May 28, 2026
The Mummies of Guanajuato

Nothing is certain but death and taxes. In this episode, Ayden guides you through the dark and eerie Museo de Las Momias, or Museum of Mummies, in Guanajuato, Mexico.
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A cool friend. It's me Adrian or Aiden. Either way,
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I am still your host and you are still listening
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to Soustal the podcast of paranamal folklore from Latin American cultures.
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Welcome back and thank you for being here. And if
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this is your first time, thank you so much for
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joining us. Listen. I'm just going to start this off
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with being very vulnerable as a creator. There's a lot
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of noise happening right now. It is the middle of
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the day as I'm recording this, so there is a
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bird right outside the office that is just going off
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for whatever reason. I just heard of Margaret Now a
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minute ago, so nobody's cooperating. And this is why again
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I'm very excited to get into a studio space that
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is way more sound controlled than our office slash guest
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room slash studio. That being said, we'll see. Maybe none
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of those sounds will end up coming out in the
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final edit because I am such a professional, but we
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will see if I can live up to that standard.
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Either way, Thanks so much for being here. Really quick
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short updates. First off, the book club for May should
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have been announced by now by the time you are
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listening to this, So this is why it's very important
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to follow along on every social media platform that's at
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sustal Podcast. On every platform, I post every and all
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updates about the show about what we are doing on
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those pages, so just make sure that you follow those
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shortly after that, once we have the actual meeting itself
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the discussion, which again is open to anybody, So if
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you read along this month, please feel free to join us.
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The meeting details again will be posted on social media,
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and then we will announce next month's read As always,
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like I said, the book club itself is open to anybody.
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It's free to join. How However, Patreon subscribers do get
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to vote on what we read, so if you're interested
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in that and other perks, you can visit sustal plus
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dot com. Speaking of if you're watching the video, look
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we have a little guest right here there she is.
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That's Margaret. Hopefully now that she sees where the voice
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is coming from, she will chill out and just hang
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out in the background. Anyway, Summer is here. I'm very excited.
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I spent a lot of time this Memorial Day weekend
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walking around on the trail, just soaking in on the nature.
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I'm trying really hard to romanticize summer this year. Usually
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I do not look forward to it at all because
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it is so hot, but I'm trying to just lean
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into it and just think about, Okay, how can we
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how can we, you know, make this, make this fun
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and not not so miserable. I'm just trying to change
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my outlook on that. But i'd digress before we get
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into today's episode. As always that you can support sustal
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by engaging wherever you are listening, which means leaving positive
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ratings and reviews or comments. And you can also support Sustal,
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as I've mentioned several times now, by visiting sustal plus
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dot com and deciding if there is anything on there
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that tickles your fancy that you might be into. With
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that out of the way, let's go ahead and get
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into today's episode, which is all about the mummies of Guanajuato.
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The first Cholera waves rolled through Mexico in the eighteen
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thirties like an invisible army, entire streets emptied. Church bells
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rank so often for the dead that in some towns
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the sound became part of the weather. Cemeteries filled faster
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than grave diggers could work tombs were stacked close together.
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New burial grounds spread up hillsides and beyond city limits.
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In many places, families turned to above ground crypts, sealing
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their dead inside stone chambers, meant to preserve dignity while
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saving precious space. But death kept coming and land kept
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running out, So graveyards across Mexico adopted a harsh solution.
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If families could not continue paying burial fees, the remains
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of their loved ones would be evicted from their final
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resting places. Bones would be taken from grave sites and
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transferred into ostuaries communal depositories for skeletal remains, so the
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graves could be reused for the newly more financially privileged dead.
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In the mountain city of Guanahato, however, something stranger happened.
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Guanahato is a city that seems carved directly into the earth,
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a narrow v val whose streets twist between brightly painted
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buildings that climb steep hillsides. The surrounding mountains are rich
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with minerals such as silver, iron, and sulfur buried deep
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beneath the rock. The air is dry enough that sweat
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disappears from your skin almost as soon as it forms
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under the afternoon sun, the hills grow ochre and gold.
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It is a stunning, winding valley that is as beautiful
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as it is unforgiving. In eighteen sixty one, the cemetery
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known as Pantheon Santa Paula introduced its burial tax. Families
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who could no longer afford the payments would eventually lose
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the right to keep relatives interred there forfeiting a perpetual burial.
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For several years, little was done to enforce this tax.
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Then in sixty five, cemetery workers were finally ordered to
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begin exhuming bodies from unpaid crypts. One of the first
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belonged to a man named doctor ramihil Le Roy, remembered
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locally as the French doctor. Doctor Leroy died in eighteen sixty.
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As a foreigner, he had no large extended family in
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Juanajato to continue paying the burial tax, nor would there
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be any relatives gathered outside the crypt to protest its opening,
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No priest standing nearby praying forgiveness for the disrespect about
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to take place. Only labourers with iron tools descending into
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the cemetery corridors. When they opened the tomb, they expected decay. Instead,
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they found a man. The doctor's body had dried rather
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than decomposed. His skin still clung tightly to his face,
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His beard remained intact, his clothing had not rotted away.
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It was as if the dry mountain air and mineral
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rich soil had slowly transformed him into leather and parchment
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instead of dust. The workers reportedly did not know what
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to do with him. Eventually they carried the body beneath
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the cemetery and stood it upright against the wall of
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an underground ostuary. Finding one preserved corpse would have been
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unsettling enough, Then they found another and another. As more
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graves were opened for unpaid taxes, workers discovered that many
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of the dead had undergone the same transformation. The conditions
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inside the cryps of heat, dryness, mineral content, and limited
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moisture had naturally and unintentionally mummified the bodies. Some remained
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eerily recognizable, Others had deteriorated into skeletal forms wrapped in
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stretched skin. Many appeared frozen in expressions of agony, mouths
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hanging permanently open in what looked like silent screams. In reality,
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the expression was likely caused by muscles and ligaments relaxing
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after death, allowing the jaw to fall open an uneternal yawn.
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But to the people seeing them for the first time
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in torchlight beneath the cemetery, science offered little comfort. The
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deeper the workers went, the more disturbing the discoveries became.
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One mummy belonged to a woman who had been four
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months pregnant when she died. Her tiny fetus was later
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removed from her preserved body and displayed beside her, becoming
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one of the smaller mummies in the world. Another body
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became the source of one of Guanajuato's most haunting legends,
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a woman named Ignasia Aguilarre. According to local accounts, Ignasia
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suffered from a condition that could slow her heart so
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much that it could mimic death. Her family, believing she
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had passed away, buried her quickly. When her body was
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eventually exhumed, grave workers claimed she had changed position inside
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the coffin, injuries marked her forehead. She lay face down
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with her arms beneath her, as though she had awakened
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in darkness, struck the coffin lid, trying to escape, and
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finally collapse in exhausted resignation. Whether the story is true
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or embellished over time hardly matters now. In Guanajuato, the
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line between documented history and folklore has always been thin.
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News of the mummies spread quickly through the city. Soon,
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cemetery workers began charging curious visitors a few vessels to
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descend into the astuary corridors and view the preserved dead. Tourists, travelers,
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and townspeople came to stare into the faces of people
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who had once walked the same streets above them. But
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over time, something else besides dignity disappeared. Names vanished, Tags
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identifying the dead went missing, Personal belongings disappeared, Records became incomplete.
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Many of the bodies belonged to poor families, already erased
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from official memory by poverty and time, without names attached
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to them. Cemetery workers and guides began inventing identities and
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stories to entertain visits. The unknown dead became caricatures La Brucha,
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the Witch, Elaugado, the drowned man. Tales grew more elaborate,
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with every retelling, each story helping draw larger crowds underground.
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The people too poor to remain buried with honour, slowly
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lost even the memory of who they once were. The
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final body was exhumed in nineteen fifty eight. By then,
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when hundred eleven mummies had been removed from their graves
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and lined along the underground walls of the cemetery corridors.
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A decade later, in nineteen sixty eight, the city opened
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a formal museum around the collection. Today, fifty nine of
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the mummies remain on permanent display. Every year, hundreds of
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thousands of tourists visit Museo de las Montias de Juanajuato.
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The museum generates millions of dollars for the city and
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has become one of Guanajuapo's most recognizable attractions. For decades,
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many of the mummies were displayed standing upright, just as
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workers had originally leaned them against the walls after exhumation.
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Some even traveled internationally in exhibitions, including tours through museums
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in the United States in the late two thousands. But
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in recent years the collection has become the center of
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an ethical debate. Mexico's National Institute of Anthropology and History,
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known as NAH, has criticized the museum's preservation practices and
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treatment of the bodies. Officials argue that the mummies were
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not properly stored and were damaged through repeated handling and transport.
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Some examinations reportedly found evidence of fungal growth on several bodies,
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raising concerns that spores could spread to workers and visitors
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through poorly sealed display cases. Iah has also pushed for
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something more fundamental, restoring identities to the dead. Researchers argue
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that these were real people, labourers, mothers, children, immigrants whose
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bodies ended up on display largely because their families could
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not afford a burial tax. Descendants, they say, deserve to
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know what became of their ancestors to leave the dead unnamed,
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posed for photographs and marketed as entertainment risks, turning poverty
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itself into spectacle. Yet many people in Guanajuato see the
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matter differently. For them, the mummies are not simply curiosities.
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They are part of a broader cultural relationship with death
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that exists throughout Mexico. Cemeteries are not always places of
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silence and distance. Families visit graves with food, candles, and
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music during Day of the Dead. The boundary between the
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living and the dead is treated less like a wall
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and more like a doorway. To many locals. The mummies
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are not hidden away in shame. They are remembered, seen, acknowledged,
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and so the question remains unresolved beneath the hills of Guanajuato.
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At what point does remembrance become exploitation, When does preserving
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the dead become pageantry? And what do the mummies themselves
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represent a scientific accident, a cultural tradition, or a warning
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about how easily poverty can follow a person even beyond
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the grave. Welcome back, Girlfriends. Thank you so much for
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tuning into that story. So this is one that we've
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been wanting to cover for quite a while, but I've
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never felt an urgency to do so because I feel
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like there has been a lot of coverage on the
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mummies of Guanaquato. But we figured, you know what, it's time,
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let's go for it. So the first source that we
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have here is from Nationalgeographic dot Com and this is
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titled These Mexican Mummies draw Crowds and Controversy. This is
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published in twenty twenty two by Jennifer Barger. Thank you
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Jennifer for writing this and obviously you know this. This
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This is a real place. The Museum of Mummies is
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a real place in Mexico and Guanajuato, Mexico. And this
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article starts off. Guanapuato, Mexico has been on the UNESCO
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World Heritage List since nineteen eighty eight thanks to its
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colonial Spanish architecture, silver mining history, and sites related to
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the Mexican Revolution. This goes on a bit more about Mexico. Then,
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this says, but the biggest tourist attraction in the central
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Mexican city is darker and more gruesome than all that,
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an underground museum of one hundred mummies. This is published
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in twenty twenty two. I know that we said. It
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says like recently, there's maybe closer to fifty or sixty
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of them that are still on display. This is no
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pun intended a living exhibit, right, So I'm sure, like
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you know, things change, They swap bodies in and out,
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and they make decisions about how many of them want
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display at any given time. Right. But this says these
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slack jawed men, leathery skinned infants, and other corpses have
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been luring curious travelers for more than a century. Visitors
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first paid a few vessels to visit to the mummies
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in an underground crypt. Since nineteen sixty nine, they've been
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displayed under spooky spotlight at the Museo de las Momies.
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These naturally preserved corpses, and in parentheses it says no
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bandages or embalming here from the nineteenth and twentieth centuries
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are a revenue generator and a source of local pride
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for this city, about an hour's drive west of San
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Miguel the Allende, the mummies of Juanajuato bring the biggest
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economic income to the municipality after property tax, says Mexican
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anthropologist Juan Manuel argueyas San Millan. Their importance is hard
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to overstate. And this is where that sort of debate starts,
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right is you know there's people that are from here,
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from this area, that are involved in community and anthropology,
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and you know there's I think, like on surface level,
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the debate is, you do want to be worry about
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something like this, Right, It's like, what is the line
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between exploitation, especially because these people and by these people
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I mean the mummies, the corpses on display, they never
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consented to any of this right, it was. It was
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never even an idea in their imaginations. I think that
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