30 oct 2021

Day of the Dead: Mexican Symbolism and Tradition

 

Compilation: Víctor Barrera (victorbarrerap@gmail,com)

November 2021

Versión en español


The Day of the Dead is a celebration deeply rooted in Mexican culture. Its origins date back to pre-Hispanic times. Some authors mention its origin 3000 years ago. It represents one of the most important festivals in the Mexican tradition. Although this celebration has been incorporated into the Catholic tradition, part of the evangelizing syncretism, it strictly lacks a religious connotation. Its celebration depends on the region of Mexico where it occurs and the predominant pre-Hispanic culture. In Yucatán, for example, Hanal Pixán ("Food of the souls") is celebrated.



I. ORIGIN


The cult of the dead is a tradition that dates back to before the arrival of the Spanish people. According to Náhuatl mythology, when people died they undertook a long journey to Mictlán, the region of the dead. Mictlantecuhtli (Lord of the underworld, Lord of the shadows) and Mictecacihuatl (Lady of death), presided over the place. To reach Mictlán, the deceased had to travel a long and arduous journey along the path of the dead. Once that journey was finished, the lords of Mictlán allowed their soul (teoyoli) to stay and take their deserved eternal rest.


The trip to Mictlán was divided into nine regions or levels with a series of tests that the deceased would have to overcome, if someone wanted to be admitted to the region of the dead. These tests depended on the strengths and weaknesses that he had had during his life. A journey that lasted four years.


First level: Chiconahuapan or Iztcuintlán, "Nine rivers" or "Land of dogs"
The deceased had to cross a dangerous and mighty river (Apanoayan). For this adventure  the man was helped by a brownish dog (Xolot-Izcuintli), which was buried together with the recently deceased.


Second level: Tepecli Monamictlán, "The place where the hills meet"
In the second site, the deceased had to cross in the middle of two mountains that collided with each other. To deceive those mountains he used paper figures that had been placed in the offering (papel picado).


Third level: Iztepetl, "Mountain of peredenal" (Pedernal, kind of sharp thin rock)

At the third site, the recently deceased had to cross a hill covered with sharp flints. As he was buried naked, he had to protect himself with the blankets put on the offering.


Fourth level: Itzheyacan, "Place of the obsidian wind"

This place was a cold place (Cehuecayan) with eight hills that were always covered with snow. A desolate place of ice and rugged stone. To cope with it, the deceased covered himself with the clothes that were placed in the offering.


Fifth level: Paniecatayocan, "The place where people fly and turn like flags"
In this place, the deceased had to cross eight desolate lands, where the wind seemed to cut with obsidian blades. The dead  people lost their balance and the winds carried them away.


Sixth level: Timiminaloayan, "The place where people are freaked out"
In this place the dead continued along a path where they had to dodge certain pointed arrows, which were thrown by invisible hands on their corpses.


Seventh level: Teocoyohuehualoyan,

The sixth site, he had to face a jaguar that devoured the hearts of men. The traveler gave the jaguar a jade sphere, to prevent the beast from devouring his heart.


Eighth level: Iztmictlan Apochcalolca, "The black water lagoon"
In this place there was a thick lake of black water (Apanhuiayo) where the great lizard, Xochitonal (Flower of the spirit) lived. The traveler was helped by the dog to outwit the lizard. The dead man had finished disincarnating and his Tonalli (soul) was completely liberated from the body.


Ninth level: Chicunamictlan, "The place of the nine waters"
At this site, the deceased had to cross Chiconahupan (the nine waters) again aided by the Xolot-Izcuintli.


The trip to Mictlan was for common men (Macehualli). For warriors killed in battle, the journey was direct to Tonatiuhichan (the house of the Sun). The women who died during childbirth, cihuateteo (divine women), were taken to the Cincalco (the house of corn). The drowned at Tlalocan (place of Tlaloc).


Imagen. 1a. Travel to Mictlán


Imagen. 1b Travel to Mictlán


Imagen 2.The lords of the underworld



Image 3. Mictlantecuhtli (Lord of the underworld)



Image 4. Mictecacihuatl (Lady of death)



II. THE XOLÓT-IZCUINTLI



The word Xolót-Itzcuintli comes from Nahuatl, Xólot, "monster, unpleasant", and Izcuintli, "dog"; that is to say, the “monster dog”. Despite his ugliness, the ancient Mexicans had great respect for him; especially for those of brownish color. It was said that they accompanied and assisted the deceased on his journey to the Mictlan.

This animal with more than 7000 years of antiquity, was on the verge of extinction due to the extermination ordered by the spanish people; They knew about the cult that pre-Hispanic cultures had for It, in addition to the fact that it was good food for their troops. However, some survived to this day, thanks to their shelter in the mountains of Oaxaca and Guerrero.

It is an animal with a not very pleasant aspect, with its tongue sticking out, without some teeth and without hair. Not attractive when compared to other dogs. Quetzacoátl's twin brother, the name of this dog is implicitly Xólot-Quetzcacóatl. According to Mexica mythology, he was a god capable of descending into hell. He was the God of transformation, of duality, of night darkness, of the unknown, of death. The ideal companion to guide and protect the deceased on a journey to the underworld.

Currently the xolót-izcuintle breed is a highly appreciated dog with costs that can cost up to $ 20,000 mx (about 1000 usd). There are three sizes: small, medium and large.

There is a curious similarity between the Mexica and the Egyptian culture. In Both there was a tradition of the cult of death. For the Egyptians, who carried the deceased to the underworld was a god named Anubis; a character with a human body and a jackal's head. According to Egyptian mythology, the heart of the deceased was placed on a balance that had a feather as a counterweight. If both had the same weight, the deceased could go to heaven; on the contrary, Anubis led the deceased to the underworld.


Image 5. Xolót-Itzcuintli 



Image 6. Anubis, guardian of the tombs, Egyptian culture



III. THE ALTAR OF THE DEAD


Undoubtedly the fact that best reflects the cult of the dead is the Altar of the Dead. Offering that is made in many of the homes of Mexico, in government offices, public squares and museums. It contains a set of objects, images, fruits, food, etc., which represent a form of respect by the Mexican people for their deceased.


This altar consists of several levels or steps that exemplify the worldview of the pre-Hispanic peoples. They are a symbol of the material and immaterial world, related to the four elements of nature.


Altar with 2 levels: It symbolizes the division of heaven and earth, and is represented with the fruits of the earth and the bounties of heaven such as rain.


Altars with 3 levels: Symbolizes heaven, earth and the underworld. Catholicism introduced the idea of ​​earth, purgatory, and the kingdom of heaven; or the elements of the Holy Trinity

Altars of 7 levels: It symbolizes the seven levels that the deceased goes through on his journey to Micttlan and thus obtain eternal rest and peace of the soul from him.

In turn, the Altar as a whole has representations of the four elements. Namely:


-Norte: Air Element. Represents winter, the color blue (incense).

-South: Element Earth. Represents summer, the color green (flowers, vegetables, fruits, etc.).

-East: Water Element. Represents spring, the color yellow (water, tequila, pulque)

-West: Fire Element. Represents autumn, the color red (candles)


This symbolism is also found in the Sacred Ceiba, Ya'ax'che, the tree venerated by the Mayab inhabitants in the Yucatán peninsula of Mexico. It was represented by a green cross, an analogy of the four cardinal points.

Although it looks like a the Catholic cross, it no has relation to it. It is an ancient symbol that dates back to long before the arrival of the Spanish people. It was certainly a trait that greatly helped the Spanish people friars to achieve the evangelization of the Indians

Image 7. Ceiba tree, Ya´ax'che

Image 8. The Cross of sacred Ceiba and the 4 cardinal points, 
from the Mayan culture
(Museum of the Mayan World)


The Cempaxúchitl flower from Nahuatl, Cempohualli, "twenty" and Xóchitl, "flower"; The twenty-petal flower is an essential component of the offering. Its yellow petals are said to mark the path that the deceased had to travel during his visit. It was thought that it kept the warmth of the Sun and that its aroma guided the dead.

Image 9. Cempasúchil flower with skull

The most common components used in the Altar of the Dead are the following:


- Water, reflection of purity

- Candles and tapers, light that allows guiding the deceased

- Copal and incense, to harmonize the environment and drive away bad spirits

- Cempaxúchitl, flower that guides souls to reach the family home

- Arch, made of marigold flower and fruit, is a symbol of the entrance to the underworld

- Catholic cross, element included for evangelization

- Cross of lime, with seeds or flowers, represent the four cardinal points that

   formerly they were associated with the four elements

- Bread, food for the deceased

- Petate (a kind of carpet made of corn leaves), for the resting of the souls

- Photography, to have respect to the person who wishes to honor

- Food, the favorite of the deceased

- Itzcuintli, faithful dog that guides the deceased

- Sugar skull, symbol of death

- Salt, which gives flavor to food and purifies the soul

- Papel picado (specially prepared paper) of various colors that give presence and joy to the altar

Image 10. Characteristics of The Altar of the Dead

IV. DEAD BREAD
 
The bread of the dead characteristic of this celebration, made of flour and sugar, is customarily decorated with a central sphere and side ornaments, which symbolically represents a skull and four quills. It is also a way of evoking the Nahui Ollin, "the four movements", an essential part of the Nahuatl worldview.


Image 11. Dead bread



V. THE DATES OF CELEBRATION



Several of the pre-Hispanic cultures celebrated from months before to the date that today (late October and early November); however, there are special dates of celebration according to the reason.

- October 28: Start date of the tribute to the dead. It is to receive the souls alone. The first candle is lit and a white flower is placed.

- October 29: Dedicated to the forgotten and helpless deceased. Another candle is lit and a glass of water is placed.

- October 30: Dedicated to the deceased who went without food or died in an accident. Another candle is lit, another glass with water and white bread is placed.

- October 31: Dedicated to the dead of the dead (ancestors), grandparents and great-grandparents and great-great-grandparents.

- November 1: Dedicated to those who died as children, young souls, "little angels." All the food is placed on the altar. All Saints Day.

- November 2: Day of the faithful departed. It is said that after 12 noon the souls collect the offerings and the altars are erected. Copal incense is burned and a path is adorned with cepaxúchitl flower, to guide the dead to the altar.

- November 3: The last white candle is lit, copal is burned, the souls of the dead are said goodbye and they are asked to return the following year. The offering is raised.




VI. THE MONARCH BUTTERFLY


There was a belief in the pre-Hispanic tradition, especially in the Purépecha culture, that the souls of the ancestors return to live with their relatives, precisely around this date of celebration for the deceased. This return occurred when said souls return converted in the form of a Monarch butterfly. For that reason, in the last days of October and early November, this type of butterfly reaches the state forests that today we call Michoacán.

Image 12. The Monarch butterfly and the tradition of the Day of the Dead


VII. THE CATRINA


Created by José Guadalupe Posada (1852-1913), engraver, cartoonist and political leader of the early 20th century, this character was an elegant lady who dressed in the fashion of the time, and that Posada used to ridicule the Porfirian high bourgeoisie. She called him the garbancera skull (ordinary, vulgar). Together with her, he created a large number of cartoons (revolutionaries, generals, townspeople, children, etc.). In 1947 Diego Rivera (1886-1957) painted a 4.70 x 15.60 m mural, entitled Dream of a Sunday afternoon in the central avenue. In this mural, that figure that Rivera called him appeared for the first time: La catrina (very elegant lady).


It is said that this character is the representation of Mictecacihuatl (Lady of Death), of the Mexica tradition. Since then this elegant lady has been found in a variety of magazines, events, and traditions. She represents one of the most important cultural icons that is never missing on the Day of the Dead holiday.


Image 13.  La catrina and Guadalupe Posada´s cartoons


Image 14. Diego Rivera´s mural, Dream of a Sunday afternoon in the central avenue


VIII. THE SKULLS (Las calaveritas)


The skulls, part of the tradition of the Day of the Dead, is a literary custom that began at the end of the viceroyalty in Guadalupe, Zacatecas, with Fray Joaquín Bolaños, author of the oldest known composition and reflected in the book La portentosa life from death. They were formerly known as pantheons. They were born at the end of the 19th century as a way to write epitaphs and to secretly express ideas that could not always be said directly. They were published for the first time in 1849 by in the newspaper El Socialista de Guadalajara. It is a literary composition that at the time was a form of mockery of political power, which the people used as a criticism and rejection of the government of the time.


To our loved ones

We put an altar for them,

Well their souls and heartbeats

We are sorry to return!

So we celebrate them

With big pieces of bread,

Placed on altars

With flowers, candles, mezcal!



Note. The rhyme of the verses makes sense in Spanish



IX. HALLOWEEN VS. DAY OF THE DEAD


Unlike Halloween, The Day of the Dead is a celebration of joy, of joy, of honor, of respect for the deceased. Its name comes from the English All Hallows 'Eve, which means “All Saints' Eve”. It is known as Halloween and comes from an ancient Celtic tradition called Samhaim, of pagan origin celebrated on October 31 and November 1. By means of this the end of the harvest was commemorated and it was considered as a “Celtic New Year”. It was a holiday that tried to drive away the demons so that they would not hinder the harvests.


In that sense, the tradition of the Day of the Dead is far from resembling Halloween. The first one older than the second. It was already celebrated in pre-Columbian cultures. Contrary to Celtic tradition, the celebration of the faithful departed is a reunion of the family with their ancestors. They are invited to return. To live with his relatives. All in an atmosphere of joy, rejoicing and festive atmosphere. Symbols are skeletons only. They do not pose any harm to their family members. Contrary to Halloween, use witches, monsters, vampires and all kinds of characters with sinister behavior.



IN CONCLUSION


Mexican celebrations have strong ties to their pre-Hispanic past. The Day of the Dead and all the ceremonies around it are no exception. The history of Mexico is a product of the syncretism of indigenous culture and Spanish culture. However, the cosmogonic vision of the ancient Mexicans surpasses any traditional conception. Turn Mexico into an expression of magic, tradition, worship and rhythm.


Despite the years, the customs and memories of a people committed to its past, refuse to die. Sooner or later traditions emerge in the hectic postmodern world. It is carried in the blood, in its flavors, in the dress and in its complete idiosyncrasy.


The celebration of the Day of the Dead people is a ritual of enormous respect and affection that the Mexican people pay to their deceased. No one knows the value of the past better than a Mexican; sometimes in the form of an anchor, sometimes in the form of a catapult. Mexico's relationship with death is different. The mexican people make fun about dead, They eat It in the form of sweets, They do not  seem to be afraid of dead; nevertheless they offers their respect and worships to the dead. Thus in a paradoxical way, death and life intersect in a constant dialectical spiral, full of magic and splendor.



"Time ceases to be succession and returns to what it was, and is, originally, 
a present where the past and the future are finally reconciled."

Octavio Paz (1914-1998). The Labyrinth of lonelinesse.




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Johansson, Patrick (2003) “Días de muertos en el mundo prehispánico”. Estudios de cultura náhuatl. Instituto de Investigaciones Históricas. UNAM. Volumen 34.  Págs. 167-203.

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s/a (2017) Cómo surgieron las calaveritas. El Universal. México. Consultado 30 de octubre, 2019. (https://www.eluniversal.com.mx/cultura/patrimonio/como-surgieron-las-calaveritas-literarias).

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 MELODIES ABOUT THE DAY OF DEATH