I recently analysed England’s Sarah-Jane Perry’s dramatic 2020 Black Ball Open victory over Egypt’s Hania El Hammamy in the form of a series of shots into the tin at game- and match-ball. Apart from the squash, the match was notable for the socially-distanced Cairo crowd’s vociferous support for the home favourite. Perry’s vocal support was less vociferous due partly, I suspect, to an absence of English supporters who were not only confined to their homes under the terms of a pandemic lockdown but banned from leaving Blighty to boot.
In my analysis I contrasted the Cairo crowd’s involvement in the match to that of the non socially-distanced Doha crowd at the 2014 World Open Championship final.
In that 90-minute contest, Cairo’s Ramy Ashour, returning from a six-month injury lay-off, defeated Alexandria’s Mohammed El Shorbagy 14-12 in the fifth. The cacophony generated by the spectators reflected divided Egyptian loyalties, the victory of a much-loved ambassador for the game over an up-and-coming star, and the sheer drama of the match as it unfolded. Let’s hope we’ll all hear something similar again.
Around this time of year the attention of squash followers hailing from one of the 6000 islands of the British Isles has traditionally turned to the National Squash Championships. In 2020, the Championships took place in Nottingham but, this year, were replaced by a stripped-down England Squash Championship held at the National Squash Centre in a traditionally cold and wet Manchester.
The four-day event was restricted to senior men’s and women’s tournaments, participation in which was limited to players on the basis of their individual need to comply with the Covid-19 guidelines of the national jurisdictions of their places of residence. The Championships were also re-structured, each tournament consisting of group matches followed by semi-finals, fifth / six and third / fourth place play-offs and a final.
The men’s tournament was won by Declan James who overcame George Parker 3-1 in 64 minutes. In the women’s tournament, current Black Ball Open champion Sarah-Jane Perry beat the unseeded Georgina Kennedy 3-0 in 23 minutes. Both beaten finalists were winners of the England Squash Challenge tournaments held at the same venue in November when, for the record, it was equally cold and wet.
After the Challenge and September’s Manchester Open, the Championships were the third Covid-safe and audience-free squash event held in Manchester in the last six months. Next month, it’s Cairo’s turn to stage a major event when the CIB Black Ball Open returns only three months after the completion of 2020’s delayed tournaments.
Whatever the Covid-safety arrangements, one thing’s for sure. It’ll be warm and dry outside.
Thanks to PSA SquashTV, Dailymotion, England Squash and SquashSite.
With a global pandemic raging, a national lockdown in
force and participation in most indoor sports suspended, it might be thought
unusual for the business of the UK Parliament’s House of Commons to be debating
the inclusion of squash in the
Olympic Games. Yet that’s exactly what happened in the Chamber on January 12th,
2021 following a submission by former Welsh Ladies number one (and current
Member of Parliament for Neath) Christina
True to form, Rees had previously secured a similar Parliamentary debate in 2016 and obviously wasn’t going to let the small matter of a worldwide coronavirus outbreak put her off her debating stride. Her speech which amongst other things identified current Welsh First Minister Mark Drakeford as being an accomplished squash player, came just over a month after Team GB’s failed attempt to register a petition to get squash into the Olympics. Rees also name-checked Tesni Evans, Joel Makin and referee Roy Gingell as role models for promoting the game and Welsh sport in general across the world.
The UK Government’s response was provided by Nigel Huddleston, MP for Mid-Worcestershire, lapsed squash player and holder of possibly the longest job-title in Government: Parliamentary Under-Secretary of State for Digital, Culture, Media and Sport. Huddleston, in textbook political language, offered moral if not material support to his colleague and suggested that the 2022 Commonwealth Games in Birmingham presented the best opportunity for promoting squash globally in the near term.
Well, I’m no judge but given their respective squash pedigrees, I reckon that Christina Rees would take him out in three.
As the basis of a game plan for winning a prestigious PSA World Tour final against an in-form 20-year old defending champion playing in her home town, it looks a bit, well, risky.
Game 1: At 2-2, hit the ball into the tin in
successive rallies and lose the game 4-11.
Game 2: At 9-10 down, hit the ball into the
Game 3: At 10-9 up, get your opponent to hit
the ball into the tin.
Game 4: Save two championship balls. At 11-10 up, get your opponent to hit the ball into the tin.
Game 5: Go 5-8 down. Then, at 10-9 up, get your opponent to hit the ball into the tin.
Yet, in the last women’s tournament of 2020, that’s exactly how England’s Sarah-Jane Perry became CIB Back Ball Open champion, overcoming Egypt’s Hania El Hammamy in Cairo.
Coming from two games and two match balls down, Perry eventually closed out the match in 75 minutes to add to the 10 PSA titles already in her locker. Which, of course, goes to show that some game plans can really pay off.
As comebacks go, Perry’s, in its own way, ranks alongside Ramy Ashour’s against Mohammed El Shorbagy in the 2014 World Open Championship final minus, sadly, the latter match’s deafening spectator involvement.
But with hopeful signs that squash across the world will soon be able to re-emerge from its enforced hiatus, let’s look forward to the sounds of the game being played, and appreciated, with energy and passion.
Even when it’s punctuated by the sound of the ball being hit into the tin.
What with all the Covid-19 pandemic coverage clogging up the news media, it’s easy to overlook the far-reaching impact of shifting global geo-politics on squash. Take the case of the Shetland Islands which, for the geo-politically challenged, is an archipelago off the North-East coast of mainland Scotland. At the time of writing, Shetland has 71 cases of Covid-19 out of a population of around 23,000, a third of which lives in its main town, Lerwick.
Squash in Shetland is centred on the town’s squash club, founded in 1979 and boasting three singles courts which can be converted into two doubles courts. Considering the location of Lerwick – equidistant from Aberdeen in Scotland and Bergen in Norway – Shetland’s squash connections stretch around the globe by virtue of its participation in the International Island Games.
Founded in 1985, the Games are now contested every two years by representatives from 24 islands and island groups including Greenland, Rhodes, Menorca, St Helena and The Cayman Islands. Squash has featured in the Games four times, beginning in 2005 and, most recently, in 2019. Unfortunately, the 2021 Games, due to take place in Guernsey, were recently postponed due to the Covid-19 pandemic.
Although Shetland has tasted squash medal success in the Games, its future geo-political status is uncertain. The imminent departure of the United Kingdom from the European Union has fuelled the demand for Scottish Independence led by the Scottish National Party. The situation has recently been complicated by calls for Shetland to remain part of the UK (as a British Overseas Territory) in the event of Scottish independence; in other words, to become independent of an independent Scotland.
To further complicate matters, Shetland culture is extremely diverse having been shaped by 5000 years of habitation by North Atlantic peoples from the mysterious ‘broch builders’ to The Picts and The Vikings. By way of illustration, Shetland’s annual Up Helly Aa festival includes a torchlit procession through Lerwick culminating in the burning of an imitation Viking galley.
Beyond Scottish Squash
When it comes to participation in squash, Shetland follows the lead of Scottish Squash whose current BounceBack initiative is intended to help clubs start re-introducing competitive squash in a time of pandemic uncertainty. But future geo-political trends may provide the islands with a wider choice of squash partners, not only by virtue of their geo-political status but also by virtue of the links to other island squash communities worldwide.
For squash enthusiasts, there’s probably nothing more educational or fun during a COVID-19 lockdown than investigating the physical properties of squash balls. Take the following practical lesson based on a 2019 physics GCSE examination paper set by the Welsh Joint Education Committee (or Cyd-bwyllgor Addysg to the Welsh-speakers amongst you). The lesson explains how to measure the effect of temperature on the rebound height of a squashball. All you’ll need is a one-metre rule (clamped upright), a thermometer, a beaker, hot water, a squash ball, a pair of tongs to handle the ball, safety goggles and a kitchen.
Coincidentally, Wales is currently in the middle of a 17-day COVID-19 lockdown so, for Welsh residents, there’s really no excuse for not having a crack at this simple piece of physics. You’ve got one hour to complete the experiment.
Oh, hang on. I’ve just noticed that the kind of squashball to be used in the investigation isn’t specified so I suppose you might as measure the rebound heights for all four World Squash standard balls. Better make it four hours then.
reports in the Indian media of Saurav
Ghosal’s lockdown experiences come the views of the current world men’s
number 13 on player data, personal privacy and, er, gossip.
The background to Ghosal’s comments lies in the commercial partnership between the Professional Squash Association (PSA) and Sports Data Labs (SDL), a US provider of “human data technology”. The purpose of the partnership is to help the PSA utilise “in-game human data solutions to provide human performance metrics for its live broadcasts, as well as for player optimisation and training purposes.” The popularity of personal ‘fitness tracking’ devices may be one reason why the PSA is exploring the use of player data to attract more interest in the sport.
“There are three
kinds of lies: lies, damned lies, and statistics.” (Unknown but not Mark
The player data in question includes such physiological information as distance
covered during matches, speed and heart rate which, even now, is displayed on
courtside screens during some major tournaments. The PSA knows that, under EU
and UK law, ownership of this data belongs to individual players and that
their personal consent to its use, and re-use, has to be secured on an
individual and, presumably, commercially-agreeable basis.
To complicate matters, not all relevant national and supranational (e.g. EU)
laws require the same level of protection for individuals against the
collection, storage and use of their data without their personal consent. The
concept of ‘personal privacy’ also varies from jurisdiction to jurisdiction. US
law, for example, does not recognise the right of individuals to opt out of
the automatic collection and use of their personal data for marketing and other
‘re-use’ purposes, e.g. by social media companies and their advertising clients.
Other national personal privacy laws unsurprisingly reflect their countries’ political cultures and social norms. India’s recently-implemented legislation, the Personal Data Protection Bill, follows the EU and UK models as does that of Qatar. The Indian law, however, makes specific reference to certain categories of data, some of which could be regarded as falling under the PSA / SDL player data category, e.g. health data, whereas others such as biometric and genetic may not. In contrast, Egypt’s soon to be implemented Data Protection Law applies only to companies and their responsibilities for protecting the personal data of their employees.
In light of such a complex, and evolving, legal situation the question
naturally arises as to who has the
legal right to assess the risks, costs and benefits to individual players
associated with the sharing of their personal data, and for what purpose?
“There is only one thing in the world
worse than being talked about, and that is not being talked about.” (Oscar
Wilde, The Picture of
To date, Saurav Ghosal has not signed up to the brave new world of player data monetisation but recognises the commercial need for squash to engage with a world increasingly characterised by social media gossip and the popular obsession with statistics. While some may regard player data and derived statistics as being of subjective interest, others may not or remain either disinterested or sceptical. “An ideal heart rate can’t be set as a target,” says coach and current Secretary General of India’s Squash Rackets Federation, Cyrus Poncha. Commercialising access to player data may, it seems, be more effective in attracting the attention of some statistics-loving spectators than in helping coaches or players to improve their approaches to training and performance.
The question also remains as to whether any objectively-valuable player data will ever be collectible using human data technology. As Saurav Ghosal says, “Things like a good read on the game and the mental side cannot be measured. Federer, Nadal, Djokovic are all good, but they are made differently – which can’t be calibrated.”
Straight from the world of Indian social media comes the news that current men’s number 13, Saurav Ghosal, is to host a new web-based chat show. In “The Finish Line”, he’ll interview eight of India’s best-known sports stars including tennis player Leander Paes and five times World Chess Champion, Viswanathan Anand. The show promises to explore how top athletes overcome the odds to achieve success as well as providing Ghosal with an opportunity he would probably never have had were it not for the impact of coronavirus lockdown and travel restrictions on his life as a world-ranked squash player.
It remains to be seen whether Ghosal’s interviewees will touch on the role of dietary discipline in their strategies for sporting success but Ghosal himself described his own lockdown-imposed approach in a recent interview for “Double Trouble”, another web-based chat show. Adhering to a standard breakfast / lunch / dinner schedule, Ghosal’s philosophy was, simply put, ‘eat what you make’ using healthy ingredients. The sole exception to this regime is to bake a cake every ten days and eat a piece after dinner to satisfy his sweet tooth cravings.
His fellow interviewee on “Double Trouble”, current women’s number 10 Joshna Chinappa, has a different strategy: miss breakfast by not waking up until after noon; have a pre-workout light lunch; eat dinner at around seven in the evening and snack on crisps until bed-time at 1.00am. She does not eat chocolate.
It’s not often I stumble across squash artprojects although it’s always gratifying to see the game being used to inspire off-court artistic creativity. I’ve written previously about American artist Carlin Wing’s ‘Hitting Walls’ series of squash-themed art installations. Now here’s another ambitious multi-media project in the form of German artist Matthias Fritsch’s ‘Music From The Masses’.
Between 2008 and 2014, Fritsch created a series of 16mm film clips each
of which was the length of a typical music video. The clips were made available
online and could be downloaded by musicians, composers and sound designers anywhere
in the world who wanted to create ‘soundlayers’ for them. Over the course of
the project, 10 clips were produced, the first being “Squash”, a collage
of on- and off-court video sequences.
The soundlayers for ‘Squash’ reflect different genres of music including electronic, jazz, pop and singer-songwriter. The ‘techno’ contribution below is from Taiwanese artist HANHAN and is called ‘Body Attack’, a feeling I’ve certainly experienced on a squash court.
Over the entire course of the ‘Music From The Masses’ project over 300
soundlayers were created by participants who were then able to use the resulting
High Definition videos for their own commercial and non-commercial purposes. ‘Music
From The Masses’ was intended for distribution on video portals such as YouTube
as well as for exhibitions in museums and galleries. The work takes the form of
an ‘open edition’ project and it’s possible to add new compositions and
variations indefinitely. This generic model of recycling and generating new videos
is intended to resemble ‘YouTube-Reality’ where material is added continuously
and is in constant flux.
If you’re interested in how Matthias Fritsch conceived and executed ‘Music From The Masses’, take a look at his 2011 lecture below.
And, if you’re interested in creating your own soundlayer for ‘Squash’, why not visit the project’s ‘Open Call’ web page? You never know where ‘Squash’ will take you.
More ‘Squash’ Soundlayer Videos
Squash Art– A mashup of four pieces of music by Benjamin Fetscher and Dana Hocker (Leiphaum, Germany).
Kingsize – An electronic soundtrack by HIBISCUS (Murcia, Spain).
Der Gegner – An Independent – Jazz – Pop soundtrack by Müller und Die Platemeiercombo (Braunschweig, Germany).
Wegweiser – A singer-songwriter / Liedermacher soundtrack by Fabry (Germany).
Genre Fusion – A soundtrack by Daniela Schmidt (Los Angeles, USA).
I Need Your Voice! – A soundtrack by Martin Horu25et (Germany).
With the suspension of the PSA World Tour, the folks at PSA SquashTV have outdone themselves in posting a diverse range of consistently interesting content to, er, divert the locked-down squash lover.
This has included compilations of isolation trick shots, player interviews and the sight of Sarah-Jane Perry being upstaged by her own cat. However, my own personal favourite was this ‘blast from the past’ from the 2010 Tournament of Champions in New York.
Just so you’re clear, the occasion was a match between a left-handed Scot playing as an Englishman (Peter Nicol) and a right-handed Australian playing as a Scot (John White. That’s about all you need to know.