Both the photos and interviews we selected provide alternating perspectives on the event. Our photo of the Seattle Fandango Project procession captures the active, momentary side of the event, and the second photo, that of some our class altars, captures the static, reflective side of the event, wherein participants look back to those who have passed away and to those who have been foundational in the production of culture. Likewise, the two interviews we selected provide alternating perspectives: in our interview with Federico Rubiolo, an Argentinian, he discussed how even though Dia de Los Muertos is not celebrated in Argentina he feels that it is a great way to celebrate those who have passed away and that it still resonates with him because he connects with Latinx culture; in our interview with Sam Rojas, a seven-year-old kid, she said that it was a fun and family-oriented way to spend time with extended family as well as others who celebrate the event.
The photo represents social critique because the photographed crowd are attendees of an event advocating for social change– the idea of “Building Bridges not Walls.” The photographed attendees show their support by listening and preparing to follow the leaders of the musical procession.
This photo represents ceremonial healing. The ceremonial aspects of spirituality, religiosity, spectacle, and pageantry are expressed on the altars/ofrendas through the display of the traditional elements, vibrant colors, and unique theme of each altar. The combination of these traditional aspects with the creative aesthetics highlights belief, healing, and celebration of the dead.
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