Hubbry Logo
BullfighterBullfighterMain
Open search
Bullfighter
Community hub
Bullfighter
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Bullfighter
Bullfighter
Bullfighter
View on Wikipedia
from Wikipedia

A male (top) and female (bottom) bullfighter demonstrating the Suerte de Capote of Spanish-style bullfighting in 2019 and 2010, respectively

A bullfighter or matador (/ˈmætədɔːr/) is a performer in the activity of bullfighting. Torero (Spanish: [toˈɾeɾo]) or toureiro (Portuguese: [toˈɾɐjɾu]), both from Latin taurarius, are the Spanish and Portuguese words for bullfighter, and describe all the performers in the activity of bullfighting as practised in Spain, Portugal, Mexico, Peru, France, Colombia, Ecuador, Venezuela and other countries influenced by Portuguese and Spanish culture.[1] The main performer and leader of the entourage in a bullfight, and who finally kills the bull, is addressed as maestro (master), or with the formal title matador de toros (killer of bulls). The other bullfighters in the entourage are called subalternos and their suits are embroidered in silver as opposed to the matador's gold. They include the picadores, rejoneadores, and banderilleros.

Present since the sport's earliest history, the number of women in bullfighting has steadily increased since the late-19 century, both on foot and on horseback. Usually, toreros start fighting younger bulls (novillos or, more informally in some Latin American countries, vaquillas), and are called novilleros. Fighting of mature bulls commences only after a special match, called "the Alternative". At this same bullfight, the novillero (junior bullfighter) is presented to the crowd as a matador de toros.

History

[edit]
Main article: Bullfighting § History

Bullfighting on foot became a means for poor, able-bodied men to escape poverty and achieve fame and fortune, similar to the role of boxing in other countries; this is reflected in the Spanish saying Más cornadas da el hambre. ("Hunger gives more gorings.").[2] Also, bullfighters often come from a family of bullfighters.[3]

In English, a torero is sometimes referred to by the term toreador, which was popularized by Georges Bizet in his opera Carmen. In Spanish, the word designates bullfighters on horseback,[4] but is little used today, having been almost entirely displaced by rejoneador. Bullfighting, historically, started more with nobles upon horseback, all lancing bulls with accompanying commoners on foot doing helper jobs. As time went by, the work of the commoners on foot gained in importance up to the point whereupon they became the main and only act. Bullfighting on horseback became a separate and distinct act called "rejoneo" which is still performed, although less often.

The established term, Maletilla or espontáneo, is attributed to those who illegally jump into the ring and attempt to bullfight for their sake and glory. While the practice itself is widely despised by many spectators and fans alike, it is often claimed that some bullfighters started their careers in this way, El Cordobés being one of them.

Types

[edit]

Matador de toros

[edit]
Early 20th-century photograph of a matador, showing traditional outfit in 1935.
Joselito and Belmonte
Manolete

A matador de toros (lit. "killer of bulls", from Latin mactator, killer, slayer, from mactare, to slay) is considered to be both an artist and an athlete, possessing agility and coordination. One of the earliest matadors was Juan Belmonte (1892–1962), whose technique in the ring fundamentally changed bullfighting and remains an established standard by which bullfighters are judged by aficionados. The style of the matador was regarded as being equally important, whether he kills the bull or not. The more successful matadores were treated like rock stars, with comparable financial incomes, cult followings and accompanied by tabloid stories about their romantic conquests with women.

The danger associated with bullfighting added to the matador's performance; they are regularly injured by bulls and, concurrently, 533 professional bullfighters have been killed in the arena since 1700.[5] Spanish bullfighter Manolete died from an injury in 1947. Matador Iván Fandiño died on 17 June 2017 at the Arènes Maurice-Lauche in Aire-sur-l'Adour, France, from a similar bullfighting injury.[6] This hazard is said to be central to the nature and appeal of bullfighting.

The American writer Ernest Hemingway was a bullfighting aficionado.[7][8] In his 1926 fictional work, The Sun Also Rises, the main storyline features a matador and scenes of bullfighting, as do his short stories The Capital of the World and The Undefeated.[9] Outside of fiction, he also wrote at length on the subject in Death in the Afternoon (1932) and The Dangerous Summer (1959).[9]

In 1962, Hollywood producer David Wolper produced The Story of a Matador, documenting what it was like to be a matador.[10] In this case, it was the Matador Jaime Bravo.

In 2024, film director Albert Serra created a documentary film on the bullfighter Andrés Roca Rey called Afternoons of Solitude (Tardes de soledad).[11][12][13]

Picador

[edit]
Main article: Picador
A picador on horseback lancing the bull, 2010.

A picador is a bullfighter who uses a special lance called pica while on horseback to test the bull's strength and to provide clues to the matador on which side the bull is favoring. They perform in the tercio de varas which is the first of the three stages in a Spanish bullfight. The shape of the lance or pica is regulated by Spanish law to prevent serious injury to the bull, which was viewed as unfair cheating in the past. The bull will charge the horses in the ring and, at the moments prior to contact, the picador lances the bull in a large muscle at the back of the neck; thus begins the work of lowering his head. The picador continues to stab at the bull's neck, leading to the animal's first major loss of blood. During this time, the bull's injured nape will fatigue—however, as a result of the enraged bull charging, the picador's horse will tussle with avoiding the bull throes at trying to lift the horse with its horns.[clarification needed] The enduring loss of blood and exertion gradually weakens the bull further and makes it ready for the next stage.

In order to protect the horse from the bull's horns, the horse is surrounded by a 'peto' – a mattress-like protection. Prior to 1928, horses did not wear any protection and a bull would frequently disembowel the opposing horse during this vulnerable stage.

Rejoneador

[edit]
Pablo Hermoso de Mendoza

A rejoneador (Spanish pronunciation: [rexoneaˈðoɾ], pl. rejoneadores; "lancer") is a bullfighter who fights the bull on horseback; in Portugal, the same type of performer is called cavaleiro tauromáquico (Portuguese pronunciation: [kavaˈlɐjɾu tawɾuˈmakiku], pl. cavaleiros tauromáquicos; "tauromachic horseman"). The rejoneo is a form of bullfighting in Portugal and in Spanish bullfighting.

Banderillero

[edit]
A banderillero direction towards a bull, 2018.

The banderillero is a torero who plants the banderillas (lit. little flags). These are colorful sticks, usually colored with the flag of the banderillero's birthplace, with a barbed point which are increasingly placed in the top of the bull's shoulder to weaken it. Banderilleros attempt to place the sticks while running as close to the bull as possible. They are judged by the crowd on their form and bravery. Sometimes a matador, who was a particularly skillful banderillero before becoming a matador, will place some banderillas himself. Skilled banderilleros can correct faults in the manner in which the bull charges by lancing the bull in such a way that the bull ceases hooking to one side, and thereby removing a potential source of danger to the matador by limiting the bull's offensive movements.

Costume

[edit]

Because of the decorations and elaborateness of the costume, the Spanish refer to the torero's outfit as traje de luces, meaning the "suit of lights". Matador costume structure provides great ease of movement.

See also

[edit]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bullfighter

View on Grokipedia
from Grokipedia
A bullfighter, or torero, is a skilled performer in the ritualized spectacle of bullfighting, with the principal figure known as the matador de toros who subdues and kills a selectively bred fighting bull (toro bravo) using capework and a sword in a display of precision, agility, and resolve. The profession demands years of apprenticeship in bullfighting schools, where aspirants progress from novillero (fighting young bulls) to full matador status upon receiving the alternativa ceremony, marking their professional debut against adult bulls. Rooted in Iberian traditions dating to at least the 18th century, when dismounted fighting formalized under figures like Joaquín Rodríguez Costillares, bullfighting evolved into a structured corrida de toros featuring three stages: the tercio de varas with mounted picadors, the tercio de banderillas, and the tercio de muerte led by the matador. Iconic bullfighters such as Juan Belmonte, who revolutionized close-range verónica passes in the 1910s, and Manolete, whose intense, upright style in the 1940s exemplified fatalistic artistry but ended in his goring death at age 30, elevated the practice to cultural reverence in Spain and Latin America. Though defended as an art form testing human mastery over instinctual ferocity—preserving breeds of courageous bulls culled for temperament—bullfighting faces vehement opposition for the bull's prolonged stress and inevitable slaughter, with regional bans like Catalonia's 2010 prohibition reflecting nationalist politics more than uniform ethical consensus amid academic critiques often amplified by animal rights activism.

Historical Development

Ancient and Prehistoric Origins

Evidence of human engagement with bulls dates to the period, with cave paintings in sites such as Altamira in Spain depicting —extinct wild ancestors of modern fighting bulls—dating back at least 14,000 years. These artworks, including polychrome bison and bull figures, illustrate the animal's prominence in early European symbolism, potentially reflecting ritual hunts or confrontations rather than organized sport, as bulls represented strength and fertility in prehistoric Iberian tribal ceremonies. Similar motifs appear in Lascaux Cave, France, around 17,000 years ago, where engraved and painted bulls dominate the iconography, hinting at shamanistic or totemic practices involving bulls, though direct links to remain interpretive without textual corroboration. In the Mediterranean, the of provides the earliest archaeological evidence of structured human- interactions, exemplified by taurokathapsia or , depicted in frescoes from Palace around 1600 BCE. These scenes show acrobats vaulting over charging s, likely part of elite rituals symbolizing power and fertility, supported by ivory figurines of mid-leap figures and rhyta ( vessels) shaped as heads found in palace contexts. artifacts, including seals and statuettes, indicate a non-lethal contest emphasizing agility and dominance, possibly performed in palace courtyards, with parallels in Egyptian frescoes at suggesting . While not fatal to the , these practices prefigure the performative risk-taking central to later , rooted in cults associating the animal with divine potency across Near Eastern and Aegean societies. Roman venationes, or beast hunts in amphitheaters from the BCE onward, incorporated bull combats as public spectacles, where venatores (hunters) used spears and to subdue animals imported from provinces, including Iberian stock. Historical accounts, such as Pliny the Elder's reference to Thessalian bull-fighting introduced to , describe skilled handlers evading and controlling bulls in arenas, blending hunting prowess with crowd entertainment akin to gladiatorial bouts. In Iberia, Celtic and pre-Roman tribes practiced bull ordeals and sacrifices, evidenced by verraco sculptures—granite bull figures from the 3rd-1st centuries BCE near settlements—and archaeological hints of agonistic combats tied to Indo-European warrior traditions. These rituals, combining of bulls and sacrificial elements, underscore causal links between ancient Iberian bull and the confrontational ethos of emerging , though modern formalized corridas diverge significantly in structure and intent.

Medieval Evolution in Iberia

In medieval Iberia, bullfighting emerged as an aristocratic equestrian spectacle, where nobles on horseback confronted wild bulls with lances during tournaments, festivals, and royal celebrations, emphasizing demonstrations of bravery, horsemanship, and martial prowess akin to . These events, often held in open fields or rudimentary enclosures, accompanied other knightly pursuits like the game of canes and were tied to the cultural milieu of the , symbolizing Christian valor against Moorish influences that had previously incorporated similar bull-handling practices. The practice was restricted to the , serving as a display of status and skill rather than a public entertainment for commoners, with bulls sourced from semi-wild herds in regions like Castile and . Historical records indicate such confrontations occurred as early as the , including at weddings, aristocratic births, and victories, where participants aimed to subdue or kill the animal to affirm dominance over nature's ferocity. In , parallel variants developed within the equestrian , focusing on controlled grasps or lances without arena slaughter, reflecting regional adaptations in bull-handling tied to feudal traditions. By the late medieval period (13th-15th centuries), these horseback lancing events—termed suerte de varas—began incorporating proto-professional elements, such as organized breeding of aggressive strains and occasional dismounted interventions by assistants to weaken the , laying groundwork for the transition to pedestrian matador-centric forms in the . This evolution was driven by practical necessities, including the decline of widespread due to adoption and the growing appeal of bull spectacles as substitutes for feudal displays, though primary accounts remain sparse and often interwoven with legendary narratives of knights like engaging bulls in enclosed spaces around 1065.

Professionalization in the 18th-19th Centuries

In the early , a royal decree by Philip V prohibited nobles from participating in , effectively transforming the spectacle from an aristocratic equestrian pastime into a profession dominated by men from lower social strata who fought on foot. This shift, motivated by concerns over the risks to the elite and public image, opened the activity to commoners, fostering the emergence of specialized practitioners who relied on skill rather than mounted lances for dominance over the bull. Francisco Romero of (born 1698), often credited as a foundational figure, introduced key innovations including the —a red cape affixed to a stick—for provoking and controlling the bull during the final stages, marking a departure from purely mounted confrontations around 1726. His developments, combined with the use of the espada (sword) for precise kills, established the Ronda school of tauromaquia, emphasizing methodical footwork and artistic passes over brute force. Romero's descendants, including Juan Romero, further structured the profession by formalizing the cuadrilla (support team), incorporating banderilleros for placing barbed sticks, and refining the estoque sword for efficient dispatch. Prominent early professionals like Joaquín Rodríguez Costillares (born 1729 in ), regarded as a regenerator of the foot-based style, competed with the Ronda tradition and emphasized precision in cape work, contributing to the school's focus on agility and spectacle. Pedro Romero (1754–1839), Francisco's grandson, epitomized this evolution by killing over 6,000 bulls across his career, performing into his 80s, and codifying techniques that treated as a refined form with enduring standards for bravery and execution. In 1785, Pedro co-inaugurated 's Plaza de Toros, one of Spain's earliest permanent stone bullrings, which facilitated regular, organized events and symbolized the growing infrastructure for professional spectacles. By the , had standardized into the media corrida format of 6 to 8 s per event, replacing longer all-day affairs by 1825, with increasingly strict rules on bull selection, , and performer roles to ensure consistency and reduce chaos. Specialization deepened as matadors assembled paid cuadrillas, and top figures amassed wealth—bullfighters by mid-century were highly compensated professionals, some achieving riches through fees and endorsements—elevating the occupation's social standing despite its origins among the impoverished. This era saw tauromaquia expand beyond , supported by dedicated breeding of fighting bulls and the construction of additional permanent venues, cementing it as a commercial enterprise intertwined with Spanish regional identity.

20th Century Globalization and Challenges

The early 20th century marked a golden age for bullfighting, characterized by the intense rivalry between José Gómez Ortega, known as Joselito, and , whose innovations in technique—such as performing passes at closer range to the bull without evasion—revolutionized the practice and elevated its status as a performative . This era saw bullfighters expanding their reach beyond through international tours, with Joselito becoming the first prominent modern matador to cross the Atlantic for performances in around 1915, fostering early of the spectacle. Bullfighting, already entrenched in since Spanish colonization, experienced significant growth in the , with major infrastructure developments underscoring its regional prominence. Mexico's Plaza México, the world's largest with a capacity exceeding 41,000, opened in 1946 and hosted regular corridas that drew international talent. In countries such as , , , and , integrated into national festivals and cultural calendars, often featuring Spanish matadors alongside local figures, thus creating transatlantic professional circuits. Mid-century icons like Manuel Laureano Rodríguez Sánchez, known as , further globalized the sport's appeal through his austere, high-risk style, performing in up to 92 corridas in a single six-month period in 1944 across and . However, this expansion coincided with mounting challenges, including the profession's lethal dangers—Joselito died from a goring in 1920 at age 25, and met the same fate in 1947 during a fight in Linares—highlighting the physical toll that deterred participants and fueled periodic public scrutiny. Emerging opposition from intellectuals and early animal welfare advocates posed ideological hurdles, particularly in Spain where groups criticized bullfighting as incompatible with modernizing values, though such views remained marginal until later decades. Economic strains from bull breeding and venue maintenance, combined with disruptions from the (1936–1939), tested the industry's resilience, yet bullfighting's cultural entrenchment in Iberia and sustained its practice amid these pressures.

Structure and Participants

Core Roles: Matador, Picadors, Banderilleros

In the Spanish-style bullfight, known as corrida de toros, the leads a called the cuadrilla, which includes two picadors and three banderilleros as core roles responsible for subduing the fighting bull (toro bravo) through sequential phases. These participants execute their duties in the first two tercios to prepare the bull for the 's final confrontation, emphasizing the bull's muscular weakening and behavioral conditioning to lower its head for the killing thrust. Picadors, mounted on horseback and protected by padded armor, initiate the tercio de varas by lancing the bull's shoulder and neck muscles with a vara () to reduce its ability to rear up or gore with its horns effectively. This action, performed by one active while the other reserves, tests the bull's bravery and strength, providing with insights into the animal's favored side and overall vigor; typically, two to three lances are administered per bull, drawing blood and causing the bull to charge with its head lowered. The practice dates to medieval influences, where weakening the bull's neck muscles—capable of exerting over 1,000 pounds of force—prevents it from lifting opponents, as evidenced by anatomical studies of toro bravo physiology. Banderilleros, operating on foot as the matador's subalterns, follow in the tercio de banderillas, where they plant pairs of barbed, decorated darts (banderillas) into the bull's upper back and s to further enrage it and impair mobility. Running at an angle toward the , each banderillero inserts two banderillas in a single pass, with three such pairs usually placed to aggravate the wounds from the picadors and compel the to drop its head closer to the ground, facilitating the matador's entry between the shoulder blades. This phase demands precise timing and , as banderilleros also assist in capework to manage the 's movements, historically evolving from who distracted the bull during the 18th-century of the spectacle. The matador, or matador de toros, assumes primary responsibility in the tercio de muerte, executing faena with the red muleta cape to demonstrate dominance through stylized passes before delivering the estocada (sword thrust) into the bull's aorta for a rapid kill, ideally within 10 minutes as regulated by Spanish bullfighting rules. As the team's leader, the matador directs the earlier phases and assesses the bull's responses, with success measured by the cleanliness of the kill—averaging 2-3 minutes for skilled performers—and awards like ear trophies based on presidential judgment of artistry and efficacy. This role requires years of apprenticeship, with only those granted alternativa ceremonies achieving full matador status, underscoring the profession's hierarchical and skill-based structure.

Supporting Team Members

The supporting team members of a matador's cuadrilla primarily consist of peones de brega and the mozo de espadas, who perform essential auxiliary functions to ensure the safety and execution of the bullfight without direct confrontational roles like those of picadors or banderilleros. Typically, a cuadrilla includes two to three peones de brega, who operate on foot within the ring, wielding s to distract the bull and create openings for the matador's maneuvers. Their duties encompass goading the from the pen into the , assisting in preliminary cape work during the tercio de capa, and supporting banderilleros by drawing the bull's attention during stick placements. In the final tercio de muerte, peones execute the rueda de peones, a coordinated swaying of capes to maneuver the bull's head side-to-side, facilitating the matador's sword thrust toward vital arteries for a humane dispatch. These assistants, often clad in simpler dark suits or less ornate traje de luces variants compared to principals, must possess agility and bull-reading instincts, as their interventions can avert charges toward the matador. Historical accounts note that peones have evolved from informal helpers in early corridas to formalized roles, with their contributions critical in high-risk scenarios, such as when a bull exhibits unpredictable aggression. The mozo de espadas, or sword bearer, operates from the barrera—the protective wooden barrier encircling the ring—and supplies the matador with swords, mules, and other implements as needed during the performance. This role demands meticulous preparation of , including testing sharpness and readiness, and vigilant to cues or tools swiftly, often under time pressure from the bull's proximity. Unlike ring entrants, the mozo remains outside direct combat but serves as a confidant and logistical anchor, with one assigned per in standard corridas involving three fighters and six bulls. Both peones and the mozo underscore the collaborative structure of the cuadrilla, where individual risks are mitigated through collective precision, as evidenced in regulations mandating their presence for formal events.

Breeding and Selection of Fighting Bulls

The toro de lidia, or Spanish fighting bull, derives from ancient Iberian cattle (Bos taurus Ibericus) lineages selectively bred for centuries in Spain, Portugal, and parts of Latin America to exhibit traits essential for bullfighting spectacles. These animals are maintained in ganaderías, specialized estates averaging 253 breeding cows and 748 total heads per farm, with an annual replacement rate of about 12%. Breeding prioritizes ethnic purity through registered family lines known as encastes, using natural mating where one sire covers 30–40 cows, supplemented occasionally by artificial insemination or embryo transfer for genetic improvement. Consanguinity levels are controlled at 0.12–0.13 overall, though some breeding bulls reach 0.25, to balance lineage preservation with vitality. Rearing occurs under extensive free-range conditions on dehesas spanning 586–721 hectares per operation, primarily on natural pastures to foster instincts, agility, and robustness, with minimal supplementation from hay or . Bulls destined for the arena receive targeted high-energy feeding in their final 5–12 months to achieve daily weight gains of 450 grams, reaching maturity at 600–700 kg with long, slender legs for speed and an elegant, high-held head and neck. This system avoids influences, ensuring the animals retain undiluted predatory responses honed by isolation from human contact. Selection focuses on functional behavioral traits over mere morphology, with primary criteria including —a combination of aggression, strength, vigor, stamina, and determined charging without evasion—assessed for exceeding 0.35. Calves and young stock undergo tienta trials directed by ganaderos and professional toreros, who provoke responses with capes, flags, or to evaluate mobility, (fair, predictable aggression), and fierceness rather than erratic or flightiness. Females are tested at 1–3 years for breeding potential, while males (2–4 years) face preliminary or confrontations; only elite performers advance to confirmed fights at 4–6 years, with genetic trends tracked by associations like the Real Unión de Criadores de Toros de Lidia to refine these qualities without diluting the breed's core ferocity.

Performance Techniques

Initial Phases: Tercio de Varas and Banderillas

The tercio de varas, or third of , initiates the structured weakening of the fighting bull following preliminary capework with the capote cape. , mounted on heavily padded and blindfolded horses, enter the arena upon signal from the presiding , who determines the number of lances—typically one or two per picador, with up to three picadors involved—based on the bull's initial charges. The picador positions the horse perpendicular to the bull's path, prompting a charge, then thrusts the lance into the bull's morrillo—the thick and muscle group—to impair its lifting power and lower the head carriage, thereby facilitating subsequent phases while evaluating the animal's aggression and endurance against pain. This procedure reduces the bull's ability to elevate its horns lethally during later confrontations, as an unweakened bull maintains a higher, more evasive head position that complicates precise placement. The horses' protective peto mats, mandated since reforms in the early , cover vital areas to minimize goring risks, though the animals remain vulnerable to severe injuries if the bull penetrates the padding. Fewer lances are administered to demonstrate a bull's if it persists in charging despite wounds, whereas excessive or timid responses may prompt additional probing to confirm the animal's suitability for continuation. The phase concludes with the picadors' exit after the allotted lances, transitioning the bull—now bloodied and partially debilitated—to heightened agitation for the next stage. The tercio de banderillas, or third of sticks, follows a signaling the picadors' departure, with banderilleros—specialized team members—deploying pairs of banderillas to further enervate the through blood loss and . Each banderilla consists of a wooden shaft approximately 70-80 centimeters long, tipped with a barb and adorned with colored paper or foil for visual effect, which the banderillero plants symmetrically into the bull's upper back muscles by leaping toward the charging animal or using agile footwork to evade horns. The presiding authority standardly orders three pairs (six banderillas), though this may adjust to two or four based on the 's condition, aiming to stimulate fiercer but controlled charges while accentuating the spectacle's aesthetics through the fluttering decorations. Occasionally, elects to place a pair personally to exhibit dexterity, heightening personal risk as the barbs embed deeply to prevent dislodging during movement. This phase compounds the tercio de varas effects by targeting dorsal musculature, promoting adrenaline-fueled aggression that exposes the bull's behavioral traits—such as straight-line charging versus evasion—for the matador's assessment, while the cumulative wounding ensures diminished stamina without immediate lethality. Completion signals readiness for the tercio de muerte, with the banderillas often remaining affixed as markers of the bull's progressive fatigue.

Final Phase: Tercio de Muerte

The tercio de muerte, or "third of death," marks the culminating phase of the bullfight, initiated by a after the tercio de banderillas, during which must dispatch the bull within a strict of 10 minutes, extendable twice for 3 and 2 minutes respectively if is not achieved. This phase demands the highest demonstration of the matador's skill, courage, and precision, as the fighter operates largely alone, using a —a small cape attached to a wooden stick (palillo)—to execute the faena, a sequence of dexterous passes designed to further exhaust the bull and position it for the fatal thrust. The faena typically comprises tandas of 5 to 6 passes, concluding with a remate such as the pase de pecho, incorporating techniques like naturales (left-handed passes with the folded), cambiados por la espalda (passes with the body turned away), and ayudados (assisted passes with the extended by the ). During this work, the matador initially employs a mock of wood or aluminum to extend the , transitioning to the genuine estoque—a tempered killing —for the dispatch. The objective is to provoke the into charging repeatedly while maintaining proximity to showcase dominance, with the phase often preceded by a brindis, a ceremonial dedication of the to an individual or the audience, a practice formalized in its modern personal form after regulatory changes in 1962. The kill culminates in the estocada, a precise thrust of the estoque aimed at severing the between the bull's shoulder blades to induce rapid by , ideally executed in a single, deep penetration (en toda la hoja). Variants include volapié (thrust while stepping forward with the bull's charge), recibiendo (stationary reception of the charge), a un tiempo (simultaneous approach and thrust), aguantando (holding ground without retreat), and arrancando (thrust followed by a quick disengagement). Should the estocada prove incomplete or ineffective, may resort to the descabello, employing a shorter verduguillo sword to transect the cervical , often severing the head's connection to the body; in rare cases of persistent vitality, a puntillero (assistant) delivers the puntilla, a stab to the . Failure to kill by the third warning trumpet results in the bull's removal without penalty to the fighter, though a clean and artistic execution significantly influences the presidente's decision on awards such as ears or the tail. Upon confirmed death—verified by the bull collapsing and remaining motionless—the carcass is dragged from the ring by teams of mules amid , concluding the bull's confrontation and allowing evaluation of the matador's overall performance. This phase, integral to the structured corrida formalized in the , underscores the ritual's emphasis on a swift, humane termination after prior weakening, distinguishing professional from less regulated historical variants.

Skill Assessment and Awards

The matador's skill in a bullfight is primarily assessed by the presiding authority, known as the presidente, in consultation with the reactions of the audience, focusing on technical proficiency, bravery, dominance over the bull, and artistic flair in executing passes with the cape (capote) and muleta. Evaluation emphasizes the faena, the extended phase of muleta work where the matador provokes and controls the bull's charges through precise, rhythmic movements that test the animal's aggression while minimizing risk, judged on criteria such as closeness to the horns (suicide passes or naturales), fluidity, and command rather than speed or force. The estocada, or sword thrust into the bull's heart, is scrutinized for cleanness and depth; a swift, perpendicular kill scores highly, while botched attempts (volapié or recibiendo styles) can diminish acclaim even if prior work was strong. Audience aficionados signal approval by waving white handkerchiefs, influencing the presidente's discretion, though formal rules prioritize empirical dominance over subjective spectacle. Awards are granted post-kill based on the overall performance's merit, with the presidente awarding portions of the bull as trophies: one ear for a solid effort demonstrating competence, two ears for exceptional skill and bravery, and two ears plus the tail for a triumph of superior artistry and execution. These trophies, presented amid crowd ovations, serve as immediate validation; a single ear might reflect adequate but unremarkable technique, whereas the full set indicates mastery that elevates the corrida's ritualistic quality. In rare instances of mutual excellence—matador and bull displaying rare nobility—the public may petition an indulto, sparing the bull from death for breeding purposes, though this requires the animal's proven trapío (fighting merit) and the matador's restraint in withholding the kill. Such pardons, occurring sporadically (e.g., fewer than 1% of fights in major plazas), underscore assessment's dual focus on human skill and bovine valor, without formal numerical scoring systems akin to sports.

Attire and Equipment

The Suit of Lights and Its Symbolism

The , known in English as the "suit of lights," refers to the ornate traditional attire worn by and other key bullfighters during corridas. Its name derives from the shimmering effect produced by intricate gold or silver and sequins that reflect sunlight in the . The suit's evolution traces to the , when initial buckskin designs provided protection against charges, transitioning to more elegant forms by the late 1700s with added braiding and colors permitted under regulations like those from Seville's Real Maestranza in 1732 and 1793. Bullfighter Francisco Montes, or Paquiro, refined it around 1830–1835 by incorporating elaborate and the asteroide-shaped montera hat, establishing the basis for contemporary styles. Crafted in specialized sastrerías such as Fermín, each suit demands meticulous handmade construction involving up to 50 artisans over months, using or bases reinforced through seven fabric layers for durability during combat. A single suit may incorporate up to 12 miles of metal thread and thousands of sequins, with multiple fittings ensuring mobility and form-fitting precision despite the garment's weight, often exceeding 6 kilograms. Symbolically, the traje de luces embodies the torero's elevated status, with gold denoting elite prowess akin to royal , while silver marks junior ranks—a distinction rooted in 19th-century professional hierarchies. Embroideries frequently feature personalized motifs, including family crests, heraldic symbols, or religious icons like patron saints, functioning as protective talismans against injury and affirming the wearer's lineage and devotion. The dazzling aesthetics highlight bullfighting's ritualistic artistry, evoking historical dandyism and Spanish cultural continuity, though the suit's vulnerability underscores the inherent risks of the spectacle.

Capes, Swords, and Other Tools

The capote, a large measuring approximately 4 meters in length, is employed by the during the initial stages of the bullfight to assess the bull's ferocity, agility, and charging tendencies through a series of passes known as quites and verónicas. Crafted from lightweight or synthetic fabrics treated for durability against impacts and stains, it features a exterior and interior to enhance visibility and maintain the bull's focus without relying on the color , which is more associated with the later . In contrast, the muleta serves in the final de muerte, where executes intricate passes to display dominance over the weakened . This smaller , affixed to a wooden or aluminum rod about 1.5 meters long, consists of cloth selected for its provocative effect on the color-blind , which responds to movement rather than hue. The muleta's rigid structure allows for precise manipulation, facilitating techniques like and derechazo passes, with the fabric often reinforced with synthetic materials to resist tearing. The primary sword, known as the estoque or espada de estocada, is a straight, tapered blade roughly 80-90 cm in length and weighing under 1 kg, designed for a thrust into the bull's aortic between the shoulder blades. During preparatory work with the , a wooden or aluminum simulates the motion without risk, exchanged for the real tempered version only for . If the estocada fails to fell the bull swiftly, the descabello—a shorter, broader —severs the at the base to expedite death, ensuring humane dispatch within regulatory time limits. Among auxiliary tools, banderillas are barbed steel-tipped harpoons, approximately 70 cm long with colorful paper frills denoting regional origins or team affiliations, planted in pairs into the bull's by banderilleros to further impair muscles and provoke upright charges. Picadors wield varas, iron-tipped lances up to 2.5 in shaft length, from horseback to puncture the bull's morrillo muscle group, reducing its ability to raise its head and mitigating goring risks to ground participants. Additional implements include the puntilla, a short for confirmatory neck stabs in rare indulto denials, underscoring the equipment's role in both spectacle and structural debilitation of the combatant bull.

Cultural and Economic Significance

Role in Spanish and Regional Identity

Bullfighting, or tauromaquia, forms a cornerstone of Spanish cultural identity, embodying themes of ritual confrontation, artistry, and historical continuity that proponents associate with national character traits such as valor and aesthetic discipline. Its modern iteration solidified in the with innovations by figures like Francisco Romero, who introduced the estocada kill on foot around , transforming it from equestrian nobility sport to pedestrian spectacle accessible to broader classes. By 2013, Spain's enacted legislation declaring part of the nation's , affirming its status amid regional debates and affirming a unified cultural thread despite political divisions. Regionally, bullfighting's prominence varies, strongest in southern where it anchors local fiestas and economic life, reinforcing Andalusian identity through events like Seville's Feria de Abril, which attracts over a million attendees annually and features corridas in the Plaza de Toros de la Maestranza, operational since 1761. In this heartland, breeding of toros bravos—fierce bulls selected for aggression—ties directly to dehesa landscapes, symbolizing regional pride in traditions and craftsmanship of the . Northern regions exhibit divergence; Catalonia's parliamentary ban, upheld until constitutional challenges, highlighted separatist efforts to distance from central Spanish symbols, with only 18% of supporting resumption per 2016 polls, contrasting national averages. In central areas like Castile and , bullfighting manifests as intangible cultural heritage under autonomous community laws, preserving variants such as recortes—bull dodging without capes—in and fostering local economies with over 1,500 annual events nationwide pre-decline. A 2017 national survey revealed 48% of respondents affirming as a Spanish identity symbol versus 35% rejecting it, with higher endorsement in traditionalist regions, illustrating its role in both unifying and differentiating Spain's federal mosaic amid and generational shifts.

Artistic and Literary Influences

Francisco Goya's , a series of 33 etchings completed between 1815 and 1816, systematically documents the historical development of bullfighting techniques, from primitive confrontations to refined 18th-century methods, emphasizing the perilous interplay between man and bull as a subject worthy of artistic scrutiny. These works, blending technical precision with dramatic intensity, established tauromachy as a visual motif capable of conveying human courage and mortality. Pablo Picasso integrated imagery throughout his career, producing over 200 related pieces including paintings, drawings, and prints that explore dualities of and grace, often using the as a primal symbol of and as an archetypal hero. His 1959 series La Tauromaquia reinterprets Goya's themes through cubist fragmentation, highlighting the ritual's choreographed violence as a lens for existential conflict. In literature, Ernest Hemingway's (1932) dissects as a tragic form akin to ancient Greek , where the matador's esthetic mastery over death—through precise cape work and thrusts—transcends athleticism to embody philosophical confrontation with fate. Hemingway, drawing from direct observation in during the 1920s, contended that true aficionados discern artistic merit in passes that harmonize risk with elegance, rejecting superficial brutality for ritualistic profundity. Federico García Lorca's elegy Lament for Ignacio Sánchez Mejías (1935), composed after the bullfighter's fatal goring on August 11, 1934, at Manzanares, employs repetitive motifs like "at five in the afternoon" to evoke the bullring's inexorable temporality, framing tauromachy as a poetic arena where human fragility meets mythic symbolism. Lorca, who regarded as "the most cultured of all festivals," infused his works with its rhythmic intensity, influencing perceptions of the practice as culturally embedded rather than mere spectacle. Later authors like have echoed these views, describing in essays and novels as a synthesis of , , and rite that demands aesthetic judgment from participants and observers alike. Such depictions underscore tauromachy's role in prompting reflections on skill-derived beauty amid lethal stakes, though critics often contest the elevation of animal dispatch to artistry without empirical validation of its purported transcendence.

Economic Impact on Tourism and Employment

Bullfighting events in generate an estimated economic impact of €1.5 billion annually, with significant portions attributable to expenditures on tickets, accommodations, dining, and related services during major fairs. This figure, derived from industry analyses, encompasses direct revenues from spectacles and multiplier effects in hospitality and transport sectors, though precise attribution varies due to integrated cultural programming in events like ferias. The sector sustains over 200,000 jobs directly and indirectly nationwide, including roles for bullfighters, breeders, ranch hands, event staff, and operators, according to data from the Toro de Lidia Foundation, a pro-bullfighting organization whose estimates are echoed in multiple economic assessments. Approximately 57,000 positions are direct, with the remainder in ancillary and , particularly in rural areas where bull breeding maintains employment in and across dehesa landscapes spanning hundreds of thousands of hectares. Prominent events exemplify tourism-driven impacts: the Sanfermines festival in Pamplona yields around €150 million yearly from visitor influxes tied to encierros and corridas, boosting hotel occupancy and local commerce; Madrid's San Isidro fair contributes €70 million, while Seville's April Fair, incorporating bullfights, drives €700 million in broader activity with bullfighting as a core draw. These inflows support seasonal employment spikes, with bullfighting tourism representing a key niche after soccer in mass spectator appeal, though declining attendance in some regions tempers growth. In Extremadura, related activities move €800 million annually and create over 1,000 jobs, underscoring regional dependencies on such traditions for economic vitality.

Human Risks and Realities

Injury Statistics and Patterns

In professional , injury rates among participants average approximately 9% per event across analyzed periods, with matadors facing the highest risk due to their direct confrontation with the during the final stages. A retrospective study of 1,239 injuries from 13,556 events in , , and between 2012 and 2019 reported an overall accident rate of 9.13%, with matadors accounting for 72.6% of cases (900 injuries). This rate showed an upward trend, rising from 5.5% in 2012 to 12.28% in 2019, potentially linked to increasing participation or evolving behaviors. The predominant injury mechanism is goring by the bull's horns, constituting 40.84% of traumas (506 cases in the aforementioned study), followed by blunt force impacts at 24.46% (303 cases). In a separate 10-year review of 2,328 bullfights in (1994–2004), penetrating wounds from gorings dominated, affecting 64% of extremity cases and often requiring surgical , while major vascular injuries occurred in 5% overall and 33% of inguinal/perineal traumas. Mortality remains low but notable at 0.48% (6 deaths in 1,239 cases), typically from or associated complications like vascular rupture. Injury patterns cluster in the lower body, reflecting the bullfighter's positioning close to the animal's horns during cape work and killing phases. and regions were most affected (30.51%, 378 cases), followed by the (17.92%, 222 cases), with vascular lesions comprising 19.04% of / injuries.
Injury LocationPercentage of Total InjuriesCommon Complications
/30.51% (378 cases)Vascular lesions (19.04%),
17.92% (222 cases)Fractures (15% overall), penetrating wounds
Upper/Lower Extremities (combined)~66% ( series) needed in 64% of penetrating cases
Banderilleros and picadors experience fewer but still significant gorings (16.1% and lower shares, respectively), often during earlier tercios involving banderillas or horse-mounted lancing. bullfighters (novilleros) show higher relative incidence than seasoned matadors in some locales, attributable to less experience in evading charges. Seasonally, bullfighters may sustain at least one goring per year amid 50–100 appearances, underscoring the ritualized proximity to the as a causal factor in these patterns.

Notable Fatalities and Survival Rates

Over 530 professional bullfighters have died in the ring since 1700, reflecting the inherent dangers of the profession throughout its history. Prominent cases include Manuel Rodríguez Sánchez, known as Manolete, fatally gored in the femoral artery by the bull Islero on August 28, 1947, during a corrida in Linares, Spain, leading to his death hours later from massive blood loss. Similarly, Francisco Rivera Pérez, "Paquirri," suffered a lethal goring to the thigh by the bull Avispado on September 26, 1984, in Pozoblanco, Spain, succumbing to internal injuries despite surgical intervention. More recently, Víctor Barrio was gored and killed by the bull Indio on July 9, 2016, in Teruel, Spain, marking the first matador death in the country in nearly three decades. Iván Fandiño died from a goring by the bull Marcador on June 17, 2017, during an event in Aire-sur-l'Adour, France. In the contemporary era, fatalities among bullfighters have become exceedingly rare due to advancements in emergency medical response, surgical techniques, and on-site infirmary protocols. An eight-year study of 13,556 bullfighting events across , , and from 2012 to 2019 documented 1,239 injuries—predominantly gorings (40.8%) and blunt traumas (24.5%)—but only 6 deaths, three of which involved matadors, resulting in a 0.48% among the injured and an overall rate of 9.13% per event. Matadors comprised 72.6% of injury cases, yet the low fatality figures underscore high survival probabilities, with 71% of injuries managed successfully in ring infirmaries. This decline aligns with broader trends, as no matador deaths occurred in between Paquirri's in 1984 and Barrio's in 2016, despite thousands of corridas.

Ethical and Controversial Aspects

Claims of Animal Cruelty

Critics contend that inflicts acute physical and psychological distress on the across its structured stages, beginning with the tercio de varas where picadors lance the animal's muscles, severing blood vessels and causing hemorrhage that impairs mobility and induces . These wounds, designed to subdue the 's aggressive charges, result in documented tissue trauma and blood loss exceeding several liters, with veterinary examinations revealing cellular and anaerobic metabolic shifts consistent with severe stress. In the tercio de banderillas, harpoon-tipped darts are embedded in the 's dorsal musculature, inflicting that tear flesh during subsequent movement and amplify through and muscle spasms. The culminating tercio de muerte requires the matador to deliver an estocada sword thrust targeting the aorta or heart, yet empirical observations show this often fails to sever vital structures immediately, prolonging consciousness and suffering until secondary dagger strokes to the brainstem or spinal cord induce death, which can take minutes amid visible signs of distress such as staggering and vocalization. Peer-reviewed analyses of post-mortem neurobiology confirm that bulls experience glycolysis, splenic contraction, and endocrine surges— including elevated cortisol and adrenaline—indicative of intense nociception and fear responses during the arena confrontation. Hematological data from blood samples further demonstrate leukocytosis and enzymatic markers of trauma, underscoring physiological evidence of pain beyond mere reflexive aggression. Pre-fight handling exacerbates these claims, with bulls subjected to in darkened trucks, isolation in narrow corrals, and occasional weakening agents like smeared on horns or eyes to disorient, though the core arena ordeal remains the primary site of alleged cruelty. Ethological studies interpret avoidance behaviors, elevated heart rates, and as markers of , rejecting notions of adrenaline-masked insensitivity given mammalian pain pathways. Globally, approximately 180,000 bulls face such fatalities annually in formal corridas, alongside uncounted injuries in preparatory fiestas. While advocacy groups amplify these assertions, peer-reviewed veterinary research provides the empirical backbone, though some older Spanish institutional reports have downplayed amid cultural defenses—a divergence attributable to potential national biases in state-affiliated analyses.

Defenses Based on Tradition, Biology, and Comparisons

Defenders of bullfighting, such as philosopher Francis Wolff, contend that the practice embodies a longstanding cultural originating in Iberian rituals and evolving into a formalized by the , symbolizing human confrontation with nature's ferocity and fostering virtues like and ritualized for the animal's . Wolff argues that this heritage merits preservation not merely for but as a unique aesthetic and ethical form where participants engage death directly, contrasting with modern detachment from mortality in industrialized societies. Biologically, proponents highlight that Spanish fighting bulls (Bos taurus of the Toro Bravo lineage) are selectively bred over centuries for innate aggression, strength, and stamina—traits tested in the ring to propagate the breed—rather than induced cruelty altering their nature. These bulls are reared in semi-extensive dehesa systems, vast oak woodlands providing free-range grazing with minimal human interference, allowing natural behaviors like territorial defense until they reach 4-6 years of age, exceeding the typical 18-24 months for commercial slaughter. Advocates assert this extended, active life in open terrain yields superior welfare compared to confined conditions, where endure and restricted movement, culminating in the bull's death via a precise thrust targeting the for rapid severance, purportedly swifter than variable methods. In comparisons to other animal practices, defenders like Wolff draw parallels to , where predators or humans dispatch prey without reciprocal display of prowess, or to routine meat production, which annually processes billions of in high-stress transport and mechanized killing lines prone to ineffective —leaving animals conscious longer—while bullfighting elevates the event to a skilled artistry honoring the bull's "nobility." Unlike factory farming's anonymous suffering, the bullfight's transparency and the bull's pre-fight adrenaline-fueled state are said to mitigate perceived pain, aligning with first-principles acceptance of human dominion over bred destined for death regardless. These arguments, however, originate from philosophical and industry perspectives often critiqued for underemphasizing veterinary evidence of physiologic stress in bulls during fights.

Broader Philosophical Debates

Philosophers defending bullfighting often ground their arguments in the biological reality of the fighting bull (Bos taurus), selectively bred over centuries for aggressive "" traits that render it unfit for alternative slaughter methods without prolonged stress, positing that the corrida provides a ritualized, honorable death aligning with the animal's nature rather than industrialized disassembly. French philosopher Francis Wolff contends that the bull's participation stems from its instinctual response to provocation, not comprehension of , and that in such contexts serves no gratuitous end but affirms the animal's vital essence, contrasting this with factory farming where death lacks any reciprocal confrontation. Critics, however, challenge these claims by invoking debates on animal , arguing that of —neural responses to tissue damage in bovines—indicates subjective akin to human , rendering the ethically untenable regardless of breeding or intent. From a human-centric perspective, bullfighting engages deeper existential questions about mortality and vitality, echoing Friedrich Nietzsche's observation that humanity derives profound satisfaction from spectacles of controlled cruelty, such as bullfights, which affirm life's tragic intensity over sanitized illusions of harmony. Nietzsche viewed such rituals as outlets for the "Dionysian" drive toward destruction and renewal, where the matador's proximity to mirrors the philosophical imperative to embrace peril for authentic , rather than evading it through prohibitions that stifle human flourishing. Defenders extend this to causal realism: the corrida's structure—tercios of lancing, banderillas, and estocada—escalates from weakening to precise kill, minimizing drawn-out agony compared to predatory deaths in nature, where empirical studies show wild bovines endure predation injuries for hours. Opponents counter that this anthropomorphizes the bull's experience, prioritizing human catharsis over verifiable welfare metrics like spikes during fights, which exceed baseline stress in non-lethal handling. Broader debates intersect with cultural , questioning whether traditions like tauromachy embody immutable truths about predator-prey dynamics or merely archaic holdovers vulnerable to utilitarian calculus. interrogated the bullfight's as a Spanish metaphysical into form versus chaos, where the torero imposes rational order on primal fury, reflecting first-principles of over instinct without descending into barbarism. Yet, animal ethicists like those in liberation frameworks argue this overlooks interspecies equity, positing that unnecessary infliction—evidenced by veterinary reports of repeated gorings causing hemorrhagic shock—violates deontological bans on instrumentalizing life, even if culturally embedded. Empirical counterpoints highlight inconsistencies: global meat consumption slaughters billions of vertebrates annually with less ritual dignity, suggesting selective outrage reveals ideological priors over consistent causal analysis of suffering's distribution. Ultimately, these exchanges pivot on whether privileges species-specific and exceptionalism or universal sentience rights, with no resolution absent advances in quantifying bovine .

Variations in Spain, Portugal, and Latin America

In , the predominant form is the corrida de toros, a structured spectacle involving three stages—tercio de varas with lances, tercio de banderillas with barbed sticks, and tercio de muleta culminating in the matador's sword thrust to kill the bull—performed by professional bullfighters in arenas seating thousands, with major events in Madrid's (capacity 23,798) and . Regional variations include the corrida goyesca in , evoking 18th-century styles with period costumes, and amateur novilladas for young bulls and novice fighters, while some autonomous communities like the prohibit killing the bull in the ring since 1991, opting for bloodless alternatives. Nationally legal as of 2025, bullfighting holds protected status under Law 18/2013, though this faces review following a 2025 citizen initiative with over 715,000 signatures seeking its revocation to enable regional bans. Portugal practices touradas portuguesas, diverging from the Spanish model as the is not killed in the arena—slaughtered afterward off-site—and features forcados, teams of eight men who confront the on foot by grasping its horns in a of bravery, alongside mounted cavaleiros lancing the and pegas (dismounted assistants) placing darts. Approximately 250 bullfight events occur annually, using around 2,500 s aged 4-6 years, concentrated in regions like Ribatejo and , with no matador role equivalent to Spain's. In , Spanish-style bullfighting prevails in , , , , and , introduced during 16th-century , featuring the full corrida sequence with bull dispatch by espada. hosts the world's largest bullring in (capacity 41,262), with over 300 annual fights drawing crowds exceeding 1 million spectators pre-pandemic, while emphasizes peruana variants in Lima's Acho ring (oldest in , founded 1766) using criollo breeds alongside Spanish fighting bulls. and incorporate festive corralejas—amateur enclosures where locals taunt bulls—alongside formal corridas, as in Bogotá's Santamaría plaza, though these carry higher informal risks; all maintain without the no-kill rule.

Bans, Restrictions, and Bloodless Alternatives

Bullfighting has been prohibited nationally in numerous countries, including , , , , , , and the , reflecting legal classifications of the practice as animal cruelty under general statutes. In , the upheld a nationwide ban on bullfights effective from 2027 on September 5, 2025, rejecting challenges from regional governments and confirming the law's constitutionality despite economic arguments from proponents. City's voted 61-1 on March 18, 2025, to ban traditional corridas de toros, prohibiting the injuring or killing of bulls in arenas while permitting non-lethal spectacles. Within Spain, regional variations persist: the enacted a full ban in 1991, while Catalonia's 2010 parliamentary prohibition was overturned as unconstitutional by Spain's in 2016, rendering technically legal there but with no arenas operating due to local opposition and infrastructure decay as of 2025. The imposed partial restrictions prohibiting the wounding or killing of bulls in 2022, though enforcement varies by municipality. As of 2025, traditional remains legal in only seven countries—primarily , , , , and parts of and —often confined to specific regions amid mounting regulatory pressures. Restrictions in permitting jurisdictions typically include veterinary oversight, limits on bull age and breed, and prohibitions on certain techniques deemed excessively cruel, such as lancing in some French corridas. In , national law mandates that bulls not be killed in the arena, with performed privately afterward if necessary, distinguishing it from Spanish norms. Bloodless alternatives emphasize human skill and evasion without inflicting wounds: Portuguese-style touradas feature equestrian cavaleiros performing with lances but sparing the bull's life in public, followed by forcados the bull barehanded, preserving cultural elements minus the estocada kill. Spanish recortes involve recortadores executing acrobatic dodges and leaps over charging bulls using no weapons, with events held in arenas like Madrid's, where participants score via proximity and rather than harm. In post-2025, approved events limit sessions to 15 minutes, employ capes and horn covers, and return unharmed bulls to ranchers, aiming to retain while complying with the ban. Velcro-adapted banderillas for non-penetrating sticks appear in U.S. variants, such as California's allowances since , though critics argue these still induce stress without eliminating inherent risks to the animal.

Recent Developments Through 2025

In , the upheld Law 2385 of 2024 banning nationwide, with full implementation set for January 1, 2027, to allow economic transition for affected communities; the ruling on September 5, 2025, also extended prohibitions to cockfighting and other spectacles involving animal harm for entertainment. This decision rejected challenges from bullfighting promoters claiming cultural and economic losses, affirming precedents over tradition in a where such events drew crowds exceeding 100,000 annually in major plazas. Mexico City's voted 61-1 on March 18, 2025, to prohibit lethal at Plaza México, the world's largest seating 41,000, replacing it with bloodless formats limited to capes ( and capote) without banderillas, pikes, or swords; bulls must exit unharmed after simulated passes. Proponents cited reduced violence and spectator safety, though critics among toreros argued it dilutes the ritual's essence and risks lower attendance, as traditional events there generated over 200 million pesos yearly pre-ban. Spain's Culture Ministry, led by , confirmed on May 3, 2024, the elimination of the national award, previously €30,000 for top performers, as part of reallocating public funds away from subsidies totaling €577 million in 2022 across taurine activities. Regional contrasts persisted: resumed in Mallorca's plazas in early 2025 following court reversals of prior local bans, drawing 5,000 spectators to inaugural events despite protests. Nationally, major 2025 seasons unfolded uninterrupted in Seville's Maestranza (April fair with 15 corridas) and Madrid's (San Isidro cycle featuring 20+ events with international matadors), maintaining attendance near 1.5 million yearly amid stable ticket revenues. In , where the Portuguese style emphasizes rejoneo (mounted lancing) without ritual killing, events like the 2025 Campo Pequeno season in proceeded with over 20 spectacles, attracting 150,000 visitors and underscoring legal protections for non-lethal variants. Latin American holdouts including and hosted traditional corridas through 2025, with 's ferias featuring 30+ fights and no nationwide restrictions, preserving the practice in venues like Acho . These developments highlight a pattern of urban legislative curbs driven by activist campaigns, contrasted by rural and cultural persistence where economic data—such as Spain's 200,000 direct jobs tied to the sector—bolster defenses against total eradication.

References

  1. https://www.dictionary.com/browse/bullfighter
  2. https://madridbullfighting.com/blog/what-is-a-bullfighter-called/
  3. https://amigoenergy.com/blog/bullfighting-explained-history-culture-and-controversy/
  4. https://www.spain-traveller.com/en/bull-fighting-in-spain/
  5. https://www.thefrenchhistorypodcast.com/feed-drop-gore-the-brutal-history-of-bullfighting-by-conflicted/
  6. https://digitalcommons.wou.edu/cgi/viewcontent.cgi?filename=0&article=1022&context=honors_theses&type=additional
  7. https://digitalcommons.salve.edu/cgi/viewcontent.cgi?article=1118&context=pell_theses
  8. https://anthropology.berkeley.edu/sites/default/files/brandes_on_politics_of_bullfights.pdf
  9. https://www.ancientartarchive.org/altamira-cave-spain/
  10. https://www.tienda.com/learn-about-spain/spain-the-importance-of-bulls
  11. https://smarthistory.org/hall-of-bulls-lascaux/
  12. https://www.penn.museum/sites/expedition/bulls-and-bull-leaping-in-the-minoan-world/
  13. http://strangehorizons.com/wordpress/non-fiction/articles/bull-leaping-in-bronze-age-crete/
  14. https://colosseum.info/venationes-animal-hunts-at-the-colosseum/
  15. https://open.library.ubc.ca/media/download/pdf/831/1.0090535/1
  16. https://www.researchgate.net/publication/307594234_For_a_Juridical_Ethnoarchaeology_of_the_Bull_and_Horse_Sacrifice_Circunvalation_Ordeal_in_Celtic_Iberia
  17. https://commons.lib.jmu.edu/cgi/viewcontent.cgi?article=1320&context=mhr
  18. https://deremilitari.org/2015/02/noel-fallows-jousting-in-medieval-and-renaissance-iberia-muhlberger/
  19. https://ojs.lib.umassd.edu/plcs/article/download/PLCS6_Gomes_page297/166/667
  20. https://admisiones.unicah.edu/Resources/EefusU/1OK035/english-translation__of-viva_el-toro__crscoursenameisbntitlevivaeltoroporblainerayylisarayturner.pdf
  21. https://www.atlantis-press.com/article/25898239.pdf
  22. https://scholarworks.iu.edu/journals/index.php/tmr/article/view/17317
  23. https://books.google.com/books/about/Jousting_in_Medieval_and_Renaissance_Ibe.html?id=lqZ2J8lsSrYC
  24. https://www.catholic.com/encyclopedia/spanish-bull-fight
  25. https://www.andalucia.com/ronda/bullfightinghistory.htm
  26. https://rondatoday.com/bullfighting-romeros-rondas-bandoleros/
  27. https://www.spanish-fiestas.com/culture/bullfighting-history/
  28. https://latamcommons.net/artifacts/20449194/biographical-notes-on-distinguished-bullfighters/21349716/
  29. https://ernie.uva.nl/viewer.p/21/56/object/122-160721
  30. https://armandoacostaauthor.com/history-of-bullfighting/
  31. https://entradastoroscordoba.com/en/cordoba-and-caliphs-of-bullfighting/
  32. https://www.servitoro.com/en/1328-la-mexico-bullring.html
  33. https://revista.drclas.harvard.edu/bullfights/
  34. https://www.mexicolisto.com/p/bullfighting-in-mexico
  35. https://madridbullfighting.com/blog/how-does-bullfighting-work/
  36. https://www.spain-traveller.com/en/bullfight-participants/
  37. https://madridbullfighting.com/blog/the-role-of-the-picador-in-madrid-bullfighting-and-why-they-use-horses/
  38. https://www.servitoro.com/en/bullfighting-terms
  39. https://www.spain-traveller.com/en/spain-bullfight-banderillas/
  40. http://www.aficionados-international.com/general-information/the-bullfighter
  41. https://www.spain-traveller.com/en/spanish-bullfight-rules/
  42. https://blog.servitoro.com/en/the-subalterns/
  43. https://www.spain-traveller.com/en/bullfighting-terms/
  44. http://r.web.umkc.edu/rv191/bullfight.htm
  45. https://theweek.com/articles/545974/thems-bullfighting-words
  46. https://breeds.okstate.edu/cattle/fighting-cattle.html
  47. https://www.intechopen.com/chapters/72063
  48. https://www.scielo.org.mx/scielo.php?script=sci_arttext&pid=S2448-61322019000100106&lng=en&nrm=iso&tlng=en
  49. https://ganaderosdebravo.es/en/breeding-program/
  50. https://www.spain-traveller.com/en/spanish-bullfighting-varas/
  51. https://blog.servitoro.com/en/parts-of-the-bullfight-banderillas/
  52. https://www.spain-traveller.com/en/spain-bullfighting-muerte/
  53. https://thelastarena.com/about-the-bullfight/
  54. https://madridbullfighting.com/blog/madrid-bullfighting-rules/
  55. https://www.spain-traveller.com/en/bullfight-awards/
  56. https://phxart.org/blog/the-history-of-el-traje-de-luces/
  57. https://artsandculture.google.com/story/suit-of-lights-musee-des-cultures-taurines/PgWx0FrXVwX-wg?hl=en
  58. https://www.toroshopping.com/en/parts-of-the-bullfighter-costume/
  59. https://www.bullexperience.com/examination-of-the-equipment-and-clothing-used-in-bullfighting-including-the-traditional-traje-de-luces-worn-by-bullfighters
  60. https://madridbullfighting.com/blog/the-importance-of-the-capote-and-the-muleta-in-madrid-bullfighting/
  61. https://lasventastour.com/en/why-is-the-bullfighters-cloak-pink-and-yellow/
  62. https://www.toroshopping.com/en/shop/bullfighting-capes-accessories/bullfighting-capes/professional-bullfighting-cape/
  63. https://medieworld.com/everything-you-need-to-know-about-espadas-toreros/
  64. http://atkinson-swords.com/collection-by-region/western-europe/spain/estoques-de-torero-spain.html
  65. https://madridbullfighting.com/blog/the-tools-of-a-bullfighter-in-bullfight/
  66. https://www.quora.com/What-is-the-equipment-that-a-bullfighter-uses-in-the-arena
  67. https://sword-site.com/thread/1145/estoque-de-toreo-sword-bullfighter
  68. https://www.independent.co.uk/news/world/europe/bullfighting-declared-part-of-spain-s-cultural-heritage-8492267.html
  69. https://www.britannica.com/sports/bullfighting/History
  70. https://www.spainthenandnow.com/spanish-culture/bullfighting-in-spain-cultural-heritage-or-cruel-sport
  71. https://www.britannica.com/sports/bullfighting
  72. https://www.donquijote.org/spanish-culture/traditions/bullfighting/
  73. https://link.springer.com/article/10.1007/s10806-017-9700-9
  74. https://www.sothebys.com/en/slideshows/the-power-of-goyas-la-tauromaquia
  75. https://www.sothebys.com/en/slideshows/picasso-and-the-art-of-bullfighting
  76. https://core.ac.uk/download/pdf/217009479.pdf
  77. https://www.poetryfoundation.org/poems/161884/lament-for-ignacio-sanchez-mejias-65a9932a17868
  78. https://www.realmaestranza.com/en/royal-bullring/the-bull-and-the-arts/
  79. https://lareviewofbooks.org/article/bloody-artistry-bill-hillmann-talks-to-mario-vargas-llosa
  80. https://www.mdpi.com/2071-1050/16/11/4837
  81. https://spainfixer.com/blood-in-the-arena-the-bullfighting-economy-paradox/
  82. https://pmc.ncbi.nlm.nih.gov/articles/PMC8346594/
  83. https://jeremy-brown-vpk4.squarespace.com/s/Chirurgica-Taurina-A-10-Year-Experience-of-Bullfight-Injuries.pdf
  84. https://www.iloencyclopaedia.org/part-xvii-65263/entertainment-and-the-arts/item/801-bullfighting-and-rodeos
  85. https://thelastarena.com/2015/02/25/533-professional-bullfighters-killed-in-the-ring-since-1700/
  86. https://www.ebsco.com/research-starters/history/death-manolete
  87. https://www.upi.com/Archives/1984/09/27/Top-matador-gored-to-death/7287465105600/
  88. https://nypost.com/2016/07/09/top-bullfighter-fatally-gored-to-death-in-spain/
  89. https://www.facebook.com/nbcnightlynews/posts/renowned-bullfighter-iv%25C3%25A1n-fandi%25C3%25B1o-was-gored-to-death-saturday-during-an-event-in/10155561724348689/
  90. https://www.nature.com/articles/s41598-021-94524-7
  91. https://www.dailymotion.com/video/x4jz98g
  92. https://pmc.ncbi.nlm.nih.gov/articles/PMC8532837/
  93. https://www.researchgate.net/publication/315721260_%27Suffering%27_in_bullfighting_bulls_An_ethologist%27s_perspective
  94. https://www.mdpi.com/2076-2615/15/15/2303
  95. https://sentientmedia.org/bullfighting/
  96. https://www.humaneworld.org/en/issue/bullfighting-long-cruel-death
  97. https://digitalcommons.calpoly.edu/bts/vol22/iss1/4/
  98. https://www.prindleinstitute.org/2018/02/bullfighting-moral-good-unnecessary-cruelty/
  99. https://pmc.ncbi.nlm.nih.gov/articles/PMC11053816/
  100. https://www.scielo.org.mx/scielo.php?script=sci_arttext&pid=S1405-31952012000500004
  101. https://philpapers.org/rec/WOLTES
  102. https://www.prindleinstitute.org/2016/11/ethics-bullfighting/
  103. https://www.azquotes.com/quote/652488
  104. https://philosophy-science-humanities-controversies.com/listview-details-economics-politics.php?id=1028873&a=a&first_name=Friedrich&author=Nietzsche&concept=Suffering
  105. https://www.jstor.org/stable/643849
  106. https://www.cas-international.org/en-gb/715606-signatures-to-end-bullfighting/
  107. https://pmc.ncbi.nlm.nih.gov/articles/PMC7695134/
  108. https://artsandculture.google.com/story/spanish-bullfighting-musee-des-cultures-taurines/vQVhxFuXMbd-pQ?hl=en
  109. https://www.humaneworld.org/europe/en/resources/bullfighting-how-you-can-help
  110. https://www.cas-international.org/en-gb/end-cruel-bull-events-in-colombia/
  111. https://www.nytimes.com/2025/03/18/world/americas/mexico-city-bans-traditional-bullfights.html
  112. https://english.elpais.com/spain/2025-10-22/the-debate-over-bullfighting-a-cultural-and-political-battle-that-still-divides-spain.html
  113. https://www.catalannews.com/society-science/item/catalonias-last-bull-related-events-stir-debate-amid-animal-welfare-concerns
  114. https://www.cas-international.org/en-gb/500000-signatures-bullfighting-cultural-heritage/
  115. https://www.quora.com/Only-seven-countries-now-allow-bullfights-Do-you-think-the-sport-will-eventually-be-banned-worldwide
  116. https://www.cas-international.org/en-gb/different-types-of-bullfights/
  117. https://campotoro.es/blog/madrid-recortadores-a-good-alternative-to-bullfighting/
  118. https://www.optimistdaily.com/2025/03/mexico-city-replaces-traditional-bullfighting-with-bloodless-events/
  119. https://animalblawg.wordpress.com/2021/03/01/are-bloodless-bullfights-much-better-than-traditional-bullfighting/
  120. https://apnews.com/article/colombia-bullfighting-cockfighting-ban-1dde312d467adfff346191b815deda89
  121. https://www.animals24-7.org/2025/09/10/colombian-top-court-upholds-bans-on-bullfights-cockfights-steer-tailing/
  122. https://www.theguardian.com/world/2025/mar/18/mexico-city-bloodless-bullfights
  123. https://mhebtw.mheducation.com/2025/04/24/mexicos-bullfighting-ban/
  124. https://www.dw.com/en/spain-set-to-scrap-top-bullfighting-prize/a-68993375
  125. https://upfront.scholastic.com/issues/2024-25/120924/the-fight-over-bullfighting.html
  126. https://sevillabullfighting.com/
  127. https://www.servitoro.com/en/
  128. https://www.toroshopping.com/en/the-diversity-of-bullfighting-festivals-in-the-world/
  129. https://www.runningofthebulls.com/travel/pamplona-bullfights/
Add your contribution
Related Hubs
User Avatar
No comments yet.