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20261102 073000 UTC
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[00:01:26] In Mexico death has a very
[00:01:30] I think it's always important to think about particular quality, it can dress up for
[00:01:34] Mexico, I don't know if you know that a party, it can wear a huge hat,
[00:01:37] become a mocking verse or appear in
[00:01:40] a small sugar skull, here we
[00:01:43] dare to joke with death, to represent it in
[00:01:47] art and even welcome it with
[00:01:50] music, flowers and our best
[00:01:53] dishes, but where does this singular
[00:01:56] way of relating to
[00:02:00] death come from, who
[00:02:03] story about a parade of turned the Katrina into a national symbol, why do we write
[00:02:07] memory, before going literary skulls and how a deeply
[00:02:11] familiar celebration ended up conquering
[00:02:15] international stages. Today
[00:02:18] we will discover that, although death is
[00:02:21] universal, each town has a different way of
[00:02:24] remembering it. We will travel through
[00:02:27] Mexico, through the United States, El Salvador
[00:02:30] also through Bolivia, we will get to know a
[00:02:34] perspective from Caracas,
[00:02:37] welcome to Telesur to our third special
[00:02:40] program dedicated to the Day of the
[00:02:43] Dead, today death is dressed
[00:02:47] in celebration and you will see why we are going
[00:02:50] at this time to connect with my
[00:02:54] colleague eh Daniel Rosas, this is the
[00:02:58] beginning of our journey in
[00:03:00] Mexico, in one of the places where this celebration
[00:03:04] acquires a particularly profound
[00:03:06] meaning, these are the cemeteries, on these
[00:03:10] dates families arrive with flowers, candles,
[00:03:13] offerings, also to remember their
[00:03:16] to talk to us about everything loved ones. The cemeteries become spaces of
[00:03:20] encounter where memory, traditions and affections
[00:03:24] remain alive. We go live,
[00:03:27] as I was telling you, with my colleague
[00:03:33] country here, but it is also nice to incorporate what Daniel, who is in a cemetery, he will tell us
[00:03:36] which one, to show us how this
[00:03:39] in times where the commercialization celebration was experienced today,
[00:03:42] Daniel, good evening, what an atmosphere was experienced rather
[00:03:46] during the day eh by the
[00:03:49] family remembering their loved ones, go ahead
[00:03:53] Daniel,
[00:03:56] thank you and good evening to all, indeed this is the
[00:03:59] San Isidro cemetery in the northern part of Mexico City and it is
[00:04:03] particularly striking because it is
[00:04:05] important thing about this known as the children's cemetery, precisely priority is given to the
[00:04:08] graves of the little ones who have passed away and precisely today,
[00:04:12] here in Mexico and in many parts of the world, the day of the deceased
[00:04:15] children is commemorated, it is particularly striking and full of
[00:04:18] color because today, particularly today, the
[00:04:22] graves of the boys and girls who passed away are filled with pinwheels,
[00:04:25] toys, balloons, a lot of
[00:04:29] color and... a lot of celebration and precisely to be able to know a little
[00:04:33] about this atmosphere of wind turbines, pinwheels
[00:04:36] or as we call them here in Mexico,
[00:04:40] in costumes, also in reguiletes, I allowed myself to art, in fashion, talk to Don Carlos Vicente, Carlos Vicente is an artisan precisely
[00:04:43] of the Reguilete and windmills, Carlos, well, we are transmitting
[00:04:47] for an international television station, they see us in many parts of the world
[00:04:50] and we want to ask him
[00:04:54] as part of the natural cycle of about these toys and particularly today that people
[00:04:56] buy them, how has it been for them, well, right now, thank God,
[00:05:02] And the second, from the patrimonialization we thank God that he allows us to be here again this year to bring you
[00:05:05] this, more than anything, the traditional ornament that is our pinwheel that we make
[00:05:09] here for the graves and well, yes, sales are a bit
[00:05:13] low, but God willing, tomorrow, which is the good day, we hope
[00:05:17] to finish everything, well, we were watching, I tell you, here is his family and
[00:05:20] everyone at this moment making these pinwheels, yes, here, more than anything,
[00:05:24] we arrive a day before so that this, well, since it is a lot of material
[00:05:28] that we make and it is a lot of bulk, we come to prepare ourselves, more than
[00:05:31] anything, here we make it from scratch from this, well,
[00:05:35] cutting, assembling, gluing, it is a job, but we do it from the
[00:05:39] heart and because we have brought this tradition for a long
[00:05:43] time and it gives us a livelihood for this
[00:05:47] date, more than anything, that's what I was going to ask, it's a tradition that is passed down among families,
[00:05:51] yes, more than anything, for a long time now, family members, 30, 30
[00:05:54] years more or less, already the antiquity well, from generation to
[00:05:58] generation, we pass it down mutually, now, families,
[00:06:02] nephews, uncles, children, well, here we are, I thank you very much, Don
[00:06:05] Carlos, okay, thank you very much to everyone, greetings, Carlos
[00:06:09] Vicente, precisely an artisan of the pinwheel, reguilete as we know it
[00:06:13] in Mexico, Isa, and well, we are surely observing the images
[00:06:17] of this morning of how all the graves here in the children's cemetery
[00:06:20] were filled with these toys, balloons, but it must be said also
[00:06:24] of many families who come and play music, although
[00:06:27] with tears, Isa, you already said it, here in Mexico we celebrate and even
[00:06:31] joke with death, although with tears, here the people who are still at
[00:06:35] this time of night, well, we can find them still
[00:06:38] singing, enjoying and commemorating their loved ones
[00:06:42] who have passed away, so for now, that's what's happening here in one of the traditional
[00:06:46] cemeteries in Mexico City and well, I have no choice but to invite you,
[00:06:50] of course, to continue with us in this, which is just the beginning of this special
[00:06:53] program, Aisa,
[00:06:56] hey Daniel, how moving this way of keeping
[00:07:00] those who are no longer here present, these pinwheels
[00:07:04] are very particular and are seen a lot and
[00:07:07] precisely behind these
[00:07:10] celebrations, Daniel, there are symbols that help
[00:07:14] us understand the relationship between life,
[00:07:17] death and
[00:07:20] to what's next, I want to ask you Daniel, where
[00:07:23] will you be tomorrow?
[00:07:24] Well,
[00:07:27] tomorrow we will have details of two
[00:07:30] possible points, but both have to do, of course, with this tradition, either
[00:07:34] we will visit the traditional Pantheon of Dolores in Mexico
[00:07:37] City, the importance of this cemetery is that there is the rotunda of
[00:07:41] illustrious people. That is, great men and women who have
[00:07:45] given life to Mexican history are there their remains and there
[00:07:49] are truly artisan graves, a true
[00:07:52] colossal craftsmanship, well, a wonderful thing, or
[00:07:56] there are also some monumental offerings,
[00:07:58] particularly in what is considered the largest public
[00:08:01] university in Mexico, the Onam, a monumental offering has been placed
[00:08:05] there, so we will be at one of these two points and of course with
[00:08:09] many details and more stories to tell the people who accompany us from...
[00:08:12] parts of the world,
[00:08:15] hey, thank you very much Daniel, now we are going to go Daniel with
[00:08:19] our colleague in Caracas with Marina
[00:08:22] Aguirre, because she precisely
[00:08:25] wants to talk to us, she is going
[00:08:28] that is used in an offering,
[00:08:32] go ahead Marina, good evening to
[00:08:35] you.
[00:08:46] Hello Isa, how are you, I greet you from Caracas, the Venezuelan
[00:08:50] capital, where I also tell you that this tradition
[00:08:53] is celebrated, which has among its main figures the
[00:08:57] Catrina, an elegant skull, born as
[00:09:00] a social critique that has become the most beloved
[00:09:03] face of the Day of the Dead, I tell you how its history began, it was at
[00:09:07] the beginning of the 20th century, the caricaturist José Guadalupe
[00:09:11] Posada gave life to the Calavera Garbancera, he created it as
[00:09:15] a critique of the Mexican upper class that imitated European
[00:09:18] customs and despised its own roots, that
[00:09:22] sophisticated skull adorned with a haute
[00:09:26] couture hat has become a symbol of social
[00:09:29] hypocrisy, also a reminder that death
[00:09:33] comes for everyone without distinction of economic
[00:09:36] or social status. Over time, the Catrina
[00:09:40] ceased to be just a critique to become the emblem of Mexican
[00:09:43] culture, its figure lives in popular
[00:09:48] in sugar skulls,
[00:09:52] offerings. The Catrina embodies the duality of life
[00:09:56] and death, a central concept of the Mexican
[00:09:59] worldview. Here, death is not
[00:10:02] feared, it is celebrated
[00:10:06] existence, that is why it is represented with
[00:10:09] elegance and grace, challenging the idea that death
[00:10:13] is somber or terrifying and transforming grief into a
[00:10:17] celebration, uniting communities in an act of
[00:10:20] love and respect, for those who say goodbye to a loved
[00:10:23] one,
[00:10:26] Catrina represents embracing the image of the face of the person we love before
[00:10:30] it fades away,
[00:10:33] interesting story, isn't it Aisa, now we go with
[00:10:37] you,
[00:10:41] you know, I have loved this story, Marina, just
[00:10:45] as you have narrated it and from Caracas, because the
[00:10:49] Catrinas for Mexicans are
[00:10:51] significant and well, I find them
[00:10:55] beautiful, in fact, I tell you, I have one this big in my
[00:10:59] house, because I love my daughter too, well
[00:11:03] Marina, thank you, now we are going to discover what is behind
[00:11:07] these representations and for this, today we are joined
[00:11:11] by a writer who has dedicated
[00:11:14] a good part of her work to
[00:11:17] investigating the relationship that exists between
[00:11:20] food, memory and identity,
[00:11:24] I present to you: Mariana Castillo Hernández, she
[00:11:27] is co-author of a book entitled Day of the
[00:11:31] Dead, Recipes and Traditions, which was
[00:11:34] published by La Rose and recognized in the
[00:11:37] Gourmand World Cookbook Awards of
[00:11:41] 2023, she is also editor of Milpa
[00:11:45] Gráfica, a work dedicated, look
[00:11:48] at her, to corn, to native
[00:11:51] corn, very important and also to the
[00:11:54] agricultural knowledge of Mexico, Mariana,
[00:11:58] welcome to Telesur, I am very happy that
[00:12:01] you can come on a day like today, which is Sunday, here to
[00:12:05] share with the wonderful audience of Telesur, to
[00:12:09] talk about the tradition, and this
[00:12:11] particular one that I love, it is one of my favorite
[00:12:15] celebrations in Mexico, and well, the first
[00:12:19] question has to do with the fact that Mexicans
[00:12:22] have turned death into an
[00:12:26] expression, an expression so
[00:12:29] eh, let's say full of color, humor and creativity that
[00:12:33] is fabulous, in your investigations with Mexican
[00:12:36] families, what have you discovered about
[00:12:39] the difference between the celebration we see in the
[00:12:42] streets and the celebration inside homes, do
[00:12:46] you put up an altar, yes, exactly, in
[00:12:49] fact, also one of my favorite holidays, it's a pleasure to be here with
[00:12:52] you chatting, I really look forward to it, like my Christmas,
[00:12:56] in fact, I prefer these days to Christmas and well, to begin with,
[00:12:59] the question you ask me is very important because
[00:13:03] the representation of death is present in our culture
[00:13:07] since Mesoamerican times, right, and we see the changes and that's
[00:13:10] why it's so ingrained because it's not something foreign
[00:13:14] and in the streets, well, right now we also see various
[00:13:17] representations of parades that are more contemporary now, but the
[00:13:21] important thing about this date, we must remember, happens in the
[00:13:25] intimate altars and offerings, it doesn't matter if it's a small
[00:13:28] altar that only has a candle, a few flowers, because it's also
[00:13:32] expensive to put up an altar, it also
[00:13:34] moves the economy, it's very important, right now just yesterday I was going to the
[00:13:38] market with my husband, we went to a new market that we didn't know in Tlalnepantla
[00:13:42] and well, you see all the commerce associated with this, both contemporary
[00:13:46] things, we see a lot of plastic and so on, but also all the
[00:13:49] crafts, the copal burners, the different types of flowers,
[00:13:52] pumpkins, let's go, natural cempasúchil
[00:13:55] and not natural plastic ones of all kinds,
[00:13:59] everything, everything, but the important thing here and we must remember it because
[00:14:04] of the celebration has also changed and we will surely talk about that,
[00:14:08] is that the important thing is that an offering is dedicated to someone, it is dedicated
[00:14:12] to a person who is no longer
[00:14:14] here, that is essential, it is not
[00:14:18] exactly very important for families and also in the spaces,
[00:14:21] well, they are a part that also eh is taken up
[00:14:25] to make us remember the value of memory, right, that is the most
[00:14:30] celebration, it is very important what Mariana
[00:14:33] says, because it is not the same to make an offering with the things that the
[00:14:37] offering has than to dedicate it to certain people who have
[00:14:40] touched our heart, well,
[00:14:43] look, and if there is an expression that demonstrates our
[00:14:46] ability to laugh at death, it is precisely
[00:14:50] the calaveritas that you mentioned, some are
[00:14:53] written in verse, with humor and irony and
[00:14:56] others are made with sugar,
[00:15:00] chocolate and amaranth, I love the amaranth ones, you
[00:15:04] too, I love them, they are my favorites, look, look,
[00:15:07] look, look, we are getting to know each other thanks to this
[00:15:10] program, some calaveritas, calaveritas
[00:15:13] are used to make social criticism, those that are written
[00:15:16] and others are part of the offerings and family
[00:15:19] memories, let's see how these small
[00:15:23] representations have become an
[00:15:26] expression of popular Mexican creativity,
[00:15:29] this is the story of my
[00:15:32] colleague Antonio Aranda,
[00:15:35] go ahead Studio.
[00:15:40] They are more than a simple ornament, the sugar skulls represent
[00:15:43] the loved ones who have already departed, but in recent
[00:15:46] years the tradition has transformed without losing its
[00:15:50] pre-Hispanic and colonial
[00:15:51] essence.
[00:15:58] Currently, the use of amaranth, an ancestral
[00:16:01] and highly nutritious seed, is consolidated as
[00:16:05] the main ingredient. in combination with Lucero chocolate,
[00:16:09] artisanal manufacturer of skulls, people look for this type of, in this
[00:16:13] case, food, right now because of health and all that, the sugar
[00:16:17] one is traditional and only here it is used as decoration,
[00:16:21] in fact, it is used, it is saved and it is taken out again next year,
[00:16:24] and these are not, these are good for our offering and later
[00:16:28] to eat them because they are made with amaranth,
[00:16:31] so that's like the plus, right, of the
[00:16:35] de miski, which is the traditional one for Day of the Dead, eh near here
[00:16:39] my uncles would make the skulls, the children would decorate
[00:16:42] them and we would sell them to people, right, so that maybe they would
[00:16:46] eat them at that moment, maybe they would take them to a loved one, maybe for their
[00:16:49] offering and well, currently yes, we do have demand
[00:16:53] for skulls, in this small family workshop, Lucero's
[00:16:56] daughters learn how to preserve their cultural identity and the
[00:17:00] tradition of the skulls, it is a way of remembering
[00:17:03] them, of telling them that we have not forgotten them and that...
[00:17:07] well, we wait for them here every year and by tradition
[00:17:11] we know that they come to visit us from
[00:17:14] the 31st, from the 31st, the first and the 2nd
[00:17:18] of November they come to visit our houses, so what they take with
[00:17:22] them is the aroma of, for example, all
[00:17:25] these products that are like the chocolate skulls, maybe also the pumpkin with
[00:17:29] milk and everything else that is put on the offering, although the offerings
[00:17:33] are to welcome the souls of the deceased, these also cause
[00:17:36] delight in the living, in our culture it is
[00:17:40] a moment to bring back those memories with our loved
[00:17:43] ones through also
[00:17:47] eh trying to obtain those memories
[00:17:50] based on the offering with its foods, the
[00:17:54] drinks they preferred, for me it means the
[00:17:57] love we had for our loved ones, when they
[00:18:01] left us, it is to remember them, to put their
[00:18:04] offering, something they liked
[00:18:08] shredded paper, Cempasúchil flower, pan de muerto, sugar
[00:18:12] skulls, all so that loved ones who have
[00:18:15] already passed away know that their memory is still
[00:18:19] alive. Antonio Aranda Telesur, Mexico
[00:18:22] City.
[00:18:25] Hey, Mariana, and behind that humor, especially in the written
[00:18:28] calaveritas, there is a very interesting relationship
[00:18:32] with death. My question is, why
[00:18:36] here in Mexico? Well, I can also
[00:18:40] make fun of death and even write
[00:18:43] verses imagining my own death,
[00:18:46] of course, I would say that precisely from the very creation,
[00:18:50] for example, of the Catrina and the calaveritas, well, José Guadalupe
[00:18:53] Posada knew that despite the fact that we laugh, it is also a
[00:18:57] way of sustaining the reality, so unequal, so
[00:19:01] complex, right, so I think that remains true today and, for
[00:19:05] example, I saw all the stations across the
[00:19:08] country today and there is a non-conformist Catrina, right, that they put right in the
[00:19:12] Zócalo of Puebla, the searching mothers, there is also the
[00:19:16] Catrina, that is Mexico, Mexico has this contrast where,
[00:19:20] well, we laugh, but also all the time this grief also speaks of
[00:19:23] injustice, so that has been present forever
[00:19:27] in this character and well, there is also the one that the
[00:19:30] Yeca organization put up, which is a trans Catrina because it is also talking
[00:19:34] about all the social changes, right, so I
[00:19:38] love to see what happens every year, to document how the
[00:19:41] writings are changing, how the new manifestations are changing around,
[00:19:44] as if they are adapting, they always, always adapt,
[00:19:48] in fact, well, we also have the presence, well, Juan Rulfo as a
[00:19:51] very important writer, well, he also has this presence where, well, there are
[00:19:55] some very harsh passages, but you also have this play all the time with
[00:19:59] language where, well, death is always present there, hey
[00:20:03] Mariana, another question about the same thing, about the same topic,
[00:20:06] sorry, what is the difference between a tradition
[00:20:10] like this that preserves its community
[00:20:13] sense because of what you are saying and one that ends up being converted
[00:20:17] only into a commercial object, that
[00:20:20] is a topic that interests me a lot and precisely the book Day of the Dead,
[00:20:24] Recipes and Traditions eh seeks that the celebration
[00:20:28] should not be seen as, on the one hand, that the celebration be stripped
[00:20:31] of its original meaning, which is memory and transcendence
[00:20:35] in community, that is the first thing.
[00:20:39] of the celebration, we saw how this era had the
[00:20:43] spotlights on it, right, these new parades that
[00:20:46] exist today, well, there they are, but in reality
[00:20:50] eh the celebration has a very important community sense,
[00:20:53] a while ago I was talking to you about commerce, right, in the
[00:20:58] the celebration, because the original sense of the offerings has
[00:21:01] to do with the crops, a while ago you mentioned precisely the importance of native
[00:21:05] corn, in most
[00:21:09] different areas of indigenous peoples and rural towns, agricultural
[00:21:12] towns and cities, the seasonal
[00:21:15] crops are present, there is no offering that does
[00:21:19] not have it present.
[00:21:27] cacao even in the Tabasco southeast area, so
[00:21:31] it is very important to see it from there, hey
[00:21:34] Mariana, where can we buy your book, the book can
[00:21:37] be bought in most of the bookstores eh in Mexico,
[00:21:41] there also, well, you can go to the bookseller's page
[00:21:45] and to Larus' social networks and well, I think it is also present on Amazon,
[00:21:48] as far as I know. because the book came out some years ago, but
[00:21:52] there are still some copies there and it is important, well, above
[00:21:56] all, it focuses on the food culture
[00:21:59] eh of the festivals in different places because it is very
[00:22:02] difficult eh to represent all the states, the truth
[00:22:06] is that it is a very broad festival in many senses,
[00:22:10] so we only eh portray there eh the
[00:22:13] families who received us very generously, very
[00:22:17] kindly to precisely document those dishes that are important for
[00:22:20] them. I ask because here in
[00:22:24] in schools offerings are also made and children are taught
[00:22:28] from a very young age to prepare the
[00:22:30] offerings, to use shredded paper
[00:22:34] and well, the Catrinas are then the greatest expression, what
[00:22:38] we love to see parading through the streets, from there I tell you that we must
[00:22:42] go to Washington because my colleague José
[00:22:45] Leveña also a Telesur
[00:22:48] correspondent in the United States. He prepared a very nice
[00:22:53] Catrinas in the US capital,
[00:22:57] so let's see.
[00:23:07] The Washington Catrina Parade reached its 2026 edition with skull
[00:23:11] contests, folkloric ballet performances, choirs and musical
[00:23:15] groups, a celebration that brings the community together around a Mexican
[00:23:18] tradition that has crossed borders. In the United States live close to 40 million people
[00:23:22] of Mexican origin, for many of them, the Day of the Dead is a way to maintain the
[00:23:26] bond with their culture, honor their loved ones and share their customs
[00:23:30] in the country where they live today, it is an honor
[00:23:34] to be here and participate and
[00:23:37] share Mexican traditions with the Mexican
[00:23:40] community here in Washington. Traditions are also a meeting
[00:23:43] point. Through music, dresses and celebrations, the
[00:23:47] Latino community preserves its identity and maintains
[00:23:50] ties with their countries of origin, we are Latinos living in the United
[00:23:53] States, Mexican culture is absolutely
[00:23:57] beautiful, the parade was free and open to the public,
[00:24:00] artists and participants joined a day that not only celebrates Mexican
[00:24:04] roots, but also seeks to transmit these customs to
[00:24:08] new generations, it is very important as immigrants here in the United
[00:24:12] States to have these traditions that we have in our countries and
[00:24:15] pass them on to the next generation so that they stay alive here in the United States,
[00:24:19] we are part of the... the
[00:24:23] we have in our countries. The commemoration also reached the Mexican
[00:24:26] Cultural Institute, where a monumental altar with flowers,
[00:24:30] candles, photographs and offerings was inaugurated. This
[00:24:33] time the tribute was dedicated to Mexican artists who left
[00:24:36] their mark on culture, although they did not always receive
[00:24:40] The idea arose from paying tribute to eight magnificent
[00:24:43] Mexican artists, all of whom have
[00:24:47] not had the recognition that others have had, but who... who have left a
[00:24:51] wonderful legacy in Mexican culture and who
[00:24:54] are also my dead, they are people I grew up with, people who were
[00:24:58] always at home with my parents, also artists. The way
[00:25:02] Mexicans receive the souls
[00:25:05] of those beloved ones who have passed
[00:25:08] before us, makes me feel super proud to be Mexican that these kinds
[00:25:12] of traditions can be exported and that other
[00:25:16] countries, other cultures can also learn a little from ours. The Day of the
[00:25:20] Dead is much more than a celebration, it is memory, identity and a way
[00:25:23] to keep present those who were part of our lives. Among cempasúchil flowers,
[00:25:27] candles, photographs and offerings, this celebration reminds us that memory
[00:25:31] is also a form of cultural resistance, because traditions do not
[00:25:34] understand borders, they travel with people, they are transmitted from generation to
[00:25:37] generation and conquer new spaces. From Washington, José
[00:25:41] Leveña, Telesur. I
[00:25:44] agree, I agree with José Leveña that
[00:25:47] traditions cross borders. The celebration of the Day
[00:25:50] of the Dead also speaks to us of migration, of
[00:25:53] belonging and identity, and this story
[00:25:56] reflects it very well. Now Mariana, what does it mean for
[00:26:00] a migrant community like this one that we have.
[00:26:02] Oleveña, to preserve their traditions and
[00:26:05] share them with people from other cultures. All of Washington
[00:26:09] was watching the Mexican Catrinas
[00:26:12] parade, it is very important, we also have to remember
[00:26:16] that cultural matters are maintained thanks to rituals, so
[00:26:19] imagine being away from home and looking for your community
[00:26:23] to continue celebrating what connects you to your origins,
[00:26:27] right? In the book, we have a very beautiful story of the
[00:26:30] family. on the Day of the Dead,
[00:26:33] yes, they make for this season
[00:26:36] only, a lot of pan de muerto, the yolk one, in
[00:26:40] Miaguatlán de Porfirio Díaz, and really most of that
[00:26:43] bread goes to the United States, because also many migrant
[00:26:47] communities from different states, Guerrero, Puebla, Oaxaca,
[00:26:51] Tabasco, well, they have relatives who work on the other side, so
[00:26:54] imagine how important it is for those families to have a bread that
[00:26:58] comes from the place where they were born, but also their grandparents and...
[00:27:02] they have their origin, so it's something very important, why is the
[00:27:06] bread of the dead in the offerings in all the
[00:27:09] altars, in the cemeteries and also on the
[00:27:13] Mexican table, right? Yes, totally, and in fact tamales, right?
[00:27:16] Making tamales is this activity that even outside
[00:27:20] of Mexico continues to be something that connects people, there really
[00:27:24] is a whole ritual, even something that calms
[00:27:27] the spirits given how the global situations are, so
[00:27:32] the social aspect around food and you Mariana, what
[00:27:36] do you think, this kind of internationalization of the
[00:27:39] Day of the Dead helps to enrich it
[00:27:43] or can it blur it? I think
[00:27:46] we always have to be aware that traditions are always
[00:27:50] changing, if there is something alive, it is culture, I think the crux
[00:27:54] of the matter is to understand where that offering comes from,
[00:27:57] where that manifestation comes from, not if it's something
[00:28:00] that is going to be commercialized for commercial purposes. That's where it loses its original
[00:28:04] meaning, which I think is important, that
[00:28:08] it continues to be communal, for the people, which is also something that
[00:28:11] implies reciprocity, we understand that this also generates
[00:28:15] economy, but there are also many actors right now,
[00:28:19] tourists, governmental and of many kinds who
[00:28:22] indeed strip communities of their
[00:28:25] traditions, of their elements to sell them, so I think here
[00:28:29] we always have to be attentive to the meaning of... who is
[00:28:32] offering what they are offering and always remember that all this
[00:28:36] is alive and unites us and is always
[00:28:40] changing, right? Also, there are always elements, we all participate in these changes,
[00:28:43] definitely, I love preparing the
[00:28:46] offering and I say, I'm contributing something new, well,
[00:28:50] who knows, maybe not now. Look, while in Washington the
[00:28:54] Catrina protagonizes the celebrations, in another part of
[00:28:58] the United States we find a
[00:29:00] very different way of
[00:29:02] presenting death in Sleepy Hollow
[00:29:06] north of New York, a literary legend of the 19th
[00:29:10] century, continues to feed the imagination of its
[00:29:13] inhabitants and visitors, it is the
[00:29:16] story of the Headless
[00:29:18] Horseman who every year is part of the Halloween
[00:29:22] celebrations. Our correspondent in New York, Henry
[00:29:25] Camelo, takes us to that town where
[00:29:29] mystery, fear and also...
[00:29:32] Spectacle go hand in hand, go ahead with this
[00:29:36] story by Henry Camelo, studio.
[00:29:48] Every horror story has an origin, and this one
[00:29:52] was born on a cold autumn day in a small
[00:29:55] town north of New York, where
[00:29:59] legend has it that every night the so-called Headless
[00:30:02] Horseman appears, and whoever crosses his path
[00:30:06] could lose theirs. We are
[00:30:09] in the historic town of Sleepy Hollow, where the
[00:30:13] legend of the Headless Horseman was born, written in
[00:30:16] the early 1800s by Washington Irving, considered the
[00:30:20] father of ghost stories in the United States. The
[00:30:24] story is based on oral tradition that dates back
[00:30:27] to the American War of Independence,
[00:30:30] where a Hessian soldier was
[00:30:33] hit by a cannonball that decapitated him,
[00:30:36] and his head was never found. His
[00:30:40] body was taken to the cemetery of the old Dutch church.