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Tuesday, 22 October 2024
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Written by Sheila D. Barker
The origins of Día de los Muertos can be traced back to indigenous Aztec culture, where rituals celebrating the deaths of ancestors had been practiced for at least 3,000 years.
The Aztecs believed that death was a natural part of life's continuum, and they honored the deceased by placing offerings at tree stumps, which were considered sacred.
These early celebrations were not somber occasions but rather a vibrant celebration of life and death, reflecting the belief that the dead continued to exist in a different realm and could visit the living during special times of the year.
When Spanish colonizers arrived in the 16th century, they brought with them Catholic traditions, including All Saints' Day and All Souls' Day. To integrate indigenous practices with Catholic customs, the Spanish moved Día de los Muertos from the summer to November 1 and 2, aligning it with these Catholic holidays.
This adaptation allowed the indigenous people to continue their rituals in a form that was acceptable to the colonial authorities. Over time, the blending of these traditions resulted in a unique cultural fusion that characterizes Día de los Muertos today.
Central to the celebration of Día de los Muertos are various traditions and symbols that have deep cultural significance. One of the most important elements is the ofrenda, or altar, which is meticulously decorated with marigolds, photos of the deceased, and personal items such as favorite foods and drinks.
Marigolds, known for their vibrant yellow and orange colors, are believed to attract the spirits of the deceased with their strong scent. Calaveras, or sugar skulls, are also a popular symbol, often decorated in bright colors and used as treats or decorations.
These elements collectively create an atmosphere of joy and reverence, honoring the lives of those who have passed away.
Today, Día de los Muertos is celebrated with a blend of ancient and contemporary practices. Families prepare elaborate ofrendas at home and in cemeteries, and communities come together for parades, music, and dance. Traditional dances like La Danza de los Viejitos (the dance of the old men) and La Danza de los Tecuanes (the dance of the jaguars) are performed, adding to the festive atmosphere.
Costumes and makeup are also a significant part of the celebration, with many people donning La Catrina-style makeup to honor the iconic skeletal figure that has become a symbol of the holiday. Through these activities, Día de los Muertos continues to evolve while preserving its core essence of celebrating life and death.
While Día de los Muertos is primarily celebrated in Mexico, its influence extends to other parts of the world. Countries in Central America, Brazil, and Spain, as well as Mexican-American communities throughout the United States, also partake in the festivities, each adding their own unique touches to the celebration.
In these regions, you might find variations in the types of foods prepared, the styles of altars, and the ways in which people honor their deceased loved ones.
Despite these differences, the underlying theme remains the same: a joyous celebration that bridges the gap between the living and the dead.
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Tuesday, 22 October 2024
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Written by Sheila D. Barker
The Sandford House, a part of Heritage Square located at 224 Dick Street, has had several residents and owners from the time it was built in 1797. The Daingerfield family is one of the more interesting families to live in and own the home. Father John E.P. Daingerfield and his son Elliot have a fascinating history and artistic legacy, whose influence spans from the Civil War to celebrated contributions in American Art.
The Early Years: John E.P. Daingerfield and the Civil War
John E.P. Daingerfield, a former Confederate Captain, has an intriguing historical background deeply rooted in the Civil War era. Daingerfield was Acting Paymaster at the Harpers Ferry Armory during John Brown's 1859 Raid, where he was taken hostage but not injured. On June 10, 1861, he joined the Confederate States Army and was transferred to Fayetteville as munitions and manufacturing equipment were relocated to the Fayetteville Arsenal.
During his service, he was appointed military paymaster and storekeeper by Maj. John C. Booth, commanding officer at the Fayetteville Arsenal. These roles were prestigious within the Army, and Daingerfield served in the 2nd Battalion Local Defense Troops, commonly called the Arsenal Guard. His firsthand account of John Brown's Raid was later published in The Century Magazine in June 1885, providing a unique perspective from a prisoner's standpoint.
Elliott Daingerfield: From Fayetteville to New York
Elliott Daingerfield, the son of John E.P. Daingerfield, was born in Harpers Ferry, West Virginia, and raised in Fayetteville. He also kept a vacation retreat nestled in Blowing Rock, NC.
Unlike the landscape artists before him, he chose to paint from memory instead of observing nature firsthand. He believed this approach infused his art with a deeper sense of spirituality, as it was filtered through the lens of his imagination.
His artistic journey began in earnest when he moved to New York at the age of 21 to study art. Elliott's time in New York marked the beginning of his significant contributions to American art. His early works and teaching experiences laid the foundation for his future success and recognition in the art world.
In the late 1890s, Daingerfield gained recognition for his paintings of religious subjects, including a notable mural in the Church of Saint Mary the Virgin in New York City. His growing reputation culminated in his election to the National Academy of Design as an associate member in 1902 and as a full member in 1906.
The legacy of the Daingerfield family continues to be celebrated in modern times, particularly through the works and influence of Elliott Daingerfield. Considered one of North Carolina's most prolific artists, Elliott's contributions to American art remain significant. His works are still admired for their visionary style and religious themes, which have left a lasting impact on the art community.
The South Parlor of the Sandford House, known as 'The Daingerfield Room,' displays Elliott Daingerfield's painting 'Angel of Beauty,' among other artifacts. Visitors can walk through the historical home and gain insights into the lives of the Daingerfield family, their contributions to American history and art, and their lasting impact on the cultural heritage of North Carolina.
(Photo: Midnight Moon, a painting by Elliot Daingerfield. Image courtesy of the Brooklyn Museum via Wikipedia)
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