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Widely reported in the press, this discovery inspired the common association between Santa Muerte, violence, and criminality in Mexican popular consciousness.In the late 2000s, the founder of Mexico City's first Santa Muerte church, David Romo, estimated that there were around 5 million devotees in Mexico, constituting approximately 5% of the country's population.
As opposed to being the political message Posada intended, the skeletons of equality became skeletal images which were appealing to tourists and the national folkloric Mexican identity.
Andrew Chesnut believed that the former was a more accurate translation because it "better reveals" her identity as a folk saint.
Santa Muerte is referred to by a number of names such as Señora de las Sombras ("Lady of the Shadows"), Señora Blanca ("White Lady"), Señora Negra ("Black Lady"), Niña Santa ("Holy Girl"), Santa Sebastiana ("Saint Sebastienne", i.e.
A wide variety of powers, including love, prosperity, good health, fortune, healing, safe passage, protection against witchcraft, against assaults, against gun violence, against violent death. (Spanish for Our Lady of the Holy Death) or, colloquially, Santa Muerte (Holy Death), is a female deity (or folk saint depending on school of thought) in Mexican folk religion, particularly Folk Catholicism, venerated primarily in Mexico and the Southwestern United States.
A personification of death, she is associated with healing, protection, and safe delivery to the afterlife by her devotees.
Santa Muerte has similar male counterparts in the Americas, such as the skeletal folk saints San La Muerte of Paraguay and Rey Pascual of Guatemala.
The deity's Spanish name, Santa Muerte, can be translated into English as either "Sacred Death" or "Holy Death", although religious studies scholar R.
His paintings of skeletons in daily life and that La Catrina were meant to represent the arbitrary and violent nature of an unequal society.
Modern artists began to reestablish Posada's styles as a national artistic objective to push the limits of upper-class tastes, like that of Diego Rivera's mural painting Dream of a Sunday Afternoon in the Alameda Central with the image La Catrina.
Death was personified in Aztec and other cultures in the form of humans with half their flesh missing, symbolizing the duality of life and death.
From their ancestors the Aztecs inherited the gods Mictlantecuhtli and Mictecacihuatl, the lord and lady of Mictlan, the realm of those dead who died of natural causes.
When it went public in sporadic occurrences, reaction was often harsh, and included the desecration of shrines and altars.