Ratings and viewer numbers for bullghting events and programs on
television (2000-2020)
La audiencia de los espectáculos y programas taurinos en televisión (2000-2020)
doxa.comunicación |
nº 33, pp. 197-215
| 197
July-December of 2021
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Martín-Cabello, A. (2021). Ratings and viewer numbers for bullghting events and programs on television (2000-2020)
.
Doxa Comunicación
,
33, pp. 197-215.
https://doi.org/10.31921/doxacom.n33a1482
Antonio Martín-Cabello
. Bachelor and Doctor of Sociology from the Universidad Ponticia de Salamanca and Master’s
in Human Resources Management from Universidad San Pablo-CEU. He was a professor at Universidad Alfonso X and
is currently full professor at Universidad Rey Juan Carlos. He researched and taught as a guest lecturer at Universidad
Alberto Hurtado (Chile), Humboldt-Universität zu Berlin (Germany) and the University of Rome “Tor Vergata” (Italy).
He was academic secretary of the Department of Communications Sciences and Sociology at Universidad Rey Juan
Carlos. Currently, he is the academic editor of
methaodos.revista de ciencias sociales
and president of the Institute of
Computational Social Sciences, a non-prot association dedicated to scientic research. He has published widely on
communications and culture in Spanish and international journals.
University Rey Juan Carlos, Spain
[email protected]
ORCID: 0000-0002-3832-4663
Abstract:
Bullghting events are one of the cultural practices traditionally
most associated with the image of Spain. However, media reach
does not seem to match their symbolic importance. is paper
presents exploratory research that aims to carry out an analysis of
the structure of audience ratings and share of bullghting events and
programs on Spanish television over the last two decades. It is based
on a quantitative analysis that makes use of open secondary data. e
results show, rstly, that bullghting television content is scarce and
audiences are very low. Secondly, viewer proles are similar to those
of people who attend live events. And, thirdly, that audience sizes for
bullghting shows on television are greater in more rural areas.
Keywords:
Audience; Spain; bullghting events; rurality; TV.
Resumen:
Los espectáculos taurinos son una de las prácticas culturales tradicio
-
nalmente más asociadas a la imagen de España. Sin embargo, su pro
-
yección mediática no parece acompañar a esta importancia simbóli
-
ca. Este artículo presenta una investigación exploratoria que trata de
realizar un análisis de la estructura de las audiencias de espectáculos
taurinos y programas dedicados a los espectáculos taurinos en la tele
-
visión española durante las últimas dos décadas. Se basa en una meto
-
dología cuantitativa que hace uso de los datos secundarios disponibles
en abierto. Los resultados mostrarán, en primer lugar, que el peso de
los contenidos taurinos y de las audiencias de estos contenidos es muy
reducido. En segundo, que el perl del telespectador es similar al del a
-
cionado que acude a este tipo de espectáculos en vivo. Y, en tercer lugar,
que existe una relación positiva entre ruralidad y un mayor tamaño de
las audiencias de los espectáculos taurinos en televisión.
Palabras clave:
Audiencia; España; espectáculos taurinos; ruralidad; televisión.
Received: 03/04/2021 - Accepted: 19/09/2021 - Early access: 18/10/2021 - Published: 01/12/2021
Recibido: 03/04/2021-Aceptado: 19/09/2021- En edición: 27/09/2021- Publicado: 01/12/2021
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Ratings and viewer numbers for bullghting events and programs on television (2000-2020)
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Viewers of televised bullghts are passive observers of a spectacle from which they are separated, a separation that is qualitatively
much greater than that experienced by someone who watches sports on television or someone who listens to a concert or an opera
on the radio. Watching a bullght on television is much more of a second-hand experience, and the impact of the event is greatly
reduced (Marvin, 1994: 171).
Television broadcasts live music concerts, football or basketball matches, Formula One races and, very occasionally, bullghts. Its
visual nature makes television an ideal media for showcasing the
Fiesta
, an art that above is experienced through movement and
colour. But bullghting on television is increasingly rare. (Martínez Lucas, 2009: 53).
1. Introduction and background on the topic
Bullghts are intertwined with Spanish cultural life. ey are part of our literature, songs, works of art, lms and are even
integrated into everyday language - for example, with expressions such as ‘
echar un capote
’ (give someone a hand, literally ‘throw
a bullghting cape’) or ‘
cortarse la coleta
’ (meaning to retire from something, literally cutting o one’s topknot, something done
by bullghters when they retire) - (Hosseinpour, 2014: 22). Bullghts were also one of the rst modern mass spectacles. at is,
one of the rst cultural consumer markets was formed around bullghting. However, despite their symbolic and even economic
importance, they are increasingly scarce on television screens. e past twenty years are particularly signicant, since bullghting
content has been barely broadcast on television, and the little that has, seems to draw small numbers of viewers.
ere is a great deal of literature on the world of bullghting, but empirical research is less abundant. In fact, it has been
considered one of the opaquest sectors of the cultural world (López Martínez, 2014: 15). Bullghting festivals and celebrations
have been studied from dierent disciplinary perspectives. First and foremost, anthropological studies, which have placed great
emphasis on its symbolism and its integration into overall Spanish culture (Desmonde, 2005; Median Miranda, 2014; Mitchell,
1986; Pitt-Rivers, 1997). Sociological studies are less abundant and have focused on the social structure in which they are inserted
(Echegaray, 2005; Martín-Cabello, 2021). ere have been good studies done in history and social communications of the
bullghting phenomenon which are close to media studies. ey have been devoted to analysing bullghting from the point of
view of the emergence of the leisure market and modern commercial communications media (e.g., Schubert, 1999; Schubert and
Sanchís Martínez, 2001; Serrano, 2010). e presence of bullghts on television, and in other types of communication media,
has not been the main focus of interest in this type of study. Rather, they viewed it as a natural emanation of the existence of
bullghting.
e analysis of bullghting television shows and programs in Spain has attracted, albeit limited, attention from the scientic
community. Among these include work on TVE (De Haro de San Mateo, 2009, 2016a, 2016b, 2018a, 2018b, 2018c, 2019),
Telemadrid (Moncholi Chaparro, 2004), Canal Plus (De Haro de San Mateo and Hernández Pérez, 2011; Garcia Sánchez, 2016)
and Tele 5 or Antena 3 (De Haro de San Mateo, 2020a). is also includes work on bullghting journalism (De Haro de San Mateo,
2011, 2013) and in the written press as a source of studying bullghting content on television (2020b). In addition to analysing
the situation of bullghting in the 21st century (De Haro de San Mateo and Marvin, 2015). We also nd research on the reasons
behind watching bullghting, although it uses a qualitative methodology that is far removed from the one proposed by this paper
(Pérez-González and Marta-Lazo, 2014; Marta-Lazo and Pérez-González, 2016). However, there is no overall quantitative account
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for the last two decades, nor a study that attempts to oer a comprehensive vision. is is precisely what this paper aims to cover.
is study, therefore, is a contribution to the eld of viewer studies, in general, and the popularity of bullghting content on
television, in particular, which will be expanded later.
In relation to the terminology used, when the concept of “bullghting” is used, reference is made to both formal bullghting
events (
festivales
) and popular bullghting celebrations (
festejos
). In other words, they would include both bullghts held at
bullghting rings, normally held by professionals, and popular festivals, which usually take place inside or outside bullrings,
but which usually include non-professional participants (Maudet, 2006). Obviously both types of events are dierent both in
their organisation and in their conceptualisation. However, for the purposes of this study they can be categorised as ‘bullghting
shows’ since they are part of the same symbolic universe and, in addition, are conceptualised within the genre of ‘bullghts’
when analysing the television channel programming and audience ratings. And when the study refers to ‘bullghting programs’
we refer to television programs that are dedicated to commenting on ‘bullghting shows’ and the entire universe that surrounds.
2. Objectives, hypotheses and methodology
e overall objective of this study is to carry out an analysis of the structure of the audiences of bullghting shows and programs
dedicated to bullghting shows on Spanish television. is analysis will focus on the rst two decades of the 21st century. e
temporal delimitation is due to the fact that although bullghting events grew constantly until 2007 (López Martínez, 2014: 19-
21), their share of airtime on television began to decline at the end of the 1990s (From Haro de San Mateo, 2020; Echegaray, 2005;
Martínez Lucas, 2009). erefore, the aim is to explore the structure of the viewing audiences of bullghting shows in this period
of media contraction.
erefore, we intend to carry out an exploratory study that aims to shed light on three fundamental hypotheses. Firstly, there
seems to be a trend towards a clear decrease both in the programming of bullghting shows and programs about bullghting
shows on television, as well as their viewers over the period studied (H1). Secondly, we believe that the prole of bullghting
spectators at live events is similar to that of TV viewers (H2). And, thirdly, we believe that TV bullghting viewer numbers will
be greater in more rural Spanish autonomous regions and, therefore, lower in the more urban ones (Martín-Cabello, 2021).
Consequently, viewer numbers will also be higher in rural autonomous regions and lower in urban ones (H3).
Secondary available data will be used to explore these hypotheses. e study will use all statistical sources available in open
format, with the aim that the results can be replicated in future research. First among these is the
Encuesta de Hábitos y Prácticas
Culturales en España
(Survey of Cultural Habits and Practices in Spain). is has been carried out in ve waves, in 2002-2004,
2006-2007, 2010-2011, 2014-15 and, the most recent, in 2018-2019. is is the best survey available using large samples (n =
12,180, n = 16,408, n = 16,408, n = 16,576 and n = 16,520 respectively for the aforementioned years) and the only reliable source
of data on attendance at bullghting events, therefore, as López Martínez stated: “When trying to compile a Spanish bullghting
statistic, we nd ourselves faced with one of the most opaque economic sectors (…). At present, we still cannot analyse data on
nancing, including the number of spectators attending the dierent bullghting shows, takings from ticket sales, as well as
other income corresponding to public subsidies, fees paid for television broadcasts .... ‘ (2014: 15). Also included are the specic
surveys available in sociological studies on attendance at bullghting shows, which will be cited in the paper.
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Ratings and viewer numbers for bullghting events and programs on television (2000-2020)
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Regarding open data on viewer numbers, the study uses data provided by Barlovento Comunicación and those extracted from the
reports by the
Sociedad General de Autores
, which focus particularly on the presence of bullghting on the television and include
viewer numbers for each channel. e study also uses data on viewer numbers that are usually paid for but in this case have been
made available to the researcher for free due to the academic nature of this paper. ese data will be analysed using a simple
analysis of absolute or relative frequencies, which is all that can be done given the level of aggregation of the available data. When
necessary, and possible, said data will be reclassied into new categories set up for the study. e methodology, consequently, is
fundamentally quantitative, although it will be framed by the qualitative research of the phenomenon.
3. Bullghting shows on television and viewer numbers
Bullghts have been shown on Spanish television since it started broadcasting. Already in 1948, the RCA company carried out an
experimental broadcast of a bullght from the Círculo de Bellas Artes in Madrid (Domínguez Lázaro, 2010). It is worth asking, on
the one hand, how much airtime has been given to bullghting events on Spanish television. And, on the other, we should carry
out an analysis of the consumption of bullghting shows by viewers.
During the Franco dictatorship, bullghting events were given little airtime, in quantitative terms, but were given signicant
weight in the broadcasts by TVE, the only channel on air at the time:
e total number of televised bullghting celebrations between 1956 and 1975 (216) is a tiny fraction of the total of those celebrated
(18,864), accounting for just 1.14%. e average in this period is 11 televised celebrations per year. is number was only exceeded
in 1968, but the average was higher (between 15 and 16) from 1964. Taking into account that a standard broadcast usually lasted an
average of two hours, we have computed 25,920 minutes (432 hours) of bullghting broadcasts on TVE throughout this period. (From
Haro de San Mateo, 2016: 77).
Added to these should be the programs devoted to bullghting, which according to the same author made up an hour of weekly
transmission. ‘Bullghting programming’, therefore, ‘on TVE between 1956 and 1975 was testimonial compared to other types
of programs over the same stage’ (De Haro de San Mateo, 2016: 78). And yet, it was actively used by the regime as a means of
propaganda and mass control (Shubert, 1999: 214). e fact that bullghting was given scant airtime does not run contradictory
to its political use. Some events that are annual, such as the San Fermín running of the bulls in Pamplona or the Fallas in Valencia,
occur once a year and, nevertheless, the regime used them as prime propaganda.
Subsequently, the rst private television channels (Antena 3, Tele 5 and Canal Plus) began broadcasting in Spain in 1990. In this
sense, during the nal decade of the last century, private television channels such as Antena 3 and Tele 5 included bullghting
in their schedules. In fact, at that time there was a degree of competition between these channels for this type of content. Later,
they disappeared from television programming schedules, making an occasional sporadic and shortlived comeback (De Haro
de San Mateo, 2000). Canal Plus also aired bullghts as a paid cable channel. A few years later, in 1997, Via Digital appeared as
a satellite television channel and took over the broadcasting rights of the main bullghts (Beceiro Ribela, 2010: 135). erefore,
it is possible to say that as TVE maintained its bullghting programming, during the 90s practically all television channels had
programs dedicated to bullghting, even during primetime. Although these, on the other hand, seem to represent a very small
percentage of airtime.
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In the last two decades, bullghting shows as a genre have had a marginal presence on general television programming schedules
nationwide and also, although with slightly higher gures, in regional ones. As can be seen in Graph 1.1., since 2000, programs
related to bullghting have not accounted for more than 0.5% of those broadcasts on all television channels. Furthermore, they
did not exceed 2% of the regional channels scheduling. Among the main national television channels, between 2005 and 2010,
TVE was the only one that included bullghting on its programming schedule, although it gave it very little airtime, highest gure
was 0.4% in 2006. Telecinco did not broadcast bullghting shows and A3 only did so in 2006, with 0.1% (Roel, 2020: 752). In 2019,
the last year that we have data available on this television genre, bullghting shows only accounted for 0.5% of the programs
broadcast on television, up to 1.8% in public and private regional channels (Barlovento Communication, 2019: 66).
Figure 1.1. Percentage of bullghting on television programming schedules
En las últimas dos décadas, los espectáculos taurinos como género han tenido una
presencia marginal en la parrilla de programación de las televisiones generalistas a nivel
nacional y también, aunque con cifras ligeramente superiores, en las autonómicas. Como
se puede observar en el Gráfico 1.1., desde el año 2000 los programas relacionados con
los toros no han supuesto más del 0,5% de los emitidos en el conjunto de las televisiones.
Mientras que no han superado el 2% en los canales autonómicos. Entre los principales
canales de televisión nacionales (los llamados canales “locomotora”), entre el año 2005
y el 2010, TVE fue el único que incluyó los toros en su parrilla de emisión, aunque los
confirió muy poco espacio en su parrilla: la cifra mayor fue un 0,4% en 2006. Telecinco
no emitió espectáculos taurinos y A3 solo lo hizo en 2006, con un 0,1% (Roel, 2020:
752). En 2019, el último año sobre el que se disponen datos sobre este género televisivo,
los espectáculos taurinos solamente ocupaban el 0,5% de los programas emitidos en
televisión, aumentado al 1,8% en los canales públicos y privados de carácter regional
(Barlovento Comunicación, 2019: 66).
Gráfico 1.1. Presencia en las parrillas de programación de programas taurinos, en
porcentaje. Fuente: Elaboración propia a partir de los informes de Barlovento
Comunicación, 2006, 2008, 2015, 2017, 2018 y 2019; y SGAE, 2005, 2015.
Fuente:
Elaboración propia a partir de los informes de Barlovento Comunicación, 2006,
2008, 2015, 2017, 2018 y 2019; y SGAE, 2005, 2015.
En la actualidad, muy pocos de los programas sobre toros emitidos por las televisiones
nacionales generalistas de los años 90 se mantienen o, cuando lo hacen, han sido
relegados a horarios de bajas audiencias. En TVE, por ejemplo, continúa emitiéndose el
programa
“Tendido Cero”, aunque con continuas variaciones en su posición en la parrilla
de emisiones. En la televisión de pago, el canal dedicado a los toros de Canal Plus
continuó bajo diversas denominaciones, pasando en la actualidad a conocerse como Toros
y emitiéndose en la plataforma Movistar Plus. Los canales autonómicos, sin embargo,
ofrecen una mayor cobertura de los espectáculos taurinos, tanto retransmitiéndolos como
mediante programas especializados: “Tiempo de toros” en Castilla
-
La Mancha
0
0,2
0,4
0,6
0,8
1
1,2
1,4
1,6
1,8
2
2000200320062008201020132015201720182019
Total
Auto, Auto privadas
Source: Prepared by the author from reports by Barlovento Comunicación, 2006, 2008, 2015, 2017, 2018 and 2019; and SGAE, 2005, 2015
At present, very few of the bullghting programs broadcast by the generalist national television channels of the 1990s are still
being broadcast and, when they are, they have been relegated to o-peak times. On TVE, for example, the program
Tendido
Cero
continues to be broadcast, although with continuous variations in its timeslot. On paid television, the Canal Plus dedicated
bullghting channel continued under various names, now known as ‘Toros’ and broadcasting on the Movistar Plus platform.
Regional channels, however, oer greater coverage of bullghting shows, both by broadcasting the events themselves and
through specialised programs:
Tiempo de toros
on Castilla-La Mancha Televisión or
Toros para todos
on Canal Sur. Bullghting
shows, in short, have gone from being considered a mass spectacle by generalist televisions, to a specic niche in the television
content market.
Some authors have argued that the scarce –albeit residual– and fragmentary presence of bullghting shows on television has
been replaced by specialised print media and blogs and internet spaces (Haro, 2009). However, and as we will see below, the
percentage of fans who follow bullghting shows online is very small. In any case, it is signicantly lower than on television.
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To initially look at the consumption of televised content devoted to bullghting programs we can start with the Survey of Cultural
Practices and Habits in Spain. In its last two editions, it asked whether people had seen any bullghting shows or celebrations on
television or the internet in the last year
1
. In 2014-15 17.4% of those surveyed said they had watched them, while in 2018-19 the
gure was 13.4%. By media, television was the most common media compared to the internet (Table 1.1). ese data, however,
do not reveal the degree of loyalty and permanence of viewers, since it counts both someone who watches occasionally and a fan
who assiduously follows a program or bullghting event.
Table 1.1. Percentage of people who said they had seen a bullghting show or celebration in the past year or so, 2014-15 and 2018-19
2018-20192014-2015
TotalTVInternetTotalTVInternet
13.813.42.317.617.41.3
Source: Author’s work based on the Survey of Cultural Practices and Habits in Spain 2014-15 and 2018-19. MECD, 2015. MCD, 2019
A more precise approximation, however, could be obtained by measuring the weight of spectators of bullghting shows with
respect to the total of the viewer numbers of each television channel. During the rst two decades of the 21st century the only
channels to broadcast bullghting were the dierent TVE channels (La 1, La 2 and 24H) and Canal Plus until it disappeared, and
they never accounted for more than 1% of audience numbers. On regional channels, only in Andalusia, Aragon and, in particular,
Castilla-La Mancha, was this number higher than 1%. e regional Castilla-La Mancha television channel (CMT / CMM) stands
out, with viewer numbers for bullghting shows standing in a range between 5% and 8.9% of the total audience numbers (Table
1.2.).
Table 1.2. Contribution of the bullghting genre to the ratings of each channel, in percentage, 1999-2019
TV channel
Scope19992004201020142019
La 1National TV channel
0.80.30.10.10.1
La 2National TV channel
0.60.20.30.80.8
24 HNational TV channel
00.20.2
T5
National TV channel
0000
A3
National TV channel
0000
C+
National TV channel
0.50.7
Cuatro
National TV channel
000
La SextaNational TV channel
000
Canal Sur
Andalucía1.41.52.61.21.4
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Canal Sur 2/
AND TV
Andalucía0.31.7
ETB1
Basque Country
0.10.20.10.30.1
TVMMurcia0.70.7
La7 TV
Murcia0.1
TelemadridMadrid0.90.30.5
Canal 9
Valencia0.50.60.400
Punt Dos/Nou
Dos
Valencia0.80.50.400
CMT/CMM
Castilla-La Mancha
6.658.97.3
Aragón TV
Aragon31.50.8
CYLTV-La 7Castilla and León
0.60.4
Source: Author’s work from the
Anuario SGAE de las Artes Escénicas, Musicales y Audiovisuales
. SGAE, 2000, 2005, 2011, 2015 and 2020
In 2014, the paid channel
Canal Toros
had a 0.1% average annual share, compared to 12.4% for this type of channels (SGAE, 2015:
41-42). Subsequently,
Toros TV
in 2019 had a 0.1% annual average share, in this case 15.4% being the annual average share for
this type of channels (SGAE, 2020: 40-41). erefore, it can be said there is a continued low audience share for channels devoted
to the world of bullghting.
If the absolute viewer numbers for bullghting shows are reviewed from the end of 2018 to the present, we see that the average
audience of this type of shows for all channels was about 65,000 viewers (Table 1.3)
2
. However, there is a lot of variability. e two
national channels that broadcast bullghting shows over that period, TVE and A3, had average viewer numbers of 397,000 and
306,000 viewers. Although in both cases bull runs were broadcast, TVE broadcasting the San Fermines from Pamplona and A3
those of San Sebastián de los Reyes in Madrid, and not bullghts as such.
Local television channels had much more modest audiences, mostly broadcasting
corridas, novilladas
, and bullghting fairs.
Canal Sur had average viewer numbers of 99,000 viewers, Castilla-La Mancha averaged 52,000, Telemadrid 46,000 and La 7 de
Castilla y León 12,000. e Valencian and Aragon regional television channels only broadcast bull runs and Basque television
shows
recortadores
.
2
In this case, only viewer numbers for bullghting shows themselves are oered, not for the programs devoted to bullghting that were included in the previous
tables.
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Table 1.3. Average viewer numbers of bullfighting shows by television channel and type from 1-9-2018 to 4-4-2021
Scope
Type of event *
Average viewer
numbers (x1000)
EncierroCorridaNovilladaRejones
Recortadores
/
Others
La1/24H
National TV channel
8397
A3
National TV channel
8306
Telemadrid/
La otra
Madrid1946
Canal Sur -
AND TV
Andalucía2349499
A PuntC. Valenciana
652
TV MediterráneoC. Valenciana
22120
Aragón TV
Aragon32930
CMM
Castilla-La Mancha
828134261352
La 7 TV
Murcia246
La 7 Castilla and León
7112
ETB1
Basque Country
425
Total8632890302765
* The program leading up to the bullfight is counted as part of the overall show. We count the broadcast of live events, airing pre-recorded events and
highlights programs.
Source: Author’s work based on data from Barlovento Comunicación, 2021
e regional channels of Castilla-La Mancha and Andalusia are particularly noteworthy, since between them they broadcast 78%
of the bullghting shows on television in that period. However, the average viewer numbers were not large, 99,000 viewers on
Andalusian television and 52,000 on Castilia-La Mancha television. It is interesting to compare them with the contribution to the
total viewing gures for bullghting during 2019, which represented less than 2% in the rst case and a little more than 7% in the
second (Table 1.2).
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Viewing gures, therefore, tend to be low on both free and paid channels. When in 2010 the CIS (Spanish Centre for Sociological
Research) asked Spaniards about their favourite television programs, only 0.1% of those surveyed said that they included
bullghting. A total of 0.4% placed bullghting shows in second place and 1.5% in third place (CIS, 2010).
4. e prole of bullghting television viewers
Over the past 20 years the percentage of Spaniards who attend bullghting shows has remained stable. According to the Survey
of Cultural Habits and Practices, slightly less than 10% said they had attended at least one bullghting show during the last year
(MC, 2003, 2007, 2011; MECD, 2015; MCD, 2019). In the 1990s, a study found that people attracted to bullghting shows tended
to be older men, having left formal education before baccalaureate or the nal two years of secondary school. On the other hand,
young people and women tended to not be interested in these shows (De Miguel, 1996: 208-209).
More recent studies have shown that attendance at these types of shows is highly masculine (Ariño 2010: 147; Also, for Valencia,
Ariño and Llopis, 2017: 24). A recent study carried out in Zaragoza found that the most common prole of bullghting fans was
that of elderly, retired and rural men (María
et al
., 2017). According to the latest Survey of Cultural Habits and Practices, 2018-19,
10.2% of men claimed to have attended a bullghting show in the last year, while only 5.8% of women did. However, there were
no major dierences by age group or by educational level. However, greater numbers of spectators came from population centres
with less than 50,000 inhabitants than from larger ones (MCD, 2019: 466). In another recent study, it was shown that both the
organisation and the attendance to bullghting shows was, in general terms, much higher in rural areas of the country than in
more urban areas (Martín-Cabello, 2021). ere were peculiarities in some urban regions, but the relationship between rurality
and bullghting shows was remarkable. Consequently, the current prole of the fan of bullghting shows is that of an elderly man
who lives in (or comes from) the most rural areas of the country.
Regarding the prole of the audience of bullghting shows, in the aforementioned Survey of Cultural Habits and Practices in
Spain 2018-19 (MCD, 2019), 13.8% of people said they had seen a bullghting show or celebration on television or online in the
last year. A total of 13.4% said they watched on television and 2.3% on the internet. e audience was clearly more masculine,
since only 9.9% of the women said they watched them, compared to 17.9% of the men who claimed to have done so, almost twice
as much.
By age groups, the elderly watch bullghting shows much more than the young. Only 10% of people between 15 and 44 say
they watch bullghting shows on television or the internet
3
. is is compared to 20% or more from the age of 65. erefore, it
seems like a type of event has an ageing audience (Figure 1.2). To this, we should add that Internet use is more common among
younger cohorts and, on the contrary, much less frequent among the older ones. In line with the age structure of the audience of
bullghting shows, people who said they were more frequent viewers of this type of shows on television or on the internet were
usually people married with children over 18 years of age or with children who have left home, which would coincide with the
older generations.
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Figure 1.2. Percentage of people who have seen a bullfighting show or celebration in the last year according to
average by age, 2018-19
Source: Author’s work based on the Survey of Cultural Practices and Habits in Spain 2018-19. MCD, 2019
Retired people said that they watch bullghts on television and the Internet almost twice as much as active workers (21.5% com
-
pared to 11.8%); and twice as many people who said they watched bullghting completed formal education up to the rst stage
of secondary or below compared to those with higher education qualications (17.9% versus 8.7%).
Finally, if we take the typology proposed by Martín-Cabello (2021) in a study on attendance at bullghting shows based on the
degree of rurality of the autonomous regions
4
, depopoulated Spain, mixed urban/rural Spain and urban Spain, we can see that
viewers in the more rural autonomous regions see bullghting shows on television and the internet twice as much as those with
more urban populations (Table 1.4). While viewers in mixed rural/urban autonomous regions occupy a middle ground between
the two.
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Table 1.4. Percentage of people who reported watching bullfighting shows on television and on the internet in the last year by
autonomous region and by autonomous region type, 2018-19
Depopulated Spain
Castilla-La Mancha
29.6
Castile and Leon
19.2
Extremadura20.7
Aragon14.6
Navarra25.5
La Rioja
16.7
Total21.7
Mixed rural/urban Spanish regions
Galicia
5.0
Andalusia
22.4
Asturias
5.7
Cantabria
9.6
Murcia
14.4
Total16.4
Urban regions of Spain
Region of Valencia
10.7
Catalonia
5.1
Balearic Islands
7.6
Canary Islands
5.4
Basque Country
9.2
Madrid
16.9
Total9.9
Source: Author’s work based on the Survey of Cultural Practices and Habits in Spain 2018-19. MCD, 2019
Consequently, it is possible to extract a prole of the person who claims to watch bullghting shows on television (and much less
on the internet). It would be that of a man, of advanced age, married and with older children or children who have left home,
retired or close to retirement, with studies no higher than compulsory secondary education and residing in a rural environment.
In this sense, viewer proles for bullghting shows on television are similar to those that attend live events.
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5. Attendance at live bullghting events and television broadcasts: an ambiguous relationship
In general terms, bullghting fans said they saw more bullghting shows or celebrations on television than attending live events.
Around 5.4% more watched televised bullghting. e dierence increases for men and decreases for women. Older people watch
more bullghting shows on television than young people. Consequently, families with older children watch more bullghting
shows on television. In terms of employment, people who said they were retired and dedicate themselves to housework watch
more bullghting on television. Furthermore, people with lower education levels also watched the most bullghting shows on
television (Table 1.5).
Table 1.5. Percentage of people who say they watched a bullfighting show on television in the last year, 2018-19
TVAttendanceDierence
TOTAL13.48
5.4
Men17.310.2
7.1
Women9.75.83.9
From 15 to 19 years of age.
7.910.5-2.6
From 20 to 24 years of age.
7.58.1-0.6
From 25 to 34 years of age.
98.40.6
From 35 to 44 years of age.
9.67.62
From 45 to 54 years of age.
138.64.4
From 55 to 64 years of age.
15.78.8
6.9
From 65 to 74 years of age.
19.77.6
12.1
75 years of age and over
22.84.6
18.2
Single living with parents
9.19.2-0.1
Independent single, divorced, separated or widowed (with or without children)
12.66.3
6.3
Married or with a partner without children
14.27.3
6.9
Married or with a partner with children under 18 years of age
11.98.73.2
Married or with a partner with children 18 years and older at home
17.18.8
8.3
Married or with a partner living alone (older children)
20.19
11.1
Others11.63.4
8.2
First stage of secondary and lower:
17.67.9
9.7
Second stage of secondary education:
11.48.43
Higher education:
8.27.70.5
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Employment11.28.82.4
Unemployed12.37.74.6
Retired21.36.6
14.7
Student7.99.4-1.5
Domestic worker
13.64.9
8.7
Others12.75.9
6.8
Source: Author’s work based on the Survey of Cultural Practices and Habits in Spain 2018-19. MCD, 2019
In terms of the autonomous region of residence and the environment (rural or urban, according to the proposed typology) those
surveyed lived both in the most rural and in the most urban autonomous regions, the dierence between the people who watch
bullghting shows on television and those who attend live events is below the total dierence for Spain overall (Table 1.6). In
the depopulated Spanish regions, such as Castilla-La Mancha and Extremadura, the national average is exceeded by 8.2 and 7.4
points respectively. at is to say, in these autonomous regions a greater number of people said they had seen bullghting shows
on television than had attended live shows. In more urban Spanish regions, only the Balearic Islands, which slightly exceed the
national average, and Madrid, which does so widely, stand out in this category. Particularly in the case of Madrid, where the
number of people who say they had watched bullghting shows on television is twice as high as those who say they had attended
live shows.
In mixed urban/rural Spanish regions, the dierence is of 9.4 points, clearly higher than the national average. In this case, the
dierence is accounted for by the results from Andalusia, where the dierence is of 13.5 points. In that autonomous region,
people who said they watch bullghting shows on television is 2.5 times more than those who said they attended live events.
Table 1.6. Percentage of people who watched a bullfighting show or celebration in the last year on television and percentage of
people who attended a live bullfighting show or celebration in the last year by autonomous region and by autonomous region
typology, 2018-19
TVAttendanceDierence
Depopulated Spain
Castilla-La Mancha
29.621.4
8.2
Castile and Leon
18.320.0-1.7
Extremadura20.613.2
7.4
Aragon13.911.82.1
Navarra23.825.5-1.7
La Rioja
16.115.20.9
Total21.118.42.8
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Mixed rural/urban Spanish regions
Galicia
4.90.44.5
Andalusia
22.08.5
13.5
Asturias
5.32.92.4
Cantabria
7.98.1-0.2
Murcia
13.28.54.7
Total15.96.5
9.4
Urban regions of Spain
Region of Valencia
10.49.31.1
Catalonia
4.81.92.9
Balearic Islands
7.41.9
5.5
Canary Islands
5.11.23.9
Basque Country
8.86.42.4
Madrid
16.68.8
7.8
Total9.65.64.0
Source: Author’s work based on the Survey of Cultural Practices and Habits in Spain 2018-19. MCD, 2019
Consequently, in general terms, the gures for people who said that they watch bullghting shows on television are slightly higher
than those who attend live events in all categories of autonomous regions. However, there is a higher-than-average dierence in
favour of television broadcasts with respect to live shows, especially in mixed rural/urban Spanish regions and in some specic
autonomous regions.
6. Discussion and conclusions
e study proposed in this paper hinged on three exploratory hypotheses. In the rst, there was a trend towards a decrease both
in the programming of bullghting shows and programs about bullghting shows on television as in their viewers over the period
studied (H1). If the available qualitative studies are to be believed (De Haro de San Mateo, 2000; Echegaray, 2005; Martínez Lucas,
2009), following a decade of prominent presence of bullghting shows on television during the 90s, the subsequent two decades
saw a notable decline in airtime. We do not have quantitative data for the 1990s to compare with the gures for the last 20 years,
but there has been very little airtime given to bullghting shows and programs on television over the past two decades.
It is possible to say that during the period studied the presence of bullghting shows and programs has been especially low on the
programming schedules of national television channels and only slightly higher in some regional ones. In addition, bullghting
content contributed very little audience share to the dierent television channels. is type of content did not account for more
than 1% of audience share for national channels and for some regional channels (Andalusia, Aragon) it was around 2% and in a
special case (Castilla-La Mancha) it exceeded 5%. erefore, both the presence of bullghting content and its viewer numbers
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are clearly residual on national televisions and in most of the regional ones, and very limited in other regional channels. e only
exception was from the broadcast of bull runs, particularly the San Fermín bull runs, which do have high viewer numbers, but
viewer numbers for all the other bullghting shows on regional television channels are certainly limited.
e lack of published quantitative data from the previous period as far as this author has managed to nd, however, prevents a
comparison with this that quanties the distance between the rst popular period and the current meagre gures. erefore, it
is not possible to fully conrm the initial hypothesis and certify the decrease in the presence of this type of content on television
or viewer numbers. It is simply possible to verify that there is little airtime given to this type of content and the reduced weight
viewer numbers.
It is possible to venture that the decrease in programming and viewers of bullghting shows and programs on television is linked
to profound changes in Spanish social structure and in the values shared by the population. Animal rights and anti-bullghting
movements could be due to the acceptance by the younger, urban and dynamic layers of the population of post-materialist and
self-realization values, typical of postmodern societies (Inglehart, 2018). In any case, this is a hypothesis that should be tested in
future research.
Perhaps the second of the starting hypotheses, namely, that the prole of bullghting spectators who attend live events will be
similar to that of the audiences of the corresponding television content (H2) more closely matches reality. Both spectators of
public of bullghting events and viewers of bullghting programs and shows on television are characterised by being male, older,
with a low level of education and living in rural settings. Perhaps the only dierence is that prole features are accentuated among
viewers, since older men tend to attend fewer live events and have lower levels of education.
e third of the hypotheses, which stated that there was a congruence between attendance at bullghting events and the enjoyment
of bullghting shows on television among residents of rural or urban autonomous regions (H3) is the most problematic. In
principle, there are dierent levels of attendance or viewing of bullghting content between the more rural autonomous regions
(depopulated Spain) and the more urban autonomous regions. In general, the former gures triple the number of attendees and
double the number of viewers. erefore, the relationship between rurality and cultural practices associated with bullghting
shows is proven, although more people follow bullghting shows on television than attend live events.
is, generally speaking, could be tied to the high cost of attending live events. However, only 4.8% of those interviewed in the
Survey of Cultural Practices and Habits in Spain 2018-19 said that ticket prices inuenced their decision not to attend live events.
Even among the older age groups it was not the main obstacle. In fact, only 1.1% stated that the reason was that they preferred to
see bullghting on television (MCD, 2019: 470-471).
Some autonomous regions stand out because the percentage of people who said that they watched bullghting shows on
television compared to those who said they attended live events exceeds the average dierence for the entire country. Castilla-La
Mancha and Extremadura stand out among the less populated areas of Spain, Andalusia among the regions with an intermediate
level of urban population and the Balearic Islands and, above all, Madrid among the densely populated urban regions. is could
be due to several interrelated factors.
In the rst place, the non-availability of live bullghting events could aect the greater degree viewing gures for this type of
content on television. In the Survey of Cultural Practices and Habits in Spain 2018-19, 6.1% indicated the lack of live events in
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their area as one of the reasons for not attending more. Although in regions such as Extremadura, 15.3% mentioned this problem,
compared to 8.2% in the Canary Islands and 3.3% in Catalonia, regions where bullghts are not held (MCD, 2019: 470).
Secondly, the existence of regional television channels that regularly program this type of content, as is the case in Castilla-
La Mancha or Andalusia, could be a reason that a higher percentage of individuals said that they watch bullghting shows on
television. Furthermore, this type of content represents a higher percentage of the overall audience of these channels in the case
of Andalusia, Aragón or Castilla-La Mancha, than for channels in the rest of the country. In any case, the relationship is not direct
either, since this local audience could access bullghting content on national televisions (TVE or Toros TV) or access the content
of regional televisions on the platforms that include them.
And, thirdly, and without attempting to compile an exhaustive list, the fact that the Survey of Cultural Practices and Habits in Spain
asks about people who had seen ‘somekind’ of bullghting show in the last year may over-represent the real viewer numbers for
this type of bullghting programs. Some specic bullghting events, for example, the San Fermín running of the bulls or a specic
bullght at the San Isidro Fair in Las Ventas, could greatly skew the results, since the viewing of ‘some’ bullghting content does
not imply a faithful and stable following. e average viewer gures for bullghting content on the dierent television channels
seem to indicate that the data from the Survey of Cultural Practices and Habits overvalues these types of viewers.
In short, the available data shed light on the situation of bullghting shows on television, although there are also areas with less
data that should be addressed in future research. It is dicult to envision the future of this type of content but viewing gure
trends do not lead us to be very optimistic. Ageing audiences, less acceptance of this type of content among young people and
audiences coming from more rural and scarcely populated regions lead us to conclude that the possibility of television airtime for
bullghting shows and programs will not increase. On the contrary, the logical trend would suggest it should decrease, at least on
generalist television. Its survival in the short and medium term will be on regional and local televisions, in the most rural regions,
and on paid channels, where bullghting shows will become a small specic market niche, bearing in mind the diculties for
internationalising and expanding this type of content.
7. Acknowledgements
I would like to thank the consulting rm Barlovento Comunicación for its willingness to provide me with audience data for free,
which has greatly contributed to improving this research.
is article has been translated by Gorka Hodson.
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doxa.comunicación |
nº 33, pp. 197-215
|
July-December of 2021
Antonio Martín-Cabello
ISSN: 1696-019X / e-ISSN: 2386-3978
215
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