Seven Nation Army Med Ett Riff Som Sjungs Till Fotboll

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Seven Nation Army Med Ett Riff Som Sjungs Till Fotboll Seven Nation Army Med ett riff som sjungs till fotboll Patrik Sandgren Fotboll och musik kan på samma gång uppfat- med den spridda och i åtminstone europe- tas som en lek (jfr Huizinga 1945).1 På mot- iska supportersammanhang numera klassiska svarande sätt leker i någon mån musikerna i ”Triumfmarschen”, ur italienska nationalope- ett band eller sångarna i en kör. Ibland befin- ran Aida av Giuseppe Verdi (1813–1901) med ner de sig på olika kunskapsnivå och agerar premiär i Kairo 1871.3 Följaktligen använder därför på skilda sätt utifrån regler och norm- fotbollspubliken musik som delar liknande givande mönster. Under sådana betingelser formspråk och funktioner som nämnda hyll- kan också det musikaliskt impulsiva hända ningssånger. och utvecklas. Supportrarnas sånger kan antingen trallas Sambanden mellan fotboll och musik är utan ord, eller sjungas tillsammans med nya intressanta att studera, inte minst för att äm- eller modifierade texter. Själva melodierna net utifrån musikvetenskapliga och musiket- kännetecknas ofta av tonupprepningar, litet nologiska perspektiv är tämligen marginellt tonomfång som sällan överstiger en kvint, genomgånget, också beträffande svenska för- och små terssprång (Kopiez 1990:360ff; hållanden. Säkert kan de musikaliska uttryck 1992:227f). Reinhard Kopiez, som särskilt som förknippas med fotboll många gånger undersökt vad tyska supportrar sjunger, me- uppfattas som efterhärmade, fragmentariska nar att melodistrukturerna likväl är ordnade och inte konstfärdiga nog att undersökas efter ”archaischen Melodiebildungsprinzi- närmare. Insatt i en kontext med hänsyn till pien” (1990:362). Sångkören på läktarna kan samhällsrelevans och historiska förlopp torde uppstå närmast spontant och sången utföras emellertid temat erbjuda mer att utforska. mer eller mindre unisont. Inte sällan har ändå hejaklacksledare funktionen som försångare, Planen: avgränsningar, underlag och mål vilka är förtrogna med den repertoar som an- I två tidigare arbeten har jag undersökt mu- vänds i motsvarande fotbollskretsar (Brink & sik till fotboll med fokus på förekomsten Kopiez 1998:13; Näslund 2009:19).4 Det är på och bruket av definierade hyllningssånger i så sätt inget godtyckligt fabulerande som för- svenska fotbollsföreningar (Sandgren 1996; siggår, utan publiken återger mer eller mindre 1998).2 Detta alster är i högre grad ett bidrag medvetet variationer av befintliga melodier till forskningen om de sånger och ramsor som som redan vädjar till det lättillgängliga och sjungs av supportrarna på läktarna. Jag avser populära.5 Dessa uttryck kan också tolkas som de sekvenser vilka många gånger är variatio- myter, vilka opererar efter grundregeln ”tema ner eller avsnitt ur hävdvunna sånger och mu- med variation”. På ett liknande sätt transfor- sikstycken, som psalmer, visor och marscher, meras melodierna efter i huvudsak gehörsba- jämsides med kända schlagers och poplåtar. serad reception, sprids vidare över områden Marscherna kan utan vidare exemplifieras eller återfinns som paralleller och uppträder Rig-10-3-Art-Sandgren.indd 129 2010-10-15 15.37 130 Patrik Sandgren i skepnader där grundstrukturerna ändå kan skulle vara mindre intressant att få en vidare kännas igen (jfr Lévi-Strauss 1977).6 uppfattning om. Något om damfotboll kom- Idag förekommer musik till fotboll på mer ändå att beröras. flera sätt; det laddas upp amatörgjorda och humoristiska låtar om fotboll såväl på inter- Metod net som på YouTube. Kända artister gör både Undersökningen omfattar en detaljerad jäm- hyllande och ironiserande låtar som ges ut på förelse mellan supporterramsan och ”ret- fonogram. Musik spelas upp i högtalare som ramsan”. Som redskap används en musik- stämningshöjare på arenor, både före och efter vetenskaplig reduktionsmetod som jag har match samt i halvlek. Vid landskamper och introducerat i en tidigare publikation (Sand- klubbderbyn spelas nationalsånger respektive gren 2000:5f). Metoden innebär att en me- signaturer, och på läktarna sjunger, gestiku- lodiformel, i egenskap av betydelsebärande lerar och slår supportrarna takten mer eller tecken, anlitas som modell eller mall för att mindre organiserat. Området kan säkerligen kompareras med andra melodier eller delar problematiseras ytterligare, medan musikens av dem; grafiskt utnyttjas notskrift, siffror tillämpning i samband med just fotbollsmat- och bokstäver.9 Som komplement till detta cher utan att rangordnas ändå kan delas in i prövas att förtydliga tänkbara mentala och åtminstone två huvudgrupper, även om över- kroppsliga musikaliska gester i supporterram- lappning kan ske (jfr Sandgren 1996:3f):7 san, och för denna framställning används en kombination av notskrift, romerska siffror, 1 Officiell musik som klubbsignaturer och na- linjer och ord (jfr Middleton 1993:177ff).10 tionalsånger; ingångsmusik tillsammans Före detta mer empiriska tillvägagångssätt med parader och liknande företeelser. konkretiseras relationen mellan musik och 2 Inofficiell musik som sånger, ramsor och fotboll utifrån historiska och sociala aspek- andra musikaliska uttryck, vilka mer eller ter. För att underbygga resonemanget kring mindre spontant brukas av supportrarna liknande melodistrukturer omfattar artikeln på läktarna. även andra exempel på jämförbara suppor- terramsor. Utöver referenser till tv-program, Denna artikel avser att undersöka en aktuell skivinspelningar, intervjuer, arkiv och litte- supporterramsa som väsentligen tillhör den ratur kommer artikeln i angiven utsträckning angivna andra kategorin. Supporterramsan att referera till internetkällor, som i viss mån har samtidigt sin referent i ett gitarriff som motiveras av ämnets utåtriktade och allmänna återfinns i den uppmärksammade rocklåten karaktär. ”Seven Nation Army” med den amerikan- ska rockgruppen The White Stripes.8 Frå- Retramsan gan är om dess melodi kan anslutas till den Denna karakteristiska ramsa, som många nog kända ”retramsan” och på vilka grunder? hört och händelsevis sjungit, är en spridd me- Vid sidan av denna fråga är intentionen att lodiformel motsvarande ett slutfall eller ka- försöka placera supportrarnas uttryckssätt dens. Den används gärna av lekande barn, med i en kontext omfattande såväl musikaliska, eller utan text. Beroende på dess symbolvärde sociala som historiska aspekter. Artikeln kan den fungera som en kommunicerande kommenterar huvudsakligen rörelser kring herrfotbollen, som fortfarande har en mer omfattande supporterkultur än damfot- bollen, vilket inte betyder att den senare Rig-10-3-Art-Sandgren.indd 130 2010-10-15 15.37 Seven Nation Army 131 kod med potentiella betydelser.11 I Exempel 2 presenteras den definierade melodistruk- turen som kännetecknas av tonupprepningar och fallande liten ters; noten inom parentes representerar en variation (efter Bjørkvold 1991:75). sen blir att åtminstone enskilda melodiska Trots att retramsan uppträder internatio- strukturer kan uppfattas som grundläggan- nellt bevisar inte detta att den är elementär, de. Hypotetiskt torde de kunna underordnas det vill säga att den tvunget har allmängil- en förberedande ”musikalisk grammatik”, tig proveniens, även om tanken på detta kan som utvecklas parallellt med en språklig, locka till spekulation. Den kan i samma grad och där redan spädbarn kan finna ett mer el- ha brett ut sig genom förslagsvis ”kulturell ler mindre latent embryo till ett senare mer imperialism”, eventuellt med assistans av det metodiskt musikaliskt skapande, även om brittiska imperiet (Bjørkvold 1991:120f). I en sådan syntax också kan vara kulturellt Sverige förekommer varianter i bland annat betingad (Sandgren 2000:4). Redan Curt det bekanta barnrimmet ”Skvallerbytta bing Sachs menade att människans vedertagna bång”. I exempel 3 visas att detta rims me- dilemma med intonering av just tersen bör lodi är identisk med det spefulla och möjligen förklaras i termer av naturliga röstfysiolo- medvetet inrättade sångriffet i den svenska giska orsaker, till in- och utandning, spän- popartisten Robyns låt ”Do you really want ning och avspänning (1963:49ff). Sachs me” från 1997 (Sandgren 2000:6). formulerar utan omsvep angående det som han tycks mena är den ursprungliga musiken, den organiskt sjungande rösten: ”It is not necessarily ’melodious’ or sweet-sounding. As the opera fans demand and the dictionar- ies set forth” (a.a.:51). Els Oksaar (1988), Retramsan kan också klart urskiljas i den som både refererar till egna undersökningar naiva fotbollsramsan ”ut me’ domarn”, där av flerspråkiga barn i Sverige och Estland första fjärdedelen utelämnas och åttondels- och undersökningar av Karsten Hochfeld rörelsen är utjämnad jämfört med den an- (1987) beträffande förskolebarn i Tyskland, givna modellen (exempel 4; efter Bjørkvold betonar å andra sidan den språkmusikaliska 1991:254). relevansen i kommunikationen mellan barn. Jon-Roar Bjørkvold (1985; 1991) under- Oksaar skriver följande om dylika ramsor: sökte år 1974–1987 spontansång hos norska, ”Many German children use repetitions and a ryska respektive nordamerikanska försko- singing intonation. I have found this strategy lebarn. Han karakteriserar själva retramsan also among Swedish and Estonian children: som ”retfull och berättande”, tonupprep- Lilla, lilla Bosse, ’little little Bosse’. Teas- ningar som ”härmande” och både små och ing is marked by paralinguistic elements” stora fallande terssprång som ”ropande och (Oksaar 1988:91). Melodistrukturer, som likt berättande” (1991:75f). Han talar också om retramsan rymmer tonupprepningar och fal- att den fallande stora tersen, som återfinns i lande terser, blir utifrån ett sådant påstående
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