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La Muerte Baila
Study Guide
© Miracle Theatre Group, 2015
Día de los Muertos: La Muerte Baila
By Emily Edwards
The Netherworld: Mictlan and the Journey of the Dead
The Nahua people, Aztecas, Chichimecas, Tlaxcaltecas, and Toltecas, considered
life to be a dream and only in dying would a person become fully awake. The Aztecs
believed that the destiny of the soul is not determined according to one’s conduct
during their life, but rather, by the manner of
one’s death. If one was sacrificed, died in
childbirth or in combat, then they became
companions of Huitzilopochtli, the sun god. If
one drowned or was killed by lightning, they
went to Tlalocan, the paradise of the rain god,
Tlaloc. However, those who experienced non-
violent deaths or were not selected by the gods
had to pass the nine levels of the underworld
before reach Mictlan, the final place of resting.
The first level of the underworld, otherwise
known as the nine-fold stream, requires one to
cross the river Apanohuaya, during which they
are accompanied by a dog of their preference to
guide them to the other side. This dog is most
likely buried with the decease for this specific
task as well as for companionship in the afterlife. Once on the other side, the dead are
naked and have to cross the ground between the two mountains, the Tepetl
Monamictia, that crash into each other. Then, they go through the mountain, Iztepetl,
which is made out of razor sharp fragments of obsidian. They must then cross the
Cehuecayan, eight freezing gorges with constant snowfall and Iztehecaya, eight valleys
with northern icy winds that cut like obsidian, preparing everything to be divided and
cut into smaller pieces so that only the heart remains. Following the valleys, the dead
go through the Temiminaloyan, a path with a torrent of arrows. It is here that they
realize that a jaguar has eaten their heart. Then, the dead comes to a place of banners,
which reminds them of where they have come from. After going through narrow places
between stones, the dead finally reaches the last stage, Mictlan.
Día de los Muertos Study Guide: La Muerte Baila~ August 2015 Page 1

It is necessary for the dead to make the journey to Mictlan because of the
sacrifice made by the gods to create human life. The legend tells that Queztalcoatl, the
feathered serpent, journeyed to Mictlan to retrieve the jade bones of the humans of
previous times in order to give life a
new era. Mictlantecuhl, the ruler of
Mictlan, decided to test Queztalcoatl by
making him parade four times around
his throne of spiders and owls while
blowing a conch shell before giving him
the jade bones. However, this was a
trick because the conch had no finger
holes and therefore, could produce no
sound. In response, Queztalcoatl
sought the help of worms to bore the
finger holes and of bees to make the
sound of the conch. Despite
Queztalcoatl fulfilling the challenge,
Mictlantecuhl laid a trap into which the
feather serpent fell, shattering the bones in to different sizes of human beings. To
prevent Mictlantecuhl from succeeding, the gods sprinkled the humans’ bones with
their blood to give them life. Because humans were bore from the penance of the gods,
they must endure the tests of Mictlan before returning again to give life.
Sources:
• De La Torre, Miguel A. "Día De Los Muertos." Hispanic American Religious
Cultures: N-Y. Essays. Christology. N.p.: n.p., n.d. N. pag. 2009. Web. 2
July 2015.
• Saadie, Zoe. "Who Goes to Mictlan." Pre-Columbian Americas. N.p., 4 Feb. 2013.
Web. 25 June 2015. <http://www.zoesaadia.com/historia-en-el-
calmecac/who-goes-to-mictlan/>.
• "The Mexican Day of the Dead." The Mexican Day of the Dead. UNC Institute for
the Study of the Americas, n.d. Web. 2 July 2015.
The Four Directions and the Five Suns
In Aztec creation mythology, the lord and lady of duality, Ometecutli and
Omecihuatl, had four sons: Tezcatlipoca, Xipe-Totec, Quetzalcoatl, and Huitzilopochtli.
These sons came to represent the four directions of north, south, east, and west.
Tezcatlipoca was the north, symbolizing zenith, summer, air, wisdom, above, and
femininity. Huitzilopochtli represented the south, which was characterized by nadir,
winter, water, abundance, below, and masculinity. The east belonged to Xipe-Totec and
represented dawn, spring, fire, beginning, front, and the future. Finally, Quetzalcoatl
had the west, which was represented by sunset, fall, earth, end, behind, and the past.

The four brothers were left
with the task of creating the
world. The legend tells that
the earth was once
completely covered by the
ocean and contained a
terrible water monster,
Cipactli, a large crocodile-like
creature that had a mouth at
each one of her joints. In
order to lower the waters and
form the sky and earth, the
four brothers pulled the
monster in the four different directions and destroyed her, Tezcatlipoca losing a foot in
the process. In response, five massive cosmic trees grew in the north, south, east and
west as well as in the center of the world, ensuing that the sky would not fall. The head
of Cipactli became the thirteen levels of Heaven, her body became the Earth, and her
tail became the nine levels of the underworld. The concept of a fifth direction, or the
center of the world, became sacred to the Aztecs because they believed this was the
place were earth, sky, and underworld met.
However, in order to complete the
world, a great source of energy had to be
created- the sun. Because the sun was so
powerful, it could only come into being
through the sacrifice of a god.
Tezcatlipoca was chosen for this task, but
was only able to become half a sun,
making the first creation incomplete. The
gods also created giants from acorns,
making them the first beings of the world.
Unfortunately, a fight broke out between
Quetzalcoatl and Tezcatlipoca, during
which Quetzalcoatl knocked Tezcatlipoca out of the sky. Out of anger, Tezcatlipoca sent
jaguars to the earth to destroy all the giants.
After the destruction of the first sun, Quetzalcoatl replaced his brother and
became the second sun. Humans were then created as they are now and the world was
at peace for a while. Eventually though, the people became corrupt and out of further
revenge for being knocked out
of the sky, Tezcatlipoca turned
all the humans into monkeys.
Furious, Quetzalcoatl sent a
hurricane and blew all the
monkeys away.
Tlaloc, the god of rain

and water, was the third choice to become the next sun. However, Tlaloc became grief-
stricken when Tezcatlipoca kidnapped his wife, Xochiquetzal, the goddess of fertility,
beauty, and female sexual power, and refused to send any rain. Drought overtook the
Earth despite the people’s pleas, and in his final rage, Tlaloc sent down a rain of fire and
burned away the version of his world.
Chalchiuhtlicue, Tlaloc’s sister and the goddess of water, rivers, seas, streams,
storms, and baptism, was chosen to become the fourth sun. Quetzalcoatl and
Tezcatlipoca became jealous, however, and struck down the sun. As Chalchiuhtlicue fell,
the sky opened up and water flooded the earth. After the destruction of the fourth sun,
Quetzalcoatl made the journey to Mictlan to retrieve the jade bones and reform the
human race.
The gods gathered together to bring another sun into the world, during which
the god Tecuciztecatl volunteered himself. However, the gods believed that the poor
and humble god, Nanahuatzin, would make a better choice. A great fire was built for
the next sun to sacrifice himself into, and Tecuciztecatl made the first attempts. He was
too afraid, however, to make the final leap, and in response, Nanahuatzin calmly
jumped into the fire. Embarrassed and jealous, Tecuciztecatl followed Nanahuatzin into
the flames, as well as a brave eagle and jaguar. Two suns rose in the east, but the light
was much too bright. The gods threw a rabbit into the face of Tecucitztecatl to dim his
light, and he became the moon.
Sources:
• "Aztec Creation Story." Aztec Creation Story. N.p., n.d. Web. 27 Aug. 2015.
<http://www.aztec-history.com/aztec-creation-story.html>.
• "The 4 Directions." The 4 Directions. N.p., n.d. Web. 25 June 2015. <http://4-
ahau.com/en/The_4_directions.html>.
El Chuchumbé: the Founding Father of Son Jarocho
Originating in southern Veracruz during the Holy Inquisition, son jarocho is a
regional folk musical style of Mexican son that was heavily influenced by the indigenous
of southeast Mexico, the Spanish colonizers, and diasporic Africans of 18th
century
Mexico. Characterized by its fast rhythm, humorous and sexually suggestive lyrics, as
well as its staccato heel dance style, son jarocho originally symbolized the social revolt
against the fundamental colonial power structures of the time.
During the early colonial period (1521-1640), Veracruz became the largest port
of entry for slave ships in America. African labor began to be preferred over Indian
labor as Africans were thought as being,
“accustomed to performing such
difficult jobs and weren’t weak and frail
Indians with little strength and
stamina.” Their strength and stamina
was further utilized in the 18th
century,
as Africans enlisted in the Spanish army
along side the Spaniards and Indians.

However, the inquisitors still negatively valued the Africans and formed the concept of
“el Chuchumbé,” or the myth of the black male rapist.
Although this term was intended to devalue the African race, mestizos, people of
European and Native American heritage, used the concept of el chuchumbé to revolt
against the Spanish Catholic clergy of New Spain. Acting as the founding father of son
jarocho, “Chuchumbé” became a humorous folksong sung in festivals that depicted a
sexualized world in which soldiers and friars would fight to seduce women. The song
illustrated a friar in the street who exposed his “chuchumbé,” or penis, to any
pedestrian and sang, “Whether you like it or not/ the ‘chuchumbé’ is going to get you/
and if it does not fill you I will fill you up/ with what is dangling from my chuchumbé.”
The sexually suggestive lyrics as well as the song’s lascivious dance caused great
concern among the inquisition as they worried about the song’s affect on women’s
bodies. Being a courtship dance, the male was in pursuit of the female as they danced
belly to belly. Furthermore, the women would use dance moves such as “kicking of the
apron,” and “lifting of the skirt,” both which were considered highly inappropriate for
women during the time. Another major concern of the inquisition was the intermingling
of the lower social classes, who were identified with mulattos and those of “broken
race.” Son jarocho and el chuchumbé became associated with these people, who
turned to the musical style as a form of rebellion.
Sources:
• Hernández, Alexandro D., and Micaela Díaz-Sánchez. The Son Jarocho as Afro-
Mexican Resistance Music.
Son Jarocho
Son jarocho is a fusion of indigenous,
Spanish and African musical elements and is
performed by an ensemble of musicians and
instruments, know as conjunto jarocho. The
instrumentation is described as quirky and

raggedy as it contributes to the humor of the song’s lyrics. Although there are several
instruments that may be used, three essential instruments provide the basic melodies
and rhythms of son jarocho: the arpa jarocha, the requinto jarocho, and the jarana. The
arpa jarocha is a small wooden harp with 32-36 strings, which are tuned to five octaves.
It is strummed quickly and played loudly as it makes up the music’s melody. The
requinto jarocho is a high-pitched, small guitar-like instrument that is plucked with a
long pick that is traditionally made from cow-horn. If the arpa is absent in an ensemble,
the requinto jarocho will typically introduce the melodic theme of the son and then
improvise a counterpoint to the vocal line. The jarana is the most common and
fundamental instrument in son jarocho. It has 8-12 strings that are grouped in five
courses and forms the rhythmic and harmonic framework of the son. Other instruments
included in son jarocho are the liona, pander, quijada, cajon, and marimbola.
The musical style is distinguished by its percussive rhythms, syncopation, vocal
style, and improvisation in its harmonic and rhythmic framework and verse. Because of
the musicians’ abilities to improvise new harmonies, melodies, and verses, their sones
are unique and different every time. The zapateado footwork of the dance also
contributes to the rhythmic instrumentation and vocals. During the Holy Inquisition,
Africans were denied the use of drums. Because they could no longer create percussion
with their hands, they danced upon a wooden platform known as a tarima to create
percussion with their legs and feet, creating the tap-like rhythm of the zapateado style.
Sources:
• Arcos, Betto. "A Musical Style That Unites Mexican-Americans." NPR. NPR, 28
Oct. 2011. Web. 23 June 2015.
<http://www.npr.org/2011/10/29/141723031/a-musical-style-that-
unites-mexican-americans>.
• Gonzalez, Francisco J. "Www.sonjarocho.com." Www.sonjarocho.com. N.p., n.d.
Web. 9 July 2015. <http://www.sonjarocho.com/#!about1/c1gi5>.
The Journey of Immigration
The term “American Dream” was popularized in 1931 and promoted the idea
that, “life should be better and richer and fuller for everyone, with opportunity for each
according to ability and achievement. The American dream is still an idea that is
romanticized today and holds the promise of opportunity and success for many
immigrants. Unfortunately, America is rarely the dream that Mexican immigrants are
promised.
Usually, a father of a young family experiencing economic difficulties will come
to America in search of migrant or factory
work. Although they may originally apply for
a resident visa, only two or three people out
of one hundred receive the documentation.
Furthermore, those who are approved must
wait months or years before receiving the

paper work. Therefore, struggling fathers are left with no other option but to migrate to
America to search for better work.
Initially, the family provider does not plan to permanently live in the U.S., but
rather, plans to find work and become financially stable before the family may return.
The father often initiates the move, leaving behind his family so that he may establish
employment and housing. Once he is secure, he sends for his wife and younger
children. Older children of immigrants are often dispersed between grandparents,
godparents, and relatives until their parents save enough money to send for them.
Despite immigrant families’ hopes for success, many of them must face the
tragic reality of assimilation, which is defined by
strained family relations, isolation,
misunderstandings, poor communication, and
the clashing of values, morals, cultures and
ideals. When the father first leaves for
America, the eldest child assumes their
responsibilities, altering the children’s
relationships with their siblings, mother, and
absent father. These relationships become
even more strained with the addition of the
language barrier. Because the families tend to be
young, many of the children immigrating learn to
speak Spanish and English at the same time and
have little to no memory of their home country. In
addition, because children are able to grasp the
new language much easier than their parents, they become the translators of the family.
Although this provides the children with a sense of power, knowledge, and control, it
makes them resentful and shameful of their parents as well as of their background.
As immigrant children stray from their Mexican heritage, they begin to adopt
American values, culture, and more. Children lose their accents, dress in American
clothing, and assume American traditions, which they consider to be “superior”.
Whereas Mexican culture focuses upon cooperation, community, and unity, Americans
value competition and individuality. Due to children internalizing an opposite cultural
reality than their home country, they begin to question their parents’ orders, values,
and authority and eventually, parental influence is lost.
Immigration not only has negative effects on the family, but also on the
children’s education. Although other cultures learn and process information differently,
immigrant children are expected to learn in the same manner as their American
counterparts. However, if the children are unable to grasp the new learning style, they
are placed in special classes and are often falsely labeled as having disordered such as
ADD. This affects their academic, social, and personal lives as they fall behind in school,
miss on opportunities to be assimilated with their peers, and lose their sense of self-
esteem. Because children are being misunderstood in school, they search for and create
second families in order to relate to one another. Unfortunately, these families are
commonly experienced through gangs, which usually promote illegal and violent

behavior.
Although immigration may provide opportunity to struggling families, the
process of separation as well as assimilation create an undeniable tension between
these families. The younger generation begins to develop a lack of appreciation towards
their original culture due to the threat of acculturation, or in other words, the need for
immigrants to not only change their behavior, but to also change their value systems,
norms, and material traits.
Sources:
• Cartwright, Kate. "Back Together Again: The Impact Of Family Separation And
Reunification On Mexican Immigrant Children's Education." Conference
Papers -- American Sociological Association (2011): 638. SocINDEX with
Full Text. Web. 25 June 2015.
• Lamb, Michael, and Lori Bougher. "How Does Migration Affect Mothers’ And
Fathers’ Roles Within Their Families? Reflections On Some Recent
Research." Sex Roles 60.7/8 (2009): 611-614. SocINDEX with Full Text.
Web. 25 June 2015.
• Partida, Jorge. "The Effects Of Immigration On Children In The Mexican-American
Community." Child & Adolescent Social Work Journal 13.3 (1996): 241-
254. SocINDEX with Full Text. Web. 25 June 2015.
The Stages of Heartbreak
Heartbreak can be caused by the loss of a loved one, partner, pet, or even from
disappointment, betrayal, or a change from a known surrounding. Depression caused
from heartbreak creates a barrier that prevents us from feeling and experiencing life to
the fullest. According to John Greenleaf Whittier and Maud Muller, there are eight
major stages to heartbreak that, although emotionally painful, can lead one to
acceptance.
The process does not necessarily start at the moment of heartbreak, but rather,
before it even happens. Stage one focuses upon pre-injury, when one becomes
overwhelmed with feelings of dread, worry, and panic. Although the heartbreak has not
occurred, the victim becomes anxious as the reality of the situation becomes clearer.
The second stage is the wounding, during which one feels shocked, confused, and
horrified. The shock allows the state of emptiness to move in, clouding one’s judgment
and disallowing them to fully comprehend the situation. Afterwards, one is faced with
feelings of denial, terror, and nausea, making up the third stage of the aftermath. The
fourth stage is the realization, during which one experiences unrelenting sadness that is
refreshed each day. This is both emotionally and physically straining as one no longer
denies the reality of the ended relationship, but must face the depression that follows.

Next is the stage of suffering, where feelings of
disappointment, regret and longing for the past
become prevalent. One may become very
angry during this time as they plea and pray for
their loved one to return, often lashing out due
to the attempt to hide their emotions. It is not
until stage six when one will begin to partially heal.
Although one still experiences feelings of
misery and resentment, their depression
begins to slowly lift as they realize and accept the
magnitude of their loss. During the seventh
stage, an emotional scar forms as one
experiences their final feelings of mourning and
begins to appreciate their relationship for
what it was. Finally, one assimilates after this time
of reflection and acceptance. They become free
from their previous suffering and are able to
move forward in their life.
Sources:
• "Wounded: The 8 Stages of Heartbreak." Jon Millward. N.p., 01 Nov. 2011. Web.
2 July 2015. <http://jonmillward.com/blog/attraction-dating/how-to-
cope-with-heartbreak/>.
• Cox, Ashley. "The Science Behind Heartbreak." Science 2.0. N.p., 14 Nov. 2008.
Web. 27 Aug. 2015.
<http://www.science20.com/variety_tap/science_behind_heartbreak-
33900>.
The Process of Forgiveness
To forgive and forget is no simple task. Often, forgiveness is associated with
passive people such as wimps, pushovers,
and co-dependents. However, forgiveness
takes great strength, as it requires one to
overcome feelings of resentment and
revenge as well as challenges one to
identify and empathize with others.
Forgiveness is only possible when
the victim is truly able and ready.
Commonly, people believe that they have
been able to forgive, but in reality, they
have only denied and repressed their
memories of the incident, making them
forget, but not forgive. Whereas

forgiveness causes one to release their negative emotions, forgetting causes one to
continue experiencing their repressed feelings and often forces them to hold
resentment and anger towards the perpetrator, or worse, a third, innocent party.
Forgiveness is a process and does not come immediately. However, this process is
important to not only release desires of revenge, but also, for one to embrace a new
found peace so that they may move forward in life. Michelle Roya Rad, a professional
psychologist and motivational writer, created five psychological stages of forgiveness
that helps one begin the process.
Stage one requires one to define who and what it is that they need to forgive.
People must reflect on the one who has hurt them as well as their hurtful behavior.
However, the victim must also consider both positive and negative behaviors of the
offender in order to better understand the situation and have a more objective outlook.
This decreases judgment and helps the victim become more empathetic. The next stage
calls for one to embrace and release their feelings. This may be done by confronting the
offender, writing them a letter, seeing professional help, or by finding a comforting
space in which one can personally release their anger and frustration. During the third
stage, one must come to understand why they must forgive. Often, people feel both
angry and shameful towards their perpetrator, creating a love-hate relationship
between the two and an internal conflict for the victim. Feeling guilty towards the
perpetrator may slow one down from moving forward, but if this feeling is overcome,
one experiences liberation and is able to have a more positive outlook on life. Once one
understands why they must forgive, they must create clear boundaries between
themselves and the perpetrator. Boundaries are not only important for the victim to
feel secure, but also so the perpetrator is unable to repeat their behavior. Finally, the
fifth stage of forgiveness is to remain courageous. Although people become anxious
when stepping outside their comfort zone, it is important for victims to face their deep
emotions so that they may experience the freedom of forgiveness. Forgiveness takes
patience, and not everyone is responsive to the same methods. However, it is crucial to
forgive in order for one to learn how to identify and empathize with others. If one is
unable to forgive, they often become alone and alienated from others. The point of
forgiveness is to come out of hiding, confront one’s hurts, discover one’s strengths, and
understand and accept one’s self.
Sources:
• Rad, Michelle Roya. "The 5 Psychological
Stages of Forgiveness." The Huffington
Post. TheHuffingtonPost.com, 11
Sept. 2011. Web. 18 Aug. 2015.
La Muerte
The Latin culture strays from the Anglo
tradition of a male angel of death with La
Muerte, otherwise known as the Venerable Lady,

La Huesuda, La Catrina, or the Bone Lady. Depicted as a woman dressed in white
clothing in Latin folklore, La Muerte is death personified as she acts as a beautiful
temptress who calls to lone, immoral men while keeping her face turned. Once they are
in her clutches, however, she reveals her grim skull face, making the men run away,
faint, or become deathly ill. However, she will sometimes release her prey so that they
may again wake up and try to live a moral and faithful life. La Muerte is not feared, as
Mexicans do not fear death. Instead, she promotes eagerness and curiosity. Despite
her deathly image, La Muerte is often described as being elegent, caring, and motherly.
Recently, La Muerte was portrayed in the children’s movie The Book of Life, in
which animator and director Jorge R. Gutierrez drew inspiration from the Aztec goddess
of death, Mictlantecuhtli, as well as from the political satire character, La Catrina. In
ancient Aztec culuture, Mictlantecuhtli keeps watch over the bones of the dead as well
as presides over festivals of the dead. She is represented as a skeleton with an agape
jaw to swallow the stars during the day. La Catrina is a major icon of Día de los Muertos
as she is originally an illustration created by the printmaker José Guadalupe Posada.
Beginning as a smiling skull with a lavish sombrero, Diego Rivera gave a body to Posada’s
creation in his mural Dream of a Sunday
Afternoon Along Central Alameda,
dressing La Catrina in lavish, elegant
clothing of upper class Europe of the time.
She is meant to represent the Mexican
natives who aspired to adopt European
aristocratic traditions as well as the
neutralizing force of death; whether one
is rich or poor in life, everyone is equal in
death. La Muerte acquires all these traits,
as she is represented as an elegant
skeleton who watches over the dead and is a major figure of Día de los Muertos.
Overall, she is meant to convey the cheerful relationship Mexican’s have with death.
Rather than being seen as the end, Mexican’s merely consider death part of the cycle of
life. The dead are respected and mourned, but are celebrated on Día de los Muertos as
they return to the land of the living for one day with the accompaniment of the great
and iconic La Muerte.
Sources:
• "Chicano Obsession and Acceptance of La Muerta." InfoRefuge. N.p., 11 Feb.
2011. Web. 25 Aug. 2015. <http://www.inforefuge.com/chicano-
obsession-and-acceptance-of-la-muerta>.
• De Aragon, Ray John. "New Mexico Book of the Undead:: Goblin & Ghoul
Folklore." Google Books. N.p., n.d. Web. 27 Aug. 2015.

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