CATRINA The story of a Mexican icon.
“So much mockery make the Mexicans of death that, among their popular artifacts, have given it name and shape; that is La Catrina.” —Pilar Turu, Código Magazine
THE ORIGINS La Huesuda, la Pelona, la Flaca, la Garbancera... The nicknames that Mexicans have for Death are countless; nevertheless, the most famous one has been La Catrina. Often depicted in a lavish costume with an exuberant hat and a grinning expression, La Catrina is, par excellence, the icon of the Day of the Death holiday. However, it was not always like this.
The tradition of the calavera (skull) drawings was popularized during the late 19th - early 20th century by Mexican cartoonist José Guadalupe Posada. Witty, comical and often controversial, Posada’s calaveras criticized the European aspirations of his fellow countrymen and women. 2
José Guadalupe Posada, La Adelita.
Named “Calaveras Garbanceras” by their creator, these drawings represent the people of Posada’s time. A garbancero(a) was a person of indigenous blood who denied their culture and origin and pretended to be of European descent, especially French and Spanish. Imitating the attire, taste and customs of their colonizers granted the garbanceros(as) a feeling of faux elegance and superiority that would place them above their peers. Posada mocked this attitude by depicting the garbanceros(as) as skulls with fancy clothing, as a reminder that white or brown, rich or poor, colonizers or colonized, we are all mortals.
José Guadalupe Posada, Calavera de un Lagartijo.
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Posada’s calaveras often accompanied humorous pieces of poetry on newspapers. The Calaveras Literarias are a type of popular poetry typical of the Revolution era. These funky pieces are often dedicated to important public figures, such as politicians and celebirities; however, they can be written for close friends or relatives as well. The verses are composed in epitaph form, placing its subject and Death in an irreverent and humorous dialogue in which the subject tries to challenge Death, but despite all efforts, the ruler of the Underworld always turns out victorious. The Calaveras Literarias are still an important component of the Day of the Dead celebrations. They are perhaps the greatest example of Mexican culture’s disdain towards death.
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Diego Rivera, Dream of a Sunday Afternoon in Alameda Central Park (Detail). 1947. Diego Rivera Mural Museum.
WHY “LA CATRINA”?
One of the most famous depictions of the skull is the one found in Diego Rivera’s mural “Dream of a Sunday Afternoon in Alameda Central Park” (left). A great admirer of Posada, Rivera paid homage to the cartoonist by placing his iconic garbancera right at the center, between Frida Kahlo to her right and Posada himself to her left. Contrary to popular belief, it was Diego, and not Posada, who renamed the celebrated skull as La Catrina. In Mexican Spanish, the word “catrín” refers to a well-dressed, elegant man, often accompanied by an equally polished lady. It was used to describe the aristocrats of the 19th and 20th centuries. By depicting the character in such attire, Diego gave it a new meaning, one of style and sophistication; an ideal of a higher society.
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LA CATRINA TODAY After Rivera’s painting, La Catrina went from being a satirical character that criticized the society of its time to becoming an icon of sophistication, beauty and even sensuality. Most importantly, the skull is now an essential element of the Day of the Death celebrations.
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From costumes to popular art to T-shirts and other merchandise, La Catrina today is more about the brand and less about the critique. In recent years, people have begun to adopt the image of the popular skull as a cultural and spiritual symbol, claiming that its usage for purposes other than religious veneration (such as Halloween costumes) are an insult to one’s Mexican identity, since the tradition has its roots in the prehispanic cultures.
It’s true: the cult of Death has been present since the prehispanic times; nevertheless, the image of La Catrina, the character, is relatively new. La Catrina is a reflection of the values of Mexican culture, good and bad. Its cultural and religious meaning, particularly the one linked to Day of the Dead celebrations, came much after its creation. Today, the Mexican skull is a cultural symbol for many; however, let us not forget its satirical origins. Most importantly, let it be a reminder that for us Mexicans, death is just another joke.
“DEATH IS DEMOCRATIC BECAUSE, IN THE END, WHITE OR BROWN, RICH OR POOR, EVERY PERSON ENDS UP BEING A SKULL.” — José Guadalupe Posada
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Works Cited Pilar, Turu. “Origen E Historia De La Catrina.” Cultura Colectiva. 2014. Web. 01 Nov. 2016. Spanish. Conaculta. “La Historia De “La Catrina” Que Todos Llevamos Dentro.” Conaculta. N.p., 31 Oct. 2011. Web. 1 Nov. 2016. Spanish. Image Credits José Guadalupe Posada. La Adelita. 20th Century. Engraving. Museo José Guadalupe Posada, Aguascalientes, México. José Guadalupe Posada. Calavaera de un Lagartijo. 20th Century. Engraving. Museo José Guadalupe Posada, Aguascalientes, México. José Guadalupe Posada. Remate de calaveras alegres y sandungueras. Print of A. Vanegas Arroyo, 1913. Direct print from the engraving. National Museum of Art, INBA. México. Diego Rivera, Dream of a Sunday Afternoon in Alameda Central Park (Detail). 1947. Diego Rivera Mural Museum. Catrina costume. Pinterest. Mexican sugar skulls. Pinterest. José Guadalupe Posada. El Jarabe en Ultratumba. 1910. Engraving. José Guadalupe Posada. Calavera Catrina. 1913. Zinc Etching. Private Collection. Further Reading Khan Academy, “Rivera, Dream of a Sunday Afternoon in Alameda” (http://tinyurl.com/q2w8sjm) Octavio Paz, “All Saints, Day of the Dead” from The Labyrinth of Solitude (http://tinyurl.com/zeao5qq) Open Culture, “Celebrate the Day of the Death with the Classic Skeleton Art of José Guadalupe Posada” (http:// tinyurl.com/jm6bu3x) Priscilla Silva, 2016 | priscilla.sg91@gmail.com