Lap! Pow! Slap!: Sure it's wacky, but this anthropologist shows that there's more to Lucha Libre than masked men in tights. (Living in Mexico).

Sincere time immortal, every society's mythology has included battles between good and evil that determine the future of mankind. Gods and demigods confront their antagonists in the hope of transcending victorious. On earth, fearful mortals watch and wait, aware that their fate lies in the hands of the gods.

As part of the collective historical memory, men re-enact in their rites those battles of the past that represent this myth. But in order to perform these rituals, a "sacred space" is essential: a temple, a church, a ball court, a Roman amphitheatre or ... La Arena Coliseo.

Mexico's lucha libre, or wrestling, has undergone significant changes since it began in the 1930s. Then, the dominant technique employed in the ring was a combination of skill and brute force, based on traditional Greco-Roman wrestling. Little by little, the techniques continued to become more spectacular with the addition of certain acrobatic and theatrical elements, eventually giving way to the lucha we know today.

Another important change over the years has been the costume, evolving from an austere pair of shorts and boots into the glamorous tights, leotards, make-up, stockings and the ever-important masks that the luchadores (wrestlers) wear today. Some luchadores still prefer the simplicity of a "classic" wardrobe, but every luchador combines different colors and garments to create his or her own image. Also key is the selection of a stage name to complete the new identity.

"Apart from being actors, the luchadores are also playwrights, because they design, plan and create their characters," says Mexican anthropologist Luis Ferro.

Although the ring is the compulsory space for the fight to take place, the fighting occasionally extends into the aisles and public seating. While the bouts may begin with two or more luchadores, the variations are endless: hand-to-hand combat, ganging up three against one, choreographed moves or routines, etc.

"It could be said that the lucha libre is a 'sports ballet,' because while allowing for individuality, the synchronization between luchadores is indispensable," says Ferro.

But the final objective, of course, is the opponent's defeat.

While the lucha libre is practiced in the majority of Mexico's states, the capital has more promotional options available to hype up the spectacle. The most popular lucha libre forums in Mexico City are La Arena Mexico, La Arena Coliseo and La Arena Naucalpan, with El Toreo and La Arena Revoluci6n having dropped out of the circuit several years back. However, the ring and the fight can be staged in other settings: an auditorium, sports center, plaza, and even in the street as part of a barrio's festivities. The lucha lends itself to being a traveling spectacle, similar to Mexico's traditional Teatro de Carpa. On the more practical side, this mobility allows for more fans and increased income.

TECHNICAL DIVIDE

There are two main categories of fighters, which are characterized by distinct styles that reaffirm the same good vs. evil rap: the "Tecnicos" ("Technicians") and the "Rudos" ("Ruffians").

Based on sporting criteria, the technicians are characterized by their intelligence and for putting technique before sheer violence. On the contrary, the ruffians often cheat and use brute force and ferocity as their main combat strategy.

The lucha's theatrical element is similar to that of a Christmas pageant: The shepherds set off for Bethlehem while demons (messengers of evil) employ a multitude of schemes to impede their advance. In this recreation of the battle between good and evil, shepherds and demons--both sacred characters--are represented by men.

Similarly, the luchadores adopt an identity for battle: The technicians defend and uphold social values such as honesty and merit, while the ruffians try to win through treason, deceit, cowardice, blasphemy and arrogance.

Contrary to what one might expect, the battle in the ring is different to the average combat we see in the movies, where good always triumphs. Just as in real life, the evil in lucha libre tends to award itself its own victories.

Costume plays a fundamental role in the delimitation of the sacred space, functioning as a symbolic catalyst between the sacred and profane. In the ring, the luchador ceases to be mortal, transforming into either hero or villain.

The mask is the talisman of this immortality. Take for example when, in an on-going personal grudge from a previous match, one luchador snatches off the defeated opponent's mask. When a luchador is de-masked, he suffers the loss of his sacred identity, is stripped of his heroic qualities and his human face is left vulnerable and exposed. Losing his mask means public humiliation, and he is ridiculed by the insults and laughter of those present.

Each lucha libre program generally features five fights per session, with categories that include men, women and midgets. The final fight is the featured act, showcasing the star luchador.

Before each fight, the ringmaster takes the stage. He's in charge of presenting each luchador to the audience. According to Luis Ferro, "the ringmaster acts as a prophet, announcing the arrival of the sacred moment."

Each fight is regulated by two referees, whose function is to verify that the rules of the fight are followed. The referees represent justice, or, in the case of corrupt ones, the lack thereof. At the same time, they represent chance--seeing that any random act could provoke a triumphant change of hands. As we well know, while justice might be equal, it is not impartial. Both referees make their preference known, cynically and without reserve.

ENTERING THE RING

A luchador's career begins with a love for the sport. From there, they begin physical and technical training in one of the many gyms that exist throughout the country. The teachers are specialized professionals, who are usually current or retired luchadores.

As is the case with any profession, practice doesn't ensure a gift for teaching. While a teacher does influence the formation of the hopeful luchador, it in no way determines his professional future.

A separation exists between the sporting merit of a luchador and his ability to prosper in the spectacle aspect of the sport. Super Astro, a luchador and current owner of the Cafeteria El Cuadrilatero, recognizes two types of aspirants: "There are some that are just plain born with it, and then there are those capable of being good disciples."

Technique and perfected skill are not enough--to be a good luchador one needs that special something ... but even that doesn't ensure success in the ring. As Super Astro puts it, "some decent luchadores are never able to adapt to the professional environment."

What must always be taken into account are the promotional opportunities, which can vary according to circumstance and luck. Every professional luchador has his own manager who is in charge of marketing the luchador as merchandise. Thus, a luchador's success depends not only on his technical ability, but on his manager's business finesse. Likewise, a manager's daily bread depends on if he has an "eye" for discovering and recruiting new talent.

The amateur luchador becomes a professional by acquiring a license that allows him to fight professionally. In Mexico City, the license can be obtained only after passing an exam administered by the Mexico City Lucha Libre Commission.

The path of a luchador is not an easy one: He constantly puts at risk both his health and economic stability. However, the satisfactions of this career are innumerable. He becomes a celebrity and hero in and out of the ring--surpassing the imaginary and transcending into tangible heroism.

Sergio Ulloa is an anthropology student at the National School of Anthropology and History (ENAH).

RELATED ARTICLE: Don't forget the women!

A small but respectable and often marginalized lucha libre group is that of the luchadoras, or women. wrestlers. Although destined to be stuck as the opening act for the men's fights, their equal sincerity and dedication to the sport cannot be denied. They do occasionally' get their own spotlight, filling up a night's worth of programmed events, but lack of promotion or public interest has kept them in the Arena's loft.

El Santo

Hands down, the most famous luchador of all times is El Santo--El Enmascarado de Plata. The first luchador to reach celebrity status, his fame was the result of not only media promotion, but his skill as a fighter.

El Santo became a sports idol in the ring in the '40s. He later moved onto the silver screen, where he played himself in a heroic light, fighting against monsters, aliens, mutants, mobsters and other luchadores that stood for the society's version of Evil. His first film, Santo vs. El Cerebro del Mal, was released in 1961. El Santo continued to make movies throughout the '60s and '70s, with the last one released in 1983.

On the big screen, good and evil weren't always evenly matched. In the beginning, El Santo fought his battle alone against a pack of evildoers, although he was later joined by other superheroes who shared his same principles, such as Blue Demon and Mil Mascaras. But his fame didn't stop there ... his legend was further perpetuated with the comic book publication El Santo, El Enmascarado de Plata, which featured a story line similar to the movie, allowing for mass-diffusion of the hero.