Ronda Goyesca Aitor Lara

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RONDA GOYESCA

Ronda Goyesca

Aitor Lara

Mariana Pineda

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Federico GarcĂ­a Lorca

,W ZDV WKH\ VD\ WKH JUDQGHVW EXOOÀJKW Ancient Ronda had ever seen, ZLWK ÀYH EUDYH EXOOV DV EODFN DV MHW DOO WUDLOLQJ ULEERQV GDUN DQG JUHHQ And every minute I thought of you; if only my sad friend, I thought, if only she could be here too, my dearest Mariana Pineda! The ladies came with gay abandon in open coaches one by one, WKHLU IDQV LQ FLUFOHV DOO Dà XWWHU ZLWK VHTXLQV JOHDPLQJ LQ WKH VXQ The males of Ronda mounted came showing off their elegant paces, with grey hats so broad of rim DQG FRFNHG OLNH WKLV WR KLGH WKHLU IDFHV The bullring was so tightly thronged, LW VSXQ DERXW OLNH D ]RGLDF Calaùa hats and tall mantillas RQ VPLOHV WKDW à DVKHG IURP ZKLWH WR EODFN And when the matchless Cayetano strode so manly on straw and sand, his suit a fresh-cut apple colour LQ ÀQHVW VLON DQG VLOYHU EDQG among the troupe he stood apart a truly handsome, brave gallant,

DQG ZKHQ KH IDFHG WKH ÀHUFHVW EXOOV that ever Spain has reared and bred, LW VHHPHG WKH YHU\ VN\ ZRXOG WXUQ D FKHVWQXW EURZQ WR PDWFK KLV KHDG You should have seen how gracefully he spun his hips and turned his waist, his perfect timing and his poise, ZLWK FDSH DQG FORWK WKHUH ZDV QR KDVWH Not even Pedro Romero polishes off the stars so clean; ÀYH EXOOV KH VOHZ ÀYH EUDYH EXOOV DOO WUDLOLQJ ULEERQV GDUN DQG JUHHQ So deftly did his sword unfold ÀYH UHG FDUQDWLRQV WR WKH VN\ and spinning on vermillion wings, DV GHOLFDWH DV D EXWWHUà \ with every pass he brushed his suit RQ KRUQ DQG VQRXW RI PDVVLYH EHDVW The bullring and the afternoon vibrated to the violent feast, and wafting on the smell of blood , FDXJKW D EUHDWK RI PRXQWDLQ DLU But every minute I thought of you: if only my sad friend, I thought, if only she could be here too, P\ GHDUHVW 0DULDQD 3LQHGD

Extract from the play by Federico GarcĂ­a Lorca, 1925

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Mariana Pineda

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Federico GarcĂ­a Lorca

IUHQWH D ORV WRURV ]DtQRV que Espaùa cría en su tierra, parecía que la tarde VH SRQtD PiV PRUHQD ¥Si hubieras visto con quÊ gracia movía las piernas! ¥QuÊ gran equilibrio el suyo con la capa y la muleta! £0HMRU QL 3HGUR 5RPHUR toreando las estrellas! &LQFR WRURV PDWy FLQFR FRQ GLYLVD YHUGH \ QHJUD En la punta de su espada FLQFR à RUHV GHMy DELHUWDV \ D FDGD LQVWDQWH UR]DED ORV KRFLFRV GH ODV ÀHUDV como una gran mariposa GH RUR FRQ DODV EHUPHMDV /D SOD]D DO SDU TXH OD WDUGH vibraba fuerte, violenta, y entre el olor de la sangre LED HO RORU GH OD VLHUUD Yo pensaba siempre en ti; yo pensaba: si estuviera conmigo mi triste amiga, ¥mi Marianita Pineda!

En la corrida mås grande TXH VH YLR HQ 5RQGD OD YLHMD &LQFR WRURV GH D]DEDFKH FRQ GLYLVD YHUGH \ QHJUD Yo pensaba siempre en ti; yo pensaba: si estuviera conmigo mi triste amiga, ¥mi Marianita Pineda! Las niùas venían gritando sobre pintadas calesas, con abanicos redondos ERUGDGRV GH OHQWHMXHODV < ORV MyYHQHV GH 5RQGD VREUH MDFDV SLQWXUHUDV los anchos sombreros grises FDODGRV KDVWD ODV FHMDV /D SOD]D FRQ HO JHQWtR (calaùÊs y altas peinetas) JLUDED FRPR XQ ]RGtDFR GH ULVDV EODQFDV \ QHJUDV Y cuando el gran Cayetano FUX]y OD SDML]D DUHQD FRQ WUDMH FRORU PDQ]DQD bordado de plata y seda, destacåndose gallardo entre la gente de brega

Extracto de Mariana Pineda, obra de teatro de Federico GarcĂ­a Lorca, 1925

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Reminiscencia y sombra

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Recollection and Shadow

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DQLPDO 7KH H[DFW RSSRVLWH WR ZKDW LQ SULQFLSOH WDNHV SODFH LQ WKH EUHHGLQJ RI 6SDQLVK Ă€JKWLQJ EXOOV ,W VHHPV OLNH HYHQ WKRXJK WUXO\ HFRORJLFDO UHDVRQLQJ LV DFWXDOO\ RQ RXU VLGH WKH GHEDWH LV EHLQJ ORVW E\ WKH SUR EXOOĂ€JKWLQJ faction, as can be surmised by the aforementioned decision by the Parlament de CataluĂąa and similar initiatives that are presently EHLQJ SODQQHG 6KRXOG WKLV DWWLWXGH EHFRPH JHQHUDOL]HG VKRXOG WKH PDMRULW\ RU HYHQ WKH UXOLQJ PLQRULW\ FRQVLGHU EXOOĂ€JKWLQJ D symbol incompatible with European ideology, then this would give ULVH WR WKH TXHVWLRQ RI ZKDW WR GR ZLWK 5RQGD UHYRNH LWV V\PEROV" 'HVWUR\ D QXPEHU RI LWV PRQXPHQWV" ([SHO LW IURP D (XURSH WKDW LV DV\PSWRWLF WRZDUGV RXU KRSHV RI Ă€QDOO\ EHLQJ UHFRJQL]HG DV HTXDOV WR WKH QDWLRQV WKDW FRQVLGHU WKHPVHOYHV FOHDQ FOHDU DQG ODERULRXV" In short, what version of Europe would have room for the ancient DQG HYLGHQWO\ KLJKO\ FLYLOL]HG FLW\ RI 5RQGD" Many years ago, when all over the world many of us built RXU VFKHGXOHV DURXQG WKH Ă€UVW 6DWXUGD\ RI 6HSWHPEHU WKH GD\ ZKHQ $QWRQLR 2UGyxH] FDUULHG RXW KLV \HDUO\ HSLSKDQ\ LQ 5RQGD I wondered for what strange reason a place so far removed from WKH HFRQRPLF DQG FXOWXUDO FHQWHUV D SODFH VXEMHFWHG SROLWLFDOO\ WR the last regime in Europe with fascistic inclinations, a small city that was only relieved from its southern isolation by virtue of, at the time rather obscure, literary references, was to the deepest FRUH RI RXU VXEMHFWLYLW\ WKH QXFOHDU UHIHUHQFH WKH VSLULWXDO KLJKOLJKW RI WKH \HDU Even then, similar images to the ones captured today by Aitor Lara shaped the surroundings of the ultimate event of the Goyesca, inside and outside the bullring of Ronda, and, as a matter RI IDFW WKH RQHV LQFOXGHG LQ WKLV ERRN VHHP WR WDNH XV EDFN WR WKDW WLPH DOWKRXJK , VXVSHFW WKLV ZDV QRW WKH DXWKRU¡V LQWHQWLRQ $QG \HW SULRU WR VHHLQJ WKHP LQ WKH ZRUN RI $LWRU /DUD VXFK LPDJHV ZHUH QRW SUHVHQW LQ P\ PLQG 2Q WKH RQH KDQG , VLPSO\ GLG QRW KDYH $LWRU /DUD¡V FDSDFLW\ to retain WKHP OLWHUDOO\ WR NHHS WKDW ZKLFK LV Ă HHWLQJ LQ HVVHQFH EXW ZKLFK DOZD\V Ă€QGV QHZ SURWDJRQLVWV DQG FLUFXPVWDQFHV WR UHSHDW LWVHOI +HQFH WKH VHQVDWLRQ WKDW WKHVH LPDJHV DEVROXWHO\ UHFHQW VHHP WR HYRNH DQRWKHU WLPH 6RPH RI WKHP WUDQVFHQG ERWK the social and the spatial aspect, such that, had they been published LQ D GLIIHUHQW FRQWH[W QRERG\ ZRXOG KDYH EHHQ DEOH WR OLQN WKHP WR 5RQGD RU HYHQ WR EXOOĂ€JKWLQJ WKDW KXPDQ VKDGRZ WKDW VHHPV WR UXQ DZD\ IURP D FRPSURPLVLQJ FROG ZHDSRQ WKH GRXEOH UHĂ HFWLRQ RI EDUV RU DOZD\V ZLWKLQ D ZRUOG RI VKDGRZV WKH DZNZDUG FXUYHG FRUULGRUÂŤ Yet among the images that are framed within the context RI EXOOĂ€JKWLQJ DQG WKH VRFLDO XQLYHUVH WKDW UHYROYHV DURXQG WKH celebrations of the Goyesca WKHUH LV JUHDW GLYHUVLW\ 6RPH RI

7KHUH DUH VHYHUDO PRQXPHQWV GHGLFDWHG WR EXOOĂ€JKWHUV LQ WKH FLW\ of Ronda, as well as a number of roads named after poets, some of whom are best remembered for the songs they wrote about the IRUPHU ,Q WKH FLW\ RI 5RQGD 5DLQHU 0DULD 5LONH LV FRQVWDQWO\ EHLQJ HYRNHG DQG D VPDOO HVWDWH QHDUE\ ZKLFK RQFH EHORQJHG WR D GHIXQFW EXOOĂ€JKWHU KDV EHFRPH WKH UHVWLQJ SODFH RI 2UVRQ :HOOHV¡ DVKHV E\ KLV RZQ ZLOO 5RQGD ZDV WKH SODFH RI ELUWK RI )UDQFLVFR Giner de los RĂ­os, and a collective that carries the name of the pedagogue paid tribute some years ago to the memory of Miguel +HUQiQGH]ÂŤ Aitor Lara captures images of Ronda focused on the celebrations that revolve around the corrida Goyesca, and VRPHWLPHV RQO\ ZLWK VXFK FHOHEUDWLRQV DV SUHWH[W 2I WKH VR FDOOHG corridas de a pie EXOOĂ€JKWV FDUULHG RXW E\ IRRW WKHUH LV RQO\ RQH LQ 5RQGD HYHU\ \HDU 1HYHUWKHOHVV EXOOĂ€JKWLQJ KDV FHUWDLQO\ EHFRPH one of the symbols of the identity of the city, as it brings together WKH HVVHQFH RI LWV FXOWXUH 'XULQJ WKH KRXUV WKDW SUHFHGHG WKH YRWH WR EDQ EXOOĂ€JKWLQJ in the Parlament of CataluĂąa, a colleague and friend of mine from the University of Barcelona insisted on the argument that the geographic and cultural proximity of CataluĂąa to the rest of (XURSH UHQGHUHG WKH VXUYLYDO RI EXOOĂ€JKWLQJ XQIHDVLEOH ,Q VKRUW WKH SUDFWLFH KDG WR EH DEROLVKHG EHFDXVH LW ODFNHG DQ\ WUDFH RI animalist sensibility and was, therefore, incompatible with the YDOXHV RI RXU HQYLURQPHQW 7KRVH LQ IDYRU RI EXOOĂ€JKWLQJ LQ WXUQ tend to believe that the ones truly impervious to animal instincts are not the fans who demand that bulls be reared in a context that OHDGV WKHP WR IXOĂ€OO WKH QDWXUDO SRWHQWLDO RI D FRPEDWLYH EUHHG ZKLFK GRHV QRW HQWDLO RI FRXUVH WKDW VWRFNEUHHGHUV DFWXDOO\ UHVSRQG WR VXFK GHPDQGV EXW UDWKHU Âł MXVW E\ ZD\ RI H[DPSOH Âł SHRSOH ZKR ORFN WKHLU GRJV LQ D Ă DW LQ WKH FLW\ /HW PH H[SODLQ 0DQNLQG KDV GRPHVWLFDWHG WKH ZROI FKDQQHOLQJ DQG XVLQJ the natural faculties of such animal to the point of turning it into a friend and an accomplice in the struggle against the adversities IRXQG LQ WKHLU FRPPRQ HQYLURQPHQW <HW LQ RUGHU IRU WKH ZROI GRJ WR EH DQ HIĂ€FLHQW RYHUVHHU RI WKH ODQG RU WKH Ă RFNV DV ZHOO DV WR be able to help in the activity of hunting, it must remain a wolfGRJ LWV IDFXOWLHV PXVW VWD\ VKDUS LW PXVW EH IDLWKIXO WR LWV VSHFLĂ€F QDWXUH 7KLV LV QRW WKH FDVH ZKHQ LW LV FRQĂ€QHG WR D VPDOO XUEDQ space, or when it is treated as an exhibition piece, erected as the asthenic substitute of human company, conceived as the impossible palliative of the sort of loneliness for which only the complicity of speech and its succession from generation to generation can FRQVWLWXWH DGHTXDWH PHGLFLQH $ VKHHSGRJ NHSW LQ D FLW\ DSDUWPHQW is, all in all, a dog that does not display the potential of its breed and therefore is constrained to its generic form, reduced to mere

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SHUGHPRV OD SDUWLGD GH OR FXDO HV PXHVWUD OD DOXGLGD UHVROXFLyQ GHO 3DUODPHQW GH &DWDOXxD \ RWUDV DQiORJDV TXH VH HVWiQ IUDJXDQGR 'H JHQHUDOL]DUVH HVWD DFWLWXG GH OOHJDUVH D FRQVLGHUDU SRU OD PD\RUtD o por la minorĂ­a imperante que los toros son el sĂ­mbolo de algo incompatible con el ideario europeo, surgirĂ­a la pregunta sobre quĂŠ KDFHU FRQ OD FLXGDG GH 5RQGD ¢VXSULPLU VXV VtPERORV" ¢'HVWUXLU DOJXQRV GH VXV PRQXPHQWRV" ¢([SXOVDUOD GH HVD (XURSD DVLQWyWLFD SDUD QXHVWUDV DVSLUDFLRQHV D VHU UHFRQRFLGRV DO Ă€Q FRPR LQWHUSDUHV GH ORV SXHEORV TXH VH DXWR FRQVLGHUDQ OLPSLRV FODURV \ ODERULRVRV" ¢(Q TXp (XURSD WHQGUtD HQ VXPD FDELGD HVWD YLHMD \ D RMRV YLVWD FLYLOL]DGtVLPD FLXGDG GH 5RQGD" Hace muchos aĂąos, cuando en diferentes lugares del mundo muchos ĂŠramos los que componĂ­amos nuestro calendario en IXQFLyQ GH HVH SULPHU ViEDGR GH VHSWLHPEUH HQ HO TXH HQ 5RQGD KDFtD $QWRQLR 2UGyxH] VX HSLIDQtD DQXDO PH SUHJXQWDED SRU quĂŠ extraĂąa circunstancia un lugar apartado de los centros de GHFLVLyQ HFRQyPLFRV \ FXOWXUDOHV XQ OXJDU VRPHWLGR HQ OR polĂ­tico al Ăşltimo rĂŠgimen fascistoide de Europa, una pequeĂąa ciudad a la que solo referencias literarias, entonces mĂĄs bien en la sombra, arrancaban de su aislamiento meridional, era para lo PiV H[LJHQWH GH QXHVWUD VXEMHWLYLGDG OD UHIHUHQFLD QXFOHDU OD FLWD HVSLULWXDO GHO DxR Ya entonces imĂĄgenes anĂĄlogas a las que hoy recoge Aitor Lara constituĂ­an el entorno en la fecha cenit de la Goyesca, dentro \ IXHUD GH OD SOD]D GH WRURV GH 5RQGD \ GH KHFKR HVWDV GHO OLEUR parecen mĂĄs bien retrotraernos a aquella ĂŠpoca, aunque no creo TXH HOOR VH GHED D XQD LQWHQFLyQ GHO DXWRU < VLQ HPEDUJR KDVWD QR SHUFLELUODV HQ HO WUDEDMR GH $LWRU /DUD WDOHV LPiJHQHV QR HVWDEDQ SDUD Pt SUHVHQWHV Por un lado, simplemente, no tenĂ­a la capacidad que tiene Aitor Lara de retenerlas, retener literalmente lo esencialmente IXJD] SHUR TXH HQFXHQWUD VLHPSUH QXHYRV SURWDJRQLVWDV \ FLUFXQVWDQFLDV SDUD WHQHU RFDVLyQ GH UHLWHUDUVH GH DKt TXH HVWDV LPiJHQHV DEVROXWDPHQWH UHFLHQWHV SDUH]FDQ VLQ HPEDUJR GH RWUD pSRFD /DV KD\ TXH WUDVFLHQGHQ HO PDUFR WDQWR VRFLDO FRPR espacial, y de haber sido publicadas en otro contexto nadie hubiera podido vincularlas con Ronda y ni siquiera con la tauromaquia: esa sombra humana pareciendo huir de un arma blanca FRPSURPHWHGRUD HO GREOH UHĂ HMR GH UHMDV R VLHPSUH HQ XQ PXQGR GH VRPEUDV HO H[WUDxR SDVLOOR FRQ FXUYDWXUD 3HUR HQ ODV LPiJHQHV TXH Vt HVWiQ FRQWH[WXDOL]DGDV HQ UHODFLyQ D OD WDXURPDTXLD \ DO XQLYHUVR VRFLDO GH ORV IHVWHMRV GH OD *R\HVFD OD GLYHUVLGDG HV JUDQGH /DV KD\ TXH DFHQW~DQ HO DVSHFWR IRUPDO GH OD SOiVWLFD WDXULQD DVt HVD VHYHUD Ă€JXUD GH XQ WRUHUR FRQWHPSODQGR GHVGH ORV PHGLRV OD PXHUWH GHO DQLPDO 3HUR invito al lector a detenerse en aquellas en las que la tauromaquia

La ciudad de Ronda tiene varios monumentos a toreros y calles GHGLFDGDV D JUDQGHV SRHWDV DOJXQRV GH HOORV FDUDFWHUL]DGRV SRU KDEHU FDQWDGR D ORV SULPHURV (Q OD FLXGDG GH 5RQGD HV RPQLSUHVHQWH OD HYRFDFLyQ GH 5DLQHU 0DULD 5LONH \ HQ XQD SHTXHxD Ă€QFD GH ORV DOUHGHGRUHV SHUWHQHFLHQWH D XQ WRUHUR \D IDOOHFLGR UHSRVDQ SRU SURSLD YROXQWDG ODV FHQL]DV GH 2UVRQ :HOOHV (Q 5RQGD QDFLy )UDQFLVFR *LQHU GH ORV 5tRV \ XQ FROHFWLYR TXH OOHYD HO QRPEUH GHO SHGDJRJR FHOHEUy KDFH XQRV DxRV OD PHPRULD GH 0LJXHO +HUQiQGH] $LWRU /DUD Ă€MD LPiJHQHV GH 5RQGD FHQWUDGDV HQ ORV IHVWHMRV TXH VH RUJDQL]DQ HQ WRUQR D OD FRUULGD *R\HVFD \ HQ RFDVLRQHV VLPSOHPHQWH FRQ SUHWH[WR HQ ORV PLVPRV 'H ODV FRUULGDV OODPDGDV de a pie KD\ HQ 5RQGD WDQ VROR XQD DO DxR 3HUR SXHGH GHFLUVH que los toros son un sĂ­mbolo de la identidad de la ciudad y una FULVWDOL]DFLyQ GH VX FXOWXUD (Q ODV KRUDV TXH SUHFHGtDQ OD YRWDFLyQ DEROLFLRQLVWD HQ HO Parlament de CataluĂąa, un colega y amigo de la Universidad de %DUFHORQD UHLWHUDED HO DUJXPHQWR GH TXH OD SUR[LPLGDG JHRJUiĂ€FD y cultural de CataluĂąa a Europa hacĂ­a inviable seguir con las FRUULGDV GH WRURV /D WDXURPDTXLD GHEHUtD HQ VXPD VHU DEROLGD SRU una intrĂ­nseca ausencia de sensibilidad animalista, incompatible FRQ ORV YDORUHV GH QXHVWUR HQWRUQR /RV WDXULQRV WLHQGHQ PiV ELHQ D SHQVDU TXH LQVHQVLEOH D OD FRQGLFLyQ DQLPDO QR HV HO DĂ€FLRQDGR que exige que un toro sea criado en un contexto que garantice las potencialidades naturales de un animal de combate (otra cosa es que los ganaderos respondan realmente a esta exigencia), sino mĂĄs ELHQ ÂłPHUR HMHPSORÂł DTXHO TXH HQFLHUUD D VX SHUUR HQ XQ SLVR GH FLXGDG 0H H[SOLFR (O KRPEUH KD GRPHVWLFDGR DO ORER FDQDOL]DQGR \ XWLOL]DQGR las facultades naturales del mismo hasta hacer un amigo y FyPSOLFH HQ VX OXFKD FRQWUD OD DGYHUVLGDG GHO HQWRUQR 0DV SDUD VHU HĂ€FD] YLJLODQWH GH ODV WLHUUDV R HO UHEDxR FRPR SDUD VHU DX[LOLDU HQ OD FD]D HO ORER SHUUR KD GH SHUPDQHFHU WDO KD GH PDQWHQHU OD DJXGH]D GH VXV IDFXOWDGHV KD GH UHVSRQGHU D VX FRQGLFLyQ HVSHFtĂ€FD FRVD TXH QR RFXUUH FXDQGR HV FRQĂ€QDGR HQ XQ iPELWR GH H[SRVLFLyQ R HQ XQ DQJRVWR HVSDFLR XUEDQR HULJLGR HQ VXVWLWXWR astĂŠnico de la compaùía humana, en imposible paliativo de esa soledad para la que solo la complicidad en la palabra y el relevo de la misma en el ciclo de las generaciones constituye adecuada PHGLFLQD 8Q SHUUR SDVWRU HQ XQ DSDUWDPHQWR FLXGDGDQR HV HQ suma, un perro que no despliega las potencialidades de su especie \ DVt TXHGD VXEVXPLGR HQ OR JHQpULFR UHGXFLGR D PHUR DQLPDO Todo lo contrario de lo que, en principio, constituye la crĂ­a de JDQDGR EUDYR (Q HVWH GHEDWH HQ HO TXH OD UD]yQ DXWpQWLFDPHQWH HFRORJLVWD estĂĄ mĂĄs bien de nuestra parte, parece sin embargo que los taurinos

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7KH PRVW VHDVRQHG DPRQJ XV VWLOO NHHS WKH PHPRU\ RI D IUDLO EHLQJ RYHUFRPLQJ LQ KLV VRXO WKH XQLYHUVDO LQFOLQDWLRQ WR EXFNOH and escape, the image of the Master of Ronda going through the VWDJHV RI WKH Ă€JKW IRUFLQJ WKH EXOO WR FRYHU VRPH JURXQG DQG leading it to a series of passes that attended to the calls of the DXGLHQFH RQ RQH HQG RU WKH RWKHU RI WKH ULQJ ´+HUH $QWRQLR Âľ But the trace of this generous, truthful and severe image of the JUHDW PDWDGRU IURP 5RQGD LV LQH[WULFDEO\ OLQNHG WR RWKHU LPDJHV which often coincide with disastrous occasions in the political life of our country and, even, of the rest of the world (such as the Goyesca WKDW WRRN SODFH WZR GD\V DIWHU 3LQRFKHW¡V FRXS Memories of the contrasting emotions that could be felt in the front rows of the bullring, where, together with the veritable H[FLWHPHQW DPRQJ WKH FLWL]HQV RI 5RQGD ZKR ZHUH VWLOO WKH PDMRULW\ DPRQJ WKH VSHFWDWRUV RI WKH Goyesca), the equally sincere enthusiasm of a staunch supporter of Francoist syndicalism, sitting tall in his wheelchair, revealing not only the dialectic QDWXUH RI WKH KXPDQ VRXO EXW DOVR FRQĂ€UPLQJ WKDW .DQW ZDV ULJKW DQG WKDW DHVWKHWLF MXGJPHQW PDNHV XS IRU HPSLULFDO VXEMHFWLYLW\ HQDEOLQJ LQWHUVXEMHFWLYLW\ ZKLFK LV QRWKLQJ RWKHU WKDQ WKH PXWXDO UHFRJQLWLRQ DPRQJ WKRVH ZKR VKDUH QRWKLQJ LQ FRPPRQ A touching, fragile, serene Ronda, but at the same time, and maybe inseparably, an almost preposterous Ronda, certainly a QDXJKW\ 5RQGD ZLOO FRPH EDFN WR OLIH LQ WKH VRXO RI UHDGHUV DV WKH\ PDNH WKHLU ZD\ WKURXJK WKLV ERRN $ PDQ RI EXOOV RQFH ZURWH “Ronda, tenacious and hardÂŤ Ă€[ \RXU VKDGRZ Âľ DV DQ HSLWDSK RI VRUWV IROORZLQJ WKH GHDWK RI KLV JRRG IULHQG $QWRQLR 2UGyxH]

WKHP HPSKDVL]H WKH IRUPDO DVSHFW RI WKH SODVWLF GLPHQVLRQ RI EXOOĂ€JKWLQJ VXFK DV WKH VHYHUH VKDSH RI D PDWDGRU ZLWQHVVLQJ WKH GHDWK RI WKH DQLPDO IURP WKH DUHQDÂŤ %XW , HQWUHDW WKH UHDGHU WR SDXVH EHIRUH WKRVH LQ ZKLFK EXOOĂ€JKWLQJ DQG LWV FRQWH[W EHFRPH merely an opportunity for the artist to capture what might have EHHQ FDXJKW HOVHZKHUH ,PDJHV VRPH RI WKHP WKDW VKRZ WKH complexity of reality, its reticence to be reduced to a single DVSHFW VXFK DV ZKHQ D VLPSOH FLJDUHWWH EUHDNV WKH UHSUHVHQWDWLRQDO IUDPHZRUN DV LI D SDLQNLOOHU DSSHDUHG LQ WKH KDQGV RI WKH SURWDJRQLVW RI D KLVWRULFDO VFHQH RU ZKHQ EXOJLQJ H\HV PDNH D VLPSOH FRVWXPH ORRN JHQXLQHO\ WURXEOLQJ The bodies of the banderilleros, elaborately folded onto the H[WUDYDJDQW FRVWXPHV HPSKDVL]H WKH DQDFKURQLVWLF WKHDWULFDO DVSHFW RI WKH FHOHEUDWLRQ VRPHWLPHV ZLWK D WRXFK RI ELWWHUQHVV Some images, ruthless or tender, dealing either with the audience DV D ZKROH RU LQGLYLGXDOL]LQJ D JLYHQ VSHFWDWRU VHHP WR DWWHVW WR an archaic truthfulness of sorts, which stresses both the ordinary nature, as well as the singular or celebratory moment, of the H[LVWHQFH RI WKH FKDUDFWHUV GHSLFWHG 2WKHU LPDJHV KRZHYHU DUH simply dreadful, confronting us with the dialectic poles of human nature, and with the ambivalent aspect concealed inside cultures URRWHG LQ DQFLHQW YDOXHV 7KLV LV KRZ WLPH DSSHDUV LQ WKLV ERRN 7LPH QRW RQO\ LPPXQH WR WKH SOR\V WKDW VHHN WR VKHOWHU WKH ERG\ IURP LWV HIIHFWV EXW DFWXDOO\ PDNLQJ LWVHOI PRUH HYLGHQW WKURXJK WKRVH YHU\ SURYLVLRQV WLPH LQ WKH FRVWXPHV WKDW OLQN us to a tradition, perchance one that never was, or, in any case, one that has been lost without a trace and that has since been DUWLĂ€FLDOO\ FRQVWUXFWHG WLPH LQ WKH IROGV RI JDUPHQWV LPSRVVLEOH to use on day-to-day life and clearly distanced from a spontaneous FHOHEUDWLRQ WLPH LQ WKH IROGV RI WKH VNLQ DQG WKH FRDWLQJV RI liquids that magnify them; time, which, according to Marcel Proust, shines its light to become visible in exclusively human bodies; time — in this case — caught in the bodies of souls LPEXHG LQ WKH YDOXHV RI SXULW\ 7URXEOLQJ WKLV VRXJKW DIWHU SXULW\ ´%H FDUHIXO ZKDW \RX ZLVK IRUÂŤÂľ LV WKH VKDSH RI D IDPRXV writer disguised in the costume of all costumes, that of an arenero goyesco As I said before, those images of crepuscular purity have always been present in the recollections that live with many of us, faithful frequenters of the celebrations of the Goyesca, and SRVVLEO\ HYHQ PRUH YLYLGO\ LQ WKH RQHV WKDW WDNH XV EDFN WR WKH years when the Goyesca ZDV GRPLQDWHG E\ $QWRQLR 2UGyxH] %XW EDFN WKHQ VXFK WZLOLJKW ZDV FRXQWHUEDODQFHG E\ D EULJKW VSRW because in Ronda was, indeed, Antonio, who in the eyes or the fantasy of the poet, Jean Cocteau, fought “against the bull, time DQG KLPVHOI Âľ

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los tiempos del toro para hacerle recorrer terrenos y ofrecer unos lances respondiendo a las llamadas que se le hacĂ­an desde XQR X RWUR WHQGLGR Š£$TXt $QWRQLR ÂŞ 3HUR OD KXHOOD GH HVWD imagen generosa, verĂ­dica y severa del gran torero rondeĂąo HVWi LQGLVRFLDEOHPHQWH HQWUHOD]DGD D RWUDV FRLQFLGHQWHV D YHFHV con fechas funestas para la vida polĂ­tica de nuestro paĂ­s y aun del mundo (asĂ­ la Goyesca dos dĂ­as despuĂŠs del golpe de estado GH 3LQRFKHW 5HFXHUGR GH ORV FRQWUDSXHVWRV VHQWLPLHQWRV TXH FDEtD H[SHULPHQWDU HQ XQRV WHQGLGRV GH OD SOD]D HQ ORV TXH MXQWR D OD HPRFLyQ YHUtGLFD GH ORV FLXGDGDQRV GH 5RQGD TXH entonces aĂşn eran mayoritarios en la Goyesca), el tambiĂŠn VLQFHUR HQWXVLDVPR GH XQ FHQWXULyQ GHO VLQGLFDOLVPR IUDQTXLVWD irguiĂŠndose en su silla de ruedas, mostraba no solo el carĂĄcter GLDOpFWLFR GHO DOPD KXPDQD VLQR WDPELpQ TXH .DQW WHQtD UD]yQ \ TXH HO MXLFLR HVWpWLFR UHGLPH GH OD VXEMHWLYLGDG HPStULFD KDFLHQGR SRVLEOH OD LQWHU VXEMHWLYLGDG HV GHFLU HO UHFRQRFLPLHQWR PXWXR DXQ HQWUH DTXHOORV TXH QDGD FRPSDUWHQ 8QD 5RQGD FRQPRYHGRUD IUiJLO VHUHQD SHUR D OD YH] \ TXL]iV LQGLVRFLDEOHPHQWH XQD 5RQGD TXH UR]D OR HVSHUSpQWLFR XQD Ronda en cualquier caso tremenda, revivirĂĄ en el alma del lector al recorrer las pĂĄginas de este libro: ÂŤRonda dura y tenaz Ă€MD WX VRPEUDÂŞ HVFULELy HQ XQD VXHUWH GH HSLWDĂ€R XQ KRPEUH GHO WRUR WUDV OD PXHUWH GH VX DPLJR $QWRQLR 2UGyxH]

y su entorno son para el artista mera oportunidad de captar lo que KXELHUD SRGLGR FDSWDU HQ RWUD SDUWH ,PiJHQHV HQ DOJ~Q FDVR TXH PXHVWUDQ OD FRPSOHMLGDG GH OD UHDOLGDG VX UHVLVWHQFLD D VHU reducida a un aspecto, asĂ­ cuando un simple cigarrillo rompe el PDUFR GH UHSUHVHQWDFLyQ FRPR VL XQD SDVWLOOD SDUD VXSHUDU OD MDTXHFD DSDUHFLHUD HQ ODV PDQRV GHO SURWDJRQLVWD GH XQD HVFHQD KLVWyULFD R FXDQGR XQRV RMRV VDOLGRV GH yUELWD GDQ XQ YLVR GH DXWpQWLFD LQTXLHWXG D XQ PHUR GLVIUD] En los cuerpos de los banderilleros, plegados muy DUWLĂ€FLRVDPHQWH D ORV H[WUDxRV WUDMHV VH DFHQW~D HO DVSHFWR DQDFUyQLFDPHQWH WHDWUDO GHO IHVWHMR D YHFHV FRQ XQ WRTXH GH DFLGH] $OJXQDV LPiJHQHV GHVJDUUDGDV R WLHUQDV UHODWLYDV ELHQ D ORV HVSHFWDGRUHV FRPR FROHFWLYR ELHQ D DOJXQR VLQJXODUL]DGR parecen dar testimonio de una suerte de veracidad arcaica, que marcarĂ­a tanto la cotidianeidad como el momento singular R IHVWLYR GH OD H[LVWHQFLD GH ORV VHUHV TXH UHSUHVHQWDQ 2WUDV imĂĄgenes, sin embargo, son simplemente terribles, nos confrontan al polo dialĂŠctico del ser humano y al aspecto ambivalente que HQFLHUUDQ ODV FXOWXUDV DUUDLJDGDV HQ YDORUHV GHO SDVDGR $SDUHFH DVt en este libro el tiempo: El tiempo no solo inmune a los artilugios que intentan no contemplarlo en el propio cuerpo, sino precisamente revelĂĄndose a travĂŠs de esos expedientes mismos: el tiempo en los disfraces TXH YLQFXODQ D XQD WUDGLFLyQ TXL]iV QXQFD YLYLGD R HQ WRGR FDVR SHUGLGD VLQ UHVFROGR \ DUWLĂ€FLDOPHQWH FRQVWUXLGD HO WLHPSR HQ ORV SOLHJXHV GH YHVWLGRV LPSRVLEOHV HQ OD FRWLGLDQHLGDG \ DOHMDGRV GH OD Ă€HVWD HVSRQWiQHD HO WLHPSR HQ ORV SOLHJXHV GH OD SLHO \ HQ ODV FDSDV OtTXLGDV TXH ORV PDJQLĂ€FDQ tiempo que, al decir de Marcel Proust, proyecta su linterna para hacerse visible en cuerpos exclusivamente humanos; el tiempo —en este caso— en ORV FXHUSRV GH DOPDV HPEULDJDGDV HQ ORV YDORUHV GHO FDVWLFLVPR Inquietante en este casticismo buscado (ÂŤTen cuidado con lo que GHVHDV ÂŞ OD Ă€JXUD GH XQ FRQRFLGR HVFULWRU EDMR HVH GLVIUD] GH GLVIUDFHV TXH HV HO WUDMH GH XQ DUHQHUR ŠJR\HVFRÂŞ Como ya he indicado, en la reminiscencia a la que apuntamos VLHPSUH PXFKRV GH ORV TXH KHPRV VLGR DVLGXRV D ORV IHVWHMRV GH la Goyesca, esas imĂĄgenes de crepuscular casticismo siempre han estado presentes, y si cabe con mayor impacto en los aĂąos en TXH OD *R\HVFD HUD FRVD GH $QWRQLR 2UGyxH] 3HUR WDO FUHS~VFXOR tenĂ­a entonces luminoso contrapunto, pues en Ronda estaba efectivamente ÂŤAntonio luchando contra el toro, el tiempo y sĂ­ PLVPRÂŞ HQ OD YLVLyQ R HQVRxDFLyQ TXH GHO WRUHUR GH 5RQGD WHQtD HO SRHWD -HDQ &RFWHDX Perdura en los mĂĄs veteranos de entre nosotros este recuerdo GH XQ VHU IUiJLO YHQFLHQGR HQ VX DOPD OD XQLYHUVDO LQFOLQDFLyQ D la renuncia y la fuga, imagen del Maestro de Ronda agotando

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(VWH WUDEDMR KD VLGR UHDOL]DGR SRU HQFDUJR GH OD 5HDO 0DHVWUDQ]D GH &DEDOOHUtD GH 5RQGD GXUDQWH HO SULPHU ÀQ GH VHPDQD GH FDGD VHSWLHPEUH GH ORV DxRV \ FRQ HO ÀQ GH JHQHUDU XQ DUFKLYR IRWRJUiÀFR VREUH ODV FRUULGDV Goyescas GH OD IHULD GH 3HGUR 5RPHUR GH OD FLXGDG 4XLHUR DJUDGHFHU D 5DIDHO $WLHQ]D VX VLOHQFLR UHVSHWXRVR D 1DFKR +HUUHUD VX DSR\R \ FRQÀDQ]D D 'LHJR &DUUDVFR VX VDELD LPSOLFDFLyQ HQ FDGD GHWDOOH \ D )UDQFLVFR 5LYHUD 2UGyxH] OD OLEHUWDG FRQ OD TXH KD FRQVHQWLGR TXH DFWXDUD HQ OD SOD]D 6H OR GHGLFR D PLV DPLJRV TXH WHPSODQ OD ÀHUD FRQ IXHU]D \ FODULYLGHQFLD

7KLV ZRUN KDV EHHQ FRPPLVVLRQHG E\ WKH 5HDO 0DHVWUDQ]D GH &DEDOOHUtD GH 5RQGD 5R\DO &DYDOU\ $UPRU\ RI 5RQGD RQ WKH ÀUVW ZHHNHQG RI 6HSWHPEHU 2009, 2010 and 2011 in order to produce a photographic archive of the Goyesca EXOOÀJKWV WKDW WDNH SODFH LQ WKH FLW\ GXULQJ WKH )DLU RI 3HGUR 5RPHUR , ZLVK WR WKDQN 5DIDHO $WLHQ]D IRU KLV UHVSHFWIXO silence, Nacho Herrera for his support and his trust, Diego Carrasco for his insightful involvement in every GHWDLO DQG )UDQFLVFR 5LYHUD 2UGyxH] IRU DOORZLQJ PH WR DFW ZLWK VR PXFK IUHHGRP LQ WKH ULQJ I dedicate it to my friends, who tame the beast ZLWK VWUHQJWK DQG FODLUYR\DQFH

Junta de Gobierno Teniente de Hermano Mayor

5DIDHO $WLHQ]D 0HGLQD 0DUTXpV GH 6DOYDWLHUUD Fiscal

&DUORV $OEDUUDFtQ 0DUWtQ GH 2OLYD Diputado Primero

Francisco Javier Linares Medina, Marquรฉs de la Vega de la Sagra Diputado Segundo

5DIDHO %HQMXPHD &DEH]D GH 9DFD 0DUTXpV GH 9DOGHFDxDV &RQGH GHO *XDGDOKRUFH Ex Teniente

0DULDQR *yPH] GH ODV &RUWLQDV $QGUDGD 9DQGHUZLOGH Archivero

-RVp 0DUtD GH $UHLO]D &DUYDMDO &RQGH GH 5RGDV Portero

*DVSDU $WLHQ]D %HFHUULO Secretario

Juan de Mora-Figueroa Gayรกn &RPLVDULD GH 3OD]D

$QQD *DPD]R +RKHQORKH Primer Comisario de Clarines

-RDTXtQ /ORUpQV *yPH] GH ODV &RUWLQDV &RQGH GH 3R]R $QFKR GHO 5H\ Segundo Comisario de Clarines

&DUORV (VSLQRVD GH ORV 0RQWHURV %HUQDOGR GH 4XLUyV 0DUTXpV GH 9DOWLHUUD Maestro de Ceremonias

-XDQ 3HOHJUt *LUyQ 9L]FRQGH GH ODV 7RUUHV GH /X]yQ Director General

Ignacio Herrera de La Muela

(GLFLyQ 3XEOLVKHU La Fรกbrica 'LVHxR JUiร FR *UDSKLF GHVLJQ (QD &DUGHQDO GH OD 1XH] 7UDGXFFLyQ 7UDQVODWLRQV 0RQWDJXH .REEH Fotomecรกnica / Reproductions Cromotex ,PSUHVLyQ 3ULQWLQJ %UL]]ROLV DUWH HQ JUiร FDV ย GH HVWD HGLFLyQ WKLV HGLWLRQ /D )iEULFD ยฉ de los textos / the texts: sus autores / their authors ยฉ de las imรกgenes / images: Aitor Lara ISBN 978-84-15303-92-3 'HSyVLWR OHJDO /HJDO 'HSRVLW M-25881-2012

Editor / Publisher Alberto Anaut Directora editorial / Editorial Director Camino Brasa Director de Desarrollo / Development Director )HUQDQGR 3D] 3URGXFFLyQ 3URGXFHU Paloma Castellanos 2UJDQL]DFLyQ 2UJDQLVHU Rosa Ureta La Fรกbrica 9HUyQLFD 28014 Madrid 7 ) HGLFLRQ#ODIDEULFD FRP ZZZ ODIDEULFDHGLWRULDO FRP /D WLSRJUDItD XWLOL]DGD HQ HVWH OLEUR HV 7LPHV 5RPDQ \ KD VLGR LPSUHVR HQ SDSHO 6\PERO 7DWDPL :KLWH GH JU 7KH W\SHIDFH XVHG LQ WKLV ERRN LV 7LPHV 5RPDQ DQG LW KDV EHHQ SULQWHG RQ 6\PERO 7DWDPL :KLWH JU SDSHU

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