El diablo, el pirata y Felipe Calderón. Caras de los Judas en México

Abstract

The purpose of this text is to give the perspective of the contemporary festivity of “Burning of Judas” in Mexico and Mexico City, being a celebration of colonial origins, as well as the role of art objects belonging to so-called arte efímero. In the past, traditional objects produced in cartonería technique (known in Europe as papier-mâché technique) were related more to various ceremonies held throughout the year: burning of Judas at Easter, piñata breaking at Christmas, ceremonial masks as well as quasi-theatrical dolls called mojigangas. Nowadays, artists are widening the scope of their works, creating so-called alebrijes – fantasy creatures, which are regarded by some researchers as the example of surrealism in folk art. Whereas traditional cartonería objects were made for particular festivals, alebrijes are not related to any of them and are the example of individual forms. The text also discusses different images of Judas and the ritual of burning of him during the Holy Week in Mexico City against the historical background. Judas in Mexico is not only a biblical betrayer of Christ. He serves as an instrument of criticism, has a face of a politician and a commentator. His stylistic appearance has been greatly influenced by social and political events. Diego Rivera made Judas a part of his several paintings and murals. In many places of Mexico, these annual celebrations of folk origin take at the same time a form of happenings or a city event of a performance art type. The paper is based on the research conducted in Mexico in 2008–2009 as well as on reference books.