The ritual of little angels, known by this name in almost all Hispanic America, refers to the rite of the transit to life beyond this world of children baptized while still alive. According to the Catholic dogma, children die without mortal sin, and go directly to Heaven where they become angels, without having to pass through Purgatory. Consequently, the death of a little angel, in spite of the pain it inflicts on parents, is a happy event. This ancient ritual arrived in this side of the Atlantic as part of the Spanish culture, and rooted perfectly in Mexico through the Prehispanic celebration that the narrator and evangelizer Friar Diego Duran defined as the 'Miccaihuiltontli,' which is a diminutive noun, and means the festivity of dead children, and I understood that it is a celebration for deceased innocent children. As in the case of other cultural elements, when the indigenous people came to realize that the only way to continue celebrating their ritual was assimilating it to that which came from Spain, they readily did so. Similarly, the tenth month of the year, devoted by the mexicas to the adult dead, fused with November 2, Deads' Day of the Catholic tradition, while the Miccaihuiltontli, previously held during the ninth month of the year, was celebrated under a new fashion each November 1 st. Thus, funeral rituals have a prominent place in Mexican popular culture, but they also reflect an undeniable demographic reality. Death was a frequent event, especially among children, and it continued displaying extremely high levels well into the twentieth century. During the government of Porfirio Diaz, life expectation was around 30 years of age, and infant mortality reached 30%. When the provision of medical and educational services was extended to small locations, mortality declined to 22% in 1920, and represented 13% in 1940. In this paper we will indicate the possible origins of this popular Mexican ritual, and inquire about the specific changes it has undergone, based on iconographic representations and, particularly, the incorporation of photography, which is still practicedthough to a lesser extent-to this day. Thus, we will delve into the particular relationship that is established within the popular recreation of the little angels' ritual, between tradition-symbolic forms of the rite-and modernity, characterized by an almost immediate incorporation of the image, and other elements by the photographer who acts as a new master of ceremonies. The Ritual Background and parallelism Foster defines children's funeral rituals as a popular form of Spanish catholicism. Well into the late nineteenth century, when a child died in Spain-along the Mediterranean coastline from Castellon to Murcia, in Extremadura and the Canary Islands, although it had existed since the turn of the century in most of the southern and central regions of the peninsula-the dance of little angels was performed. Friends and relatives of the dead child sang and danced all through the night to the sound of guitars and castanets. While transformed, dance, music and games are also included in the Mexican ritual. This author points out, among other similarities between both versions of the ritual, that of dressing the child in white (a symbol of pureness), and placing a palm leaf on the coffin (to denote virginity). He also transcribes the description of a child's funeral that the French traveler Charles Davillier witnessed in Valencia around 1870. In his account, Davillier told that the little deceased girl-5 or 6 years old-was laid on a table, and a taper was lit on each corner; she was dressed as for a party and wore a crown of orange blossoms around her head. Details about the garment are important since they are the most prominent of the Mexican ritual. However, while the transference-like that of all other European cultural assets and elements-arrived in America from Spain-which is evident in the dissemination of the ritual throughout the whole Ibero American continent and its presence in communities of both indigenous and African origin-there are portraits of death children of the Renaissance and the Baroque period in Italy, England, Holland, France and colonial North America, that could be suggesting the presence of a special ritual. …
Read full abstract