Day of the Dead celebrations in Mexico are made up of rich and varied traditions across the country. Here we offer an overview of some of those traditions. For further information see our section on regional variations or for an in-depth study of each region see Mary J. Andrade's series of books, Through the Eyes of the Soul, Day of the Dead in Mexico.
 

Introduction
Timeline
Altars and Offerings
Vigils
Skulls and Skeletons
Music, Dance and Song

 

Introduction to Day of the Dead in Mexico, Through the Eyes of the Soul - Michoacan
by Eduardo Merlo Juarez
(Mexican Archeologist)

"One of the first social characteristics of primitive men was without a doubt, the rituals dedicated to their ancestors. Single and collective burials found in caves and rock layers, gave evidence of the concern that went beyond the limits of this life. The offerings, simple as they seemed were clues to a belief in transcendentalism.

The ancient Mexican rituals in memory of the dead differed in that they mixed religious beliefs with fable. When the Spaniards conquered the country, indigenous customs were rooted so deeply that after five centuries of colonization they continued to survive and remain as current as in their first days.

Indigenous people believed that souls did not die, that they continued living in Mictlan, a special place for them to finally rest. The benevolent gods created this ideal world named Mictlan (Place of Death); a site that was dark but not necessarily gloomy. Spirits here could rest placidly and wait, not for a judgment, verdict or resurrection, but for something simpler and more attractive. It is the ideal place to rest until the day they could return to their old earthly homes to visit their living relatives. It was believed that although these relatives could not see them, they could surely feel them.

The souls leave Mictlan and disperse themselves throughout sierras, plains and deserts. The soul’s instinct guides them to their old homes. During this journey they would not encounter the same terrible obstacles they had to overcome to reach Mictlan, on the contrary, as if they were on vacation, their journey back home is a pleasant one. Living relatives help them by spreading aromatic flowers which emit a scent that travels through the air guiding the souls of the deceased toward the place where a banquet awaits them.

The table is set. All the necessary goods have been brought from the market with much anticipation. The Mexican tianguis (craft fair-market) are places full of colorful merchandise especially for this tradition. Yellow, white, red and purple flowers are bought, not by the bunch but by the pack of bunches since many are needed for each banquet. A variety of wax candles are also set. There should be no darkness in an event of such transcendence. Special burners hold the copal, a locally produced incense that dispenses a pleasant, multigradual scent. Angels or saints in sculptured polychromatic clay candle holders are also part of the scene.

Pieces of bread are available in capricious designs with funny names. Many of them have a drawing of the shape of the deceased so the "visitors" find it familiar and don’t reject it. Loving patience is put into a complex stew recipe that includes aromatic fruits. The table has to be set like never before: vivaciously decorated with a fine tablecloth, flowers, pine leaves and other items. Scents, color, tastes and love will await for the enjoyment of the deceased as well as for the living.

The two pre-Hispanic celebrations honoring the dead, have turned into one, merging with the Christian celebration of All Souls’ Day. The union of these two beliefs didn’t take away the pleasure of the old tradition, neither did they introduce new religious elements. This celebration of the dead is as big as the Virgin of Guadalupe’s feast and, perhaps, the year’s most important."

Join Mary J. Andrade as she explores this unique and rich tradition on this web site and in her series of books on Day of the Dead.

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Although Day of the Dead celebrations vary from region to region, most follow the same basic pattern of events. It is a two day celebration, November 1st in most regions honors the memory of the deceased children while November 2nd honors the dead adults.

Preparation - Up to a week before
In anticipation of this celebration, during the days prior, there is a joyous ambiance in the markets. Yellow cempasuchitl and rooster's crest flowers are brought in by the truckload and bought by the armful. All the ingredients for the food offerings and materials for the altars are bought in joyful anticipation of the visit of deceased loved ones.

Altars at Home - Eve of the celebration
Friends and family gather to prepare the altar or to decorate the home to receive the returned soul of the deceased. Food preparation begins. The anticipation grows.

November 1st - Vigil of the Little Angels
The souls of the dead children return to their families to enjoy their company and be honored and nourished. In some parts of Mexico the living children take the leading role in a morning vigil, honoring their lost siblings. At night the adults hold vigil in the cemeteries reviving the memories of their missing sons and daughters.

November 2nd - Vigil for the adults
On this day the souls of the deceased adults return to their families to spend time, enjoy each other's company and to take nourishment from the offerings presented by the living. Sometimes mass is said during the day and at night the cemetery vigil is enlivened by music and prayer.

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While altars and offerings vary almost as much as the landscape of Mexico, some traditions generally hold true.

The Day of the Dead in Mexico represents a mixture of Christian devotion and Pre-Hispanic traditions and beliefs. As a result of this mixture, the celebration comes to life as an unique Mexican tradition represented by an altar and an offering dedicated to their deceased relatives.

The offering and the altar dedicated to the memory of the deceased is a very solemn ritual, its purpose is to welcome back their spirit. On these days favorite culinary dishes and the most treasured items of the deceased are placed at the altar for the souls to enjoy their return visit with their relatives.

In the offering or the altar to the deceased the four main elements of nature- earth, wind, water and fire - should be included.

The Earth is represented by crop. They believe the souls are fed by the aroma of the harvest.
Wind is represented by a moving object as swift as the wind. Tissue paper is commonly used to represent wind.
Water is placed in a container for the soul to quench its thirst after its long journey to reach the altar.
Fire is represent by a wax candle. Each soul is represented by a lit candle, and an extra one is placed for the forgotten soul.

Salt is also an ingredient that is placed at the alter for purification. Copal (an incense) is burned to guide the soul through its aroma. Cempasuchitl flowers are dispersed along the entrance making a path toward the altar. Here, family, relatives await the arrival of the soul and pay homage and offer companionship.

To learn more about the variations of altars see our Regions section or check out Mary J. Andrade's series of books on Day of the Dead in Mexico.

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"It is November first in the cemetery of Janitzio. The soft, pink light glows on small figures wrapped in shawls seated silently in front of the tombs. The children with sleepy eyes arrive with their parents to honor the memory of their loved ones.
     At sunrise, adults carry their offerings and place them on the graves of their deceased relatives. The offerings are decorated with cempasuchitl flowers, candy, pan de muerto (a traditional bread) and fruit. Spaced along the lit candles, the food offerings are placed on the graves and covered with cross stitched embroidered tablecloths.
     It is November 1, and the Vigil of the Little Angels begins."

Mary J. Andrade
Through the Eyes of the Soul, Day of the Dead in Mexico - Michoacan

For two days and two nights, all across Mexico, vigils to honor lost loved ones take place. In some regions the vigils are kept in the cemeteries, and in other regions vigils are kept at home, but the goal is the same. To welcome and spend time with the returned souls of departed family and friends.

While traditions vary, the candles, flowers and food that welcomes the returning spirits are universal. Also universal are the feelings of sorrow and loss coupled with gladness for a chance to renew and honor memories and the belief, that though unseen, the spirit of departed loved ones can certainly be felt.

To learn more about the differences from region to region go to our Regions section or learn more from Mary Andrade's books on Day of the Dead in Mexico.

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The cult of the "skull" is almost universal; many cities around the world have preserved it due to the belief that in it the powers of the deceased can be found. In pre-Hispanic Mexico since the Mexolitico period (4800 to 3500 B.C.) rituals were dedicated to them.

Among the Mexican mythological gods who display the "skull" are Coatlicue, the old Matriarch; Miquiztli, god of the dead; Mitctlantecuhlti, ruler of the depths of the earth, where the dead (who died of natural causes) resides; his wife Mictecacihuatl; and Cihuateteo or Cihuapipitlin, the ones who died at birth.

During Day of the Dead celebrations candy skulls come in different sizes. Sugar is dissolved in water until it becomes a thick syrup which is then poured into molds. Once the sugar hardens it is decorated with colored sugar and brightly colored paper cut ups. Finally, a Christian name is placed on the forehead of the skull. In this manner one can buy a candy skull with the name of a friend or relative so that they can "eat their skull". Candy skulls are also used in the altars, symbolizing the deceased who are being honored.

Skeletons also abound, from people dressed up in skeleton costumes to paper mâché toys and sculptures. All expressing the life and death duality of human existence. It is perhaps in Mexico City where the art of the skeleton is taken to its height, filling galleries and museums in honor of the Day of the Dead.

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Music, Dance and Song

Rural Mexican towns with sizable indigenous populations continue to commemorate All Souls Day celebrations with time-honored practices. In these rural areas, music, and dance continue to relate and imprint these traditional concepts intergenerationally. By covering the face and identity of the living, masked dancers take on a specific role: that of the visiting souls. The dead are welcomed again to celebrate with family and friends.

In all of precortesian Mesoamerica, music and dance was the primary medium of communal expression and communication with the gods. Vocational guilds were formed to learn and perfect the song, dance and poetry that revere the dead.  Guild members were honored artists because they could commune with the supernatural on behalf of the community and intercede on their behalf as well. Music was the intangible contact with those things sacred.

Certain instruments were believed to bestow divine power.  Drums were also associated with the supernatural because of their vitality and rhythmic character.  Like a mantra, the use of a repetitive sound or rhythmic melody was a musical technique calculated to induce a type of group hypnosis. This technique still exists in diminishing practices.

Many indigenous communities still believe that the souls of the dead are granted the right to return to their origins for a visit and to celebrate a family reunion each year. The season is richly punctuated with specific dances and music. There are clearly two styles of dance distinguishable between danza and baile, which both mean "dance" in English but are differentiated by their purpose and characteristics. Baile is completely social in character and danza is generally known for its solemn and ritual characteristics.

Masks play a key role in the seasonal dances for Dia de Muertos, where the souls of children and adults, including males and females, must be represented. Understandably, in traditional communities where females are still not permitted to dance publicly, men and boys need to represent the women and girls. Therefore the living who portray a returning ancestor must dress to fit the part and keep a recognizable face under the cover of either make-up, a scarf, or a mask. Masks are made from every conceivable material, including carved wood, formed plastic, painted cloth, and woven reeds. Mask dances go the full range in attitude, from the serious to the burlesque. Rural communities take quite a bit of pleasure in the chutzpa of their male politicians and town leaders when they appear incognito as a dancing female spirit.

Introduction to Through the Eyes of the Soul, Day of the Dead in Mexico - Puebla, Tlaxcala, San Luis Potosi, Hidalgo
by Elena E. Robles
Dance Anthropologist and Choreographer

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