Representation of the original engraving by José Guadalupe Posada titled “La Calavera Garbancera”

One of the most interesting and famous characters which nowadays stands for the Mexican tradition of Día de Muertos (Day of the Dead in anglophone) is called La Catrina. Nevertheless, the context that surround its origins is one which is far from being in the pages of Vogue or inspiring Halloween makeups. On the contrary, it reflected the unstable and scarce qualities and characteristics of the ethos of the Porfiriato era in México. With this approach the aim is not to attack the actual evolved character which due to several geopolitical and social trends has had to adapt and change its “outfit” to satisfy the needs of our ethos. Mexican culture is full of colour, care ethics and joy and anyone who has the chance to experience it would probably agree with this. For now, an approach to the historical vicissitudes this character represented might help to understand it and as well a little of the Mexican culture of that time.

The introduction of the Calavera Garbancera is possible thanks to the Mexican graphic artist José Guadalupe Posada (1852-1913), who’s work was heavily focused on the working class of the Porfiriato Era (1877-1911) a period in the Mexican history characterised by the industrialization and modernisation of the country. While the policies of the leader of the nation Porfirio Díaz were focused on the so called “europeisation”, these strategies lead to a high level of social inequalities which were openly seen throughout the national archives were in that time 90% of the population was part of the low-income population unable to ensure basic living standards such as food or a household. It was that drastic that people used stolen pieces of clothing as exchange currency. Contrary to the opulent 2% of the population who were under the privilege of enjoying whichever commodities they desired, having special interest over European and American goods.

Picture by Heliodoro Juan Gutierrez “Personajes del Porfiriato” 1907 representing the elite of the time

It is under this state of affairs when Posada in his aims of expressing his disagreement over the abuse of the government and the influence the high society had over the population which was mostly poor created this character which would pass to the history as one of the most characteristic of the nation. In 1912, with the presence of the so-called combat newspapers which had the role of criticising the political situation and as well the elite class that Posada created, the Calavera Garbancera (Calavera being the Spanish word for skull or skeleton, Garbancera being chickpea seller) made its first appearance. The reason for this was, according to the museum in charge of Posada’s art collection, to demonstrate in a satirical way to those individuals in that period of Mexican history who even by having an indigenous origin , and possibly being still not part of the elite class, neglected their roots firstly by stopping the sale of corn and embracing the chickpea, something not proper of their social traits of that time, and secondly by being dressed in the same style which was in vogue for the elite. In the Calavera Garbancera we see a big french-styled flamboyant hat with ostrich feathers, embroidered flower decoration and more. Nevertheless, Posada did not forget to put ribbons around the ears as part of the characteristic of the maids in that time to “remind them of their origins.”

In this sense we see a different profile from the Catrina, who in the time of her development was still the Calavera Garbancera; nothing but the mockery by Posada of those individuals with indigenous heritage trying to embrace European traits. This neglecting and urge to hide their indigenous roots was deeply condemned by the artist, therefore the characteristics of his piece, a skeleton with nothing more but a hat associated to the exile, aiming to demonstrate something she isn’t and depicting the scarcity of the time, only a hat and nothing more to cover her bones.

Yet in the character’s story, the role of the muralist Diego Rivera is of utmost importance. According to certain narratives, the muralist deeply admired Posada, who could not see his work being published as he passed away shortly after creating the Calavera Garbancera. Nevertheless, Rivera gave Posada’s creation a dramatic turn, adding certain elements turning her into as we now know her “La Catrina”. Rivera first depicted her in his fresco titled “Sueño de Una trade Dominical en la Alameda Central” (A Sunday Afternoon in the Alameda Park in anglophone) (1946-1947) under the commission by the Hotel del Prado located in Mexico City. The mural is high in iconic presence, from historical characters to Diego Rivera himself in a childhood depiction and José Guadalupe Posada in the center of it holding hands with his creation which had a turnover and a “change in her status” by Rivera.

The naked Calavera which in the moment only counted with a french-looking hat and nothing more, now is appreciated wearing a white elegant dress, a feathered scarf standing for the aboriginal god Quetzalcoatl the feathered snake, a belt with a golden buckle & her original hat and ribbons. Diego Rivera now calls her La Catrina which comes from the adjective used at the end of the XIX century and the beginning of the XX century for the aristocratic society of the time. The moment Rivera saw the Calavera Garbancera now depicted with clothes, elegance and style knew she was La Catrina.

Focus on La Catrina from Diego Rivera’s piece
“ Sueño de Una Tarde en la Alameda Central”

Surely not close to the original one made by Posada but one more ad hoc to the situation not just political but now influenced by the national identity of Mexico deeply connected to the spirituality and the relation we have with Death. La Catrina represents this, what Posada defined as the “muerte democratica” (democratic death) concluding that “at the end, blonde, brunette, rich or poor, everybody will be a skeleton”.

Nowadays we can see to La Catrina not only wearing european couture, but flowers or Mexican traditional indigenous costumes as she becomes a living piece of the Mexican heritage, its connection to Death and celebration of life and every moment we share with our close ones even when they might not be with us in their physical way. La Catrina is a celebration of history, social and cultural evolution and principally the celebration of life.

Sources

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