In the corner of the Mimms Language Lab sits an altar flanked by life-sized skeletons. These skeletons, called calaveras, wear floral-patterned dresses and veiled hats, all with painted makeup ornamenting their skulls. Next to them on the altar lie electric candles and “pan de muerto” alongside photographs of lost loved ones of USC students and faculty. In the foreground, by the calaveras, is an open box lined with tissue paper. “Drop in your Reflections of your beloved ancestors,” reads the sign in front of the box. A stack of paper sits beside the sign, topped off by a half-worn pencil.
This space was set up by USC's Department of Language, Literatures, and Cultures (DLLC) to celebrate El Día de los Muertos, the Day of the Dead. Professors Carla Swygert and Patricia Davis designed the altar after traditional Mexican ofrendas, which are used during the holiday as memorials for deceased family, friends and beloved public figures. These people are typically represented by pictures on the ofrenda, with the various foods and drinks below being offerings to the dead. Gifts like these often have a personal character to them; favorite candies and types of alcohol are common ofrenda offerings. Importantly, all of the items on the altar are surrounded by candles, which are believed to guide the souls of the dead back to Earth to receive these goods.
While many USC students are familiar with the basics of the Day of the Dead, especially after the holiday's popularization by the animated film “Coco,” fewer have interacted with an ofrenda in person. Swygert and Davis see this as an opportunity for students unfamiliar with these altars to broaden their cultural horizons.
"What I hope they get is that they [USC students] learn a little bit about this day [Day of the Dead] and that this piques their curiosity," said Swygert.
"They could do some research at home to understand better about this," added Davis.
For Swygert and Davis, setting up the altar was itself a cultural learning process. The two worked hard to make the ofrenda as accurate as possible, which required background research on each decoration's symbolism. This work ended up being enjoyable for the professors, as both learned new things about the holiday's cultural significance.
"It's full of tradition and symbolism, and if you really do research about what everything means, it's really neat," said Swygert.
Nearly every object on the ofrenda is indicative of death, which, during Day of the Dead celebrations, doesn't have a negative connotation. Professor Maria Elena Villegas, who is from Mexico City, said that this nonnegative approach is rooted in Mexican culture.
"For us Mexicans, death is part of life, and since we are very, very young, our parents are not afraid to talk to us about it in a very normal way, to let you know that the only thing we have in common is that we are all going to die," Villegas said.
As such, death is commonly represented in ofrendas through everyday objects, such as food. A common item placed on Day of the Dead altars is pan de muerto, a type of sweet, sugary bread baked in a circle. Villegas noted that the shape of the bread is itself a symbol of mortality.
"It's in a circle because that represents the circle of life," said Villegas.
Another Day of the Dead icon, Las Calaveras, represents death in a lighthearted manner. The most famous style of these calaveras, La Calavera Catrina, depicts a female skeleton wearing an ornate dress and a broad-brimmed hat. Catrina was originally designed by Mexican printmaker José Guadalupe Posada but became famous after her central role in a mural by Diego Rivera, the famed Mexican painter. Today, La Catrina exists as a popular Day of the Dead character and a reminder of the limits of material wealth.
"Catrina, once again, is somebody with money, and what that means is that no matter how much money somebody may have doesn't mean anything," said Villegas. "You cannot buy extra life."
Still, Las Calaveras are more of a symbol of unity than of despair. This is most evident in the large parades that take place across Mexico during the Day of the Dead, where paraders of all ages wear skeleton face paint and dress as calaveras. For Villegas, these parades are another form of acknowledging death as an equalizing force.
"If you think about it, all of us are white skeletons. There is no color, no gender, no social class, so it represents also equality," said Villegas
Just by looking at the altar, visitors can learn more about another Spanish-speaking culture's attitude towards death. This cultural learning, according to Professor Nina Moreno, is a key component of the DLLC's educational outcomes.
"We don't want them [students] to just know how to conjugate verbs and memorize a list of vocab items," Moreno said. "We really want them to learn to see, to have a new cosmovision, to see the world through a different lens."
All of this learning ties back to the box by the altar, which allows community members to write tributes to loved ones they wish to remember. This aspect of the ofrenda allows people to participate in the Day of the Dead celebrations, going beyond what pure linguistic instruction could achieve.
"We really want students to engage with a cultural practice, and I think that having that little box was a great idea for students to go a step beyond only visiting," said Moreno.
By allowing this community input, students both familiar and unfamiliar with the Day of the Dead can gain cultural experience while honoring their loved ones. This commemoration doesn't have to be sad, as Professor Villegas mentioned. During the Day of the Dead, commemoration and celebration go hand in hand.
"If you think about it, even though they [ancestors] are not here with us, I don't think they would like to see us sad and crying right now, right?' said Villegas. "They would love to see us celebrating their life, no? And that they are still part of us."
