Non Western Blog - The Beauty of Mexican Culture and Arts

In a world of conflicting opinions, continuous warfare, and differing cultures/religious beliefs, there is one thing nations have always shared in common: art. Regardless of where one travels, some form of art will be there to greet them with open arms. What makes art so delightful is how broad it can be. As a result, cultures blend into art and create a harmonious visual or sound that anyone can appreciate, no matter if they share that same culture. 

A culture that I have always valued and admired is that of Mexico. It may have started when I learned about "Día de los Muertos" (Day of the Dead): a holiday traditionally celebrated in Mexico from October 31st through November 2nd. In America, the death of a loved one is solemn. The mourning period of that loved one can last a lifetime full of many fallen tears and heartbreak. Regularly, those who have lost someone close to them may try to avoid anything that reminds them of that person as a way of mourning their loss. The funerals are downcast, and sorrowful, as people gather together in black to send off their loved ones to their final resting places. 

Of course, in Mexico, death can still be filled with sorrow and the mourning period is still present; however, rather than sending their loved ones to their final resting place, they celebrate their new journey toward the afterlife. 

During Día de los Muertos, it is believed that the gates of Heaven open and the loved ones can reunite with their late relatives. As the borders between the spirit world and the real world dissolve, the spirits are greeted with a celebration of both their life lived and their life beyond. Within their homes, the family would make altars to greet the souls when they entered. Upon these altars included the four elements of life: water, food from Earth, candles representing fire, and colorful tissue paper spewed across the wall representing wind. There are massive feasts, there is dancing, and there is music playing. The street of Mexico fill with the sounds of laughter, music, and singing. Everyone is together with one goal: to commemorate the reunion of family. 

Often associated with an explosion of color, Día de los Muertos is anything but dull. One symbol, the most prominent in relation to this holiday, is abundant: skulls. This symbol is unavoidable anywhere that Día de los Muertos is celebrated, and it all stems from the ancient tradition of the Aztec people in which they place skulls on the Aztec temples to honor the dead prior to the start of the celebration. With skulls being such a prominent symbol, it is just as prominent in art. 

La Calavera Catrina, 1910.

José Guadalupe Posada's, La Calavera Catrina (1910) is a zinc etching that blossomed into the traditions of Día de los Muertos. Depicted in the work is the traditional skeleton associated with this holiday; however, the skeleton is accompanied by clothing non-traditional to Mexico. The textures of the bonnet decked out in boisterous feathers, cascading flowers, and lacing fully around it is actually a connection to high-society Europe. The form of the skull seems to be amidst a fit of laughter as if it is laughing at all those below them in social status. The image done by Posada was complete satire as the president of Mexico at this time, Porfirio Díaz, was obsessed over in high-society Europe, and ultimately lead to the Mexican Revolution in 1911. Originally named La Calavera Garbancera, meaning "a woman who renounces her Mexican culture and adopts European aesthetics" the artwork depicted cultural appropriation. Díaz favored wealthy landowners and industrialists, and many across Mexico held little to no respect for the ruler. Díaz and his favoring of upper classes meant that his supporters were solely those of wealth. The push of elitist and oligarchical policies in the country lead to a revolution for change in the 30-year dictatorship in Mexico. 

Although a symbol originally associated with the societal divisions of social class with negative implications, La Calavera Catrina evolved to become the name and face of modern-day Día de los Muertos celebrations. 

Sueño de una tarde dominical en la Alameda Central, 1947.

Created in 1947 by Diego Rivera, Sueño de una tarde dominical en la Alameda Central (Dream of a Sunday Afternoon in Alameda Central Park) is a 50-foot mural that features hundreds of individuals from the past 400 years of Mexican history taking a stroll in Mexico's largest park, Chapultepec Park in Mexico City. The surrealist take allows the audience to walk down it, falling into a dreamlike state as they cascade their eyes across the familiar faces of Mexican culture. Boisterous in color, the bright shades really pop to the viewer and draw the attention of anyone walking past it. The left highlights the conquest and colonization of Mexico, and the right features Mexico's modern achievements. Focused primarily at the center of the work is the famous depiction of La Calavera Catrina, the white contrast of the skeleton and oversized bonnet becomes the focal point of the mural. Added to her character is an elaborate boa, which is reminiscent of the feathered Mesoamerican serpent god Quetzalcóatl.

To the left of La Calavera Catrina is a younger version of Diego Rivera, his hand grasped tightly in hers. Standing to the right of La Calavera Catrina, well-dressed with his hand atop hers, is José Guadalupe Posada, the artist of her original form. Behind young Rivera is Frida Kahlo, the wife of Rivera and a very well-known artist of Mexico, depicted in traditional Mexican dress. In her left hand is the Yin-Yang symbol of duality from Chinese philosophy, also representing the duality from pre-Columbian mythology.  The influential people of Mexico come together in a declaration of unity, regardless of their past conflicts, offering hope to the people of Mexico for their dream of peace. Thus, La Calavera Catrina was given a new symbolic meaning: empowerment. As the tradition of La Calavera Catrina and her meaning was evolving throughout the 20th century, so was Día de los Muertos; ultimately leading to La Calavera Catrina becoming the embodiment of this culturally-rich, traditional Mexican holiday. 

On the subject of empowerment, Frida Kahlo, as mentioned above, was beyond just an artist and the wife of Diego Rivera. Her art empowered women not just across Mexico, but across the entire world. Often deep and emotional, her artwork displayed her strength during a time in which everything seemed to be breaking her down. 

Throughout the 1900s, women were trapped in a society structured by strict patriarchal standards. Women simply could not express their womanly experiences and everyday traumas while simultaneously voicing their political beliefs. Frida Kahlo ignored all of these expectations of women through her voice and her art. 

Henry Ford Hospital, 1932.

Nude and twisted, Kahlo exposes herself in one of the most soul-crushing moments in her life: the miscarriage of her son. Henry Ford Hospital (1932) is a story of the loss of the child she long cherished to have. Throughout her pregnancy, Kahlo felt nothing but love and excitement for the birth of her child, only to be forced to terminate her pregnancy due to medical conditions. The twisting of her figure sprawled across the bed, her blood grasping at all angles, and a single tear on her cheek, exposes her emotions of helplessness as she interludes to the tragic events that occurred on that very bed in that very hospital. Tied to her by umbilical cords are six symbolic objects connecting to her miscarriage. The top left item features the female reproductive organs, next to this is a male fetus, and at the top right is a snail, which symbolizes the long, treacherous operation she endured. The bottom left features a machine likely used on Kahlo, next to this is an orchid that Rivera would often gift her that also looked like a uterus, and the bottom right is a pelvic bone. The male fetus is the largest of the items, highlighting it to be her biggest loss. 

The pregnancy of Kahlo was deemed to be a miracle as she faced multiple medical problems early in her life that may have prevented her from ever bearing children. Ultimately, it was her previous medical issues that lead to the abortion of her child in 1925. Heartbreak would further happen to Kahlo as she learns that the injuries from her miscarriage would permanently disallow her from reproducing. She was ultimately diagnosed with Asherman’s syndrome (intrauterine scarring). In performing the procedure, the evacuation of the inner uterus to remove retained tissue was conducted. The medical instruments for curettage might have scarred the inner uterus, leading to her infertility. 

Frida Kahlo created a piece of art that does not conceal her traumas, but rather makes them painfully clear. Across the globe, women dream of carrying and raising a child but struggle with the news that this dream will never become a reality. Henry Ford Hospital empowered and connected women of all cultures and backgrounds in a personal battle that many faces but little can express as confidently and visually as Kahlo. Millions of women can connect and relate to Kahlo and her womanly struggles, empowering women to stand up against the expectations of women set by society, and voice their struggles as women in a male-dominated world. 

Works Cited

“Day of the Dead (Día De Los Muertos).” History.com, A&E Television Networks, 30 Oct. 2018, https://www.history.com/topics/halloween/day-of-the-dead.

“What Is the Meaning behind Día De Los Muertos Symbolism?” What Is the Meaning Behind Day of the Dead Symbolism? | Rutgers University, https://www.rutgers.edu/news/what-meaning-behind-day-dead-symbolism.

“La Catrina: The Dark History of Day of the Dead's Immortal Icon.” National Geographic, 1 Nov. 2021, https://www.nationalgeographic.co.uk/history-and-civilisation/2019/10/la-catrina-dark-history-day-deads-immortal-icon.

“Mexican Revolution.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/event/Mexican-Revolution.

“Dream of a Sunday Afternoon in Alameda Park.” Dream of a Sunday Afternoon in Alameda Park by Deigo Rivera, https://www.diegorivera.org/dream-of-a-sunday-afternoon-in-alameda-park.jsp.

“Henry Ford Hospital, 1932 by Frida Kahlo.” Frida Kahlo, https://www.fridakahlo.org/henry-ford-hospital.jsp.

“Understanding Frida Kahlo's Fertility Problems.” Understanding Frida Kahlo's Fertility Problems | Science Illustrated, https://scienceillustrated.com.au/blog/science/news/understanding-frida-kahlos-fertility-problems/#:~:text=After%20analysing%20Kahlo's%20clinical%20history,Asherman's%20syndrome%20(intrauterine%20scarring).