From Sept. 27 to Nov. 2, The Detroit Institute of Arts celebrated Día de Muertos with its 13th installment of ofrendas — Mexican altars commemorating the dead. Scattered throughout the entire museum, the altars were dedicated to family members, voiced protests and reflected the multiculturalism of Detroit.
Local artists and community members constructed a dozen altars commemorating their family members, Detroit’s history and victims of pollution to help visitors identify why people honor the dead collectively.
“Ofrendas create a safe place to grieve and remember the individuals who were once a part of our lives,” Jasmin Carmona-Almanza, OU Spanish Club president, who visited the ofrendas, said. “Sometimes, it’s hard to vocalize our grief, so being able to create something tangible can bring us that outlet.”
Multiculturalism was at the forefront of the project, with most altars exploring the diasporas made up by the commemorated family members. Maria Famodou’s altar exemplified this multiculturalism, tributing her mother and mother-in-law
“This ofrenda represents Aztec and Egyptian pyramids, the Nile River at the center and Lake Texcoco surrounding it, representing their Mexican and African American roots,” Famodou wrote, describing the altar. “Honoring my mother and mother-in-law, who departed within fifteen days of one another. They did not speak the same language but were connected by their hearts.”
Chinese, Egyptian and Dutch heritage were part of the altars as local artists celebrated family members who passed away from their motherland or made Detroit their new home. Southwest was a prominent theme amongst the artists, with many of them being born, living or working there.
“My ofrenda honors those who first settled in Southwest Detroit, highlighting how we became rooted and continue their legacy,” Natalie Rivera, local artist wrote for her Roots Run Deep altar. “I’m a Southwest Detroit-born artist and community activist. My creativity is rooted in heritage and healing and I’m driven by a passion to help my community grow and thrive.”
While the ofrendas followed traditional themes with the inclusion of cempasuchil flowers, candles, family portraits and favorite foods — all components believed to guide the dead as they come to visit the living on Nov. 2 — different takes on design and embellishments made each of them unique.
“The phrase ‘If nothing saves us from death, may love save us from life,’ I think that was very touching and also very eye-opening,” Lupita Sanchez, OU student, said. “It definitely made me think about my relationships more and how much I haven’t been valuing them as much. Seeing love being someone else’s priority made me reflect on my own.”
“Where the Air Remembers and the Trees Dream” was a communal altar for victims of industrial pollution in Detroit. With the collaboration stretching from Dearborn to Los Angeles, activists advocated for more protections for factory workers and their families. In this case, a section of the altar was dedicated to 13-year-old Darnell Julien Paton, who died due to complications with asthma and air pollution.
“Symbolic objects-like muted papel picado, a black heart, lung and hourglass-reflect the human toll of pollution, while the tree offers a new vision of clean air from a revitalized and decarbonized industry,” Alexa Arriaga, co-creator of the altar, wrote in the description. “This altar honors Detroiters harmed by air pollution and uplifts a shared vision for cleaner air and a more accountable and environmentally friendly industry.”
As students in the Spanish Club prepared to make ofrendas of their own during Día de Muertos, they reflected on the value of reimagining the altars and the different ways to immortalize collective memory.
“Viewing the different ways in which the artists created their ofrendas, it was necessary to look two and three times to find small details that increased the significance and individuality of each ofrenda,” Carmona-Almanza said. “Ofrendas hold the unique stories of our ancestors.”
