Home

Photo Essays

Photo Art

Photo Creations

Commercial

Family Portraits

Children

Stock Photos

About Us

Links

Contact Jess

The Santa Maria bullring is the only one remaining in the U.S.  It is much smaller than those in Mexico City, Madrid, or Seville and the layout is less elaborate.

In years past, Houston, San Antonio and El Paso, Texas, along with several venues in California and Las Vegas, Nevada had bull rings.  According to an article in the Chicago Tribune, dated August, 1987, the bull ring at Dodge City, Kansas was the "Carnegie Hall" of bull fighting in the U.S.

In the above photo of the Santa Maria bull ring, the openings between the top of the fence and the bleachers  are the viewing areas for those in the box seats.  The bleachers on the right are on the sunny side and the smaller, more expensive section on the left is the shady side.  Although, on this overcast day it didn't make much difference, both sides were equally warm.

The show began with a Flamenco dance by Ray Duran and Sonia Chapa.

In southern Spain, Flamenco and bullfights go hand-in-hand.  Both are steeped in centuries old tradition.

To begin the bullfight, the matadors and their cuadrillas march into the bull ring, salute the  presidente and the judge and acknowledge the audience. 

 The cuadrilla is a cohort of assistant  matadors, banderilleros, and picadors who assist the matador during the performance.

The bulls enter the ring and race from left to right around the ring, enticed to charge at the bull fighters and their capes  so the matador can assess the characteristics of the bull: which side does he prefer, how does he swing his head, how aggressive is he, etc?

First passes are enticed with a large, two-handed cape.  The bull is maneuvered in a series of passes, known as veronica, that are meant to slow him down until the matador is in complete control of the animal, turns his back and walks away. 

Another veronica...

...and another.

After a series of passes with the large cape the matador switches to a smaller cape, the "muleta."

This is the final "tercero" of the three stage performance.

Another pass at the muleta.

Signifying that he is dominating the bull, the matador pats him on the back as he passes.

Another pass at the muleta with a second pat on the rump.

Preparing for the final pass, the matador poses as he would to kill the bull, feigning sword in hand, aiming to place the tip between the bull's shoulder blades, piercing downward toward his heart.

In the bloodless fight, however, the matador will symbolically kill the bull by snatching the rose bouquet from a Velcro patch on the hump (morillo in Spanish) of the bull.

The bullring judge awards two symbolic ears and a tail.  While the judge makes the awards, it is entirely up to the audience to indicate, by applause, their appreciation for the artistry of the matador and the awards he receives. 
The judge responds to their applause.

In larger bullrings knowledgeable crowds wave one or two white handkerchiefs, combined with their voices to indicate their judgment.  This novice crowd was not prepared with pocket handkerchiefs.

Vicki and our friend Gail, watch the event from the top corner of the stands on the "sunny side."

The term bullfight is in the main a misnomer.  In reality it is more of a performance akin to a dance.  The skill of the matador in the way he manages the bull, enticing charge after charge, all the while slowing him and bringing him in closer is what counts.  The matador gets no points for bravery, nor does he lose any for cowardice.  What really matters is his skill and artistry with the cape.

Both matadors in this event displayed remarkable, exceptionally artful talent.

Other than becoming exhausted by the excessive running and charging, none of the bulls were harmed during the performance.