Isra Alonso - Founder of ‘Día de Muertos’ in the Marolles district

As the days grow shorter and fallen leaves blanket the sidewalks, the first notes of All I Want for Christmas are already beginning to echo. But before plunging into the frenzy of the holiday season, Brussels is getting ready to celebrate a very different kind of tradition: Día de Muertos, the Mexican tribute to the dead, now deeply rooted in the capital. In recent years, initiatives have multiplied, driven by a Mexican community that is increasingly visible, dynamic, and united.

In the Marolles district, Día de Muertos has almost become a local tradition. Since 2018, the Bruegel Cultural Center has hosted an altar for the dead, artistic activities, and above all, a large procession on Place du Jeu de Balle. For a whole week, the air is filled with the scent of cempasúchil, the bright orange marigolds typical of the festivities. The initiative was born in the mind of Isra Alonso, creator of Día de Muertos Marolles, whom we meet for the occasion.

The story began shortly before 2018. Isra, a guitarist and saxophonist, and Celia, movie director, proposed to the Bruegel Cultural Center to organize a Brussels-style Día de Muertos. He knew the place well: in 2016, while still a mariachi, he played there for its inauguration. A year later, when an earthquake struck Mexico, he organized benefit concerts there. In the same street, a Mexican-inspired store, Calaveras, opened its doors. Gradually, Rue des Renards began to take on the air of a “Little Mexico.”

So why not host the country’s most iconic popular festival there? The first edition included an exhibition, a few concerts, and workshops over two days. From the very beginning, a procession was part of the program—an idea that would become the festival’s signature.

A Celebration of Brussels’ Diversity

From the start, Isra envisioned a deeply Brusseleir Día de Muertos. “I wanted to root the festival in this city, which is incredibly multicultural, one of the most cosmopolitan in the world.” In this spirit, he sought to bring together a wide range of cultures around this Mexican tradition. “Already in 2018, there was a multicultural mix within the event. For instance, there were Moroccan musicians and a brass band that combined Moroccan percussion with Belgian wind instruments—trumpets and saxophones. I had them play Mexican music; it was quite something.”

Behind this approach lies a desire to make the event a moment of reflection on the place of death in our societies. “The richness of Brussels lies precisely in bringing all these cultures together. Even though my passion is Mexican music, I never wanted to simply transplant a Mexican celebration out of its context—it wouldn’t make sense. From the start, one of the goals was to unite cultures. Death is one of the few things that truly connects us all as human beings. We all experience it, we all share similar grief, and we all cope with it differently.”

Since its beginnings, the organization has grown. Today, for its eighth edition, the collective Tas d’Os, composed of five artists, coordinates the week-long activities. The highlight remains the procession, which immediately captivated the Brussels public. “The first year, we told the police to expect a procession of about 300 people. In the end, we gathered 2,000—no one expected that.” Today, over 12,000 people attend the event, which breaks from the classic parade format. “We want it to be a procession where everyone can be included and involved—not just spectators. The idea is that we all walk together.”

In the Brussels night, this procession (which will take place this year on Saturday, November 1) sees skeletons, glowing deer, and even Quetzalcóatl, the feathered serpent and ancient god, parade through the streets.

A Festival Rooted in the Marolles’ DNA

The soul of the Marolles also shines through the festival. A neighborhood known for social struggles, activism, and its brusseleir identity, the Marolles quickly embraced the celebration. The festival is even included in its neighborhood development plan. “Since 2018, we’ve collaborated with schools, nursing homes, and local associations,” Isra recalls.

An altar to the dead is installed every year, open to everyone. In 2020, the pandemic pushed organizers to set it up outdoors for the first time. The district’s many antique shops joined in, and Isra used salvaged tables and cabinets to build a monumental altar. In the midst of the pandemic, it took on special meaning: “That’s when we really placed the altar at the heart of the event. In 2020, more than ever, it was deeply relevant—a year marked by death for so many families. We stayed open at night for nearly two months, and over 4,000 messages were collected.”

Since then, the tradition of the altar in the Bruegel courtyard continues. Anyone can leave a message there. Bonds are quickly formed around this intimate yet universal theme. Isra recalls: “We had placed a photo of the Mexican painter Francisco Toledo, who had passed away that year. A local resident came every night to pay tribute. When I asked him why, he said, ‘He has the same eyes as my grandfather, who raised me.’ The festival allows for these moments of connection and shared emotion. For this edition, a gigantic ‘Tree of Life and Death’ will stand in the courtyard from October 27 onward.”

A Bright 8th Edition

As a professional musician, Isra gives a central place to traditional Mexican music in the program. On October 31, the festival will highlight fandango, a kind of community jam session of Son Jarocho. “Imagine musicians gathered around a wooden platform where people dance zapateado, improvise, and sing—it’s a lively, collective celebration.”

On Wednesday, October 29, the group La Flota y el Son from Veracruz—the cradle of Son Jarocho—will perform. The Vega family from Boca de San Miguel, Tlacotalpan, Veracruz, has been one of the most important guardians of this musical tradition for five generations. On Thursday, October 30, Isra invites us to the Saint-Gilles cemetery: “It’s the third walk we’ve organized there—a musical and poetic stroll with musicians from all backgrounds singing songs in different languages to honor the dead. It’s a beautiful, candlelit event, entirely acoustic. It feels like a ritual—spiritual, but not religious.”

Finally, on Saturday, the traditional procession will close the week at Place du Jeu de Balle, bringing together thousands of people in a festive and luminous atmosphere.

Practical Information

🗓️ October 27 – November 1, 2025

📍 Bruegel Cultural Center, Marolles, Brussels

🌐 Full program: www.diademuertos.be/programme