|Day of the Dead|
|Observed by||Mexico, and regions with large Mexican populations|
|Significance||Prayer and remembrance of friends and family members who have died|
|Celebrations||Creation of home altars to remember the dead, traditional dishes for the Day of the Dead|
|Next time||2 November 2022|
|Related to||All Saints' Day, All Hallow's Eve, All Souls Day|
The Day of the Dead (Spanish: Día de Muertos or Día de los Muertos) is a holiday traditionally celebrated on November 1 and 2, though other days, such as October 31 or November 6, may be included depending on the locality. It largely originated in Mexico, where it is mostly observed, but also in other places, especially by people of Mexican heritage elsewhere. Although associated with the Western Christian Allhallowtide observances of All Hallow's Eve, All Saints' Day and All Souls' Day, it has a much less solemn tone and is portrayed as a holiday of joyful celebration rather than mourning. The multi-day holiday involves family and friends gathering to pay respects and to remember friends and family members who have died. These celebrations can take a humorous tone, as celebrants remember funny events and anecdotes about the departed.
Traditions connected with the holiday include honoring the deceased using calaveras and aztec marigold flowers known as cempazúchitl, building home altars called ofrendas with the favorite foods and beverages of the departed, and visiting graves with these items as gifts for the deceased. The celebration is not solely focused on the dead, as it is also common to give gifts to friends such as candy sugar skulls, to share traditional pan de muerto with family and friends, and to write light-hearted and often irreverent verses in the form of mock epitaphs dedicated to living friends and acquaintances, a literary form known as calaveras literarias.
In 2008, the tradition was inscribed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.
Mexican academics are divided on whether the festivity has genuine indigenous pre-Hispanic roots or whether it is a 20th-century rebranded version of a Spanish tradition developed during the presidency of Lázaro Cárdenas to encourage Mexican nationalism through an "Aztec" identity. The festivity has become a national symbol in recent decades and it is taught in the nation's school system asserting a native origin. In 2008, the tradition was inscribed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.
Views differ on whether the festivity has indigenous pre-Hispanic roots, whether it is a more modern adaptation of an existing European tradition, or a combination of both as a manifestation of syncretism. Similar traditions can be traced back to Medieval Europe, where celebrations like All Saints' Day and All Souls' Day are observed on the same days in places like Spain and Southern Europe. Critics of the native American origin claim that even though pre-Columbian Mexico had traditions that honored the dead, current depictions of the festivity have more in common with European traditions of Danse macabre and their allegories of life and death personified in the human skeleton to remind us the ephemeral nature of life. Over the past decades, however, Mexican academia has increasingly questioned the validity of this assumption, even going as far as calling it a politically motivated fabrication. Historian Elsa Malvido, researcher for the Mexican INAH and founder of the institute's Taller de Estudios sobre la Muerte, was the first to do so in the context of her wider research into Mexican attitudes to death and disease across the centuries. Malvido completely discards a native or even syncretic origin arguing that the tradition can be fully traced to Medieval Europe. She highlights the existence of similar traditions on the same day, not just in Spain, but in the rest of Catholic Southern Europe and Latin America such as altars for the dead, sweets in the shape of skulls and bread in the shape of bones.
Agustin Sanchez Gonzalez has a similar view in his article published in the INAH's bi-monthly journal Arqueología Mexicana. Gonzalez states that, even though the "indigenous" narrative became hegemonic, the spirit of the festivity has far more in common with European traditions of Danse macabre and their allegories of life and death personified in the human skeleton to remind us the ephemeral nature of life. He also highlights that in the 19th century press there was little mention of the Day of the Dead in the sense that we know it today. All there was were long processions to cemeteries, sometimes ending with drunkenness. Elsa Malvido also points to the recent origin of the tradition of "velar" or staying up all night with the dead. It resulted from the Reform Laws under the presidency of Benito Juarez which forced family pantheons out of Churches and into civil cemeteries, requiring rich families having servants guarding family possessions displayed at altars.
The historian Ricardo Pérez Montfort has further demonstrated how the ideology known as indigenismo became more and more closely linked to post-revolutionary official projects whereas Hispanismo was identified with conservative political stances. This exclusive nationalism began to displace all other cultural perspectives to the point that in the 1930s, the Aztec god Quetzalcoatl was officially promoted by the government as a substitute for the Spanish Three Kings tradition, with a person dressed up as the deity offering gifts to poor children.
In this context, the Day of the Dead began to be officially isolated from the Catholic Church by the leftist government of Lázaro Cárdenas motivated both by "indigenismo" and left-leaning anti-clericalism. Malvido herself goes as far as calling the festivity a "Cardenist invention" whereby the Catholic elements are removed and emphasis is laid on indigenous iconography, the focus on death and what Malvido considers to be the cultural invention according to which Mexicans venerate death. Gonzalez explains that Mexican nationalism developed diverse cultural expressions with a seal of tradition but which are essentially social constructs which eventually developed ancestral tones. One of these would be the Catholic Día de Muertos which, during the 20th century, appropriated the elements of an ancient pagan rite.
One key element of the re-developed festivity which appears during this time is La Calavera Catrina by Mexican lithographer José Guadalupe Posada. According to Gonzalez, whereas Posada is portrayed in current times as the "restorer" of Mexico's pre-Hispanic tradition he was never interested in Native American culture or history. Posada was predominantly interested in drawing scary images which are far closer to those of the European renaissance or the horrors painted by Francisco de Goya in the Spanish war of Independence against Napoleon than the Mexica tzompantli. The recent trans-atlantic connection can also be observed in the pervasive use of couplet in allegories of death and the play Don Juan Tenorio by 19th Spanish writer José Zorrilla which is represented on this date both in Spain and in Mexico since the early 19th century due to its ghostly apparitions and cemetery scenes.
Opposing views assert that despite the obvious European influence, there exists proof of pre-Columbian festivities that were very similar in spirit, with the Aztec people having at least six celebrations during the year that were very similar to Day of the Dead, the closest one being Quecholli, a celebration that honored Mixcóatl (the god of war) and was celebrated between October 20 and November 8. This celebration included elements such as the placement of altars with food (tamales) near the burying grounds of warriors to help them in their journey to the afterlife. Influential Mexican poet and Nobel prize laureate Octavio Paz strongly supported the syncretic view of the Día de Muertos tradition being a continuity of ancient Aztec festivals celebrating death, as is most evident in the chapter "All Saints, Day of the Dead" of his 1950 book-length essay The Labyrinth of Solitude.
Regardless of its origin, the festivity has become a national symbol in Mexico and as such is taught in the nation's school system, typically asserting a native origin. It is also a school holiday nationwide.
During Día de Muertos, the tradition is to build private altars ("ofrendas") containing the favorite foods and beverages, as well as photos and memorabilia, of the departed. The intent is to encourage visits by the souls, so the souls will hear the prayers and the words of the living directed to them. These altars are often placed at home or in public spaces such as schools and libraries, but it is also common for people to go to cemeteries to place these altars next to the tombs of the departed.
Plans for the day are made throughout the year, including gathering the goods to be offered to the dead. During the three-day period families usually clean and decorate graves; most visit the cemeteries where their loved ones are buried and decorate their graves with ofrendas (altars), which often include orange Mexican marigolds (Tagetes erecta) called cempasúchil (originally named cempōhualxōchitl, Nāhuatl for 'twenty flowers'). In modern Mexico the marigold is sometimes called Flor de Muerto ('Flower of Dead'). These flowers are thought to attract souls of the dead to the offerings. It is also believed the bright petals with a strong scent can guide the souls from cemeteries to their family homes.
Toys are brought for dead children (los angelitos, or 'the little angels'), and bottles of tequila, mezcal or pulque or jars of atole for adults. Families will also offer trinkets or the deceased's favorite candies on the grave. Some families have ofrendas in homes, usually with foods such as candied pumpkin, pan de muerto ('bread of dead'), and sugar skulls; and beverages such as atole. The ofrendas are left out in the homes as a welcoming gesture for the deceased. Some people believe the spirits of the dead eat the "spiritual essence" of the ofrendas' food, so though the celebrators eat the food after the festivities, they believe it lacks nutritional value. Pillows and blankets are left out so the deceased can rest after their long journey. In some parts of Mexico, such as the towns of Mixquic, Pátzcuaro and Janitzio, people spend all night beside the graves of their relatives. In many places, people have picnics at the grave site, as well.
Some families build altars or small shrines in their homes; these sometimes feature a Christian cross, statues or pictures of the Blessed Virgin Mary, pictures of deceased relatives and other people, scores of candles, and an ofrenda. Traditionally, families spend some time around the altar, praying and telling anecdotes about the deceased. In some locations, celebrants wear shells on their clothing, so when they dance, the noise will wake up the dead; some will also dress up as the deceased.
During Day of the Dead festivities, food is both eaten by living people and given to the spirits of their departed ancestors as ofrendas ('offerings'). Tamales are one of the most common dishes prepared for this day for both purposes.
Pan de muerto and calaveras are associated specifically with Day of the Dead. Pan de muerto is a type of sweet roll shaped like a bun, topped with sugar, and often decorated with bone-shaped pieces of the same pastry. Calaveras, or sugar skulls, display colorful designs to represent the vitality and individual personality of the departed.
In addition to food, drinks are also important to the tradition of Day of the Dead. Historically, the main alcoholic drink was pulque while today families will commonly drink the favorite beverage of their deceased ancestors. Other drinks associated with the holiday are atole and champurrado, warm, thick, non-alcoholic masa drinks.
Agua de Jamaica (water of hibiscus) is a popular herbal tea made of the flowers and leaves of the Jamaican hibiscus plant (Hibiscus sabdariffa), known as flor de Jamaica in Mexico. It is served cold and quite sweet with a lot of ice. The ruby-red beverage is also known as hibiscus tea in English-speaking countries.
In the Yucatán Peninsula, mukbil pollo (píib chicken) is traditionally prepared on October 31 or November 1, and eaten by the family throughout the following days. It is similar to a big tamale, composed of masa and pork lard, and stuffed with pork, chicken, tomato, garlic, peppers, onions, epazote, achiote, and spices. Once stuffed, the mukbil pollo is bathed in kool sauce, made with meat broth, habanero chili, and corn masa. It is then covered in banana leaves and steamed in an underground oven over the course of several hours. Once cooked, it is dug up and opened to eat.
A common symbol of the holiday is the skull (in Spanish calavera), which celebrants represent in masks, called calacas (colloquial term for skeleton), and foods such as chocolate or sugar skulls, which are inscribed with the name of the recipient on the forehead. Sugar skulls can be given as gifts to both the living and the dead. Other holiday foods include pan de muerto, a sweet egg bread made in various shapes from plain rounds to skulls, often decorated with white frosting to look like twisted bones.
In some parts of the country, especially the larger cities, children in costumes roam the streets, knocking on people's doors for a calaverita, a small gift of candies or money; they also ask passersby for it. This custom is similar to that of Halloween's trick-or-treating in the United States, but without the component of mischief to homeowners if no treat is given.
A distinctive literary form exists within this holiday where people write short poems in traditional rhyming verse, called calaveras literarias (lit. "literary skulls"), which are mocking, light-hearted epitaphs mostly dedicated to friends, classmates, co-workers, or family members (living or dead) but also to public or historical figures, describing interesting habits and attitudes, as well as comedic or absurd anecdotes that use death-related imagery which includes but is not limited to cemeteries, skulls, or the grim reaper, all of this in situations where the dedicatee has an encounter with death itself. This custom originated in the 18th or 19th century after a newspaper published a poem narrating a dream of a cemetery in the future which included the words "and all of us were dead", and then proceeding to read the tombstones. Current newspapers dedicate calaveras literarias to public figures, with cartoons of skeletons in the style of the famous calaveras of José Guadalupe Posada, a Mexican illustrator. In modern Mexico, calaveras literarias are a staple of the holiday in many institutions and organizations, for example, in public schools, students are encouraged or required to write them as part of the language class.
Posada created what might be his most famous print, he called the print La Calavera Catrina ("The Elegant Skull") as a parody of a Mexican upper-class female. Posada's intent with the image was to ridicule the others that would claim the culture of the Europeans over the culture of the indigenous people. The image was a skeleton with a big floppy hat decorated with two big feathers and multiple flowers on the top of the hat. Posada's striking image of a costumed female with a skeleton face has become associated with the Day of the Dead, and Catrina figures often are a prominent part of modern Day of the Dead observances.
Theatrical presentations of Don Juan Tenorio by José Zorrilla (1817–1893) are also traditional on this day.
The traditions and activities that take place in celebration of the Day of the Dead are not universal, often varying from town to town. For example, in the town of Pátzcuaro on the Lago de Pátzcuaro in Michoacán, the tradition is very different if the deceased is a child rather than an adult. On November 1 of the year after a child's death, the godparents set a table in the parents' home with sweets, fruits, pan de muerto, a cross, a rosary (used to ask the Virgin Mary to pray for them), and candles. This is meant to celebrate the child's life, in respect and appreciation for the parents. There is also dancing with colorful costumes, often with skull-shaped masks and devil masks in the plaza or garden of the town. At midnight on November 2, the people light candles and ride winged boats called mariposas (butterflies) to Janitzio, an island in the middle of the lake where there is a cemetery, to honor and celebrate the lives of the dead there.
In contrast, the town of Ocotepec, north of Cuernavaca in the State of Morelos, opens its doors to visitors in exchange for veladoras (small wax candles) to show respect for the recently deceased. In return the visitors receive tamales and atole. This is done only by the owners of the house where someone in the household has died in the previous year. Many people of the surrounding areas arrive early to eat for free and enjoy the elaborate altars set up to receive the visitors.
Another peculiar tradition involving children is La Danza de los Viejitos (the Dance of the Old Men) where boys and young men dressed like grandfathers crouch and jump in an energetic dance.
In the 2015 James Bond film Spectre, the opening sequence features a Day of the Dead parade in Mexico City. At the time, no such parade took place in Mexico City; one year later, due to the interest in the film and the government desire to promote the Mexican culture, the federal and local authorities decided to organize an actual Día de Muertos parade through Paseo de la Reforma and Centro Historico on October 29, 2016, which was attended by 250,000 people. This could be seen as an example of the pizza effect. The idea of a massive celebration was also popularized in the Disney Pixar movie Coco.
See also: Festival of the Dead
In many U.S. communities with Mexican residents, Day of the Dead celebrations are very similar to those held in Mexico. In some of these communities, in states such as Texas, New Mexico, and Arizona, the celebrations tend to be mostly traditional. The All Souls Procession has been an annual Tucson, Arizona, event since 1990. The event combines elements of traditional Day of the Dead celebrations with those of pagan harvest festivals. People wearing masks carry signs honoring the dead and an urn in which people can place slips of paper with prayers on them to be burned. Likewise, Old Town San Diego, California, annually hosts a traditional two-day celebration culminating in a candlelight procession to the historic El Campo Santo Cemetery.
The festival also is held annually at historic Forest Hills Cemetery in Boston's Jamaica Plain neighborhood. Sponsored by Forest Hills Educational Trust and the folkloric performance group La Piñata, the Day of the Dead festivities celebrate the cycle of life and death. People bring offerings of flowers, photos, mementos, and food for their departed loved ones, which they place at an elaborately and colorfully decorated altar. A program of traditional music and dance also accompanies the community event.
The Smithsonian Institution, in collaboration with the University of Texas at El Paso and Second Life, have created a Smithsonian Latino Virtual Museum and accompanying multimedia e-book: Día de los Muertos: Day of the Dead. The project's website contains some of the text and images which explain the origins of some of the customary core practices related to the Day of the Dead, such as the background beliefs and the offrenda (the special altar commemorating one's deceased loved one). The Made For iTunes multimedia e-book version provides additional content, such as further details; additional photo galleries; pop-up profiles of influential Latino artists and cultural figures over the decades; and video clips of interviews with artists who make Día de Muertos-themed artwork, explanations and performances of Aztec and other traditional dances, an animation short that explains the customs to children, virtual poetry readings in English and Spanish.
In 2021, the Biden-Harris administration celebrated the Día de Muertos.
Santa Ana, California, is said to hold the "largest event in Southern California" honoring Día de Muertos, called the annual Noche de Altares, which began in 2002. The celebration of the Day of the Dead in Santa Ana has grown to two large events with the creation of an event held at the Santa Ana Regional Transportation Center for the first time on November 1, 2015.
In other communities, interactions between Mexican traditions and American culture are resulting in celebrations in which Mexican traditions are being extended to make artistic or sometimes political statements. For example, in Los Angeles, California, the Self Help Graphics & Art Mexican-American cultural center presents an annual Day of the Dead celebration that includes both traditional and political elements, such as altars to honor the victims of the Iraq War, highlighting the high casualty rate among Latino soldiers. An updated, intercultural version of the Day of the Dead is also evolving at Hollywood Forever Cemetery. There, in a mixture of Native Californian art, Mexican traditions and Hollywood hip, conventional altars are set up side by side with altars to Jayne Mansfield and Johnny Ramone. Colorful native dancers and music intermix with performance artists, while sly pranksters play on traditional themes.
Similar traditional and intercultural updating of Mexican celebrations are held in San Francisco. For example, the Galería de la Raza, SomArts Cultural Center, Mission Cultural Center, de Young Museum and altars at Garfield Square by the Marigold Project. Oakland is home to Corazon Del Pueblo in the Fruitvale district. Corazon Del Pueblo has a shop offering handcrafted Mexican gifts and a museum devoted to Day of the Dead artifacts. Also, the Fruitvale district in Oakland serves as the hub of the Día de Muertos annual festival which occurs the last weekend of October. Here, a mix of several Mexican traditions come together with traditional Aztec dancers, regional Mexican music, and other Mexican artisans to celebrate the day.
Mexican-style Day of the Dead celebrations occur in major cities in Australia, Fiji, and Indonesia. Additionally, prominent celebrations are held in Wellington, New Zealand, complete with altars celebrating the deceased with flowers and gifts.
Due to the close cultural connections of the Philippines and Mexico, the Day of the Dead is celebrated in this Hispanic-Asian country as well. In the Philippines "Undás", "Araw ng mga Yumao" (Tagalog: "Day of those who have died"), coincides with the Roman Catholic's celebration of All Saints' Day and continues on to the following day: All Souls' Day. Filipinos traditionally observe this day by visiting the family dead to clean and repair their tombs, just like in Mexico. Offerings of prayers, flowers, candles, and even food, while Chinese Filipinos additionally burn joss sticks and joss paper (kim). Many also spend the day and ensuing night holding reunions at the cemetery, having feasts and merriment.
As part of a promotion by the Mexican embassy in Prague, Czech Republic, since the late 20th century, some local citizens join in a Mexican-style Day of the Dead. A theater group conducts events involving candles, masks, and make-up using luminous paint in the form of sugar skulls.
However, owing to the subjugation of the Aztec Empire by the Spanish conquistador, Hernan Coretes in 1519–1521, this festival increasingly fell under Hispanic influence. It was moved from the beginning of summer to late October—and then to early November—so that it would conicide with the Western Christian triduum (or three-day religious observance) of Allhallowtide (Hallowtide, Allsaintide, or Hallowmas). It lasts from October 31 to November 2 and comprises All Saint's Eve (Halloween), All Saints' Day (All Hallows'), and All Souls' Day.
Day of the Dead celebrations take place over October 31 ... November 1 (All Saints' Day), and November 2.
In Yucatan, however, the Day of the Dead rituals occur on October 31, November 1, and November 6.
pottery as a distilled taskscape is best illustrated in the pottery required for Day of the Dead rituals (on October 31, November 1, and November 6), when the spirits of deceased ancestors come back to the land of the living.