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I'm Stefan Gates. | 0:00:03 | 0:00:05 | |
I'm on a journey to immerse myself | 0:00:05 | 0:00:08 | |
in some of the most extraordinary feasts and festivals on earth. | 0:00:08 | 0:00:12 | |
From the palaces of Rajasthan to the graveyards of Mexico, | 0:00:22 | 0:00:26 | |
and the ancient temples of Japan, | 0:00:26 | 0:00:28 | |
I'm hoping that by joining in these mass celebrations | 0:00:28 | 0:00:33 | |
I'll be able to conquer my inhibitions and get under the skin | 0:00:33 | 0:00:36 | |
of people and cultures around the world. | 0:00:36 | 0:00:38 | |
I've just landed in the biggest city in the world, | 0:00:54 | 0:00:58 | |
Mexico City, home to 18 million souls. | 0:00:58 | 0:01:02 | |
But the most striking thing about this place isn't its size. | 0:01:05 | 0:01:09 | |
It's built on the ruins of an ancient Aztec city. | 0:01:11 | 0:01:14 | |
Today, Mexican blood is a mix of the old world and the new. | 0:01:17 | 0:01:21 | |
The Aztecs and the Spanish Conquistadors. | 0:01:21 | 0:01:24 | |
But once a year, these wildly different cultures | 0:01:25 | 0:01:28 | |
combine in one spectacular celebration. | 0:01:28 | 0:01:31 | |
I've come to Mexico City and it's a frenzy of activity here, | 0:01:33 | 0:01:36 | |
because in just under a week they'll be celebrating | 0:01:36 | 0:01:39 | |
one of the world's most extraordinary festivals, | 0:01:39 | 0:01:42 | |
Dia de los Muertos, the Mexican Day of the Dead. | 0:01:42 | 0:01:45 | |
Death is everywhere in Mexico. | 0:01:47 | 0:01:49 | |
The Aztecs thought that death was the true state of being. | 0:01:49 | 0:01:53 | |
Today, Mexicans believe the spirit of their ancestors | 0:01:53 | 0:01:57 | |
visit them for three days. | 0:01:57 | 0:01:59 | |
Day of the Dead is now one of the biggest feasts of the year. | 0:01:59 | 0:02:03 | |
Everywhere I go there are symbols of the dead. | 0:02:05 | 0:02:08 | |
Some of them with surprising additions. | 0:02:08 | 0:02:11 | |
It's got a bottle of Corona! | 0:02:11 | 0:02:14 | |
Slightly macabre. | 0:02:16 | 0:02:18 | |
For me, death is something that's never really talked about. | 0:02:18 | 0:02:22 | |
I want to find out if bringing it out in the open | 0:02:22 | 0:02:26 | |
changes the way I feel. | 0:02:26 | 0:02:28 | |
I've been told to bring mementos of my own dead relatives, | 0:02:29 | 0:02:32 | |
although I have no idea what I've let myself in for. | 0:02:32 | 0:02:36 | |
Thankfully, Day of the Dead is still a week away. | 0:02:38 | 0:02:40 | |
While I prepare myself for the spiritual onslaught, | 0:02:40 | 0:02:43 | |
I want to understand more about Mexico | 0:02:43 | 0:02:45 | |
by joining in a very different celebration. | 0:02:45 | 0:02:49 | |
# Oye mamacita... # | 0:02:51 | 0:02:53 | |
I'm about to go to a Quince Anos, | 0:02:58 | 0:03:01 | |
a 15-year-old girl's coming-of-age birthday bash. | 0:03:01 | 0:03:05 | |
Like Day of the Dead, | 0:03:05 | 0:03:07 | |
a Quince Anos is a fusion of Aztec culture and Spanish Catholicism. | 0:03:07 | 0:03:12 | |
Back in 16th-century Spain, turning 15 was the critical moment | 0:03:12 | 0:03:16 | |
where a girl had to decide whether to give herself up to God, | 0:03:16 | 0:03:19 | |
and become a nun, or get married. | 0:03:19 | 0:03:22 | |
Today, the girls still have a crucial decision to make | 0:03:22 | 0:03:26 | |
ahead of turning 15, but the big dilemma now, | 0:03:26 | 0:03:29 | |
is what to wear for their big party. | 0:03:29 | 0:03:32 | |
It's a whole district dedicated to clothes for Quinceaneras | 0:03:32 | 0:03:37 | |
and baptisms and all the bits and pieces, the bouquets, | 0:03:37 | 0:03:40 | |
and the plastic flowers and things you might need. | 0:03:40 | 0:03:42 | |
Terrifying for a bloke and for a father | 0:03:42 | 0:03:44 | |
that girls want this kind of stuff. | 0:03:44 | 0:03:46 | |
But the whole area is full of these wide-eyed girls | 0:03:46 | 0:03:50 | |
full of their hopes and dreams that one day | 0:03:50 | 0:03:53 | |
they're going to look like this. | 0:03:53 | 0:03:55 | |
The coming-of-age ceremony | 0:04:01 | 0:04:03 | |
was around well before the Spanish conquered Mexico 500 years ago. | 0:04:03 | 0:04:08 | |
The Aztecs had many of their own religious and spiritual traditions, | 0:04:08 | 0:04:12 | |
and one of them was a ceremony preparing girls for life as an adult. | 0:04:12 | 0:04:15 | |
The older women would give them all the advice necessary | 0:04:17 | 0:04:20 | |
to make the transition into womanhood. | 0:04:20 | 0:04:24 | |
It's the combination of Aztec and Spanish traditions | 0:04:24 | 0:04:27 | |
that are the foundations of the modern day Quince Anos. | 0:04:27 | 0:04:31 | |
As a dad of two little girls myself, I want to learn why families here | 0:04:38 | 0:04:42 | |
are prepared to go to crippling lengths to give their daughters | 0:04:42 | 0:04:45 | |
the biggest party of their lives. | 0:04:45 | 0:04:47 | |
I go to meet the Aguilera's, an upper-middle class family | 0:04:50 | 0:04:54 | |
in the north of the city. | 0:04:54 | 0:04:56 | |
-Hola! -Como estas? Estamos esperando. | 0:04:56 | 0:04:59 | |
Sergio is an insurance broker, | 0:04:59 | 0:05:01 | |
I guess you'd call him a thoroughly modern Mexican. | 0:05:01 | 0:05:04 | |
So is this Karla? Hey, Karla. I'm Stefan. | 0:05:04 | 0:05:07 | |
Good to meet you. | 0:05:07 | 0:05:09 | |
In just three days he and his wife, Luz are throwing a Quince Anos | 0:05:09 | 0:05:13 | |
for their only daughter Karla. | 0:05:13 | 0:05:15 | |
-Hi. -Hola, I'm Stefan. Hi there. | 0:05:15 | 0:05:18 | |
That's quite an impressive stack of presents, isn't it? | 0:05:18 | 0:05:20 | |
You can't open it yet, can you? Is that allowed? | 0:05:20 | 0:05:23 | |
-Yes! -Really?! | 0:05:23 | 0:05:25 | |
Wow! It's pink! | 0:05:25 | 0:05:27 | |
I love pink. It's my favourite colour. | 0:05:27 | 0:05:30 | |
My brother, my Mum and my Dad, but 20 years ago. | 0:05:30 | 0:05:35 | |
In Luz's day, a Quince Anos was a small party, | 0:05:35 | 0:05:38 | |
attended by close family and friends. | 0:05:38 | 0:05:41 | |
But for Karla things will be different. | 0:05:41 | 0:05:44 | |
She was little here. | 0:05:44 | 0:05:46 | |
Wow! She looks like a little doll there. | 0:05:46 | 0:05:49 | |
-She liked pink then, as well? -Yes. | 0:05:49 | 0:05:53 | |
In the traditional Catholic celebration, | 0:05:53 | 0:05:56 | |
the coming-of-age girl, or Quinceanera, | 0:05:56 | 0:05:58 | |
would wear a white dress, showing her purity. | 0:05:58 | 0:06:01 | |
Any other colour would be an outrage. | 0:06:01 | 0:06:04 | |
But Karla is a thoroughly modern girl. | 0:06:04 | 0:06:07 | |
-What's this? Karla? -Karla? | 0:06:07 | 0:06:10 | |
-Er, it's my dress. -That's the dress? | 0:06:10 | 0:06:13 | |
-Yes. -Wow! Look at that. That's a lot of material. | 0:06:13 | 0:06:16 | |
It is. | 0:06:16 | 0:06:19 | |
So who chose this? Did you chose it? | 0:06:19 | 0:06:21 | |
Or did mum? | 0:06:21 | 0:06:22 | |
Which one? | 0:06:26 | 0:06:27 | |
-A-ha. It's a very princess dress, isn't it? -Yes. | 0:06:30 | 0:06:33 | |
For Karla, the party might be about wearing a big dress | 0:06:33 | 0:06:37 | |
and getting lots of presents. | 0:06:37 | 0:06:38 | |
But for her father, Sergio it means much, much more. | 0:06:38 | 0:06:42 | |
She looks lovely in it. | 0:06:42 | 0:06:45 | |
I was amazed because she looks so different. | 0:06:45 | 0:06:47 | |
How do you feel when you see her wearing the dress? | 0:06:47 | 0:06:50 | |
-Kind of awkward. -Why? | 0:06:50 | 0:06:53 | |
Because I think of her like my tiny girl, still. | 0:06:53 | 0:06:57 | |
And I find it kind of hard for her changing the way of life and... | 0:06:57 | 0:07:02 | |
-To see her as a woman? -Oh, yes. | 0:07:02 | 0:07:04 | |
It is kind of hard for a father to do that. | 0:07:04 | 0:07:07 | |
The idea of that with my daughters terrifies me. | 0:07:07 | 0:07:11 | |
With two nights to go before the big event, | 0:07:25 | 0:07:28 | |
Sergio invites me to another traditional Mexican celebration, | 0:07:28 | 0:07:32 | |
one that's as far removed from the purity of a Quince Anos | 0:07:32 | 0:07:36 | |
as it's possible to get. | 0:07:36 | 0:07:38 | |
Mexican wrestling is one of the most popular sports in the country. | 0:07:45 | 0:07:49 | |
Every week, millions of viewers tune in to watch masked opponents | 0:07:49 | 0:07:53 | |
battling it out in the time-honoured tradition of good verses evil... | 0:07:53 | 0:07:58 | |
..with chicks in bikinis and the odd dwarf thrown into the mix. | 0:08:00 | 0:08:04 | |
Between fights I get a chance to chat to Sergio, mano-a-mano, | 0:08:07 | 0:08:11 | |
about what it's like losing his daughter to womanhood. | 0:08:11 | 0:08:15 | |
I'm wondering what you're feeling like? | 0:08:15 | 0:08:16 | |
You're spending a lot of money. How much will this cost you? | 0:08:16 | 0:08:19 | |
Like £9,000. That's a lot of money. | 0:08:19 | 0:08:23 | |
-That's a HUGE amount of money. -Yes, it's like buying a new car. | 0:08:23 | 0:08:26 | |
-A mid-sized new car. -That must be a large proportion of your earnings. | 0:08:26 | 0:08:29 | |
Oh, yes, it is. We have to save a long time for this. | 0:08:29 | 0:08:33 | |
Would you have preferred a cheaper venue? Or cheaper food? | 0:08:33 | 0:08:37 | |
How much could I have saved with a cheaper party? | 0:08:37 | 0:08:45 | |
If she wasn't happy, it was not worth it, at all. | 0:08:45 | 0:08:49 | |
Which bit of the party are you most looking forward to yourself? | 0:08:49 | 0:08:53 | |
OK. A waltz. | 0:08:53 | 0:08:54 | |
And the waltz is like... | 0:08:54 | 0:08:57 | |
just being she and me alone for a moment. | 0:08:57 | 0:09:01 | |
I expect it to be magic. | 0:09:01 | 0:09:04 | |
Whilst you can't put a price on magic, | 0:09:08 | 0:09:10 | |
I'll just mention the waltz is costing Sergio | 0:09:10 | 0:09:13 | |
twice the average Mexican salary. | 0:09:13 | 0:09:16 | |
One of those costs is a private dance instructor. | 0:09:16 | 0:09:19 | |
The dance is the moment when Sergio will present | 0:09:19 | 0:09:21 | |
Karla as a woman to society... | 0:09:21 | 0:09:24 | |
and he's leaving nothing to chance. | 0:09:24 | 0:09:27 | |
Traditionally, the Quinceanera would have a single male escort | 0:09:28 | 0:09:32 | |
to accompany her for the evening. But like many modern girls, | 0:09:32 | 0:09:35 | |
Karla has roped in four | 0:09:35 | 0:09:37 | |
to try to make her big night the talk of the school. | 0:09:37 | 0:09:40 | |
So, how long have they been rehearsing this for? | 0:09:50 | 0:09:52 | |
From August. | 0:09:52 | 0:09:53 | |
From August, so three months? | 0:09:53 | 0:09:56 | |
Just on Sundays. Two hours. | 0:09:56 | 0:09:58 | |
Just Sundays, two hours. That's all! | 0:09:58 | 0:10:00 | |
-I'm...stressed. -You're stressed out? | 0:10:00 | 0:10:03 | |
-You're stressed anyway! -Yes. | 0:10:03 | 0:10:05 | |
-This really doesn't help, then? -No. | 0:10:05 | 0:10:08 | |
It's not just Sergio coughing up cash, though. | 0:10:09 | 0:10:13 | |
All of the guests, including me, are expected to honour the event | 0:10:13 | 0:10:17 | |
with a gift, and Karla has a gift list. | 0:10:17 | 0:10:20 | |
It's to be found at Mexico City's poshest department store, | 0:10:20 | 0:10:24 | |
the oddly named, "Liverpool." | 0:10:24 | 0:10:26 | |
Hola. | 0:10:26 | 0:10:28 | |
Hola. | 0:10:28 | 0:10:29 | |
Mucho gusto. | 0:10:29 | 0:10:31 | |
I feel thoroughly out of my depth shopping for a 15-year-old girl, | 0:10:31 | 0:10:34 | |
so Luz Ester, head of the Gift List department, | 0:10:34 | 0:10:37 | |
has offered to help me pick out the perfect present. | 0:10:37 | 0:10:40 | |
-Do most girls get everything they ask for? -Yeah. | 0:10:40 | 0:10:43 | |
-Really?! -Yeah. | 0:10:43 | 0:10:45 | |
And what's the most expensive thing on the whole list? | 0:10:45 | 0:10:48 | |
Is it this DKNY coat? Yeah. | 0:10:48 | 0:10:51 | |
The designer coat costs £170. | 0:10:51 | 0:10:55 | |
That's more than the average weekly wage in Mexico. | 0:10:55 | 0:10:59 | |
That's quite sophisticated, isn't it? For a 15-year-old? Yeah. | 0:10:59 | 0:11:03 | |
I think we'll put that one back because it's a bit too much for me. | 0:11:03 | 0:11:06 | |
-OK. -So what else can we have a look at? | 0:11:06 | 0:11:09 | |
The history books make no reference to DKNY | 0:11:11 | 0:11:14 | |
during the Aztec coming-of-age ceremonies. | 0:11:14 | 0:11:17 | |
Not something I feel able to bring up | 0:11:17 | 0:11:19 | |
as Luz skilfully guides me towards the handbag department. | 0:11:19 | 0:11:23 | |
I generally close down when anybody mentions handbags, | 0:11:25 | 0:11:28 | |
my mind just shuts off, so I need all the help that you can give me. | 0:11:28 | 0:11:32 | |
That's quite a tame one. Aahh, with an extra little gorilla motif. | 0:11:32 | 0:11:36 | |
That's really sweet, actually. I can imagine giving that to my daughters | 0:11:39 | 0:11:42 | |
when they're 15. So I might buy that. | 0:11:42 | 0:11:44 | |
It might be one of the cheapest presents on the list, | 0:11:45 | 0:11:48 | |
but I can hold my head up high. | 0:11:48 | 0:11:49 | |
I feel I'm now fully equipped to participate | 0:11:49 | 0:11:52 | |
in this ancient tradition. | 0:11:52 | 0:11:54 | |
9am - the morning of the party. | 0:12:05 | 0:12:09 | |
I'm checking in on Luz to see how she's doing. | 0:12:09 | 0:12:12 | |
Oh, look at you! | 0:12:12 | 0:12:14 | |
-Are you very stressed out? -Yes. | 0:12:14 | 0:12:17 | |
-So what is this? A... -Cold sore. -Cold sore. | 0:12:17 | 0:12:20 | |
-And is that because you're very nervous? -Yes. | 0:12:20 | 0:12:23 | |
Do you always get them when you're nervous? | 0:12:23 | 0:12:26 | |
Yes, I do, but this time it's worse than ever. | 0:12:26 | 0:12:30 | |
Will you be all right by later do you think? | 0:12:30 | 0:12:32 | |
Well, I hope so. I'm going to buy some medicine. | 0:12:32 | 0:12:36 | |
There's clearly a huge amount at stake. | 0:12:36 | 0:12:40 | |
We head off to the beauty salon to see if they can help. | 0:12:40 | 0:12:44 | |
I think it's a physical expression of your love for your daughter. | 0:12:44 | 0:12:48 | |
-How about that? -Well, yes, but, you know, I don't like it. | 0:12:48 | 0:12:53 | |
-You'll be gorgeous by tonight. -I hope so. | 0:12:53 | 0:12:57 | |
Luz isn't the only one feeling the heat. Karla has her own anxieties. | 0:13:06 | 0:13:13 | |
Luz tells me that she's found it tough fitting in | 0:13:13 | 0:13:15 | |
with her peers at school, but she's invited lots of them anyway. | 0:13:15 | 0:13:19 | |
This could be her moment to lose her geeky image, to finally become cool. | 0:13:19 | 0:13:25 | |
It's a risky strategy. | 0:13:25 | 0:13:28 | |
Her popularity at school all depends on the success of tonight. | 0:13:28 | 0:13:33 | |
Back at the house, the relatives are gathering. | 0:13:41 | 0:13:44 | |
The beauty salon tried their best to cover up Luz's cold sores. | 0:13:49 | 0:13:53 | |
She's still devastated, but she puts on a brave face. | 0:13:53 | 0:13:58 | |
The biggest night in Karla's life has finally arrived. | 0:14:05 | 0:14:09 | |
Just like in a fairytale, Karla's carriage awaits. | 0:14:19 | 0:14:22 | |
But first stop, the church. | 0:14:22 | 0:14:25 | |
We've finally got everyone out of the house and we're on our way, | 0:14:27 | 0:14:30 | |
the trouble is it's already 7:37. | 0:14:30 | 0:14:33 | |
The service started about seven minutes ago theoretically, | 0:14:33 | 0:14:36 | |
and everyone that was in the house is way behind, | 0:14:36 | 0:14:38 | |
they're all stuck in a traffic jam trying to get out of the street. | 0:14:38 | 0:14:41 | |
So I hope that Mexican church time's a little bit flexible. | 0:14:41 | 0:14:45 | |
MUSIC: "Land Of Hope And Glory" | 0:14:45 | 0:14:48 | |
But a few more minutes isn't a problem. | 0:14:50 | 0:14:52 | |
To the rather surprising tune of Land Of Hope And Glory, | 0:14:52 | 0:14:56 | |
Karla walks down the aisle on her way to becoming a woman. | 0:14:56 | 0:15:00 | |
In the original Catholic ceremony, this was the time | 0:15:06 | 0:15:09 | |
when a girl would have to decide whether to become a nun | 0:15:09 | 0:15:12 | |
or get married. | 0:15:12 | 0:15:14 | |
And just like that, Karla takes her first steps as a woman. | 0:15:44 | 0:15:49 | |
After the ceremony, | 0:16:04 | 0:16:06 | |
I ask Karla's priest what he makes of the modern day Quince Anos. | 0:16:06 | 0:16:11 | |
But the mass consumption is only just beginning. | 0:16:31 | 0:16:35 | |
The family has thrown a fortune into making the party | 0:16:45 | 0:16:49 | |
seem as extravagant and as cool as possible. | 0:16:49 | 0:16:52 | |
But for Sergio, tonight isn't about the cost. | 0:16:56 | 0:16:59 | |
It's about a last dance with his daughter as a little girl, | 0:16:59 | 0:17:02 | |
and his first dance with her as a woman. | 0:17:02 | 0:17:05 | |
APPLAUSE | 0:17:20 | 0:17:23 | |
Quinceanera's traditionally perform at least two dances - | 0:17:24 | 0:17:28 | |
a waltz and then a more modern dance. | 0:17:28 | 0:17:31 | |
It's all been very innocent, so what comes next is a bit of a surprise. | 0:17:31 | 0:17:37 | |
CHA CHA MUSIC PLAYS | 0:17:37 | 0:17:39 | |
RAPTUROUS CHEERS AND APPLAUSE | 0:18:08 | 0:18:11 | |
CROWD CHANT | 0:18:17 | 0:18:20 | |
Wow! That was quite an extraordinary difference between | 0:18:24 | 0:18:27 | |
the big Quince Anos dress and the young woman dress. | 0:18:27 | 0:18:32 | |
I was quite shocked at that. | 0:18:32 | 0:18:33 | |
SALSA MUSIC PLAYS | 0:18:40 | 0:18:42 | |
It's been a huge emotional, as well as financial strain, | 0:18:45 | 0:18:49 | |
for Sergio and Luz. | 0:18:49 | 0:18:51 | |
But now they can finally let their hair down. | 0:18:51 | 0:18:54 | |
You're coming with me. | 0:18:58 | 0:19:00 | |
-But I don't know how to dance! -Excellent! I don't know either. | 0:19:00 | 0:19:04 | |
I think a little spin around, how about that? Yeah! | 0:19:04 | 0:19:08 | |
It might all seem materialistic, | 0:19:10 | 0:19:13 | |
but at the heart of the Quince Anos is a critical moment in life. | 0:19:13 | 0:19:16 | |
By embracing puberty, it transforms a difficult part | 0:19:16 | 0:19:20 | |
of growing up into a celebration. | 0:19:20 | 0:19:23 | |
For Karla, I'm just hoping it'll be a success. | 0:19:25 | 0:19:28 | |
As the clock approaches midnight, the signs are looking good. | 0:19:30 | 0:19:34 | |
It's the morning after the big party and I'm hitting the road. | 0:19:54 | 0:19:58 | |
I'm heading south to rural Oaxaca. | 0:19:58 | 0:20:01 | |
I'm looking forward to immersing myself in the Day of the Dead. | 0:20:05 | 0:20:09 | |
Do the dead really return to earth? | 0:20:10 | 0:20:13 | |
And if so, can I actually meet my own dead relatives? | 0:20:13 | 0:20:17 | |
But I'd been told that I first need to get familiar with mescal, | 0:20:21 | 0:20:25 | |
the liquor that drives the Day of the Dead ceremonies. | 0:20:25 | 0:20:29 | |
Which is why I find myself in a large field with Mario. | 0:20:29 | 0:20:33 | |
So how old are these plants? | 0:20:34 | 0:20:37 | |
-So this one's ready to go is it? -Yeah. | 0:20:44 | 0:20:46 | |
Mario makes mescal. | 0:20:47 | 0:20:49 | |
It's similar to tequila, it's brewed from agave plants. | 0:20:49 | 0:20:53 | |
It's the drink used to toast the spirits of your ancestors | 0:20:53 | 0:20:56 | |
as they make their annual return back to earth. | 0:20:56 | 0:20:59 | |
So do you not need the leaves themselves, is it just the trunk? | 0:20:59 | 0:21:03 | |
Only that, yeah. | 0:21:03 | 0:21:05 | |
Mescal isn't only used to welcome back the dead. | 0:21:06 | 0:21:10 | |
In Oaxaca, they'll find pretty much any reason to open a bottle. | 0:21:10 | 0:21:15 | |
Is it a good life being a mescal farmer? | 0:21:18 | 0:21:20 | |
Ten litres. | 0:21:41 | 0:21:43 | |
The locals have been making mescal in this region for over 2,000 years. | 0:21:44 | 0:21:48 | |
Wow! Look at that. | 0:21:48 | 0:21:50 | |
It does look like a pineapple. | 0:21:50 | 0:21:52 | |
It was the Aztec version of a cup of tea, though slightly stronger. | 0:21:52 | 0:21:57 | |
The core of the plant is baked in a hole in the ground | 0:22:00 | 0:22:03 | |
to caramelize the sugars and intensify the flavours. | 0:22:03 | 0:22:07 | |
Then it's crushed and like everything on Mario's farm, | 0:22:07 | 0:22:11 | |
it's not exactly a hi tech process. | 0:22:11 | 0:22:15 | |
It's just breaking it all down, | 0:22:15 | 0:22:18 | |
and so it's turning it into a mash. | 0:22:18 | 0:22:20 | |
OK, I want to see how hard the horse is working. | 0:22:20 | 0:22:23 | |
HE GROANS WITH EXERTION | 0:22:23 | 0:22:25 | |
To heavy? | 0:22:25 | 0:22:26 | |
STEFAN LAUGHS | 0:22:26 | 0:22:27 | |
I help you? | 0:22:27 | 0:22:28 | |
-Go on then. OK, are you ready? -Yeah. | 0:22:28 | 0:22:31 | |
Blimey! | 0:22:35 | 0:22:37 | |
Once the plant is crushed, | 0:22:40 | 0:22:42 | |
it's left to ferment and then it's cooked again. | 0:22:42 | 0:22:45 | |
And that liquid is pure mescal. | 0:22:52 | 0:22:56 | |
So it goes through into here and cools down, | 0:22:56 | 0:22:59 | |
and is that it coming through there now? | 0:22:59 | 0:23:01 | |
So this is fresh mescal, straight from the still. | 0:23:01 | 0:23:05 | |
-I've never tried this before. -Natural, yeah. | 0:23:08 | 0:23:11 | |
Hoo! | 0:23:13 | 0:23:14 | |
Ooh, I thought it was going to give me a really painful hit, | 0:23:14 | 0:23:17 | |
-but it's really clean, isn't it? -Yeah. | 0:23:17 | 0:23:19 | |
Wow! And then it really warms you up inside! | 0:23:19 | 0:23:22 | |
One thing that's slightly worrying is that my lips have gone numb. | 0:23:22 | 0:23:25 | |
Is that normal? | 0:23:25 | 0:23:27 | |
That's a good thing, is it? | 0:23:29 | 0:23:31 | |
Purely for the purposes of research, | 0:23:40 | 0:23:42 | |
Mario insists I try his different blends. | 0:23:42 | 0:23:45 | |
It turns out he has quite a range. | 0:23:45 | 0:23:48 | |
OK. Salud! | 0:23:50 | 0:23:51 | |
That really gets you deep down, doesn't it? | 0:23:53 | 0:23:56 | |
Salud! | 0:23:56 | 0:23:57 | |
-Cheers. -Cheers. | 0:24:04 | 0:24:06 | |
I can feel my brain contracting in my head. | 0:24:08 | 0:24:11 | |
-Salud! -Salud! | 0:24:11 | 0:24:13 | |
Wow! | 0:24:14 | 0:24:16 | |
How strong is that? | 0:24:17 | 0:24:18 | |
Salud! Nice one. | 0:24:22 | 0:24:24 | |
Oh, God! | 0:24:24 | 0:24:26 | |
I need a little lullaby to send me to sleep, please. | 0:24:28 | 0:24:31 | |
Feeling slightly fuzzy-headed, I finally reach Oaxaca. | 0:24:46 | 0:24:51 | |
Unlike Mexico City, | 0:24:55 | 0:24:57 | |
the influence here is much more Aztec than Spanish. | 0:24:57 | 0:25:00 | |
The Aztecs always celebrated death. | 0:25:06 | 0:25:09 | |
"Life," they said, "is just a dream. | 0:25:09 | 0:25:12 | |
"Only in death are we truly awake." | 0:25:12 | 0:25:15 | |
If there's ever a place where I'll see spirits coming back to earth, | 0:25:16 | 0:25:20 | |
this is going to be it. | 0:25:20 | 0:25:22 | |
Today's Day of the Dead is a three-day festival | 0:25:22 | 0:25:25 | |
mixing the ancient Aztec traditions with the Catholic All Saints Day. | 0:25:25 | 0:25:30 | |
It's very different from the way I'd grown up to think about death, | 0:25:30 | 0:25:33 | |
which is, well... not to think about it at all. | 0:25:33 | 0:25:36 | |
I wonder if celebrating something I prefer to avoid | 0:25:36 | 0:25:39 | |
will make it easier to deal with. | 0:25:39 | 0:25:43 | |
-Catalina? -Bienvenidos. | 0:25:44 | 0:25:46 | |
Thank you very much for letting me come and visit you. | 0:25:51 | 0:25:54 | |
Look at this place, it's beautiful! | 0:25:54 | 0:25:56 | |
I've been invited to spend the festival | 0:26:00 | 0:26:02 | |
with Catalina and her family. | 0:26:02 | 0:26:04 | |
Is this the virgin of Guadalupe? | 0:26:07 | 0:26:09 | |
This is extraordinary. What is this room? | 0:26:16 | 0:26:20 | |
And this is all your family? | 0:26:26 | 0:26:28 | |
Is that you? Oh, wow! | 0:26:35 | 0:26:37 | |
You had big cheeks then! | 0:26:37 | 0:26:39 | |
THEY LAUGH | 0:26:39 | 0:26:41 | |
Wow! That's the way to have a kitchen. | 0:26:42 | 0:26:45 | |
Catalina's mum, Guadalupe, | 0:26:45 | 0:26:47 | |
is busy cooking for the Day of the Dead feast. | 0:26:47 | 0:26:49 | |
Who does all the cooking for Day of the Dead? | 0:26:50 | 0:26:53 | |
Is it your mother or is it you? | 0:26:53 | 0:26:55 | |
So has all the really tough work been done or have you got me here | 0:26:57 | 0:27:01 | |
to do all the hard work? | 0:27:01 | 0:27:02 | |
Excellent! | 0:27:05 | 0:27:06 | |
Catalina's father, Andres, comes home from work early | 0:27:06 | 0:27:10 | |
to help with the preparations. | 0:27:10 | 0:27:12 | |
I love your hat! | 0:27:12 | 0:27:15 | |
It's very cool? Have you just come in from work? | 0:27:15 | 0:27:18 | |
Si. | 0:27:19 | 0:27:20 | |
You've got to give your wife a kiss when you come home. | 0:27:20 | 0:27:23 | |
Thank you very much for letting me come and join you. | 0:27:28 | 0:27:30 | |
I've been wondering whether they really believe | 0:27:31 | 0:27:34 | |
the dead are coming back, | 0:27:34 | 0:27:37 | |
or if the whole thing is mainly an excuse for a big party. | 0:27:37 | 0:27:41 | |
So is everyone looking forward to the Day of the Dead? | 0:27:41 | 0:27:45 | |
It's a huge jump for me as I've never experienced this before. | 0:27:50 | 0:27:53 | |
Is there anything I can do to prepare myself, | 0:27:53 | 0:27:56 | |
to get myself ready, to try and...sense, erm, | 0:27:56 | 0:28:01 | |
some of my family that's passed away? | 0:28:01 | 0:28:03 | |
Catalina's not the only one who thinks the dead are returning. | 0:28:25 | 0:28:28 | |
Whilst in Britain we tend to associate death with misery, | 0:28:33 | 0:28:36 | |
here in Oaxaca, they have a very different outlook. | 0:28:36 | 0:28:40 | |
MUSIC: "La Vida Es Un Carnaval" by Celia Crux | 0:28:40 | 0:28:42 | |
Every night during the festivities, huge parades take place in the city. | 0:28:48 | 0:28:53 | |
Here, life is turned upside down. | 0:28:53 | 0:28:55 | |
Locals dress up as skeletons, men dress as women, | 0:28:55 | 0:28:59 | |
and parties are thrown in graveyards to welcome death. | 0:28:59 | 0:29:03 | |
I meet up with Jorge who helps to organise the festivities. | 0:29:05 | 0:29:09 | |
We're celebrating the Day of the Dead, | 0:29:11 | 0:29:13 | |
but, I think, it's more for the Day of the Lives, | 0:29:13 | 0:29:17 | |
because we're going to have a great party tonight! | 0:29:17 | 0:29:20 | |
Day of the Dead seems to be a chance to laugh at death, | 0:29:22 | 0:29:26 | |
and show you're not afraid. | 0:29:26 | 0:29:28 | |
-Sit down. -OK. | 0:29:33 | 0:29:35 | |
I really need to throw my heart and soul into the festivities | 0:29:35 | 0:29:38 | |
if I'm going to understand what they're all about. | 0:29:38 | 0:29:40 | |
We meet up with Virginia who's keen to dress us up. | 0:29:42 | 0:29:46 | |
There's just one problem... | 0:29:47 | 0:29:49 | |
the costume Virginia brought for me is meant for a woman. | 0:29:49 | 0:29:53 | |
Is it a bit short on me? | 0:29:53 | 0:29:54 | |
I don't mind being a girl, but I don't want to be a tart. | 0:29:54 | 0:29:57 | |
Oh, gosh! It's a bit small. | 0:29:59 | 0:30:01 | |
It doesn't fit. | 0:30:01 | 0:30:04 | |
If we squeeze me in. | 0:30:04 | 0:30:07 | |
Aah! That's made it! That's made it. | 0:30:07 | 0:30:10 | |
Virginia dresses me up as Catrina, | 0:30:12 | 0:30:14 | |
Day of the Dead's most famous character. | 0:30:14 | 0:30:18 | |
She represents a rich old lady, | 0:30:18 | 0:30:19 | |
a reminder that even money can't keep us from death. | 0:30:19 | 0:30:23 | |
Jorge's also a Catrina, but of a slightly different proportion. | 0:30:29 | 0:30:34 | |
The thing is, what happens if I lose you in the crowd? | 0:30:34 | 0:30:37 | |
No-one here seems to think it's bizarre to get dressed up | 0:30:50 | 0:30:53 | |
like a dead granny and I have to admit, it's strangely liberating. | 0:30:53 | 0:30:58 | |
CHEERING | 0:30:58 | 0:31:02 | |
Our plan is to blend in, but we end up leading the procession. | 0:31:05 | 0:31:09 | |
Woo-hoo! Woo-hoo! Woo-hoo! | 0:31:12 | 0:31:15 | |
I'm not any closer to understanding the true meaning | 0:31:17 | 0:31:19 | |
behind Day of the Dead, | 0:31:19 | 0:31:21 | |
but this soon feels like the most normal thing in the world. | 0:31:21 | 0:31:25 | |
BRASS BAND CONTINUES TO PLAY | 0:31:28 | 0:31:30 | |
The next morning, I find myself in Oaxaca's largest graveyard. | 0:31:51 | 0:31:55 | |
I've come to meet Nora, a local historian, | 0:31:59 | 0:32:02 | |
who wants me to meet her relatives. | 0:32:02 | 0:32:04 | |
-So where are we taking these to? -We're going to see grandmother. | 0:32:08 | 0:32:11 | |
Actually the space was first for grandfather. | 0:32:11 | 0:32:15 | |
Grandmother died like, three years ago. | 0:32:15 | 0:32:18 | |
So what we're doing is we're going to bring some flowers to her tomb. | 0:32:18 | 0:32:22 | |
There is the tomb. | 0:32:22 | 0:32:25 | |
This one here? | 0:32:25 | 0:32:26 | |
-Right here. -Wow! It's a whole house! | 0:32:26 | 0:32:29 | |
Yeah! It's big, no? | 0:32:29 | 0:32:31 | |
My grandfather and my grandmother is here, | 0:32:31 | 0:32:34 | |
and you see the pictures right there. | 0:32:34 | 0:32:36 | |
We really believe that grandmother and grandfather and all the people | 0:32:36 | 0:32:40 | |
who pass away, pass away and you love it. They coming back. | 0:32:40 | 0:32:44 | |
So they're actually physically coming back... | 0:32:44 | 0:32:47 | |
-The spirit is what is coming back. -The spirit's coming, OK. | 0:32:47 | 0:32:50 | |
The spirit is what is coming back | 0:32:50 | 0:32:52 | |
and that's why we try to prepare all the good food. | 0:32:52 | 0:32:57 | |
You know they love to eat in that time. | 0:32:57 | 0:32:59 | |
You know Oaxaca people doesn't have money for a lot of things, | 0:32:59 | 0:33:03 | |
but for food and for flowers and for the celebrations, | 0:33:03 | 0:33:07 | |
-it's just, you know, unique. -You'll always find some money for... | 0:33:07 | 0:33:11 | |
You're always gonna find money for that. | 0:33:11 | 0:33:13 | |
Tell me about your grandfather and grandmother. What were they like? | 0:33:13 | 0:33:18 | |
Grandmother was really young, compared with him. | 0:33:18 | 0:33:22 | |
-She looks very pretty. -She was. | 0:33:22 | 0:33:25 | |
She was and she still is probably really pretty. | 0:33:25 | 0:33:28 | |
I can't say physical, but I can feel. | 0:33:28 | 0:33:30 | |
You keep saying these things that make... | 0:33:30 | 0:33:32 | |
I can't quite get my head around, "She's still really pretty." | 0:33:32 | 0:33:35 | |
I've got to get into your mindset here, I think. | 0:33:35 | 0:33:39 | |
When your grandparents come back, | 0:33:39 | 0:33:40 | |
do you think they might argue with each other when they're back? | 0:33:40 | 0:33:43 | |
Like maybe they did when they were alive? | 0:33:43 | 0:33:45 | |
You know, Grandmother used to say | 0:33:45 | 0:33:47 | |
that Grandfather was always having girlfriends around. | 0:33:47 | 0:33:52 | |
So maybe this is a great opportunity for she complain, you know? | 0:33:52 | 0:33:56 | |
What he was doing! | 0:33:56 | 0:33:59 | |
Nora understands that the whole idea of Day of the Dead | 0:34:02 | 0:34:06 | |
is a bit of a mental leap for me. | 0:34:06 | 0:34:09 | |
Eating is central to the whole experience | 0:34:09 | 0:34:12 | |
and she thinks I'll understand it better if I help her make mole. | 0:34:12 | 0:34:15 | |
Come on, Stefan! Let's go make the mole! | 0:34:15 | 0:34:18 | |
We have to prepare this before, you know? | 0:34:18 | 0:34:22 | |
Mole's a traditional Oaxacan sauce | 0:34:22 | 0:34:25 | |
that's been served since long before the Spanish arrived. | 0:34:25 | 0:34:29 | |
Now it's the food of choice for welcoming back the dead. | 0:34:29 | 0:34:33 | |
-Why mole? -Why mole. Well... | 0:34:33 | 0:34:35 | |
Why not guacamole and a few tacos? | 0:34:35 | 0:34:38 | |
Guacamole and a few tacos is really casual and this is really elegant. | 0:34:38 | 0:34:43 | |
-For this is for a formal... -For a really formal occasion. OK? | 0:34:43 | 0:34:48 | |
All the peppers are clean and I have here, guess what? Lard. | 0:34:48 | 0:34:52 | |
Lard. Hey! | 0:34:52 | 0:34:54 | |
This is a pork lard and this is the most wonderful thing. | 0:34:54 | 0:34:59 | |
You don't mess about. That's about three heart attacks there. | 0:34:59 | 0:35:02 | |
-You need a lot. -This really is going to be Day of the Dead. | 0:35:02 | 0:35:04 | |
Yes, we need a lot. | 0:35:04 | 0:35:06 | |
-You see how it turns brown? -You're kind of deep-frying them in lard. | 0:35:06 | 0:35:10 | |
That's why you need lots of lard. | 0:35:10 | 0:35:12 | |
When my grandmother was cooking and there was going to be a party, | 0:35:12 | 0:35:15 | |
she would always want a shot of mescal, | 0:35:15 | 0:35:18 | |
-or a little cubita de sallo, no? -Oh, yeah? -Oh, yes. A-ha. | 0:35:18 | 0:35:21 | |
-Bring it on, honey. Where's the mescal? -Where's the mescal? | 0:35:21 | 0:35:24 | |
Lorena, bring some mescal, please. | 0:35:24 | 0:35:26 | |
-Gracias! Here it is. -Hey! | 0:35:26 | 0:35:29 | |
There's only one cup there. What about you? | 0:35:29 | 0:35:33 | |
If I drink it, I'm going to sleep. | 0:35:33 | 0:35:35 | |
HE LAUGHS | 0:35:35 | 0:35:36 | |
Muchas gracias. | 0:35:36 | 0:35:38 | |
-One shot. -One shot? | 0:35:38 | 0:35:40 | |
You're hardcore, aren't you? | 0:35:40 | 0:35:42 | |
SHE LAUGHS | 0:35:42 | 0:35:43 | |
It's good, it's bad? | 0:35:52 | 0:35:54 | |
OK, look. When they are toasty... | 0:35:54 | 0:35:58 | |
-Are you OK?! -No, I want to go home! -I'm so sorry! | 0:35:58 | 0:36:02 | |
-But the second shot it feels better. -Oh, that's all right, is it? OK. | 0:36:02 | 0:36:06 | |
-OK... -Oh! | 0:36:06 | 0:36:08 | |
-It smells fantastic. -Smells good? -Oh, yeah. | 0:36:13 | 0:36:16 | |
Does cooking have a spiritual significance for you? | 0:36:16 | 0:36:19 | |
Yes, of course. | 0:36:19 | 0:36:21 | |
Four years ago when we cooked for the last time, Grandmother and I, | 0:36:21 | 0:36:25 | |
she told me she was feeling like she was going to pass away, | 0:36:25 | 0:36:30 | |
and she told me that I better learning well | 0:36:30 | 0:36:33 | |
and getting the right point to the mole, | 0:36:33 | 0:36:37 | |
because she was not going to be with me the next year. | 0:36:37 | 0:36:40 | |
The next year, she was not here, but her spirit was here. | 0:36:40 | 0:36:45 | |
She loved to cook, so she was always around checking everything | 0:36:45 | 0:36:49 | |
and, to me, this is the most...closest I can get to her. | 0:36:49 | 0:36:55 | |
So was she basically saying to you, "You better learn this, | 0:36:55 | 0:36:58 | |
"because I want you to cook it for me when I'm gone?" | 0:36:58 | 0:37:01 | |
Si, basically, that's what she say. | 0:37:01 | 0:37:03 | |
This is what you need. Exactly like that. | 0:37:11 | 0:37:13 | |
-That's the stuff. -OK. | 0:37:13 | 0:37:15 | |
That's fantastic. It looks like mud. | 0:37:15 | 0:37:17 | |
Like mud! | 0:37:17 | 0:37:19 | |
The mole already seems like a coronary waiting to happen, | 0:37:23 | 0:37:26 | |
so what does Nora do? | 0:37:26 | 0:37:28 | |
She adds chocolate, an Aztec favourite. | 0:37:28 | 0:37:31 | |
This is going to be rich, rich, rich. | 0:37:31 | 0:37:34 | |
You want to taste it now? | 0:37:34 | 0:37:36 | |
Oh, wow! | 0:37:39 | 0:37:41 | |
It tastes really smoky and thick... | 0:37:41 | 0:37:45 | |
and kind of meaty and... A really deep, deep, deep flavour. | 0:37:45 | 0:37:51 | |
Look at that. It's outrageous! | 0:37:51 | 0:37:53 | |
The mole is just a sauce. | 0:37:53 | 0:37:54 | |
You can add anything to it, but the most popular ingredient is chicken. | 0:37:54 | 0:37:59 | |
OK. Let's go bring a plate. OK? | 0:37:59 | 0:38:02 | |
It's quite salty. | 0:38:02 | 0:38:04 | |
-Salud! -Salud! To Grandmother. | 0:38:04 | 0:38:06 | |
Si, to Grandmother. | 0:38:06 | 0:38:08 | |
-Oh, hoo! -So am I experiencing a little bit of your grandmother here? | 0:38:11 | 0:38:15 | |
Of course. You feel like she's right here, | 0:38:15 | 0:38:17 | |
checking our faces and seeing how much we like it. | 0:38:17 | 0:38:21 | |
I can't help noticing Nora's sister Lorena is overcome with emotion. | 0:38:23 | 0:38:27 | |
The smell and taste of her grandmother's favourite feast | 0:38:27 | 0:38:31 | |
is making the memories come flooding back. | 0:38:31 | 0:38:34 | |
Why are you crying? | 0:38:34 | 0:38:36 | |
Is the memory of your grandmother a good thing? | 0:38:36 | 0:38:39 | |
All this is her. | 0:38:45 | 0:38:46 | |
But is this a good thing or is this a sad thing? | 0:38:46 | 0:38:50 | |
Ah, you're making me feel all upset now as well. | 0:38:56 | 0:38:59 | |
That's the feeling and that's why all this. | 0:38:59 | 0:39:03 | |
That's why the Day of the Dead. | 0:39:03 | 0:39:05 | |
Early the next morning, | 0:39:14 | 0:39:16 | |
I'm back at Catalina's for day two of the festival. | 0:39:16 | 0:39:18 | |
This is the day when those who died as children return. | 0:39:18 | 0:39:24 | |
All across Mexico, people are in their homes, | 0:39:24 | 0:39:28 | |
tending their altars and waiting for the dead infants to arrive. | 0:39:28 | 0:39:33 | |
I'm not a particularly sentimental person, I don't think, | 0:39:33 | 0:39:36 | |
and I don't believe in ghosts, but there is a huge sense of a build up | 0:39:36 | 0:39:41 | |
to something and it's these sensual things, foods and smells and sounds, | 0:39:41 | 0:39:46 | |
and the idea of being here where people truly believe | 0:39:46 | 0:39:50 | |
that the dead are coming back. | 0:39:50 | 0:39:52 | |
I'm wondering if it's beginning to carry me along. | 0:39:52 | 0:39:54 | |
The big difference is everyone here is really excited and happy | 0:39:54 | 0:39:58 | |
and I'm feeling tense and a little bit frightened. | 0:39:58 | 0:40:02 | |
Catalina and her dad, Andres, aren't helping my mood | 0:40:06 | 0:40:10 | |
as they break out the skeletons. | 0:40:10 | 0:40:11 | |
It's a bit like breaking out the Christmas decorations, | 0:40:11 | 0:40:14 | |
but these are Day of the Dead ornaments, | 0:40:14 | 0:40:17 | |
usually meant to represent their beloved ancestors. | 0:40:17 | 0:40:20 | |
This is an interesting situation. | 0:40:31 | 0:40:33 | |
Catalina has said that she wants to interview me | 0:40:33 | 0:40:36 | |
and ask me a few questions. | 0:40:36 | 0:40:37 | |
Which is a bit of a relief, really. It takes the pressure off me. | 0:40:37 | 0:40:42 | |
What did you want to ask me? | 0:40:42 | 0:40:44 | |
I can't imagine that. I can't imagine it. | 0:40:57 | 0:41:01 | |
Is he on his way here now? | 0:41:15 | 0:41:18 | |
Catalina's determined to get beneath the skin of my English reserve. | 0:41:23 | 0:41:28 | |
One really interesting thing that I've been thinking about | 0:41:31 | 0:41:35 | |
the Day of the Dead is that my father never knew his father, | 0:41:35 | 0:41:39 | |
because he died in World War II. | 0:41:39 | 0:41:42 | |
And he didn't even know that that was his real father. | 0:41:42 | 0:41:47 | |
He thought that his father was the man that his mother married | 0:41:47 | 0:41:52 | |
after her first husband died. | 0:41:52 | 0:41:55 | |
Obviously, this guy is my grandfather and I never knew him. | 0:41:55 | 0:41:58 | |
I've never pictured him. I always thought somebody else | 0:41:58 | 0:42:01 | |
was my grandfather, so it's a really strange time. | 0:42:01 | 0:42:03 | |
And I don't want to get all sort of hocus-pocus therapeutic about it, | 0:42:03 | 0:42:07 | |
but I kind of thought that going through the Day of the Dead | 0:42:07 | 0:42:11 | |
and being able to concentrate on this guy, | 0:42:11 | 0:42:13 | |
that I've never thought about before as my grandfather, | 0:42:13 | 0:42:15 | |
might help me understand it a little bit better, | 0:42:15 | 0:42:18 | |
maybe understand my dad a little bit better. | 0:42:18 | 0:42:20 | |
The other person that I'm very keen trying to focus on | 0:42:36 | 0:42:39 | |
on the Day of the Dead itself, is my wife's mum, | 0:42:39 | 0:42:44 | |
who died when my wife was 16, | 0:42:44 | 0:42:47 | |
just a couple of days after her 16th birthday. | 0:42:47 | 0:42:50 | |
Who I also never knew, but I'm so thankful for, | 0:42:50 | 0:42:53 | |
you know, for my wife and for being the grandmother of my children. | 0:42:53 | 0:42:58 | |
-Are you feeling OK? Are you OK now? -Si. | 0:43:00 | 0:43:04 | |
With three hours to go before the dead come back, | 0:43:08 | 0:43:11 | |
the altars are stacked high with food. | 0:43:11 | 0:43:14 | |
Why do you put food on the altar? | 0:43:14 | 0:43:17 | |
This room now smells so strongly of all these flowers. | 0:43:44 | 0:43:47 | |
The food all being here, | 0:43:47 | 0:43:49 | |
it's such a strange thing to see all this edible stuff. | 0:43:49 | 0:43:52 | |
It's an incredibly sensual experience already, | 0:43:52 | 0:43:55 | |
the incense is being prepared and things like that. | 0:43:55 | 0:43:58 | |
So, it is an earthly sensation that should drive you into feeling | 0:43:58 | 0:44:02 | |
a certain way and maybe feeling that the dead are coming back. | 0:44:02 | 0:44:06 | |
But it's still a big jump for me to make. | 0:44:06 | 0:44:09 | |
CHURCH BELL TOLLS | 0:44:09 | 0:44:11 | |
It's 3 o'clock. | 0:44:19 | 0:44:20 | |
We're about to receive the souls of dead children. | 0:44:20 | 0:44:24 | |
Catalina's family have never lost any infants, | 0:44:24 | 0:44:26 | |
but they'll be receiving the souls of kids who don't have | 0:44:26 | 0:44:29 | |
any family left alive to remember them. | 0:44:29 | 0:44:32 | |
Andres prepares the room, as the local church bells ring | 0:44:32 | 0:44:36 | |
to let everyone in the town know that the dead are on their way. | 0:44:36 | 0:44:40 | |
Do you have a sensation of them being here now? | 0:44:55 | 0:44:58 | |
Just after the bells started ringing there was a big rush of air outside | 0:45:10 | 0:45:14 | |
and the incense poured out of the room here. | 0:45:14 | 0:45:17 | |
OK. | 0:45:30 | 0:45:32 | |
So, did I have the same experience that they did and think that | 0:45:41 | 0:45:45 | |
the souls of the dead were coming in? | 0:45:45 | 0:45:47 | |
No, I didn't. | 0:45:47 | 0:45:49 | |
But did I have some kind of spiritual journey? Of course I did. | 0:45:49 | 0:45:53 | |
I was concentrating so much on the idea that children have died | 0:45:53 | 0:45:56 | |
and that their lives are worth celebrating and so, yes, | 0:45:56 | 0:46:00 | |
you do get some sort of sensation that the dead are here with us. | 0:46:00 | 0:46:05 | |
As night falls, we head towards the graveyard. | 0:46:11 | 0:46:14 | |
Looking forward to seeing the cemetery. | 0:46:17 | 0:46:21 | |
We're going to decorate the tomb | 0:46:21 | 0:46:24 | |
that holds several of Catalina's family, | 0:46:24 | 0:46:26 | |
including her beloved great-grandmother. | 0:46:26 | 0:46:29 | |
Everyone else from the village is here | 0:46:31 | 0:46:33 | |
decorating their ancestors' tombs with flowers and candles. | 0:46:33 | 0:46:37 | |
They'll be keeping a vigil all night. | 0:46:37 | 0:46:39 | |
There's an extraordinary atmosphere in here. | 0:46:45 | 0:46:47 | |
It's a kind of sparkling atmosphere. | 0:46:47 | 0:46:49 | |
There's lots of people laughing and chatting. | 0:46:49 | 0:46:52 | |
It's just so far away from my experience of graveyards. | 0:46:52 | 0:46:57 | |
I may not be a Catholic, but I'm a buyer! | 0:46:57 | 0:47:00 | |
I'm a buyer of this way of dealing with death. | 0:47:00 | 0:47:03 | |
I'd love my grave to be celebrated in this way. | 0:47:03 | 0:47:08 | |
Soon the local Catholic church joins in the ancient Aztec festivities. | 0:47:39 | 0:47:44 | |
SINGING | 0:47:49 | 0:47:51 | |
It's traditional to sing and play music for the spirits, | 0:47:51 | 0:47:54 | |
inviting them back to earth. | 0:47:54 | 0:47:56 | |
Everyone wants to make sure the dead feel welcome. | 0:47:58 | 0:48:02 | |
I'm beginning to understand how it's possible to celebrate death. | 0:48:02 | 0:48:06 | |
But I want to know if Catalina really isn't afraid of dying. | 0:48:06 | 0:48:11 | |
If you knew you were going to die tomorrow | 0:48:11 | 0:48:13 | |
would you still see death as something that's funny? | 0:48:13 | 0:48:17 | |
We've cracked the mescal, So, salud! | 0:48:46 | 0:48:50 | |
So we're now having a party. Erm, a party... | 0:48:50 | 0:48:54 | |
an alcohol party in a graveyard. | 0:48:54 | 0:48:56 | |
After eight hours, it's time to head home. | 0:49:00 | 0:49:03 | |
The graveyard's pretty much empty now. | 0:49:06 | 0:49:09 | |
There's a couple of mariachis still singing here. | 0:49:09 | 0:49:12 | |
We're on our way home, it's been freezing cold, | 0:49:12 | 0:49:15 | |
so I've been warmed up nicely by a skin full of mescal. | 0:49:15 | 0:49:19 | |
It's been quite a revelation. | 0:49:19 | 0:49:21 | |
I've never seen death as being such a positive, happy experience before. | 0:49:21 | 0:49:28 | |
I feel really exhilarated by all of this. | 0:49:28 | 0:49:31 | |
Here we are. | 0:49:31 | 0:49:33 | |
MARIACHIS SING | 0:49:33 | 0:49:34 | |
Night-night to the dead. | 0:49:34 | 0:49:35 | |
A good way to say goodbye, isn't it? | 0:49:43 | 0:49:45 | |
But my excitement is short-lived. | 0:49:49 | 0:49:52 | |
Catalina's determined to get me closer to the dead | 0:49:52 | 0:49:55 | |
than I ever anticipated. | 0:49:55 | 0:49:57 | |
I'm not much of a... superstitious person, | 0:50:01 | 0:50:07 | |
but this is what I can see from my bed. | 0:50:07 | 0:50:10 | |
Well, it's 8 o'clock here in the room of doom, | 0:50:17 | 0:50:22 | |
but it hasn't been a traumatic night. | 0:50:22 | 0:50:27 | |
It has started to sink into me | 0:50:27 | 0:50:30 | |
that the memory of your dead relatives and your dead loved ones | 0:50:30 | 0:50:34 | |
doesn't need to be mournful, it can be exciting and it can be happy. | 0:50:34 | 0:50:39 | |
Today is day three, | 0:50:45 | 0:50:47 | |
when the spirits of adult relatives return. | 0:50:47 | 0:50:50 | |
After all this immersing myself in death, | 0:50:50 | 0:50:53 | |
I'm beginning to feel more receptive | 0:50:53 | 0:50:55 | |
to the idea of them actually coming back. | 0:50:55 | 0:50:57 | |
I wonder if I might be able to get in touch with my own dead family, | 0:50:57 | 0:51:01 | |
or if it's all still a little out of my reach. | 0:51:01 | 0:51:04 | |
Catalina is busy putting photographs | 0:51:07 | 0:51:09 | |
of the people she loves most on the altar. | 0:51:09 | 0:51:12 | |
And who are these? | 0:51:18 | 0:51:20 | |
That's a real wild west sort of photo, isn't it? | 0:51:24 | 0:51:28 | |
-Si. -Beautiful. | 0:51:28 | 0:51:31 | |
How would you feel if I put a couple of photos of mine on here? | 0:51:31 | 0:51:36 | |
Would that be appropriate? | 0:51:36 | 0:51:37 | |
How will I know if they're here? | 0:51:49 | 0:51:52 | |
Catalina, I have one photo of my wife's mother... | 0:51:55 | 0:51:59 | |
..who I never met and she died when my wife was 16. | 0:52:03 | 0:52:08 | |
But my grandfather, we didn't know that he was my grandfather | 0:52:08 | 0:52:13 | |
until very recently, so I've just got an entry in the birth register. | 0:52:13 | 0:52:18 | |
Do you think that's OK? | 0:52:18 | 0:52:19 | |
I think they'd probably like the flowers. | 0:52:23 | 0:52:25 | |
I think Georgia's Mum would like the flowers. | 0:52:25 | 0:52:27 | |
It's quite an emotional idea to do. | 0:52:29 | 0:52:32 | |
Is it all right if I sit down for a minute? | 0:52:38 | 0:52:41 | |
What a strange idea. | 0:52:52 | 0:52:53 | |
I'd like to tell Julia I'm very thankful for, Georgia, my wife, | 0:52:56 | 0:53:02 | |
and that I know Georgia loves her enormously, | 0:53:02 | 0:53:06 | |
and it was such a tragedy that she died when my wife was 16. | 0:53:06 | 0:53:13 | |
I so wish that I'd met her. | 0:53:17 | 0:53:21 | |
And I guess for my grandfather... | 0:53:31 | 0:53:33 | |
I don't want to seem really sentimental and silly. | 0:53:37 | 0:53:41 | |
Oh, dear me! | 0:53:41 | 0:53:42 | |
HE CHUCKLES | 0:53:42 | 0:53:44 | |
I'm not really used to doing this. | 0:53:44 | 0:53:46 | |
I wish my grandfather knew that he had a son. That he... | 0:53:50 | 0:53:56 | |
that my father was alive because he never knew that... | 0:53:56 | 0:54:00 | |
he had a son. | 0:54:00 | 0:54:01 | |
Until literally a couple of years ago, I never even thought | 0:54:03 | 0:54:07 | |
of somebody else as being my grandfather. | 0:54:07 | 0:54:09 | |
So it's a...an incredible feeling | 0:54:09 | 0:54:15 | |
to just to sit and concentrate on it for a minute | 0:54:15 | 0:54:17 | |
and to think about somebody that... | 0:54:17 | 0:54:23 | |
somebody that was part of my family that I never knew. | 0:54:23 | 0:54:25 | |
Look what you've done to me. I'm a mess! | 0:54:35 | 0:54:37 | |
It's quite nice. I've never...I've never...cried about them before. | 0:54:41 | 0:54:47 | |
It's always seemed like a horrible sadness, but it is quite uplifting | 0:54:47 | 0:54:53 | |
to finally sit and concentrate on them and think about them. | 0:54:53 | 0:54:57 | |
It's sort of cleansing, in a way. | 0:54:57 | 0:55:00 | |
I never saw the spirits of Reginald Gates or Juliet Glyn Smith, | 0:55:14 | 0:55:18 | |
but much as I hate superstition, | 0:55:18 | 0:55:20 | |
to say I didn't feel their presence wouldn't be entirely true. | 0:55:20 | 0:55:25 | |
I'm reluctant to say it, but yes, in a strange way, I did meet the dead. | 0:55:25 | 0:55:31 | |
Finally, it's time to prepare the feast of the dead. | 0:55:37 | 0:55:42 | |
Here it's plata tamale, a corn and tomato-based dish | 0:55:45 | 0:55:49 | |
that Oaxacans have been making for centuries. | 0:55:49 | 0:55:52 | |
Guadalupe and Catalina | 0:55:55 | 0:55:56 | |
are clearly not used to seeing a man in the kitchen. | 0:55:56 | 0:55:59 | |
Ow! | 0:55:59 | 0:56:01 | |
The first plate of the feast goes to their most distinguished guests, | 0:56:02 | 0:56:07 | |
the visiting dead. | 0:56:07 | 0:56:09 | |
I can imagine that Reginald Gates never tried plata tamale. | 0:56:13 | 0:56:16 | |
I think they'd like that. | 0:56:16 | 0:56:18 | |
FIREWORKS BANG | 0:56:20 | 0:56:23 | |
Before the living guests can eat, | 0:56:26 | 0:56:28 | |
everyone gathers in the altar room one last time. | 0:56:28 | 0:56:31 | |
To the sound of fireworks, all across Mexico, | 0:56:31 | 0:56:34 | |
it's time to say goodbye for another year. | 0:56:34 | 0:56:37 | |
And that's a fundamental change to my way of thinking. | 0:56:42 | 0:56:45 | |
You don't just acknowledge the dead once, | 0:56:45 | 0:56:47 | |
you can look forward to their return as long as you live. | 0:56:47 | 0:56:51 | |
As head of the house, | 0:56:54 | 0:56:55 | |
Andres helps the dead back on their return journey. | 0:56:55 | 0:56:59 | |
How do you feel about them leaving? | 0:57:03 | 0:57:05 | |
Yeah, I think so too. | 0:57:14 | 0:57:16 | |
Let's go eat. | 0:57:22 | 0:57:25 | |
I'd made an extraordinary connection that I'd never felt before. | 0:57:34 | 0:57:38 | |
But stepping out of the altar room and into the sunlight for a beer, | 0:57:38 | 0:57:42 | |
didn't in anyway feel strange. | 0:57:42 | 0:57:45 | |
It felt exhilarating. | 0:57:45 | 0:57:46 | |
And that seems to be the point of Day of the Dead, | 0:57:46 | 0:57:50 | |
it's both tragic and celebratory. | 0:57:50 | 0:57:53 | |
Los muertos! Los muertos. | 0:57:55 | 0:57:58 | |
-Y mama. -Por mama. | 0:57:58 | 0:58:00 | |
It's been an incredible, life-changing experience. | 0:58:00 | 0:58:03 | |
I never expected the intensity of a celebration | 0:58:03 | 0:58:07 | |
could bring me closer to my own family, | 0:58:07 | 0:58:09 | |
and even help me understand my own mortality. | 0:58:09 | 0:58:12 | |
Maybe when you celebrate death like Catalina's family do, | 0:58:14 | 0:58:19 | |
grief is slightly easier to bear. | 0:58:19 | 0:58:22 | |
Subtitles by Red Bee Media Ltd | 0:58:52 | 0:58:54 | |
E-mail [email protected] | 0:58:54 | 0:58:56 |