To understand the full scope of contemporary chess, one must envision the chess world as an ecosystem where interactions and interdependencies among various actors are at play.

The Chess Ecosystem

We will explore the analysis and study of chess as an ecosystem. As we will see, this approach allows us to address questions regarding the behavior and influence of interactions among the various actors within this ecosystem, thereby broadening our understanding of the dynamics within the chess world.

Genesis of the Concept ‘Ecosystem’

Before delving into the topic, it is worthwhile to explain a bit about the genesis of the ecosystem concept. This term was first coined by ecologist Arthur Tansley in 1935, in “The Use and Abuse of Vegetational Concepts and Terms,” meaning a biological community interacting with its physical environment.

The term was later adopted in the business world during the 1970s and 1980s, a period when ecological metaphors began to be used to describe business environments and industrial systems.

By the 1990s, with the rise of technology companies and the internet, the term began to describe the interconnectedness of stakeholders in technology and innovation fields.

In the following decade, and to this day, with the advent of digital platforms and network effects, the term ecosystem has been central in studies of innovation and strategic management, gradually being used to describe the complex network of companies, suppliers, customers, and other entities involved in the creation and delivery of products and services.

The Chess World as an Ecosystem

Based on the original definition of an ecosystem and its subsequent applications, we can understand the chess ecosystem as the dynamic network of players, organizations, and stakeholders, all interconnected and collectively influencing the development, promotion, and competitive environment of chess.

The actors within this ecosystem include players (both amateurs and professionals), governing bodies, chess clubs, coaches, tournament organizers, sponsors, online platforms, media outlets, content creators, and enthusiasts.

We will now briefly describe each of these actors according to their level of influence, the stakeholders they affect, and their main objectives. The placement of each actor based on their level of influence is approximate and should not be seen as definitive.

For instance, the role of each government in the ecosystem is not accounted for in the following list; however, despite each country having its own national chess federation, it is often the government, not the federation, that plays a crucial role in the development of chess within a country.

This is the case in Armenia, as well as in India and Uzbekistan—read our article Chess in India and Uzbekistan:: Coordinates of Ascent to see the roles their respective governments have played in the development of chess in those countries. The reason we do not consider this is that while the government’s role is crucial, it is often sporadic.

Actores del ajedrez con alta influencia

• FIDE . The International Chess Federation, FIDE, serves as the global governing body for chess. It wields influence by setting international standards, organizing world championships, and ranking players. Its mission is to promote chess worldwide, maintain standardization, and organize international competitions.
  
  FIDE’s considerable influence extends to national federations, tournament organizers, players, and, indirectly, the broader chess community by imposing rules and regulations.

• International Grandmasters. According to Wikipedia , FIDE has awarded the title of Grandmaster to 2,065 players.
  
  These individuals, as key actors within the ecosystem, exert influence in various ways: attracting sponsors, garnering media attention, setting gameplay trends and styles, and inspiring new players. Their overarching goal is to achieve success and win titles.

• Sponsors. These are companies or individuals who fund chess events and online platforms. Without their financial support, organizing tournaments would be impossible. Their objectives within the ecosystem include brand visibility, corporate social responsibility, and association with intellectual excellence. Sponsors influence tournament organizers, players, and online platforms.

Actores del ajedrez con nivel medio de influencia

• National Chess Federations.. These are the governing bodies in each country, influencing the local development of chess by organizing national championships, representing their country in FIDE, and creating necessary infrastructure.
  
  Their goals include promoting chess locally, supporting player development, and enhancing their country’s presence in international chess. They influence players, chess clubs, and local communities.

• Tournament Organizers. These individuals shape the competitive landscape through the tournaments they organize. Their success hinges on attracting top players and capturing audience attention. They influence players, the media, and the chess community.

• Online Chess Platforms. These platforms provide global access to the game, offer learning tools, and cultivate gaming habits. Their objectives are to expand user bases, deliver high-quality services, and host online chess communities. They influence players, coaches, and the community.

Actores del ajedrez con baja influencia

• Chess Academies and Clubs. These local organizations train and compete, nurturing local talent and fostering community interest in chess. Their primary objectives include training players, organizing local events, and promoting a passion for chess.

• Coaches. These individuals offer training services to improve players’ skills, achieve personal milestones, develop future talents, and build a professional reputation.

• Media Outlets. These can be chess-focused or general sports media platforms covering news, games, and chess events. They publicize events and players, shaping public opinion and promoting chess culture. They aim to make their coverage engaging to attract readers or followers and promote chess culture.

• Publishers and Content Creators. They deliver books, blogs, videos, and educational content, educating fans and players alike. They aim to create high-quality learning products, generate revenue, and foster chess knowledge. They influence players and enthusiasts.

• Chess Community and Followers. These are fans and followers of the game who form the audience for events, support the game, participate in discussions, and attend events. They enjoy the game, support their favorite players, and actively engage in the chess community. They influence the game’s popularity and its cultural significance.

Dynamics and Interactions Among Actors in the Chess Ecosystem

The way each actor interacts within the chess ecosystem defines its most essential characteristics during a particular era. For instance, FIDE was founded in 1924, but it wasn’t until 1946 that it took charge of the World Championship.

From 1886 to 1946, it was the champion who set the conditions, often requiring a significant stake for anyone to challenge for the championship.

Following that period, due to the Cold War context, the so-called Soviet school of chess decisively influenced chess development. FIDE and national federations gained prominence, but equally influential, albeit in a different competitive arena, was the Soviet state with its systematic training approach and its aim to portray chess as a symbol of intellectual superiority under communism.

Within this global cultural ecosystem, decisive matches between the West and the Soviet Union were battlegrounds of superpowers. This influenced all actors, although not all enjoyed the same popularity they do among fans today.

For example, chess magazines were more relevant during that era. Today, while they still exist, they occupy a more specialized and restricted space, overshadowed by the digital revolution and online content (websites, online platforms, apps, digital media, social media, YouTube), which not only provide information but also interactivity.

A special case is the popularity and broadcasting of tournaments, as the current peak of chess popularity may only be comparable to the reach and diffusion chess achieved in the Soviet Union.

Remember, the first broadcast of a game was Alekhine-Euwe in 1935 via radio. The BBC and Soviet radio intermittently broadcasted major chess events between 1940-1960. However, chess’s popularity in the Soviet Union was immense.

In the 1960s, important matches began to be televised, accompanied by interviews, live analysis, and commentary with top players.

By 1972, when the 1972 World Championship between Fischer and Spassky was globally broadcasted, reaching unprecedented audiences, the conditions for this success were already set by the characteristics of the ecosystem.

While today’s peak may compare to the popularity of chess in the Soviet Union, we must be cautious because each case has its own particularities, especially regarding how fans or the public were influenced by actors with greater influence.

Analyzing the chess ecosystem reveals and helps us understand the dynamics in which chess finds itself in a given era, such as our own.

In an interview on YouTube’s GC channel Gotham City Podcast in September 2022, conducted by content creator and international master Levy Rozman with journalist, commentator, and chess player Sagar Shah, Levy described, among other things, two situations that serve as examples.

The first is that chess players often remain “in their bubble,” and because of this, when interviewed, they exclusively discuss aspects of the game, neglecting topics that might be interesting or appealing to the public.

The second issue Levi highlighted is that during live tournament broadcasts, some commentators avoid using typical chess notation and instead describe the board position to keep the audience engaged and prevent them from losing interest.

Regarding the first issue, Sagar points out a crucial aspect: the attitudes and behaviors of players are influenced by what the ecosystem and its actors demand of them. If sponsors made interviews mandatory during tournaments, players would need to develop their communication skills.

In the past, photos sufficed, with perhaps the exception of the aforementioned chess culture in the Soviet Union; however, with the rise of digital media content creation, the demands and needs have changed. Digital actors like Sagar and Levy have exerted pressure, resulting in changes within the ecosystem.

Similarly, concerning the second issue, media broadcasting live tournaments are compelled, by the needs of a beginner audience, to analyze games by describing the board positions instead of using chess notation—a practice even a chess player would avoid, likely for personal tactical reasons.

For instance, during the 2024 Candidates Tournament, Russian grandmaster Ian Nepomniachtchi immediately delved into notational analysis during post-game interviews, demonstrating incredible speed for the audience. Interviewer and grandmaster Anna Burtasova attempted in vain to give viewers hints about critical moments in the game through specific questions to the players.

These cases illustrate how actors within the ecosystem pressure each other based on their individual goals and interests, ultimately influencing the global dynamics and characterization of the ecosystem, making it simpler or more complex depending on each actor’s level of engagement.