DfAS DE MlJERTOS and Activity Book

DfAS DE MlJERTOS
DAYS OF THE DEAD
Teacher Resource
and Activity Book
Produced by the
Watsonville Cultural Center and the
Pqjaro Valley Arts Council
Written and compiled by Consuelo Alba-Speyer.
Trinidad Castro and John Speyer
Mexican death is the mirror of Mexican lire.
Death is present in our riestas. our games.
our loves and our thoughts ...
We are seduced by death.
Octavio Paz
La muerte mexicana es eI espejo de la vida mexicana.
La moerte esta presente en nuestras riestas.
nustrosjuegos. nuestros amores y
nuestros pensamientos ...
estamos seducidos per la muerte.
OctavioPaz
No habia nadie a%li. There was no one here. We all came
rrom somewhere else. Todos lIegamos de otra parte. Y
nadie lIeg6 con las manos vacias. Nobody arrived
empty-handed
AIItogether now. keep your eyes open
beyond yourselves. see the margins or the world. where
those who are dirrerent rrom us are waiting to
demonstrate that they are as humanas we. Recognize
yourselves in he or she who are not like you and me.
Carlos Fuentes
T able of Contents
Classroom Activities and Lessons
Art Activities
Food and Home Economics
SocialScienceand Research Skills
Language Arts and Foreign Language
11
11
12
12
12
Art Lesson Plans
Papelpkado
Papier Mache Skeleton
Calaveritas de dulce/Sugar Skulls
14
14
16
19
Language Arts/Foreign Language Lesson Plan
Dkhos en Espanol /Sayings in Spanish
The Days of the Dead Vocabulary
21
21
23
Student Handout Section
Dias de Muertos Recipes
Bread for Days of the Dead/Pan de Muerto
Black Mole/Mole Negro
Tamales
Songs
La calaca
Viene la muerte echando rasero
Lesson Plans
Days of the Dead Vocabulary
Refranes y dkhos populares sobre la muerte
Calavera samples
My Family
Mi familia
Cultural Universals Spoke Wheel
Interacciones culturales
27
28
28
29
30
31
31
32
32
33
35
36
37
39
41
42
Foreword
Autumn is almost upon us and a well-celebrated Watsonville tradition is approaching. Day of the
Dead is an important holiday for many cultures around the world and each culture has its own
way of celebrating loved ones who have passed on. Watsonville is no exception. In fact, even in
our own community we find variations of ways to celebrate the lives of beloved family members
and friends who are no longer with us. Mi Casa es Tu Casa 2009 will showcase and celebrate
the rich art of altar-making and the splendid diversity found right here in our own community by
encouraging participation from a variety of local groups. Celebrations of diversity and
multiculturalism are germinating seeds, to be nurtured by future generations. These seeds of
hope can be nurtured by real action today. We can all make an offering, una ofrenda: a personal
contribution that can create better understanding; an offering of cross-cultural dialogue and
respect.
This year the PVAC Gallery is honored to be collaborating with talented artists and community
members to present a series of learning experiences and cultural events that celebrate life by
honoring the dead, including an altar-making workshop for the community groups interested in
building altars for the exhibit. The workshop will highlight the art of altar-making and its
traditions in addition to providing a venue for group planning and collaboration. PVAC is also
excited to work with Viernes Cultural, a community group who has planned a culturally-rich
event to celebrate Día de Los Muertos followed by a procession from the Plaza to the PVAC
Gallery for the opening of Mi Casa es Tu Casa 09.
An essential part of the mission of PVAC is to enrich our community by creating opportunities
for us to share our cultural and ethnic heritages. This resource and activity book was created with
that mission in mind. It is our hope that the variety of learning experiences compiled in this book
will provide many opportunities for exploration, dialogue, celebrations, and above all,
understanding. In creating this resource book we have tried to honor the various learning styles
by providing a variety of activity settings. More and more, research shows that a strong link
between home and school can help create better student achievement, and thus we provide ample
opportunities to tap into the wealth of knowledge of the students' families. Learning is a
continuum, and thus we ask you to accept this resource book as a work in progress. We invite the
input of teachers, parents, students and other community members. Your input will contribute to
this community ofrenda.
DTasde Muertos: An Introduction
and History
Dias de Muertos is one of the most popular and colorful holidays in Mexico.
Families come together to honor their ancestors and their legacies, and to
celebrate the cycle of life. But it is not by any means a sad time. Rather it is a
festive holiday that highlights the Mexican peoples' general acceptance,
rather than fear, of death. This is a family-centered celebration rooted in the
belief that spirits of the dead visit the living between October 27th and
November 2nd each year.
This is a time of family reunions, uniting not only the living with the living, but more
deeply, the living with the spirit of the deceased. Families spend these days in
communion with the departed friends and relatives, sharing food, music and
companionship. On October 27, in some areas food and water is put Outside houses for
the souls of the deceased that have no families. The next evening, those who died in
accidents or by violence are given food outside the homes. On October 31, the children, or
los angelitos, are remembered. Finally, the farm1y's adults who have passed away are
welcomed on the evening of November 1. In some regions, such as Michoacan and
Oaxaca, whole communities spend that entire evening together in the cemetery visiting
the graves of their loved ones. It is a strikingly beautiful and lively event. On November
2, once the honored guests have extracted the essence of the refreshments, many families
go to mass, then partake in a comida, a big family meal that includes food originally
prepared for the deceased.
The ofrend as (altars) erected at home and/ or at gravesites during these days are central
to los Dias de Muertos observances. Offerings of food, drinks, candles, flowers, saints,
photographs, and objects cherished by the deceased during their lifetime are placed on
the altars. They are meant to assure the spirits of the dead that they are not forgotten in
the hearts and minds of their families.
The celebration of El Dia de Muertos has similar roots throughout Latin America. In
Mexico it can be traced to the Aztec culture, who had not just a few days but an entire
month dedicated to honoring the deceased. The conquest of Latin America by the Spanish
conquistadors did not end the festivals of the dead among indigenous people. Instead of
abandoning their traditions, the festivities honoring the dead were incorporated into the
Catholic feast of Dia de Todos los Santos, known also as Dia de los Difuntos or Dia de los
Fieles Difuntos, (All Saints Day or All Souls Day). November 2, the day of All Saints Day
in the Catholic calendar, coincided with the dates reserved in the Aztec calendar to
remember those who had passed away. It also marked the end of the agricultural harvest
season at this latitude, when the land" dies" and the days of long darkness begin.
For the indigenous people, November 1 and 2, became another opportunity to pass on the
customs, traditions, and philosophies from one generation to another, in similar ways to
those that had been used by previous generations. This fusion of cultural traditions is
known as syncretism.
Although the Days of the Dead are not a uniform celebration, differences depend on local
and regional customs, the basic rituals are the same: receiving the spirits of the dead at
home, offering them food and drink, and communing with them beside their graves. The
festival is more prevalent and complex among rural Indian communities. In urban areas
it is simpler, and in recent years more Halloween traditions from the u.s. have been
adopted.
In Mexico, the traditional celebration of the Day of the Dead begins several weeks before
the evening of November 1. There is increased economic activity as many people go to
the marketplaces to purchase arts and crafts, food and flowers for the altars. Today its
festive character has come to surpass its religious function, marking it as one of the most
acclaimed cultural events in the Mexican calendar.
For many years the holiday was nearly forgotten by Mexicans and Latinos living in the
U.S. Because festivities often centered around graveside visits, people became
disconnected from7 it as they moved away from their homeland. However, El Dia de los
Muertos was resurrected in the United States when Mexican-Americans underwent a
cultural reawakening in the late 1960s. The holiday's popularity has since spread to other
races and cultures.
Today in the United States, and especially in California and Texas, Mexican-American
families, artists, poets, writers, teachers and students have kept this tradition alive by
promoting educational and cultural activities around the Days of the Dead.
La of renda IT he Altar
The altar for Days of the Dead (also called an ofrenda) has its
roots in the pre-Hispanic and Spanish Catholic practices. It's
central to Dias de los Muertos observances and is maintained to
honor and cherish the loved ones residing in the afterworld.
Traditionally altars are constructed either in homes or at the
graves. Nowadays altars can be seen in busines~
establishments, offices, art galleries, cultural centers, schools and libraries.
The altar is an art project in which people reflect their cultural background and their
individuality. Adornment varies according to local and regional traditions,
income/wealth, and the importance of the relative or friend being remembered.
The ofrend a is a feast for the dead, with enough food and drink set out to provide
sustenance required by the visiting soul. These include various dishes traditionally
prepared for tros special occasion as well as ritual objects, including the following:
Pan de muerto (Bread of the Dead). The essence or soul of the
consumed by the dead when they visit their loved ones. Most of
loaves are shaped as ovals (said to be the shape of one's soul),
each loaf may vary with different ingredients and decorations. In
of Mexico, the bread may be shaped as humans or animals.
bread is
the bread
though
some parts
Other foods include mole and tamales. Mole is usually set out for adult spirits. The thick
sauce made from chiles, sesame seeds, herbs, spices, chocolate and/ or fruit is thought to
be too spicy for the child spirits. Tamales made from meat, cheese or nuts are also added
to the altar. For the spirits of visiting children, sweet tamales filled with fruit, candy sugar
skulls, and other foods are left out.
Images of saints of particular importance to the family sit on the altar along with photos
of the deceased relatives the family is waiting for.
Candles and veladoras are always present on the altars as they provide light to guide the
At,l'tj dead. They come in different shapes, sizes and colors. Families light candles and
Cy D veladoras on the altars and on the gravesite of the deceased. (Candles have long
been a familiar sight in falI! harvest festivals around the world, as they represent
the light that helps guide the people throughout the long, dark season ahead.)
\(n
Flowers, which symbolize the life's brevity and the regeneration, are used as an offering
on the altars. The flower most commonly used is the brilliantly hued marigold, popularly
known as cempasuchil, which is its original name in Nahuatl, the language of the Aztecs.
Sometimes paths of marigold petals are strewn from the cemetery to the home by
families, in order to aid the deceased in finding their way home.
On the altar there is always a glass of water to refresh the travel-wearied soul, but other
favorite drinks can be included, such as rum, tequila or aguardiente (homemade liquor).
Papel picado, colorful perforated paper banners used as decoration
in many celebrations. For Days of the Dead, there are specific
designs illustrating "Mr. Death" (la muerte) in daily life activities.
Copal, a type of incense, burns on the altar as a symbol of the
transformation of matter into the spiritual. It is most often used in
the southern states of Mexico, where the indigenous influence
remains the strongest.
During this celebration it's customary for children and lovers to
exchange sugar skulls, sugar sculptures made out of a sugar-almond paste (called
alfeiiique) with the name of the receiver on the forehead. Sugar skulls are also placed on
the altar to add a comic touch to the seriousness of the altar.
Altars honoring children can include a small bowl of milk, candy, pieces of chocolate,
toys and miniature candlesticks.
The Theme Ot Death in Mexican Art
From satirical poetry to urban murals, from political criticism to folk art, the Days of the
Dead is one of the main sources of inspiration for popular and artistic expressions in
Mexico. The original imagery is based on two central elements expressing the indigenous
world view.
1. Skeletons and skulls have been always present in Meso-American cultures, not
only as a symbol of death, but also as an expression of the belief that the dead
continue to have life and form. These two elements were extensively used in Prehispanic art and architecture.
2. The indigenous thought is that escaping death, the natural order, is inconceivable.
Aztec poetry refers to death with acceptance and stoicism; death is part of a
natural and infinite cycle.
Around the turn of the 20th century, images of Death as a comic skeleton (called calavera
or calaca) became an important part of Mexico's Days of the Dead. These images were
popularized by Jose Guadalupe Posada.
Jose Guadalupe Posada (1852-1913)is one of the most important and influential Mexican
artists. His prolific career working as a printmaker, engraver and lithographer over forty
years has influenced many Mexican artists of this century. Posada's modified the preConquest images of skeletons and skulls with his stylized and satirical representations of
the calavera that imitated every human activities. At the same time Posada's work reflects
his opposition to the oppressive Porfirio Diaz Regime, his interest in the early events of
the Revolution and his criticism of the establishment.
The way Days of the Dead is perceived and celebrated has changed in the last decade.
The holiday and its elements are being revitalized and recognized by art museums,
galleries and art collectors as genuine forms of folk art expression. The internationally
recognized work of Pedro Linares (1906-1992)and his family, world-renowned papier
mache and alebrije artists inspired by Posada, are an expression of this change. Their
papier mache creations, some life-size, depict with humor and imagination skeletons
engaged in daily activities and occupations. Alebrijes are colorfully painted, fantastical or
nightmare-like creatures made of wood or papier mache, that derive from the
subconscious world and the imaginations of artists. Linares' work will be featured in the
exhibit "Mi Casa es tu Casali at the Pajaro Valley Arts Gallery in downtown Watsonville,
from October 18-December 12, 1999.
However, calaveras are not only the skeletal images but are also
satirical
verses, poetry and mock obituaries published in newspapers
and
magazines for the Days of the Dead. Today, when other aspects
of the
traditions are not observed, especially in big cities, calaveras stand as the intellectual,
critical, and political component of the holiday. These humorous and political comments
are unique: they are written as if their subjects, often political and popular figures, are
about to be taken away by Mr. Death, or written as epitaphs. No one is spared from the
calaveras, just as no one is spared from death. Since they are based on specific current
events and use much wordplay, it is difficult to keep the biting humor through the
translation. This is,a Calavera published in Mexico in 1910:
Es calavera el ingles
Calavera el italiano
Calavera fue el frances
Lo mismo Maximiliano.
El Pontifice romano,
Y todos los cardenales,
Reyes, duques, concejales
Y el jefe de la nacion.
En la tumba son iguales:
Calaveras del monton.
The Englishman is a calavera '
And a calavera the Italian,
As well as the French.
The same is true of Maximillian,
The Roman Pontiff
And all the cardinals,
Kings, dukes, councilmen
And the Chief Executive
Are the same in the grave:
Calaveras like any others.
Calaveras came from the Spanish pasquines (lampoons) and gained popularity during the
Colony, especially after the Mexican independence. The pasquines were anonymous,
satiric verses posted in public places up to 1800. In 1847 the first illustrated newspaper in
Mexico was called La Calavera, and such verses became associated with the Days of the
Dead. Juan Venegas Arroyo the paper's publisher and the great illustrator Jose
Guadalupe Posada redefined the meaning of the word calavera, connecting the
skeleton/ skull with the sarcastic verses.
Classroom Activities
and Lessons Plans
The Days of the Dead celebration offers an unique opportunity to bridge the gap between
school and home, and to engage the students' families in a social and educational
exchange. All students' households are rich in social and intellectual resources in the
form of traditions, stories and general knowledge. Latino students, in particular, will
most likely have a strong prior knowledge regarding this celebration that can be utilized
as a powerful pedagogical tool.
Traditionally this holiday celebration goes beyond the classrooms and homes by
involving the whole community in social and cultural events. The Watsonville Cultural
Center and the Pajaro Valley Arts Council (PVAC) wish to continue
this tradition by sponsoring various community activities such as a
downtown festival, an art exhibit at the Pajaro Valley Gallery and
workshops for families. An altar exhibit in downtown Watsonville
storefronts, featuring the work of PVUSD middle school students is a
key element of this celebration. The altars plan to be shown October
18- November 3, 1999. These students and their work will be honored at the Dfa de 10s
Muertos Plaza Festival on Saturday, October 30. (Please contact the PVAC at 831/7223062 for more information.)
The following activities and lesson plans for The Days of the Dead are only a few of the
many options available; with a little teacher research and student creativity, the
classroom can become an engaging environment of cultural awareness.
Art activities
Classroom and family activities may include the following:
•
Create and set up an altar in the classroom (see the altar section above for a list
of items).
•
Design traditional toys and folk art items.
•
Students can make sugar skulls, or papel picado (see accompanying handouts
for instructions).
•
Make paper flowers using crepe paper, pipe cleaners and florist's tape.
•
Show the students' work in a museum-like environment within the school or
classroom. Invite families, other classes or elementary students to view the
work.
Food and Home Economics
Food is a cultural reflection, and in this specific holiday food plays an outstanding role.
The cooking activities included in this resource book are meant to be share with the
students' families.
•
Organize a fiesta and invite the students' families to participate and contribute
in the celebration. Families can bake their own pan de muerto and cook mole,
tamales, and atole by following the recipes in this resource book or using their
own family recipe.
•
During the gathering, participants can talk about different ways to cook
traditional dishes. Students can record and compare ideas.
•
Visit a local bakery with your students to see how pan de muerto is created. See
Bibliography for bakery listings.
•
Conduct research about how food offerings for the Days of the Dead change
depending on the products of the region and the customs.
•
Study the oi-igins and nutritional value of corn, chile, beans and other food
items commonly found in Latin American countries.
Social Science and Research Skills
•
•
•
•
•
•
•
•
•
Study how different cultures relate to, and understand death. This is an
important Cultural Universal.
Examine the similarities and differences between Day of the Dead and
Halloween. Have student write about their experiences here and in Mexico.
Investigate harvest/ autumn celebrations around the world. Include written
reports and map work.
Compare which Days of the Dead celebration elements/ food are indigenous
and which are Spanish. Discuss syncretism.
Since there are many Internet sites devoted to holidays, including the Days of
the Dead, this is an excellent opportunity for teachers with access to computers
to teach online research skills. Students could compare information from
different sites and/ or download photos or maps to include in their own
pamphlets or reports (See Web site listing in Bibliography section)
Have students make a family tree and share them. Talk about the importance of
family heritage and traditions (see also Language Arts interview activity).
Students can make a Family & Historical Timeline, showing events that have
occurred in their families and the important events that were happening in
their country (or the world) at the time.
The ideas in the Food and Home Economics section can also be easily applied
in the Social Studies classroom, as food and festivals are integral components of
the world's Cultural Universals.
Use accompanying Cultural Universals Spoke Diagram for students to use as a
tool for organizing research and/ or to complete after studying the holiday.
Language Arts & Foreign Language
•
•
•
•
•
•
•
•
Students can read short stories and poems about the cycle of life.
Have the students interview their parents/ grandparents to gain insight on
their own family history and their traditions.
Students can write an essay about their favorite" or inspirational dead person,
and how their legacy lives on. It could be a relative or a politicalj art figure,
somebody who they think left an important legacy.
Encourage students to think and write about what their legacy to the world
will be.
Learn new words from the Days of the Dead Glossary (included in this packet).
Students can create their own word searches or crossword puzzles related to
the Glossary words.
Read and/ or write calavera verses and dichos. (See Calavera samples in the
hand-out section).
You can even ask your students to write their own epitaphs!
/I
Art Lesson Plans
Papel picado
•
•
•
•
•
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•
•
•
Understand the visual arts in relation to history
and culture.
Understand the role of papel picado in the Days of
the Dead celebration.
Recognize and identify different types of papel
picados.
Use positive and negative space, symmetry,
repetition, and pattern to create a cut paper
composition.
colored sheets of tissue paper 11" x 14" size (one per student)
scissors
string or yarn
stapler
glue
Show sample papel picados. Give background information about papel picados to
your students. Compare and contrast paper cutting techniques found in other
cultures if time and resources permit.
Papel picado (Spanish for perforated paper") is a colorful paper cut out, that
II
decorates altars, homes and hung across streets during any Mexican fiesta or
celebration. Usually made of tissue paper but sometimes of more durable plastic,
the cut banners are hung together like a string of flags. For the Days of the Dead,
the designs feature skeletons, skulls, crosses, and tombstones. Some artists create
intricate designs that take many hours to make. Because of their fragility and the
time spent creating them, cut-paper banners are themselves symbols of the
transitory quality of life.
The tradition of papel picado can be traced to pre-Columbian times when
papermaking thrived throughout Mesoamerica. The bark of the amate tree, a type
of fig tree, was used to make a rich colored brown or beige paper. Cut-paper
figures used in ceremonies were created to represent any number of human and
animal spirits.
The festive papel picado banners created throughout Mexico today are usually
made with tissue paper or plastic. Banners are cut with a hammer and sharp
chisels called fierritos. As many as 50 layers of colored tissue paper can be cut at
ope time. To guide the cutting, a patron or pattern with a drawn design is placed
on top of a stack of tissue paper. Some of the best papel picado is made in the
small village of San Salvador Huixcolotla in Puebla, Mexico, where artists work to
create paper and plastic decorations for the Days of the Dead, Mexican
Independence Day (September 16th), and Christmas.
The tradition of making cut paper designs is practiced in many cultures
througho,ut the world. Some of the more famous techniques are the German
scherenschnitte, Polish wycinanki, Chinese hua yang, Japanese kirigami, and
French silhouettes.
1.
2.
3.
4.
5.
6.
Choose a colored tissue and place it on the table horizontally. Fold it
accordion style from the bottom up making about 3-4 folds. Leave one
inch at the top of the tissue paper to attach a string.
Using a scissors, cut a series of repeating shapes from the folded edges
of the tissue.
Unfold the tissue paper to reveal the pattern. Flatten the tissue paper on
the table. If possible, iron to remove the folds.
To prepare for hanging, lay the end of a long piece of yarn or string
horizontally across the top of the paper where you had previously
reserved one inch of paper.
Fold the edge of the paper over the string to create a 1/2 inch flap.
Glue the edge of the flap down with the string under the fold. Very little
glue is needed to achieve a strong hold. Glue sticks can be used to avoid
using too much glue.
NOTE: If you want each student to contribute a cut paper design to create a banner, cut your
string long enough to hold all of their tissue cutouts. Plan to allow one inch between sheets of
paper as you add them to the string. Leave several inches at both ends to hang the completed
banner in the hallway or across the ceiling of your classroom. Hang the banner high enough to
keep curious hands from damaging the finished work.
Papier Moche Skeleton
•
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•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Understand the visual arts in relation to history and
culture.
Understand the role of papier mache in the Days of
the Dead celebration.
Recognize and identify papier mache.
Use shape, volume and proportion to create papier
mache figures.
Newspapers, uncut
Masking tape
Newspaper, cut into 1 X lO-inch strips (quality depends on size of
skeleton)
Wheat paste (or a water and flour paste)
Paint brushes
Gesso (optional)
Pointed instrument
Tempera paint (various colors including white)
Black felt-tipped pens and markers
Clear lacquer
Crochet hook
Cord or twine
Small piece of poster board or cardboard
Show sample of papier mache figures. Give background information about mache
mache to your students. Compare and contrast papier mache techniques and
figures found in other cultures if time and resources permit.
Paper was invented in China at the beginning of the 2nd century AD. In the 8th century
Chinese people developed the art of making paper with rags, old fishing-nets and other
waste materials. Thus the art of papier mache was born. In Italy the art of papier-mache
was probably introduced by the Venetian merchants who had frequent business
connections with the China; from Italy this art spread throughout Europe.
Papier-mache art has been (and is still now) widespread in many rural populations and
often reproduces figures and styles that have not changed in centuries. For instance, in
Japan dolls and toys are made of wood, clay, papier-mache and straw, and customarily
these objects have the function of attracting the gods' favor in agricultural activities.
The papier mache technique was bought to the Americas by the Spaniards. In
Mexico, as in Japan, papier-mache toys and dolls are somehow linked to
traditional beliefs and customs. During The Days of the Dead one can see papiermache skeletons and skulls, in bright colors, engaged in different activities and
walks of life.
1. Crumple up sheets of newspaper. Form two egg shapes: one for the torso and, the
other, smaller one for the head.
2. Wrap masking tape around both shapes until the body part is shaped the way you
want it. You may have to fill in some areas with more newspaper.
3. Connect the head to the torso with masking tape.
4. Dip newspaper strips, one at a time, into prepared wheat paste. Remove excess
paste. Cover head and torso with 3-4 layers of strips. Let dry thoroughly for
several days.
5. Roll up folded newspaper and wrap with masking tape. Do this for both arms and
legs. The arms should be shorter than the legs.
6. Dip newspaper strips, one at a time, into the paste. Remove excess paste. Cover
arms and legs with 3-4 layers of strips. Let dry thoroughly for several days.
7. Paint all body parts with gesso and let dry (optional).
8. Paint all body parts with white tempera paint and let dry. A second coat of paint
may be necessary.
9. Use felt tipped pens or markers, and/ or paint to fill in appropriate skeletal
designs. Let dry.
10. Spray with clear lacquer and let dry.
11. Use a pointed instrument to make a hole through both arms and legs, and through
shoulders and hips of torso.
12. Cut out four 1 % inch square pieces of poster board or cardboard. Make a hole
through each piece with a pointed instrument.
13. Insert crochet hook through the hole in torso, craw the cord or twine over the
hook, and pull it back throughout the hole.
14. String cord or twine through holes in one arm and one piece of cardboard, then tie
a large knot at the end. (Cardboard reinforces the holes and prevents the cord from
slipping back through the appendage.)
Suggestions: Decorate skeleton using tempera paints, colored felt-tipped pens, foil (for
eyes) pipe cleaners (for earrings) crepe paper or fake fur (for hair), paper marigolds,
ribbons, etc. Dress it in regional or occupational costumes.
Sugar Skulls/Calaveritas de Dulce*
•
•
•
Understand the visual arts in relation to history and
culture.
Apply techniques and procedures to make sugar skulls.
Understand the role of sugar skulls in the Days of the
Dead celebration.
Skeletons and skulls have been always present in Meso-American cultures, not
only as a symbol of death, but also as an expression of the belief that the dead
continue to have life and form. These two elements were extensively used in Prehispanic art and architecture.
During The Days of the Dead celebration it is customary to exchange sugar skulls,
known as calaveritas de dulce, with children, friends and lovers. These candy
sugar skulls always have the name of the receiver on the forehead and can be eaten
or placed on the altar.
Sugar skulls are cast in molds from a sugar or marzipan paste. This paste is called
alfemque. To cover the seam lines and decorate the sugar skulls, confectioners use colored
sugar and chocolate.
The calaveritas de dulce are the ultimate expression of the Days of the Dead, since
they blend the serious and comic aspects of the celebration. Nowadays, sugar
skulls are appreciated more as a folk art expressions than as candy.
2 cups powdered sugar
1 egg white
1 tablespoon of light corn syrup
1/2 teaspoon of vanilla
1/3 cup of corn starch
Food coloring
1 fine paintbrush
2 tazas de azucar glass
1 clara de huevo
1 cucharada de miel de maiz clara
1/2 cucharadita de vainilla
1/3 de taza de maicena
Colorantes vegetales
1 pincel fino
1. Sift powdered sugar.
2. Mix egg white, syrup and vanilla in a
dry, clean bowl.
3. Mix sugar into wet mixture
gradually.
4. Mix with fingers until the mixture
forms a ball.
5. Sprinkle cornstarch on table or
board.
6. Put the mixture on the table and
shape into smooth, manageable ball.
7. Wrap tightly in plastic and chill until
ready to use. (Mixture will keep for
months.)
8. Use plenty of cornstarch when
making skulls or other shapes.
9. When the figures are dry, color them
as you wish.
1. Ciema el azucar glass.
2. Incorpore la clara, la miel y la
vaini1la en un recipiente limpio y sin
grasa.
3. Anada el azticar glass con una
cuchara de madera.
4. Amase la mezcla con la punta de los
dedos hasta que forme una bola.
5. Espolvoree con maicena una tabla 0
cualquier superficie plana.
6. Ponga en el tabla la mezcla hasta que
la deje lisa y manejable.
7. Deje la masa en una bolsa de pIastico
fiuy bien cerrada, hasta que la vaya
a utilizar.
8. Use bastante maicena cuando haga
las calaveras tradicionales 0 las otras
figuras.
9. Pinte las figuras cuando esten secas.
Use los colores que desee.
* This recipe can also be used to make other
*
sugar figures, especially animals, commonly
known as alfefiiques.
Esta receta se puede usar para hacer otras
figuras esculpidas, especialmente animales,
conocidas como alfemques.
See resource list under CRIZMAC Art & Cultural Education Materials, Inc to order
sugar skull molds.
Language Arts/Foreign Language Lesson Plans
Dichas en Espana/IS ayings in Spanish
•
•
•
Understand the language arts in relation to history
and culture
Understand sayings and proverbs as a reflection of
customs, culture and popular wisdom.
Learn and apply new vocabulary in Spanish.
Ask your Spanish speaking students to review the list of sayings about death, and
with their parents help write a short explanation about what they mean. Have
English speaking students research sayings/proverbs about death in English.
Students can share the meanings of them in both languages.
AI fin que para morir nacimos.
AI vivo todo Ie falta y al muerto todo Ie sobra.
Amigos hasta morir, pero de prestarte nada hay que decir.
A ver a un velorio y a divertirse a un fandango.
Car gar con el muerto.
Cayendo el muerto y soltando elllanto.
Cuando el tecolote canta, el indio muere ... No es cierto, pero sucede.
Cuando estes muerto, todos diran que fuiste bueno.
Al diablo la muerte, mientras la vida nos dure.
De aqui a cien afios, todos seremos pelones.
Donde Horan esta el muerto.
El asno s610 en la muerte hall a descanso.
El muerto a la sepultura y el vivo ala travesura.
EI muerto y el arrimado a los tres dias apestan.
EI que ha de morir a oscuras, aunque muera en velerfa.
EI que por su gusto muere hasta la muerte Ie sabe.
Era mas grande el difunto.
Hay muertos que no hacen ruido y es mas grande su penar.
Huyes de la mortaja y te abrazas del difunto.
La gratitud no es a perpetuidad como los sepu1cros.
Las penas no matan, pero ayudan a morir.
Muerta Jacinta, que se mueran los guajolotes.
Muerto el ahijado, se termin6 el compadrazgo.
Muerto el perico, lpara que quiero la jaula?
Muerto el perro se acab6 la rabia.
No es mala la muerte cuando se lleva a quien debe.
No vas a morir de parto ni de cornada de burro.
Poco veneno no mata, ni mucho si no es activo.
5610 los guajolotes mueren en la vispera.
Todos nacemos llorando y nadie se muere riendo.
Velo y mortaja del delo bajan.
Ya ni en la paz de los sepu1cros creo.
Yerba mala nunca muere y si muere no hace faIta.
The Days Ot the Dead Vocabolary
•
•
•
•
•
Understand the language arts in relation to history
and culture.
Learn new vocabulary related to the Days of the
Dead in Spanish and English.
Learn and apply new vocabulary in Spanish.
Ask your students to review this glossary and write a short story using the new
words.
Use the glossary words to have the students create a crossword puzzle or word
search.
Glossary
alabanzas: oraciones de alabanza.
alebrijes: figuras de papel mach6 que
representan animales 0 criaturas
imaginarias.
alfenique: pasta de azucar 0 mazapan para
hacer calaveras de dulce u otras figuras.
amate, papel: papel hecho con la corteza
de una higuera silvestre.
anima: [1] sin6nimo de alma. [2] figuras
que representan las almas de los difuntos.
angelitos,:angelitas: las almas de los niiios.
atole: bebida hecha de maiz y agua 0 leche.
calaca: Esqueletos que representan la
muerte
calavera: [1] craneo. [2] versos satiricos u
humoristicos que se elaboran para halagar
o criticar personas importantes en la
politica, la farandula 0 el mundo
intelectual y que aparecen durante esta
epoca en los periodicos.
calaveras de dulce: craneos hechos con
azucar, clara de huevo, agua, jugo de
limon, almendras y crema. Se ponen en
los altares y/ a dan como regalo.
alabanzas: prayers of praise.
alebrijes: papier mach6 figures
representing imaginary animals and
creatures.
alfenique: sugar or marzapan paste to
make sugar skulls and other figures.
amate, papel: paper made of a wild fig
tree.
anima: [1] soul. [2] figures representing
souls of the dead.
angelitos, angelitas: souls of children.
atole: drink of com cooked with milk or
water.
calaca: In Mexico, a skull or a skeleton
figure representing death.
Calavera: [1] Skull. [2] satirical or
humorous verses used to praise or criticize
important or recognized political,
intellectual or celebrity figures. They
appear in newspapers at this time of the
year.
calaveras de dulce: Skulls made of sugar,
egg white, water, lemon juice, almonds
and cream of tartar. They are placed on
cementerio: pante6n 0 camposanto.
cempasuchi1: tambien conocida como flor
de muerto, calendula, maravilla, de color
amarillo 0 anaranjado.
champurrado: atole de chocolate.
copal: incienso sagrado de las culturas
mesoamericanas.
Dia de los difuntos 0 Dia de los fieles
difuntos. Fiesta catolica que se celebra el
primero de noviembre.
difunto: sin6nimo de muerto.
Linares, Pedro: (1906-1992) Artista de
fama mundial que hizo calaveras, calacas y
alebriijes de papel mache. Se Ie reconoce
como el creador de los alebrijes.
masa harina: harina de maiz qye se usa
para hacer tortillas y tamales.
mole: una complicada y deliciosa salsa de
chile y chocolate.
ofrenda: [1] dadivas colocadas en el altar
para halagar a los espiritus de los muertos.
[2] sinonimo de altar: Banco, mesa 0 grada
que se coloca en alguna parte de la casa
para ofrecer las dadivas a los muertos.
pan de muerto: Pan dulce que se elabora
especialmente para El ilia de los muertos.
Muchas veces aparece decorados con
'Iagrimas' 0 figurs de harina que semejan
huesos.
papel picado: papel de china de recortado
o perforado. Se usa en como decoraci6n en
festividades.
pasquin: versos satiricos que
originaJ.n{ente se publicaron en Espana.
Posada, Guadalupe Jose. (1852-1913):
Artista mexicano, autor the numerosas
ilustraciones sobre la muerte. Su satirica y
humoristica vision de la muerte en la vida
cotidiana mexicana ha sido y continua
siendo fuente de inspiracion para artistas
de las mas variadas escuelas dentro y fuera
de Mexico.
tamal: alimento prehispanico en forma de
pastelito de maiz que se rellena y cuece al
vapor en hojas de elote 0 platano.
tianguis: sin6nimo de mercado.
altars and/ or given as a gift.
cementerio: cemetery.
cempasuchil: Yellow or orange marigolds
that symbolize death.
champurrado: Mexican chocolate made in
atole.
copal: sacred incense of Mesoamerican
peoples.
Dia de los difuntos 0 Dia de los fieles
difuntos. The Catholic feast of All Saints'
Day
difunto: dead.
Linares, Pedro: (1906-1992) Worldrenowned artist who created papier
mache calaveras, calacas and alebriijes. He
is considered the creator of the alebrijes.
masa harina: corn flour used ti make
tortilla and tamale dough.
,
mole: a complicated and delicious salsa
made of chile and chocolate.
ofrenda: [1] offerings set out to honor and
flatter the returning souls. [2] altar, tables
or stands set aside by Mexican families to
welcome their dead relatives.
Pan de muerto: Sweet loaf bread, shaped
into a swollen oval and decorated with
"Iagrimas," small pieces of baked dough
representing human bones or small skulls.
papel pica do: cut or perforated tissue
paper used as a decoration during
celebrations.
pasquin: lampoon or anonymous verses
originally published in Spain.
Posada, Guadalupe Jose (1852-1913):
Mexican artist, author of wonderful
illustrations depicting death in the
everyday life of Mexican people. His
satirical and humorous vision of death has
been a source of artistic inspiration for
Mexican artist within and outside Mexico.
tarnal: plural, tamales. Pre-hispanic food
made of corn meal, stuffed with meat or
vegetables and steamed in a corn husk or
banana leaf.
tianguis: market.
Bibliography and Resource List
Berdicio, Roberto, and Applebaum, Stanley, eds. Posada's Popular Mexican Prints. New York:
Dov.er Publications, Inc., 1972. A motherlode of Jose Guadalupe Posada's artwork.
Carmichael, Elizabeth, and Sayer, Chloe. The Skeleton at the Feast - The Day of the Dead in
Mexico. Austin: University of Texas Press, 1991. Detailed history, first-person accounts, many
photos makes this book indespensible as a background resource for teachers.
Greenleigh, John, (photos)and RosofBeimler, Rosalind (text). The Days of the Dead/Los Dias de
Muertos. San Francisco: Collins Publishers, 1991. Primarily a photo book, Greenleigh's
atmospheric shots capture the mood of the holiday. The captions are bilingual.
Quintana, Patricia. Mexico's Feasts of Life. Tulsa: Council Oak Books, 1989. Cookbook with an
extensive section on Dfa de los Muertos recipes.
Salinas-Norman, Bobbi. Indo-Hispanic Folk Art Traditions II. Albuquerque: Pinata Publications,
1988. An excellent, bilingual activities book for teachers and families. Also has an extensive
bibiliography of books about death for juvenile and young adult readers.
"Calaveras. " A Dog's Life. Video production company sells a 30-minute documentary video
exploring the altar and its traditions in the Days of the Dead. Also, they have a CD-ROM leading
an interactive tour of Days of the Dead celebrations around the world.
http://www.dnai.com!-dogslife/index.html
"Day of the Dead - How to Make Your Own Altar." Mexweb:
http://www.mexweb.com!muertos.htm
"Day of the Dead Link Page" LatinoLink: Contains links to first-person articles and holiday
recipes. Some bilingual.http://www.latinolink.com!1023doda.htm
"Dia de los Muertos Links." Ciurczak, Alexisand Rangel, Jose. Massive link site, a great place to
start a search. http://daphne.palomar.edulmuertos/muertoslinks.htm#Papel
"Dia de los Muertos." Arizona Central. Colorful site with good sections on history and traditions,
by the Arizona Republic newspaper. http://www.azcentral.com!entldeadl
"Explanation - El Dia de los Muertos." California State University, Monterey Bay. Features
history and vocabulary. http:/;Www.monterey.edu/events/dead/explanation.html
"Jose Guadalupe Posada - Printmaker." Ciurczak, Alexis, and Rangel, Jose. Short, bilingual
biography and many examples of his work. http://daphne.palomar.edulmuertos/posdad.htm
"Jose Guadalupe Posada." Biography, in Spanish, of the Mexican Artist.
http://www.pixel.com.mx/info-gral/infomex/ artistas/plastico/posada.html
"Les recomendamos para el mes de noviembre."
the Days of the Dead celebrations. In Spanish.
http://mexico. udg.mxlcocina/recomes/novrec.html
Universidad
de Guadalajara, Mexico. Recipes for
Casa del Mar. Offers Mexican arts and crafts, including calaveritas, candles, candleholders and
papel picado. Phone: 831/426-8744. email: profetc@ao1.com
CRIZMAC Art & Cultural Education Materials, Inc. Days of the Dead Curriculum Resource
packets for teachers, showing how to make papel picado, papier mache figures and more. The also
sell molds to make sugar skulls. 800/913-8555 http://www.crizmac.comlddcurriculum.html
Cut-It-Out. This company sells Papel Picado start-up kits in a variety of patterns for students of all
ages. 210/225-6608. http:/www.web-net.com/cut-it-out.
Ochoa, Amparo. El Cancionero Mexicano, Vol 3. Discos Pueblo. Features two songs, "La
Calaca," and "Viene La Muerte Echando Rasero," whose lyrics are included in this packet.
Orozco, Jose Luis. Fiestas-Holidays con Jose Luis Orozco, Vol. 6.. Arcoiris Records, Inc. 510/5275539. Includes the song "Dia de los Muertos." Perfect for young students.
STUDENT
HANDOUT
SECTION
,
Dias de Muertos Recipes
11/2cups flour
1/2 cup sugar
1 teaspoon salt
1 tablespoon of anise seed
2 packets of dry yeast
Y2cup of milk
Y2cup of water
Y2cup of butter
4 eggs
3 - 4Y2cups of flour
1. Mix all dry ingredients together except
the 3 - 41/2 cups of flour.
2. In a small pan, heat the milk, the water,
and the butter. Add the liquid mixture to
the dry mixture.
3. Beat well.
4. Mix in the eggs and 11/2 cups of flour.
Beat well.
5. Put in the rest of the flour, little by little.
6. Knead the mixture on a floured board
for 9-10 minutes.
7. Put the dough in a greased bowl and
allow it to rise until it has doubled in size
(about an hour and a half at sea level).
8. Punch the dough down and reshape it
with sollie "bone" shapes on top to
decorate it.
9. Let it rise another hour.
10. Bake at 350 degrees F for about 40
minutes.
11. After baking, sprinkle it with
confectioner's sugar and colored sugar.
1112taza de harina
112 taza da azucar
Una cucharadita de sal
Una cucharada de semillas de anis
Dos paquetitos de levadura
1/2 taza de leche
Y2taza de agua
Y2taza de mantequilla
4huevos
3-4% tazas de harina
1. Mezcle todos los ingredientes secos
menos las 3 - 41/2 tazas de harina.
2. En una olla caliente la leche, el agua y la
mantequilla. Ai'iada la mezc1a liquida a
la mezcla de ingredientes secos.
3. Batalo bien.
4. Agregue los huevos y una taza y media
de harina. Batalo bien.
5. Agregue el resto de la harina poco a
poco.
6. Sobre una tabla enharinada, amase por
unos 9 -10 minutos la mezc1a.
7. Ponga la masa en un recipiente
engrasado, y deje que levante hasta que
haya doblado su tamano
(aproximadamente hora y media al
nivel del mar).
8. Para que la masa se encoja, dele
pufletazos y f6rmela de nuevo con unos
"huesos' de masa encima para decorarla.
9. Deje que levante una hora mas.
10. Hornee a 350 grad os F por unos 40
minutos.
11. Despues de hornearlo, espolvoreele
azucar glass y azucar coloreado.
MOLE NEGRO
MOLE NEGRO
(Serves 8-12)
(para 8-12 personas )
2 whole chickens, cut into pieces
6 Chicken stock*
5 chiIhuacIe negro or mulato chiles
5 guajillo chiles, or pasilla chiles
4 pasilla chiles
4 mulatto chiles
2 chipotle chiles
1 medium white onion, cut in quarters
6 cloves garlic
2 Tbs whole almonds
2 Tbs shelled, skinned peanuts
2-4 Tbs lard
1 boIiIlo bread
1 small ripe plantain, or use a small banana
1/2 C sesame seeds
1 Mexican cinnamon stick
2 whole peppercorns
2 whole cloves
2 medium tomatoes, chopped
5 fresh tomatillos, chopped
1/2 tsp dried oregano
1 bar of Mexican chocolate
1 avocado leaf
fresh tortillas
Simmer the chicken in the stock until tender, about
30 min. Remove, keep warm.
Toast the chiles, or fry them in lard, until just
darkened - don't let them bum. Place in bowl, cover
with hot water until soft, about 30 min.
Puree chiles in blender, adding the soaking water if
needed to form a paste.
Roast the garlic and onion in the same pan until
slightly brown, then remove.
Toast the almonds and peanuts slightly, remove.
Toast the chile seeds until dark but don't let bum.
Fry bread amd plantains until brown, remove.
Fry sesame seeds at low heat until slightly brown,
stirring often.
Toast the cinnamon, peppercorns and cloves lightly
in a dry pan. Let cool, and grind.
In a blender or processor puree nuts, sesame seeds,
bread. Add onions, garlic, plantains and puree.
Remove, then puree tomatoes.
fry the chile paste until dry, but don't let it bum.
Add tomato puree and fry until liquid is gone. Add
spices, ixture, pureed onion mixture, and spices.
Heat to a simmer while stirring constantly, add
chocolate. Toast the avocado leaf over open flame
briefly, then add to mixture.
Slowly add reserved chicken stock to mixture until
mixture will just coat a spoon.
Salt to taste.
Simmer for 5 min, then add chicken and heat thru.
2 pollos completos
3/4 kg. de jitomate
50 grs. de almendras
50 grs. de cacahuates
50 grs. de ajonjoli
10 chiles mulatos
18 chiles chilhuacles
6 clavos de olor
6 granos de pimienta
1/2 pan bolillo
1 hoja de aguacate
1 tortilla
1 tablita de chocolate
1 raja de canela
1 cucharadita de oregano
manteca, sal
4 cebollas finamente cortadas
de 7 a 10 cabezas de ajo picadas
1. Tueste los chiles chihuacles en el comal,
hasta que se pongan negros, (cuidando
que no se carbonicen). Haga 10 mismo
con la tortilla.
2. Ase los chiles, desvenelos y p6ngalos a
remojar en agua con sal.
3. Ponga el guajolote a cocer en suficiente
agua y el espinazo de cerdo, junto a la
cebolla, el ajo y la sal.
4. Quite las semillas a los chiles, muelalos y
frialos en manteca.
5. Tueste el ajonjoli y la hoja de aguacate.
Luego muelalos con la tortilla tostada,
las almendras, los cacahuates, las
semillas de chile, el pan y las especias.
Fda todo junto.
6. Agregue el chile y fria un poco mas. .
7. Luego ponga el jitomate (molido y
colado), el chocolate y el caldo en que se
cocin6 el guajolote y el espinazo.
8. Deje hervir hasta que la salsa tenga una
consistencia espesa.
24 dried corn husks
1 cup lard
1 teaspoon salt
21/2 cups masa harina mix
11/2 cups warm pork or poultry broth filling
(Turkey in Green Mole Sauce or Pork in Red
Tomato Sauce)
To soak corn husks: cover with warm water;
weigh down. Let soak at least 3 hours or
overnight.
For tamale dough: Beat lard and salt until
fluffy. Slowly beat inmasa harina mix
alternately with broth until very light and
fluffy.
To assemble tamales: Drain corn husks, pat
dry. Spread 2 tablespoons dough on center of
husks forming a 3 x 2-inch rectangle and
spreading copletely to right edge.
Spoon 1 tablespoon filling lengthwise down
center of rectangle.
To enclose tamales, turn right side over to
center of filling; fold left side over filling,
allowing plain part of husk to wrap around
filling. Fold top end down over bottom end.
Secure ends by tying' a string around center of
tamale.
To steam tamales, place a rack 2 inches above
gently boiling water in steamer or 4-quart
dutch oven. Stack tamales, folded side down,
on rack. Cover, steam about 2 hours or until
done. To test for doneness, remove one tamale
from center and one from side of steamer.
Open husks; tamales should be firm and come
away easily from husk.
Makes 24.
1kg. de harina de maiz cacahuazintle
1cucharada sopera de polvo de
hornear
1 1/2 tazas de manteca
1/2 taza de caldo de polIo
10 cascaras de tomate
2 cucharadas soperas de allis
Hojas de maiz lavadas
Sal
1. Hierva en 2 tazas de agua, las
cascaras de tomate conel allis. Cuele y
separe el agua.
2. En un recipiente ponga la harina de
maiz, afiada sal y polvo de hornear.
3. Semiderrita la manteca y viertala en
la mezc1a anterior.
4. Comience a amasar afiadiendo poco
a poco tanto el caldo de polIo como el
agua donde hirvieron las cascaras de
tomate, hasta obtener una textura
uniforme y se logre que una bolita de
masa £lote en agua sin desbaratarse.
5. Coloque una pordon de masa en
cada hoja de maiz, agregue polIo en
mole, rajas con queso, 0 cualquier otro
rellono y envuelva. Acomode en una
vaporera y cueza durante una 1/2
hora.
Songs
LACALACA
Mucho cuidado senores
porque la muerte anda lista
en el Pante6n de Dolores
ya nos tiene una cosita,
para los compositores
y uno que otro periodista.
licenciados y doctores
todos estan en la lista.
El obrero gana el pan
con el sudor de su frente
para que sus hijos coman
aunque no 10 suficiente.
Mientras muchos abusivos
viven violando las leyes
ganando 10 que ellos quieren
por andarse haciendo giieyes.
Tucutucutiquitaca,
jque recanija calaca!
cuando menos 10 pensamos
nos hace estirar la pata.
Yo me Ie escape una vez,
pero por poco y me atrapa.
Tucutucutiquitaca
jque recanijacalaca!
yo les pido una disculpa,
si es que meti la pata
aunque son muy parecidos
no es 10 mismo giiey que vaca.
La muerte no ensena el cobre,
tarnpoco hace distinciones
10 mismo se lleva al pobre
que al rico con sus millones.
Uno va en estuche de oro,
y otro en puros calzones,
pero pasadito el tiempo
quedan igual de pelones.
Tucutucutiquitaca
jque recanija calaca!
ricos y poderosos
de morir nadie se escapa
llevarnos el mismo fin
en petate 0 petaca.
La balanza de la vida
est! muy desnivelada
hay pocos que ganan mucho
y muchos no ganan nada,
el trabajo del obrero
no tiene compensaciones
con esto del minisueldo
no alcanza ni pa' camiones.
Yo conoci a un comerciante
bueno pa' rob~ al cliente
las cosas que valen cinco
61siempre las daba a veinte,
pero se muri6 de frio
hay pobrecito de repente
10 mandaron al infiemo
para que el diablo 10 caliente.
Tucutucutiquitaca
jque recanija calaca!
a todos esos careros
116vatelos de corbata
indeseables usureros
chupan como garrapatas.
Tucutucutiquitaca
jque recanija calaca!
si tU conoces al diablo
ruegale que no sea ingrato
pa' que el costa de la vida
se nos ponga mas barato.
Mucho cuidado senores
los que ya son votadores
ahi vienen las elecciones
con sus manipulaciones
y cada partido dice que
debe votar por ellos
y que de hoy en adelante
nos daran vida de reyes.
Tucutucutiquitaca
jque recanija calaca!
y ahi viene otro presidente
a sonarnos la matraca
viene prometiendo mucho
pero nos dara pura ...
Tucutucutiquitaca.
Songs
VIENE LA MUERTE ECHANDO RASERO
Viene la muerte echando rasero
se lleva al pobre tambien al viejo
viene Ia muerte echando parejo,
no se Ie escapa ni un pasajero.
La muerte viene como segura
matando justos y pecadores
no se Ie escapan ni los doctores
no se Ie escapa ni el senor cura
pues nos incEna a la sepultura
no se Ie escapa el rezandero
ni el borracho por vinatero
ni el asesino por ser maton
todos tendremos que ir al panteon.
Viene la muerte echando rasero
se lleva al pobre tarnbien al viejo
viene la muerte echando parejo,
no se Ie escapa ni un pasajero.
Mueren obispos, mueren prof etas
mueren vicarios y confesores
ya no les curan los doctores
ya no les cufan ni las ampolletas
mueren cantantes y poetas
mueren ricos y jomaleros
Viene la muerte echando rasero
se lie va al pobre tambien al viejo
viene la muerte echando parejo,
no se Ie escapa ni un pasajero.
Viene la muerte tarde 0 temprano
nos asesina rapidamente
ella no tiene ningUn pariente
ella no tiene ningUn hermano
muere el muchacho, muere el anciano
tambien se lleva al ingeniero
aunque ha tenido buenos colegios
ahi no valen los privilegios.
Viene la muerte echando rasero
se lleva al pobre tarnbien al viejo
viene Ia muerte echando parejo,
no se Ie escapa ni un pasajero.
Hacia la tumba vamos marchando
Vamos marchando sin dilacion
Bien remachados en un cajon
Cuatro personas nos llevan cargando
tiene ventaja
porque el mismo se hace su caja.
Mas si se toman un ron potrero
Entonces lloran con mas razon
Aunque no hagan
Viene la muerte echando rasero
se lleva al pobre tarnbien al viejo
viene la muerte echando parejo,
no se Ie escal?a ni un pasajero.
Viene la muerte echando rasero
se lleva al pobre tarnbien al viejo
viene la muerte echando parejo,
no se Ie escapa ni un pasajero.
Viene la muerte y se avienta encima
y hasta se burla de sus contrarios
porque se lleva a los boticarios
que estan nadando en la medicina.
La muerte ha sido tan asesina
que carga puestos
Muere el casado, muere el soltero
mueren cristianos de gran empresa
Antes que venga hay que echar cerveza.
Negro Jueves diecinueve
Culinta muerte has de sembrar
Desdichada
Entre pinto y otros mas.
Si el que prometido
Justifica us existencia
Aunque ya murio postigo
Vivira en nuestra conciencia.
Days Ot the Dead Vocabulary
Glossary
alabanzas: oraciones de alabanza.
alebrijes: figuras de papel mache que
representan animales 0 criaturas
imaginarias.
alfenique: pasta de azucar 0 mazapan para
hacer calaveras de dulce u otras figuras.
amate, papel: papel hecho con la corteza
de una higuera silvestre.
anima: [1] sin6nimo de alma. [2] figuras
que representan las almas de los difuntos.
angelitos, angelitas: las almas de los nifios.
atole: bebida hecha de maiz y agua 0 leche.
calaca: Esqueletos que representan la
muerte
calavera: [1] cnineo. [2] versos satiric os u
humoristic os que se elaboran para halagar
o criticar personas importantes en la
politica, la farandula 0 el mundo
intelectual y que aparecen durante esta
epoca en los peri6dicos.
calaveras de dulce: craneos hechos con
azucar, clara de huevo, agua , jugo de
lim6n, almendras y crema. Se ponen en
los altares y /0 dan como regalo.
cementerio: pante6n 0 camposanto.
cempasuclV-1:tambien conocida como flor
de muerto, calendula, maravilla, de color
amarillo 0 anaranjado.
champurrado: atole de chocolate.
copal: tipo de incienso.
Dia de los difuntos 0 Dia de los fieles
difuntos. Fiesta cat6lica que se celebra el
primero de noviembre.
difunto: sin6nimo de muerto.
Linares, Pedro: (1906-1992) Artista de
fama mundial que hizo calaveras, calacas y
alebriijes de papel mache. Se Ie reconoce
como el creador de los alebrijes.
masa harina: harina de maiz qye se usa
alabanzas: prayers of praise.
alebrijes: papier mache figures
representing imaginary animals and
creatures.
alfefiique: sugar or marzapan paste to
make sugar skulls and other figures.
amate, papel: paper mad.e of a wild fig
tree.
anima: [1] soul. [2] figures representing
souls of the dead.
angelitos, angelitas: souls of children.
atole: drink of com cooked with milk or
water.
calaca: In Mexico, a skull or a skeleton
figure representing death.
Calavera: [1] Skull. [2] satirical or
humorous verses used to praise or criticize
important or recognized political,
intellectual or celebrity figures. They
appear in newspapers at this time of the
year.
calaveras de dulce: Skulls made of sugar,
egg white, water, lemon juice, almonds
and cream of tartar. They are placed on
altars and/ or given as a gift.
cementerio: cemetery.
cempasuchil: Yellow or orange marigolds
that symbolize death.
champurrado: Mexican chocolate made in
atole.
copal: type of incense.
Dia de los difuntos 0 Dia de los fieles
difuntos .. The Catholic feast of All Saints'
Day
difunto: dead.
Linares, Pedro: (1906-1992) Worldrenowned artist who created papier
mache calaveras, calacas and alebriijes. He
is considered the creator of the alebrijes.
para hacer tortillas y tamales.
mole: una complicada y deliciosa salsa de
chile y chocolate.
ofrend a: [1] dadivas colocadas en el altar
para halagar a los espiritus de los muertos.
[2] sinonimo de altar: Banco, mesa 0 grada
que se coloca en alguna parte de la casa
para ofrecer las dadivas a 10smuertos.
pan de muerto: Pan dulce que se elabora
especialmente para El dia de los muertos.
Muchas veces aparece decorados con
'lagrimas' 0 figurs de harina que semejan
huesos.
papel picado: papel de china de recortado
o perforado. Se usa en como decoraci6n en
festividades.
pasquin: versos satiricos que
originalmente se publicaron en Espana.
Posada, Guadalupe Jose. (1852-1913):
Artista mexicano, autor the numerosas
ilustraciones sobre la muerte. Su satirica y
humoristica vision de la muerte en la vida
cotidiana mexicana ha sido y continua
siendo fuente de inspiracion para artistas
de las mas variadas escuelas dentro y fuera
de Mexico.
tamal: allmento prehispanico en forma de
pastelito de maiz que se rellena y cuece al
vapor en hojas de elote 0 phitano.
tianguis: sin6nimo de mercado.
masa barina: com flour used ti make
tortilla and tamale dough.
mole: a complicated and delicious salsa
made of chile and chocolate.
ofrend a: [1] offerings set out to honor and
flatter the returning souls. [2] altar, tables
or stands set aside by Mexican families to
welcome their dead relatives.
Pan de muerto: Sweet loaf bread, shaped
into a swollen oval' and decorated with
"lagrimas," small pieces of baked dough
representing human bones or small skulls.
papel pica do: cut or perforated tissue
paper used as a decoration during
celebrations.
pasquin: lampoon or anonymous verses
originally published in Spain.
Posada, Guadalupe Jose (1852-1913):
Mexican artist, author of wonderful
illustrations depicting death in the
everyday life of Mexican people. His
satirical and humorous vision of death has
been a source of artistic inspiration for
Mexican artist within and outside Mexico.
tamal: plural, tamales. Pre-hispanic food
made of com meal, stuffed with meat or
vegetables and steamed in a com husk or
banana leaf.
tianguis: market.
Refranes y dichos populo res sobre 10 rnuerte
AI fin que para morir nacimos.
AI vivo todo Ie falta y al muerto todo Ie sobra.
Amigos hasta morir, pero de prestarte nada hay que decir.
A ver a un velorio y a divertirse a un fandango.
Cargar con el muerto.
Cayendo el muerto y soltando eillanto.
Cuando el tecolote canta, el indio muere ... No es cierto, pero sucede.
Cuando estes muerto, todos dinin que fuiste bueno.
Al diablo la muerte, mientras la vida nos dure.
De aqui a cien anos, todos seremos pel ones.
Donde lloran esta el muerto.
El asno s610 en la muerte halla descanso.
EI muerto a Ia sepultura y el vivo a la travesura.
EI muerto y el arrimado a los tres dias apestan.
EI que ha de morir a oscuras, aunque muera en veleria.
EI que por su gusto muere hasta Ia muerte Ie sabe.
Era mas grande el difunto.
Hay muertos que no hacen ruido y es mas grandesu penar.
Huyes de la mortaja y te abrazasdel difunto.
La gratitud no es a perpetuidad como los sepu1cros.
Las penas no matan, pero ayudan a morir.
Muerta Jacinta, que se mueran los guajolotes.
Muerto el ahijado, se termin6 el compadrazgo.
Muerto el perico, lpara que quiero la jaula?
Muerto el perro se acab6 Ia rabia.
No es rp.ala la muerte cuando se lleva a quien debe.
No vas a morir de parto ni de cornada de burro.
Poco veneno no mata, ni mucho si no es activo.
S610Ios guajolotes mueren en la vispera.
Todos nacemos llorando y nadie se muere riendo.
Velo y mortaja del delo bajan.
Ya ni en Ia paz de los sepu1cros creo.
Yerba mala nunca muere y si muere no hace falta.
Calaveras Sarnples
Se petate6 Pete Wilson
Pero dej6 su legado
Ahora llora en el infierno
Donde esta bien chamuscado.
Vamos aver si Gray Davis
Nos sale un poco mejor
Y no salir de Guatemala
Para entrar a GUi;ltepeor.
W'
A LOS CLINTON
Pobre Clinton ya se muere
Ya se Ie llega la hora
Pronto colgara los tenis
Pero Ie sigue su senora;
Hillary ya va en camino
Pues decidi6 en mala hora
Que Ie gusta la politica
Y quiere ser senadora.
t
Ernesto Zedillo en una banca
Muy sentadito estaba
Y eso lleg6 la calaca
A decirle que se 10 llevaba.
N eto se resistia,
Pues morir no queria,
Pero no pudo quedarse
Y al infierno fue -a quemarse.