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Calaca

A calaca (pronounced [kaˈlaka]) is a colloquial term in Mexican Spanish for a skeleton or skull figure, typically human, used as a festive representation of death in cultural and artistic contexts.^[1] These figures are most prominently featured during Día de los Muertos (Day of the Dead), a Mexican holiday blending indigenous Mesoamerican and Catholic traditions to honor deceased loved ones.^[2] Calacas embody the Mexican perspective on mortality as an inevitable yet celebratory part of life, often depicted in playful poses mimicking everyday activities such as playing instruments, working, or dancing, to demystify death and emphasize remembrance.^[2] Originating from pre-colonial indigenous beliefs where skulls symbolized fertility and rebirth—evident in Aztec and other Mesoamerican artifacts—calacas evolved during the Spanish conquest (16th century) through the integration of European skeletal motifs from Catholic iconography.^[2] By the 19th century, they became central to popular art, with engraver José Guadalupe Posada (1852–1913) popularizing satirical calaca imagery in his calaveras literarias (literary skulls), including the iconic La Calavera Catrina, an elegantly dressed female skeleton critiquing social inequalities during the Porfiriato era (1876–1911).^[2] In Día de los Muertos observances, calacas appear on home altars (ofrendas) and public displays, crafted from materials like sugar paste for edible skulls, papier-mâché for larger sculptures, or resin for durable decorations.^[3] Sugar calacas, in particular, are molded with the name of the deceased written on the forehead, sized according to the person's age at death—smaller for children and larger for adults—and offered as treats to invite spirits back for the holiday.^[3] This practice, which emerged post-conquest (16th–18th centuries) using affordable sugar, underscores themes of continuity between the living and the dead.^[3] Beyond the holiday, calacas have permeated Mexican identity and global pop culture, influencing art, fashion, and media; for instance, artisan Pedro Linares created life-sized calaca figures for events like the 1968 Mexico City Olympics.^[2] Today, they symbolize national resilience and humor in the face of adversity, appearing in contemporary works that incorporate modern elements like pop culture references while preserving their roots in over 3,000 years of syncretic traditions.^[1]

Etymology and Origins

Etymology

The term calaca derives from the Spanish word calavera ("skull"), functioning as a colloquial apocope with morphological reduplication, a common feature in Mexican Spanish slang to convey informality or affection.^[4]^[5] This diminutive form emerged in 19th-century Mexico, where it began to denote a skeleton or the personification of death in folklore and popular expressions, contrasting with more formal terms like esqueleto ("skeleton").^[4]^[6] In Mexican Spanish, calaca is pronounced [kaˈlaka], reflecting its phonetic adaptation from calavera, and carries an informal, often affectionate or humorous tone that softens the macabre connotation of death.^[4]^[7] Historical first attestations of calaca in Mexican literature and folklore date to the late 1800s, coinciding with the rise of calaveritas literarias, short satirical poems depicting death.^[8] In other Latin American dialects, such as Guatemalan Spanish, calaca similarly refers to death but evokes fear rather than the playful acceptance seen in Mexican usage.^[9] The term's affectionate nuance in Mexico sometimes extends to endearments, underscoring its role in cultural celebrations like the Day of the Dead.^[10]

Mesoamerican Roots

The concept of the calaca, or skeletal figure, finds its deepest pre-Hispanic foundations in Mesoamerican iconography, particularly among the Maya and Aztecs, where skeletons symbolized ancestors and the cyclical nature of life, death, and rebirth. In Maya cosmology, death gods such as God A (Hun-Came) and God A' (Vucub-Came) were frequently depicted with fleshless skulls, crossed bones, and "death spots" on their bodies, representing the transition to Xibalba, the underworld, as part of an eternal renewal process tied to agricultural and cosmic cycles.^[11] Similarly, Aztec art portrayed skeletal elements in association with deities like Mictlantecuhtli, the lord of the dead, emphasizing death not as an end but as a regenerative force essential to maintaining the universe's balance through sacrifice and renewal.^[12] Specific examples abound in Maya glyphs and carvings, where skeletal figures appear in scenes evoking the afterlife, such as on vases and stelae showing deities or ancestors with exposed bones amid motifs of transformation, underscoring a worldview where death facilitated rebirth.^[13] In Aztec rituals, skeletal motifs, including skull racks known as tzompantli, were central to ceremonies honoring the dead and ensuring fertility, with human crania and bones incorporated into temple offerings to invoke ancestral spirits and perpetuate the life-death cycle.^[12] These representations highlighted skeletons as embodiments of enduring vitality rather than mere decay. Indigenous Mesoamerican beliefs reinforced a permeable boundary between the worlds of the living and the dead, allowing ancestors to influence the earthly realm through rituals and natural portals like cenotes and caves, a perspective that predated European contact by centuries.^[11] This interconnectedness is evident in practices where the deceased were invoked for guidance, blurring the line between mortality and immortality. Archaeological evidence from sites like Teotihuacan further illustrates early skeletal art forms, with modified human bones—such as carved femurs and ritual crania—integrated into pyramid dedications and offerings, suggesting a foundational role in ancestor veneration and sacrificial rites that echoed across later Mesoamerican cultures.^[14]^[15]

Historical Development

Pre-Columbian Influences

In pre-Columbian Mesoamerica, the conceptual foundations of skeletal figures, later embodied in the calaca, emerged from indigenous rituals that viewed death not as finality but as a vital phase in cosmic renewal. Among the Aztecs, the festival of Miccailhuitontli, held in the seventh month of the ritual calendar, specifically honored deceased children through offerings and communal remembrance, emphasizing life's cyclical return and the soul's rejuvenation within the natural order.^[16] These rituals underscored the Aztec belief in death's regenerative power, where skeletal imagery symbolized the transition of youthful spirits back into the cycle of existence, fostering community bonds with the departed.^[16] Skeletal representations in pre-Conquest codices further illustrated death as a transitional state integral to the universe's balance. In the Codex Borgia, a prominent Postclassic manuscript, figures such as the god Mictlantecuhtli appear as skeletal lords of the underworld, often accompanied by mummy bundles and sacrificial motifs that depict blood offerings transforming into sustenance like corn, emphasizing death's role in perpetuating life through ritual exchange.^[17] Similarly, other codices like the Codex Laud and Codex Borbonicus feature skull-like and partially skeletal supernatural beings engaged in cosmic processes, reinforcing the idea that skeletal forms bridged the realms of the living and the dead, ensuring continuity rather than cessation.^[13] These skeletal motifs were deeply intertwined with Mesoamerican agricultural cycles, where death imagery evoked the harvested souls of ancestors nourishing the earth. Rituals involving tzoalli—dough effigies made from amaranth seeds and other crops—depicted skeletal or humanoid forms that were ritually consumed, symbolizing the return of deceased souls to fertilize the soil and guarantee bountiful yields, as seen in festivals like Tepehuitl.^[13] This integration mirrored broader cosmological views, such as those in Aztec and Zapotec practices, where human sacrifice and skeletal iconography mimicked the "harvest of souls," channeling vital energy from the dead to sustain maize growth and communal prosperity.^[18] Agricultural metaphors thus positioned skeletons as agents of rebirth, aligning death with the planting, decay, and regeneration of the land.^[19] Variations in skeletal deity representations appeared across Mesoamerican cultures, adapting to local cosmologies while sharing themes of underworld dominion. In Maya art, God A—often rendered as a fleshless skull with "death spots," sleigh-bell ornaments, and a skeletal torso—served as the primary death deity, embodying the frightful essence of Xibalba and functioning as the hieroglyph for the day Kimi (Death), with depictions emphasizing his role in guiding souls through transformative trials.^[11] Among earlier groups like the Olmec, skeletal elements were less explicit but evident in hybrid motifs, such as life-death figures with protruding hearts and solar associations, hinting at nascent concepts of mortality intertwined with fertility and shamanic transformation that influenced later traditions.^[20] Other cultures, including the Huastec, extended this with fully skeletal ancestors in ritual contexts, carried in processions to invoke ancestral renewal.^[21]

Colonial and Modern Evolution

During the Spanish colonization of Mexico beginning in the 16th century, indigenous skeleton motifs rooted in Mesoamerican views of death as a natural cycle were syncretized with Catholic traditions, particularly the observances of All Saints' Day on November 1 and All Souls' Day on November 2. This blending occurred as Spanish missionaries sought to convert indigenous populations by overlaying Christian holidays onto existing rituals honoring the dead, resulting in the hybrid celebration now known as Día de los Muertos. Early forms of calaca imagery, including sugar skulls—molded from sugar introduced by Italian missionaries in the 17th century and refined into edible representations of departed souls by the 18th century—emerged as part of this fusion, adorning altars and graves to symbolize the sweetness of life amid mortality.^[22]^[23] In the late 19th and early 20th centuries, Mexican illustrator José Guadalupe Posada revived and popularized calaca aesthetics through his creation of calaveras literarias, satirical poems accompanied by zinc etchings of lively skeletons engaged in everyday activities. Working primarily between 1880 and 1913, Posada produced hundreds of these broadsheets, which critiqued social inequalities and the Porfirio Díaz regime while infusing death with humor and festivity, transforming skeletal figures from somber symbols into vibrant, egalitarian icons. His works, such as the 1912 etching La Calavera Catrina—depicting a fashionable female skull satirizing Europeanized indigenous elites—helped establish the playful skeleton motif that endures in Mexican visual culture. This revival peaked around 1910–1913, just before Posada's death, laying the groundwork for broader cultural adoption.^[24]^[25] Following the Mexican Revolution (1910–1920), calacas were embraced in the 1920s as a national symbol of indigenous heritage during the Indigenismo movement, which sought to forge a unified Mexican identity by reclaiming pre-colonial roots over colonial legacies. Artists like Diego Rivera amplified Posada's influence, incorporating calaveras into murals and publications; Rivera renamed and elevated La Calavera Catrina in his 1930 book with Frances Toor and featured her prominently in his 1947 mural Dream of a Sunday Afternoon in the Alameda Central Park, portraying her as an emblem of Mexico's mestizo resilience. This period marked calacas' shift from satirical prints to emblems of cultural pride, integrated into public education and art to celebrate death as a communal, life-affirming force tied to indigenous ancestry.^[22]^[25] By the mid-20th century, calacas underwent commercialization, with mass-produced sugar skulls and skeletal figurines becoming staples for export and domestic markets starting in the 1950s, driven by growing international interest in Día de los Muertos. Artisans shifted from handmade alfeñique (sugar paste) creations to factory-scale production of candy versions sold at fairs like Mexico City's Feria de Alfinique, where thousands of items were distributed annually to sustain the tradition amid urbanization. This evolution democratized access but also commodified the imagery, appearing in global products while preserving its role in ofrendas as a bridge between personal remembrance and cultural export.^[23]

Cultural Significance

Role in Day of the Dead

In Día de los Muertos celebrations, observed annually on November 1 and 2, calaca figures play a pivotal role on ofrendas, the multi-tiered altars erected in homes, schools, and public spaces to honor the deceased. These skeletal representations are positioned alongside vibrant marigold flowers (cempasúchitl), photographs of loved ones, candles, and favorite foods or beverages, serving to guide returning spirits and symbolize the joyful reunion between the living and the dead.^[2]^[26] Calacas also feature prominently in communal events and parades during the festival, where participants don skeleton face paint, costumes, and masks to mimic the figures, engaging in dances and processions that blend humor with reverence for mortality. In cities like Mexico City, oversized papier-mâché calaca puppets are a staple of these comparsas, animated by performers to evoke the lively essence of the departed.^[2]^[26] Regional variations highlight the diversity of calaca usage across Mexico; in Michoacán, particularly the town of Capula, artisans craft elaborate pottery calacas—often intricately painted skeletal figures in everyday poses—that adorn ofrendas and festival displays, reflecting a deep-rooted ceramic tradition tied to the holiday. In contrast, urban areas like Mexico City favor simpler, mass-produced forms in paper-mâché or plastic for broader accessibility in parades and decorations.^[27]^[2] Through playful depictions, calacas fulfill an educational function, especially for children, by introducing concepts of mortality in a non-frightening manner via toys, stories, and school altars that portray skeletons in humorous or historical scenarios, fostering an understanding of death as a natural part of life's cycle.^[2]^[28]

Symbolism and Linguistic Usage

In Mexican culture, calacas embody a profound symbolism of joy and equality in the face of death, often portrayed as skeletons dancing, partying, or engaging in daily activities to demystify mortality and satirize social hierarchies. This representation underscores the belief that death is a natural continuation of life rather than a fearsome end, with figures like José Guadalupe Posada's satirical engravings mocking pretentious elites and regional strongmen to highlight how mortality levels all distinctions of wealth and status.^[2] Such depictions, as seen in Diego Rivera's murals featuring La Catrina alongside diverse social classes, reinforce the idea that death unites humanity regardless of earthly privileges.^[2] Linguistically, calacas feature prominently in Mexican Spanish idioms and euphemisms related to mortality. A widespread expression is "se lo llevó la Calaca," literally meaning "the skeleton took them," used as a gentle way to announce someone's death and reflecting the cultural tendency to personify death with familiarity rather than terror.^[29] This phrase appears in everyday speech and literary traditions, drawing from the visual symbolism of calacas to soften the finality of loss. Regional variations highlight contrasting attitudes toward calacas beyond Mexico. In Guatemala and Honduras, the term often directly connotes death itself.^[30] This difference underscores a psychological role in Mexican usage, where calacas foster cultural resilience by transforming death into a humorous, communal companion that encourages living fully in the present.^[2]

Depictions and Representations

Traditional Forms and Materials

Traditional calacas, the skeletal figures central to Mexican folk art during Day of the Dead, are crafted from a variety of accessible materials that reflect regional resources and cultural practices. Edible calaveritas de azúcar, or sugar skulls, are formed from a paste of granulated sugar, meringue powder, and water, molded into skull shapes using traditional metal or plastic forms and then detailed with vibrant royal icing designs such as names, flowers, or facial features.^[31] For non-edible figurines, artisans employ clay (barro) or wood, particularly in Oaxaca where barro is sourced locally and fired in wood kilns to create durable skeletal statues, while wood is hand-carved from copal trees into articulated figures.^[32] Larger installations often utilize paper-mâché, made by layering newspaper over wire armatures coated with wheat-paste adhesive, allowing for elaborate, lightweight structures that can be painted and adorned.^[2] Production methods emphasize handmade techniques passed down through generations in family workshops, a tradition rooted in pre-colonial and colonial eras but refined since the 18th century in regions like Oaxaca and Mexico City. In Oaxaca, clay calacas are hand-molded and polished using barro techniques inherited from indigenous Zapotec and Mixtec communities, while wood carvings involve chiseling and jointing bones for mobility, often in communal family ateliers that produce both functional and decorative pieces.^[33] Paper-mâché calacas, prominent in central Mexico, are assembled by layering and drying the material before painting, with workshops like those of the Linares family employing cord-joining for posable limbs since the early 20th century, building on older folk practices.^[2] These methods prioritize sustainability, using natural dyes and local materials to ensure pieces remain lightweight yet resilient for display. Common motifs in traditional calacas humanize death by portraying skeletons engaged in everyday activities, such as cooking, working, or playing music, which underscore the continuity between life and the afterlife. These figures are often dressed in regional attire and accessorized with tools or instruments, rendered in vibrant colors like red, purple, and yellow to evoke festivity and irony rather than fear.^[32] Such designs appear on ofrendas as offerings to guide spirits home. Economically, calacas sustain indigenous communities through October artisan markets, or tianguis, where family workshops sell thousands of pieces, providing seasonal income that supports rural livelihoods in states like Oaxaca and Michoacán.^[34]

Iconic Variants

One of the most prominent iconic variants of the calaca is La Calavera Catrina, an elegant female skeleton etching created by Mexican printmaker José Guadalupe Posada in 1913. Originally titled La Calavera Garbancera, the image satirized indigenous women in Mexico who adopted European fashions to elevate their social status during the Porfiriato era, highlighting class and cultural pretensions among the elite.^[35]^[36] Over time, La Calavera Catrina evolved into a central emblem of Mexican iconography, representing a poised and unyielding femininity that defies mortality, and has been embraced as an enduring feminine muse in contemporary interpretations.^[37] Another significant variant is the calaveras literarias, satirical poetic verses that personify death as a calaca to mock societal figures and norms, a tradition popularized by Posada and continued by later artists. These rhyming compositions, often accompanying visual calaveras in broadsheets, originated in the 18th or 19th century as humorous critiques of politicians, celebrities, and everyday hypocrisies, infusing levity into reflections on mortality during Day of the Dead celebrations.^[38]^[8] Posada's works, such as those pairing skeletons with verses, transformed this form into a staple of Mexican literary satire, emphasizing death's impartiality across social strata.^[39] Regional variants of calacas reflect Mexico's diverse cultural landscapes, adapting the skeletal motif to local traditions. In Pátzcuaro, Michoacán, catrines—vibrant, dancing skeleton figures inspired by La Catrina—feature prominently in nocturnal processions and cemetery vigils, where participants embody lively calacas to honor the dead amid marigold-strewn graves.^[40] In contrast, Yucatán's Hanal Pixán, the Mayan Day of the Dead, emphasizes altars with food offerings for souls over skeletal motifs, differing from central Mexican practices. In the 2000s, calaca depictions expanded to embrace gender and cultural diversity, incorporating inclusive representations of LGBTQ+ and indigenous identities in Mexican iconography. Modern parades and altars feature queer calacas, such as drag-inspired catrinas and non-binary skeletal forms, as seen in Mexico City's annual Catrinas march, where LGBTQ+ collectives like Exóticas use the motif to commemorate marginalized lives lost to violence and assert visibility—as of October 2025.^[41] Similarly, contemporary indigenous calacas revive pre-Columbian elements, portraying native figures in traditional attire as eternal guardians, reinforcing Day of the Dead's roots in Mesoamerican reverence for ancestors amid ongoing cultural revitalization efforts.^[42]

Modern and Popular Culture

Influence in Art and Media

Calacas have exerted a significant influence on 20th- and 21st-century visual arts, serving as symbols of Mexican attitudes toward death and identity. A seminal example is Diego Rivera's incorporation of La Catrina in his mural Sueño de una tarde dominical en la Alameda Central (1947–1948), where the elegant skeleton stands at the center of a panoramic depiction of Mexican history from pre-Columbian times to the modern era, holding the hand of a young Rivera himself and emphasizing themes of mortality and cultural continuity.^[43] This work revived and popularized José Guadalupe Posada's original calavera image, transforming it into an enduring icon of national heritage. In contemporary street art, Mexican and international artists blend calacas with graffiti and urban motifs to reinterpret Day of the Dead symbolism, often infusing skeletons with pop culture elements like vibrant colors and modern poses to highlight life's transience amid cityscapes.^[44] For instance, urban exhibitions such as Federico Massa's "Calaca" solo show (2015) draw directly from Mexican skeletal figures, merging them with graffiti aesthetics to celebrate joyous depictions of death.^[45] In literature, calacas feature prominently as motifs for exploring Mexico's complex relationship with death. Octavio Paz's The Labyrinth of Solitude (1950) analyzes these symbols within the broader cultural psyche, portraying how Mexicans "chase after death, mock it, court it, hug it, sleep with it," using calaveras to confront solitude and fiesta in a uniquely celebratory yet introspective manner.^[46] This philosophical lens extends to modern novels like Carlos Fuentes' The Death of Artemio Cruz (1962), where fragmented narratives of a dying revolutionary echo calaca imagery through reflections on mortality, betrayal, and the inescapable presence of death in Mexican society. Calacas also appear in Mexican folk theater and music, enriching traditional performances with satirical and rhythmic tributes to the dead. More directly tied to Day of the Dead, mariachi bands perform songs like "La Catrina" by Mariachi Los Tequileños (2017), which animates the iconic skeleton through upbeat verses that honor her elegance and the holiday's joyful defiance of mortality.^[47] The global reach of calacas has expanded through international exhibitions following UNESCO's 2008 inscription of Indigenous Festivity Dedicated to the Dead as Intangible Cultural Heritage of Humanity, recognizing its fusion of pre-Hispanic and Catholic elements.^[48] Museums worldwide have since showcased calaca-inspired art, such as the Figge Art Museum's "Day of the Dead" exhibition (2009–ongoing rotations), which highlights skeletal figures in contemporary contexts to educate on Mexican traditions, and the University of British Columbia's Museum of Anthropology altar installations (annual since 2008), featuring calacas alongside ofrendas to promote cross-cultural understanding.^[49]^[50] These displays underscore calacas' evolution from local symbols to universal emblems of remembrance and resilience.

Contemporary Adaptations

In recent years, calaca imagery has gained prominence in animated films, introducing its vibrant, skeletal aesthetics to global audiences beyond Mexican traditions. The 2014 film The Book of Life, directed by Jorge R. Gutiérrez, centers on the Land of the Remembered, where calaca characters like the wise guide Skeleton serve as narrators and protagonists in a story inspired by Day of the Dead folklore, blending humor and adventure to depict death as a celebratory realm.^[51] Similarly, Pixar's 2017 release Coco portrays the Land of the Dead with skeletal figures, including calacas adorned in colorful attire, emphasizing family bonds and musical heritage during Día de los Muertos, which contributed to its widespread cultural impact and Academy Award for Best Animated Feature.^[52] These productions have exported calaca motifs internationally, influencing perceptions of Mexican mortality symbolism in mainstream entertainment. Video games have incorporated calaca elements into interactive mechanics, allowing players to engage with skeletal figures in platforming and combat scenarios. In Guacamelee! (2013), developed by DrinkBox Studios, the antagonist Carlos Calaca—a skeletal villain drawn from Mexican folklore—drives the plot, with players using luchador-inspired abilities to battle calaca minions across parallel worlds, integrating dimension-switching and melee combat that highlights the game's Day of the Dead themes.^[53] This metroidvania-style gameplay popularized calaca as dynamic foes and narrative devices, fostering appreciation for cultural motifs through action-oriented exploration. On social media platforms, calaca-inspired makeup has sparked viral trends, particularly during Halloween and Día de los Muertos celebrations in the 2020s. TikTok users have shared tutorials for intricate calavera face paint, featuring bold floral patterns and skeletal designs, amassing millions of views and encouraging participatory challenges that blend traditional artistry with modern self-expression.^[54] In fashion, luxury brands have adopted skeleton prints reminiscent of calacas, as seen in Gucci's Cruise 2019 collection, which included ribcage-embellished garments and death motifs staged in a historic cemetery, evoking memento mori themes with embroidered bony structures on dresses and accessories.^[55] The globalization of calaca aesthetics has sparked debates on commercialization and cultural appropriation, especially in Halloween merchandise that repurposes skeletal designs without contextual reverence. Critics argue that mass-produced calaca costumes and decorations in U.S. stores often strip away the spiritual significance of Día de los Muertos, turning sacred symbols into generic party attire and perpetuating stereotypes.^[56] These concerns intensified amid record Halloween sales, with U.S. consumers spending $12.2 billion on related items in 2023, including costumes and decorations that frequently feature appropriated calaca elements.^[57] These concerns have persisted, with U.S. Halloween spending reaching $11.6 billion in 2024 before rebounding to a projected $13.1 billion in 2025 (as of October 2025), much of which includes calaca-inspired merchandise.^[58]

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Satirical Calaveras and the Day of the Dead - Newberry Library
Posada's most famous character was La Catrina, the mother of all calaveras. Originally named La Calavera Garbancera—a term used in Posada's day for native ...
[37]
The Latin American Library celebrates the Day of the Dead
Mexican caricaturist José Guadalupe Posada created La Catrina, or La Calavera Garbancera, in an engraving in 1913. The engraving portrays a skull with an ...<|separator|>
[38]
La Calavera Catrina: Mexico's Eternal Feminine Muse
May 12, 2017 · La Calavera Catrina draws inspiration from Mictecacihuatl, the goddess of death and guardian of human remains in the underworld. Centuries ago, ...Missing: diminutive 19th<|control11|><|separator|>
[39]
These wicked Day of the Dead poems don't spare anyone | PBS News
Nov 2, 2018 · A long-held tradition is to instruct school children to use witty rhyme and repetition to write calaveras literarias that infuse levity in the ...
[40]
Calaveritas Literarias: Honoring Queer Latinx Artists | ReVista
Nov 23, 2023 · These calaveritas are playful and satirical poems that feature death and the famous Catrina, a character created by José Guadalupe Posada.
[41]
Mexico's Elegant Catrinas on Parade - Mexperience
Nov 2, 2025 · Catrinas, the artsy skeleton figurines made in ceramic, clay, and other materials have become an extraordinary hallmark of Mexican popular culture.
[42]
Hanal Pixán: A Mayan Tradition - Chichen Itza
Nov 1, 2023 · Hanal Pixán, meaning 'Food of souls,' is a Mayan tradition in the Yucatán Peninsula to invoke the dead for 3 days, with three altars dedicated ...
[43]
Day Of The Dead Celebrates Indigenous Identity In Mexico - Forbes
Nov 2, 2021 · On November 2 nd , people in Mexico and around the world celebrate Day of the Dead, a holiday with indigenous origins that has been given new exposure in ...
[44]
Diego Rivera, Dream of a Sunday Afternoon in Alameda Central Park
Here, the renowned printmaker depicted La Catrina as a skeleton in order to critique the Mexican elite. In Dream of a Sunday Afternoon in Alameda Central Park, ...
[45]
Colorful Calaveras for the Day of the Dead - Google Arts & Culture
Mexican artists reinterpret calaveras as part of the Day of the Dead celebrations and in their own work. Modern calaveras sometimes incorporate pop culture ...
[46]
Federico Massa Solo Show "Calaca" at 317 Gallery - ST.ART Agency
Nov 4, 2015 · 317 Gallery announced the solo show 'Calaca' by contemporary urban artist Federico Massa aka Iena Cruz. It will run from October 10th to ...
[47]
Poetic notions of death in Mexico no longer fit the grim reality of ...
Mar 24, 2017 · In The Labyrinth of Solitude, the poet and Nobel laureate Octavio Paz writes: “the Mexican chases after death, mocks it, courts it, hugs it, and ...Missing: motifs calaca
[48]
La Pastorela (The Shepherd's Play) - Mexican Dance Masks
Jul 10, 2017 · In Michoacán and Guanajuato one finds a rich variety of animal devil masks for use in the Pastorela dance, while the Hermit masks are ...
[49]
La Catrina - song and lyrics by Mariachi Los Tequilenos - Spotify
Listen to La Catrina on Spotify. Song · Mariachi Los Tequilenos · 2017. ... La Catrina. Mariachi Los Tequilenos. 2:35 · Herencia Mexicana. Mariachi Los ...
[50]
Indigenous festivity dedicated to the dead - UNESCO Intangible ...
The Day of the Dead celebration holds great significance in the life of Mexico's indigenous communities. The fusion of pre-Hispanic religious rites and Catholic ...
[51]
Day of the Dead - Figge Art Museum
Past Exhibitions. John Bloom Visions Of Iowa. John Bloom: Visions of Iowa. February 20, 2009 - September 26 ...Missing: international | Show results with:international
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Día de los Muertos Altar Installation - Museum of Anthropology at UBC
... UNESCO as a part of the intangible cultural heritage of humanity in 2008. The Day of the Dead altar at MOA is open for self-guided visits from November 1–3.
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https://www.ign.com/wikis/guacamelee/Carlos_Calaca
[54]
Pixar's 'Coco' Celebrates Mexico's Day Of The Dead Culture - Forbes
Nov 27, 2017 · A young man with his face painted as a “calavera” skull near the San Andres Mixquic cemetery on the outskirts of Mexico City.
[55]
Carlos Calaca - Guacamelee Guide - IGN
The once mortal Carlos Calaca was a great luchador in the past. Fast forward to the present and the deceased Calaca has come back to unite ...
[56]
Día de los Muertos, Day of the Dead Makeup Ideas | PS Beauty
Sep 24, 2020 · If you need Día de los Muertos makeup inspiration, these gorgeous ideas will help you come up with the perfect catrina look.
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9 References to Death in Gucci's Cruise 2019 Show - The Cut
May 31, 2018 · A runway recap of Gucci's 2019 cruise show in Arles, inspired by death and rock and roll. The show contained references to the Chateau ...Missing: prints line calaca
[58]
Sugar Skulls and Hipsters: Student Research Looks at Cultural ...
Oct 25, 2016 · Calaveras, or sugar skulls, represent departed souls. They originated from the Mexican holiday of Dia de los Muertos, also known as Day of the ...
[59]
https://www.statista.com/chart/33367/expected-total-us-consumer-spending-on-halloween-items-per-year/