A couple of years ago and by government decree, bullfighting professionals were excluded from the special regime for artists in which they had been included since 1985 and which protected them, legally, from administrative and political discrimination towards bullfighting.
What does this have to do with the chronicle of today’s bullfight – World Art Day, in addition – in La Maestranza? The reader will ask. The answer is the composition of the poster and the names of the bullfighters that are announced in it, since both Morante de la Puebla (the bravest of the artistic bullfighters, the most artist of the brave bullfighters, is proclaimed) and Daniel Luque (powerful and artist at the same time) and Juan Ortega (Trian purity of his bullfighting) justify – if necessary – the consideration of bullfighting as an artistic activity, moreover: art among the arts.
And to his claim, with Seville illuminated by day by a brilliant sun and by night by the multicolored lights of the fair. La Maestranza was filled up to the clock with natives and foreigners in their best clothes (to the bullfights, like to the opera, you go well dressed, although on afternoons like this going in such a way to the sun stands is quite heroic).
For the three artists, bulls from Domingo Hernández (1-3-5-6) and Garcigrande (3-4) were announced. Same house, different iron, and since the morning draw and on account of the presentation of the cattle, seen in videos and photos, comments from fans were buzzing on social networks – tweeted, they call it – clamoring for what – according to the images, was an affront for a square like Seville. Both his image and his game had to pass the test that really counts: the one in the arena, which in La Maestranza is oval.
He came out first, the heaviest – and with more than five years of age – of the bullfight and he barely allowed Morante de la Puebla a couple of veronicas for the right piton. He was on the breastplate for a long time and Curro Javier took him out of it with a warm and long cast. Joao Ferreira left a superb pair of flags greeting a great ovation.
Start of Morante’s work, with two helped from below by the sublime right python and a couple of round series, fitting the figure and tempering the attack.
Naturally there were some excellent ones, but the bull became scrabbling and continued in this manner when the one from La Puebla returned to his right hand, so he went for the sword, effective on the second try, but not without forcing him to use the descabello.
A dozen of Daniel Luque’s veronicas gaining ground while increasing the intensity of the set in each of them was the receipt for the second, who attacked with zeal.
As soon as he got started, three very slow tafalleras by Juan Ortega finished off with a final set of pure goldsmithing were answered by Luque with low-handed chicuelinas. The applause was the verdict for both.
After the previous muleta blows, he began to bullfight around with a clairvoyant confidence and the music played. It was more difficult for the bull when he took the left and the one from Gerena chose to return to the right, enduring a stop without blinking.
He pricked before the thrust, the applause from the public made him salute, cap in hand.
The third, who changed currency, was not, by morphology, what they call the “bull of Seville” and, pushing inward, he left a gap for Juan Ortega’s brilliance.
Two tasty trenches seasoned the beginning of the task, but they did not fuel great expectations, since the bull never charged directly.
Ortega took charge of both pitons with a calm attitude and left the occasional well-cut muletazo that, given the condition of the bull, had no impact on the lines. Prick, thrust and silence as a balance.
The fourth, “Acedado” (like this, without h or n), also by Garcigrande, once again left us in awe of Morante’s cape and he, with the expression on his face, said it all. It happened that the bull broke his piton in his encounter with the horse and returned to the corrals. And, the things of things, more than one (perhaps Morante among them) harbored new hopes.
The hat, by Matilla, came out, harmonious in its workmanship and well armed with pitons, but not overly strong and barely allowed Morante to sketch the veronica. The third of rods, a procedure…and those previous hopes dissipating.
Fear confirmed when Morante, crutch in hand, tried to bullfight in a circle and it became clear that neither strength nor caste accompanied the animal. And since what I can’t know I can’t know and since it’s impossible, Morante did so and went for the sword. People got angry, but not much, and Morante, well, that’s it. She has another one left, on Friday. That will be it.
The second of Daniel Luque’s lot, neither chicha nor limoná in the first thirds, attacking at pace and with his face above half height.
Semi genuflected and trying to lengthen the attacks, Luque fought in favor of the bull, but…
After a series of rounds he changed the piton and the second natural the bull was torn from his chest, without consequences.
But Luque, ambition as his flag, returned to the right hand and from there came the lesson.
Overwhelming, ample, extremely confident, Luque delivered crutches that seemed impossible. What a way to fight! A bull that had no choice but to surrender to such a waste of teaching and power. So much so that, already very close in a draw, there was even an opportunity for the Luquesians. Final decoration for a task that was possible because the bullfighter bet and ended up winning. Luque has the favor and fervor of the fans as well earned.
The sixth, “Florentino” – ahem – came out and Juan Ortega was able to show glimpses of his capotera qualities, while the bull showed a certain fairness of strength.
Toast from Juan Ortega to Pepe Luis Vázquez, cazí ná, and start of work with help from high and low honoring the toast.
Honor that followed when he bullfighted in a circle like someone caressing and then in three natural cathedrals. As eternal, in duration and for the memory of the soul, were the right hands, slowly, slowly. A blessed madness.8
Ortega stopping clocks and racing hearts. Sublime.
Lunge at the height of the work, bull to the ground and two ears like the Torre del Oro.
And Triana in the heart.
World Art Day? …
Well that.
