football works


Forget The Theater – Go To The Stadium documents all of the times that the italian word “dai” (in english “c’mon”) was used by the leaders of the ultras group BRESCIA 1911 during Brescia vs. Catania, 2015. The word “dai” is commonly used as an exhortation to urge the group to participate in the chanting.

The work reflects on the participatory dimension of football culture and makes a parallel with the shared feelings of identification, involvement and complicity that characterized the origins of western theater.


ULTRAS KARAOKE is the karaoke version of a series of football supporters’ chants. The lyrics of supporters are superimposed with a midi-track of the original songs the chants are based on.


THE STADIUM AS I WANT IT is a short critical observation about the spatial design of the stadium and how it influences the way supporters sing and organise themselves.


ULTRAS MASHUP consists of a series of audio tracks in which football chants’ recordings are mixed with the “original” songs they are based on. The work reflects on the musical aspects of football supporters’ culture and supporters’ practice of creation through appropriation.

The work includes football supporters’ repurposed versions of Giuseppe Verdi’s opera theme Aida, Jewish traditional song from psalm 23 Gam Gam, Marcella Bella’s 1972 Sanremo Festival success Montagne Verdi, Walt Disney’s whistling theme from Robin Hood, northern italian folk song La Mula de Parensio, Coca-Cola jingle Buy the World a Coke, Dean Martin’s signature song That’s Amore, and Righeira’s 80’s summer hit L’Estate Sta Finendo.

The football chants used in the tracks have been recorded at the stadium and on away matches as part of my involvement with the ultras group Brescia 1911 (2001 – ongoing).

Supported by SARU (@saru_brookes) at Oxford Brookes University as part of the Sound Diaries project “Get some chalk on your boots!”.


The project THE SOUND OF NORMALISATION is a collection of audio recordings that documents the sound culture of the Ultras group BRESCIA 1911 in relation to modern football and the wave of repressive measures targeted at organized supporters groups. The recordings were taken over a period of 15 years and cover: 1) creation, uses and meanings of the chants 2) group principles and collective identity 3) audience participation and the process of social exclusion from the stadium 4) police repression and the political implications of the chants 5) the evolution of the drumming in relation to the drums ban-order of 2007. Each recording comes with a short introductory text and is presented as a video with subtitles. The work has been published in 2018 by SARU, Oxford Brookes University.

Since early 2000 I’ve been researching football supporter subculture, audience participation and crowd regulation. The overall research concerns the nexus of public space, social performance and surveillance in contemporary Italian football.

The aim of the research is to trace mechanisms of social interaction and aesthetic creation in football supporters’ subculture via an examination of the sound practices shared by the group Brescia 1911. Relations between sound production and space construction are investigated especially in the light of dynamics of social control adopted in football grounds in the last years.

My research contributes to a better understanding of sound’s function in group formation and collective identity as well as how sound performance and social repertoire evolve in relation to public security measures and space control.

In 2015, a first concrete materialization of the project has been exhibited at ARGOS, centre for art and media, Brussels. In 2018, the final version of the project has been presented at GET SOME CHALK ON YOUR BOOTS! an exhibition and conference organized by SARU at Oxford Brookes University.