Matadors are legendary for their valour. Most will experience injury at some point during their careers; many have even died fighting.
Tauromaquia involves fighting bulls that have been specially bred and aged specifically for this sport, both gendered males. Since these animals are functionally colour-blind and drawn by movement, matadors must use capes (veronica) to lure them near enough so as to kill them with swords when close enough.
History
Matadors are the stars of bullfighting, a bloody spectacle which blends art with danger. While some matadors may be injured or killed during each faena, most return safely to their stands after each bout. Enthusiastic fans study ballet-like passes called pasos as part of an extensive training regiment, often starting as early as childhood to become matadors themselves.
Joaquin Rodriguez Costillares was the pioneering modern matador who introduced the pomp and pageantry that defines today’s corridas. Notable matadors include Rodolfo Gaona, Armillita and Carlos Arruza from Mexico as well as Manolete El Juli and Domingo Ortega from Spain.
After several minutes of engaging with the crowd and working closer to the bull’s horns, a matador lines up for his kill by plunging his sword between its shoulder blades – this requires incredible skill, training and courage! American Motors’ Matador four-door sedans and station wagons were assembled in Australia by Australian Motor Industries between 1972-1975; two-door coupe models from this same model range were assembled separately as separate models that did not share body components with either.
Techniques
Fighting bulls differ from domesticated cattle in that their instinct drives them to charge at anything that moves, rather than training or starvation; their individual characters determine whether or not they charge straight at something or weave around.
As soon as a bull enters from its corral gate or toril, its matador welcomes it with a series of passes using his cloak that feature veronicas – basic cape manoeuvres designed to excite and delight crowds while diverting attention away from brute strength toward artistry of matadors.
But when the matador finally lines up to kill an animal, the moment can be terrifying. Executing an effective kill – plunging the sword between its shoulders into its aorta region – requires skill and raw courage; angry claps or whistles condemn any improper technique used – giving audiences a way to judge each bullfighter.
Applause
Quiet reigns over the ring as nervous energy builds. A matador steps forward with sword dangling from its belt. Standing only inches from an angry bull’s horns, he begins swinging his cape gracefully – something his avid followers have watched ever since they were children.
Juan Belmonte revolutionized ancient sport of bullfighting a few decades ago by turning it into a performance art and moving closer than ever to his beast, showing the crowd his courage and skill.
Spanish culture holds the matador as a sacred symbol of masculinity; indeed, legislation passed in 1908 prohibited women from engaging in this profession. But in Ella Es el Matador by Mexican director Eva Florencia we meet two female matadors: veteran Mari Paz Vega and her novice sister Eva Florencia.
Death
Bullfighting may captivate audiences with stunning displays of horseback riding and swordplay, yet there is no denying its inherent danger. Bullfighting has claimed hundreds of matador lives since 1700.
Last July, Victor Barrio of Spain became the latest victim. While live television coverage of his death caused widespread outrage and condemnation of bullfighting as a sport. His death galvanized both sympathy and condemnation of its practice.
Before each fight begins, the matador and his “cuadrilla,” or team of assistants, weaken the animal by attacking with various weapons such as picadors on horses with lances and banderilleros with spears as well as petroleum jelly applied directly into its eyes to disorientate it. Once an animal has died it is usually dragged out of the arena with ears and tail lopped off to complete this ritualistic act.
