We took the bus
to the historic district of Mazatlan on Friday morning and stood in line for free tickets to a Saturday
night Day of the Dead celebration in the lovely Angela Peralta theatre. This year’s theme was inspired
by the underworld of Aztec mythology: a person who died went to Mictlan, a
journey consisting of nine distinct levels.
Organizers
created nine backstage events representing the nine levels and challenges of
the Mictlan journey. Ticketholders were
ushered into the building in groups of 35 and lead by costumed escorts from one
level to another. Our first stop was an
ancient Aztec ceremonial dance.
From
there, we traveled through dark tunnels illuminated by black lights and
fluorescent tape down to the dungeon and up to the balconies. Along the way we stopped for modern dance and
classical ballet performances, each attesting to the different challenges that met
the dead.
At one level, we stood in rows not knowing
which direction to face when suddenly a heavy black curtain rose and we found
ourselves on the auditorium stage as modern dancers swayed in the seats,
reaching, kicking their way up from the underworld delinaeated by an enormous white
fabric tarp through which each body was trying to escape.
Up and down their arms, legs, torsos and heads writhed and swayed to the
orchestra until all was quiet and they reluctantly returned to their fate.
Further along,
we entered an asylum where the dead dressed in white tunics were scratching and pounding the walls
in their tormented pain, as interpreted by modern dance.
We were escorted down a very dark corridor where souls screamed and lunged at us while on our way to a small stage where we witnessed the wedding of a corpse couple, portrayed by contemporary dance.
In small side
rooms of the mezzanine the dead paced slowly, gazes fixed with dark, longing, melancholy eyes.
Our journey
ended in the foyer, at an enormous alter dedicated to the deceased and guarded
by a contemporary Catrina. On it was
placed the requisite elements; marigolds, candles, favorite food and
beverages, a basket of sweet rolls, photos, and shoes lined up on the floor at
the base. The space echoed with a tenor's eerie solo, a
soprano’s haunting aria, and a chamber orchestra's powerful
requiem while a silks dancer dangled silently from the tall ceiling, expertly, slowly winding
in and out of the silks.
We took more than an hour to journey through the underworld. We were captivated by the
production, costumes, choreography, creativity, and the cultural
significance of the performances. And to
think that it was free, a gift to the public for the enjoyment of so many was an
amazingly generous gesture.
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