30 December 2013
26 November 2013
Spanish Bullfighting: FOR or AGAINST?
We, naively, automatically
presume in life maturity evolves unaided and those decisions we make are based
purely on our assumptions of right and wrong. We try to dissect all analytical
methods and reasoning’s representing our beliefs wittingly and, believe whichever
election we make or, agree on, we do not feel obliged to justify ourselves.
However, what happens if you can see both sides to an argument. How do you go
about expressing yourself? This was the dilemma I found myself being an active
part of such engagement.
Bullfighting, is classed as
controversial, to knowingly penetrate an unsuspecting bull in the hope of
achieving a celebrity status. Those who disagree on bullfighting, reduce any
positives allowing themselves only to feed on the negatives, because it is
natural to say "No" to a premeditated death. As a human being we react
differently to our neighbours. However, most common feelings develop from
culture. We like to establish ourselves as individually unique but at some
point we are going to represent the same feelings, compassion, love, hate and
so forth. Once we are aware that others enjoy the same we become friendly and
encourage one another in the same direction, a celebration if you like!
Where bullfighting is
concerned you are either FOR or AGAINST and both parties will argue their case.
I approached this controversial subject with an
optimistic mind. It would be unfair to ridicule something with limited
knowledge. I studied the likes of:
Ernest Hemingway, Death in
the afternoon; The sun also rises
Juan Belmonte
Jose Gomez (Joselito)
Alexander Fiske Harrison, The
author of “Into the arena” a British Journalist that has a huge passion for
bulls. He has taken part in corrida de toros (the running of bulls) and gained the
experience of a novillero- A bullfighter restricted by professional rules to
engaging bulls less than four years of age.
So, firstly, I read about
the fighting bulls. Iberian bulls are a selective breed and revered purely for
their stamina, aggression and strength. After a year relying on their mother,
regardless of the sex, the bulls are then sectioned and branded into single-sex
groups. They stay here until the age of two. Once they are two years old, it is
time to evaluate their worth, whether it is for breeding, fighting, or
slaughtered for their meat. The test involves seeing how a bull reacts to a
horse and analyse its aggressiveness and any sort of strategy. A bull cannot
see a man in the ring until it is time to fight. Spanish Law states that the
bulls have to be over four years old, with functional vision and horns that
haven't being tampered with. (Even though it is illegal, they have been times
were bulls horns have being shaven, this disturbs co-ordination, behavior, and become
less dangerous to the matador, not a fair fight).
If it is a form of art,
emphasising danger and elegance together, then it is only natural to mention
Juan Belmonte, a small Andalusian Matador, first. As he entered the ring, up to
50,000 applauded him, not knowing within the next few minutes he would
revolutionise bullfighting. Instead of the common sword thrust he began to
create beauty, elegance, almost an erotic scene in which colours _bright_
interacted with one another. Belmonte was born with weak and deformed legs,
which at the time seemed inappropriate for this sort of performance. Because of
his weak legs he found it hard rapidly moving around and instead of dancing
around the bull, nervously, he remained still and erect, almost emotionless.
The audience called him ugly, and if it wasn't for his new technique, his
popularity would be questionable. When in the ring, the bull, reacting to the
motivated muleta ran towards it in connection to the planned chapter, not only the
audience cheered and became delighted, but also felt a touch of fear, fear for
the matador himself as the bull’s horns brushed passed each time narrowly
missing him. Belmonte, as a child, was always fascinated with bulls and dared
to jump the wall and distract the bulls’ attention; it did not make him afraid
but more alive. His father wanted him to work in his shop but due to his
shyness Belmonte was not good at haggling and didn’t bring in as much money as
his father needed. He knew from a young age he wanted to work with bulls.
From the day Belmonte's
technique was heard of, inspiring matadors tried to replicate his moves, be
rewarded and to be as famous. This resulted in many unpredictable deaths when
the bull got too close, goring unsteady matadors. It was no secret that Juan
Belmonte had a rival in Jose Gomez known commonly as Joselito. It was known as
the golden era; two great compassionate matadors taking it in turns to deliver
a great performance. Although they rivalled, they were close friends and always
applauded their end results.
Ignacio Sanchez Mejias, the
brother-in-law of Joselito, was born into a rich family. His father _a doctor_
wanted Sanchez to follow in his footsteps. Sanchez had other ideas. He became a
huge fan of bulls at a young age. Becoming engrossed, Sanchez played truant to
join children, including Jose Gomez, at a bullfighting school. As years passed,
Sanchez became interested in women and poetry, and made his debut as a
banderillero. In 1914 he was gored in his femur. Luckily, being a young age and
in good health it wasn’t so severe to destroy his career. Although he was
absent some time, he became a matador and a great one at that too. Sanchez was
also a passionate poet. Sadly, one Sunday afternoon in 1920, Belmonte and
Sanchez witnessed the goring of Joselito. Joselito was rushed to hospital.
Sanchez stayed behind to kill the bull. Once the bull was killed, Sanchez raced
to the hospital. He arrived too late. Joselito had died. Sanchez stayed behind
and watched over the corpse in tears. There is a photograph witnessing Sanchez
supporting the head of Joselito, caressing his face with the other hand. The
most emotional scene, if ever there was one in bullfighting. Sanchez carried on
bullfighting but was gored a numerous of times. He chose to address other
opportunities in life such as his poetry and becoming an actor. In 1934 he
returned to bullfighting. This would be his last time. He too was gored to
death. His grave stone placed to the right of Joselito.
The Laid out Body
Stone is a forehead where
dreams grief
without curving waters and frozen cypresses.
Stone is a shoulder on which to bear Time
with trees formed of tears and ribbons and planets.
I have seen grey showers move towards the waves
raising their tender riddle arms,
to avoid being caught by lying stone
which loosens their limbs without soaking their blood.
For stone gathers seed and clouds,
skeleton larks and wolves of penumbra:
but yields not sounds nor crystals nor fire,
only bull rings and bull rings and more bull rings without walls.
Now, Ignacio, the well born, lies on the stone.
All is finished. What is happening! Contemplate his face:
death has covered him with pale sulphur
and has placed on him, the head of dark Minotaur.
All is finished. The rain penetrates his mouth.
The air, as if mad, leaves his sunken chest,
and Love, soaked through with tears of snow,
warms itself on the peak of the herd.
What are they saying? A stanching silence settles down.
We are here with a body laid out which fades away,
with a pure shape which had nightingales
and we see it being filled with depthless holes.
Who creases the shroud? What he says is not true!
Nobody sings here, nobody weeps in the corner;
nobody pricks the spurs, nor terrifies the serpent.
Here I want nothing else but the round eyes
to see his body without a chance of rest.
Here I want to see those men of hard voice.
Those that break horses, and dominate rivers
those men of sonorous skeleton who sing
with a mouth full of sun and flint.
Here I want to see them, before the stone.
Before this body with broken reins
I want to know from them the way out
for this captain stripped down by death.
I want them to show me a lament like a river
which will have sweet mists and deep shores,
to take the body of Ignacio where it loses itself
without hearing the double planting of the bulls.
Loses itself in the round bull ring of the moon
which feigns in its youth, a sad quiet bull,
loses itself in the night without song of fishes
and in the white thicket of frozen smoke.
I don't want to cover his face with handkerchiefs
that he may get used to the death he carries.
Go, Ignacio, feel not the hot bellowing
Sleep, fly, and rest: even the sea dies!
-Lament poem, dedicated to
Ignacio Sanchez Mejias
Belmonte carried on
Bullfighting. Once, in his native, Seville, performing before a demanding crowd
he got two warnings. Due to distractions with a married woman and poor diet,
Belmonte was exhausted and he screamed at the bull to just kill him. Belmonte
was removed from the ring, ending in his first retirement. On many occasions,
Belmonte retired from the ring for being gored numerous of times and
ill-health. In 1961 his health deteriorated quickly and him being unable to
adjust, took a gun and shot himself in the head.
If I subtract the bull and
just watch the elegant cape passes and the way Belmonte stood, I see art. I
fall completely in love with the talent; slow, well thought-out and practiced,
a display of dance, performing maturely and passionately. I found myself
becoming more and more engaged; something before research I would not have
imagined I should admit.
I have watched numerous of
bullfights and each one is different, not comparable. Some I am amazed how well
the Matador performs, the way he moves, coordinated and brave; and sometimes I
have watched, a silent tear trickling down my face, a sense of remorse and my
conscious kicking in!
Thousands of voices
over-lap one another like an eerie sensation. Seating is priced based on sun
and shade, shade being more expensive. It begins with a parade known as
Paseillo in which the participants of the act enter the arena to salute the presiding
dignitary. I watch on, immersed.
Preliminary phase
The Matador, in a series of
passes, analyses the bull’s ferocity, speed and, if, or how it charges.
Act one:
Tercio de Varas (“Third of
lances”)
Next, two picadors enter
the arena mounted on padded and blindfolded horses. When in sight, the bull attacks the horse,
giving an inkling to which side the bull prefers. The picadors’ purpose is to
lance the bull just behind the morillo, a mound of muscle on the bull’s neck.
The bull can be lanced up to 4 times. Thriving on adrenaline, the bull sees the
horses as the culprit and expectedly tries to gorge the victim. If the picadors
are successful with their lancing, the bull’s head will lower. This is
compulsory to the following stages of the bullfight, making the bulls charge
less dangerously, enabling the Matador to perform.
Act two:
Tercio de banderillas
(“Third of flags”)
The second act is the “Tercio de banderillas.” A banderilla is known as a
“flag.” It is a long wooden stick, roughly two feet long with a barb at the
end. The stick is decorated in yellow and red paper, signifying Spain. The
banderilleros steps in once the Picador leaves. A banderillero will place
himself in danger by getting his chest to pass close to or even between the
horns. The crowd will be analysing every move as the banderilla punctures the
bull’s shoulders. This puts a strain on the enormous ridges of the neck and
shoulder muscle through loss of blood. The Banderilleros induce the bull to
make ferocious charges. The bull becomes exhausted. Then it is time for the
Matador to take over.
Act three:
Tercio de Muerte (“Third of
death”)
The Matador, dressed in traje
de luces, suit of lights, enters the ring armed with a muleta (the muleta, a
red cape, is used to distract the bull. The colour red is for traditional
purposes only; the bulls are actually colour-blind and only react to movement.
The use of a red cape is to camouflage the blood) and, a sword in the other
hand, the Matador, having dedicated the bull to a selected individual, or, the
whole audience, stands, attracting the bull’s attention. (This is where I
recognised the art that is labeled towards a corrida de toro.) The audience,
happy with the Matadors performance, chant the words “Ole.” The Matador
artistically performs a series of tanda, a series of passes. The Matador,
keeping the bull motivated attempts to get the bull in a steady position in
which he can kill the bull with an estocada, the thrusting of the sword between
the bull’s shoulder blade and through the heart. This can sometimes go horribly
wrong in which the Matador fails. This can cause the audience to protest and
change the atmosphere.
Before the estocada, if the
audience thinks the Matador has performed extremely well, they will, in
response, wave a white handkerchief. If the president accepts, the Matador will
be rewarded with the bulls’ ear or two, and in some cases the tail. However, on
rare occasions a bull will be pardoned. Due to its performance the audience,
waving white handkerchiefs, will petition its release. If the president agrees,
the bull will live. It is a great honour to the Matador to have the bull
pardoned.
In his book; Death in the
afternoon, Ernest Hemingway wrote:
“Bullfighting is the only
art that the artist is in danger.”
I think he pretty much
summed it up in such a short sentence; something he was known to create well.
In order for the
performance to come across as artistically approved, both Matador and bull have
to come out and produce an intense degree of emotion. The Matador and the bull
have to perform as an act, a story. The Matador, like a dancer, adopts a
theoretical accomplishment. His body, like a model, has a perfect posture. His
hands, coordinating the muleta, are inspiring to aficionados and such alike.
The bull(s) signify passion, energy and freedom. I believe, if you look at it
closely, analyse it deeper, it becomes an erotic scene, seduction, tense
manoeuvring, a taste of penetration.
On my journey, I read
information on those whom agreed and, disagreed. I did not agree or detested
their message. I just accepted them. I did not and would not judge their likes
or dislikes. My intention was to understand it, learn from it and write from,
and about it.
When I watched the first
bullfight I looked for any signs of foul play such as reported abuse on the
bulls. I did not see any and that isn’t to say there were not. Once the lock
was open and the bull came running out, it was how people said in the past and
continuing to say: it runs out; seeing the light he thinks it is freedom and in
some way it is freedom from his pen that he has being in for up to two nights.
All cattle whether bred for food or to fight, like to be in a herd. So this
bull runs out into the ring, looking lost and alone-this is only my first
perception, which I am entitled to, same as anyone else. When the picadors come
into the ring and once the bull sees the horses, he runs towards them. He sees
the horse as the predator. Once the bull is within reach the picador lances it.
The bull tries to gore the horses; horses are now protected with like a
mattress-layer, to stop them from being gored as much. Once the picadors have
done what they need to do, Banderilleros step in and, in time, place
banderillas into the bull’s neck. The bull, from then on will lower his head.
This is vital in order to be less of a threat to the Matador. When the Matador
comes onto the scene dressed in traje de luces, usually in gold, this is when I
think art becomes part of the scene. The colours and manner of the Matador
reminds me of a Flamenco dancer, sturdy, balanced and in the high spirit. When The
bull sees the muleta’s move, he runs towards it. I find this interesting to
watch, each time waiting in suspense of the Matadors safety. After the Matador
has finished with the bull, the ear(s) or tail maybe cut off as a reward to the
Matador. This was the part I felt a little uneasy with. You could clearly see
the bull was still conscious. Then, it is tied up and dragged along the golden
sand. The audience cheering as the bull’s life is departing from him.
I first looked into those
who agree on Bullfighting as an art and the reasons behind their opinions:
The majority of those who
agree on Bullfighting only agree because of “Spanish Tradition,” rather than
giving me a fuller reason, which would have being more preferable to examine.
I came across British
Journalist Alexander Fiske-Harrison whom I knew from reading only a few lines
how much passion he feels for it. His blogs were very interesting to read and
keeps the reader very entertained through-out. Alexander Fiske-Harrison has
taken part in the Pamplona Bull run and only recently was almost gored.
“With my back against the
wall, its horns either side of my chest – literally – and, unlike in Pamplona
or an official plaza de toros, no surgeon within a forty-five minute
drive, I saw my own death ahead of me. However, for some reason the bull
decided today was not my day and moved on, most likely because I had the
presence of mind to freeze, making myself invisible to the clockwork brain
behind the horns.”
-Alexander Fiske-Harrison
Before I came across his
blog it was, at first, hard to think of myself ever seeing the FOR side of the
bullfighting. I was, admittedly, naïve towards it. My knowledge and perception
was limited. Alexander Fiske-Harrison changed my way of thinking. He believes a
fighting bull is a better, respected animal, than any cattle sent to the
slaughter-house. A fighting bull, as mentioned above, lives up to five plus
years. Cattle, bred purely for food, live to about two years. Within the two
years of life, they are sheltered in a small pen, with limited movement and,
poor quality of food. And, although scientifically killed humanely than a
fighting bull, their life is not as well lived than a fighting bull. A fighting
bull lives on acres of pasture with better quality food and top priority care.
The bull, at the end of the scene, will either die in honor or be sparred his
life in honor. Matadors and aficionados think a lot about the bulls. Changing
bullfighting, to not killing the bull, would be like “Romeo and Juliet, where
Romeo doesn’t die.” It wouldn’t be the same. Now, understanding it more in
depth I can appreciate it. It does not mean I fully accept it, because I don’t.
I appreciate the skill, the performance, the bravery of the Matadors, the way
the bull maneuvers in response to a script.
I do not like the way
something is accepted on “traditional aspects.” There are many traditions in
many different countries. It does not mean they are right. Only recently Female
Genital Mutilation (FGM) has being looked into in the UK. Now, as an
understanding nation we disagree on this “tradition” both male and female. Even
if we looked into it, like I have on bullfighting, we would not change our mind
and that is guaranteed. It is a “tradition” that ought to be banned, right now.
Hence why saying Spanish Bullfighting is a “tradition” and that is why it should
not be banned, to me it’s not a good enough excuse.
And, obviously there are
those that are AGAINST bullfighting. There are higher percentages as AGAINST
than there are FOR it.
There are many who agree
Bullfighting should be banned as they call it “Barbaric, revolting, torturous.”
I have read paragraph after paragraph about how a bull is treated before,
during and, after the bullfight. There are a large number of people, who
believe bulls are kept in a box, starved and dehydrated two days before they
are due to enter the ring; and, that their eyes have Vaseline rubbed into them,
wet newspaper stuffed in their ears, acid on their feet to keep them on their
feet; active, steroids to induce strength, irritation-to make them seem more
aggressive. My view on this would be the bulls’ need to have 100% vision in
order to see the movement of the muleta? Wet newspaper, acid, and, steroids I
do not know, admittedly, if this is taking place, I cannot comment on that
without facts.
Bullfighting has and will
continue to cause a great amount of controversy to those, who label it barbaric
and dedicate a vast amount of their time in protesting to the Spanish Embassy.
Back in 1991 Canary Islands were the first region in Spain to ban bullfighting
and, after animal right lobbyists displayed their anger and concern for the bulls’
welfare, they gained a staggering 180,000 petitions to eradicate the existence
of bullfighting in Catalonia, Barcelona in January 2012. It is no secret that
Catalonia has openly admitted their fight for independence and to be separated
from Spain in the past and continue to do so. That being said, this was no
political move, as many interpreted it. Catalonia was no longer prepared to
condone public spectacles, transmitting the message violence can be sometimes
tolerated.
As a Writer and, a
passionate artist, I crave cultural variations. I linger on a subject matter
and feed off the information. I become knowledgeable and it gives me great
satisfaction and, like an addiction, I yearn for more. I look at every angle
and, whether the subject matter is to my taste or not. For me to write this, I
closed off my feelings. I did not want to automatically jump to one side and
dismiss any information on the opposite. I have enjoyed reading upon
Bullfighting, the Matadors, and seeing as an artist, the scenes.
My overall review
So which, if any, is more
humane, more acceptable?
We are all guilty, except
vegetarians, ignoring how cattle, bred for food, die. The only thing we
contemplate; how it will look on a plate. We turn a blind eye to how the
animal, responsible for our meal, suffered before being skinned and cooked.
Is bullfighting only bad
because we witness the death?
I wanted to write this open-minded. I wanted to create some form of open discussion so please, if you have respected my blog, leave your opinion.
25 October 2013
BULLFIGHTING: DEFEATED BULL
You see me running through freshly laid sand; golden.
If you look closely, if you choose to look closely,
you will see the pain in my eyes.
But you don't, you never will
So here i am, for twenty minutes
I am the centre of attention
But in the end I know I will be laying
defeated, unjustified.
But hey, I am just a bull, lanced, bleeding...
What can I do when ignorance is so powerful?
I will play my role, running towards the Muleta
Because after all, this was all I was born for
to be part of a story, man-against-bull
But, that's not the way I see it
weakened, I am practically powerless
Ole! Ole!
The sound of a happy crowd
At least when I lay on the butchers table
about to take my last breath,
I will be free
04 August 2013
Antoni Gaudi, Barcelona (Poem)
June 25th, 1852, Antoni Gaudi was born
located in the Mediterranean.
He carried a gift through to adulthood,
Setting his sights on architecture.
Inspired by geometric masses,
Floral and reptilian formats.
Geographically he believed he was endowed,
and filled with originality.
Never failing to be defeated,
he took up every opportunity,
turning it into his own creativity.
All around different architectural styles
accumulate, making Barcelona a resemblance of
an open air urban museum.
Impressive vaulting, colours and techniques
shine through.
Gaudi carried on till he took his last breath
leaving the structure; Sagrada Familia, still uncompleted,
a deadline of 2026.
A anniversary mark, of a genius that avoided confrontations
and lived by his own rules and regulations.
He leaves behind a city that blossoms with magical desirability
That makes you reach out with charisma and appreciation.
22 July 2013
Sagrada Familia, Barcelona
If you were to put in a search for great architectural buildings then be prepared to come across; Basilica I Temple Expiatori d la Sagrada Familia; a Roman Catholic Church situated in the centre of Barcelona, Catalonia, Spain.
The Basillica of the Sagrada Familia was conceived and, inspired by a Catalan bookseller and chairman of the holy brotherhood, Josep Maria Bocabella (1815-1892). On his way back from the Vatican in 1872, Josep was determined to build a cathedral having witnessed the one in Loreto. In 1881 the location was granted and Francesc de Paula I Villar (1828-1901) was commissioned to build Sagrada Familia.
However, Francesc de Paula I Villa resigned due to constant discrepancies with Joan Mortorell-a architect who worked well with Josep Maria Bocabella. The job was then offered to Mortorell himself whom immediately turned it down, proposing architect Antoni Gaudi.
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| Josep Maria Bocabella |
Antoni Gaudi changed the original concept, seizing the opportunity to express his devout feelings. He was a visionary and organic and was portrayed as a perfectionist. He would frequently alter his designs, making models and spontaneous drafts, therefore apart from creating a module, which was burnt in the fire (Spanish Civil War), he never followed a planned architectural design from start to end on papers, thus leaving no documented evidence of completion of his work(s). However, Antoni Gaudi made it clear he wanted a total of 18 towers; twelve symbolising the apostles, four dedicated to the evangelist and one of each for Mary and Jesus. With his engineering architecture experience he manually built the structure adding a Gothic and curvilinear Art Nouveau feel to it and even took up residence so he could be there dealing with any issues immediately. He dedicated himself to the job for over forty years, only ever having one girlfriend in his lifetime. He became so dedicated in mastering Sagrada Familia that he neglected his own appearance.
On the 10th June 1926 Antoni Gaudi was knocked down by a tram. Due to his unkempt exterior, nobody recognised him, leaving him abandoned. Taxi drivers refused him access thinking he was a vagabond. Police, in the end, intervened and took him to a “poor hospital” where he stayed for three days before passing away, aged 73. Off course, it is heart-breaking to note that he took with him his inner vision of the cathedral. Less then a quarter of Sagrada Familia was complete, relying on private donations, architects continued to work on the project until the disruption of the Spanish Civil War (1936-1939).
During the Spanish Civil War anarchists took advantage of the situation and targeted the Sagrada Familia, setting fire to the crypt and workshop destroying; models, photographs and original drawings -which would have given clear future reference as to Antoni Gaudi’s intentions. Eventually, shaking of post-war, Francesc de Paula Quintana I Vidal, an associate of Gaudi since 1919, restored the burnt crypt and reconstructed many of the damaged models, which was used as a guideline. In 1954 work was continued with, if anything, more determination to fulfil Antoni Gaudi’s wishes. In 1955 a full day was taken out for collections, this was when the public, whom at the time opted for continuation, donated money to the project. In 1961 a museum opened, allowing visitors the chance to learn more about the history of Sagrada Familia, and, especially to learn the symbolic aspects of the cathedral.In the late 1950’s computer-aided-design technology was slowly added to the sculptures, which allowed architects to use machines to shape stone, whereas in the early 20th century the stone was carved by hand, taking a longer period to complete sections. Architects continued working on the Sagrada Familia under chief architect Jordi Bonet. The deadline for completion is 2026, an anniversary date to Antoni Gaudi’s death.
I got quite excited at the idea of looking into the history of Sagrada Familia. I am a huge fan of unique architecture. I have written for many years, specialising mainly about Spain. When I came across Sagrada Familia, like a lot of people, I was in awe, my breath was taken immediately and my heart leaped with joy and I felt such emotion, inspiration and love. The structural vision was like poetry, where every detail fulfilled my hunger. I have to admit something though, at the beginning of this journey I was quite naïve. I believed reading about Sagrada Familia would be like reading a fairytale, a happy ending. I no longer believe this now, infact, I do not ever believe, completed or not, Sagrada Familia, will ever have it’s happy ending, regardless of it’s magnificent beauty.
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| I can imagine Antoni Gaudi in heaven still designing Sagrada Familia |
L. LOPEZ
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