Search

This article presents and analyses the relation between the cult of a Mexican folk saint, Santa Muerte (Saint Death), and fashion. The article describes the unique phenomenon and its complex history as an amalgamation of Christian and pre-Hispanic elements. Even with the cult's growing recognition, Santa Muerte is still surrounded by controversies – lack of academic research and stereotypes presented by media and popular culture lead to numerous discrepancies such as erroneous image of the followers of Santa Muerte who are often depicted as criminals related to drug smuggling. The main part of the article focuses on the practices of building and decorating the altars, shrines and chapels for Santa Muerte. The text also highlights a spreading custom of designing various types of dresses and robes for the figures of the patron and the practice of modifying the figures themselves (adding ornaments, artefacts and various items). Some of these items and ornaments express the intentions of the prayers, holidays and individual preferences of the worshippers. Following sections present the impact of the cult of Santa Muerte (especially its aesthetical dimension) on the fashion industry, which is visible in the example of jewellery and clothing. The article concludes with an exploration of trends among the followers of Santa Muerte and their impact on the esoteric industry that is wide and rapidly developing in Mexico. [ABSTRACT FROM AUTHOR]

Copyright of Anthropologica is the property of CASCA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La Santísima Muerte, the death saint patron of the marginalized and dispossessed in Mexico, the United States, and beyond, is especially favored by devotees who identify with her duality between dark and light, and good and evil. Most of Santa Muerte's devotees understand that good and evil coexist in her, and they often simultaneously appeal to both. At the same time, illegality and marginalization, which are generally associated with the saint's "dark" or "evil" sides, take on multiple, diverse forms, encompassing criminalized activity such as narcotrafficking, religious transgressions that reflect unorthodox spiritual practices such as witchcraft, and most contentiously of all, the very conditions of poverty and racialization in Mexico. Nevertheless, cultural representations of Santa Muerte often resist such diversity and persist in opposing her dark and light sides. Films such as Eva Aridjis's La Santa Muerte and Pável Valenzuela Arámburo's La Santísima Muerte aim to represent all Santa Muerte in all of her multiplicity and to correct stereotypical representations of the death saint in general. But perhaps inadvertently, Aridjis's film reinforces the contrast, rather than the intersections, between "light" and "dark". However, in La Santísima Muerte, Valenzuela Arámburo deliberately embraces the saint's contradictory duality to provide a different perspective on illegality and criminality, simultaneously accepting such illegality as a dark menace in the vein of Santa Muerte's typical detractors, and rearticulating it as a necessary aspect of the saint's holy works. Valenzuela Arámburo's film not only emphasizes that the very same devotees invoke Santa Muerte for her powers of "good" as well as for those of "evil", it demonstrates that these devotees incorporate the saint's dark side as they see fit not as a consequence of their marginalized status, but as a means to resist it. Thus, while both films underscore that marginalized populations are just as nuanced and contradictory as their patroness of death is, Valenzuela Arámburo's film grounds itself in Santa Muerte's duality in order to demonstrate how her seemingly contradictory aspects construct and shape each other. As such, the film combats the representation of marginalization and criminality in Mexico and beyond, highlighting the extent to which her devotees appeal to both her dark and light sides precisely because they are simultaneously victims of marginalization and agents of resistance. [ABSTRACT FROM AUTHOR]

Santa Muerte is establishing a presence among practitioners of contemporary occultism in Europe and North America. The occult milieu is highly different from the Mexican cult of Santa Muerte, having a strong heritage of secrecy and tradition as social capital and being mostly middle-class in orientation. Nonetheless, this Catholic folk saint with a mostly pragmatic, popular, and grassroots cult is becoming increasingly popular among occultists. Based on a survey of three recent books on Santa Muerte geared towards an Anglophone, occult audience, it is therefore the aim of this article to understand how and why the Skeleton Saint is attracting adherents in the occult milieu, by analyzing the underlying causes of this growing trend, as well as the conditions shaping it. It is the overall argument of this article that the beginning reception of Santa Muerte in occultism is a result of perceived needs and demands specific to the occult milieu rather than characteristics inherent in the symbol itself, and that an analysis of the ways in which she is spreading outside of her original sociocultural context must be guided by an understanding of the novel one she is integrated in. [ABSTRACT FROM AUTHOR]

Over the last decade, the cult of La Santa Muerte (St Death) has attracted a remarkable number of followers in Mexico and the USA. Whereas the social context of her devotees, who tend to live on the fringes of society, has attracted ample attention from scholars and journalists, one of the principal puzzles is still how a skeleton image of death has come to be seen as a saint by large numbers of Catholics. How is it possible for this figure to embrace such antagonistic qualities as death and sainthood in a Christian context? In this semiotic-material exploration of the image's genealogy, I suggest that La Santa Muerte should be seen as a coalescing of two radically distinct images of death: the popular-secular Catrina and the occult-biblical Santísima Muerte. The St Death venerated today encompasses the ambiguities of the two and creates an exceptionally vibrant and popular Catholic image. [ABSTRACT FROM AUTHOR]

Santa Muerte is one of the fastest growing folk saint movements in Mexico. She has a core following in Mexico among dispossessed populations, but also devotees from a broader swath of the Mexican population. This article analyzes the development of Santa Muerte veneration in Mexico since 2000. I argue that, from a structural analysis perspective, Santa Muerte veneration is on the threshold of designation and treatment as dangerous religion, although its eventual status remains contingent. The movement's status will be determined by three interacting factors: (1) a core membership of outsider and dispossessed populations; (2) symbolic and social organization in a form that challenges the legitimacy and authority of the institutions of church and state; and (3) institutional control measures that contest the legitimacy of its symbolic presentation and organizational practices. I suggest several alternative developmental scenarios based on these factors. [ABSTRACT FROM AUTHOR]

From the mid-1990s, devotion to Santa Muerte (Saint Death) became highly visible, not only in Mexico but also in the United States. Its evolution has coincided with the expansion of organized crime, creating the impression that the icon belongs to a coherent "narco-culture." This article contextualizes ritual practices at a single altar in Tepito, a Mexico City neighborhood historically specialized in informal and illegal commerce. Its monthly prayer service, which dates to September 2001, now balances the needs of its congregation with a kind of response to accusations against devotees in the mass media. Ironically, the range of gestures that share Santa Muerte iconography encompasses laments and high-minded indignation over blanket attribution of violent intentions to a popidation, but also a language for making threats. The average devotee is always affected by the likelihood that new acts of violence will be styled as religious. [ABSTRACT FROM AUTHOR]

From the mid-1990s, devotion to Santa Muerte (Saint Death) became highly visible, not only in Mexico but also in the United States. Its evolution has coincided with the expansion of organized crime, creating the impression that the icon belongs to a coherent "narco-culture." This article contextualizes ritual practices at a single altar in Tepito, a Mexico City neighborhood historically specialized in informal and illegal commerce. Its monthly prayer service, which dates to September 2001, now balances the needs of its congregation with a kind of response to accusations against devotees in the mass media. Ironically, the range of gestures that share Santa Muerte iconography encompasses laments and high-minded indignation over blanket attribution of violent intentions to a population, but also a language for making threats. The average devotee is always affected by the likelihood that new acts of violence will be styled as religious. [ABSTRACT FROM AUTHOR]

Ethnographically, I explore imaginaries in Latin American societies where death has a role and relevant agency; as well as its connection to some figures and emerging cults that claim to embody death as a self possession and heritage. From the Santa Muerte in Mexico, I will make a comparison to the processes of cultural patrimonialization of the death in other American societies. I focus the manufacture of miraculous dead –folk saints– in cemeteries, and the processes of “adoption" of Colombia's violence victims of unknown dead citizens –called dead NNs–. These emerging cults connected with the experience of its practitioners to take control of their lives in a precarious state of social vulnerability, homeless state institutions and formal structures. These are considered as “walking dead" who enjoy a very good health. [ABSTRACT FROM AUTHOR]

The article presents the results of a research about the Mexican cult of Santa Morte (Santa Muerte in Spanish), with a focus on its increasing popularity in Mexico and the United States since the beginning of the 21st century. A historical overview of the cult as well as an approach to its possible origins are given. Topics mentioned include cults to Christian saints, the symbolic character of Grim Reaper, and religious syncretism.

In this article, we trace the syncretic origins and development of the new religious movement centered on the Mexican folk saint of death, Santa Muerte. We explore how she was born of the syncretic association of the Spanish Catholic Grim Reapress and Pre-Columbian Indigenous thanatologies in the colonial era. Through further religious bricolage in the post-colony, we describe how as the new religious movement rapidly expanded it integrated elements of other religious traditions, namely Afro-Cuban Santeria and Palo Mayombe, New Age beliefs and practices, and even Wicca. In contrast to much of the Eurocentric scholarship on Santa Muerte, we posit that both the Skeleton Saint's origins and contemporary devotional framework cannot be comprehended without considering the significant influence of Indigenous death deities who formed part of holistic ontologies that starkly contrasted with the dualistic absolutism of European Catholicism in which life and death were viewed as stark polarities. We also demonstrate how across time the liminal power of death as a supernatural female figure has proved especially appealing to marginalized socioeconomic groups. [ABSTRACT FROM AUTHOR]

Se presenta una introducción en que el autor comenta sobre los artículos en este número, incluyendo uno sobre el culto de Santa Muerte en México, uno sobre la urbanización en Buenos Aires, Argentina, y uno sobre la exclusión social en Madrid, España.