Day of the Dead Activism: How Modern Chicanos Transformed an Ancient Tradition into a Cultural Phenomenon
An example of how spirituality can be inherently political
The Mesoamerican Renaissance that made Día de los Muertos central to Latino identity, indigenous spirituality and social justice across North America
The vibrant spiritual traditions of Día de los Muertos have a profound political connection with the Chicano movement of the 1970s. This multifaceted holiday, now widely celebrated throughout the United States, owes much of its contemporary form and popularity to the efforts of Chicano activists and artists who transformed a fading family tradition into a powerful expression of cultural identity, political resistance and spiritual reclamation.
The Chicano Movement and Cultural Reawakening
The Chicano Days of the Dead, as celebrated today, find their roots in the political activism and cultural reawakening of Chicano communities during the 1970s. The Chicano movement sought to affirm cultural identity and address various socio-political issues, paralleling other civil rights movements like Black Power and Red Power. This period witnessed what Regina M. Marchi, in her groundbreaking work Day of the Dead in the USA: The Migration and Transformation of a Cultural Phenomenon, describes as a time when “people of color in the US were reclaiming their cultural roots, such as language, clothing, art, music, rituals and other ancestral traditions that had been lost to enslavement, colonization, reservation systems, and assimilation.”
Key Objectives of the Chicano Movement:
Struggle for better economic opportunities and labor rights
Demand for greater political representation
Fight for adequate educational opportunities
Promotion and affirmation of indigeneity as native peoples of the Southwest United States
Resistance to systemic racism and police brutality
Cultural pride and self-determination
As Dr. Regina Marchi argues in her research cited by the Tales From Aztlantis podcast, the holiday’s current form “would not exist if not for the Chicano movement.” This bold claim underscores how Chicano artists and activists did not simply preserve a tradition—they modernly enhanced it.
Indigenous Roots. Underground Spirituality
Long before European colonization, Indigenous Mesoamerican traditions of honoring the dead were celebrated through specific feasts. Celebrations included Mikailwitl (feast of the dead) and Wey Mikailwitl (great feast of the dead), celebrated in early August through mid-September according to the ancestral Mexika calendar. These are the events we can reliably trace the practice of ofrendas to.
The Aztec Empire venerated Mictlantecuhtli & Mictēcacihuātl, the Lord and Lady of the Underworld, as part of their indigenous spiritual tradition. The goddess was believed to protect the bones of the dead so they could be returned and used in the land of the living. Mind you, much of the inspiration that would form the now popular Santa Muerte would draw from this goddess, the Virgin of Guadalupe, as well as more niche folk saints and tales from various regions. But death, like all existential forces in Mesoamerica, were seen as a harmonizing pair—a Duality, for nothing in nature works alone.
These celebrations were dedicated to honoring the dead through dance, song and offerings of food and drink. Altars and burials were adorned with marigolds (cempazúchitl), a sacred flower thought to attract the spirits so they might enjoy the offerings left in their memory.
Indigenous Spiritual Elements:
Veneration of Mictēcacihuātl and various Mesoamerican death spirits
Use of copal incense in ceremonial practices
Placement of altars with native agricultural products
Incorporation of skull imagery representing transformation and the cyclical nature of life
Belief in the permeable boundary between the living and the dead
Month-long celebrations involving elaborate ceremonies and processions
By way of syncretic subversion, Native populations transplanted and extended these ancestral celebrations into the Allhallowtide, avoiding Catholic scrutiny as much as possible.
Chicano Art as Alternative Media
Chicano artists played a crucial role in transforming public perceptions and challenging mainstream narratives. According to Marchi’s research, specifically her article “Chicano Art as Alternative Media: Its Influence on US Popular Culture (and Beyond),” Chicano artists countered historically negative stereotypes of Mexican Americans through artistic expressions that contested political racialization through collectivist spiritual efforts.
They created their own alternative media, largely through public art forms that questioned dominant narratives and infused cultural expressions with politically charged messages. For communities unaccustomed to seeing positive images in the media landscape, the significance of publicly honoring collective experiences and cultural traditions was transformative.
Main Themes of Chicano Art:
Challenging racist tropes and stereotypes through visual narratives
Depicting political transformation and collective struggle
Expressing spiritual and artistic traditions rooted in indigenous heritage
Memorializing victims of violence, war, and social injustice
Creating counter-narratives to mainstream media representations
One of the first “modern” celebrations took place in 1972-1973 when a group of Chicano artists and activists in East Los Angeles, led by Self Help Graphics & Art (the oldest Chicanx art center still in existence), intentionally incorporated indigenous traditions back into the holiday with ofrendas, parades, costumes and artworks. Their parade notably ended at a cemetery with an altar to honor those killed by gang violence, blending ancient traditions with contemporary concerns facing the Chicanx community.
Historicizing Día de los Muertos in the United States
Before the 1970s, Mexican Americans in the United States observed November 1st and 2nd primarily as All Saints Day and All Souls Day. These were occasions for Catholic masses, gravesite floral tributes and intimate family meals—private, religious observances that remained largely invisible to the broader American public.
By the 1960s, Day of the Dead celebrations were even fading in Mexico, “considered by ‘educated’ Mexicans to be embarrassing superstitions of ‘ignorant’ country bumpkins,” Marchi notes. The tradition was maintained primarily by indigenous communities and working-class families in southern Mexico, particularly in Oaxaca—Mixteco and Zapotec country.
With the resurgence of the Chicano movement, traditional elements synonymous with Día de los Muertos were revived and radically reimagined. Latino activists and artists in the United States began expanding “Day of the Dead” north of the border in the 1970s with celebrations of performance art, Aztec danza, art exhibits and other public expressions.
Emergence of Modern Celebrations:
Integration of indigenous traditions such as sugar skulls (calaveras) and elaborate altars (ofrendas)
Adoption of cultural festivities in cities like Los Angeles, San Francisco, Sacramento and San Diego
Growth of vibrant and large-scale celebrations with parades and artistic installations
Transformation from private family ritual to public cultural event
Intentional secularization to make the tradition accessible across diverse communities
The Role of Alternative Spirituality and Neo-Indigenism
A critical dimension of the Chicano revival of Día de los Muertos involved what scholars term “neo-indigenism”—a multicultural fusion of Mesoamerican indigenous rituals, religious symbols and spiritual beliefs. Mario E. Aguilar, founder of Danza Mexi’cayotl, notes that “danza on Día de los Muertos is a totally Chicano creation. In México, people traditionally wouldn’t dance on Día de los Muertos because they were doing family stuff at home and in cemeteries.”
This incorporation of Aztec ceremonial dances and public rituals represented a deliberate effort to reconnect with pre-colonial spiritual practices. For many Chicanos, this renaissance produced a pathway to transform indigenous heritage from a source of shame—imposed through centuries of colonization and assimilation—into an identity of pride and a source of spiritual healing.
Spiritual and Religious Dimensions:
Deliberate secularization to distance from Catholicism’s colonial associations
Reclamation of indigenous spiritual practices and ceremonies
Integration of Mesoamerican dance, most notably Aztec (danza) as spiritual expression
Blending of indigenous and Catholic symbolism on ofrendas
Creation of alternative spiritual spaces outside traditional church settings
Use of ritual as a form of communication with ancestors and community building
As Marchi explains in her research, American celebrations were “purposefully secularized both because Chicanos wanted to distance themselves from a religion so closely connected with colonialism and because they wanted to make the cultural aspects of the holiday available to diverse U.S. populations through workshops held in publicly funded schools and non-profit organizations.”
However, this did not mean the celebrations lacked spiritual depth. Rather, Chicano activists created what might be called an “alternative religious” space—one that honored indigenous cosmologies while remaining accessible to people of diverse backgrounds. The focus shifted from Catholic doctrine to ancestral veneration, collective memory and spiritual connection across the boundary between life and death. Secularization was a product of the times and a means to an end. Moving forward, further reclaiming deeper spiritual ties is necessary for cultural preservation and maintaining the freedom of religion.
Innovation and Creative Syncretism
Chicano artists infused Día de los Muertos practices with innovative flair while maintaining respect for traditional elements. Through creative syncretism, they shaped the holiday into a vibrant, politically engaging public event that served multiple purposes simultaneously.
Innovations Introduced by Chicano Artists:
Large-scale public processions featuring diverse participants and political messaging
Political themes represented within altar installations addressing contemporary issues
Inclusion of stilt walkers, jugglers, musicians from various traditions
Altars commemorating victims of police violence, war and social injustice
Public education and awareness through art workshops and community programs
Memorialization of collective ancestors alongside personal family members
Integration of contemporary political movements (#BlackLivesMatter, #MeToo, immigration rights)
Notable Chicano artists who contributed to this transformation include Ester Hernandez, Carlos Almaraz, ASCO members (Harry Gamboa, Gronk, Willie Herrón, and Patssi Valdez), Judith Baca and Los Four (including Frank Romero). Artist Daniel Gonzalez reflected that “Day of the Dead was not only a way to commemorate the dead and commune with ancestors. It became a way of establishing identity, a vehicle for protest and a way to publicly mourn and process the harsh experience of loss at a time when veterans were returning [or not] from Vietnam.” These patterns continue into the 21st Century. In 2008, Enriqueta Vargas rallied public festivity through Santa Muerte worship in response to her son being gunned down by police, thus reinforcing the bond between indigenous spirituality and political/colonial resistance.
The Transnational Influence: From Chicano Communities Back to Mexico
One of the most fascinating aspects of this story is how Chicano interpretations of Día de los Muertos ultimately influenced celebrations back in Mexico. While Chicanos in the United States were revitalizing the tradition in the 1970s, urban Mexicans viewed it skeptically or with indifference. The Mexican government only began aggressively promoting Day of the Dead for tourism in the 1970s, including in many parts of the country that had never celebrated it before.
Over time, Chicano innovations began to flow back across the border. Mexican artists and tourists found inspiration in Chicano celebrations. Workshops and literature produced by Chicano activists helped elevate the tradition in urban Mexico. Today, elaborate public parades and celebrations in Mexico City and other Mexican urban centers reflect the influence of Chicano public performance styles.
Transnational Cultural Exchange:
Mexican artists and cultural workers drew inspiration from U.S. Chicano celebrations
Tourism promotion in Mexico incorporated elements from Chicano artistic interpretations
Cross-border workshops and cultural exchanges spread innovative practices
Recognition by Mexican artists of Chicano contributions to the tradition’s revival
The 2017 film “Coco” drew heavily from both Mexican and Chicano traditions
Mexico City’s Day of the Dead parade, inspired by the James Bond film “Spectre” (2015), reflects modern theatrical elements similar to Chicano processions
This is an example of what cultural anthropologists call the Pizza Effect and serves as a reflection of just how powerful culture emerging from the US can be. Marchi emphasizes that this transnational flow challenges simplistic notions of cultural authenticity and ownership. The Day of the Dead, as celebrated across the Americas today, is fundamentally a hybrid practice. While it is shaped by indigenous traditions, Catholic colonization, Mexican nationalism, Chicano activism, commercial forces and contemporary social movements, it is the reclaiming native heart, mind and spirit that is this holiday’s undeniable basis.
Ritual Communication and Political Expression
Central to Marchi’s analysis is the concept of “ritual communication”—the idea that public celebrations of Día de los Muertos serve as powerful communication media. These rituals create cultural bridges, affirm Latino solidarity, transmit oppositional messages and advance educational, political, and economic goals.
The celebrations facilitate cultural affirmation while addressing contemporary social injustices faced by Latino communities. Altars have commemorated immigrants who died crossing the border, victims of police brutality, workers killed in unsafe conditions and casualties of war—transforming personal grief into collective political statements. It should be noted that while “Latino solidarity” is a loaded term. There are many Chicano and indigenous people that would find being labeled “Latino” racist, as this denotes association with a European identity that committed atrocities on native peoples. “Latino” is seen by some as a subliminal tool to divorce dignity from being indigenous.
As noted in discussions of Chicano celebrations, the largest U.S. procession in San Francisco “has about 20,000 participants annually, at least half of whom appear to be non-Latinos...includes stilt walkers, jugglers, bagpipe players, steel drummers and political banners condemning human rights abuses, wars and other sociopolitical causes of death.”
Contemporary Celebrations and Cultural Tensions
Today, Chicano-style Day of the Dead events take place in all fifty states. What began as a Chicano cultural and political project has become a pan-American phenomenon that transcends ethnic boundaries. Museums, schools and community organizations across the United States host Day of the Dead exhibitions, workshops and celebrations.
This mainstream embrace has created tensions around commercialization, cultural appropriation and authenticity. The 2017 Disney/Pixar film “Coco” exemplifies these contradictions—while it brought unprecedented visibility to the tradition and was largely praised for its respectful portrayal, Disney initially attempted to trademark the phrase “Día de los Muertos,” sparking outrage about corporate appropriation of cultural heritage.
Contemporary Challenges and Questions:
Commercialization of sacred symbols and spiritual practices
Participation by non-Latino communities and questions of cultural appropriation
Balance between cultural preservation and evolution
Commodification versus authentic cultural expression
Media representation and its impact on tradition
Tensions between indigenous, Mexican and Chicano claims to the tradition
Sociologists argue that commodification does not necessarily corrupt or make the practice inauthentic. Rather, they suggest that commercial and media forces play complex roles in constructions of ethnic identity. The challenge lies in maintaining the tradition’s spiritual depth and political edge while navigating an increasingly commercialized cultural landscape.
Conclusion: A Legacy of Cultural Revival and Spiritual Reclamation
Contemporary native reclamation has played a pivotal role in reshaping Día de los Muertos into a celebration that resonates across borders, cultures and generations. Chicano contributions have enhanced its cultural richness, expanded its reach and ensured its survival for future generations. This represents not just cultural preservation but cultural innovation—a dynamic engagement with tradition that respects the past while addressing present concerns.
In the true spirit of the Chicano movement, Día de los Muertos has become a celebration of vibrancy, resilience and identity that operates on multiple levels simultaneously:
As spiritual practice: Connecting living communities with ancestral wisdom and alternative indigenous spirituality
As political expression: Addressing ongoing injustices and honoring victims of systemic violence
As cultural affirmation: Celebrating Latino identity and indigenous heritage in the face of marginalization
As artistic innovation: Creating new forms of public art and collective ritual
As educational tool: Teaching younger generations about history, culture and social justice
As bridge-building: Creating spaces where diverse communities can engage with Latino culture
The tradition’s evolution demonstrates what the Tales From Aztlantis hosts call “subversive spirituality”—the ability of marginalized communities to maintain, adapt and ultimately transform their cultural and spiritual practices even under conditions of colonization, assimilation and ongoing oppression.
Reflection and Celebration in Modern Times
Fifty years after Chicano artists first created modern public Day of the Dead celebrations in Los Angeles and San Francisco, the tradition continues to evolve. Recent years have seen Day of the Dead altars and art addressing contemporary movements like #BlackLivesMatter, #MeToo, climate justice and immigrant rights—continuing the Chicano tradition of using ritual to communicate political messages and build solidarity across communities of struggle.
As we honor the ongoing efforts of the Chicano community in keeping Día de los Muertos alive and vibrant, we acknowledge the powerful ways artists, activists and cultural workers continue to shape traditions. Their work demonstrates that cultural traditions are not static artifacts to be preserved unchanged, but living practices that must adapt to remain relevant to each generation’s struggles and aspirations just as every other spiritual tradition from around the world addressed the socio-political issues of its day and region.
The story of Día de los Muertos and its Chicano connection reminds us that cultural survival sometimes requires radical reimagining. It shows how marginalized communities can take fragments of ancestral traditions, combine them with contemporary needs and create something both ancient and new—a practice that honors the dead while fighting for the living, that celebrates indigenous spirituality while building multiethnic solidarity and that transforms personal grief into collective action for justice.
Here’s to celebrating our cultural roots, sharing rich traditions with others and fostering appreciation for diverse identities through art and action—for the next fifty years and beyond.
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Marchi, Regina M. Day of the Dead in the USA: The Migration and Transformation of a Cultural Phenomenon. Rutgers University Press, 2009 (2nd edition 2020).
Marchi, Regina M. “Chicano Art as Alternative Media: Its Influence on US Popular Culture (and Beyond).” The International Journal of the Arts in Society 4, no. 5 (2010): 447–64.
Marchi, Regina M. “Hybridity and Authenticity in US Day of the Dead Celebrations.” Journal of American Folklore 126, no. 501 (2013): 272–301.
Tlapoyawa, Kurly and Ruben Arellano Tlakatekatl. “Dia de los Muertos: The Chicano Connection!” Tales From Aztlantis podcast, October 24, 2024.
Tlapoyawa, Kurly and Ruben Arellano Tlakatekatl. “Day of the Dead is Subversive Spirituality!” Tales From Aztlantis podcast, August 16, 2022.
Very cool information!
This is fascinating, Solomon. Thank you!