Design like Dadaists

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It has been evidenced that La Catrina has become a performative symbol of the Mexican tradition of Día de Muertos, which takes place on November 2nd \u2013 coincidentally two days after Halloween. This symbol can be critically viewed as serving different purposes: as an element of recovery of tradition, as an assertion of freedom, or as a performative dialogue amongst the former two claims.

During the late 1800s and the first decade of the 1900s, political pieces became popular as a source of criticism about the country and the bourgeoise. The written pieces were humorous, and included illustrations of skeletons in every publication. At the time, one of the cartoonists that collaborated in several newspapers was José Guadalupe Posada (1852-1913), who stood out years after his passing for depicting critical evidence of injustice and a strong class distinction during Porfirio Díaz\u2019s Dictatorships (1876-1880 and 1884-1911). He illustrated the working class as upset and festive, and pictured the double discourse of the garbancero, people product of mestizaje with indigenous lineage that pretended to be European to deny his/her own cultural roots. Posada called her La Calavera Garbancera, because she simulates to be something she is not, and used the hat as a form of an upper-class disguise. Over three decades after Posada\u2019s newspaper illustrations, the Mexican painter Diego Rivera was inspired by the concept of La Calavera Garbancera and reappropriated the image in one of his murals, Sueño de una tarde dominical en la Alameda Central (Dream of a Sunday Afternoon in the Alameda Central) (1946-1947). Rivera added several attributes such as an elegant attire, position and class; he named her La Catrina, as the female representation of \u201cel catrín\u201d, an upper-class, dapper gentleman.

In 2018, Netflix released Made in Mexico, a reality show that centers on the lives of the bourgeoisie and the elites in Mexico City. The reality show is everything but a representation of the lives in Mexico. However, it does represent the color blindness that pervades in the country. \u201cThere are days I talk with nobody until my husband gets home,\u201d a character expresses while having her meal served in bed by a domestic worker. This scene depicts the representation of domestic workers in Mexican society, who play a stronger role of an object rather than a subject. This narrative juxtaposes to the other 2018 Netflix production in Mexico: Roma. The two of the streaming-services productions depict everyday life scenarios of a similar environment, from opposite perspectives. The collage intends to expose the multi-representations of the self in Mexico, and how the performativity of the self can blend-in with the folklore if we don\u2019t look closely.

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