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Winning soccer matches does not suffice for the Argentine and Brazil-
ian national teams. While players and coaches want to play a tech-
nically sound game, fans expect beauty, skill, and panache. Like the
people with whom I watched the game in downtown Buenos Aires,
many say that they would rather see their team lose playing well than
win playing ugly. Qualifying for the World Cup clearly mattered, of
course, but it was crucial to do so playing the Argentine style.
The myth of national soccer styles is almost as old as the sport itself.
It is central not only to the idea of Latin American soccer but to the
sport around the world. Argentina has “la nuestra,” Brazil has “futebol
arte,” and Uruguay has the “garra charrúa,” while the Dutch play “to-
tal soccer,” and the Spanish “tiki-taka” made them nearly untouchable
from 2006 until 2013. From very early in the game’s history in Latin
America, commentators and players have argued that people of dif-
ferent ethnic and national heritage play a different form of the game
based more or less on national “types.” The roots of national styles
were often considered innate, encoded in the ethnic, racial, and class
composition of players.
In reality, national styles were actually carefully crafted historical
creations invented at the precise moment that Latin American coun-
tries were grappling with their national, racial, and ethnic identities.
For much of the nineteenth century Latin American countries sought
linked the game to artistry in defining the Brazilian style in the 1930s.
In other words, they believed the experience of being Brazilian fos-
tered a tendency to play soccer a certain way. It is, of course, not just
Brazilians who believe this. There is a worldwide sense that Brazilian
soccer players don’t as much dribble the ball as dance with it. This is
no accident. The ideology of the beautiful game, or futebol arte, devel-
oped at a particular moment and coincided with conscious efforts on
the part of the Brazilian state and intellectuals to craft a new vision
of the nation.1 That vision suggested a more inclusive nation that ac-
cepted Brazil’s racial and ethnic heritage even as it drew pseudoscien-
tific racist ideas. Defining a distinctly Brazilian style meant addressing
the massive population of color and attempting to deal with the legacy
of slavery, which ended only in 1888. In Brazil, then, the rhetoric of
futebol arte had a political and social role: to help incorporate people
of African heritage into the nation and include them as citizens.
Rather than innate practices coming from the soil, then, soccer
styles in Latin America were journalistic and intellectual descriptions
that portrayed aspects of soccer as “national.” These descriptions
La nuestra?
between 2009 and 2012. He has been nothing short of brilliant for
Barcelona, where he plays professionally, scoring an unprecedented
seventy-three goals in 2012. Combined with his goals for the national
team, Messi scored ninety-one times that year. Yet until Argentina’s
qualification campaign for the 2014 World Cup in Brazil, his play for
the national team often disappointed. Critics accused him of seeming
lost on the field with the national team, sinking to the more pedestrian
level of his teammates. So used to playing with the world’s best on
Barça, these critics said, he was unable to adapt. Others suggested that
he expected the game to orbit around him. Pelé, the Brazilian great,
expressed disappointment at Messi’s lack of scoring for Argentina,
noting that he “does nothing for his country.” And at home Messi was
faulted for not “feeling” the Argentine jersey, evidenced—according to
!
Argentina was the first nation in Latin America to play soccer. The
first recorded game was in 1867, and the first league formed in 1891.
The predecessor of the Argentine Football Federation, which still over-
sees the sport, formed two years later in 1893. In part, the early begin-
nings relate to the predominance of British influence in Buenos Aires.
British firms owned most industries and banks in the late nineteenth
century, and British financial assistance was crucial to the building of
national infrastructure and in the development of Buenos Aires into a
modern urban center. Argentine elites sent their children to “British”
schools such as the Buenos Aires English High School and the Colégio
Comercial Anglicano-Argentino in Rosario, where they were inculcated
champions. Between 1902 and 1930 the two nations played each other
an astounding ninety-eight times, with honors evenly split: Argentina
won thirty-eight and lost thirty-five, and twenty-five matches ended
in draws.12 As the stakes rose, however, the Argentine press began to
differentiate between the two rioplatense powerhouses, and the good
feelings of 1928 dissipated by the end of the first World Cup in 1930.
There Argentina lost to Uruguay in the finals. And although Argen-
tine pibes and Uruguayan pibes—criollo soccer—were the best in the
world, Argentina did not want to play second fiddle to Uruguay.
could play any position, throwing opposing defenses into disarray. The
Argentine style, according to Menotti, was the “honest” way that Ar-
gentines played, with beauty and individual flair. Yet eight years later,
with Diego Maradona’s most controversial and the most spectacular
of World Cup goals, Argentina won using—according to critics—Car-
los Bilardo’s disciplined and organized tactics. Was one less “Argen-
tine” than the other? Hardly. Did Argentines complain that Bilardo’s
team played an ugly game? No, because they won the World Cup. Style
comes not from bloodlines or connection to the soil but from mimicry
of idols, practice, and tactical choices. It is only the constructed myth
that surrounds a team that clouds our ability to sense the similari-
ties between “national styles.” Nevertheless, the idea of style still has
a great deal of power, and losses are often blamed on the failure of
coaches and players to play la nuestra.
!
Brazil’s concept of a national playing style was introduced as early
as 1919 and became popularized in the 1930s. But the hallmarks of
Brazilian futebol—emphasis on individual brilliance and flamboyant
play—caused considerable debate for two decades after. Much as the
narrative of the criollo style in Argentina only became dominant in the
1920s, Brazilians debated the merits of futebol arte between Brazil’s
third-place World Cup finish in 1938 and its victory in 1958. Some com-
mentators, like journalist Mario Rodrigues Filho and anthropologist
Gilberto Freyre, thought the style reflected the positive effects of ra-
cial diversity in the nation. Others linked Brazilian style to the genetic
decomposition of the country. For these commentators, the invention
and improvisation that defined Brazilian soccer represented a failure
of the nation to become modern and move beyond the limitations of
its race. When Brazil won the 1958 World Cup in Sweden, however,
futebol arte became the national badge of honor that it remains today.
Nineteen fifty was destined to be the year that Brazil won the World Cup
for the first time. Instead, that year marked Brazil’s most devastating
defeat, the blame for which was placed squarely at the feet of Brazil’s
style and supposed racial inferiority. In hosting the first World Cup
since 1938, Brazilian leaders sought to highlight both the country’s
soccer prowess and the development of a new, modern Brazil. The cen-
terpiece of the tournament was the Maracaná Stadium, designed to
hold two hundred thousand people. Though not actually finished in
time for the final match, it still hosted the final, which should have
been the crowning glory of the tournament both for the country and
the soccer team.
Going into the final match, Brazil was nearly assured of victory be-
cause of the unique format designed for the 1950 World Cup. For the
first and only time, there was no knockout phase to decide the winner.
Instead, after the group stage the top four teams played a round robin,
with each team playing each other once. The team with the most points
at the end of the championship round would be the world champion.
And entering the final match against Uruguay, Brazil needed only a tie
to clinch the Jules Rimet Trophy. But someone forgot to give Uruguay
the script.
Redemption, 1958
The year 1958 marked the coming-out party for futebol arte for soccer
fans around the world. The Brazilian team, captained by Bellini but
known as the team of Pelé and Garrincha, Didi and Nilton Santos,
emerged from Sweden with the Jules Rimet Trophy. It played with ap-
parent abandon and a free-flowing style that looked effortless. Yet,
prior to the team’s departure for Europe, Brazilians openly doubted
their chances after having failed in 1950 and 1954 with teams that,
the coaches chose to ignore his advice (his tests suggested that nei-
ther Garrincha nor Pelé would perform well). In other words, this was
hardly a squad based solely on exuberance or passion. The players were
drilled and practiced, technically skilled, in peak physical shape, and
ready to play. Moreover, the Brazilian team employed a relatively new
4-2-4 scheme to give more flexibility to the team. Perhaps Brazil was
not a “machine,” but neither was it focused solely around individual
skills.
While Brazil’s futebol arte got credit for the win, it was all of the
advance planning, training, and tactical work put in by coaches and
players that made the victory look effortless. The Brazilian team, espe-
cially once the coaching staff inserted Garrincha and Pelé in the third
game, seemed graced with players whose skills far outmatched those
of their rivals. And the victory solidified the idea that the wide-open,
free-flowing style appeared based on individual prowess known as
dance with the ball. Furthermore, many in Brazil still believe that the
Brazilian style is innate. For example, Vincentinho, a junior coach
with Flamengo, argues that Brazilians are “born with innate talents
. . . [and] football is one of these talents,” but not all have a chance to
draw them out. For author John Lancaster, “no country plays beautiful
football as naturally and consistently as Brazil.” While the racial narra-
tive of Brazil’s style of play may now be submerged below the surface,
the vein connecting the samba-dancing stars of today to the racialized
attitudes of the late nineteenth and early twentieth centuries is just
below the surface. What had been perceived as Brazil’s “racial” weak-
ness—the supposed traits of its African-descended population—had
not been discredited; it had only been turned into a strength.23
Brazil has won the World Cup a record five times. It is also the only
nation to have qualified for every World Cup. Brazil, in other words,
produces excellent soccer players and lots of them. Its fans are pas-
sionate about the game, eager to win and to do so with panache. And it
Conclusion