“Dia de los Muertos” - by Voodoo Cartel

A 36+ minute single piece of instrumental music set to the story below..

Act 1

"Baron Samedi’s theme”  (00:00 - 02:23) Baron Samedi - a confused and confusing character: good and evil, affable and annoying, major and minor, feared and worshipped in equal measure.  On the day of the dead he rises from his grave to wreak havoc amongst the living.  With his adopted children (The Ghede) he stalks the land hoping to add to his family of Loa. 

“Rise Ghede”  (02:24-03:21) Baron Samedi summons his children (La Ghede) to rise from their graves and begin the search for more souls to add to the family. Suitable souls can always be found on The Day of the Dead (Dia de los Muertos), celebrating the lives of their departed loved ones, even within the gates of the cemetery!

"Catrina” (03:22 - 05:21)  Sitting by the grave of her mother a young woman smiles, fondly remembering her mother. She places a sugar skull on the grave unaware she is being watched by the Loa. Baron Samedi spies Catrina amongst the gravestones. Under his breath he mutters,“Who’s this? A vision of beauty and grace. Mournful yet elegant within this place.”

“She is mine"  (05:22-06:32) Having spotted Catrina the Loa agree she is beautiful and a prize worth fighting over. An argument ensues over who thinks she is “most beautiful”! Seeing the argument Catrina approaches the Loa, seductively, fully aware that the argument has been over her. She is not afraid, she is intrigued. 

Act 2

"La Banda (Dance of the Ghede)” (6:33-7:23) As Catrina approaches, the Loa stop their quarrelling and stare menacingly at Catrina.  Baron Samedi steps to one side and his children begin "La Banda" (a dance designed to hypnotise a victim into giving up their soul!)

“Ghede Ti Malis (dance of)” (07:24-10:17)
"Ghede Ti Malis": the trickster. Confusion is this Loa's main weapon. Ti Malis conjures a vision of being chased by a faceless foe through a Mediaeval Medina. Twisting and turning through this mirage of mayhem Catrina is certainly confused but is not prepared to give up her soul without a fight.

“Ghede Doubye & Ghede Loraj (dance of)” (10:18-13:50)  Ghede Doubye & Ghede Loraj: next to attempt to hypnotise Catrina is Doubye. At first he casts a spell, an incantation with which he struggles but gets correct on his second attempt. Meanwhile, Loraj manifests a storm overhead, the storm rises and falls at the whim of Loraj and Doubye. Catrina attempts to mirror the movements of both Ghede, appearing to be under their control. Doubye and Loraj are both convinced Catrina is prepared to relinquish her soul. Ghede Nibo and Baron Samedi watch Catrina intensely, they are not as easily fooled.

“Ghede Nibo (dance of)” (13:51-14:55)  Ghede Nibo: Nibo steps forward, having calmed the storm above he realises Catrina will not succumb to the trifling voodoo magic of his younger and less fabulous siblings. He must call upon the souls taken in their prime (currently residing in the cemetery) and they must D.I.S.C.O. The cemetery is transformed into a glitter-ball-spinning, sprung-floor, Studio54 style nightclub.

“Funkin’ Voodoo Magic-man” (14:56:-16:04)  Finally Baron Samedi steps forward to deliver the final blow to ensure Catrina is under their spell.

Act 3

"La Calavera Catrina - the elegant skull"  (16:05-19:53) Entranced by Baron Samedi's voodoo magic Catrina drifts in and out of consciousness. She is unaware of what is real anymore, she sees the figures of her deceased mother and grandmother but they are out of reach, out of focus. Is she dead or in limbo? She calls out to them but they do not answer. The Loa carry her to Baron Samedi's catacomb.

"You are mine" (19:54 - 21:22)  Catrina awakens, she is tied at the wrist and waist against an altar. Baron Samedi leans over the now terrified Catrina: wild eyed and clearly deranged he leaps around the catacomb contorting his body and face in celebration of his brilliance.

“A Vision in Blue” (21:23-23:39) Catrina is clearly unimpressed by Baron Samedi's convulsing. In an attempt to put Catrina at ease (before taking her soul for all eternity) he conjures a vision of a 50s jazz cafe.  The two of them sit around a circular table in a packed jazz bar. Cigar smoke fills the room as Baron Samedi listens intently to the band. All of of a sudden, conscious that his ruse has been unsuccessful, Baron Samedi becomes once again enraged. He begins to knock tables and throw chairs in a fit... before stopping in his tracks to appreciate the music... then continuing his seemingly uncontrollable frenzy.

Act 4

"Father Velázquez's tower"  (23:40-26:14) In a monastery near the cemetery a priest is praying alone. His prayers are disturbed by the cry of a woman calling out for her mother. Looking around he can see no woman. Believing the voice to be member of his church he searches his memory and finally recognises the voice of Catrina. Although devout and true he is fearful of the spirit world and the Voodoo Magic he believes is associated with this day, he has lost too many souls to Baron Samedi. Afraid for Catrina's safety the young priest prays for guidance in the hope that someone is prepared to help Catrina. Meanwhile Ghede Ti Malis passes by the Monastery and hears Father Velaquez's prayer for Catrina.

“See the light (Part One)“  (26:15-27:22) Moved by the priest's prayers Ti Malis decides to save Catrina, although he is still conflicted by his loyalty to his family (The Loa) and his desire to see Catrina safely out of Limbo. This is the first time he has ever challenged the decision of Baron Samedi. Filled with confidence he makes his way back to the cemetery to confront The Loa.

“La Boda Macabre - This ain’t no wedding march” (27:23-28:14) Once Ti Malis reaches the cemetery he finds Baron Samedi and the Loa preparing for La Boda Macabre (a weird wedding of sorts with Baron Samedi taking the role of master of ceremonies and groom). Catrina is dragged to a make-shift altar by the Ghede, including Ti Malis, where he ineffectively binds her to a tree. Catrina realises Ti Malis is to be her saviour as he whispers in her ear “follow me to the light’. The rest of the Loa do not notice Ti Malis’s treachery (they are drunk and filled with pomp and expectation at the prospect of stealing Catrina’s soul).

“See the light (Part Two)” (28:15-28:44) Lost in revelry Baron Samedi and the rest of the Ghede continue their strange ritual whilst Catrina makes her escape with Ti Malis. Dashing between the headstones and refusing to look back they must get to the gates of the cemetery before sunrise!

Act 5

“Find Them!” (28:44-30:36) Upon realising Catrina’s escape Baron Samedi looks to his family for the traitor. Ti Malis’s absence is evidence enough of his guilt. In hot pursuit of Catrina, Baron Samedi is maddened by the prospect of not catching her before sunrise but is spurred on by the thrill of a fight.

“The Duel” (30:27-33:16) Baron Samedi catches up with Catrina and Ti Malis. Unwilling to give up Baron Samedi and Ti Malis exchange blows in almost equal measure. Baron Samedi celebrates victory after every successful hit leaving him exposed for Ti Malis to return blows and more than enough time for Catrina to continue on to the gates of the graveyard. The rest of the Loa gather around the two pugilists.

“Almost Sunrise” (33:17-33-48) Running to the gates of the graveyard Catrina fears for Ti Malis but knows that his fate is sealed once the sun has fully risen. She sees the familiar face of Father Velasquez in the distance and knows she is almost safe.

“At the Gates” (33:49-36:46)
Father Velásquez, reluctant to enter the cemetery, calls to Catrina to hurry as he spots Baron Samedi in the distance. Once the sun has risen only the living can exit the cemetery. “Run Girl, Run!” he exclaims. Ti Malis, although beaten by Baron Samedi opens a bloodied eye towards the gates of the graveyard, he smiles knowing he has kept Baron Samedi busy enough for Catrina to effect her escape. The remaining Ghede, headed by Baron Samedi, rush to block Catrina’s path to freedom as the sun crests above the horizon. They are too late! The Loa scurry back to their subterranean crypts to avoid the light of the new day. Catrina, now safe, embraces Father Velásquez vowing to always celebrate life and the lives of the dearly departed especially on The Day of the Dead.