Bullfighting, also known as corrida de toros in Spanish, is a physical contest involving a bullfighter (Torero or Matador) attempting to subdue, immobilize, or kill a bull according to a set of rules, guidelines, or cultural expectations. It is considered by some to be a cultural art form and a symbol of Hispanic culture, while others view it as an archaic form of torture and animal cruelty.
Historical Origins and Evolution:
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Bullfighting traces its roots back to prehistoric bull worship and sacrifice in Mesopotamia and the Mediterranean region. Bulls played an important role in religious ceremonies.
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In Spain, Iberian tribes organized events where humans confronted bulls. Greeks also introduced fights against bulls as a spectacle, with evidence including a fresco from around 2000 BC in Crete showing acrobats confronting a bull.
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During the Islamic empire in Spain, bullfights were part of public festivities and used in competitions between Muslims and Christians.
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By the end of the 15th century, after the Christian reconquest of Spain, bullfights quickly became the favorite sport of the Spanish aristocracy.
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The image of modern bullfighting with the bull ring and capes developed a few hundred years ago.
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Bullfighting on horseback dominated the festival scene in Spain until well into the 18th century. Written mentions of such festivals appear as early as the 13th century in Seville.
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Modern Spanish bullfighting is considered by experts to have started in 1726 with Francisco Romero, a matador from Ronda, who introduced the use of the sword (estoque) and the red cape (muleta). Common people began to practice it on foot after this.
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The first appearance of three professional bullfighters with a supporting team (cuadrilla) took place in 1729.
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The demand for bullfights increased among the general public by the end of the 18th century, leading to the nobility losing their exclusive right to fight bulls. Bullfighting started to become a respectable profession.
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In the early 19th century, bullfights were all-day events, but eventually the media corrida (half bullfight) with 6 to 8 bulls became the norm.
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Francisco Montes, a famous matador known as Paquiro, published "Tauromaquia" in 1836, setting out the rules and regulations of bullfighting in Spain and stipulating the dimensions of the bullring.
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The first official ring built to these dimensions was constructed in Valencia in 1859. The first bullfight using modern-day techniques and rules (six bulls and three matadors) took place in 1868.
Structure of Modern Spanish Bullfighting:
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Bullfights happen in a circular ring known as the plaza de toros.
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A traditional Spanish bullfight normally involves six bulls and three bullfighters (matadores). Each matador fights two bulls randomly assigned to them.
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Each matador has a small team helping him throughout the fight.
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The fight is divided into three stages, known as tercios:
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Tercio de Varas (Act of the Spears): The picadores, mounted bullfighters with long spears, enter the arena. They stab the bull in the nape of the neck with a vara de detener (pike) to weaken its neck muscles and draw blood. This forces the bull to hold its head lower, enabling a cleaner kill later. This stage also tests the "bravery" of the bull. Historically, picadors are a trace of the aristocratic corrida.
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Tercio de Banderillas (Act of the Little Flags): The banderilleros support the matador by using their capes to distract and attack the bull while the matador judges the bull's movements. They also stab banderillas, sharp dart-like things, into the bull's back.
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Tercio de Muerte (Act of Death): The main matador enters the ring and uses a cape (often red, though the bull is colorblind and responds to movement) to position the bull for the kill. The matador aims to stab the bull between the shoulder blades in a downward motion, targeting the heart with a sword (estoque). If this doesn't kill the bull outright, the matador uses a special knife to sever the spinal cord.
Cultural Significance and Artistic Interpretations:
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Bullfighting is considered one of the symbols of Hispanic culture.
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In Spain, bullfights are reported in the cultural pages of newspapers, not the sports section.
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Bullfighting has been a source of inspiration for painters, poets, novelists, and sculptors, including Francisco de Goya, Ernest Hemingway, and Federico García Lorca. Hemingway famously said bullfighting is "the only art in which the artist is in danger of death".
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Some view the bullfight as an "ephemeral work of art" that exists only in the moment and the spectator's memory.
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General Franco promoted bullfighting as Spain's Fiesta Nacional, linking it to traditional Spanish heritage and identity.
Controversy and Ethical Arguments:
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Bullfighting is a controversial activity, with strong opinions on both sides.
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Opponents describe it as barbarous animal cruelty and torture, causing unnecessary suffering to the bull. They argue it breeds insensitivity to animal abuse.
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Supporters ("aficionados") argue that it is part of Spanish identity, a grand tradition and form of art important to their culture. They claim the bulls live a pampered life before entering the ring and are worthy adversaries deserving of respect. Some even argue it's an ecological preserve, maintaining a unique breed.
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Animal welfare and anti-bullfighting groups have gained momentum, leading to increased public criticism.
Regional Variations:
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While most associated with Spain, bullfighting also has deep roots in Portugal, southern France, and countries across Latin America.
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Customs may vary in different regions.
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Portugal: Features bullfighting from horseback (cavaleiro) where the bull is not killed in the ring. Another stage involves forcados, a group of men who challenge the bull unarmed. Killing the bull in the ring is generally forbidden.
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France: Spanish-style corridas are popular in Southern France, enjoying legal protection in areas with an uninterrupted tradition. There are also distinct French forms like Course camarguaise and Course landaise, which are non-bloodsport variations.
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Latin America: Bullfighting is practiced in Mexico, Colombia, Venezuela, Peru, Ecuador, Guatemala, and Panama. Some regions have banned or restricted it. For example, Ecuador voted to allow only bullfights where the bull is not killed. Colombia is in the process of phasing out bullfighting. Mexico City banned traditional bullfighting but it has temporarily resumed after legal challenges with a move towards "bloodless bullfighting".
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Spain: There are regional variations like the recortes in the Basque Country and Navarra, where people perform acrobatic stunts over the bull without harming it. Some regions have banned bullfights, such as the Canary Islands and Catalonia, although the Catalan ban was later overturned by the Spanish Constitutional Court, but no new bullfights have taken place there since. The Balearic Islands have also experimented with legislation to stop bulls being killed or suffering. In regions like Madrid, both Castillas, Murcia, and Navarra, bullfighting is considered a Celebration of Cultural Interest and Intangible Cultural Heritage.
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Non-Bloodsport Variations: Exist in various places, including some forms in France, and attempts at "bloodless bullfights" using velcro in California, USA, to keep Portuguese traditions alive.
Popularity and Declining Attendance:
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While still a widespread cultural activity in Spain, bullfighting's popularity, especially among younger generations, is decreasing.
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Attendance at bullfights has fallen significantly. Between 2007 and 2018, the number of bullfights in Spain decreased from 3,651 to 1,521. In 2018 and 2019, only a small percentage of Spaniards (around 8%) attended a bullfight.
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Interest in bullfighting among young people is particularly low, with a large majority expressing little to no interest.
Political Aspects and Legal Status:
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Bullfighting has become intertwined with political debates and culture wars in Spain.
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The left often views it as a symbol of the right and Franco's regime, while the right sees attempts to ban it as an assault on Spanish identity.
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Political parties in Spain have varying stances, with left-wing parties generally more opposed, though not always advocating for a full ban, and conservative parties strongly supporting it.
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The Spanish government has legally protected bullfighting as "cultural heritage".
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Regional governments have faced legal challenges when attempting to ban bullfighting.
Economic Impact:
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Bullfighting in Spain is reported to generate significant revenue and jobs. However, the sector is facing financial stress due to falling attendance and reduced subsidies.
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Public funding for bullfighting is a controversial issue, with a majority of Spaniards opposing it.
The Future of Bullfighting:
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The future of bullfighting in Spain is uncertain, with declining attendance and growing opposition.
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Some suggest that a nationwide ban might not even be necessary if current trends continue.
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However, it is likely to remain a polarizing piece of political rhetoric and a symbol of Spanish identity for some time.
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Non-lethal forms of bullfighting might become more common in some regions as a compromise.
Timeline of Bullfighting Events
Ancient Times:
- Prehistoric Mediterranean Coast: Bullfighting-like practices are thought to have existed.
- Ancient Civilizations: The Minoans in Crete had bull-leaping rituals. Performances involving bulls were common in ancient Rome.
- Pre-Punic Wars (264-146 BC): The Celtiberians herded wild bulls into groups and used them as weapons in war. In 228 BC, they reportedly set bulls on fire and drove them towards the Carthaginian army.
Early Development:
- Moorish Influence: The Moors in the Iberian Peninsula developed a similar military strategy using bull stampedes. They are also believed to be the first to fight bulls on horseback, making killing with swords easier. They added to the traditions in the region now known as Andalucia, where men were rumored to kill bulls with swords or axes.
- Invasions of Vandals and Visigoths: These groups also lent their influence to the developing practice of bullfighting in the Iberian Peninsula.
- Muslim and Christian Tournaments: Bullfighting tournaments were sometimes held between Muslims and Christians in Spain.
- Public Bullfights: By the end of the 12th century, public bullfights, often part of festive celebrations, were popular across Spain. These were frequently held in city squares (plazas), which is the origin of the Spanish name for bullrings (plaza de toros).
- 12th Century: The tradition of setting groups of angry bulls loose in the streets of Pamplona (the Pamplona bull runs) began.
Standardization and the Rise of the Modern Corrida:
- 15th Century: During the chivalric period in Seville, nobles on horseback speared bulls as entertainment, displaying their bravery to honor their ladies. Public demonstration of bullfighting mastery on horseback became a way for privileged individuals to confirm their social standing.
- 1567: Pope Pius V issued a ban on bullfights, threatening excommunication for participants, due to its pagan ties and danger. Subsequent papal bans followed in 1575, 1585, and 1596, but they were largely ignored in Spain.
- 1700s: The oldest surviving Spanish bullrings in Seville and Ronda were built.
- 18th Century: Formal discussion and exaltation of bullfighting as an "art" began, even among intellectuals.
- 1836: Queen Maria II of Portugal prohibited bullfighting, but the ban was lifted in 1921.
- Mid-19th Century: Rules for modern bullfighting began to solidify.
- 1859: The first bullring built according to standardized rules was erected in Valencia.
- 1868: The first performance considered to be modern-day bullfighting (six bulls and three matadores with their teams) took place.
The Golden Age and Revolution of Style:
- Late 19th - Early 20th Century: This period saw the rise of legendary bullfighters.
- Early 20th Century: Juan Belmonte (debut 1912) introduced a revolutionary and daring style, fighting closer to the bull.
- Early 20th Century: Joselito (El Gallo) was a classic matador and a child prodigy. His rivalry with Belmonte from around 1913 onward transformed bullfighting. They are credited with inventing modern bullfighting as a form of "liquid sculpture."
- May 16, 1920: Joselito was killed by the bull Bailador in Talavera.
The Age of Manolete and Beyond:
- Mid-20th Century: Manuel Laureano Rodriguez Sanchez, "Manolete," became an international celebrity and was considered by many to be the greatest matador of all time. His style was characterized by sudden, decisive kills.
- Summer 1947: Manolete was fatally gored by a bull with shaved horns in Linares.
- 1930: Protective padding (peto) for horses used by picadores was instituted. Before this, horse deaths in the arena often outnumbered bull deaths.
Contemporary Issues:
- Late 20th and 21st Century: Growing controversy and criticism surrounding bullfighting due to animal welfare concerns.
- July 25, 1998: Puerto Rico banned bullfighting and the breeding of bulls for fights.
- 2001: In Portugal, matador Pedrito de Portugal controversially killed a bull after a ban was in place, leading to his arrest and a subsequent long court case.
- 2002: The Portuguese government granted Barrancos, a village near the Spanish border, a dispensation from the 1928 ban on killing bulls during fights.
- 2010: Catalonia (Spain) voted to ban bullfighting, although this ban was later overturned by the Spanish Constitutional Court in 2016. Nicaragua also banned bullfighting.
- November 6, 2013: Bullfighting was officially declared part of Spain's cultural patrimony.
- June 17, 2017: Iván Fandiño died after being gored by a bull in Aire-sur-l'Adour, France, highlighting the ongoing dangers for matadores.
- September 19, 2012: José Tomás, a contemporary enigmatic matador known for his purist style, had a notable bullfight in France.
- 2019: Quintana Roo (Mexico) prohibited bullfights.
- 2022: Colombia experienced a deadly bullfight stand collapse with many injuries. Mexico City's ban on bullfighting was extended indefinitely in June.
- 2023: Reports indicated a revival of bullfighting among younger generations in Spain.
- February 2024: Bullfighting resumed in Mexico City's largest arena after a previous ban.
Cast of Characters
- Ernest Hemingway (1899-1961): American novelist and bullfighting enthusiast. Author of "Death in the Afternoon" (a treatise on bullfighting) and "The Sun Also Rises" (which includes accounts of bullfights). His writings significantly influenced the Western perception of bullfighting.
- Juan Belmonte (1892-1962): A revolutionary Spanish matador from Seville. He introduced a daring style of fighting much closer to the bull, which transformed modern bullfighting. Known as "El Terremoto" (The Earthquake).
- Joselito (José Gómez Ortega) (1895-1920): A highly skilled and popular Spanish matador, part of the famous "Los Gallo" bullfighting dynasty. Initially called Gallito, he later became known as Joselito El Gallo. He was considered a child prodigy and had a significant rivalry and eventual collaborative influence with Juan Belmonte. Killed by the bull Bailador.
- Manolete (Manuel Laureano Rodriguez Sanchez) (1917-1947): Considered by many to be the greatest Spanish matador of all time. Known for his solemn demeanor and ability to kill bulls cleanly and swiftly. He achieved international fame but died after being gored by a bull with shaved horns.
- Pope Pius V (1504-1572): The Pope who issued a ban on bullfights in 1567 due to their pagan origins and the danger they posed. His ban was largely ignored in Spain.
- Queen Maria II of Portugal (1819-1853): The Portuguese monarch who prohibited bullfighting in Portugal in 1836, considering it uncivilized. The ban was later lifted.
- Pedrito de Portugal (born 1979): A Portuguese matador who controversially killed a bull in 2001 after the practice was banned in Portugal, leading to his arrest and conviction.
- José Tomás (born 1975): A contemporary Spanish matador known for his enigmatic personality, reluctance to give interviews, and a purist, classical style of bullfighting often compared to Manolete.
- Iván Fandiño (1980-2017): A contemporary Spanish matador who died after being gored by a bull in France, highlighting the inherent risks of bullfighting.
- Chicuelo (Manuel Jiménez Moreno) (1902-1967): A famous matador from Seville known for creating the chicuelina, a specific cape movement.
- Rodolfo Gaona (1888-1975): A renowned Mexican matador credited with inventing the gaonera, another distinctive cape pass.
- Joaquín Bernardó (born 1935): A Catalan matador who lent his name to the bernardina, a muleta pass.
This timeline and cast of characters provide a comprehensive overview of the main events and figures discussed in the provided sources on the history of bullfighting.
General Information about the Sources:
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There are four new sources provided for this query: "A brief history of bull fighting in Spain - Spain Traveller", "Bullfighting - Wikipedia", "Bullfighting in Spain - Don Quijote", and "Bullfighting in Spain. Cultural Heritage or Cruel Sport?", along with an excerpt from the podcast "Gore: The Brutal History of Bullfighting by Conflicted", and "International Education Office | Spain | The Art (?) of Spanish Bullfighting - UCLA Study Abroad", and "The Bullfight - Real Maestranza de Caballería de Sevilla".
"A brief history of bull fighting in Spain - Spain Traveller":
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The author is Sandra Vallaure. She has lived in 6 different countries and has stamps from 39 countries.
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The guide contains 16 sections listed in a complete summary.
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There are 7 bullfight tips provided.
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The FAQ section is about bullfighting, described as Spain’s oldest tradition.
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The author offers exclusive discounts for the Barcelona Pass.
"Bullfighting - Wikipedia":
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The first recorded bullfight may be the Epic of Gilgamesh. In this epic, Gilgamesh and Enkidu fought and killed the Bull of Heaven.
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Bullfighting in Japan is described as bull wrestling with a history dating back to at least the 12th century, when Emperor Go-Toba was entertained by bullpushing.
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In Zhejiang, China, guanniu is a traditional form of bullfighting.
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Over the past three centuries, 534 professional bullfighters have died in the ring or from injuries sustained there.
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Most recently, Iván Fandiño died of injuries after being gored by a bull on 17 June 2017 in Aire-sur-l'Adour, France.
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Bullfighting in Spain generates €1.6 billion a year and 200,000 jobs, of which 57,000 are directly linked to the industry.
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Bullfighting is the cultural activity that generates the most tax revenue for the Spanish state: €45 million in VAT and over €12 million in social security.
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In 2015, 438 of 687 members of the European Parliament voted in favor of amending the 2016 E.U. budget to indicate that CAP appropriations should not be used for lethal bullfighting activities.
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The policy of pan y toros ("bread and bulls") is mentioned as something Spanish regeneracionista intellectuals protested.
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The term fiesta nacional was used to describe bullfights in Francoist Spain.
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"La Tauromaquia ya es oficialmente Patrimonio Cultural" was the headline in El Mundo on 6 November 2013, when bullfighting was declared cultural patrimony.
"Bullfighting in Spain - Don Quijote":
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The ancestor of the bull, the urus, was present in several places around the world.
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Bull rings probably find their origin in Celtiberian temples.
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One such temple is preserved close to Numancia, in the province of Soria.
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The website provides a contact number: +34 923 268 860.
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The copyright notice indicates © 1989 - 2025 don Quijote S.L..
"Bullfighting in Spain. Cultural Heritage or Cruel Sport?":
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This source focuses on bullfighting within the broader context of Spanish culture, art, architecture, and history. It does not provide specific numerical data or names directly related to bullfighting beyond its Spanish name, Corrida de toros.
"Gore: The Brutal History of Bullfighting by Conflicted":
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The podcast episode is hosted by Zach Cornwell.
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The writer Ernest Hemingway is quoted calling Spain “more of a continent than a country”.
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The author A.L Kennedy is quoted regarding the diverse opinions on bullfighting.
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The scholar Timothy Mitchell wrote about the historical context of bull worship in Spain and noted that by the end of the 18th century (1799), aristocrats had been banished from bullfighting, and commoners reigned.
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Colorful commoner stage names from the past included: John the Lefty, Little Angel, The Sheep, Baldy, the Andalusian, the One-Eyed Man, Francisco the Jumper, and Lord Cesar’s Berber.
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A.L. Kennedy describes the corrida as "a blend of chaos and coincidence, chance and death".
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The first act of a bullfight is called the Suerte de Varas or the Act of the Spears.
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The mounted bullfighters in this act are called picadors. Hemingway described it as "a poorly paid occupation that leads only to concussion of the brain".
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The second act is the Suerte de Banderillas.
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By the end of this act, "blood is gushing out of the bull’s back".
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When the bull is aplomado (heavy or leaden), "he is very close to being killed".
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One 20th-century observer noted the scarcity of taurine critics with "clean souls" and mentioned the "disease of the envelope" referring to critics taking bribes.
"International Education Office | Spain | The Art (?) of Spanish Bullfighting - UCLA Study Abroad":
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This source is a blog post from April 2025, indicating it's likely a placeholder date as the information discusses bullfighting generally and doesn't contain specific numbers or names.
"The Bullfight - Real Maestranza de Caballería de Sevilla":
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The Real Maestranza de Caballería de Sevilla was established since 1670.
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The quote "In bullfights, everything is combined: colour, gaiety, tragedy, bravery, talent, brutality, energy and strength, grace, emotion …It is the most complete of all spectacles. From now on, I cannot do without bullfights." is presented without attribution within the text.
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The historian Sánchez Albornoz is mentioned recalling that the Chronica Adefonsi Imperatoris refers to incursions where militias returned with immense herds of bulls.
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The website's copyright indicates RMCS © 2024.
Study Guide
I. Historical Evolution of Bullfighting:
- Trace the origins of bullfighting from ancient rituals and early forms of bull contests to its more structured modern iteration. Consider the influences of different cultures and historical periods.
- Describe the key milestones and developments in the history of bullfighting, including the emergence of fighting on horseback, public celebrations, and the eventual codification of rules and techniques.
- Explain the significance of figures like Juan Belmonte and Joselito in shaping modern bullfighting. How did their rivalry and innovations alter the practice?
- Discuss the geographical spread of bullfighting beyond Spain, noting regional variations in style and tradition in Portugal, France, and Latin America.
- Analyze the historical relationship between bullfighting and religious institutions, including periods of prohibition and acceptance.
II. The Modern Spanish Bullfight (Corrida de Toros):
- Detail the three distinct stages (tercios) of a traditional Spanish bullfight: the tercio de varas, tercio de banderillas, and tercio de muerte. Explain the purpose and key actions within each stage.
- Describe the roles and responsibilities of the different participants in the bullring: the matador, picadores, and banderilleros.
- Explain the use and significance of the various tools and equipment employed in a bullfight, such as the capote, vara, banderillas, muleta, and estoque.
- Outline the expected behavior and skills of the matador throughout the lidia, emphasizing the importance of technique, courage, and artistry.
- Describe the possible outcomes of a bullfight for both the bull and the matador, including the awarding of trophies and the rare instance of a pardon (indulto).
III. Cultural and Societal Significance:
- Explore the arguments for and against considering bullfighting as a cultural art form. What aspects of the practice are cited to support this view?
- Analyze the opposing perspective that characterizes bullfighting as animal cruelty. What ethical and welfare concerns are raised by critics?
- Discuss the role of bullfighting in Spanish national identity and tradition. How is it perceived by different segments of Spanish society?
- Examine the economic impact of bullfighting, including the industries it supports and the debates surrounding public funding.
- Consider the influence of bullfighting on literature, film, and other art forms, citing specific examples.
IV. Variations and Non-Lethal Forms of Bullfighting:
- Describe the characteristics of Portuguese-style bullfighting, highlighting the roles of the cavaleiro and the forcados.
- Explain the nature of French bullfighting traditions, such as the course camarguaise and course landaise, emphasizing their bloodless nature for the bulls.
- Discuss various non-bloodsport variations of bullfighting practiced in other parts of the world, such as those found in California, Bolivia, and India. What are the objectives and rules of these variations?
- Define and differentiate between bullfighting (corrida de toros) and related events like bull runs (encierros) and toro embolado.
V. Controversy and the Future of Bullfighting:
- Summarize the key arguments in the ongoing debate about the legality and morality of bullfighting.
- Discuss the factors contributing to the declining popularity of bullfighting in some regions.
- Examine the legal landscape surrounding bullfighting in different countries and autonomous regions within Spain, noting instances of bans and protections.
- Consider the potential future of bullfighting in light of changing social attitudes, animal welfare concerns, and political considerations.
- Analyze the arguments presented by aficionados in defense of bullfighting, such as its cultural significance, the life of the fighting bull, and its economic benefits.
Quiz
- Describe the primary objective of the tercio de varas. What role do the picadores play in this stage, and what tool do they use?
- Explain the purpose of the tercio de banderillas. Who are the banderilleros, and how do they execute their task during this phase of the bullfight?
- What is the muleta, and how does the matador use it during the tercio de muerte? Address the common misconception about the color red in this context.
- Define the term faena. In which tercio does it occur, and what does it typically involve in the interaction between the matador and the bull?
- What is an estocada, and what is the matador's goal when performing it? What might happen if the estocada is not successful?
- Contrast the Spanish corrida de toros with Portuguese-style bullfighting. Highlight at least one key difference in the participants or the treatment of the bull.
- Describe the main objective of the French course camarguaise. How do the participants (raseteurs) interact with the bull in this spectacle?
- What is a toro bravo? Explain why these bulls are specifically bred for bullfighting and how their lives on the ganaderia are described.
- Identify at least two arguments commonly used by aficionados to defend the tradition of bullfighting.
- Briefly outline one instance where a region or country has legally restricted or banned bullfighting. What are the typical reasons cited for such actions?
Essay Format Questions
- Analyze the arguments for and against considering bullfighting as a legitimate art form versus an act of animal cruelty. Drawing on the provided sources, discuss the cultural, historical, and ethical dimensions of this debate.
- Trace the historical evolution of bullfighting from its early forms to the modern corrida de toros. Identify the key influences and innovations that shaped the practice, and discuss how these changes have impacted its cultural significance and controversy.
- Compare and contrast the different styles of bullfighting discussed in the sources, including the Spanish, Portuguese, and French traditions. What are the key characteristics that distinguish these forms, particularly in their treatment of the bull and the roles of the participants?
- Examine the social and economic significance of bullfighting, particularly in Spain. How has its popularity and cultural relevance shifted over time, and what are the factors that may influence its future?
- Evaluate the ethical arguments surrounding the use of animals in bullfighting. Consider the perspectives of aficionados, animal welfare advocates, and historical figures in forming your analysis of this complex issue.
Glossary of Key Terms
- Aficionado: A devoted fan or enthusiast of bullfighting.
- Al volapié: A method of delivering the estocada where the matador moves towards the stationary bull to thrust the sword.
- Aplomado: A term describing the bull when its head is hanging low, often indicating fatigue.
- Banderillas: Colorfully decorated, barbed sticks that banderilleros place in the bull's shoulders.
- Banderilleros: Bullfighters who assist the matador, primarily in the tercio de banderillas.
- Capote: A large, heavy cape, magenta and gold, used by the matador and banderilleros in the initial stages of the fight.
- Corrida de Toros: The traditional Spanish bullfight where the bull is typically killed by the matador.
- Course Camarguaise: A bloodless form of bullfighting popular in the Camargue region of France, where participants try to snatch rosettes from the bull's horns.
- Descabello: A final thrust with a dagger-like sword to sever the bull's spinal cord, ensuring its death.
- Encierro: The running of the bulls through the streets, most famously associated with the San Fermín festival in Pamplona.
- Estoico: A thin steel sword used by the matador to attempt the killing blow (estocada).
- Estocada: The act of the matador thrusting the estoque between the bull's shoulder blades to reach its heart.
- Faena: The matador's performance with the muleta in the final tercio, consisting of a series of passes.
- Forcados: In Portuguese bullfighting, a group of men who challenge and subdue the bull with their bare hands.
- Ganaderia: A ranch where fighting bulls are bred and raised.
- Indulto: A rare pardon granted to an exceptionally brave bull, allowing it to live.
- Lidia: The entire fight or contest involving the bull.
- Manolete: Manuel Laureano Rodriguez Sanchez (1917-1947), one of the most famous Spanish matadors.
- Matador: The main bullfighter who is responsible for killing the bull.
- Morrillo: The large hump of muscle on the back of the bull's neck, targeted by the picadores' lances.
- Muleta: A smaller red cloth draped over a stick, used by the matador in the final tercio to control the bull.
- Paseíllo: The initial parade of all participants across the bullring before the start of the bullfight.
- Peto: The protective, padded covering worn by the horses of the picadores.
- Picadores: Horsemen armed with lances (varas) who weaken the bull's neck muscles in the tercio de varas.
- Plaza de Toros: A bullring.
- Raseteurs: Participants in the French course camarguaise who attempt to snatch rosettes from the bull.
- Suerte Suprema: ("Ultimate Fate") Another term for the final part of the bullfight, the tercio de muerte.
- Tablao: Sections or divisions within the bullring.
- Tauromaquia: The art and technique of bullfighting.
- Tercio: One of the three distinct stages of a Spanish bullfight.
- Tercio de Banderillas: The second stage, where banderilleros place banderillas in the bull.
- Tercio de Muerte: The final stage, where the matador uses the muleta and attempts to kill the bull.
- Tercio de Varas: The first stage, where picadores on horseback lance the bull.
- Toro Bravo: The specific breed of fighting bull.
- Torero: The general term for a bullfighter.
- Toril: The gate through which the bull enters the arena.
- Vara: The long lance used by the picadores.
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