive power, the body is still low to the gbecoming more upright as the race progresses. He aims to crrhythm, trying to stay as close to the inner line as possible. Finbody (his physical sensations such as breathing, muscles, tendohe runs at 95-97% of his maximum effort. Having previous 100 m sprinter, Jon knows that at this point heand confidence he feels manifests itself in a sublime feeling of ‘being lightfeathers’.

This generation of forward momentum is carried m straight. Jon usually feels comfortable here, enjostrong start. He tries to remain relaxed as his body instinctivel

ergy through his toes, as fast as possible. During the

round, gradually eate and maintain a relaxed

ely tuned into his own ns, ligaments and organs)

experience as a 60m and is usually in a strong position. The power

on his feet like

on to the next part of the race- the 100 ying being in his element due to a

y adjusts it’s gait, in order

upright, his chest is forward and arms crare a blur.blocks out sounds (e.g. noise of spectators) and other sensory elements (e.g. smare not imminently connected to his bodily sensations and task ahead.



Jon is now on the bend, running near to the inside lane, to create the shortest distance possible. The bend is perceived by many athletes as one of the hardest parts of the race and Jon is no exception here. The body is beginning to get tired, fatigued, ‘knackered

ady’, and the lactic acid is starting to kick in. He knows this is his weakest part, he’s aware that he must banish the negative thoughts, worries and anxiety that try and his mind (‘I’m awful here’ he says). In this split second of doubt, a struggle commen

alreenter ces

etween his mind and body, inevitably effecting the body’s ‘flow’ and losing precious lit-seconds of time. He reacts by ‘tak[ing] it to the next level of the pain barrier’ and

st continue to move in a straight, efficient line. The lactic acid build up is orrendous here – ‘it feels like the muscles are burning away’. His heart is pounding in

sense that manifests itself in an emboldening and a erging of the senses.

bspvisualises the final sprint ahead where he will ‘catch up’, knowing that he has a strong finish.

The end is in sight. If Jon is in a good position just before this last 150 metre stretch, he knows it will be a successful race: ‘If I’m doing well here, I feel unstoppable’ - like a fire ball of energy. This confidence comes from knowing that he trains harder on his strengththan his competitors. He envisions himself as the winner, as thrashing his opponents. The home straight is run at 100% maximum effort - Jon has nothing more to give. Despite the intensity and muscle fatigue, he must prevent himself from ‘tightening up’ and muhhis chest. He feels nauseous. Coaches teach their students to ‘die’, to ‘smash’ the endingand give it everything they have. Despite this torturous pain, Jon declares ‘[I] love this part, absolutely love it’.

Arms spread behind him; head held high, Jon leans slightly forward as his chest hits the finishing line. It’s all over. Only after the race has finished does Jon realise he had ‘blanked out’, and cannot recall the last 100 meters of the race. Lost in ‘focused intensity’, his mind had become free as his body automatically took over. The endorphin rush combined with the satisfaction of winning, of achievement and of ‘not letting anyone down especially myself’ culminates in an ‘incomparable feeling of euphoria’ and a heightened sense of being alive; a m



These intense emotional and sensual elements articulated by Jon and other athletes illustrate the importance of incorporating a more ‘carnal’ and ‘fleshed out’ the studies on the sporting body. Far from being peripheral to athletes, their lived

eriences are central to their lives, sporting events and performances. Given the importance of these elements, the sociology of sport can ill-afford to ignore the

approach into

exp

henomenological experiences and voices of the athletes themselves. p

degree in Sports and Exercise Science

Biography/ About Jon Silman Jonathan Silman, 21, has recently completed his and Tourism at Christchurch University, Kent. Since establishing himself as an eminent

nior competitor at International Level, he now hopes to join the Italian Seniro Team with the aspiration of securing his place at the 2012 London Olympics.

n has successfully competed as a 400 metre runner winning Italian under 20 national 5

Ju

Jochampionships. His achievements include district area championships (Puglia, Italy x2), stadium all time records and success on the International circuit (x2 at Junior level).



lympic ommittee. In addition he has played football for Margate FC and Canterbury City FC

the physical and emotional detachments of 400meter nner Jon Silman, introduced a visual investigation into the challenging parameters of

performance and the stages of metamorphosis from the athlete’s physical state. I wanted Jon’s phenomena (in the past tense) would

main static as Jon continued to race. ‘Traces’ of body heat, lactic acid burn, light and of presence, in hindsight a ‘Phenomena,’ which the human sing therefore presenting a metaphoric supernatural

phasized the absence of an external world, instead encapsulating the world f an athlete and capturing his gaze.

– documenting the physical and mental xperiences and transformations - as she prepares to compete on a bodybuilding stage.

ll as

er and Society’. Previous work has included e,

2012

xt,

ression from egemonic standards of feminine embodiment. Tanya in incorporating aspects of henomenology into a feminist perspective which explores via ethnography and

gy of the

He has been sponsored by Adidas and has also worked for the Maltese OCand tried out for Newcastle United FC. Jon is also a qualified personal trainer and athletics sprint coach (level 3).

Photography by Rebecca Andrews Artists – interpretations

The phenomenological senses ofru

to emphasis the notion of ‘Trace’ whererespeed were all indications eye isn’t capable of witnesperception.

Jon Silman described the processes from start to finish of meditation, prefiguring the race tactics and mentally focusing on one thing (himself). An intriguing connotation of being‘light on his feet like feathers’ was a key area to focus on of Jon. The idea of floating onair was intriguing to interpret visually. The coherent use of lighting, stage and performance was an essential part of the process to capture; in addition, using a black backdrop emo

These images I have captured, questions whether or not what is experienced is objectively real.

Rebecca Andrews is currently studying for her MA in Artist's Film, Video and Photography at the University for the Creative Arts (UCA), Maidstone. Her thesis will be a self-exploratory photographic diary eBefore commencing her MA, Rebecca studied for a BA in Graphics design as wecompleting a BA in Photography. Her research areas of interest revolve around themes of identity formation within ‘the Body, Gendlife size prints of bodybuilders exhibited at The Old Truman Brewery (Brick LanLondon) and other ‘taboo’ areas of body modification such as Transvestites. Rebecca has also recently completed a project focusing on young Olympic Athletes for the games commissioned by the Maidstone Arts development. The exhibition showcasing her work will run from October 2009-October 2010. Further information about her projects and her work can be found at www.rebecca-andrews.co.uk.

Tanya Bunsell is currently writing up her PhD at the University of Kent in the School of the Social policy, Sociology and Social Research. Her thesis is provisionally entitled ‘TeExperience and Space; Questioning Notions of Resistance, Transgression and Empowerment in Women’s Bodybuilding’. Her thesis investigates whether female bodybuilding can be seen as an emancipatory and empowering transghpinterview, the interactions and phenomenological experiences associated with this activity. Before coming to Kent she studied Sociology at the University of Southampton and the University of Portsmouth. Her main academic interest is in the Sociolo



ealth Body, and she is also interested in Women’s and Gender studies, the Sociology of Hand Illness and aspects of Deviance.

Corresponding author. Email: [email protected]

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