According to Pedro M. Padilla Quintana, the lexicon of Canarian wrestling is a vivid reflection of the cultural and linguistic diversity found in this traditional sport on Gran Canaria. One of the most notable aspects is the nomenclature of techniques, which reveals a variety of terms, localisms, and synonymy that have developed over time[1].
Padilla Quintana points out that many wrestling techniques have specific names depending on the area or even the wrestler who popularized them. For example, there are names restricted to local contexts, such as the “lucha del chófer” in Gáldar or the “bobona” in Agüimes, which have not become widespread across the island[1]. In contrast, other techniques like the “lucha de los niños” or “palmada por fuera” have become more general and are recognized in most wrestling arenas on Gran Canaria[1].
The author observes that many uncatalogued techniques disappear when the wrestler who performed them retires, along with the associated terminology. This has happened with techniques such as the “cuatro,” “platillo,” or “romana,” whose names have fallen out of use after the retirement of those who mastered them[1]. Additionally, some techniques still practiced today do not have a specific name and belong to the group of unnamed, uncatalogued wrestling moves[1].
Padilla Quintana also highlights the existence of synonymy, meaning different names for the same technique depending on the area or the wrestler’s environment. Examples include terms like “canga,” “chascón,” “canguillo,” “ganchillo,” “garabato,” “patadilla,” “traspié,” “zancadilla,” “agachadilla,” and “viradilla,” which may refer to similar or identical movements depending on the context[1].
The study emphasizes that the stability of terms in Canarian wrestling depends greatly on the popularity and current use of the techniques. Some moves gain temporary prominence thanks to wrestlers who execute them exclusively, but when these wrestlers retire, the names tend to disappear[1]. Examples mentioned by the author include the “lucha de Borito,” the “romana,” and the “sacón de ombligo,” all associated with specific wrestlers[1].
In conclusion, according to Padilla Quintana, the nomenclature of techniques in Canarian wrestling is a dynamic and living field, where localisms and synonymy reflect both the cultural diversity of Gran Canaria and the evolution of this traditional sport[1].