Dia de los Muertos, a tradition both solemn and hilarious

Skulls and white candles are traditional elements of Dia de los Muertos. Each November 2, Mexico celebrates its unique Day of the Dead fiesta. Although the day falls just after Halloween, it has no connection to that rather empty and highly commercialized north-of-the-border event. Unfortunately, the current pandemic has caused the cancellation of most of this year's traditional fiesta activities--particularly those involving large groups. However, an elaborate Dia de los Muertos altar recently appeared on the corner of Calle Galleana and Calle Venustiano Carranza, near my home in Ajijic. 

My encounter with the altar inspired this posting. The fiesta has some solemn elements, but mostly it is a wildly colorful and decidedly hilarious event. I hope this lightens up the grimness of these times for members of my blog audience. The first section of this posting will focus on the altar that my Mexican neighbors erected in the last few days. The remainder of the photos will show some of the activities of the 2019 fiesta. These earlier photos have never before been published.

Altar in my neighborhood

My neighborhood's altar contains most of the traditional elements. The first thing I noticed was the large group of photographs taped to the stone wall on either side of the cross. These are the images of family members who have passed away, either recently or some time ago. The large number of photos indicates that this was truly a neighborhood project, rather than one created solely by an individual family. 

Although there is a cross at the top, a great many features of the altar--as well as the Day of the Dead itself--have their origins in ancient pre-hispanic religious beliefs. For example, the pyramidal, three-step altar itself is a structure with antecedents dating back as far as 1500 BC. 

 

A few of the 20+ photos appearing on the wall and on the altar's steps. The people pictured are of all ages, from elderly to relatively young. I was particularly struck by the woman shown in the lower right. She is older and, like many women of her age, she wears a traditional rebozo (shawl) draped over her head and shoulders. Oddly, she hides her face behind a piece of the rebozo, as if embarrassed to be photographed. 

To her left is a man of middle age, sporting a mustache and wearing a white cowboy hat and a plaid shirt. In his dress and general appearance, he closely resembles hundreds of rural men I have encountered in my travels around Mexico. In the upper left is a photo of a young man, possibly a teenager. It is sad to think that one so young should appear above this altar. All these people were obviously loved by families who want to preserve their memories.

On top of the altar, just below the cross, is a colorful catrina. This is one element of the overall altar that does not have ancient roots. Catrinas were the invention of a 19th century political cartoonist named Guadalupe Posada. He created thousands of drawings and engravings of skeletal figures. He used the figures to lampoon the pretensions of the newly-rich upper classes who prospered under the dictatorship of Porfirio Diaz, while the vast majority of Mexico's population remained desperately poor. 

Catrinas fell out of favor for a while after Posada died. However, they became popular again in the 1930s and remain so today. Over time, catrinas have gradually become associated with the Day of the Dead, but the only real connection between the two are the images of skeletons. The fiesta pre-dates catrinas by centuries, if not millennia. 

This little fellow reminded me of the Disney cartoon character Pluto the Dog. Made of paper mache, he looks to have imbibed more than his share of tequila. Dogs in general can be pretty goofy, but Mexican dogs seem to have that quality in abundance. His presence on the altar may indicate that one of the people pictured had a similar dog. Alternatively, he may represent a much-loved but now deceased dog, who once could be found lounging on the front stoop of his master. Behind the pooch is one of several cardboard guitars, an indication that one of the dearly departed was a musician.

Sugar skull, decorated with blue frosting and red flowers. Sugar skulls are another traditional feature of these altars. The skulls are made from granulated sugar that is pressed into molds. They represent the souls of the dead and some have a name written in frosting on the forehead, although this one does not. 

The sugar skulls originated in the 17th century when Italian missionaries arrived in Mexico. The indigenous people wanted to create decorations for the Day of the Dead, but had very little money. One thing they did have was lots of sugar, since sugar cane was grown and processed all over Mexico. The Italians showed them how to make skull molds and the little skulls soon became widely used on Day of the Dead altars. The skulls are often decorated with feathers, foil or other inedible items and are not necessarily created for human consumption. 

This small vignette was arranged on the middle step of the altar. The photo shows a pretty young woman, probably in her teens or early 20s. The smaller photo slipped into the corner of the frame may be her mother, or possibly an older sister. Several traditional items surround the pictures. The white candle helps guide the visiting spirit to the altar. The tiny skull to the right of the candle represents the soul of a child. The cup on the right may represent the favorite beverage of the person in the photo. It has been placed there to provide refreshment after her long journey home from the spirit world. Behind the candle is a marigold flower, which pre-hispanic people considered to be a symbol of death. 

On one side of the altar, a soap bar and pan of water stand in front of a mirror. Since the altar is about welcoming home visiting spirits, it is assumed that they will want to clean up after such a long journey. Such hospitality is considered a social requirement in Mexico. 

Ajijic's Panteon

A highly decorated gravesite at Ajijic's Panteon. In Ajijic, the Dia de los Muertos activities start at the Panteon (community graveyard). When we moved to Mexico and attended our first Day of the Dead event, we assumed the mood at the cemetery would be solemn and were somewhat concerned about intruding. To our surprise, we found a full-on party, with mariachi music, dancing, food. The participants often invited us to share a cold beer or shots of tequila. Now this was a fiesta I could get behind!

An elderly woman rests quietly beside a grave decorated with the Virgin of Guadalupe. Erupting all around her were laughter, music from multiple bands (all playing different songs) and general chaos. Her solemnity was so out of place that I had to take her photo. Similar to New Orleans, graves in Mexico are often elaborate above-ground structures.

A mother applies face paint to her daughter. In previous centuries, people wore masks to these celebrations. However, the custom today is to use white and black makeup to create a skull face. On this base, flowers or other colorful images are painted. The only limit is the imagination of the person applying the paint. This painstaking process can take considerable time, depending on how elaborate the wearer wants it to be. 

Three young women show off their face paint. As it happened, they were posing as a friend photographed them. I just took advantage of the moment to grab a quick shot of my own and they didn't mind. I have found the Day of the Dead to be one of the easiest places to take "people shots." Not only is the mood festive, but everyone wants to show off their face paint or an unusual costume.

Sawdust street art on Calle Parroquia

Sawdust paintings filled Calle Parroquia, along the south side of Ajijic Plaza. Still another tradition of this fiesta is to create images in the street made from colored sawdust. Calle Parroquia contained eight or ten of these large creations. This one is dedicated to Mictlán, which was the Aztec underworld and the final destination for the dead. 

Some of the sawdust creations were sponsored by local businesses. Edith's Salon was responsible for this Dia de los Muertos participant made up with face paint. For all the work that goes into creating these images, they will all be gone in a few hours.

After dark in Chapala

A tall and fantastically costumed catrina stretches out a bony hand in greeting. Each community along the shore of Lake Chapala sponsors its own celebration. Usually we start at the Ajijic Panteon, follow the parade from there to the Ajijic Plaza, then head a few miles east to Chapala, which holds the biggest event on the lake's North Shore. 

The City of Chapala usually sets aside several blocks of its main street for Day of the Dead activities. These include scores of highly imaginative altars, a milling crowd of hundreds wearing costumes and face paint, and a big candle-lit parade. The festivities usually continue long after Carole and I finally head home.

Two members of the foreign community get into the spirit of the event. Most of the foreigners here are Canadians or Americans, but some are Europeans or Asians. Many attend the wide variety of fiestas held during the year and often become participants themselves. 

A young girl lights candles in front of one of the many altars along the street. The candles are arranged in the shape of a cross in the middle of a marigold-petal pathway ending at the altar. The cross is generally thought of as a Christian symbol. However, to pre-hispanic people it represented the Four Cardinal Directions, each dominated by a different one of of their many gods. The marigold path is intended to lead the spirits to the altar and the candles help light the way.

One of the participants in the Chapala parade paused to pose for me. Her flowered head dress forms a spectacular sunburst. There were many other amazing costumes, head dresses, and painted faces at this event, but I thought this pretty young woman was one of the best.

This completes my posting on the 2019 and 2020 Day of the Dead fiestas. I hope that it has brightened your day during these hard times. If you would like to leave any thoughts or questions, please use the Comments section below or email me directly. If you leave a question in the Comment section, PLEASE include your email address so that I can respond.

Hasta luego, Jim

Mexico's Day of the Dead & its ancient pre-hispanic roots

Participant in Ajijic's Dia de los Muertos parade. For many foreigners, Dia de los Muertos (Day of the Dead) is one of the most puzzling and misunderstood of all Mexico's innumerable fiestas. The event seems vaguely like Halloween, but the traditions, meanings, and history are entirely different. The fiesta is called "Day" of the Dead but it actually encompasses two days. An outsider, unfamiliar with the fiesta, might expect great solemnity among the families gathered around cemetery plots. Instead, copious amounts of tequila and cerveza (beer) are consumed and laughter rings out. Boisterous brass bands simultaneously playing different tunes compete for attention. Good humor and friendliness abound. In this posting, I will try to provide some understanding  for people who may read about, or attend, one of these events. The 2016 fiesta is scheduled for Tuesday, November 1 and Wednesday November 2. The first day, Dia de los Angelitos, is dedicated to dead children (angelitos=little angels). Because of their youth, they are believed to have died without sin and can intercede in Heaven on behalf of their families. My photos and commentary are focused on the second day, Dia de los Muertos, because that is really the main event. I should note here that traditions in Mexico tend to vary according to locality. I can only report on what I have observed and photographed at Ajijic and Chapala, in Jalisco.


El Panteon (the Cemetery)

A family surrounds the candle-lit plot of ground where their loved ones are buried. Candles and cempasúchil (marigolds) are two important elements of the fiesta. They help the souls of the dead find their way "home" for a visit. Many cemetery plots are raised and often contain elaborate above-ground structures, depending upon the resources of the family. Here and there, though, you will find a simple stone marker or rustic wooden cross at the head of a heap of fresh earth. I was touched to see that even the simplest burials were decorated with at least a few candles and a handful of marigolds in a tin can.

This tomb was decorated with a photo of the deceased, apparently an avid horseman. From the spectators in the background, he appears to have been a participant in the parades held during various fiestas throughout the year. Photos of the dead are often placed on grave sites as well as on the special altars families create outside their homes. Notice the elegant glasses holding the votive candles on this rather plush mausoleum.

A young girl decorates her family plot. She has spaced candles to form a cross and sprinkled marigold petals around them. Living marigolds in pots stand on either side of a bouquet of other flowers filling an empty paint can. When photographing individuals, I always seek permission. Virtually everyone I asked at the fiesta agreed with a smile. This girl was no exception.

No part of Dia de los Muertos is quiet. Music from this brass band blared through the panteon. The musicians adorned themselves with face paint and wore matching skull t-shirts. Street vendors outside the panteon's entrance hawked the shirts to celebrants passing by. I bought one to wear at this and future Dias de los Muertos. Several other bands circulated among the grave sites, ready to play requests for a fee. The competing bands, each playing a different tune, created a cacophony that should be familiar to anyone who has attended a Mexican fiesta.

Several elegant couples danced to the music. Skull face paint is wildly popular among fiesta participants. Some of the designs are extraordinary. The man wears a Charro outfit with a tight-fitting, embroidered jacket and a wide sombrero. His partner's black sombrero and lacy black dress are set off nicely by her white face.


Pre-hispanic roots of Dia de los Muertos

The painted skull on this woman's face is remarkably realistic. The people of Mexico have been fascinated by all aspects of death since the earliest pre-hispanic times. Human skulls decorated with inlaid turquoise were found in the ruins of the great city of Teotihuacan (100 BC - 650 AD). From then, all the way through the Aztec era (1250 AD - 1521 AD), human bones were used ritually. Skulls were sometimes substituted as balls in the pre-hispanic ball games. Human leg bones were carved with various mystic designs. Other bones were made into musical instruments such as flutes. The Spanish arrival resulted in a holocaust. Imported diseases, massacres, and general abuse reduced the indigenous population by 90% in less than 100 years. Beginning with the 1810 War of Independence and lasting through drug wars of the 2000s, a long series of fierce conflicts wracked the country. During the Revolution alone (1910 - 1921) Mexico lost 1 out of 7 people. More recently, the drug war (2006-2016) has cost at least 60,000 lives. All of this has given Mexicans a deep familiarity with death and, oddly, enabled them to laugh at it.

Three young women cheerfully pose for a photo. Notice the woman in the center, with only half of her face painted. This is a reference to the concept of duality, an idea that can be traced to the earliest pre-hispanic civilizations. It was central to their view of the cosmos. Everything had its opposite and, together, these created a whole. This included life and death, light and darkness, men and women, hot and cold. etc. Nothing could be fully understood on its own, but only in relation to its opposite. The most important god was the unknowable Ometeotl, the god of duality. This deity had both male and female attributes and was the creator of the cosmos and all other gods. In fact, Aztec priests at the highest level believed there was only one god, and all the others were simply facets or expressions of Ometeotl. The god of duality was so unknowable that no sculptures, paintings, or other representations of Ometeotl have ever been found. Only one temple was ever built for this deity, but it contained no images or statues.

This photograph represents another ancient concept: the cyclical nature of the universe. The photographer modeled his work on an Aztec terracotta sculpture contained in the unique Museum of Death, located in Aguascalientes. The ancient people of Mesoamerica believed that everything in the universe operated on a recurring cyclical basis. Youth turns to old age, which moves into death and re-birth as the cycle continues. Everything in the pre-hispanic world seemed to confirm this: the seasons; the movement of sun, moon, and stars; the life cycle of animals and plants. Some of the ancient civilizations created sophisticated calendars based on cyclical movements of the stars and planets. They were particularly fascinated by Venus which was seen as a symbol of death and rebirth since it appears in the evening and reappears in the morning.

This Dia de los Muertos altar in Chapala recreated an ancient Shaft Tomb. This method of burial was used between 300 BC and 400 AD in the western Mexico states of Jalisco, Colima, and Nayarit. The ancient people would dig a shaft straight down into the relatively soft volcanic soil. Some of the shafts were as much as 20 m (65 ft) deep and had as many as 4 chambers extending out from the bottom. Objects of religious significance, as well as from daily life, were placed on and around the bodies. Much of what we know about the people who participated in the Shaft Tomb tradition comes from artifacts found in these burials. They include beautiful, realistic sculptures of people playing with children, making meals, chatting with friends, playing music, and circle dancing. There were also models of the homes they lived in, some containing a dog house with a pet peeking out. Archaeologists call these objects "grave goods".

A family altar recreates the architecture of an ancient stepped pyramid. This is the typical format for these altars. Once again the pre-hispanic roots of the fiesta emerge, not only in the shape of the altars but with the objects placed on each step. They are the modern equivalent of the grave goods found in shaft tombs as well as other burial sites around Mexico. Some of the objects have religious significance, but most relate to the likes, hobbies, and daily life of the person being remembered.


Los altares familiares (the family altars)

A typical altar tableau begins with the pathway leading up to it. The sides are lined with votive candles, while the surface is carpeted with marigold flower petals. More marigolds line the perimeter of the altar area. The altars are central to the fiesta. Think of the dead not as gone forever, but merely having passed over into a different plane of existence. Annually (i.e. cyclically), on the Dia de los Muetos, they return for a visit. The candles and marigold carpet help guide them home to the altar and their waiting family. It's a bit like leaving the porch light on so a relative who has been on a long journey can find your home.

Home at last! The photo the the deceased occupies the central position on the altar. Various objects used by the person are arranged on either side of the photo, such as the gloves to the left of the photo. On other altars, I have seen saddles and riding gear, musical instruments such as a guitar or clarinet, small tools, artists brushes and pallets, etc. Notice the food arranged on the lower level of the altar. After such a long journey, surely the traveler will be hungry!

Hygene first! Often you will find a pitcher of water, soap, and a towel arranged on one of the steps. A thoughtful family will not forget the need for a traveler to clean up before turning to the sumptuous meal that awaits.

Eat, drink, and be merry, for tomorrow you'll be dead again. The dearly departed's favorite foods are presented here. Apparently the deceased liked Coca Cola, Corona beer, and a brand of tequila that I can't make out. Fruit, pastries, frijoles and various Mexican dishes are all interspersed with candles and the step is dusted with marigold petals. After hospitality like this, the traveler will definitely want to return in a year. And the ancient cycle goes on.

Catrinas

A catrina strikes a dramatic pose in the Ajijic Plaza. This figure was one of a large number created by various groups and individuals for display at the Ajijic Plaza and along the malecones (waterfront walks) of both Ajijic and Chapala. All of the catrinas were creatively designed and most were clothed with recycled materials.

An elegant catrina wears the large floppy hat of a wealthy 19th century matron. The genesis of Catrinas is much more recent than other aspects of the fiesta. Actually, they weren't originally related to Dia de los Muertos at all, but grew out of 19th century political cartoons. José Guadalupe Posada (1852-1913) was a young man who was born and raised in Aguascalientes. His older brother was a school teacher who taught him to draw. Posada eventually got a job as a cartoonist with an Aguascalientes newspaper called El Jicote (the Bumblebee).

This blonde is quite a flashy dresser. El Jicote lasted only 11 issues. Apparently, one of Posada's cartoons stung someone important, because he and the publisher had to flee the city. Posada landed in Leon, far enough away from his angry critic to be safe. Rather than give up his profession, he was inspired to continue. However, because of a massive flood in Leon, Posada had to move again and ended up in Mexico City. There, he resumed his career as a political cartoonist. Posada began drawing his catrinas during the rule of Porfirio Diaz, a period called the Porfiriato (1876-1911).

This catrina is clothed with Mexico's famous Monarch butterflies. After Porfirio Diaz secured political stability, foreign investment poured in, railroads began to criss-cross the country, and trade and industry grew rapidly. The economy as a whole took off, but the vast majority of the gains were funneled to a tiny elite. Although there was a small middle class, most Mexicans were increasingly impoverished. The elite were enamoured of French culture and styles and it was their pretensions that Posada lampooned when he drew the elaborately dressed skeletons he called catrinas. Posada died in 1913, but in the 1930s the great muralist Diego Rivera resurrected his work. Catrinas have been wildly popular in Mexico ever since.


The Parade

After the festivities in the Panteon, celebrants formed a  parade back to the main plaza. Above, a young man balances a cardboard coffin on his head. Everything was very friendly and informal, so I decided to join the parade and photograph its participants. Again, there was a notable lack of solemnity.

What's a parade without music? Of course, with several bands playing simultaneously, and never the same tune, it was difficult to keep in step. Still, the disjointed cacophony lent an extra element of hilarity to the scene.

Paraders were not all somberly dressed. The woman with the bright orange dress caught my eye. I liked her handle-bar mustache. The fellow with the coffin follows behind. Even though his burden was light, I suspected that his arms would get tired long before he reached the plaza.

A giant skull with fireworks attached marched along on two blue jean-clad legs. The rockets are attached to flimsy reed wheels on either side, kind of like ears. When the parade reaches the plaza, he will light the fuse. As the rockets ignite, the wheels will begin to spin and throw off showers of sparks. The two-legged skull will then rush back and forth through the crowd, causing people to jump and flee, sometimes tripping over one another. Great peals of laughter will ensue. Any vacationing US or Canadian fire inspectors will no doubt collapse with heart palpitations.

More marchers, this time in brilliant red. The woman is accompanied by two muscular (although dead) jocks in sleeveless shirts. Whoever sells all this white greasepaint must be making a fortune. Maybe this year I'll see if someone will do me up like this to go with my skull t-shirt.

A handsome pair of spooks. I pondered long on the best photo to conclude this posting. This couple seemed a perfect fit. Their expressions fully captured the good humor of the whole affair. If you possibly can, participate in a Dia de los Muertos. It will be a truly unforgettable experience!

This completes my posting on the 2016 Dia de los Muertos. I hope you'e enjoyed it and, if so, that you will leave any questions or thoughts in the Comments section below, or email me directly.  If you leave a question in the Comments section, PLEASE leave your email address so I can respond.

Hasta luego, Jim

A walk along Chapala's Street of the Dead

Faces out of a nightmare? Not at all! Mexico's Dia de los Muertos (Day of the Dead) is a time of fun, warmth, fond memories, and family bonding. Visitors from the US or Canada are often disturbed, or at least baffled, by this celebration of death held each year on November 1 & 2. The first night commemorates los Angelitos (the little angels), children who died very young and so immediately joined the angels in heaven. The second night is for older children and adults. Because it comes so close to Halloween, a US celebration which is gradually catching on in Mexico, the two occasions are sometimes confused by outsiders. They are very different. North-of-the-border folks tend to be skittish about death and dying and refer to it in euphemisms if they can't avoid talking about it altogether. The Day of the Dead is an expression of how comfortable Mexicans are with death. From the Mexican point of view, death is simply a passage to another state of being where the dead continue as part of one's family life, even visiting the living periodically. The Day of the Dead is a time when such visits are especially encouraged and facilitated. The dead are welcomed back as treasured visitors who have returned from long and distant journeys.

Altar for Felix Guzman Aguayo (Sept. 15, 1941-April 5, 2010). To encourage dead relatives to return, Mexican families create altars at their homes. I found this one along Calle Cinco de Mayo, a street in the small city of Chapala a few miles east of my home in Ajijic. For a map, click here. The people who live along several blocks of this street have a tradition of placing their altars in front of their homes. Over time, a friendly competition has developed and both sides of the street are now lined for blocks with altars, some simple and some outrageously colorful, complex, and even hilariously funny. This display draws visitors from all over the Lake Chapala area and as far away as Guadalajara. I was attracted to Sr. Guzman's altar because of its simple elegance. Family members can often be found nearby, so I asked one young woman if Sr. Guzman was her relative. "Mi tio," (my uncle) she answered shyly. She seemed pleased that a visiting gringo had chosen her display for a photograph.

Those commemorated by an altar don't need to be related, just dead. The white-haired gentleman above is Father Miguel Hidalgo y Costilla, the man who launched the War for Independence from Spain in 1810. Since this year is the Bicentennial of that important event in Mexican history, the family who built this altar decided to dedicate it to Father Hidalgo. Although the initial revolt that he led came to a bad end, as did he, Hidalgo is revered as the hero who emancipated Mexico's indigenous people.

Altar for a villain. Not far from Hidalgo's altar, I was astonished to find one for General Porfirio Diaz. He was the dictator of Mexico from 1876 to 1910, when he was overthrown at the start of the Mexican Revolution. 2010 is also the Centennial of the beginning of the Revolution. Diaz did much to develop and industrialize Mexico, but at huge cost to everyone in Mexico except for the rich elite at the top. He is famous for his remark "Poor Mexico, so far from God, so close to the United States." Unlike the great majority of Revolutionary leaders who followed him over the next 20 years, Diaz died peacefully after living out his days in luxury in France.

A great artist is celebrated. One family assembled an altar for Diego Rivera, Mexico's greatest muralist. Rivera became world famous for his huge murals depicting the history and culture of Mexico. His mural in the Rockefeller Center in New York was demolished after Nelson Rockefeller discovered that Rivera, a dedicated Communist, had painted a portrait of Vladimir Lenin in the middle of it. Rivera had a sense of humor, but Rockefeller apparently did not.

In memory of Mexico's Charlie Chaplin. This altar display includes the Hollywood star won by Cantinflas whose real name was Fortino Mario Alfonso Moreno Reyes (August 12, 1911-April 20, 1993). He was a brilliant comedic actor who always portrayed the little guy who managed to outfox the rich and powerful. He followed an old principle: "if you can't dazzle them with brilliance, then baffle them with B.S." Charlie Chaplin himself once called Cantinflas "the best comedian in the world."

The central element of a Day of the Dead altar is a photo of the one honored. The photo above is of Freda Kahlo, wife of Diego Rivera and a great artist in her own right. An altar is generally constructed like stepped pyramid, and the photo is usually displayed on the top level.

Votive candles are used throughout the altar displays. The candles represent light, faith, and hope and help guide the spirit of the dead person to the altar. They also help light the scene for the living and are used to highlight various of its aspects and to line the borders.

Family member makes final preparations. The stepped pyramid design and use of candles can clearly be seen here. In addition, there is often a yellow pathway made of marigold blossoms leading up to the altar. The scent of marigolds, called cempasúchil by the indigenous people, both attracts and guides the dead. Where the marigold path meets the altar is a cross with 4 candles representing the 4 cardinal points. The cross itself is laid down with ashes. The dead person is cleansed of his sins by proceeding up the yellow path and standing on the cross. The young man in the photo is lighting an incense burner.

The use of incense for religious and ceremonial purposes is very old in Mexico. The small clay incense burner above smokes with burning copal. The incense clears the area of negative energy and evil spirits and, along with the cempasúchil, assists the dead person in finding the way. One of Hernán Cortés' young officers, Bernal Diaz del Castillo, often wrote of Aztec priests "fumigating" Cortés and his men when they came to visit Aztec cities and temples. The indigenous people used the name pom for the the resinous sap of a tree of the genus Copaifera. It later became known to the Spanish as copal, and is still used in indigenous ceremonies such as sweat lodges. Since incense had long been used by the Catholic Church in its ceremonies, there was a natural connection. The Church often converted aspects of indigenous religions, such as copal burning, to its own purposes. However, the deep pagan origins of the Day of the Dead were initially too much for the Church to stomach, and for a long time the authorities attempted to suppress the fiesta. Finally, they recognized that "if you can't beat 'em, join 'em."

His soul cleansed by incense, the dead person can then clean up the rest of himself. Other typical features of an altar are a bowl or pitcher of water, soap, and a towel. These are included just as you would provide them to a weary, dust-covered traveler who has completed a long journey to your home.

Next, a bit of refreshment. Once cleaned up, the wraith will want a bit of refreshment to restore his spirits (pun intended). The bottle shown above is probably the favorite brand of the departed one.

And now, to dinner! The person for whom this altar was dedicated probably was an aficianado of mojarra, also known as tilapia, probably caught in Lake Chapala. Up until recently, fish in Lake Chapala were contaminated by effluents from upstream factories and farms. Hopefully the diet of the departed did not contribute to his passing. Mojarra are served whole, as shown above. Another typical item on the altar is sliced lime or lemon, seen on the plate.

Pan de muerto (bread of death) is a tasty treat. This sweet bread, covered by granulated sugar, is very popular and is found on nearly every altar. Sometimes the bread will be shaped as a human figure.

Sugar skulls are also ubiquitous on Day of the Dead altars. They are made from sugar paste called alfeñique and come in various sizes, sometimes wearing hats like the one above. The skulls can be ordered from your local baker with a name or message of your choice on the top. Often, a large skull is placed on the top step of the altar pyramid to symbolize the Eternal Father, Giver of Life. When they are grouped in threes on the second level, like you see above, they represent the Holy Trinity. The cloth on which the sugar skulls sit is purple, the color of mourning. You will find purple somewhere in most of my altar photos.

Returning family members like to have familiar things about them. In order to further encourage the departed to return, some of their favorite possessions, or objects that represent activities they enjoyed, are displayed. This part of the displays is very idiosyncratic, which makes it especially fascinating. The person celebrated here had a favorite doll, but also liked to play with a yo-yo, seen between the doll's legs. The doll leans back against a keyboard, indicating that the dead person was a musician.

Proud proprietors of the Graveyard Cantina. Many of the displays included living tableaux. Here, the couple above have created a bar called the Panteon, which means graveyard in Spanish. Under the grinning gaze of a skeleton, they display their wares. It was not a real bar, however, just a tableau for fun. The owner appears to be wearing a devil's horns, as well as a Che Guevara t-shirt.

An apparently satisfied customer at the Cantina Panteon. The young daughter of the couple in the previous photo was also part of the tableau. She sat at a small table with a glass and half empty bottle of Bacardi rum. My guess is that she didn't drink the other half.

A rather sad-looking young catrina. Dressed as one of the famous skeletons of José Guadalupe Posada, this young girl was part of another tableau portraying a whole restaurant full of skeletons, including the waiter. Although her make-up made her look rather sad, she immediately grinned at me when I finished taking the photo. Posada was a 19th Century cartoonist who lampooned the pretensions of the wealthy upper classes by drawing them as skeletons, called catrinas (catrinos for men), dressed up in 19th Century finery including the extravagant hats favored by the women of those days. Fittingly, this catrina's hat is purple. Posada, who profited little from his hugely popular catrinas, died poor and was buried in a common grave. Diego Rivera, among others, named Posada as a major influence on his work.

Brothers share a piece of sugar cane. The older boy holds his younger brother on this lap in the hotel tableau. I often marvel at how Mexican children take care of one another. I'm sure there must be squabbling, but I rarely see it. Much more often, I see older children, even teenagers, carrying the little ones or holding their hands, or playing with them lovingly.

Wanna play a hand? The skeleton in this display appears ready to deal a hand of cards for your soul, or whatever else you might have to offer. As far as I could tell, she has a winning hand, as well as a winning smile.

Free food is also part of the Day of the Dead tradition. A group of friendly teenagers hands out fresh pan de muerto to passersby. There were many options for snacking as we progressed down the street, including fried mojarra, tamales, and tacos. The kids were very polite, charming and sweet.

A wall of the dead. For those who wanted to participate but don't live on Calle Cinco de Mayo, or perhaps didn't have the resources to pay for an altar, there was a bulletin board display at the end of the street. Pictures with brief descriptions were shown on both sides of this board, and there were other boards as well. I remember the picture of one man who had a large family and made his living with a small bicycle-repair shop. Gone, but not forgotten.

An especially poignant reminder. Glancing down, I found this little display on the ground at my feet. What caught my eye was the US currency. The message on the white paper says "In memory of our brothers who died crossing the border while seeking the North American dream. Rest in peace." As I examined the scene more closely, I realized that the skeletons strewn about the sandy ground represented the many who have died of heat or thirst in the scorching desert country shared by Mexico and the Southwestern US. Millions of people have crossed and recrossed the border desperately seeking work from US employers who profit hugely from their low cost labor. As usual, the victim gets blamed, while those who have profited from the desperation continue to do so.

This concludes my posting on the Dia de los Muertos. I hope you have enjoyed it, and perhaps learned a bit about this unique Mexican celebration. If you would like to leave a comment, please so do in the Comments section below, or by sending me an email directly. If you leave a question in the Comments section, PLEASE leave your email address so I can respond.

Hasta luego, Jim