Bullfighting
The bullfight is a classic image of Spain, and an integral part of many fiestas. In the south, especially, any village that can afford it will put on a corrida for an afternoon, while in big cities such as Madrid or Seville, the main festival times are accompanied by a season of prestige fights. However, with the exception of Pamplona, bullfighting is far more popular in Madrid and all points south than it is in the north or on the islands. Indeed, many northern cities don’t have bullrings, while the regional governments of both Catalunya and the Balearics have gone so far as to ban bullfighting (although Catalunya’s ban was overturned by the Constitutional Court in 2016). Spain’s main opposition to bullfighting is organized by ADDA (Asociación Defensa Derechos Animal; http://addaong.org), whose website has information (in English) about international campaigns and current actions.
Los Toros, as Spaniards refer to bullfighting, is certainly big business, with the top performers, the matadors, on a par with the country’s biggest pop and sports stars. To aficionados (a word that implies more knowledge and appreciation than mere “fan”), the bulls are a ritual part of Spanish culture – with the emphasis on the way man and bull “perform” together – in which the arte is at issue rather than the cruelty. If pressed on the issue of the slaughter of an animal, supporters generally fail to understand. Fighting bulls are, they will tell you, bred for the industry; they live a reasonable life before they are killed, and, if the bullfight went, so, too, would the bulls.
If you decide to attend a corrida, try to see a big, prestigious event, where star performers are likely to despatch the bulls with “art” and a successful, “clean” kill. There are few sights worse than a matador making a prolonged and messy kill, while the audience whistles and chucks cushions. The most skilful events are those featuring mounted matadors, or rejoneadores; this is the oldest form of corrida, developed in Andalucía in the seventeenth century.
The bullfight season runs from March to October, and tickets for corridas start from around €8 – though you can pay much more (up to €200) for the prime seats and more prominent fights. The cheapest seats are gradas, the highest rows at the back, from where you can see everything that happens without too much of the detail; the front rows are known as the barreras. Seats are also divided into sol (sun), sombra (shade) and sol y sombra (shaded after a while), though these distinctions have become less crucial as more and more bullfights start later in the day, at 6pm or 7pm, rather than the traditional 5pm. The sombra seats are more expensive, not so much for the spectators’ personal comfort as the fact that most of the action takes place in the shade.
The corrida
The corrida begins with a procession, to the accompaniment of a pasodoble by the band. Leading the procession are two alguaciles, or “constables”, on horseback and in traditional costume, followed by the three matadors, who will each fight two bulls, and their cuadrillas, their personal “team”, each comprising two mounted picadores and three banderilleros.
Once the ring is empty, the first bull appears, to be “tested” by the matador or his banderilleros using pink and gold capes. These preliminaries conducted (and they can be short, if the bull is ferocious), the suerte de picar ensues, in which the picadores ride out and take up position at opposite sides of the ring, while the bull is distracted by other toreros. Once they are in place, the bull is made to charge one of the horses; the picador drives his short-pointed lance into the bull’s neck, while it tries to toss his padded, blindfolded horse, thus tiring the bull’s powerful neck and back muscles. This is repeated up to three times, until the horn sounds for the picadores to leave. For many, this is the least acceptable stage of the corrida, and it is clearly not a pleasant experience for the horses, who have their ears stuffed with oil-soaked rags to shut out the noise, and their vocal cords cut out to render them mute.
The next stage, the suerte de banderillas, involves the placing of three sets of banderillas (colored sticks with barbed ends) into the bull’s shoulders. Each of the three banderilleros delivers these in turn, attracting the bull’s attention with the movement of his own body rather than a cape, and placing the banderillas while both he and the bull are running towards each other.
Once the banderillas have been placed, the suerte de matar begins, and the matador enters the ring alone, having exchanged his pink-and-gold cape for the red one. He (or she) salutes the president and then dedicates the bull either to an individual, to whom he gives his hat, or to the audience by placing his hat in the centre of the ring. It is in this part of the corrida that judgements are made and the performance is focused, as the matador displays his skills on the (by now exhausted) bull. He uses the movements of the cape to attract the bull, while his body remains still. If he does well, the band will start to play, while the crowd olé each pass. This stage lasts around ten minutes and ends with the kill. The matador attempts to get the bull into a position where he can drive a sword between its shoulders and through to the heart for a coup de grâce. In practice, they rarely succeed in this, instead taking a second sword, crossed at the end, to cut the bull’s spinal cord; this causes instant death.
If the audience is impressed by the matador’s performance, they will wave their handkerchiefs and shout for an award to be made by the president. He can award one or both ears, and a tail – the better the display, the more pieces he gets – while if the matador has excelled himself, he will be carried out of the ring by the crowd, through the puerta grande, the main door, which is normally kept locked.
Popular matadors include the veteran Enrique Ponce, Julián “El Juli” López, Granada’s David “El Fandi” Fandila, César Jiménez and Manuel Jesús Cid Sala “El Cid”. But the torero who sets most male aficionados’ hearts aflutter (and many female ones, too) is the moody, quixotic and media-shy José Tomás Román Martín; fighting under the name José Tomás, his fans claim that his courageous, high-risk style – he has been seriously gored on numerous occasions – has taken the art back to its roots.