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Bullfighting
Bullfighting
from Wikipedia

Spanish bullfight in Las Ventas in Madrid

Bullfighting is a physical contest that involves a bullfighter attempting to subdue, immobilize, or kill a bull, usually according to a set of rules, guidelines, or cultural expectations.

There are several variations, including some forms which involve dancing around or leaping over a cow or bull or attempting to grasp an object tied to the animal's horns. The best-known form of bullfighting is Spanish-style bullfighting, practiced in Spain, and a few of its former American colonies, as well as parts of the Philippines, Portugal (see: Portuguese-style bullfighting) and Southern France. The Spanish Fighting Bull is bred for its aggression and physique, and is raised free-range with little human contact.

The practice of bullfighting is controversial because of a range of concerns including animal welfare, funding, and religion. While some forms are considered a blood sport, in some countries, for example Spain, it is defined as an art form or cultural event,[1] and local regulations define it as a cultural event or heritage.[2][3] Bullfighting is illegal in most countries, but remains legal in most areas of Spain and Portugal, as well as in some Latin American countries and some parts of southern France[4] and the Philippines.[5] In Colombia, it is being phased out with a full ban coming into effect in 2027.

History

[edit]
Bull-leaping: Fresco from Knossos, Crete

Bullfighting traces its roots to prehistoric bull worship and sacrifice in Mesopotamia and the Mediterranean region. The first recorded bullfight may be the Epic of Gilgamesh, which describes a scene in which Gilgamesh and Enkidu fought and killed the Bull of Heaven ("The Bull seemed indestructible, for hours they fought, till Gilgamesh dancing in front of the Bull, lured it with his tunic and bright weapons, and Enkidu thrust his sword, deep into the Bull's neck, and killed it").[6] Bull-leaping was portrayed in Crete and myths related to bulls throughout Greece.[7]

The cosmic connotations of the ancient Iranian practice of bull sacrifice are reflected in Zoroaster's Gathas and the Avesta. The killing of the sacred bull (tauroctony) is the essential central iconic act of the Iranian Mithras, which was commemorated in the mithraeum wherever Roman soldiers were stationed. The oldest representation of what seems to be a man facing a bull is on the Celtiberian tombstone from Clunia and the cave painting El toro de hachos, both found in Spain.[8][9]

Bullfighting is often linked to Rome, where many human-versus-animal events were held as competition and entertainment, the Venationes. These hunting games spread to Africa, Asia, and Europe during Roman times. There are also theories that it was introduced into Hispania by the Emperor Claudius, as a substitute for gladiators, when he instituted a short-lived ban on gladiatorial combat. The latter theory was supported by Robert Graves (picadors are related to warriors who wielded the javelin, but their role in the contest is now a minor one limited to "preparing" the bull for the matador.) Spanish colonists took the practice of breeding cattle and bullfighting to the American colonies, the Pacific, and Asia. In the 19th century, areas of southern and southwestern France adopted bullfighting, developing their distinctive form.[citation needed]

Mithras killing a bull

Religious festivities and royal weddings were celebrated by fights in the local plaza, where noblemen would ride competing for royal favor, and the populace enjoyed the excitement. In the Middle Ages across Europe, knights would joust in competitions on horseback. In Spain, they began to fight bulls.[citation needed]

In medieval Spain bullfighting was considered a noble sport and reserved for the rich, who could afford to supply and train their horses. The bull was released into a closed arena where a single fighter on horseback was armed with a lance. This spectacle was said to be enjoyed by Charlemagne, Alfonso X the Wise and the Almohad caliphs, among others. The greatest Spanish performer of this art is said to have been the knight El Cid. According to a chronicle of the time, in 1128 "... when Alfonso VII of León and Castile married Berengaria of Barcelona daughter of Ramon Berenguer III, Count of Barcelona at Saldaña among other celebrations, there were also bullfights."[10]

In the time of Emperor Charles V, Pedro Ponce de Leon was the most famous bullfighter in Spain and a renovator of the technique of killing the bull on a horse with blindfolded eyes.[11] Juan de Quirós, the best Sevillian poet of that time, dedicated to him a poem in Latin, of which Benito Arias Montano transmits some verses.[12]

Francisco Romero, from Ronda, Spain, is generally regarded as having been the first to introduce the practice of fighting bulls on foot around 1726, using the muleta in the last stage of the fight and an estoc to kill the bull. This type of fighting drew more attention from the crowds. Thus the modern corrida, or fight, began to take form, as riding noblemen were replaced by commoners on foot. This new style prompted the construction of dedicated bullrings, initially square, like the Plaza de Armas, and later round, to discourage the cornering of the action.[citation needed]

The modern style of Spanish bullfighting is credited to Juan Belmonte, generally considered the greatest matador of all time. Belmonte introduced a daring and revolutionary style, in which he stayed within a few centimeters of the bull throughout the fight. Although extremely dangerous (Belmonte was gored on many occasions), his style is still seen by most matadors as the ideal to be emulated.[citation needed]

Styles

[edit]
A bull fight in Barcelona, Spain, c. 1900
Monument to a bull, Plaza de Toros de Ronda (Ronda bullring), Spain
Plaza México, with a capacity of 41,000 seats, is the largest bullring in the world by seating capacity.

Originally, at least five distinct regional styles of bullfighting were practised in southwestern Europe: Andalusia, AragonNavarre, Alentejo, Camargue, Aquitaine.[citation needed] Over time, these have evolved more or less into standardized national forms mentioned below.[citation needed] The "classic" style of bullfighting, in which the rule is kill the bull, is the style practiced in Spain and many Latin American countries.

Bullfighting stadia are named "bullrings". There are many historic bullrings; the oldest are the 1700s Spanish plazas of Sevilla and Ronda. The largest bullring is the Plaza México in Mexico City, which seats 41,000 people.[13]

Spanish

[edit]

Spanish-style bullfighting is called corrida de toros (literally "coursing of bulls") or la fiesta ("the festival"). In the traditional corrida, three matadores each fight two bulls, each of which is between four and six years old and weighs no less than 460 kg (1,014 lb).[14] Each matador has six assistants: two picadores (lancers mounted on horseback), three banderilleros – who along with the matadors are collectively known as toreros (bullfighters) – and a mozo de espadas (sword page). Collectively they comprise a cuadrilla (entourage). In Spanish the more general torero or diestro (literally 'right-hander') is used for the lead fighter, and only when needed to distinguish a man is the full title matador de toros used; in English, "matador" is generally used for the bullfighter.

Death of the PicadorFrancisco de Goya, c. 1793
Start of tercio de muerte: polished verónica and larga serpentina during a goyesca corrida.
Welcoming of a toro" a porta gayola and series of verónica, terminated by a semi-verónica.

Structure

[edit]

The modern corrida is highly ritualized, with three distinct stages or tercios ("thirds"); the start of each being announced by a bugle sound. The participants enter the arena in a parade, called the paseíllo, to salute the presiding dignitary, accompanied by band music. Torero costumes are inspired by 17th-century Andalusian clothing, and matadores are easily distinguished by the gold of their traje de luces ("suit of lights"), as opposed to the lesser banderilleros, who are also known as toreros de plata ("bullfighters of silver").[citation needed]

Tercio de Varas
[edit]

The bull is released into the ring, where he is tested for ferocity by the matador and banderilleros with the magenta and gold capote ("cape"). This is the first stage, the tercio de varas ("the lancing third"). The matador confronts the bull with the capote, performing a series of passes and observing the behavior and quirks of the bull.

Next, a picador enters the arena on horseback armed with a vara (lance). To protect the horse from the bull's horns, the animal wears a protective, padded covering called peto. Prior to 1930, the horses did not wear any protection. Often the bull would disembowel the horse during this stage. Until the use of protection was instituted, the number of horses killed during a fiesta generally exceeded the number of bulls killed.[15]

At this point, the picador stabs just behind the morrillo, a mound of muscle on the fighting bull's neck, weakening the neck muscles and leading to the animal's first loss of blood. The manner in which the bull charges the horse provides important clues to the matador about the bull such as which horn the bull favors. As a result of the injury and also the fatigue of striving to injure the armoured heavy horse, the bull holds its head and horns slightly lower during the following stages of the fight. This ultimately enables the matador to perform the killing thrust later in the performance. The encounter with the picador often fundamentally changes the behavior of a bull; distracted and unengaging bulls will become more focused and stay on a single target instead of charging at everything that moves, conserving their diminished energy reserves.[citation needed]

Tercio de Banderillas
[edit]

In the next stage, the tercio de banderillas ("the third of banderillas"), each of the three banderilleros attempts to plant two banderillas, sharp barbed sticks, into the bull's shoulders. These anger and agitate the bull reinvigorating him from the aplomado (literally "leadened") state his attacks on the horse and injuries from the lance left him in. Sometimes a matador will place his own banderillas. If so, he usually embellishes this part of his performance and employs more varied maneuvers than the standard al cuarteo method commonly used by banderilleros.[citation needed]

Tercio de Muerte
[edit]

In the final stage, the tercio de muerte ("a third of death"), the matador re-enters the ring alone with a smaller red cloth, or muleta, and a sword. It is a common misconception that the color red is supposed to anger the bull; the animals are functionally colorblind in this respect: the bull is incited to charge by the movement of the muleta.[16][17] The muleta is thought to be red to mask the bull's blood, although the color is now a matter of tradition. The matador uses his muleta to attract the bull in a series of passes, which serve the dual purpose of wearing the animal down for the kill and creating sculptural forms between man and animal that can fascinate or thrill the audience, and which when linked together in a rhythm create a dance of passes, or faena. The matador will often try to enhance the drama of the dance by bringing the bull's horns especially close to his body. The faena refers to the entire performance with the muleta.[citation needed]

The faena is usually broken down into tandas, or "series", of passes. The faena ends with a final series of passes in which the matador, using the cape, tries to maneuver the bull into a position to stab it between the shoulder blades going over the horns and thus exposing his own body to the bull. The sword is called estoque, and the act of thrusting the sword is called an estocada. During the initial series, while the matador in part is performing for the crowd, he uses a fake sword (estoque simulado). This is made of wood or aluminum, making it lighter and much easier to handle. The estoque de verdad (real sword) is made out of steel. At the end of the tercio de muerte, when the matador has finished his faena, he will change swords to take up the steel one. He performs the estocada with the intent of piercing the heart or aorta, or severing other major blood vessels to induce a quick death if all goes according to plan. Often this does not happen and repeated efforts must be made to bring the bull down, sometimes the matador changing to the 'descabello', which resembles a sword, but is actually a heavy dagger blade at the end of a steel rod which is thrust between the cervical vertebrae to sever the spinal column and induce instant death. Even if the descabello is not required and the bull falls quickly from the sword one of the banderilleros will perform this function with an actual dagger to ensure the bull is dead.[citation needed]

If the matador has performed particularly well, the crowd may petition the president by waving white handkerchiefs to award the matador an ear of the bull. If his performance was exceptional, the president will award two ears. In certain more rural rings, the practice includes an award of the bull's tail. Very rarely, if the public and the matador believe that the bull has fought extremely bravely – and the breeder of the bull agrees to have it return to the ranch – the event's president may grant a pardon (indulto). If the indulto is granted, the bull's life is spared; it leaves the ring alive and is returned to its home ranch for treatment and then to become a semental, or seed-bull, for the rest of its life.[citation needed]

Recortes

[edit]
Goya: The Speed and Daring of Juanito Apiñani in the Ring of Madrid 1815–16 (Tauromaquia, Νο. 20). Etching and aquatint
Poster by Cândido de Faria for the silent film Course de taureaux à Séville (1907, Pathé Frères). Chromolithograph. EYE Film Institute Netherlands.

Recortes, a style of bullfighting practiced in Navarre, La Rioja, north of Castile and Valencia, has been much less popular than the traditional corridas. But recortes have undergone a revival in Spain and are sometimes broadcast on TV.

This style was common in the early 19th century.[citation needed] Etchings by painter Francisco de Goya depict these events.

Recortes differ from corridas in the following manners:[18]

  • The bull is not physically injured. Drawing blood is rare, and the bull is allowed to return to his pen at the end of the performance.
  • The men are dressed in common street clothes rather than traditional bullfighting dress.
  • Acrobatics are performed often without the use of capes or other props. Performers attempt to evade the bull solely through the swiftness of their movements.
  • Rituals are less strict, so the men have the freedom to perform stunts as they please.
  • Men work in teams, but with less role distinction than with corridas.
  • Teams compete for points awarded by a jury.

Comic bullfighting

[edit]

Comical spectacles based on bullfighting, called espectáculos cómico-taurinos or charlotadas, are still popular in Spain and Mexico. Troupes include El empastre or El bombero torero.[19]

Encierros

[edit]

An encierro, or running of the bulls, is an activity related to a bullfighting fiesta. Before the events that are held in the ring, people (usually young men) run in front of a small group of bulls that have been let loose, on a course of a sectioned-off subset of a town's streets.[citation needed]

Toro embolado

[edit]

A toro embolado (in Spanish), bou embolat (in Catalan), roughly meaning "bull with balls", is a festive activity held at night and typical of many towns in Spain (mainly in the Valencian Community and Southern Catalonia). Balls of flammable material are attached to a bull's horns. The balls are lit and the bull is set free in the streets at night; participants dodge the bull when it comes close. It can be considered a variant of an encierro (correbous in Catalan). This activity is held in a number of Spanish towns during their local festivals.

Portuguese

[edit]
Cavaleiro and bull

Most Portuguese bullfights are held in two phases: the spectacle of the cavaleiro, and the pega. In the cavaleiro, a horseman on a Portuguese Lusitano horse (specially trained for the fights) fights the bull from horseback. The purpose of this fight is to stab three or four bandeiras (small javelins) into the back of the bull.[citation needed]

In the second stage, called the pega ("holding"), the forcados, a group of eight men, challenge the bull directly without any protection or weapon of defense. The frontman provokes the bull into a charge to perform a pega de cara or pega de caras (face grab). The frontman secures the animal's head and is quickly aided by his fellows who surround and secure the animal until he is subdued.[20] Forcados are dressed in a traditional costume of damask or velvet, with long knitted hats as worn by the campinos (bull headers) from Ribatejo.

The bull is not killed in the ring and, at the end of the corrida, leading oxen are let into the arena, and two campinos on foot herd the bull among them back to its pen. The bull is usually killed out of sight of the audience by a professional butcher. Some bulls, after an exceptional performance, are healed, released to pasture and used for breeding.[citation needed]

In the Portuguese Azores islands, there is a form of bullfighting called tourada à corda, in which a bull is led on a rope along a street, while players taunt and dodge the bull, who is not killed during or after the fight, but returned to pasture and used in later events.[citation needed]

Rádio e Televisão de Portugal (RTP) ceased to broadcast bullfights in Portugal since 2021.[21]

France

[edit]
The Roman amphitheater at Arles being fitted for a corrida
A bullfight in Arles in 1898.

Since the 19th century, Spanish-style corridas have been increasingly popular in Southern France, where they enjoy legal protection in areas where there is an uninterrupted tradition of such bull fights, particularly during holidays such as Whitsun or Easter. Among France's most important venues for bullfighting are the ancient Roman arenas of Nîmes and Arles, although there are bull rings across the South from the Mediterranean to the Atlantic coasts. The Brava cattle are bred for bullfighting.

Bullfights of this kind follow the Spanish tradition and even Spanish words are used for all Bullfighting related terms. Minor cosmetic differences exist such as music. This is not to be confused with the bloodless bullfights referred to below which are indigenous to France.[citation needed]

Course camarguaise (course libre)

[edit]
A raseteur takes a rosette

A more indigenous genre of bullfighting is widely common in the Provence and Languedoc areas, and is known alternately as "course libre" or "course camarguaise" (Occitan: Curs Camarguesa, Curs liure). This is a bloodless spectacle (for the bulls) in which the objective is to snatch a rosette from the head of a young bull. The participants, or raseteurs, begin training in their early teens against young bulls from the Camargue region of Provence before graduating to regular contests held principally in Arles and Nîmes but also in other Provençal and Languedoc towns and villages. Before the course, an abrivado—a "running" of the bulls in the streets—takes place, in which young men compete to outrun the charging bulls. The course itself takes place in a small (often portable) arena erected in a town square. For a period of about 15–20 minutes, the raseteurs compete to snatch rosettes (cocarde) tied between the bulls' horns. They do not take the rosette with their bare hands but with a claw-shaped metal instrument called a raset or crochet (hook) in their hands, hence their name. Afterward, the bulls are herded back to their pen by gardians (Camarguais cowboys) in a bandido, amidst a great deal of ceremony. The stars of these spectacles are the bulls.[22]

Course landaise

[edit]

Another type of French 'bullfighting' is the "course landaise", in which cows are used instead of bulls. This is a competition between teams named cuadrillas, which belong to certain breeding estates. A cuadrilla is made up of a teneur de corde, an entraîneur, a sauteur, and six écarteurs. The cows are brought to the arena in crates and then taken out in order. The teneur de corde controls the dangling rope attached to the cow's horns and the entraîneur positions the cow to face and attack the player. The écarteurs will try, at the last possible moment, to dodge around the cow and the sauteur will leap over it. Each team aims to complete a set of at least one hundred dodges and eight leaps. This is the main scheme of the "classic" form, the course landaise formelle. However, different rules may be applied in some competitions. For example, competitions for Coupe Jeannot Lafittau are arranged with cows without ropes.[citation needed]

At one point, it resulted in so many fatalities that the French government tried to ban it but had to back down in the face of local opposition. The bulls themselves are generally fairly small, much less imposing than the adult bulls employed in the corrida. Nonetheless, the bulls remain dangerous due to their mobility and vertically formed horns. Participants and spectators share the risk; it is not unknown for angry bulls to smash their way through barriers and charge the surrounding crowd of spectators. The course landaise is not seen as a dangerous sport by many, but écarteur Jean-Pierre Rachou died in 2003 when a bull's horn tore his femoral artery.[citation needed]

Non-bloodsport variations

[edit]
A youth trying to take control of a bull at a Jallikattu in Tamil Nadu, India
In California, the lances are tipped with hook and loop fasteners (e.g. Velcro) and aimed at pads on the bull.
  • In Bolivia, bulls are not killed nor injured with any sticks. The goal of Bolivian toreros is to provoke the bull with taunts without getting harmed themselves.[23]
  • In El Seibo Province of the Dominican Republic bullfights are not about killing or harming the animal, but taunting and evading it until it is tired.[24]
  • In Canada, Portuguese-style bullfighting was introduced in 1989 by Portuguese immigrants in the town of Listowel in southern Ontario. Despite objections and concerns from local authorities and a humane society, the practice was allowed as the bulls were not killed or injured in this version.[25] In the nearby city of Brampton, Portuguese immigrants from the Azores practice "tourada a corda" (bullfight by rope).[26]
  • Jallikattu is a traditional spectacle in Tamil Nadu, India as a part of Pongal celebrations on Mattu Pongal day. A breed of bos indicus (humped) bulls, called "Jellicut" are used.[27] During jallikattu, a bull is released into a group of people, and participants attempt to grab the bull's hump and hold onto it for a determined distance, length of time, or with the goal of taking a pack of money tied to the bull's horns. The goal of the activity is more similar to bull riding (staying on).[28]
  • Savika is a zebu-wrestling sport found in Madagascar, particularly among the Betsileo people.[29]
  • American freestyle bullfighting is a style of bullfighting developed in American rodeo. The style was developed by the rodeo clowns who protect bull riders from being trampled or gored by a loose bull. Freestyle bullfighting is a 70-second competition in which the bullfighter (rodeo clown) avoids the bull by means of dodging, jumping, and use of a barrel.[30]
  • In California's Central Valley, the historically Portuguese community has developed a form of bullfight in which the bull is taunted by a matador, but the lances are tipped with fabric hook and loop (e.g. Velcro) and they are aimed at hook-and-loop covered pads secured to the bull's shoulder.[31] Fights occur from May through October around traditional Portuguese holidays.[32] While California outlawed bullfighting in 1957, this type of bloodless bullfighting is still allowed if carried out during religious festivals or celebrations.[33]
  • In Tanzania, bullfighting was introduced by the Portuguese to Zanzibar and to Pemba Island, in modern Tanzania, where it is known as mchezo wa ngombe. Similar to the Portuguese Azorean tourada a corda, the bull is restrained by a rope, generally neither bull nor player is harmed, and the bull is not killed at the end of the fight.[34][35]
Bullpushing, the bullfight in Okinoshima, Shimane, Japan (1933)
  • In Japan, bullfighting is bull wrestling, with a history of at least from the 12th century, as the Emperor Go-Toba was recorded to have been entertained by bullpushing when he was exiled to the Oki Islands.[36]
  • In Zhejiang, China, guanniu is a traditional form of bullfighting in which contestants attempt to physically wrestle a bull to the ground.[37]
  • In Costa Rica, bullfighters attempt to subdue bulls by riding them to exhaustion. Unlike American bull riding, Costa Rican bullfighting is not timed and there are no standards to determine victory. Instead, victory is contingent on the quality of the performance, charisma, and showmanship. While bullfighting in countries such as Spain originated as entertainment for the elite classes, Costa Rican bullfighting originated among farmers who could not afford to kill their bulls.[38]

Hazards

[edit]
Muerte del Maestro (Death of the Master) – José Villegas Cordero, 1884
Stuffed bull head in a bar in San Sebastián

Spanish-style bullfighting is usually fatal for the bull, and it is also dangerous for the matador. Matadors are usually gored every season, with picadors and banderilleros being gored less often. With the discovery of antibiotics and advances in surgical techniques, fatalities are now rare, although over the past three centuries 534 professional bullfighters have died in the ring or from injuries sustained there. Most recently, Iván Fandiño died of injuries he sustained after being gored by a bull on 17 June 2017 in Aire-sur-l'Adour, France.[39][40][41]

Some matadors, notably Juan Belmonte, have been seriously gored many times: according to Ernest Hemingway, Belmonte's legs were marred by many ugly scars. The Sanatorio de los Toreros in Madrid is a hospital that specialises in treating the cornadas, or horn-wounds, of matadors.[42]

The bullring has a chapel where a matador can pray before the corrida, and where a priest can be found in case a sacrament is needed. The most relevant sacrament is now called "Anointing of the Sick"; it was formerly known as "Extreme Unction", or the "Last Rites".[citation needed]

The media often reports the more horrific of bullfighting injuries, such as the September 2011 goring of matador Juan José Padilla's head by a bull in Zaragoza, resulting in the loss of his left eye, use of his right ear, and facial paralysis. He returned to bullfighting five months later with an eyepatch, multiple titanium plates in his skull, and the nickname 'The Pirate'.[43]

Until the early twentieth century, the horses were unprotected and were commonly gored and killed, or left close to death (intestines destroyed, for example). The horses used were old and worn-out, with little value. Starting in the twentieth-century horses were protected by thick blankets and wounds, though not unknown, were less common and less serious.[citation needed]

However, the danger lurks not only from a bull, but also from other causes, such as too weak infrastructure. One of such cases happened in 2022 in Colombia, when several people were killed and more than 300 were injured after a stand collapsed during the bullfight. The incident happened in El Espinal, Tolima, in central Colombia.[44]

Cultural aspects

[edit]
A matador evading a bull in Cancún, Mexico. 2012.

Many supporters of bullfighting regard it as a deeply ingrained, integral part of their national cultures; in Spain, bullfighting is nicknamed la fiesta nacional ("the national fiesta").[45][a] The aesthetic of bullfighting is based on the interaction of the man and the bull. Rather than a competitive sport, the bullfight is more of a ritual of ancient origin, which is judged by aficionados based on artistic impression and command.

American author Ernest Hemingway wrote of it in his 1932 non-fiction book Death in the Afternoon: "Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter's honor."[46] Bullfighting is seen by some as a symbol of Spanish national culture.[47][45]

The bullfight is regarded as a demonstration of style, technique, and courage by its participants[48] and as a demonstration of cruelty and cowardice by its critics. While there is usually no doubt about the outcome, the bull is not viewed by bullfighting supporters as a sacrificial victim — it is instead seen by the audience as a worthy adversary, deserving of respect in its own right.[49]

Those who oppose bullfighting maintain that the practice is a sadistic tradition of torturing and killing a bull amidst pomp and pageantry.[50] Supporters of bullfights, called "aficionados", claim to respect the bulls, that the bulls live better than other cattle, and that bullfighting is a grand tradition, a form of art important to their culture.[51]

Women in bullfighting

[edit]

In nineteenth-century Spain, Martina García stood out among female bullfighters as one of the few who sometimes fought bulls alongside men.[52]

Conchita Cintrón was a Peruvian female bullfighter who began her career in Portugal before being active in Mexican and South American bullfights.[53] Patricia McCormick began bullfighting as a professional Matadora in January 1952, and was the first American to do so.[54] Bette Ford was the first American woman to fight on foot in the Plaza México, the world's largest bullfight arena.[55]

In 1974, Ángela Hernández (also known as Ángela Hernández Gómez and just Ángela), of Spain, won a case in the Spanish Supreme Court allowing women to be bullfighters in Spain; a prohibition against women doing so was put in place in Spain in 1908.[56][57] Cristina Sánchez de Pablos, of Spain, was one of the first female bullfighters to gain prominence; she debuted as a bullfighter in Madrid on 13 February 1993.[citation needed]

Popularity, controversy, and criticism

[edit]

Popularity

[edit]

In Spain and Latin America, opposition to bullfighting is referred to as the antitaurino movement.[citation needed] In a 2012 poll, 70% of Mexican respondents wanted bullfighting to be prohibited.[58]

France

[edit]
Are you in favour of banning bullfighting in France or not?[59]
% response Sep 2007 Aug 2010 Feb 2018
In favour 50 66 74
Not in favour 50 34 26

A February 2018 study commissioned by the 30 millions d'amis foundation and conducted by the Institut français d'opinion publique (IFOP) found that 74% of the French wanted to prohibit bullfighting in France, with 26% opposed. In September 2007, these percentages were still 50-50, with those favouring a ban growing to 66% in August 2010 and those opposed shrinking to 34%. The survey found a correlation between age and opinion; younger survey participants were more likely to support a ban.[59]

Spain

[edit]
Prevalence of bullfighting across Spanish provinces during the 19th century.
Prevalence of bullfighting across Spanish provinces as of 2012.

Despite its slow decrease in popularity among younger generations, bullfighting remains a widespread cultural activity throughout Spain. A 2016 poll reported that 58% of Spaniards aged 16 to 65 opposed bullfighting against 19% who supported it. The support was lower among the younger population, with only 7% of respondents aged 16 to 24 supporting bullfighting, vs. 29% support within 55 to 65 age group. According to the same poll 67% of respondents felt "little to not at all" proud to live in a country where bullfighting was a cultural tradition (84% among 16 to 24 age group).[60]

Between 2007 and 2014, the number of corridas held in Spain decreased by 60%.[61] In 2007 there were 3,651 bullfighting and bull-related events in Spain but by 2018, the number of bullfights had decreased to 1,521, a historic low.[62][63] A September 2019 Spanish government report showed that only 8% of the population had attended a bull-related event in 2018; of this percentage, 5.9% attended a bullfight while the remainder attended other bull-related events, such as the running of the bulls.[63] When asked to gauge their interest in bullfighting on a scale of 0 through 10, only 5.9% responded with 9–10. A majority of 65% of responded with 0–2; among those aged 15–19, this figure was 72.1%, and for those aged 20–24, it reached 76.4%.[63] With a fall in attendance, the bullfighting sector has come under financial stress, as many local authorities have reduced subsidies because of public criticism.[63]

Should bullfighting be banned [in Spain]?[64]
% response May 2020
Yes 52
No 35
Don't know / Refused answer 10 / 2

When the COVID-19 pandemic hit Spain and the country entered into lockdown in March 2020, all bullfighting events were cancelled indefinitely. In mid-May 2020, the bullfighting industry, alike other sectors of Spanish economy, demanded that the government compensate them for their losses, estimated at €700 million. This prompted outrage, and more than 100,000 people signed a petition launched by AnimaNaturalis urging the government not to rescue "spectacles based on the abuse and mistreatment of animals" with taxpayer money at a time when people were struggling to survive and public finances were already heavily strained.[62] A 29–31 May 2020 YouGov survey commissioned by HuffPost showed that 52% of the 1,001 Spaniards questioned wanted to ban bullfighting, 35% were opposed, 10% did not know and 2% refused to answer. A strong majority of 78% answered that corridas should no longer be partially subsidised by the government, with 12% favoring subsidies and 10% undecided. When asked whether bullfighting was culture or mistreatment, 40% replied that it is mistreatment alone, 18% replied that it is culture alone and 37% replied that it is both. Of the respondents, 53% had never attended a corrida.[64]

Peru

[edit]

Outside of Spain, the country in which bullfighting has enjoyed the most popularity today is Peru. The Plaza de toros de Acho, the oldest bullring in the Americas and second oldest in the world after La Maestranza in Spain (not counting the Roman Empire-era Arles Amphitheatre in France), serves as the premier bullring in the country and is classified as a national historic monument. The bullfighting fair held in honor of the annual Señor de los Milagros festival takes place at the plaza on Sundays through October and November. During the fair, Lima brings in some of the world's most lauded talent (the bill for 2019 included Andrés Roca Rey, Sebastian Castella, and José Mari Manzanares)[65] The best bullfighter of the year is awarded the Escapulario de Oro (Golden Scapular), while the Escapulario de Plata (Silver Scapular) goes to the provider of the best bull. Sometimes either or both scapulars may go not awarded.

Costa Rica

[edit]

The most famous bull in Costa Rica was named Malacrianza, and he was responsible for the deaths of two riders; he killed one in 2005 and another in 2006. Malacrianza was credited with revitalizing the popularity of bullfighting in Costa Rica, as the sport was declining in popularity prior to his debut, but the widespread media coverage of the deaths he caused generated nationwide interest.[38]

Animal welfare

[edit]
Bull dying in a bullfight

RSPCA assistant director for public affairs David Bowles said: "The RSPCA is strongly opposed to bullfighting. It is an inhumane and outdated practice that continues to lose support, including from those living in the countries where this takes place such as Spain, Portugal and France."[66]

The bullfighting guide The Bulletpoint Bullfight warns that bullfighting is "not for the squeamish," advising spectators to "be prepared for blood." The guide details prolonged and profuse bleeding caused by horse-mounted lancers, the charging by the bull of a blindfolded, armored horse who is "sometimes doped up, and unaware of the proximity of the bull", the placing of barbed darts by banderilleros and the matador's fatal sword thrust. The guide stresses that these procedures are a normal part of bullfighting and that death is rarely instantaneous. The guide further warns those attending bullfights to "Be prepared to witness various failed attempts at killing the animal before it lies down."[67]

Alexander Fiske-Harrison, who trained as a bullfighter to research for his book on the topic (and trained in biological sciences and moral philosophy before that), has pointed out that the bull lives three times longer than do cattle reared exclusively for meat, and lives wild during that period in meadows and forests which are funded by the premium the bullfight's box office adds on to the price of their meat, should be taken into account when weighing concerns about both animal welfare and the environment. He also speculated that the adrenalizing nature of the 30-minute spectacle may reduce the bull's suffering even below that of the stress and anxiety of queueing in the abattoir.[68][69] However, zoologist and animal rights activist Jordi Casamitjana argues that the bulls do experience a high degree of suffering and "all aspects of any bullfight, from the transport to the death, are in themselves causes of suffering."[70]

Funding

[edit]
A ticket stub from 1926

The question of public funding is particularly controversial in Spain, since widely disparaged claims have been made by supporters and opponents of bullfighting. According to government figures, bullfighting in Spain generates €1.6 billion a year and 200,000 jobs, 57,000 of which are directly linked to the industry.[citation needed] Furthermore, 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).

According to a 2016 poll, 73% of Spaniards oppose public funding for bullfighting activities.[60]

Critics often claim that bullfighting is financed with public money. However, though bullfighting attracts 25 million spectators annually, it represents just 0.01% of state subsidies allocated to cultural activities, and less than 3% of the cultural budget of regional, provincial and local authorities. The bulk of subsidies is paid by town halls in localities where there is a historical tradition and support for bullfighting and related events, which are often held free of charge to participants and spectators. The European Union does not subsidize bullfighting but it does subsidize cattle farming in general, which also benefits those who rear Spanish fighting bulls.[71]

In 2015, 438 of 687 members of the European Parliament voted in favour of amending the 2016 E.U. budget to indicate that the "Common Agricultural Policy (CAP) appropriations or any other appropriations from the budget should not be used for the financing of lethal bullfighting activities."[72]

Politics

[edit]

In the late 19th and early 20th century, some Spanish regeneracionista intellectuals protested against what they called the policy of pan y toros ("bread and bulls"), an analogue of Roman panem et circenses. Such belief was part of the wider current of thought known as anti-flamenquismo, a campaign against the popularity of both bullfighting and flamenco music, which were believed to be "oriental" elements of Spanish culture that were responsible for Spain's perceived culture gap compared to the rest of Europe. In Francoist Spain, bullfights received great governmental support, as they were considered a demonstration of greatness of the Spanish nation and received the name of fiesta nacional. [citation needed] Bullfighting was therefore highly associated with the regime. After Spain's transition to democracy, popular support for bullfighting declined.[citation needed]

Opposition to bullfighting from Spain's political parties is typically highest among those on the left. PSOE, the main left-wing political party, has distanced itself from bullfighting but refuses to ban it, while Spain's far-left political party Podemos has repeatedly called for referendums on the matter and has shown disapproval of the practise.[73][74] PP, the largest conservative party, strongly supports bullfighting and has requested large public subsidies for it.[75] The government of José Luis Rodríguez Zapatero was the first to oppose bullfighting, prohibiting children under 14 from attending events and imposing a six-year ban on live bullfights broadcast on state-run national television, although the latter measure was reversed after Zapatero's party lost in the 2011 elections.[76]

Despite its long history in Barcelona, bullfighting was outlawed across the Catalonia region in 2010 following a campaign led by an animal-rights civic platform called "Prou!" ("Enough!" in Catalan). Critics have argued that the ban was motivated by issues of Catalan separatism and identity politics.[77] In October 2016, the Constitutional Court ruled that the regional Catalan Parliament did not have the authority to ban events that are legal in Spain.

The Spanish Royal Family is divided on the issue. Former queen consort Sofía of Spain disapproves of bullfights,[78] but former king Juan Carlos occasionally presided over bullfights from the royal box.[79][80][81] Their daughter Princess Elena is well-known for her support of the practice and often attends bullfights.[82]

Pro-bullfighting supporters include former prime minister Mariano Rajoy and his party (Partido Popular), as well as most leaders of the opposition PSOE party, including former prime minister Felipe Gonzalez and the current presidents of Andalusia, Extremadura and Castilla–La Mancha.

As of 2025, the Congress of Mexico City voted to ban traditional bullfighting and replace it with a new form of entertainment involving bulls that does not result in their death. This decision followed a citizen-led initiative calling for a ban on bullfighting in the city.[83]

Religion

[edit]
Pope Pius V's bull against bullfighting and other blood sports involving wild animals (1567)

Bullfighting is thought to have been practised since prehistoric times throughout the entire Mediterranean coast, but it survives only in Iberia and in part of France.[84] During the Muslim rule of Iberia, the ruling class tried to ban bullfighting, considering it a pagan celebration and heresy.[85] In the 16th century, Pope Pius V banned bullfighting for its ties to paganism and for the danger that it posed to the participants.[86] Anyone who would sponsor, watch or participate in a bullfight was to be excommunicated by the church.[86] Spanish and Portuguese bullfighters kept the tradition alive covertly, and Pius's successor Pope Gregory XIII relaxed the church's position.[87] However, Pope Gregory advised bullfighters to not use the sport as means of honoring Jesus Christ or the saints, as was typical in Spain and Portugal.[86]

Although Pope Francis's statement that "every act of cruelty towards any creature is 'contrary to human dignity'", in his 2015 encyclical letter, Laudato si', does not mention bullfighting as such, it has been taken as supporting religious opposition to bullfighting.[88]

Bullfighting has been intertwined with religion and religious folklore in Spain at a popular level, particularly in the areas in which it has been most popular.[89][90] Bullfighting events are celebrated during festivities celebrating local patron saints, along with other activities, games and sports. The bullfighting world is also inextricably linked to iconography related to religious devotion in Spain, with bullfighters seeking the protection of Mary and often becoming members of religious brotherhoods.[91][92]

Media prohibitions

[edit]

State-run Spanish TVE had cancelled live coverage of bullfights in August 2007 until September 2012, claiming that the coverage was too violent for children and that live coverage violated a voluntary, industry-wide code attempting to limit "sequences that are particularly crude or brutal."[93] In an October 2008 statement to Congress, Luis Fernández, the president of Spanish state broadcaster TVE, confirmed that the station would no longer broadcast live bullfights because of high production costs and a lack of advertiser support. However, the station continued to broadcast Tendido Cero, a bullfighting magazine programme.[94] Other regional and private channels kept broadcasting it with good audiences.[95][vague] Prime Minister Mariano Rajoy's government lifted the ban, and live bullfights were shown at the traditional 6:00 p.m. time on TVE as of September 2012.[76][needs update]

A television station in Costa Rica stopped the broadcast of bullfights in January 2008 over concerns that they were too violent for minors.[96][failed verification]

Declaration as cultural patrimony

[edit]

A growing list of Spanish, Portuguese and South American cities and regions have formally declared their bullfighting celebrations as part of their protected cultural patrimony or heritage. Most of these declarations have been enacted in reaction to the 2010 ban in Catalonia.[97] In April 2012, the Andalusian city of Seville declared bullfighting to be part of the city's cultural heritage.[98]

Laws

[edit]

Pre-20th century

[edit]
Plaza de toros de Acho in Lima, Peru—the oldest bullring in South America, dating back to 1766

In November 1567, Pope Pius V issued a papal bull titled De Salute Gregis forbidding the fighting of bulls and other beasts as a voluntary risk to life which endangered the soul of the combatants. However it was rescinded eight years later by his successor, Pope Gregory XIII, at the request of King Philip II.

Chile banned bullfighting shortly after gaining independence in 1818, but the Chilean rodeo (which involves horseriders in an oval arena blocking a female cow against the wall without killing it) is still legal and has even been declared a national sport.[99]

Bullfighting was introduced in Uruguay in 1776 by Spain and abolished by Uruguayan law in February 1912; thus the Plaza de toros Real de San Carlos, built in 1910, only operated for two years.[100] Bullfighting was also introduced in Argentina by Spain, but after Argentina's independence, the event drastically diminished in popularity and was abolished in 1899 under law 2786.[101]

Bullfighting was present in Cuba during its colonial period from 1514 to 1898, but was abolished by the United States military under the pressure of civic associations in 1899, right after the Spanish–American War of 1898. The prohibition was maintained after Cuba gained independence in 1902.[102] Bullfighting was also banned for a period in Mexico in 1890; consequently some Spanish bullfighters moved to the United States to transfer their skills to the American rodeos.[103]

During the 18th and 19th centuries, bullfighting in Spain was banned at several occasions [citation needed] (for instance by Philip V), but always reinstituted later by other governments.

Bullfighting had some popularity in the Philippines during Spanish rule, though foreign commentators derided the quality of local bulls and toreros.[104][105] Bullfighting was noted in the Philippines as early as 1619, when it was among the festivities in celebration of Pope Urban III's authorisation of the Feast of the Immaculate Conception.[106] Following the Spanish–American War, the Americans suppressed the custom in the Philippines under the tenure of Governor General Leonard Wood, and it was replaced with a now-popular Filipino sport, basketball.[107]

20th century onwards

[edit]
  
Nationwide ban on bullfighting
  
Nationwide ban on bullfighting, but some designated local traditions exempted
  
Some subnational bans on bullfighting
  
Bullfighting without killing bulls in the ring legal (Portuguese style or 'bloodless')
  
Bullfighting with killing bulls in the ring legal (Spanish style)
  
No data

Bullfighting is now banned in many countries; people taking part in such activity would be liable for terms of imprisonment for animal cruelty. "Bloodless" variations, though, are often permitted and have attracted a following in California, Texas, and France.[108] In southern France, however, the traditional form of the corrida still exists and it is protected by French law. However, in June 2015 the Paris Court of Appeals removed bullfighting/"la corrida" from France's cultural heritage list.[109][110][111] While it is not very popular in Texas, bloodless forms of bullfighting occur at rodeos in small Texas towns.[112]

Several cities around the world (especially in Catalonia) have symbolically declared themselves to be Anti-Bullfighting Cities, including Barcelona in 2006.

Colombia

[edit]

The issue of bullfighting has been controversial and problematic in Colombia in recent years.[113] Bullfighting with killing bulls in the ring is legal in Colombia.[114] In 2013, Gustavo Petro, then mayor of the Colombian capital city of Bogotá, had de facto prohibited bullfighting by refusing to lease out bullrings to bullfighting organisers. But the Constitutional Court of Colombia ruled that this violated the right to expression of the bullfighters, and ordered the bullrings to be reopened. The first bullfight in Bogotá in four years happened on 22 January 2017 amid clashes between antitaurino protesters and police.[115] Petro, who was elected as president of Colombia in 2022, promised in his campaign to end any show involving animals.[116]

After a bullring collapse in June 2022 occurred in the municipality of El Espinal in the Tolima department, resulting in the deaths of four people and injured hundreds,[117] opened a new debate on the legality and safety of the corralejas and bullfights throughout the country. A bill presented that year on 21 July by Deputy Juan Carlos Lozada, from the Liberal Party, was approved by the First Commission of the Chamber in the first debate, and is based on eliminating bullfighting practices in the national territory.[118] However, the bill foundered when it was passed to Congress. Animalists questioned the lack of support from the progressive bench.[116]

In the early hours of 15 December, after several hours of hard debate between the government and opposition benches, the Senate of the Republic approved in a second debate the project of Law 085 of 2022, proposed by Senator Andrea Padilla of the Alianza Verde, which seeks a ban on bullfights in Colombia.[119] However, consensus was achieved by leaving out the prohibition of cockfighting and corralejas, key points of the initiative. As of 26 December 2022, the proposal goes to the third debate, which will take place in the House of Representatives. The law seeks to eventually weed out bullfighting in the country in the next three years, while it stamps out practices of killing the bulls in the arena, attacking them with pikes or handheld harpoons.

Supporters have stated that the measures would kill the tradition, which has existed in the country for generations, and that it is still a popular form of entertainment in rural areas and an art form.[120]

In May 2024, the Congress of Colombia adopted a bill to ban bullfighting across the country from the year 2027 onwards.[121]

Costa Rica

[edit]

In Costa Rica the law prohibits the killing of bulls and other animals in public and private shows.[122] However, there are still bullfights, called "Toros a la Tica", that are televised from Palmares and Zapote at the end and beginning of the year. Volunteer amateur bullfighters (improvisados) confront a bull in a ring and try to provoke him into charging and then run away.[123] In a December 2016 survey, 46.4% of respondents wanted to outlaw bullfights while 50.1% thought they should continue.[124] Costa Rican bullfights may also involve trying to subdue the bull by riding it to exhaustion.[125]

Ecuador

[edit]

Ecuador staged bullfights to the death for over three centuries as a Spanish colony. On 12 December 2010, Ecuador's president Rafael Correa announced that in an upcoming referendum, the country would be asked whether to ban bullfighting;[126][127][128] in the referendum, held in May 2011, the Ecuadorians agreed on banning the final killing of the bull that happens in a corrida.[129] This means the bull is no longer killed before the public, and is instead taken back inside the barn to be killed at the end of the event. The other parts of the corrida are still performed the same way as before in the cities that celebrate it.[130] This part of the referendum is applied on a regional level, meaning that in regions where the population voted against the ban, which are the same regions where bullfighting is celebrated the most, killing the animal publicly in the bullfighting plaza is still performed. The main bullfighting celebration of the country, the Fiesta Brava in Quito was still allowed to take place in December 2011 after the referendum under these new rules.[131]

France

[edit]

In 1951,[132] bullfighting in France was legalised by §7 of Article 521-1 of the French penal code in areas where there was an 'unbroken local tradition'.[133] This exemption applies to Nîmes, Arles, Alès, Bayonne, Carcassonne, and Fréjus, amongst others.[132] In 2011, the French Ministry of Culture added corrida to the list of 'intangible heritage' of France, but after much controversy silently removed it from its website again. Animal rights activists launched a lawsuit to make sure it was completely removed from the heritage list and thus not given extra legal protection; the Administrative Appeals Court of Paris ruled in their favour in June 2015.[134] In a separate case, the Constitutional Council ruled on 21 September 2012 that bullfighting did not violate the French Constitution.[135]

Honduras

[edit]

In Honduras, under Article 11 of 'Decree no. 115-2015 ─ Animal Protection and Welfare Act' that went into effect in 2016, dog and cat fights and duck races are prohibited, while 'bullfighting shows and cockfights are part of the National Folklore and as such allowed'. However, 'in bullfighting shows, the use of spears, swords, fire or other objects that cause pain to the animal is prohibited.'[136]

India

[edit]

Jallikattu, a type of bull-taming or bull-riding event, is practiced in the Indian state of Tamil Nadu. A bull is released into a crowd of people. Participants attempt to grab the bull's hump and either hold on for a determined distance or length of time or attempt to liberate a packet of money tied to the bull's horns. The practice was banned in 2014 by India's Supreme Court over concerns that bulls are sometimes mistreated prior to jallikattu events. Animal welfare investigations into the practice revealed that some bulls are poked with sticks and scythes, some have their tails twisted, some are force-fed alcohol to disorient them, and in some cases chili powder and other irritants are applied to bulls' eyes and genitals to agitate the animals.[137] The 2014 ban was suspended and reinstated several times over the years. In January 2017, the Supreme Court upheld their previous ban and various protests arose in response. Due to these protests, on 21 January 2017, the Governor of Tamil Nadu issued a new ordinance that authorized the continuation of jallikattu events.[138] On 23 January 2017 the Tamil Nadu legislature passed a bi-partisan bill, with the accession of the Prime Minister, exempting jallikattu from the Prevention of Cruelty to Animals Act (1960).[139] As of January 2017 Jallikattu is legal in Tamil Nadu,[140] but another organization may challenge the mechanism by which it was legalized,[141] as the Animal Welfare Board of India claims that the Tamil Nadu Legislative Assembly does not have the power to override Indian federal law, meaning that the state law could possibly once again be nullified and jallikattu banned.[142][143]

Mexico

[edit]

Bullfighting has been banned in 5 of the 31 states of Mexico: Sonora in 2013, Guerrero in 2014, Coahuila in 2015,[144] Quintana Roo in 2019,[145] and Sinaloa in 2022.[146] It was also banned "indefinitely" in Mexico City in 2022,[147] but resumed on 29 January 2024 after a series of legal challenges.[148] The country's highest court temporarily revoked a local ruling that sided with animal rights activists, allowing the events to take place again in the Plaza México, the world's largest bullfighting arena. This development was met with protests by animal rights activists outside the arena, highlighting the ongoing controversy surrounding the practice.[149][150]

Panama

[edit]

Law 308 on the Protection of Animals was approved by the National Assembly of Panama on 15 March 2012. Article 7 of the law states: 'Dog fights, animal races, bullfights – whether of the Spanish or Portuguese style – the breeding, entry, permanence and operation in the national territory of all kinds of circus or circus show that uses trained animals of any species, are prohibited.' Horse racing and cockfighting were exempt from the ban.[151]

Nicaragua

[edit]

Nicaragua prohibited bullfighting under a new Animal Welfare Law in December 2010, with 74 votes in favour and 5 votes against in Parliament.[152]

Portugal

[edit]

Queen Maria II of Portugal prohibited bullfighting in 1836 with the argument that it was unbefitting for a civilised nation. The ban was lifted in 1921, but in 1928 a law was passed that forbade the killing of the bull during a fight. In practice, bulls still frequently die after a fight from their injuries or by being slaughtered by a butcher.[153]

In 2001, matador Pedrito de Portugal controversially killed a bull at the end of a fight after spectators encouraged him to do so by chanting "Kill the bull! Kill the bull!"[153] The crowds gave Pedrito a standing ovation, hoisted him on their shoulders and paraded him through the streets.[153] Hours later the police arrested him and charged him with a fine, but they released him after crowds of angry fans surrounded the police station.[153] A long court case ensued, finally resulting in Pedrito's conviction in 2007 with a fine of €100,000.[153] In 2002, the Portuguese government gave Barrancos, a village near the Spanish border where bullfighting fans stubbornly persisted in encouraging the killing of bulls during fights, a dispensation from the 1928 ban.[153]

Various attempts have been made to ban bullfighting in Portugal, both nationally (in 2012 and 2018) and locally, but so far unsuccessful. In July 2018, animalist party PAN presented a proposal at the Portuguese Parliament to abolish all types of bullfighting in the country. Left-wing party Left Bloc voted in favour of the proposal but criticised its lack of solutions to the foreseen consequences of the abolition. The proposal was however categorically rejected by all other parties, that cited freedom of choice and respect for tradition as arguments against it.[154][155]

Spain

[edit]
Legal situation of bullfighting in Spain in 2015 (overturned in 2016)ː
  Bullfighting banned.
  Bullfighting legal, but traditionally not practiced.
  Bullfighting banned, but other spectacles involving cattle protected by law.
  Bullfighting legal, but banned in some places.
  Bullfighting legal.
  Bullfighting legal and protected by law (declared as Cultural Interest or Intangible Cultural Heritage).

The parliament of the autonomous community of Catalonia voted in favour of a ban on bullfighting in 2009, which went into effect in 2012.[63] The Spanish national parliament passed a law in 2013 stating that bullfighting is an 'indisputable' part of Spain's 'cultural heritage'; this law was used by the Spanish Constitutional Court in 2016 to overturn the Catalan ban of 2012.[63] When the island of Mallorca adopted a law in 2017 that prohibited the killing of a bull during a fight, this law was also declared partially unconstitutional by the Spanish Constitutional Court in 2018, as the judges ruled that the death of the bull was part of the essence of a corrida.[63] Despite a general decline in popularity among the broader population, bullfighting has seen a revival among younger audiences in Spain. Statistics from the Culture Ministry for the 2021–22 season indicate that teenagers aged 15–19 were the largest group attending bullfights.[156]

Canary Islands

[edit]

In 1991, the Canary Islands became the first Spanish Autonomous Community to ban bullfighting,[77] when they legislated to ban spectacles that involve cruelty to animals, with the exception of cockfighting, which is traditional in some towns in the Islands;[157] bullfighting was never popular in the Canary Islands. Some supporters of bullfighting and even Lorenzo Olarte Cullen,[158] Canarian head of government at the time, have argued that the fighting bull is not a "domestic animal" and hence the law does not ban bullfighting.[159] The absence of spectacles since 1984 would be due to lack of demand. In the rest of Spain, national laws against cruelty to animals have abolished most blood sports, but specifically exempt bullfighting.

Catalonia

[edit]

On 18 December 2009, the parliament of Catalonia, one of Spain's seventeen Autonomous Communities, approved by majority the preparation of a law to ban bullfighting in Catalonia, as a response to a popular initiative against bullfighting that gathered more than 180,000 signatures.[160] On 28 July 2010, with the two main parties allowing their members a free vote, the ban was passed 68 to 55, with 9 abstentions. This meant Catalonia became the second Community of Spain (first was Canary Islands in 1991), and the first on the mainland, to ban bullfighting. The ban took effect on 1 January 2012, and affected only the one remaining functioning Catalan bullring, the Plaza de toros Monumental de Barcelona.[77][161] It did not affect the correbous, a traditional game of the Ebro area (south of Catalonia) where lighted flares are attached to a bull's horns. The correbous are seen mainly in the municipalities in the south of Tarragona, with the exceptions of a few other towns in other provinces of Catalonia. The name correbous is essentially Catalan and Valencian; in other parts of Spain they have other names.[162]

A movement emerged to revoke the ban in the Spanish congress, citing the value of bullfighting as "cultural heritage". The proposal was backed by the majority of parliamentarians in 2013.[163]

In October 2016 the Spanish Constitutional Court ruled that the regional Catalan Parliament had no competence to ban any kind of spectacle that is legal in Spain.[164]

Galicia

[edit]

In Galicia, bullfighting has never had an important following.[165] Galicia, Better Without Bullfights [gl] is an anti-bullfighting organization founded in 2008, aiming to eliminate the few bullfights that still occur in the region.[166] According to a Gallup poll, 86% of Galicians reject or dislike bullfighting,[167] representing one of the highest rates of opposition to bullfighting in Spain. As of 2018, 19 Galician municipalities have joined the Rede de Municipios Galegos pola Abolición [gl], while the provinces of A Coruña and Pontevedra (in total 155 municipalities) abolished subsidies for bullfighting activities.[168]

United States

[edit]

Bullfighting was outlawed in California in 1957, but the law was amended in response to protests from the Portuguese community in Gustine.[169] Lawmakers determined that a form of "bloodless" bullfighting would be allowed to continue, in affiliation with certain Christian holidays.[which?] Though the bull is not killed as with traditional bullfighting, it is still intentionally irritated and provoked and its horns are shaved down to prevent injury to people and other animals present in the ring, but serious injuries still can and do occur and spectators are also at risk.[170][171] The Humane Society of the United States has expressed opposition to bullfighting in all its forms since at least 1981.[172]

Puerto Rico banned bullfighting and the breeding of bulls for fights by Law no. 176 of 25 July 1998.[173]

In literature, film, and the arts

[edit]
Bullfighting statue at Shilpacharya Zainul Abedin Folk Arts and Crafts Museum, Bangladesh
  • Talk to Her, film by Pedro Almodóvar, contains subplot concerning female matador who is gored during a bullfight. The director was criticized for shooting footage of a bull being actually killed during a bullfight staged especially for the film.
  • Mexico (1992), historical novel by James Michener. The frame story is a group of American tourists who come to Mexico to watch a bullfight. Bullfighting tradition, bull breeding, and shaving of bull's horns to prevent injury are explained.
  • The Wild Man (2001), novel by Patricia Nell Warren about a non-conformist gay torero, set in 1960s Fascist Spain.
  • Into the Arena: The World of the Spanish Bullfight (2011), book by Alexander Fiske-Harrison about his time in Spain as an aficionado in 2009 and as a bullfighter in 2010. ISBN 1847654290.

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Bullfighting is a ritualized public spectacle originating in the , in which a systematically confronts and ultimately kills a specially bred fighting (toro bravo) in a circular known as a plaza de toros, through a structured sequence of maneuvers involving , lances, and a . The practice traces its roots to prehistoric confrontations with by Iberian tribes and evolved through medieval equestrian lancing by nobility into the modern pedestrian form pioneered in the by figures like , who introduced the and techniques still central today. The corrida de toros, or standard Spanish-style bullfight, unfolds in three distinct tercios, or thirds: the first featuring picadors on horseback weakening the 's neck muscles with lances; the second with banderilleros planting barbed sticks to further enrage and unbalance the animal; and the third, the faena, where the performs stylized passes with a red before delivering the estocada killing thrust, all amid strict protocols judged for artistry and bravery. Primarily practiced in , , (with variants often sparing the ), and parts of , it draws tens of thousands annually to major venues like Madrid's , though attendance has declined amid urbanization and shifting values. Deeply embedded in Spanish cultural identity as a test of against 's ferocity, bullfighting has produced legendary and inspired from Goya to Hemingway, yet it remains mired in over its inherent cruelty, with the deliberately debilitated prior to the final act and an estimated 180,000 animals killed globally each year in formal events, prompting bans in places like since 2010 and in 2025. Empirical assessments highlight the one-sided nature of the contest, as are bred for aggression but systematically impaired, raising questions about spectacle versus , while defenders emphasize its ritualistic preservation of agrarian traditions against modern ethical impositions often amplified by biased lacking of bovine welfare in breeding programs.

History

Ancient and Pre-Iberian Origins

Archaeological evidence from Minoan Crete indicates ritualistic confrontations between humans and bulls as early as the second millennium BCE. The Bull-Leaping Fresco from the palace at Knossos, dated to approximately 1600 BCE, portrays acrobats vaulting over the horns of a charging bull, interpreted as a ceremonial display of prowess combining athleticism and risk. This practice, evidenced by frescoes, figurines, and rhyta shaped like bull heads recovered from sites like Knossos and Phaistos, likely served religious or initiatory purposes within Minoan society, where bulls symbolized power and fertility. In ancient Near Eastern and Egyptian civilizations, bulls featured prominently in emphasizing strength and divine kingship, predating Iberian traditions. Egyptian records from the First Dynasty (c. 3100–2900 BCE) document the Apis bull , where a specific black bull marked with unique symbols was revered as an incarnation of the god , involving processions, sacrifices, and oracular consultations to affirm pharaonic authority. Mesopotamian iconography, such as seals depicting bulls in association with storm gods like Adad, reflects similar symbolic reverence for the animal's virility, though direct human-bull combat evidence remains sparse compared to ritual slaying in myths like the . These underscore bulls as emblems of martial and generative forces, with empirical artifacts including votive bull statues and temple reliefs supporting their central role in sacrificial rites. Roman spectacles incorporated bulls into venationes, public hunts in amphitheaters from the era onward, where venatores armed with spears confronted wild animals including Bos taurus breeds for entertainment and to demonstrate dominance over nature. Complementing these, the ritual in the cults of and Mithras, attested in inscriptions from the second century CE, entailed the sacrifice of a over a pit where initiates bathed in its blood, symbolizing purification and rebirth through martial symbolism tied to the animal's perceived vitality. Pre-Roman Iberian peoples, such as the and , exhibited bull veneration through iconography and practices evoking combat simulations. Celtiberian artifacts link bulls to deities like Netón, a war god, with and stelae from sites like (c. 300–100 BCE) depicting horned figures and bovine motifs suggestive of totemic or sacrificial roles in tribal warfare rituals. Lusitanian traditions, described in classical accounts, involved young warriors proving valor by taunting or wrestling bulls in festivals, foreshadowing organized confrontations as tests of courage among these Indo-European groups.

Development in the Iberian Peninsula

Bullfighting in the Iberian Peninsula developed from medieval spectacles where nobles on horseback confronted bulls during jousts and festivals, while commoners participated on foot in more rudimentary games. Records of such events appear as early as the Poem of the Cid around 1040, indicating bulls' integration into celebratory rites. By the Renaissance, these practices had formalized in Spain and Portugal, blending aristocratic displays with popular traditions amid regional fiestas. In the , despite Pope Pius V's 1567 bull De salute gregis excommunicating participants and banning the activity, King permitted its continuation, viewing it as a cultural expression aligned with monarchical pomp. Bullfights became fixtures in empire-wide celebrations, including royal entries and religious festivals, helping standardize festivities across diverse territories under Habsburg rule. The 18th century saw a pivotal shift in Spain toward pedestrian techniques, credited to Francisco Romero of , who around 1726 introduced fighting on foot with a cape and reputedly invented the —a red serge cloth manipulated on a stick—to provoke and control the bull. This innovation democratized the spectacle, elevating professional toreros over equestrian nobles, whose participation King Philip V had restricted earlier in the century. Permanent infrastructure followed, exemplified by Seville's Plaza de Toros de la Real Maestranza, whose construction began in 1761 under the Royal Cavalry Brotherhood to replace temporary wooden setups. In , bullfighting retained its mounted format through this period, with cavaleiros on horseback as central figures, diverging from Spain's foot-based evolution while sharing roots in medieval equestrian contests. Early Portuguese arenas emerged by the late , underscoring the practice's adaptation to local customs without the full transition to dismounted combat.

Expansion to the Americas and Beyond

Spanish conquistadors introduced bullfighting to the Americas shortly after the conquest of Mexico, with the first recorded event occurring on June 24, 1526, in Mexico City to honor Hernán Cortés. Bulls were transported from Spain, such as from Navarra, enabling these early spectacles that mirrored Iberian practices but adapted to colonial settings with local participants. In Peru, the tradition arrived via similar colonial routes, establishing bullfighting as a cultural import during the viceregal period, with the construction of Plaza de Acho in Lima in 1766 marking the oldest surviving bullring in the Americas. By the , bullfighting proliferated across amid post-independence , evolving into criollo forms that incorporated indigenous and elements while preserving core rituals like the corrida de toros. Permanent arenas emerged, facilitating professional events; for instance, early bullrings in predated the massive Plaza México, opened in 1946 with capacity for over 41,000 spectators, underscoring the tradition's entrenched popularity. The practice spread to countries like and , where colonial-era events transitioned into national spectacles, often tied to festivals and elite patronage. Beyond the Americas, adoption remained limited; in southern France's Camargue region, Spanish influences blended with local Provençal customs to produce the course camarguaise, a non-lethal variant dating to at least the early , emphasizing agility over killing the bull. In , under Spanish colonial presence in areas like , sporadic bullfighting occurred but did not develop enduring institutions comparable to those in . Exiles from the (1936–1939) occasionally promoted the art abroad, yet these efforts yielded minimal lasting expansion outside established spheres.

Modern Codification and Professionalization

The early marked a pivotal phase in bullfighting's professionalization, with Juan Belmonte's innovations fundamentally altering the practice. Debuting professionally around , Belmonte shifted from the prevailing evasive and acrobatic techniques to a confrontational style, positioning himself motionless and closer to the to execute suertes emphasizing bravery and control. This approach, necessitated in part by Belmonte's physical limitations including leg deformities, elevated the matador's role to that of an artist dominating the animal through precision rather than agility, influencing generations of toreros and contributing to the codification of modern pasees. Regulatory standardization accompanied these stylistic evolutions, as seen in the 1917 Reglamento taurino, which formalized aspects of the , including mandating two picadors to lance the bull upon its entry into the ring, down from three, to balance spectacle with efficiency. This period's emphasis on professional training and guilds transformed bullfighting from localized festivals into a structured industry, with matadors forming rivalries and schools that propagated standardized techniques across and its former colonies. Following , bullfighting experienced a commercial revival amid Spain's economic stabilization, with formal corridas increasing from 448 in 1950 to 942 by 1963, fueled by rising and domestic interest. Professional unions, such as associations for toreros and organizers, emerged to negotiate contracts and safety protocols, further institutionalizing the profession. Innovations in protective equipment, including enhanced padding for picadors' mounts, were introduced to mitigate injuries while preserving the event's ritualistic integrity, reflecting a balance between tradition and practical modernization.

Core Components

The Fighting Bull: Breeding and Selection

The , known as Toro de Lidia or Toro Bravo, is a distinct of Bos taurus selectively bred for bullfighting, originating from the Iberian and retaining primitive traits such as high aggression and vigor that differentiate it from domesticated breeds selected for docility. These bulls exhibit an elegant stature with a long, curved neck, head held high, and long, slender legs adapted for speed and agility, enabling the explosive charges central to their combative behavior. Mature bulls typically weigh 600–700 kg, with muscular development particularly pronounced in the anterior third of the body to support stamina during prolonged exertion. Horn conformation is a critical trait, featuring proceros-type horns that are hook-shaped, with males averaging an exterior of 58.5 cm, horizontal diameter of 7.8 cm, and perimeter of 25.7 cm, providing leverage for aggressive thrusting while minimizing risk of breakage through careful . Breeding emphasizes genetic preservation of innate fierceness and mobility, traits with estimates exceeding 0.35, combined with environmental conditioning in extensive free-range systems spanning hundreds of hectares to foster natural territorial instincts and endurance. Unlike conventional husbandry, which prioritizes mild temperament for handling, ganaderías (dedicated breeding ranches) trace their systematic practices to the , when intensified to supply bullfighting demands by isolating aggressive lineages from broader Iberian stock. Bulls are reared in semi-wild conditions on vast pastures, with natural mating ratios of one to 30–40 cows, allowing genetic transmission of combative behaviors while average daily gains of around 450 g promote robust physique without over-domestication. Selection begins early through tentaderos, private trials where young males aged 2–4 years are assessed for bravery via controlled confrontations with capes or decoys, mirroring arena conditions to evaluate charge initiation, , and recovery—key indicators of stamina and . Bulls failing these behavioral benchmarks are culled, ensuring only those demonstrating sustained vigor advance to fights at 4– of age, after which non-breeding survivors are typically slaughtered, while proven s may remain active up to 15 years. Horns receive protective sheathing in the final year to preserve integrity, reducing injury rates by up to 90% and maintaining the anatomical advantages for . This dual genetic-environmental regimen sustains a heterogeneous population of castes, each ganadería refining lines for specific expressions of power and under stress.

Structure of the Bullfight Event

The structure of a standard bullfight event, or corrida de toros, adheres to codified regulations that divide the ritual into a preliminary entrance and three sequential tercios, or acts, per bull, emphasizing the bull's testing, weakening, and final confrontation. These phases occur in a plaza de toros, a circular arena with a diameter of 40 to 50 meters, featuring wooden barriers (barreras) separating the sandy ring from spectator seating (tendidos), a narrow passageway (callejón) behind the barriers for participants, and a presidential box (palco presidencial) overseeing proceedings. The event for six bulls typically spans about two hours, with each bull's segment lasting 15 to 20 minutes, signaled by bugle calls to transition phases. The proceedings commence with the paseo, a formal parade where participants enter the ring in order of hierarchy—matadors in traje de luces (suits of lights, tight-fitting garments of silk or satin embroidered with gold or silver thread, weighing up to 6.5 kilograms), followed by their teams, picadors, and the bull breeder—accompanied by pasodoble music from a brass band to set a ceremonial tone. The bulls are then released one by one from torils (enclosures), with the matador's quadrille initially assessing the animal using the capote (large magenta-and-yellow cape) through maneuvers like the verónica to gauge charge and bravery. The first tercio de varas focuses on weakening the bull's neck muscles and testing its fortitude; after capework, two picadors on blindfolded position at opposite sides of the ring, where the charges and receives lances (varas) thrust into its shoulders, limited to weaken without excessive injury, under the president's directive to prevent evasion. This phase concludes with the horses exiting, transitioning via to the second tercio de banderillas, where three pairs of decorated barbed sticks (banderillas) are placed in the 's withers by banderilleros on foot, provoking upright charges to further fatigue and enrage the animal while showcasing agility. The culminating tercio de muerte centers on the matador's solo faena with the muleta (red serge cape draped over a wooden sword-like stick), executing artistic passes close to the horns to demonstrate dominance, often to pasodoble rhythms, before the kill via estocada—a precise sword thrust between the shoulder blades into the heart, ideally in one motion within a 10-minute limit, with backups like descabello if needed. Upon the bull's collapse, assistants verify death by severing the aorta; the president then judges the performance, potentially awarding orejas (ears, one or two severed as trophies for valor and skill), the rabo (tail) for exceptional merit, or a hoof for rare indulto (pardon, sparing the bull for breeding), signaled by crowd acclaim and presidential handkerchief. The carcass is dragged out by mules to applause or jeers, marking the bull's segment end.

Participants and Their Roles

The matador de toros serves as the principal figure and leader of the cuadrilla, the team responsible for confronting and ultimately dispatching the bull during the final stages of the fight, requiring exceptional agility, timing, and judgment to execute passes with the cape and muleta while positioning for the kill. Assisting the matador are the peones de brega, typically two in number, who distract the bull with capes during key moments to protect the matador and facilitate safe maneuvering, demanding quick reflexes and precise coordination within the team's hierarchy. Picadors, mounted on padded and blindfolded , number two per cuadrilla and the bull's muscles in the initial to test its ferocity, lower its head carriage, and expose defensive weaknesses, a role that necessitates horsemanship skills and control over the animal's charges to avoid injury. Banderilleros, usually three per team, follow by agilely placing pairs of barbed banderillas into the bull's shoulders during the second , further weakening it and provoking displays of bravery, which calls for speed, balance, and accurate jumps onto the bull's back. A standard cuadrilla comprises one , two picadors, three banderilleros, and two peones, forming a tightly knit unit where the directs actions and substitutes are permitted only in cases of severe or incapacity, as governed by event regulations to maintain continuity. Training for these roles occurs through formal apprenticeships in specialized tauromaquia schools, such as Madrid's Escuela de Tauromaquia, where novices progress from handling young calves to simulated fights, emphasizing physical conditioning and tactical discipline over years of mentorship.

Regional Variations

Spanish-Style Corrida de Toros

The Spanish-style corrida de toros represents the ritualized, lethal confrontation between and fighting in a plaza de toros, prioritizing aesthetic mastery over the 's aggressive charges through precise manipulation of the capa (cape) and (red serge cloth on a stick). In this form, the seeks to demonstrate by positioning the body close to the 's horns while executing passes that exploit the animal's instinctual forward lunges, creating an illusion of dominance amid inherent risk. Unlike non-lethal variants, the Spanish canonical style culminates in the estocada (sword thrust) to sever the 's , with the faena—the extended display of work—evaluated for its rhythmic control and proximity to danger rather than mere survival. Cape work in the initial tercio de varas features techniques like the verónica, where the matador holds the capa low and extended, pivoting slowly as the bull charges to allow the horns to pass inches from the body, relying on the animal's momentum rather than evasion. This pass, named after Saint Veronica's veil, demands stillness to accentuate the bull's ferocity against human poise, with variations like the verónica con el cuerpo doblado bending the torso for added tension. Empirical observation confirms that bulls charge due to the cape's lateral movement disrupting their visual field, not its color; contrary to popular myth, cattle possess dichromatic vision unable to distinguish red from grayish tones, rendering the cape's hue irrelevant to provocation. In the faena of the final tercio de muleta, artistry peaks with naturales—left-handed passes where the matador trails the across the body without the sword's aid, forcing the to pivot tightly around the human form in a series of linked charges. These inductive reading of the 's querencia (preferred for stability), channeling its repeated assaults into harmonious arcs that test 's reflexes against horns capable of speeds exceeding 40 km/h. Right-handed derechazos complement this by using the sword's blade to guide the , but naturales exemplify purer domptage, subduing the 's innate forward aggression through temporal precision rather than mechanical aids. Distinct sub-styles within Spain include recortes, an acrobatic variant emphasizing agility over weaponry, where recortadores dodge and vault over charging bulls sans cape or kill, performing feats like saltos (leaps) and quiebros (sudden stops) in competitive spectacles. Originating in regions like and , recortes prioritize human athleticism against the bull's unaltered power, often in informal enclosures, contrasting the matador's stylized ritual. Humorous or burladero-assisted variants, such as comic sainetes taurinos, occasionally incorporate exaggerated dodges behind barriers for crowd amusement, though these remain peripheral to the core artistic form.

Portuguese-Style Bullfighting

Portuguese-style bullfighting, designated as tourada à portuguesa, emphasizes equestrian performance and culminates in a non-lethal confrontation for the bull within the arena, distinguishing it from lethal variants elsewhere. The central figure is the cavaleiro (or cavaleira for female performers), mounted on a Lusitano horse and attired in historical 17th- or 18th-century regalia including velvet jacket, white frills, and gold-embroidered waistcoat. The cavaleiro first maneuvers the horse to evade the charging bull using a capa (cape), demonstrating precision and control, before planting sets of bandarilhas—decorated barbed darts—into the bull's back with a lance from horseback to weaken its aggression. This phase occurs over multiple rounds, with the horse trained to sidestep without protective padding, heightening the risk to both rider and mount. Following the cavaleiro's display, the pega ensues, wherein a of eight forcados—unarmed men from groups—confront the on foot. The lead forcado provokes a charge and grasps the bull's horns, bracing against its momentum while the remaining seven form a line to reinforce by piling onto the animal's neck and body, halting its advance through collective physical restraint. Success in the pega is judged by the bull's ferocity and the 's dominance without weapons, often repeated up to four times per bull for escalating challenge. Approximately 2,500 bulls participate annually in Portuguese events, with the practice rooted in central and southern regions like Ribatejo and , where forcados groups originated in the as rural athletic societies. Unlike practices involving public slaughter, Portuguese prohibits killing the bull in the arena's view, allowing it to exit alive, though severe injuries from bandarilhas and exertion frequently lead to or slaughter shortly thereafter outside public sight. Surviving s may be reused in subsequent events or returned for breeding, reflecting a tradition prioritizing spectacle over immediate fatality. Major venues include Lisbon's , constructed in neo-Moorish style between 1890 and 1892 with a capacity of about 5,000 spectators, hosting formal touradas amid regional variants such as the rope-controlled tourada à corda in the ' . These adaptations underscore geographic diversity, with Ribatejo favoring forceful individual pega styles and incorporating communal elements tied to agrarian heritage.

French Regional Practices

French regional bull practices in and adjacent areas emphasize agility, speed, and non-lethal confrontation rooted in pastoral traditions of bull herding. These variants, distinct from Iberian corridas, involve human performers evading and teasing semi-wild to remove symbolic attributes from their horns, reflecting skills developed by local herdsmen for managing in marshy or agrarian terrains. The course camarguaise, centered in the delta near Arles, features raseteurs—agile athletes clad in white—competing to snatch a cocarde (), fringes, and ribbons affixed between the horns of sturdy Camargue bulls, which weigh up to 600 kg and are selected for their combative temperament. Originating in the early amid the region's marshland herding culture, the event unfolds in arenas or village squares from spring to autumn, with performers dodging charges and occasionally vaulting over the bull using its momentum. Camargue gardians, the area's traditional mounted cowboys on , manage the bulls during events, underscoring the practice's ties to equestrian ranching. No animal is harmed or killed; successful bulls are returned to their manades (herds) and may compete repeatedly, with top performers honored in annual awards like the Cocarde d'Or in Arles. Similarly, the course landaise in the Landes region to the southwest employs raseteurs and sauteurs (jumpers) who evade and acrobatically confront swift cows rather than bulls, plucking cockades and performing leaps over the animals in timed runs. Dating to the in Gascon villages, this spectacle prioritizes athletic feats over dominance, with cows released unharmed after challenges that test human dexterity against bovine speed. Professionalized since the early , it draws on local bull-rearing economies without bloodshed. These practices integrate into Provençal festivals, such as Arles' Féria du Riz held annually in late , where course camarguaise events accompany celebrations, parades, and equestrian displays, attracting thousands to honor regional agrarian heritage. Formalized as a regulated sport in the under French federations, they persist amid debates over , with participants facing risks of goring—over 100 injuries reported yearly—yet emphasizing mutual respect between human and beast.

Latin American Styles

In Mexico, bullfighting closely follows the Spanish-style corrida de toros, with events featuring matadors, picadors, and banderilleros engaging fighting bulls in formal arenas, but local equestrian traditions from charrería—Mexico's national sport—influence the spectacle through skills like bull roping (la terna) and riding untamed bulls (jineteo de toros), where charros hold on until the bull tires rather than a timed ride. These elements, rooted in colonial-era ranching practices, add a distinctly Mexican flair to preparatory or complementary events, emphasizing horsemanship over pure footwork. Mexico hosts the world's largest bullring, Plaza México in Mexico City, with a capacity of approximately 41,000 spectators, underscoring the scale of its bullfighting culture. Peruvian bullfighting maintains a formal corrida structure similar to Spain's, but features bulls (toros bravos) bred at high altitudes in the , which develop larger horns and heightened aggression due to environmental pressures, altering the dynamics of the fight with more unpredictable charges. These altitude-adapted cattle, raised in regions like and provincial plazas, demand adjusted techniques from toreros, who often face longer, more enduring animals. Peru attracts numerous international bullfighters, with 59 European professionals active as of 2013, drawn by the season's intensity and the bulls' distinctive traits. In Venezuela and Colombia, variants include novilladas, contests with younger bulls (aged two to four years) fought by apprentice novilleros to gain experience before full matador status, serving as training grounds that integrate Iberian ritual with regional festival calendars. These events, held in urban and rural plazas, emphasize emerging talent and often occur alongside corridas formales, blending Spanish precision with local crowd participation in pre-fight parades. Indigenous influences appear in symbolic integrations, such as viewing the bull as a ritual emblem in some Andean and Mesoamerican contexts, though the core combat remains European-derived.

Associated Traditions

Encierros and Running of the Bulls

Encierros, or the , constitute street-based herding events that transport fighting bulls from corrals to the as a preliminary to corridas, involving participants who run in close proximity to the animals and thereby distribute risks across the group rather than isolating them to professional bullfighters. Typically featuring six bulls accompanied by milder steers (mansos) to guide the herd, these runs occur on designated urban courses lined with wooden barriers, starting with a signal and concluding at the arena entrance. Participants, often locals and tourists, position themselves strategically to avoid or manage the bulls' charges, underscoring a collective engagement with danger that lacks the arena's ritualistic elements. The preeminent example unfolds in during the San Fermín festival, held annually from July 6 to 14, with encierros commencing daily at 8:00 a.m. over an approximately 850-meter route through the city's old quarter, lasting 2 to 3 minutes under normal conditions but potentially longer if bulls disperse. Official regulations mandate participants be at least 18 years old, prohibit intoxication or deliberate provocation of the animals, and ban touching the bulls, with violations punishable by fines or arrest to maintain order among the thousands of runners and spectators. Herders (pastores) armed with sticks precede and follow the pack to prevent stragglers, while medical teams and police stand ready along the path. Injuries during Pamplona's encierros number 200 to 300 annually, predominantly contusions and abrasions from falls or goring, with only about 3% classified as severe; fatalities total 16 since 1910, the most recent in 2009 from a goring. Across Spain's broader encierro tradition, which spans thousands of events in regions like , Castile, and , annual gorings and related injuries reach several hundred, reflecting the scaled risks in smaller locales where courses may be shorter or less barricaded. Comparable runs occur in towns such as Tudela, Estella, Coria, and , often tied to local fiestas and adhering to similar herding protocols. These gatherings serve as informal rites of passage, especially for young men proving mettle through shared exposure to the bulls' unpredictability, without the lethal conclusion reserved for the ring.

Other Festive and Non-Arena Events

In rural Spanish fiestas, the toro embolado (fire bull) represents a nocturnal street spectacle prevalent in the Mediterranean Levant, especially Castellón province in Valencia. Flammable pitch-soaked rags or fireworks are affixed to the bull's horns and set ablaze, propelling the animal through village streets lined with spectators during summer patron saint celebrations, often concluding around midnight. This practice draws from ancient fire rituals integrated into local agrarian festivals, symbolizing purification or harvest rites, and occurs in over 50 towns annually, with an estimated 2,500 bulls or cows subjected to it each year despite lacking centralized records. Amateur capeas and vaquillas supplement these events in smaller villages, where locals informally provoke young bulls (becerros) or cows (vaquillas)—typically under two years old and weighing 200-400 kg—in makeshift enclosures or plazas without professional matadors or lethal conclusion. Held during regional fairs like those in or Castile, these gatherings emphasize communal participation, with participants dodging charges or attempting capes using household capes, fostering village camaraderie but varying by locale: Andalusian versions may incorporate horseback elements, while Valencian ones align with embolado sequences. Over 20,000 such bovine-involved fiestas occur yearly across , concentrated in rural areas. Safety risks are inherent, with goring as the primary injury mechanism in popular bull events; a 2013-2020 analysis of fiestas reported a 9.13% rate and 0.48% mortality among participants and spectators, often from falls or horn penetrations during embolado runs or capeas. In 2022 alone, 23 fatalities occurred nationwide in such non-arena spectacles, including collisions with inflamed bulls in Valencia-region events. Regional regulations mandate barriers and veterinary oversight, yet enforcement varies, contributing to persistent incidents like the 2019 escape of an embolado bull in Sueca that charged bystanders.

Non-Lethal or Modified Variants

In Mexico City, a mandate enacted on March 18, 2025, prohibits the killing or wounding of bulls during bullfights, restricting events to bloodless variants limited to 15 minutes where participants use only capes without sharp instruments like swords or banderillas. The legislation, approved by a 61-1 vote in the local congress, requires bulls to be returned unharmed to their ranches post-event, adapting the traditional corrida de toros to eliminate bloodshed while preserving arena performances at venues like the 42,000-seat Plaza México. Recortes, an amateur variant practiced primarily in northern such as , involves participants—known as recortadores—performing acrobatic dodges, leaps, and maneuvers to evade charging bulls without employing capes, banderillas, or any weapons, ensuring the animal remains uninjured throughout the spectacle. Events emphasize human agility against the bull's charges, with professionals training year-round for competitions that draw crowds to arenas during local festivals. Bulls in recortes consistently survive events intact, as no physical harm is inflicted, contrasting with lethal styles by focusing solely on evasion feats. Portuguese-style bullfighting provides a historical precedent for non-lethal elements, where the is not dispatched in the ; instead, mounted cavaleiros use velcro-tipped banderillas and lances that adhere without penetrating deeply, followed by forcados gripping the 's horns barehanded. In adaptations outside , such as U.S. Portuguese communities in and , fully bloodless versions eliminate even superficial wounding, with bulls returned to ranches post-performance, achieving near-total survival rates during events. These modified formats sustain attendance at festivals, as evidenced by ongoing annual events like those at the Stanislaus County Fair, where the absence of fatalities maintains tradition without altering core confrontational dynamics.

Risks and Physical Demands

Dangers to Bullfighters and Entourage

Bullfighting entails substantial risks to matadors and their cuadrilla, encompassing picadors, banderilleros, and other assistants, with gorings representing the predominant injury type due to horn penetration. These injuries frequently target the lower body, particularly the thighs and , as documented in analyses of trauma from events in , , and spanning 2012 to 2019. In that period, 1,239 horn-related lesions occurred across 13,556 events, yielding a mean accident rate of 9.13%. For instance, during 661 bullfights in in 2013, 47 matadors and 16 assistants sustained injuries. Fatalities underscore the lethal potential, with historical records tallying 533 professional bullfighters killed in Spanish rings since 1700. Notable cases include the death of matador Manuel Laureano Rodríguez Sánchez, known as , on August 29, 1947, following a goring by a bull named during a corrida in Linares, , which severed his . Picadors, mounted on padded horses, face hazards from bull charges that can unseat them or gore both rider and mount, while banderilleros risk close-quarters encounters when placing barbed darts into the bull's withers. The psychological toll compounds physical perils, as evidenced by elevated heart rates in live bullfights compared to training sessions, attributable to acute stress and adrenaline responses absent in simulations. Protective attire, such as the form-fitting , prioritizes mobility and over substantial padding, limiting mitigation of impacts; advancements have focused more on rapid and surgical techniques rather than gear overhaul. This dynamic exposes participants to reciprocal jeopardy in each confrontation, where evasion and precision determine survival amid the bull's aggressive charges.

Injuries and Fatalities Statistics

From 1700 to the present, records indicate 533 professional bullfighters have been killed in bullfighting rings, primarily due to gorings. Of these, 52 were among approximately 325 major matadors, reflecting a historical risk concentrated in high-profile encounters. In during the , 134 total human deaths from bull gorings were documented, including 33 matadors, with elevated incidences in the through amid peak participation and less advanced medical interventions. Fatalities among professional matadors have declined sharply since the mid-20th century, attributable to improved surgical techniques, on-site response, and protective equipment refinements. No deaths occurred in Spanish rings between 1985 and 2016, though isolated cases resumed thereafter, such as Víctor Barrio's goring-induced fall in 2016 and Iván Fandiño's in in 2017. An analysis of 13,556 events from 2012 to 2019 across , , and recorded 1,239 injuries (9.13% rate, rising from 5.5% in 2012 to 12.28% in 2019) and 6 fatalities (0.48% mortality rate), with gorings accounting for 40.84% of injuries, predominantly to the and . The deaths comprised 3 s, 2 forcados, and 1 recortador, often from thoracic or vascular trauma in lower-class venues. In encierros and related running events, risks extend to amateurs, with 16 fatalities in Pamplona's San Fermín since 1910, the last in 2009. Nationwide in , 10 deaths occurred across thousands of such events in 2022, frequently involving inexperienced runners and compounded by alcohol impairment, as authorities mandate zero for safe participation. Latin American bullfighting yields sparser verifiable data, though festivals report mortality rates of 1.86%, exceeding Spanish events but below some unregulated South American spectacles like Colombia's corralejas, where multiple annual deaths among participants persist without systematic tracking.
Period/Event TypeInjuries/FatalitiesKey Notes
Rings (2012–2019)1,239 injuries; 6 deaths0.48% mortality; goring primary mechanism
Encierros (1910–present)16 deathsAmateur runners; gorings dominant
Spanish Bull-Runs (2022)10 deathsAlcohol factor; nationwide festivals

Hazards to Bulls from Biological Perspective

During a bullfight, fighting bulls exhibit acute physiometabolic responses, including elevated such as and catecholamines (encompassing adrenaline), which trigger , anaerobic , cellular , and splenic contraction to mobilize blood reserves. These responses represent the bull's biological to intense physical exertion and confrontation, with analyses post-exercise showing marked shifts in acid-base balance, blood gases, and levels indicative of severe physiological strain. The stage inflicts penetrating wounds via lances into the 's shoulder and neck muscles, causing substantial hemorrhage that contributes to by reducing circulating blood volume and impairing oxygen delivery. This blood loss weakens the 's structural integrity, particularly the and , while the cumulative trauma from repeated charges exacerbates tissue and . The estocada, or killing thrust, targets the or to induce rapid or neural severance, though anatomical variability in can result in incomplete penetration, necessitating secondary interventions by a puntillero to sever the . Spanish fighting bulls (Bos taurus lidia) demonstrate breed-specific resilience through for , stamina, and muscle fiber composition optimized for explosive power, enabling sustained combative performance despite accumulating stressors. Hormonal profiles, including serotonin and correlations with combative , underpin this innate ferocity, with genetic parameters favoring traits like mobility and ferocity that align the bull's with the event's demands as a test of natural agonistic responses. Post-fight muscle biopsies reveal glycogen depletion and enzymatic elevations consistent with the breed's capacity to endure high-intensity anaerobic efforts before .

Cultural and Societal Role

Symbolism of Courage and Tradition

Bullfighting has long symbolized the archetypal confrontation between human intellect and the untamed ferocity of nature, embodying virtues of bravery, skill, and ritualized mastery over chaos. In this ritual, the matador's precise movements against the bull's instinctive charges represent the triumph of reasoned control over brute power, a motif anthropologists trace to prehistoric and ancient practices where bulls signified raw strength and . This man-versus-beast dynamic echoes mythological narratives, such as the Greek hero navigating the to slay the —a bull-headed monster embodying primal threat—illustrating humanity's eternal struggle to impose order on disorder. Similar motifs appear in Minoan frescoes depicting acrobatic , suggesting early ritualistic engagements with the bull as a symbol of vital force and peril. In the Spanish context, bullfighting crystallized as a potent emblem of during the , amid Romantic-era efforts to define Spain's essence against European industrialization and . Promoted through , , and spectacle, it came to represent quintessential Spanish traits like audacity and defiance, with the itself evolving into a living icon of unyielding vitality tied to the Iberian landscape. By the late 1800s, as modern footwork-based corridas gained prominence under figures like Pedro Romero, the practice underscored a cultural of heroic , distinguishing Spain's passionate heritage from perceived continental sterility. Philosophically, bullfighting has been interpreted as a profound enactment of and existential authenticity, where the matador's voluntary risk confronts mortality head-on, fostering a rare purity of experience amid modern life's dilutions. Writers like emphasized its ritualistic depth, portraying the bullfight as a structured revealing human against inevitable death, rather than mere sport. José Ortega y Gasset, in his essays touching on Spanish vitality, implicitly aligned such traditions with genuine confrontation of life's dangers, contrasting them with escapist pursuits. This view posits the corrida as a microcosm of authentic being, where the bull's —its aggressive purity—mirrors the matador's resolve, affirming tradition's role in preserving unadulterated human agency. Empirical indicators of cultural resonance persist among subsets of the population, despite broader shifts; a 2016 survey found 25% of Spaniards expressing pride in bullfighting as a national tradition, reflecting enduring attachment in regions like where it integrates with communal rites of valor. Anthropological analyses further highlight how these symbols sustain of resilience, linking contemporary practitioners to ancestral archetypes of dominance over the wild.

Integration with Festivals and Community Life

Bullfighting forms a central component of numerous Spanish festivals tied to religious and patron saint commemorations, enhancing communal participation through structured rituals. In Seville, the Feria de Abril—held annually from late April to early May, immediately following Easter Sunday—integrates corridas de toros at the Real Maestranza de Caballería, where matadors face bulls amid the broader fair's casetas featuring flamenco, sevillanas dancing, and traditional attire. Similarly, Madrid's Feria de San Isidro, honoring the city's patron saint in May, schedules extensive bullfighting cycles, drawing locals to celebrate agrarian roots and urban identity. These integrations position bullfighting not as isolated spectacles but as anchors for multi-day fiestas that reinforce regional pride and collective observance. Family attendance traditions underscore bullfighting's role in intergenerational bonding and social cohesion, with parents often bringing children to shaded sections during daytime novilladas or festival corridas, embedding the practice within familial outings akin to other holiday customs. In rural pueblos and urban centers alike, these events facilitate shared experiences— from pre-fight gatherings in plazas to post-corrida discussions—fostering community ties amid declining overall popularity among youth. Provinces like exemplify this, where local fiestas incorporate bullfighting to unite residents in honoring saints' days, sustaining cultural continuity despite external pressures. The breeding operations of ganaderías bridge rural ecosystems to these urban festivals, as fighting bulls reared on dehesa landscapes—spanning over 500,000 hectares across southwestern Spain—supply the animals for corridas, thereby linking ganadero families' stewardship of oak savannas to city-based celebrations. This rural-urban continuum preserves dehesa biodiversity through extensive grazing practices integral to bull production, while festivals highlight the bulls' origins, reinforcing economic and ecological interdependencies. Historically, prior to attendance declines post-2007, bull-related fiestas attracted tens of millions of participants annually across Spain's some 18,000 such events, amplifying their function as vehicles for social unity and localized identity.

Economic Impacts and Industry Support

Bullfighting generates substantial economic activity in , contributing approximately €1.6 billion annually to the national economy through direct and indirect effects, including ticket sales, , and related expenditures. This sector supports around 200,000 jobs nationwide, with over 57,000 directly tied to events such as matadors, breeders, and arena staff, while the remainder stems from ancillary industries like and . In 2023, Spain hosted 1,474 bullfights, primarily in regions like and , sustaining revenue streams despite a post-pandemic recovery. In , the tauromaquia industry yields about 9 billion pesos (roughly €450 million) in yearly economic output and employs over 120,000 people directly and indirectly, encompassing roles from ranch hands to vendors in major plazas like . Events in venues such as Monumental Plaza México alone reactivate thousands of local jobs during seasons, with national spillovers into and event logistics. The breeding of fighting bulls preserves extensive dehesa landscapes in , with 581 specialized farms managing 315,301 hectares dedicated to toros bravos, preventing conversion to intensive that would diminish diversity. These agro-silvo-pastoral systems foster by maintaining open woodlands with cork oaks and holm oaks, supporting species like and black vultures, in contrast to homogenized farmland. Bullfighting events amplify multipliers, drawing millions of spectators annually—estimated at 25 million across festivals—who boost local economies via accommodations, dining, and crafts, with concentrations in cities like yielding multimillion-euro influxes from San Fermín alone. This sustains rural viability in bull-rearing provinces, where industry associations link event attendance to broader sectoral resilience against urban migration.

Ethical and Philosophical Debates

Arguments from Cultural Heritage Perspective

Defenders of bullfighting position it as a vital component of intangible cultural heritage, emphasizing its historical continuity from ancient Iberian rituals to modern structured spectacles that encapsulate artistic and ritualistic expressions unique to the tradition. In Spain, this perspective gained formal backing through Law 18/2013, enacted on November 12, which declares tauromaquia an integral part of the national cultural patrimony meriting protection across the territory, thereby enabling public funding for its promotion and preservation against regional prohibitions. Proponents have advocated for international recognition by pursuing inscription on UNESCO's Representative List of the of Humanity, arguing that bullfighting's rituals, including choreographed passes and symbolic confrontations, represent endangered systems requiring urgent safeguarding to prevent cultural loss. Although applications faced rejection, such as in , these efforts highlight the contention that bullfighting's erasure would sever links to performative arts and communal rites integral to identity, paralleling protections afforded to other contested traditions like falconry. The tradition sustains specialized crafts essential to its execution, including the handcrafting of trajes de luces—silk suits embroidered with gold and silver thread by master tailors whose techniques, developed over centuries, embody artisanal mastery now attracting younger practitioners amid declining demand. Similarly, associated musical forms like the preserve orchestral and compositional skills tied to the spectacle's rhythm and drama. These elements reinforce regional identities, with variations in Andalusian, , and southern French styles—such as horseback pegas in —distinguishing local and fostering community cohesion through annual fairs that affirm territorial pride. Empirical patterns of resurgence underscore the tradition's resilience against suppression, as seen in where, following an eight-year absence due to restrictions, a bullfight was scheduled for September 2025 in response to sustained local and projections, illustrating how cultural attachment drives revival despite opposition narratives favoring discontinuation. Such instances counter claims of inevitable obsolescence by demonstrating ongoing participation and economic viability rooted in heritage valuation rather than transient activism.

Animal Welfare Claims and Empirical Counterpoints

Animal welfare organizations assert that bullfighting imposes severe and prolonged pain on bulls through from lances and banderillas, culminating in a drawn-out via the estocada, where the animal remains conscious and sentient during . This view posits the process as inherently cruel, with like indicating ongoing distress throughout the 15-20 minute event. Physiological evidence from bullfight analyses counters that a precise estocada targets the , triggering characterized by rapid blood volume loss (8-18%), splenic contraction, and anaerobic metabolism, which induce circulatory failure and brain potentially leading to swift loss of sensibility. In hypovolemic states, elevated catecholamines and endogenous release can attenuate signaling, as observed in bovine shock responses, shifting focus from peripheral agony to central neural shutdown rather than extended . Comparisons to commercial slaughter highlight contextual relativity: non-stunned bovine neck incision yields in 3-10 seconds under optimal low-stress conditions, but delays up to 60 seconds or longer occur with suboptimal cuts, mirroring variability in estocada efficacy where skilled execution approximates or exceeds this rapidity via thoracic hemorrhage. Stunned industrial methods ensure insensibility but introduce pre-slaughter stressors like and restraint, absent in the dehesa-raised fighting bull's preconditioned state. The Toro Bravo breed, selectively propagated for combative vigor, demonstrates enhanced metabolic resilience—including and enzyme surges—enabling sustained exertion without immediate collapse, traits aligned with natural agonistic behaviors where intra-species fights often prove fatal by age 4-6 years, the standard arena entry point. Absent bullfighting, surplus males face post-maturity, truncating lifespans comparably to or shorter than ring dispatch, with no empirical divergence in pain thresholds from domestic despite activist attributions of exceptional torment. Peer-reviewed assessments like the 2021 neurobiological review underscore persistent integrity post-estocada, implying some residual , yet emphasize shock-mediated over deliberate prolongation, with welfare critiques often deriving from ethological inference rather than direct encephalic monitoring. Regulatory mandates for auxiliary if death exceeds minutes have curbed historical inefficiencies, prioritizing biological dispatch over sentiment-driven absolutism.

Broader Moral and Existential Justifications

Proponents of bullfighting advance existential justifications by framing the spectacle as a of life's affirmation through mortality's confrontation, echoing realist philosophies that emphasize unvarnished biological imperatives over sentimental abstractions. Philosopher Francis Wolff posits that the event constitutes a tragic asymmetry where the bull's innate aggression meets human artistry, rendering it a reciprocal duel rather than unilateral torment, as the animal's vitality is exalted in its final display. This perspective underscores causal dependencies: the toro bravo breed exists solely due to sustained demand for such contests, affording these animals four to six years of extensive, free-range rearing—far exceeding the two- to three-year lifespan of typical —imbuing their lives with a directed purpose as combatants, absent in mechanized utility farming. Such arguments critique anthropomorphic tendencies in opposition, which project human emotional frameworks onto bovine physiology, disregarding established human-animal relations in predatory traditions like , where utility and normalize dominance without implying moral equivalence. Bullfighting defenders, including literary figures like , extend this to a liberal preservation of practices that honor innate hierarchies and , rejecting egalitarian impositions that equate animal agency with . In contrast to contemporary , which prioritizes risk elimination, these justifications draw on stoic valorization of peril, as the matador's voluntary exposure to goring—evident in historical fatalities like Manolete's 1947 death by —embodies disciplined acceptance of death's inevitability, fostering communal reverence for courage amid existential finitude. Right-leaning commentators further contend that such traditions counteract modern enfeeblement, preserving a cultural of masculine resolve against ideologies that pathologize confrontation with nature's brutality. While academic critiques often dismiss these as culturally relativistic, proponents maintain their grounding in empirical of human thriving through ritualized realism, unmediated by institutional biases favoring deontological .

Historical Regulations and Bans

In 1567, issued the De salutis gregis dominici, prohibiting bullfights and similar spectacles involving the agitation of bulls or wild animals, under penalty of automatic for participants, sponsors, and spectators. The decree condemned the practice for its association with pagan rituals, high risk of human death, and hindrance to Christian duties, but enforcement was limited in , where King Philip II largely ignored it to preserve cultural traditions. Subsequent papal relaxation occurred under Clement VIII in 1596, permitting bullfights on religious feast days excluding clergy and prohibiting them during periods of plague or war. Spanish monarchs imposed class-based restrictions rather than outright prohibitions, reflecting absolutist efforts to regulate spectacle and conduct. In the early 1700s, King Philip V, the first Bourbon ruler, barred nobles from participating in bullfights, deeming the activity undignified and contrary to French-influenced court etiquette, thereby shifting the practice toward professional commoners while allowing it to continue. Similarly, attempted a broader ban in 1771, viewing bullfighting as barbaric and a diversion for the lower classes that fostered idleness, though public resistance and economic interests led to its reversal under Charles IV. These decrees prioritized state control over moral eradication, often reinstating the activity with oversight on venues and participants. By the , municipal ordinances in Spanish cities focused on safety and curbing associated vices like , as bullfighting professionalized with fixed arenas. Local authorities in places like and enacted rules requiring enclosed plazas to prevent crowd injuries and limiting bets to licensed operators, amid concerns over disorderly wagering that drew from broader anti- sentiments in absolutist codes. These measures balanced prohibitionist impulses with pragmatic allowances, evolving from royal edicts to localized governance that emphasized public order over outright suppression. In Spanish colonies, initial royal allowances for bullfights as cultural exports from the gradually incorporated indulgences and viceregal licenses, adapting metropolitan restrictions to local contexts. Viceroys in and granted permissions for festive corridas tied to saint's days or colonial inaugurations, often overriding papal bans through dispensations that mirrored Spain's selective enforcement, though intermittent prohibitions echoed European concerns over violence and . This pattern highlighted a transition from tentative introductions to regulated indulgences, prioritizing colonial cohesion and revenue over uniform abolition. In , bullfighting retains national legal protection as under Law 18/2013, which shields it from prohibition and supports public subsidies for events, though autonomous communities hold regulatory authority leading to variations. Catalonia's 2010 ban persists despite a 2016 Spanish Constitutional Court ruling declaring it unconstitutional on grounds of national competence, allowing limited corridas in Barcelona's Monumental arena under appeal. In 2025, Spain's Congress rejected a petition with over 500,000 signatures to revoke this heritage status, maintaining the practice's legality amid ongoing regional debates. Portugal authorizes bullfighting nationwide, but federal law since 1928 mandates non-lethal execution, prohibiting the bull's death in the arena; the animal is instead lanced by mounted cavaleiros and bandarilheiros before removal for slaughter elsewhere. This variant, emphasizing equestrian skill over confrontation, occurs in arenas like those in and Moita, with no municipal bans overriding national permission as of 2025. In , bullfighting is confined to 77 southern municipalities in departments like and where "uninterrupted local tradition" is proven under Article L. 300-1 of the Rural and Maritime Fishing Code, permitting Spanish-style corridas with bull killing; it is otherwise banned nationwide as animal cruelty. Events in Nîmes and Arles drew crowds in 2025, but a proposed ban on under-16 attendance failed in the , preserving access for adults in authorized zones. Mexico's bullfighting status varies by state and municipality; , hosting the world's largest arena, enacted a March 2025 law (passed 61-1) banning lethal elements, restricting events to bloodless spectacles without wounding tools or bull death. followed with a full prohibition in April 2025, while states like and sustain traditional corridas. In the United States, bullfighting lacks federal regulation and is outright prohibited in states like under Penal Code §597m, except for bloodless variants during religious festivals such as those by Portuguese-American communities using velcro-tipped banderillas. Sporadic non-lethal exhibitions occur in and under oversight, but no lethal Spanish-style events are legally sanctioned nationwide. Across , practices diverge: Colombia's upheld Law 2385 in September 2025, enforcing a nationwide bullfighting ban by January 2027 with transition subsidies for workers. and permit corridas in major plazas like Lima's Acho, while Ecuador's 2011 constitutional ban allows rare exceptions for "cultural rescues" in indigenous festivals, though enforcement limits traditional events.

Recent Developments and Policy Shifts

In September 2025, Colombia's Constitutional Court upheld Law 2385 of 2024, confirming a nationwide ban on bullfighting that includes a transition period until full implementation in July 2027, during which only regulated events without public funding or animal harm are permitted. The ruling extended prohibitions to related spectacles like corralejas and coleo, rejecting challenges from regional governments and industry groups that argued economic and cultural losses. In March 2025, City's legislative assembly approved reforms prohibiting the killing or wounding of bulls in corridas, mandating "bloodless" variants using protected horns, capes without sharp tools, and time limits of 15 minutes per bull, with animals returned unharmed to owners afterward. The measure, passed by a 61-1 vote, aims to preserve the spectacle's form while addressing welfare concerns, though critics from both abolitionist and traditionalist sides question its viability and enforcement. Spain's bullfighting landscape reflects persistent division, with a October 2025 parliamentary refusal to debate repealing its status, amid surveys indicating 77% public opposition overall and over 80% among those under 35. Events have declined from 824 corridas in 2021 to fewer amid rising youth disinterest and resignations, yet resilient regional strongholds persist, including a 2025 resumption in Mallorca's Inca after legal reversals allowed minors' attendance for the first time in decades. These shifts underscore a broader trend of regulatory constriction in urban centers contrasted by rural and insular revivals.

Notable Figures and Achievements

Pioneering and Legendary Matadors

Pedro Romero (1754–1839), originating from the bullfighting dynasty of , established the foundations of modern tauromachy by systematizing the kill on foot with the estoque sword, transitioning from mounted lance work to pedestrian precision. Over a 28-year career, he reportedly killed 5,600 bulls, emphasizing control and artistry in the Ronda school that influenced subsequent generations. In the early 20th century, José Gómez Ortega, known as Joselito el Gallo (1895–1920), and (1892–1962) transformed bullfighting into a more intellectual and daring discipline. Joselito, who received his alternativa at age 17, mastered classical verónicas and natural passes, prioritizing total command of the bull's movements through superior technique and breeding knowledge, which elevated the matador's role beyond mere survival. Belmonte, hampered by leg deformities from childhood injuries, innovated by inventing close-range suertes such as the gaonera and belmontina, positioning himself inches from the horns to expose vulnerability and redefine bravery as spiritual dominance rather than evasion. Their rivalry in the popularized these advancements, drawing record crowds and shifting the spectacle toward profound risk assessment and aesthetic depth. Manuel Laureano Rodríguez Sánchez, or (1917–1947), epitomized 1940s minimalism by eschewing flourishes for stark, unadorned proximity to the bull, using a single upright sword thrust in the recibo style to underscore fatal inevitability. Debuting as a full in , he fought over 500 corridas annually at his peak, amassing unparalleled dominance until gored fatally by the Miura bull on August 29, 1947, in Linares, an event that halted national rail service for mourning. His influence persists in emphasizing purity over spectacle, with rare indultos granted for bulls exhibiting superior nobility under his sword, as in select Andalusian fairs where presidential mercy spared exemplary animals for breeding.

Women in Bullfighting

Women have participated in bullfighting since at least the , with records indicating female involvement in as early as 1654. However, systematic exclusion through legal and cultural mechanisms limited their roles until the mid-20th century. In , a royal decree issued on July 2, 1908, by Minister prohibited women from participating in bullfighting on foot, citing concerns, and this was reinforced by another ban in 1930 under the Second Republic. These restrictions reflected prevailing patriarchal norms that viewed the arena as a male domain, confining women primarily to mounted (rejoneadora) styles or informal exhibitions. A pivotal figure in overcoming these barriers was Conchita Cintrón (1922–2009), born to Peruvian parents in and raised partly in the United States and , who debuted professionally at age 13 in 1936 and gained prominence in the 1940s for her proficiency in both mounted and dismounted bullfighting—a rare dual mastery. Cintrón performed across , , and , earning acclaim for her technical skill and earning two ears in multiple fights, though she faced skepticism from traditionalists who questioned women's physical suitability for the risks involved. Spain lifted its ban on women bullfighting on foot on August 10, 1974, amid post-Franco liberalization and pushes, allowing figures like Cristina Sánchez to take her alternativa (formal matador confirmation) in 1996, marking the first for a Spanish woman in over half a century. In and , where bullfighting traditions drew from Spanish roots but evolved with less rigid gender enforcement, women achieved earlier successes. Patricia McCormick (1930–2013), an American from , became the first woman admitted to Mexico's Matadors' Union in 1953 after debuting in 1951, despite initial gorings that tested her resilience. , Cintrón's ancestral home, hosted her performances and later female toreras, contributing to a legacy of relative openness. Modern Mexican bullfighters like Paola San Román, who has competed in major venues such as Mexico City's Monumental Plaza de Toros as of 2024, exemplify ongoing participation, often in mixed cards with male counterparts. Despite legal advances, cultural resistance persists, with women comprising a small fraction of professionals—only 16 have achieved full status historically, per Mexican bullfighting records. Barriers include hierarchies dominated by male networks and the sport's physical demands, where gorings and traumas affect participants regardless of , though comprehensive gendered injury data remains limited. Successes, such as San Román's recent novilladas, demonstrate that dedicated women can compete at high levels, but low numbers reflect both voluntary choices and entrenched skepticism about female efficacy in a emphasizing dominance over a 500–600 kg .

Records and Technical Innovations

The record for the most appearances by a in a single year stands at 109 corridas, achieved by in 1919. In terms of bulls dispatched, Manuel Benítez Pérez () killed 64 in August 1965, establishing a monthly benchmark that highlighted the physical demands and scheduling intensity of peak professional schedules. Technical evolutions have focused on refining tools and methods to enhance precision and bull engagement. The muleta, a red serge cloth manipulated on a wooden staff, underwent refinements in the 19th century to facilitate closer passes, enabling matadors to execute maneuvers like the natural (left-handed pass without sword interference) for greater control over the bull's charges. Recent trials, such as those in 2023, tested modified implements including altered picador protections and lances to extend the bull's lidia (fight phase), allowing for more picador encounters—averaging three per bull across tested breeds—and preserving animal vigor longer into the spectacle. Survival outcomes for matadors have improved markedly due to advances in protective gear and medical response. In the pre-antibiotic , approximately one in 25 goring injuries proved fatal from or hemorrhage; modern interventions, including rapid surgical access and antibiotics, have reduced such risks substantially. A review of injuries from 2011 to 2019 across , , and documented 1,243 cases with a of 0.48%, primarily from severe thoracic or abdominal penetrations, underscoring ongoing enhancements in arena-side trauma care. Certain bull breeds exemplify for traits like bravery () and endurance. The Miura strain, originating from 19th-century Andalusian stock, produces animals renowned for their size—often exceeding 600 kg—and relentless aggression, making them a benchmark for durability in prolonged fights; Miura bulls have been featured in high-profile corridas for their capacity to withstand multiple phases without faltering. Overall, Spanish fighting bulls (toro bravo) are culled rigorously for a profile combining strength, stamina, and combative spirit, with only select lineages advancing based on ring performance metrics.

Representations in Arts and Media

Literature and Philosophy

Ernest Hemingway's , published in 1932, frames Spanish bullfighting as a formalized akin to classical , where the matador's skill in evading and dominating the bull's charges exemplifies aesthetic grace under mortal peril. Hemingway argues that true appreciation requires understanding the ritual's progression— from the initial tercio de varas testing the bull's ferocity to the final suerte suprema—as a progression toward inevitable death that mirrors life's tragic essence, rather than mere spectacle. This portrayal elevates bullfighting beyond brutality, positing it as an art that demands emotional and technical mastery, influencing subsequent literary views by associating the practice with existential confrontation. In literature of the 16th and 17th centuries, bullfighting emerges in isolated references rather than central narratives, often depicted as aristocratic pastime or symbolic of valor amid imperial conquests, as in accounts tying it to de-Islamification efforts post-Reconquista. Authors like alluded to corridas in works such as (1605–1615), portraying them as chivalric echoes laced with on human folly, yet without deep philosophical dissection. These texts reflect bullfighting's cultural embedding as a of honor and communal , predating its modern codification but foreshadowing defenses rooted in tradition over ethical qualms. Philosophically, evoked bullfights in (1883–1885) to illustrate humanity's primal thrill in spectacles of controlled cruelty, stating that "at tragedies, bullfights, and crucifixions [man] has so far felt best on earth," thereby affirming Dionysian vitality through encounters with and mortality. This aligns with Nietzsche's broader rejection of pity-driven morality, viewing such rituals as life-affirming assertions against , though he critiqued them as insufficiently transformative for modern man. Later thinkers like Francis Wolff, in In Defense of the Bullfight (2024 English edition), extend similar reasoning by distinguishing the corrida from torture: the bull's instinctive responses enable a reciprocal "dialogue" with the matador, preserving bovine dignity via swift kills and for combative traits, countering animal rights critiques as anthropomorphic projections. Historical counterarguments, such as Gaspar Melchor de Jovellanos's 1794 essay condemning bullfights as "barbarous" diversions fostering vice over enlightenment, highlight Enlightenment-era tensions between ritual heritage and rational reform. Francisco Goya's La Tauromaquia, a series of 33 etchings completed between 1815 and 1816, illustrates key moments in bullfighting history and technique, from ancient origins to contemporary risks faced by participants. The works emphasize the spectacle's peril and pageantry, drawing from Goya's observations of events in Spain and France. Pablo Picasso frequently incorporated bullfighting imagery across his oeuvre, producing over 2,000 works on the theme from the 1880s to the 1970s, including paintings, drawings, and prints that abstracted the ritual's confrontation between man and bull. These depictions evolved from realistic early scenes to cubist and symbolic interpretations, reflecting Picasso's lifelong engagement with Spanish traditions. In cinema, the novel Blood and Sand inspired multiple adaptations, including the 1922 directed by Fred Niblo and the 1941 version starring , both portraying a 's ascent amid passion and downfall. The 1965 film The Moment of Truth, directed by , chronicles the career of Miguel Mateo "Miguelín" through verité-style footage, capturing the profession's physical and psychological demands across 150 bullfights. Animated features like (2017), based on a pacifist bull's aversion to fighting, entered mainstream audiences, grossing over $296 million worldwide and earning Oscar nominations. Recent documentaries such as Afternoons of Solitude (2024) by observe matador Andrés Roca Rey's performances, presenting unfiltered sequences of 12 fights to highlight ritualistic elements. Pasodoble music, originating as a military march in the late , simulates bullfight dynamics with its duple meter and dramatic flourishes, performed by brass bands during entries and banderillas; notable pieces include composed in 1908 by Pascual Marquina Narro. These compositions extend into and global media, evoking the spectacle's rhythm without direct combat endorsement. Bullfighting motifs appear in cartoons and broader media, such as episodes featuring matador-bull chases, parodying the tradition's antics for comedic effect since the . Documentaries like Gored (2015) profile bullfighters' risks, drawing parallels to literary influences while showcasing arena fatalities and recoveries. Such representations span romantic valorization to critical scrutiny, mirroring evolving cultural attitudes toward the practice.

References

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