Ronda’s Feria Goyesca, Andalusia, Spain
When Tradition Becomes Living Art
The dramatic gorge that cleaves Ronda in two.
Perched dramatically above a chasm of stone and sky, Andalusia reveals itself at its most poetic in Ronda—a town where history, beauty and ritual intertwine with theatrical grace. To arrive here is to step into a place suspended between past and present, where legend is not merely remembered but still ceremoniously performed.
Along a cobblestone street, the noble mansions of Ronda stand in quiet elegance.
I found myself wandering through Ronda, the birthplace of modern bullfighting, amid the elegant mansions of the old aristocracy. Their wrought-iron balconies spill over with flowers, and secluded patios open onto vertiginous views of El Tajo, the mighty gorge that cleaves the town in two. More than 120 metres deep, this natural abyss lends Ronda its dramatic soul, a constant reminder of the power and splendour of the landscape.
Yet Ronda’s most celebrated figure is not a nobleman or an architect, but a matador: Pedro Romero, the father of modern bullfighting. Living in the late eighteenth century, Romero occupies a near-mythical status in Spain. And for good reason.
Ceremonial parade in the Plaza de Toros with bullfighters in traditional capes proceeding to salute the dignitaries.
Pedro Romero elevated bullfighting from a brutal test of bravado into an art form governed by discipline, style and profound respect for the ritual. Until his time, the corrida was largely a display of machismo, often carried out on horseback. Romero revolutionised the spectacle. He founded the first bullfighting school in Seville, introduced the refined use of the cape and the muleta, and insisted that the bull be killed face to face, on foot, in a moment of controlled stillness. Astoundingly, over the course of his career he is said to have killed more than 6,000 bulls without ever suffering a single goring.
The iconic Plaza de Toros in Ronda.
It is therefore fitting that Ronda is home to Spain’s oldest bullring, the much-revered Plaza de Toros, completed in 1784. Here, the corrida transcends sport and becomes pure theatre in the celebrated Corrida Goyesca.
Francisco de Goya painting in his atelier.
The name itself is an homage to Francisco de Goya, who immortalised bullfighting in luminous, expressive canvases. Goya was an admirer of Pedro Romero and even designed some of his most elegant costumes. Visiting the Plaza de Toros, I was taken behind the scenes, into the quiet chapel where matadors pray before entering the arena. From there, I was drawn into a world of rituals and traditions I had never encountered before.
In Ronda, matadors do not simply walk into the bullring. Instead, they parade through the town in splendid period carriages, resplendent in their Goyesca attire. They are accompanied by the Damas Goyescas, who ride alongside them in horse-drawn carriages, wearing ornate dresses and delicate mantillas. As they pass, the crowd erupts in applause, voices rising in a joyful chorus of “¡Guapa! ¡Guapa!”
The Damas Goyescas in their splendid Goya-inspired gowns.
But who are these Damas Goyescas?
Each year, a select group of women from Ronda is chosen to embody this living pageant. Their gowns echo those seen in Goya’s paintings of bullfights and courtly festivities. Some art historians suggest that the designs of today’s gowns are inspired by the attire of the Duchess of Alba, who lived in the late eighteenth century.
Yet today’s dresses, as the Damas Goyescas are keen to point out—extraordinarily costly and meticulously crafted—surpass their eighteenth-century predecessors in opulence and refinement, blending historical fidelity with modern splendour.
In Ronda, history does not lie dormant in museums or books. It parades through the streets, alive with colour, music and reverence—a testament to a town that knows how to honour its past with elegance and pride.
The book ANDALUSIA, The Jewel of the Light is published in Greek. It will soon be published in English.
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