La Calavera Catrina

The Vanegas Arroyo family, which published many of Posada's most important works, printed at least four broadsides with Posada's Catrina, all of which have different texts and accompanying images. The first of these broadsides, published for Day of the Dead in 1913, is titled "Remate de Calaveras Alegres y Sandungueras, Las que hoy son empolvadas Garbanceras pararán en deformes calaveras" ("The Ending of the Cheerful and Sandunga-dancing Calaveras", "those that today are powdered chick pea-vendors will end as deformed Calaveras"). Though Posada had probably made his print as a criticism of the wealthy elite, the text of the 1913 broadside was a vicious attack on working class women who sold garbanzo beans (instead of foods native to Mexico).[1]

The second publication of Posada's image was in a broadside titled "Han Salido por Fin, Las Calaveras" ("They have finally left"), issued sometime after Antonio Vanegas Arroyo's death in 1917. The third broadside with the image was called "Calaveras de la Cucaracha, Una Fiesta en Ultratumba" ("Calaveras of the cockroach, a fiesta from beyond the grave"). The text includes the word "catrines" (male dandies). Curator Ruben C. Cordova thinks it was printed in the 1920s. "El Panteon de las Pelonas" ("Graveyard of bald/dead women"), the fourth Catrina broadside, is dated 1924.[1]

Diego Rivera's mural Sueño de una Tarde Dominical en la Alameda Central ("Dream of a Sunday afternoon in the Central Alameda"), which stretches 15 yards, depicts 400 years of Mexican history from the Spanish Conquest to the Revolution. Rivera included many historical figures in the fresco, which was originally painted for the Hotel del Prado in the historic center of Mexico City. When the 1985 earthquake required the destruction of the hotel, the fresco was moved to the Museo Mural Diego Rivera, which is adjacent to the Alameda Park. The museum was built specifically to house and display Rivera's restored mural.[3]

Rivera placed Posada (dressed in a black suit) and Catrina in the center of his fresco. Rivera depicted himself as a boy who holds Catrina's hand. Frida Kahlo stands behind and between them. Rivera keeps the big bourgeoise hat that Posada gave to Catrina. But instead of outfitting her with a matching bourgeois gown, he puts her in a simple Tehuana skirt, similar to those Kahlo wore, which were associated with indigenous women from Tehuantepec. The feather rattlesnake boa links Catrina with the Mesoamerican god Quetzalcoatl (the feathered serpent), and its stone rattle connects her to the Aztec goddess Coatlicue ("She of the Serpent Skirt"). Like snakes and Coatlicue, Rivera's Catrina has fangs and a bloody mouth. The gold belt buckle has an ollin glyph, which symbolizes movement (and the earthquakes the Aztecs thought would end their era). Eyes are visible behind the skull mask, which makes this a life and death figure. Cordova argues that Rivera made Catrina into a nationalist emblem that referenced indigenous cultures and the philosophy of dualism. [1]

Catrina became central to Mexican identity in part because Posada was made into the "primary artistic ancestor figure" for the generation of the Mexican Muralists. Additionally, for many years, influential Day of the Dead festivities in Mexico City were held at museums that centered on Rivera and Kahlo, where the Linares family made three dimensional versions of Posada's prints out of papier mâché. Consequently, Posada, Rivera, and Kahlo were woven into foundational urban commemorations in Mexico City. Even without the Mesoamerican attributes Rivera provided to Catrina, she still functions as a national emblem associated specifically with Mexico.[1]

Catrina appears on all manner of commercial and festive products relating to Day of the Dead. Her image inspires numerous artists to recreate her every year. There are numerous contests for the biggest, the most, and the best Catrinas, especially in Mexico and the U.S. Catrina impersonators abound, and there are even Catrina fashion shows, and Catrina-themed balls and benefits for non-profit organizations.[1] [4] [5][6]

Large image of Catrina on the road from the airport to Aguascalientes, Posada's home town.

Dressing as a "Catrina" is a popular costume in Day of the Dead celebrations in Mexico. Catrinas typically feature calavera (sugar skull) make-up.[7] There is also a male counterpart to the Catrina, called the Catrin. They wear the same skull makeup and black clothes, either a formal suit with a top hat or a mariachi costume. A cane might also be part of the costume.[8][9]

• Day of the Dead, circa 2014.
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  Woman dressed as a Catrina
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  Girl dressed as a Catrina
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  A Catrina
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  Three children dressed as Catrinas
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  Woman dressed as a Catrina

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  A Catrina inspired by María Félix as part of an ofrenda on the day of the dead festivities at San Ángel in November 2014
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  A Catrina inspired by Selena during celebrations of Day of the Dead at Hollywood Forever Cemetery, Los Angeles
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  Center of Diego Rivera's wide mural Sueño de una Tarde Dominical en la Alameda Central (Dream of a Sunday Afternoon in the Alameda Central)
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  Modern representations of Catrina at the Museo de la Ciudad, León, Guanajuato, Mexico
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  Image done in colored sawdust for Día de Muertos
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  Detail of a Catrina figure in Barro negro pottery by artisan Carlomagno Pedro Martinez
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  La Catrina in China Poblana dress, by Rodofo Villena Hernandez in Puebla

• All Saints Day
• Danse Macabre
• Day of the Dead
• Death (personification)
• Ghosts in Mexican culture
• Memento mori
• Santa Muerte
• Skeleton (undead)

Media related to La Calavera Catrina at Wikimedia Commons

• Calavera Catrina by José Guadalupe Posada in the Digital Collections of the Ibero-American Institute