Kenneth Spencer Research Library

While sometimes incorrectly touted as the “Mexican Halloween,” Día de Muertos (Day of the Dead) is much more than that. Like many modern-day holidays, Día de Muertos looks very different today than it did at the beginning. 

Origins

The origins of Día de Muertos can be traced back thousands of years to traditions of the Aztecs and other Indigenous peoples of Mesoamerica. For the Aztecs, death was not the end, but the beginning of their journey to Mictlan, the underworld governed by Mictlantecuhtli and Mictecacíhuatl. Many of the events honoring the dead included the placing of food on altars and the burning of incense. With the arrival of the Spanish to Latin America, these events were moved to coincide with the Catholic holidays of All Saints’ Day and All Souls’ Day at the beginning of November. However, Indigenous beliefs remained and led to a syncretic tradition that honored the cyclical nature of life and death seen in pre-Hispanic and Catholic traditions. 

In the early 1900s, four hundred years after the Spanish conquest of Latin America and about a hundred years after Mexico’s Independence from Spain, the Mexican government began to encourage the celebration of Día de Muertos in an effort to unite the Mexican people during a time of great political turmoil.  

The calavera imagery often associated with Día de Muertos is in large part because of Jose Guadalupe Posada’s calaveras. Posada began to make satirical prints using this calavera imagery to poke fun at society and politicians, as was the case with his famous La Catrina. These depictions of calaveras were soon adopted by those participating in Día de Muertos, with it becoming a symbol of the celebration. 

Día de Muertos in the United States 

As Mexican immigrants made their way to the United States, so did their customs and traditions. Traced back to the 1980s, Mexican Americans in the Southwest maintained the religious tradition of visiting their past one’s gravesites. However, this did not include the Indigenous practices of setting up ofrendas or burning copal incense. Instead, many of these communities engaged in “folk Catholic” traditions that tended to be more solemn to honor All Saints’ Day and Souls’ Day, rather than the vibrant and celebratory Día de Muertos of today. 

However, during the 1970s the Chicano Movement embraced the traditions of Día de Muertos celebrations as a way to connect to their Mexican identity and Indigenous roots. Starting in California, these early Día de Muertos events were seen as a way for Chicano artists to publicize their art and celebrate Latino culture. In 1972, a Chicano activist group from East Los Angeles called Self Help Graphics & Arts organized what is considered the first Día de Muertos event in the country. This included a small procession to a nearby cemetery, calaveras, and ofrendas. Since then, Día de Muertos events in the United States have transformed the holiday and differed from traditional Mexican and Indigenous traditions, with politically themed altars, posters, danzas, lowriders, calavera face painting, and fashion shows. This evolution of the holiday was so impactful that it’s also influenced Mexico’s Día de Muertos celebrations.  

Día de Muertos in the Midwest and Kansas 

As Día de Muertos gained more popularity, Mexican American communities across the country also began to adopt the holiday, including the Midwest. For example, Chicago’s National Museum of Mexican Art began celebrating Día de Muertos in 1986. In Kansas City, several Latino service organizations have celebrated the holiday by hosting events for the community, including the Guadalupe Centers and Mattie Rhodes Center, which has hosted a Día de Muertos celebration since 1998. 

In Lawrence, the University of Kansas’s Museum of Anthropology, now part of the university’s Biodiversity Institute, hosted a Día de Muertos exhibit in 1994 and several events while it remained open. Similarly, KU’s Latin American Student Union has also hosted many Día de Muertos celebrations throughout the years and continues to do so to this day. 

Outside of campus, Somos Lawrence, a nonprofit organization focused on serving the non-English speakers of Lawrence, has hosted a Día de Muertos event the last couple of years, and will be doing so again this November 1st. 

Just as Latino communities in the United States continue to grow and diversify, Día de Muertos celebrations will continue to evolve. In recent years, one might’ve noticed an increased commodification of Día de Muertos decorations and events, something that many in Mexican American and Latino communities fear could lead to gentrification of the holiday. However, with changes to the holiday, there has also been an effort to incorporate elements from similar celebrations in Central America to Día de Muertos celebrations, especially as a way to be inclusive of more recent immigrants from countries in that region.  

So, if you go to a Día de Muertos celebration this November 1st, I invite you to think about the history and traditions this holiday holds as you eat some pan the muerto and enjoy the community ofrendas! 

Rebekah Ramos
Curator of Latina/o Collections

Sources

Day of the Dead Guide [PDF]. National Museum of Mexican Art, 2020. Accessed 26 October 2026. 

“Day of the Dead.” Encyclopaedia Britannica, Encyclopaedia Britannica, Inc. Accessed 28 October 2026. 

“Día de los Muertos in the United States.” Smithsonian American Art Museum Blog, Smithsonian American Art Museum, 1 November 2017. Accessed 26 October 2026. 

Marchi, Regina M. Day of the Dead in the USA, Second Edition: The Migration and Transformation of a Cultural Phenomenon, Rutgers University Press, 2022. JSTOR, https://doi.org/10.2307/j.ctv2v55jxd.10. Accessed 28 October 2026. 

This coming Tuesday, October 6th, will see the return of Day on the Hill, KU’s storied music festival that was sponsored by Student Union Activities (SUA) from 1989 to 2007. With the newly digitized University Daily Kansas (UDK) and some artifacts and photos from University Archives, we can piece together a history of “one of the best college music festivals in the nation,” as the manager of the band Soul Coughing described Day on the Hill in 1998. 

Starting in 1978, many outdoor day-long music events in spring and summer were held at KU near Allen Fieldhouse or on Campanile Hill under various names such as Day on the Green, Day on the Green Hill, Wheatstock (in homage to Woodstock), Summer on the Hill, and Jayhawk Jamboree. These events featured local or regional bands, which kept costs low and made the event free for both students and locals. By the 1980s, the Jayhawk Jamboree’s title had officially changed to its nickname to Jayhawk Jam, but it was cancelled in 1987 and 1988 because SUA did not have enough money to host it.

In 1989, SUA decided to use the budget it had left over at the end of the year and teamed up with the Student Senate, the Association of University Residence Halls, and radio station KJHK to host a new all-day concert event called Day on the Hill. It was part of the Student Senate’s Celebrate Diversity program and it included cultural performances, local bands, Love Tractor from Athens, Georgia, and Too Much Joy from New York. Forty-seven local bands had sent in cassette tapes of their music to be considered by a committee from SUA and KJHK. Students were hired to work the event for $20, and 1,500 people attended. 

The next year, 3,000 people attended to watch more local bands, Buffalo Tom, and Toad the Wet Sprocket with reportedly beautiful weather and buckets of fried chicken. In 1991, complaints about the lack of diversity and the selection process for local bands resulted in a bigger committee and the inclusion of hip-hop groups in the lineup for the first time. 

Left: A University Daily Kansan ad for the first Day on the Hill, April 1989. Right: A UDK photo from the 1991 Day on the Hill concert. University Archives. Call Number: UA Ser 69/2/1. Click images to enlarge.

The year 1992 changed everything for Day on the Hill. In February, SUA offered the little-known band Pearl Jam $3,000 to be the headliner for the event that year on May 2nd. Their album Ten had been released the summer before, but it wasn’t until their second single “Even Flow” was released in March 1992 that the band’s popularity and album sales began to rise quickly.  

When word got out that Pearl Jam was playing a free outdoor concert at KU, high school and college students from around the region drove to Lawrence to join KU students and locals at the show. Crowd estimates range from 18,000 to 30,000; the latter number would have been Pearl Jam’s biggest show to date. A mosh pit formed in the crowd, and during an extended version of the song “Porch” singer Eddie Vedder climbed up the scaffolding of the stage, swung across the rafters, hung upside down while grabbing the mike, and finished singing the song while sitting on top of the roof, a stunt Vedder would repeat many times at outdoor shows. 

Pearl Jam’s appearance at KU became a legendary story for those lucky enough to have attended. It also, in many ways, set students’ expectations very high when it came to future Day on the Hill shows. As voiced in the UDK later in the 1990s, many students asked why SUA could not bring in bigger bands or questioned SUA’s choices when they were usually working with a budget of $20,000 to $30,000. Members of SUA had to repeatedly explain that the Pearl Jam show had been a great stroke of luck. The 1992 concert remained Day on the Hill’s highest attendance for its entire run. 

In 1993, SUA decided to host a battle of the bands to choose local performers for Day on the Hill, adding another hurdle after cassette tape submissions. The concert was called the Farmers’ Ball, and it continued throughout the 1990s. Heavy rain led to a very muddy show with headliners the Gin Blossoms and Reverend Horton Heat in 1993, and the mud came again in 1994 with Urge Overkill. 

Posters from the 1993 (left) and 1994 (right) Day on the Hill shows. University Archives Records, Student Activities: Student Union Activities. Call Number: RG 71/23. Click images to enlarge.

Leading up the 1995 show, someone started a hoax that the band Phish was going to be the headliner and posted fake flyers around campus, leading to disappointment when Matthew Sweet was announced as the real headliner. Also that year, a few students decided to load a couch into a truck and bring it to the hill to sit on during the event. For many years later, students brought couches and other furniture, hauling them up the hill to enjoy a comfortable view. 

The late ’90s brought new changes including games and carnival-like activities, and the show ended at 6pm rather than at 9pm or later. Despite its budget struggles, SUA was able to book Urge Overkill, They Might Be Giants, Soul Coughing, the Urge, and HUM. 

Scenes from Day on the Hill concerts, 1990s. University Archives Photographs, Student Activities: Student Union Activities. Click on images to enlarge.

In 2002, SUA decided to return to Day on the Hill’s roots as an event for local bands only. The show was also rescheduled a week later because of rain and moved to a parking lot near the football stadium. The low turnout that year prompted SUA to cancel Day on the Hill for the next three years. 

With a new student activity fee in 2006, Day on the Hill returned with headliners Sharon Jones & the Dap-Kings and Spoon. In 2007, it was moved to the Leid Center’s lawn with G. Love & Special Sauce and the Faint. In the UDK, there are no reports about that last show or why SUA stopped it entirely. 

Enjoy these lineups (compiled from the UDK) and links to some videos on YouTube. Many thanks to those who digitized their recordings and preserved these glimpses of what was possible on KU’s campus when determined, resourceful students were able to pull off ground-breaking, free shows that celebrated the very important role that music plays in young people’s lives. 

• 1989: Pathetic Excuse, The Mahoots, The Works, The Moving Van Goghs, Love Tractor, Too Much Joy 
• 1990: The Witch Doctors, 2-Mile Death Plunge, Chris Beneke, Joe Worker, The Fluid, Sin City Disciples, Buffalo Tom, DJ Sir Light, Toad the Wet Sprocket 
• 1991: Now See Hear, Two Guitars and a Short Guy, Zoom, Mutt Finicky, Az-One, DOPE (Disciples of Peace and Equality), Paris 
• 1992: Big B, Cicada Rhythm Band, Zoom, Trademark, Tribe After Tribe, Let’s Go Bowling, Pearl Jam (full set and another view) 
• 1993: Rise, Kill Creek, MU330, Crash Vegas, Gin Blossoms, Reverend Horton Heat 
• 1994: Bubble Boyz, Pegboy, Vitreous Humor, Urge Overkill 
• 1995: Lou’s Revenge, Bastard Squad, Tenderloin, Matthew Sweet 
• 1996: Champion Guts to Glory Obstacle course, Justin Case, Sick, Poster Children, The Floyds 
• 1997: Chebella!, Arthur Dodge and the Horsefeathers, The Glitterkicks, Norman 360, The Gravel Pit, They Might Be Giants  
• 1998: 2 Player Option, Fear & Whiskey, The Believe It Or Nots!, The Creature Comforts, Soul Coughing  
• 1999: Sarsky, Frogpond, Son Venezuela, Panel Donor, Poster Children, HUM 
• 2000: Proudentall , The Jesse Jackson 5, Rex Hobart and the Misery Boys, The Co-op, The Urge 
• 2001: Preferred Villain, Brent Barry and the Secondhands, The Youngblood Brass Band, Pomeroy, The Daybirds, Fastball 
• 2002: Hardaway, Thulium, No Lessons, Hotsauce, Emilia Dahlin, The Anniversary 
• 2006: Ghosty, Kelpie, The Belles, Superargo, DJ’s Hot Lunch Sharon Jones & the Dap-Kings, Spoon 
• 2007: The Roseline, Pomeroy, G. Love & Special Sauce, The Faint 

Kate Stewart
Curator of the Wilcox Collection of Contemporary Political Movements

In honor of the celebrations surrounding the 250th birthday of the United States this week, we’re taking a look back at how KU commemorated the bicentennial fifty years ago.

A year of intensive planning, special projects, and varied events at the university culminated in the Sunflower Spectacular fireworks show at Memorial Stadium on July 4, 1976. The show “featured the cooperation of the University Alumni Association with Vince Bilotta as coordinator, the Summer Band Camp under the direction of Robert Foster, and the Lawrence Jaycees with their annual sponsorship of the fireworks display.” Prior to the show were afternoon and evening performances of patriotic music at the Memorial Campanile and Carillon, part of a bicentennial summer concert series. Lawrencians also participated in a broad array of off-campus festivities that weekend, concluding the Douglas County Bicentennial Commission’s similarly busy and productive year.

Fireworks during the Sunflower Spectacular show, July 4, 1976. In the first two images, note the spectators on the hill near the Campanile. Photos by George Millener for the Lawrence Journal-World. Lawrence Journal-World Photograph Collection. Call Number: RH PH LJW (negatives). Click images to enlarge.

A questionnaire attached to the final report of KU’s seventeen-member Bicentennial Committee stated that 1,335 individuals had been “actually involved and participating” in its various commemorative efforts. The Committee also estimated that more than 70,500 people had attended KU’s bicentennial events (“based on estimates where numbers could be determined”). “The philosophy of the University Bicentennial Committee,” noted the document, “was reflected in the nature of the projects and events that were identified and sponsored. The emphasis was upon activities that coordinated closely with the major missions of the University in its academic programs, its research projects, and its responsibility of service to the people of the state of Kansas.”

Reflecting back on the academic year, the editors of the 1976 Jayhawker yearbook wrote (somewhat hyperbolically):

If nothing else, the student of ’76 always will remember this year for the pomp and sure-coin-stance of the American Revolution Bicentennial. Attending an official Bicentennial university, living in an official Bicentennial community, taking a course in the history of the American Revolution from W. Stitt Robinson, professor of history and chairman of the KU Bicentennial Committee, celebrating homecoming with the theme of Jayhawk Rebellion, going to one of the five Humanities Series lectures with a Bicentennial theme, taking in a Saturday afternoon of Bicentennial music at Off-the-Wall-Hall, watching the official Bicentennial flag flutter in the Bicentennial breeze, seeing musical presentations, theater productions and museum exhibits with a Bicentennial flavor, applauding a Bicentennial Rock Chalk Revue, seeing the KU Symphonic Band off for a Bicentennial tour and dancing to Bicentennial banjos in a Bicentennial street dance during a Bicentennial Festival of the Arts were some of the things the Bicentennial student did.

Caitlin Klepper
Public Engagement Librarian

As I work to develop the Spencer’s new Latina/o Collections*, I wanted to take a moment and look back at the interesting materials that are already sitting within our library stacks and viewable in our Reading Room today! All the materials presented allow us to briefly see how Latina/os have gathered and built community within different places across Kansas.

Take a look at some of those materials below.

Aztlán de Leavenworth, volume 1

First published May 5, 1970, Aztlán de Leavenworth was a bilingual Chicano prisoner newspaper edited and published at Leavenworth Federal Penitentiary in Kansas. It features poet and activist raúlrsalinas’ famous poem “A Trip Through the Mind Jail.” Other members of the publication team included Albert Mares, Ruben Estrella, Alfredo Arellanes, Ricardo Mena, and Beto Palomino. Inspired by Aztec history and iconography, the newspaper is named after Aztlán, the ancestral home of the Aztecs, and features images of Tizoc and designs inspired by Aztec art.

Left: The front cover of Aztlán de Leavenworth, 1970. Right: The page of Aztlán de Leavenworth featuring “A Trip Through the Mind Jail,” 1970. Call Number: RH H79, volume 1. Click images to enlarge.

KACMAA Special Report, 1981

This 1981 special report was created by Kansas’ Advisory Committee in Mexican American Affairs (KACMAA). As explained in the report’s introduction, it “optimistically highlights important accomplishments and measurable in Hispanic’s social, economic, and political life” but also “clarifies the work that remains to be done.” While the KACMAA originally concentrated on projects to promote people of Mexican heritage, the organization evolved to include all Hispanics and Latinos across the state and is now known as the Kansas Hispanic and Latino American Affairs Commission.

Music groups in Emporia

Taken some time in 1932, these photographic prints from the Oral History Project Regarding the Hispanic Community of Emporia, Kansas (Call Number: RH PH 182) allow us to see some of Emporia’s early musical groups. The first photo shows members of the Mexican band Orquesta de Leora posing with their instruments, while the second features the women who made up the Coro de Santa Catalina, or St. Catherine’s Choir. St. Catherine’s Catholic Church still exists to this day and continues to offer Catholic services to Spanish speakers in Emporia.

Left: Photograph of Orquesta de Leora, 1932. Right: Photograph of St. Catherine’s Choir, 1932. Oral History Project Regarding the Hispanic Community of Emporia, Kansas. Call Number: RH PH 182, Box 1, Folders 11 and 19. Click images to enlarge.

MEChA & HALO Pamphlets

Records of a Latina/o focused group at the University of Kansas have existed since the 1970s. However, before it was LASU (Latin American Student Union), KU’s Latino student group went by many names. It first went by the name AMAS (Association of Mexican American Students), and then it was MEChA (Movimiento Estudiantil Chicano de Aztlán). The group took the name HALO (Hispanic American Leadership Organization) when it was re-established in the 1980s, and it finally became LASU to further expand its inclusion of all students of Latin American heritage or background.  

Rebekah Ramos
Curator of Latina/o Collections

Sources

“A Trip Through the Mind Jail: A Textual History of raúlrsalinas’ Magnum Opus” by Santiago Vidales Martínez in Textual Cultures 14.1 (2021): 208–229. DOI: https://doi.org/10.14434/tc.v14i1.32858

Kansas Hispanic & Latino American Affairs Commission website, “Our Mission and Our Origins from KACMAA to KHLAAC.”

KU Latin American Student Union website, “LASU History.”

*While many terms exist to identify people in the United States of Latin American origin and/or ancestry (i.e. Hispanic, Chicano, Latino, Latina/o, Latinx, Latine) at Spencer Research Library we chose to use “Latina/o” for the collection’s title. As the collection grows and evolves, the term used might change.

Charlton Hinman was a looker. Of course, that was true of so many of Fredson Bowers’ students – they tended to be lookers. We won’t make any comment on the relative attractiveness of Charlton Joseph Kadio Hinman or Bowers’ students, but we refer instead to the tradition of close examination and description of books that Bowers codified and Hinman continued here at the University of Kansas. On the north side of the Marilyn Stokstad Reading Room at Kenneth Spencer Research Library is the Hinman Collator, a hulking grey machine that stands as a reminder of (and a tool for) precisely that kind of work. Our colleague Caitlin Klepper wrote a post about the collator previously, but we thought we might delve more in-depth here.

Modern descriptive bibliography – the close physical examination and description of books – begins with Fredson Bowers’ book Principles of Bibliographical Description (1949). Bowers was a professor of English at the University of Virginia, and Charlton Hinman was Bowers’ first PhD student there. Both Hinman and Bowers had analytical minds with similar bents, which served them well in the Second World War. They were involved in cryptography and code breaking, with Bowers again leading Hinman as his commanding officer. Following their service, Bowers returned to Virginia, publishing the aforementioned Principles.

Hinman’s dissertation, The Printing of the First Quarto of Othello, led to his first position as a research fellow at the Folger Shakespeare Library, where he collated copies of the first folio of Othello. It was Hinman’s time as a fellow at the Folger that inspired his creation of the collation machine. Collation – or, the work of examining and describing the physical evidence in a copy of a book – is time consuming. Hinman’s work was even more intensive, as he sought to find all of the different states of the pages down to the most minor corrections or insertions made by the printer in the course of printing the book. Looking at each page of text line by line is an almost impossible task. Hinman hints at this problem in his preliminary essay about the machine, which was titled “Mechanized Collation: A Preliminary Report” and printed in the Papers of the Bibliographical Society of America in 1947.

Hinman’s time in the military helped point the way to a solution, supposedly through military reconnaissance use of photography. He described the idea of taking two pictures of the same area and rapidly alternating them to spot differences. He didn’t claim he had done it as part of his cryptography work; rather, he claimed he heard about it while in the military. However, the process Hinman described was never used for reconnaissance purposes. While the military did use aerial photography, they didn’t use any method that alternated two images in a similar way to the function of the Collator. In his article “‘The Eternal Verities Verified’: Charlton Hinman and the Roots of Mechanical Collation” (Studies in Bibliography, 2000), Steven Escar Smith writes that “using World War II technology, it simply would not have been possible to photograph the same patch of ground twice from exactly the same altitude and position.” According to Smith, Hinman seems to have acknowledged that the story wasn’t entirely true, but it’s not clear whether he actually discouraged its telling.

Arthur M. Johnson, Hinman’s partner who took over building and selling collators around 1956, may have been the one to accurately describe how Hinman got the idea for the collator. Johnson wrote that Hinman had studied something that Johnson called an “astronomer’s microscope.” It used the same principle of “blink comparison” to compare images of the night sky, most famously by Kansan (and KU alumnus) Clyde W. Tombaugh in his observation of Pluto. Although it’s not known whether Hinman ever saw or used a blink comparator, he knew of the one at the observatory at UVA when he was a PhD student there. This was the true technological ancestor of Hinman’s machine.

These kinds of devices are simpler than the Hinman Collator in that one can use flat images of similar size – not possible with books. Hinman’s great improvement and contribution, then, was the creation of a machine that could deal with books of different sizes, thicknesses, and even formats. Hinman had a long career as a professor of English, first at Johns Hopkins University (1945-1960) and then at the University of Kansas (1960-1975), where he eventually became a University Distinguished Professor of English. Approximately 50 collators survive. The collator at Spencer (A9 in Steven Escar Smith’s 2002 census of existing Hinman Collators, published in Studies in Bibliography) is one of two that remain that Hinman himself used; the other is at the Folger Library. The effect of the collator is reproduced in this short video by Sam Lemley. Bibliographer J.P. Ascher has also made a good video about how one might use the collator, utilizing the machine at the University of Virginia.

Hoping to actually use Spencer’s machine, we ventured to the Reading Room before opening. We powered it on, and, to our delight, the 400-pound machine came to life. Unfortunately, this was not to be, as we discovered that the “blink” feature, the key function, is not currently working. Thanks to the efforts of our colleague Molly Bauer, we are slowly learning what might be wrong and what the fix might be. Look for a follow-up post in the spring about our efforts, as well as digital alternatives to optical collation that bibliographers can use today.

The Hinman Collator, for now, stands as a testament to the ongoing work of descriptive an analytical bibliography here at the University of Kansas. Much like its creator, the machine is complicated and devoted to a very specific purpose – close looking at material objects we regularly take for granted.

Jason W. Dean and Adrienne Sanders
Rare Materials Cataloging Librarians