Changes

Pellegrini (2007) and Fletcher (2007) examine the rising phenomenon of hell houses, evangelical alternatives to haunted houses, in reaction to the perceived occult and pagan nature of Halloween. Religious feelings are communicated by the medium of theater presented in these hell houses. Evangelicals such as Rev. [[Pat Robertson]] have decried the celebration of Halloween as 'performing Satanic rituals' since the 1970s, but they decided to present alternative educational devices for children. Beginning with [[Jerry Falwell]]'s ScareMare in 1972, an increasing number of evangelical churches have turned to performances in order to missionize younger generations. In the 2001 documentary 'Hell House' that such evangelical tools became well known. The theater of the houses also offers an opportunity for the church members to face their fears rather than avoid them, and it offers participants the 'fun' of being evil without engaging in pagan rituals.<ref>Ann Pellegrini, "'Signaling Through the Flames': Hell House Performance and Structures of Religious Feeling,"  ''American Quarterly'' 2007 59(3): 911-935; John Fletcher, "Tasteless as Hell: Community Performance, Distinction, and Countertaste in Hell House, ''Theatre Survey'' 2007 48(2): 313-330. </ref>  

Pellegrini (2007) and Fletcher (2007) examine the rising phenomenon of hell houses, evangelical alternatives to haunted houses, in reaction to the perceived occult and pagan nature of Halloween. Religious feelings are communicated by the medium of theater presented in these hell houses. Evangelicals such as Rev. [[Pat Robertson]] have decried the celebration of Halloween as 'performing Satanic rituals' since the 1970s, but they decided to present alternative educational devices for children. Beginning with [[Jerry Falwell]]'s ScareMare in 1972, an increasing number of evangelical churches have turned to performances in order to missionize younger generations. In the 2001 documentary 'Hell House' that such evangelical tools became well known. The theater of the houses also offers an opportunity for the church members to face their fears rather than avoid them, and it offers participants the 'fun' of being evil without engaging in pagan rituals.<ref>Ann Pellegrini, "'Signaling Through the Flames': Hell House Performance and Structures of Religious Feeling,"  ''American Quarterly'' 2007 59(3): 911-935; John Fletcher, "Tasteless as Hell: Community Performance, Distinction, and Countertaste in Hell House, ''Theatre Survey'' 2007 48(2): 313-330. </ref>  

==Mexico==

==Mexico==

Although Halloween symbols have long been a part of the Mexican culture, particularly in the northern states of Mexico, since the 1990s these symbols have been denounced by intellectuals and religious leaders as elements of Yankee imperialism. Mexico's counterpart to Halloween, the Day of the Dead, has its roots in the Spanish colonial period, when Spain brought the [[Catholic]] holidays of All Saints' Day and All Souls' Day to the New World. Nevertheless, the celebration of the Day of the Dead from 31 October to 2 November has come to symbolize national unity to many Mexicans. Even though the Day of the Dead has always had materialistic elements such as the sugar paste '(afteniqué)' figures, traditionally given to children, cultural nationalists have upheld the Mexican Day of the Dead religious rituals as a contrast to the economic and materialist motives behind American Halloween traditions. These cultural nationalists insist that Halloween activities, which have entered across Mexico's northern border, profane the sacredness of the Day of the Dead.<ref> Stanley  Brandes, "The Day of the Dead, Halloween, and the Quest for Mexican National Identity," ''Journal of American Folklore'' 1998 111(442): 359-380, [http://www.questia.com/PM.qst?a=o&d=96430235 in QUESTIA]</ref>

Although Halloween symbols have long been a part of the Mexican culture, particularly in the northern states of Mexico, since the 1990s these symbols have been denounced by intellectuals and religious leaders as elements of Yankee imperialism. Mexico's counterpart to Halloween, the Day of the Dead, has its roots in the Spanish colonial period, when Spain brought the [[Catholic]] holidays of All Saints' Day and All Souls' Day to the New World. Nevertheless, the celebration of the Day of the Dead from 31 October to 2 November has come to symbolize national unity to many Mexicans. Even though the Day of the Dead has always had materialistic elements such as the sugar paste '(afteniqué)' figures, traditionally given to children, cultural nationalists have upheld the Mexican Day of the Dead religious rituals as a contrast to the economic and materialist motives behind American Halloween traditions. These cultural nationalists insist that Halloween activities, which have entered across Mexico's northern border, profane the sacredness of the Day of the Dead.<ref> Stanley  Brandes, "The Day of the Dead, Halloween, and the Quest for Mexican National Identity," ''Journal of American Folklore'' 1998 111(442): 359-380, [http://www.questia.com/PM.qst?a=o&d=96430235 in QUESTIA]</ref>