The Moors and Christians dance is performed during 
the traditional guancasco held in Ojojona.

By WENDY GRIFFIN

Honduras' ceremony of peace between two villages, the guancasco, is an elaborate presentation including Honduran folk dances. These organized ceremonies are mainly held in Lenca villages or in towns that used to be Lencan. They are always performed as part of the fair for the patron saint of the town. Some villages, like Chinacla, La Paz, participate in guancascos with many towns.

Some of the most important guancascos are:

* Intibuca, the sister city of La Esperanza, Intibuca, celebrates its guancasco with Yamaranguila, Intibuca. This most famous guancasco is performed Feb. 2 in Intibuca for the Virgin of Candelaria and Oct. 3 in Yamaranguila, according to Honduran folk dance specialist David Flores. The dance is still organized by the "Alcaldia de la Vara Alta." This Lenca organization originally had political, religious and economic power, but since independence its powers have been stripped until now its primary function is to organize patron saint fairs.

There are hotels in La Esperanza. If the weather is good, the drive is not bad from Marcala. Remember, as with any village fair, there will be hundreds if not thousands more people than there are hotel rooms. One of the reasons Honduran fairs have dancing in the streets until 5 a.m. is that there is nowhere for the people to go. So, they dance until they can walk or take a bus home. Some years La Esperanza does not celebrate its guancasco for problems ranging from priests who do not agree with the celebration to land conflicts with Yamaranguila.

* Ojojona, Francisco Morazan celebrates its guancasco with Lepaterique, Francisco Morazan on Jan. 18-24 in Ojojona for San Sebastian and July 26-31 for Santiago in Lepaterique. These are former Lenca villages; for example, Lepaterique means Jaguar Hill (Lepa: tigre or jaguar and terique: cerro or hill), there has been a resurgence of Lenca identity in southern Francisco Morazan, for example in Curaren.

A special feature if this fair is the "paisanazo," a version of the Moors and Christians dance. There are small hotels in Ojojona, which is about a half-hour's drive from Tegucigalpa. Lepaterique is also not far, but even before the hurricane the road was not in great shape in this coffee growing region. Both are picturesque colonial-era towns where inhabitants previously worked in silver mines.

* Mejicapa, Lempira celebrates its guancasco with Gracias, the capital of Lempira Dec. 12-16 in Mejicapa for Santa Lucia and Jan. 19-25 in Gracias for San Sebastian. Mejicapa gets its name from previously being a village of "Mexican" Nahuatl-speaking Indians. Gracias, once the capital of Honduras, began as a mining town. Both are now considered Ladino or mestizo towns.

Gracias is connected by a good road to Santa Rosa de Copan. There are small hotels in Gracias as well as good ones in Santa Rosa. The dance of Moors and Christians here is one of the best in Honduras, plus it is done against the backdrop of the colonial era fort and churches.

* La Campa, Lempira celebrates its guancasco with Belen Feb. 15-24 in La Campa for St. Matthew and Dec. 17-23 in Belen for the Virgin of the Rosary. Accessibility is difficult, with tourists reaching La Campa by 4-wheel vehicle from Gracias. Belen Gualcho, in Ocotepeque, also celebrates a guancasco with San Nicolas.

* Gualala, Chinda and Ilama, Santa Barbara celebrate a three day guancasco. From Jan. 13-15, the ceremony is for the Black Christ of Gualala, since this is the day of Nuestro Senor de Esquipulas (Guatemala), who has a large following in Honduras. From Feb. 10-18, the celebration is for the Virgin of Lourdes in Ilama. August is when Chinda celebrates its festival of the Virgin. Until the 1920s, Chinda was, from colonial times, about 10 times the size of San Pedro Sula.

These Santa Barbara guancascos are famous for their "Los Negritos" dance and for marimba music. Also, the instruments used in Honduras' only caramba (musical bow) and sacabuche (leather-covered gourd) band are similar to African ones and may owe their popularity in Santa Barbara to Blacks who were brought to work in the mines there.

*Lejamani, Comayagua celebrates guancascos with Ajuterique, Yarumela and Comayaguela. A dance theater piece similar to Moors and Christians is presented; however, it tells the story of David and Goliath.

In San Pedro, Barrio Medina traditionally celebrated a guancasco with Barrio El Centro on June 29, says Flores. The Virgin Mary of Barrio Medina would go to San Pedro (St. Peter) at the Cathedral as part of the June Fair (Feria Juniana) in honor of San Pedro.

With so many activities going on during the June Fair, such as a cattle shows, painting exhibitions, the crowning of the Queen of the Fair, and late night dancing, the fact that all this was organized to celebrate St. Peter sometimes seem to get lost in Honduras' industrial capital.

Still, most people say that a ceremony to promote peace with ones neighbors would be a good thing. So, if the war drum beats of the Fiestas Patrias or the high level of crime has you down, come out and celebrate peace. 

The bowling alley has 24 lanes with the latest in computerized technology. (Photo by Melanie Wetzel.)

By MELANIE WETZEL

TEGUCIGALPA -- The newest entertainment complex in the capital city opened Dec. 8 with a resounding crash of bowling pins. Planeta Sipango brings a wide variety of fun activities to fill the entertainment void in the capital city.

The main attraction is a 24-lane bowling alley. Claudio Restrepo, the manager of the facility, says that the computerized lanes use the latest technology. "This is the most complete and technologically advanced bowling alley in Central and South America." Aerodynamic tables and chairs, video screens and bright fluorescent colors add to the new millennium ambience.

Admission to Planeta Sipango is free. Bowling costs Lps. 160 per hour per lane, and up to eight people can bowl on each lane. "Free lessons are available for beginners," says Restrepo. Shoes are available for rental and a wide selection of complementary balls in bright colors are also provided.

The lower level also has the food court, snack bar, and children's area, known as the Sipango Jungle. Children can play under the supervision of a Planeta Sipango employee while their parents bowl the night away.

The upper level houses the five-table pool room, decorated in a more sedate, but no less luxurious, style. Soft drinks and draft beer are served throughout the complex. Smoking is allowed upstairs in the pool room, but the lower level is smoke free. "We are going for a family-oriented atmosphere," says Restrepo.

The entertainment center has had good business since its opening, according to Restrepo, but they are not finished yet. The second phase of the complex will be completed by mid March, and will include a Sports Bar and disco.

Restrepo describes the upcoming additions. "The disco will have a general admission area with a $10 cover charge. Then we will have two VIP sections. The VIP section on the second level will be open only to members." Memberships will run about $1,000 per year.

If the VIP section is not elegant enough, patrons can upgrade their membership and gain entrance to the third floor -- The Champagne Room. Restrepo assures that visitors will be pleased. "It's going to be nice." Champagne Room membership, which will cost $1,500, includes a free bottle of champagne every weekend.

A visit to Planeta Sipango is well worth the time, especially for entertainment-starved Tegucigalpa residents. There is something for everyone in the family and it is all presented in a well-designed and beautifully decorated building.

Planeta Sipango is located on Boulevard Suyapa, before the University and Basilica, next to Restaurante El Trapiche.

By MARIA FIALLOS

Written and directed by renowned Honduran playwright Rafael Murillo Selva, "Antes del Huracan o La Historia de Una Ceiba" (Before the Hurricane or the Story of a Silkwood) featuring a cast of children between the ages of 9 and 12 will open next month in La Hacienda's Restaurants' Convention Center.

As the play unfolds it becomes obvious that there are two main plots: an historical one and an ecological one. The historical theme centers around the activities of the famous mining company, El Rosario, located in San Juancito. The ecological plot focuses on the environmental destruction that has taken place in Honduras over the last few decades.

Making good use of humor, the show lasts approximately an hour and a half. Important aspects of Honduran culture are highlighted, but from a child's point of view and are therefore amusing. The children's performances are such that the play can be enjoyed and understood by the general public, including adults.

The play previewed on Dec. 18 in San Juancito and was a hit with both children and adults. The first performance in Tegucigalpa will be for children at La Hacienda's Convention Center on Feb. 3 at 3 p.m.; a gala performance will be held on Feb. 4 at 7 p.m. at the same place.

The rolls are prepared and then warmed on this wood stove. (Photo by Rosibel Pacheco de Gutierrez.)

By ROSIBEL PACHECO DE GUTIERREZ

It is very early in the morning and already the locale is bustling with activity. The refried beans are prepared, well condimented, above all with a touch of chile or hot pepper. This is spread on delicious hot buns, and if you like, you can add sour cream or grated cheese.

The customers come and go with paper bags full of these "panes con frijoles." Some just stay inside "Panecillos Juanita" located at Barrio La Bolsa in Comayaguela and eat to their heart's delight.

Mercedes Fonseca, the owner and administrator for the last 10 years, tells the story of how her mother and grandmother started the business in 1965 in that same house. "The area was sparsely populated. There was some grassland and cattle farmers in the vicinity. They started with a humble "fogon" or earthen oven, selling baleadas or wheat tortillas with refried beans and sour cream."

The panecillos came later and were such a success that they remain a hot item with much demand to this day. "I believe that the success relies on the fact that the beans are cooked on a woodfire stove and are then blended with spices and hot peppers," says Mercedes. "Everything is done the old-fashioned way over a woodfire."

Clients come from all over the city. Former presidents Callejas and Azcona send their chauffeurs to get some of those tasty morsels for them. "Even some airline pilots stop to buy them on the way to the airport, so I can say the 'pancitos,' as some call them, are international."

Panecillos Juanita is located in Barrio La Bolsa, first entrance, one block before Cafe El Indio. Also available are hot, strong coffee, bottled soft drinks, baleadas and scrambled eggs.

The Central American agouti, also known as an Indian rabbit or guatusa, is a medium-sized, tailless, brown mammal. It looks somewhat like an oversized rabbit with short ears.

Every evening, George and Gloria would lift up a stone slab from the kitchen floor, put their pet guatusa to bed in the old plumbing hole, and place the stone slab back over her bed. In the morning, they would take off the slab to let her loose. When they went up to their office, the guatusa would follow them, hopping rabbit-like up the stairs and into the office. Then she would hop up on Gloria's desk, sniff around, make sure everything was in order, then squat and pee. Then the guatusa would hop on to George's desk, sniff around, make sure everything was in order, and curl up to sleep.

Eventually, Gloria gave up trying to toilet train the creature. She just left newspapers on her desk every day after work. "But it was a tranquil, pleasant pet. I think it was intelligent too," comments George. "It knew enough not to pee on my desk."

WOMEN ART EXHIBIT -- JANUARY -- The Mujeres en las Artes (MUA) association is celebrating the Honduran Woman's Day with an exhibit of art titled Leyendo, una Historia de Mujeres at the Honduran Institute of Interamerican Culture (IHCI) on Calle Real, Comayaguela. More information at 221-0697, e-mail: <muaartes@sdnhon.org.hn>.

PERMANENT EXHIBIT -- The Mujeres en las Artes association recently inaugurated a permanent exhibit of paintings, silk screenings and drawings titled Mujer en Blanco y Negro, by Carolina Kiersten Medina. More information at 221-0697.

ART CONTEST -- FEBRUARY -- The Ministry of Culture invites Honduran fine arts students to participate in an artistic exchange to take place at the San Alejandro Academy at La Habana, Cuba. Documents must be submitted between Jan. 24 and Feb. 6. More information at 236-9738 or (537) 240-0446.

EL RINCON DEL CUENTO -- The regional office of the Ministry of Culture in San Pedro Sula recently inaugurated "El Rincon del Cuento" at the Museum of History and Anthropology to read and act out stories for children. More information at 557-1496.

NEW ART WORKSHOPS -- THROUGH APRIL -- The Mujeres en las Artes "Leticia de Oyuela" association is offering the following courses: Jan. 29-March 18: Ceramics workshop, Saturdays from 9 a.m. to 1 p.m., registration is Lps. 1,000.00. Jan. 25-Feb. 28: Modelling workshop, Mondays, Wednesdays and Fridays from 5 to 7 p.m., registration is Lps. 1,200.00. Feb. 5-April 1: Toy making, Saturdays from 9 to 11 a.m., special for children 10 to 11, registration is Lps. 600.00. Feb. 5-April 29: A world of colors, Saturdays from 2 to 4 p.m., special for children 8 to 9, registration is Lps. 600.00. More information at 221-0697.

CHILDREN'S WORKSHOPS -- THROUGH MARCH 15 -- The Centro Cultural Infantil of San Pedro Sula is offering carpentry, fine arts, contemporary dance and ballet workshops for children weekdays and Saturdays starting Jan. 10. Three-year academic plans on dance and fine arts will also be available. Meanwhile, the center has an interesting program titled "The Reading Corner" offering a chance to read and listen to stories in a comfortable environment. For more information about CCI services, call 557-8639.

DANCE AND GUITAR COURSES -- The Honduran Institute of Hispanic Culture (IHCH) invites the public to learn the Sevillana Spanish Dance with courses offered on Wednesdays to adults and on Fridays to children. IHCH is also offering guitar courses for beginners, both adults and children, on Tuesdays. More information at 232-5578 from 10 a.m. to 5 p.m.

PAINTING COURSES -- WEDNESDAYS, THURSDAYS AND SATURDAYS -- The IHCH is offering painting courses for adults Thursdays and Saturdays, and for children Wednesdays and Saturdays. More information at 232-5578 from 10 a.m. to 5 p.m..

ART CLASSES -- SATURDAYS -- Sara Morris Swetcharnik offers art classes for children, teenagers and adults Saturdays from 10 to 11:30 a.m. at Union Church in Lomas del Guijarro in Tegucigalpa. Tuition is Lps. 500 for four weeks or month or Lps. 175 per individual class. Fees are 20 percent less for each additional family member. More information at 211-8369.

ART, LEARNING & TUTORING FOR CHILDREN -- The Art and Education Center, BONAMPAK, at the Plaza Millennium, offers hourly art courses for children ages 6 to 12 on Mondays and Wednesdays, as well as Tuesdays and Thursdays from 3 to 5 p.m. Hourly reading courses for children ages 7 to 12 are being held on Fridays from 4 to 6 p.m., as well as for children ages 4 to 6. Tutoring services are also available. Call 222-5487 for more information.

GUANCASCO -- FEBRUARY 2 -- The communities of Intibuca and Yamaranguila are celebrating their traditional guancasco on Feb. 2.

ESPERANTO CONVENTION IN CUBA -- FEBRUARY 3-6 -- The Ministry of Culture and the Esperanto Cuban Association invite the public to participate in the Esperanto Convention to be held at Santiago de Cuba next February. More information at Tel. 236-9738.

CHILDREN'S SUNDAYS -- The Regional Culture Office in La Paz will soon inaugurate an activity called Domingos Infantiles (Children's Sundays), where participants will be able to play traditional Honduran games and learn narrative techniques.

PUPPETS -- SUNDAYS -- Teatro Bambu has puppet shows every Sunday at D'Barro restaurant in Col. Alameda in Tegucigalpa at 10:30 a.m. Admission is Lps. 20 per person.

CLUBS

FAMILIES ANONYMOUS -- Families Anonymous (FA) meetings are held every Tuesday evening at the Union Church at 7:30 p.m. Call Eileen for more information at 239-9779 or 239-9778.

AL-ANON FAMILY GROUPS -- Al-Anon helps the relatives and friends of problem drinkers. Groups meet weekly in Colonia Alameda (Saturday afternoons) and Colonia Loarque (Sunday evenings). For more information, contact Amanda at 239-2698 (Spanish) or Margaret at 226-6576 (English).

NARCOTICS ANONYMOUS -- Having problems with drugs, alcohol? Meetings are held in Spanish every Monday, Wednesday and Friday at 7:30 p.m. in Colonia Palermo, Ave. Juan Manuel Galvez, 1 calle # 1836. For more information, call Ricardo at 991-9417 or 232-8989.

MUSEO DE HISTORIA REPUBLICANA
The Museum of Republican History is located at the Villa Roy building in Tegucigalpa's Barrio Buenos Aries. It is open 8:30 to 3:30, Tuesdays through Sundays and features portraits, paraphernalia, and other interesting items from past presidents. Admission is Lps. 20 for non-resident foreigners and Lps. 10 for Hondurans and Central Americans. For more information, call 222-3470 or 222-1468.

CENTRAL BANK MUSEUM
The Central Bank of Honduras located at the Comayaguela annex building is open from 9 a.m. to noon and from 1 to 4 p.m., Monday to Friday. It has a permanent coin and painting exhibit. For special presentations, call the Emision y Tesoreria department at 237-2270 (-78), ext. 2117 (-2120). [CLOSED UNTIL FURTHER NOTICE.]

NATIONAL ART GALLERY
The Galeria Nacional de Arte features rock art, pre-Columbian ceramics, colonial paintings, religious art and a wide selection of 20th century Honduran painters. The gallery is located at the Plaza de la Merced in downtown Tegucigalpa. It is open Tuesday through Saturday from 10-5 p.m. and Sunday from 10-2 p.m. Admission is Lps. 10 for adults, Lps. 5 for senior citizens, Lps. 3 for students and Lps. 1 for children accompanied by adults.

IGUANA FARM
The Biosfera Ecocentro Iguana Farm in Colonia La Joya invites the public to come and learn everything about iguanas. Admission is Lps. 5 for adults, Lps. 3 for children. The facility is open every day (except Wednesday) from 9 to 5. For more information, call 230-6346.

COMAYAGUA COLONIAL MUSEUM
Located in the city of Comayagua, 2 hours north from Tegucigalpa, the Comayagua Colonial Museum is in the building that served as home to the government in the 19th century. It contains objects used by indigenous cultures and the Spanish during the pre-Colombian and Colonial eras.

COMAYAGUA RELIGIOUS MUSEUM
Located in the Casa Cural in front of Comayagua's cathedral, this museum features religious paintings and objects dating back to the 16th century. Hours are 8-12 and 2-4 p.m., Mondays through Fridays. For more information, contact Leonardo Letona at 772-0348.

LA PAZ HOUSE OF CULTURE
The La Paz Casa de la Cultura is located in downtown La Paz. It features an attractive exhibit of the Lenca handicrafts and culture. It is open Mondays through Sundays.

SPS MUSEUM OF ANTHROPOLOGY AND HISTORY
The Museo de Antropología e Historia de San Pedro Sula features exhibits on the development of Sula Valley, from 1500 B.C. to the middle of this century. The museum is open 10 a.m. to 4:15 p.m. Tuesdays through Saturdays and 9 a.m. to 3 p.m. on Sundays. Admission is Lps. 10 for adults, Lps. 5 for students and children under 12, and Lps. 2 for senior citizens. For more information, call 557-1496/557-1798 or fax 557-1874.

MUSEUM OF NATURE OF SAN PEDRO SULA
Sponsored and managed by the Fundacion Ecologista H.R. Pastor Fasquelle, this new museum was inaugurated last December in its current location at the Biocentro on 3 Avenida and 9 Calle Noroeste. It has 24 exhibits on the environment, natural resources and biology of Honduras. Hours are 8 a.m. to 5 p.m. daily and 8 a.m. until noon on Saturdays. Admission is Lps 5 for students from public schools and Lps. 10.00 for everyone else.

YUSCARAN HOUSE OF CULTURE
Yuscaran's Casa de la Cultura is located at the former Casa Fortin in downtown Yuscaran, El Paraiso department, just 45 km from Tegucigalpa on the road to Danli. It is open Mondays through Saturdays.

PECH CULTURAL CENTER
The Pech have built a small house in El Carbon, Olancho to display their modern handicrafts. An exhibit of archaeological finds in the area is planned. You can ask to see the collection and/or get a tour of a Post Classic era fortified site. The Pech Cultural Center also offers medicinal plant tours, nature hikes, Pech dinners, etc. There is no admission fee to the cultural center. Hours: If you ask, they will open it.

COPAN ARCHEOLOGICAL MUSEUM
Located in the village of Copan Ruinas, Copan department, the museum exhibits a splendid assortment of Mayan pieces that have been found in the Copan Ruins Archaeological Park just 1 km away.

LA PUENTE ARCHAEOLOGICAL MUSEUM
Featuring a sizeable collection of Mayan handicrafts and photographs as well as a room with Japanese antique ceramics, this museum is located at the El Puente Archaeological Site, about an hour's drive from Copán Ruinas.

MAYAN SEPULTURAS MUSEUM
Inaugurated in 1996, this is the premier Mayan museum in the Mundo Maya, featuring the finest examples of Copán's tombs, sculptures and architecture. Located at the Copán Ruins Archaeological Park, the museum is open Monday through Sunday.

LANCETILLA BOTANICAL GARDENS
Located 2 kilometers from Tela on the Atlantic coast highway, the gardens feature one of the largest collections of tropical and subtropical plants, shrubs and trees in all Latin America. It is open from 7:30 a.m. to 2:30 p.m., Mondays through Sundays. There is an admission charge.

GARIFUNA MUSEUM
This Garifuna-run museum in Tela, Atlantida has an almost complete collection of the different handicrafts made by the Garifunas. If you ask, they have a written guide in English available. The museum also houses the Garifuna handicraft shop and part of the Tela Artist Association's Art Gallery. The rest of the Gallery and the Garifuna restaurant have moved to the Garifuna Plaza on the beach next to the Bahia Azul Hotel. Tours of the Garifuna Museum to home/studios of Garifuna artists, medicinal plant tours, dance presentations, and tours/overnight stays in local Garifuna villages can be arranged at either the Museum or Garifuna Plaza. The museum is open 9 to 5 while Garifuna Plaza is open 7 a.m. to 9 p.m. Admission is Lps. 5. The museum is located next to the river, one block up from the bridge that goes to Telamar and the local churches.

BUTTERFLY AND INSECT MUSEUM
Thousands of butterflies and insects from Honduras and 18 other countries are on display in La Ceiba' private Butterfly and Insect Museum. It is located in Colonia El Sauce, 2nd etapa, casa G-12. Visiting hours are 8-12 and 2-5, Monday through Saturday. The museum is closed Wednesday afternoon. Fees are Lps. 15 for adults and Lps. 10 for students. Tel. 442-2874, e-mail: rlehman@ns.gbm.hn

TRUJILLO RUFINO GALAN MUSEUM
A private museum which has a memorabilia section, old chairs, anchors, silverware, beds of famous people locally. There is an industrial archaeology section on how lights, axes, stoves, sewing machines, typewriters have changed over time. They have a good collection of Garífuna handicrafts and the best collection of NE Honduras archaeological pieces -- all unmarked. A written guide to the museum is available at the Trujillo Tourism Office in English and Spanish. The museum is open 8 to 4, closing for lunch. Adults Lps. 20, children Lps. 10. Located on Calle 18 de Mayo, next to the Crystales River and the famous "piscina" or pool, about a 15-minute walk out of town.

CARAMBOLA BOTANICAL GARDENS
The private Carambola Botanical Gardens and Nature Trails is located in Sandy Bay, Roatan, Bay Islands. A wide variety of exotic plants is featured here, including "Roatan's most extensive orchid collection." It is open daily from 7 a.m. to 5 p.m. For more information, call 445-1117 and ask for Bill or Irma Brady.

BAY ISLANDS MUSEUM
A private museum at Anthony's Key Resort, Sandy Bay, Roatan, Bay Islands, it mostly includes archaeological pieces, but there is a small section on the modern Bay Islanders. Museum admission is included in the cost of the dolphin show at Anthony Key's Institute of Marine Sciences. Small buses or taxis will take you to Sandy Bay from most Roatán towns.

Julio Cantero stands next to one of the works that will be exhibited at the new gallery. Restoration is part of the noble project of recuperating long-lost valuable paintings. (Photo by Jorge Flores.)

By JORGE FLORES McCLELLAN

Honduras is the birthplace of many great painters. There are legends of artists who conquered, with canvas and color, the imaginations and artistic sensibilities of the greatest museum curators and art collectors with innumerable masterpieces throughout the world. But where are all these paintings? Do they exist and are they really that good, one may ask. There is only one way to get an answer to that: to see these paintings with one’s own eyes.

Fortunately, a new gallery has opened in Tegucigalpa where one can get a furtive glimpse of this exclusive dimension, full of art for the eyes of any beholder, and perchance even buy a painting to adorn one's walls.

The locale is called Galeria Cantero, fittingly located on the second floor of the oldest and best jewelry store in the country, Joyeria Cantero.

At the moment, the gallery is literally strewn with art due to an ever growing inventory of lost and found masterpieces acquired from hidden, but not forgotten, private collections. For the moment, the paintings must share space with Baccarat and Tiffany crystal, Limoges and Firenze ceramics, Rolex and Tag Heuer watches, Italian sculptures and Tiffany silverware. But this irreverence will soon be taken care of when a new wing to the building will be built exclusively for the paintings.

"When we opened our doors, we were already the biggest and best gallery in Honduras. Nobody has ever had such paintings in one place," says Julio Cantero, the creator and owner of the gallery. "It all started with my own collection. It then grew to conform the begginings of this place." He admits he left his favorites at home. "Of course!," he laughs.

However, for the art connosieur, talk and hype are cheap. It is the signatures on the canvases that count. For example, Velazquez, considered one of the greatest, if not the greatest, primitivist painters in the world, is represented with several works. Ruiz Matute, whose painting "Funeral Infantil," is found in every book on Honduran and Latin American painting, can be found at the gallery. Also, Rendon, Salvador Leary, Alejo Lara, Armando Lara, Ezequiel Padilla, Alvaro Canales, Lopez Rodezno, Benigno Gomez, Teresa Fortin and a host of other renowned masters have many exquisite works at the place just waiting to be seen. Many of their works can be found on postage stamps from Honduras and the United Nations.

But art would not be art if it were bound by political, cultural or any boundaries whatsoever, and Galeria Cantero is also a true exponent of this. Here one can also find the work of German portraitist Hassenteufel, who died in Munich in 1943. There is also Europpean miniatures framed in 10,000 year old mammoth bone for the rarities collecter, and other oddities like miniature wax sculptures of Mayan gods by deceased Honduran sculptor Obed Valladares.

Cantero, who has helped to recover, restore and create important collections in several countries valued in the millions of dollars, exudes optimism when surrounded by such stimulating art in such a new place. "We have opened the door for everyone to admire what only a priviledged few have seen. The trade of art goes far beyond cold numbers. It stimulates the heart not because someone says so, but because the paintings get to you, whatever your taste is."

The plan is to expand and create a hub for admirers of fine art where they can find and acquire the works of the most famous artistes, past, present and future. "Students from every school will be invited to this gallery," says Cantero. "Then, they will see with their own eyes what greatness is, without anyone having to explain it to them," he concluded.

Flags are waved as the images of the two saints meet on the road between the host and guest villages. This ceremony is known as reverencias.

By WENDY GRIFFIN

(Second of four parts)

The day before a guancasco, there is a feeling of excitement in the air. People mill around making sure everything is all set to go and what time they are supposed to leave. On the day of the event, women make tortillas early in the morning. Meanwhile, the sound of drums and flutes help to tell people it is time to be in the village square and ready to walk to a neighboring town as part of a ceremony of peace called the guancasco.

Each group, the host village and the guest village, leave carrying their saints on their shoulders in a finely decorated portable altar or anda. In the Lenca area, saints are given hand-sewn clothes so that each year they can look their best at these festivities. Fireworks (polvora), music, and sometimes dance makes the walk more enjoyable.

When the two saints' images meet, each bows to the other. The flags of each saint are waved, known as reverencias. Greetings are exchanged and prayers said. Some villages perform special dances at this time; for example, the Dance of the Black Iguana or Garrobo, performed by a dancer from the village of La Campa, Lempira, in honor of San Marias.

After the greeting ceremony, both images with all the visitors and those who greeted them walk back to the town and rest outside the church. Different communities perform different dances during this part of the ceremony to welcome the saints who come to participate in the Patron Saint Fair.

El Garrobo of La Campa, and the guancasco of Yamaranguila, Intibuca are performed in those communities. Los Negritos of Santa Elena, La Paz is performed there and at the fairs in Chinda, Ilama, and Gualala in Santa Barbara department. The Polka of Los Hatillos de los Castaños, originally from Pavona, Choluteca, is also a guancasco dance.

Guancascos are one of the best times to see native instruments. These include chirimia, a native flute; caramba, a musical bow; and the sacabuche, a gourd covered with leather. Most fairs include live music provided by conjuntos de cuerda or string bands that include bass, guitar, and violins. In Santa Barbara, people come to listen to music played on the marimba.

When the saints have been welcomed properly, the people enter in the village church to attend a special service. It used to be that Catholic priests only came to Honduran villages once a year during the fair, so that all weddings and baptisms were saved up for this special occasion. The Lencas are the only ethnic group in Honduras who frequently marry in the Catholic Church.

Following the service, some communities still offer a guacaleo -- a serving of chilate (a beverage that is a mixture of corn flour and cocoa) -- in gourd bowls called guacales. Ojojona, Francisco Morazan, Gracias, Lempira and Lejamani, Comayagua still offer a full day's entertainment by presenting "Moros y Cristianos," a colonial era dance-theater piece about how King Ferdinand saved Spain from Moorish Gen. Oliveros.

Some Lencan communities also had a carrera de patos (a duck race) during this day of celebration. A take off on the Spanish traditional carrera de cintas (ribbon race), ducks were hung on a line and horsemen ran under them, killing them. Since Lenca traditional ceremonies include the sacrifice of turkeys, ducks or chickens, this may be the reason Catholic priests have discouraged this part of the celebration.

With prayers and more fireworks, the host and visiting communities say good-bye, peace being confirmed between them once again.

When Fray Bartolomeo de las Casas visited the Lenca area in the 16th century, he reported that they had processions with a small female goddess the size of a hand. Before her, the Lencas laid hundreds of cloths. When the Spanish soldiers took the small figure, the Indians were very distressed and pleaded for her return.

De las Casas wrote this to show the depth of religious feeling among Honduran Indians, that they had souls and were capable of great religious feeling. This fervor (plus punch and beer) await tourists who choose to be among the "invitados" at guancascos in any department from Ocotepeque to El Paraiso. The season of peace is upon us.

By SARA MORRIS SWETCHARNIK

The night was filled with the incessant shrill scream of cicadas. The cicadas, which climb out of the sandy soil and attach to any rough surface while molting, had been attracted to the light in the tent and had covered it within and without. Gloria needed to go to the bathroom. She picked up a lantern, opened the flap of the tent and paused. All around her were tiny eyes reflecting bright green in the lantern's light. Skunks! She jumped on a chair.

The mother skunk was beautiful. Her white bushy tail was carried high. She raised her long snout to sniff the air and then stepped into the circle of the lantern light. A white band ran down her black furry neck, where it split into two parallel stripes. Behind her were five small skunks whose bright green eyes also peered up at Gloria. The skunk kits took the cue, raised their tails and followed. Then the whole skunk family proceeded to clean the cicadas off the tent, jumping to reach the ones higher up the sides. After they left, Gloria climbed down from the chair and announced, "Well, I guess we scared them away."

Eventually the humans and skunks became comfortable with each other. It became an evening ritual for the skunk family to visit. When the skunks arrived, they would first sniff the ankles of the anthropologists who were sitting around a table playing cards, then they would go about the business of cleaning up the cicadas, and then they would leave.

(First of four parts)

By WENDY GRIFFIN

When the Spanish came to Honduras in the 1520's, the country was rife with inter-ethnic tension. The Chortis of Ocotepeque lived near towns like Azacualpa that seem to indicate Nahuat speaking Indians. The Lencas were divided into different groups called Cares, Potons and Lencas who disagreed with the Nahuat speaking Indians, such as those of Mejicapa, Lempira. In El Paraiso, the Lencas bordered with Chorotegas or Choutecans, another Mexican group. Strife over shared hunting grounds was also common.

In order to carry out other tasks like mining gold, raising cattle and growing tobacco, the Spanish wanted peace, not unlike modern foreign investors today. To this end, the Spanish encouraged the two neighboring areas to celebrate a ceremony of peace, called the Guancasco in some Lenca regions. The ceremony takes place during the fair for the Patron Saint of each town, even today. Thus each village participates in a Guancasco ceremony two or three times a year, one as the host (anfitrion) and the other time as visitors (los invitados). Some elements of the ceremony are pre-Columbian, others are medieval, Catholic practices.

A Guancasco begins with preliminary ceremonies, such as the saint travelling through the town to obtain donations (limosnas). David Flores in his book "The Historic Evolution of Honduras Folk Dances" notes that only the Lenca town of Santa Maria, La Paz still includes a dance from this part of the ceremony.

The dance, called "Danza de las Escobas" (The Broom Dance), gets its name because members of the religious group or "cofradia" who are responsible for the fair, or the Virgin Mary of Assumption would walk to the building where local religious officials met "La Alcaldia" carrying flowered brooms on their shoulders. Then they would put the brooms on the table. The old authorities would give their "varas" or staffs showing their office to the new authorities who were elected each year. Then the men and women would dance. This dance is frequently staged by folk dance groups such as Flores' group Zots.

The men who receive the staffs belong to the religious organization responsible for organizing the fair, known as the Vara Alta de Moises (The Tall Staff of Moses). During the colonial era, the Spanish organized this form of local government on Indian villages as the representatives who had to respond to the Spanish government.

This organization also managed the land and cattle that the "cofradia" owned to pay the expenses of the fair. The payments for baptisms, burials, ringing bells at funerals also went into a community chest that was controlled by these local Indian authorities. In this century, at least 45 towns maintained Guancascos, reported UNAH students. However, as local political governments privatize both communally held land and cattle, many towns are no longer able to organize a Guancasco.

In other "municipios" or counties, secular organizations such as the "Comite Pro-Feria" (The Village Fair Committee) have taken over the organization of Guancascos, soliciting funds from businesses, local government, and the Ministry of Culture to carry out the Guancasco. In Ojojona near Tegucigalpa and in he area of Gualala, Ilama and Chinda, Santa Barbara near San Pedro Sula, the local government actively promote their Guancascos as opportunities for tourists to see true Honduran folk customs.

Other fairs continue to be important locally, especially in areas where the Alcaldia de la Vara Alta still exists. It is estimated that 40,000 people visit La Campa, Lempira during this fair, even though no buses come close and there is no lodging available. Representatives from different villages are sent by the Alcaldia de la Vara Alta and during the Guancasco itself, anyone in that county (municipio) is encouraged to go.

Before the Guancasco, a commission will go from the host town to the town of those invited to take them the invitation and confirm when and where they would meet. Some communities also have a ceremony to accept the invitation. Between Mejicapa and Gracias, Lempira, there is food and a dance that goes on until 5 o'clock in the morning as part of the invitation. This Guancasco is described in detail in Manuel Chavez's book "Como Subsisten Los Campesinos".

By MARIA FIALLOS

TEGUCIGALPA--Francisco Salvador Aguilar, considered by many as the father of Honduran theater, fell ill approximately two weeks ago and died Thursday.

Friends, family and fellow artists attended the dramatists' wake in the Manuel Bonilla National Theater in tribute to the many times he acted there.

Aguilar's contribution to Honduran theater was invaluable, he dedicated his life to cultural activities in Honduras since the middle of the last century. He taught, encouraged and supported generations of artists from painters to writers.

He was the founder of the Honduran National Theater Company and the University Theater, his legacy being the development of Honduran art and culture.

Says Tito Estrada, noted actor, writer and filmmaker, "Francisco was the friend, the teacher, the colleague, the old man, the young man, the marvelous man of theater."

One day about twenty years ago, George and his research team were sitting by a campfire in a grove of giant wild fig trees along the Sulaco River. This was the last camp before Gloria joined the group; George was still a bachelor. George explained the situation this way: "If you can imagine what it is like for a bunch of guys to be together for months with no TV-- just drinking, playing cards, and telling the same boring stories...then a family of skunks walked by and of course the guys began to dare each other to catch one.

"Oh hell, I can do it." George had finally said. "No you can't." "Of course I can."

George dressed with thick gloves, a long-sleeved shirt, and glasses. The forked roots of the giant fig trees provided lots of places for a small skunk to hide, but finally he cornered one. The skunk looked up at George. He uttered a short snort of alarm: his head went down and his tail went up. George could not imagine that this little fellow could produce very much spray. But suddenly, he could not see anything but lumpy green-yellow stuff streaming down his glasses. It was very stinky. Contemplating his situation, George figured he couldn't get any stinkier than he was already. So he picked up the baby skunk, put him in a nylon sack and then put the sack in a bucket. After he had thoroughly bathed and thrown his clothes out, George's friends began to offer suggestions to rid him of the odor. Everyone agreed that tomatoes would cure the odor, that the tomatoes should be thoroughly rotten, and that they should be rubbed all over his body. They offered to help find the oldest tomatoes possible. Then all of them kept their distance for several days. When George released the skunk he got sprayed again, but it didn't make much difference since he still stunk.

By ROBERT KENNEDY

Special to Honduras This Week

For two reasons collecting coins of Honduras, without question has been the most difficult task in Latin American numismatics. First, is the general scarcity of coins available for purchase. Second, due to rudimentary minting processes, coins were produced from a variety of crudely modified dies. Collecting coins by date is an insurmountable task. Let alone, collecting them by die variety and die rotation, which adds an additional hurdle in collecting them.

The collecting of Honduras coinage is still affordable. There are only a few collectors worldwide, which presently keeps the price of the coinage affordable. Relative to the variety of some years as well as some of the die varieties, most of these are bargains. Unfortunately, the serious collectors are as rare as some of the coins.

The first coinage was minted under the Mexican empire of Augustin Iturbide. The first mint in Tegucigalpa was opened in 1823, after the overthrow of Iturbide and the establishment of the Central American Republic that year. The mint struck various provisional and federal coinage until 1832. This coinage was based on the old Spanish real system. Provisional coins dated 1823, 1824 and 1825 were issued in denominations of 1,2,4 and 8 reales. Federal issues were of the Central American Republic dated 1824, 1825, 1830, 1831, 1832 with mintmarks TF, NRT, JD and M in denomination of 1/2, 1 and 2 reales.

Then the independent state of Honduras issued provisional coinage in debased reales from 1832-1861 in silver as well as debased silver issues in copper and copper with silver wash coinage. These coins were issued in denominations of 1/2, 1, 2, 4, and 8 reales; this coinage in high grade, very fine and above, are very scarce and command a premium depending on the denomination and year minted.

The first federal issue of the state of Honduras was in 1862. It was produced in denominations of 1, 2, 4 and 8 pesos corresponding to the old 1, 2, 4 and 8 real coins. These coins were not widely accepted because they were struck in copper and most people favored the Spanish colonial foreign silver coinage in circulation at the time. These coins are scarce in extremely fine condition and are rare in uncirculated condition.

In 1869 a new issue of real based coins were struck at the Paris mint. It was issued by a French corporation to pay for initial expenses incurred to build a trans-oceanic railroad for the Honduran government. After the collapse of this venture, the government could not redeem them, making the issue virtually worthless. These coins were issued in denominations of 1/8, 1/4, 1/2 and 1 real coins dated 1869, 1870, 1871. The 1871 dated coins are the scarcest of the series.

SARA MORRIS SWETCHARNIK

When the time came to return to field camp, no one was any longer contemplating Chuleta as a candidate for the comparative bone collection. But no one knew what to do with him. They were all fond of the peccary, but realized he was not suited as a domestic pet. "Well, hell--we'll just take him back with us to the main camp!" George shrugged, "He can free roam around the camp and maybe he will join a herd of wild pigs."

George built a sturdy plywood partition to keep Chuleta in the back of the project jeep. But Chuleta wanted to be up front with George and Gloria and somehow passed through the partition. Then Chuleta got carsick and Gloria let the fifty-pound peccary climb into her lap. But what Chuleta really wanted was to be with George, so he kept trying to climb over to the driver's side. George kept pushing him back. Chuleta would then climb down onto the floorboard and under George's legs. So George would stop the car, put Chuleta back in Gloria's lap, and then the whole process would start over again. Finally, Chuleta got angry and started clacking his molars and baring his fangs. Trying to drive with an angry peccary was too dangerous. So George stopped the car and let him out. The last they saw of Chuleta, he was trotting down the road.

Thereafter, whenever Gloria got mad at George, she would tell him that Chuleta probably just walked up to someone's house and was eaten for dinner.

By ALEJANDRA FLORES BERMÚDEZ

Professor Mario Felipe Martinez, expert in hispano-american art history.

Christmas is a very special tradition in our times. HTW interviewed Hispano-American art expert, Professor Mario Felipe Martinez Castillo, about the origins of some of Honduras' Christmas traditions.

HTW: How was Christmas celebrated in Honduras in the old days?

Martinez: It all depends on the time you refer to. We should go back when the Spaniards came. They were the ones who brought the belief in Christmas.

HTW: Usually all religious festivities have a relation with nature, the sun, the moon, the harvest, the stars, fertility, rain. For example, the Romans related the figure of the devil with "the macho cabrio" that was sacrificed in a fertility ceremony performed by women who bathed in the animal's blood. Then, the pagan Roman religion fused with the Catholic religion in its symbols, creating a religious syncretism. Do you know if the indigenous cultures celebrated something related to nature during this time of Christmas?

Martinez: There is little known about Christmas before the arrival of the Spaniards. But I always say in my classes about art and religion how the Franciscan priests and the priests of Mercy "mercedarios" accomplished a syncretism between the pagan religions of the Indians the Catholic religion brought by the Spaniards. However, we still haven't found an indigenous rite that was practiced at Christmas, though more research must be done by anthropologists and archaeologists. I've found that "Las Flores de Mayo" (May Flowers) was when spring began and the Indians celebrated it. The Catholic priests let the Indians celebrate their feasts and little by little substituted the symbols and "saints" so that in a period of 50 years the natives would forget their original beliefs, by then fused in new symbols and truths. The "Santa Cruz" celebration (Holy Cross) was originally conceived as a rite in honor of spring, rain and the sun. Now it's a Catholic celebration. Nowadays, even among the Lencas, no one remembers the rite of spring in honor of the sun, the rain, nature, but everyone celebrates this time as "La Fiesta de la Santa Cruz" (The Feast of the Holy Cross) that begins the 3rd of May (The Day of the Cross) and includes "Las Flores de Mayo" (May Flowers) and ends with San Isidro Labrador. For example, copal, which was an indigenous incense, was substituted by the incense used by the Spaniards...

HTW: Tell us about Christmas art during colonial times.

Martinez: Art during the 16th century in Honduras doesn't show anything related to Christmas. You can only see paintings about saints and their lives. In the 16th century, great Mexican painters began to paint the Holy Family, the flight to Egypt and topics a little bit related to the birth of Jesus, which is the real meaning of Christmas. During the 17th century, we can find some Mexican painters who represent Christmas themes. The fact that Mexico was near Honduras starts to have an influence. Mexico was "La Nueva Espana" (the New Spain), Central America was "El Reino de Guatemala" (the Kingdom of Guatemala). The New Spain was governed by a "virrey" who represented the king in America; and the Kingdom of Guatemala was represented by a "capitan general" who was of inferior category than the viceroy. Honduras was a governorship. Because many Mexican priest were named bishop of Honduras, it can be, like Don Juan Merlo de la Fuente, who was of Puebla, that they brought Mexican influence (whose painters were painting Christmas themes) to Honduras. Many great Guatemalan sculptures begin to bring the figure of the manger.

HTW: So, the religious custom of the manger in Honduras begins in the 17th century?

Martinez: Through documents I've researched, I have only found the presence of mangers in Honduran colonial art since the 17th century. The mangers were only placed in the homes of very rich people. Poor people visited the mangers at the churches. The first ever manger was made by Saint Francis of Assisi in the year 1200. His love for Jesus, Mary and the Holy Family is manifested in it as well as his love for nature. He places sheep, goats, chicken, birds, cows... The Franciscans continued this tradition; however, when they came to Comayagua, to Trujillo, to Tegucicalpa they didn't arrive carrying the images of the manger.

HTW: How was this craft evolved, and how was it that Christmas motifs started to be created?

Martinez: The work was done by sculptors of great category. The manger included St. Joseph, the Virgin Mary and Jesus; little by little the ox and the mule were incorporated, as well as the Three Wise Men, all made in wood and gold leaf. There were craftsmen in Central America who adorned these images and the great retables in the Honduran churches in gold.

HTW: Do you know of any traditional dishes prepared for Christmas during colonial times?

Martinez: There were special dishes like the nacatamal and tamal. There was a difference between the indigenous tamal and the Spanish tamal. The indigenous tamal was made of corn since pre-Columbian times. The Spaniards liked it and used to fill it with meat, sweet peas, raisins, olives and capers, so the tamal became the nacatamal, and we still eat it without knowing that it was a fusion of Indian and Spanish elements.

HTW: The "Pastorelas" (Pastoral representations), the "Villancicos" (Christmas Carols), "the stolen child" are also Christmas traditions. Can you tell us about them?

Martinez: All these traditions date to the 18th century and were mainly were practiced in the big cities where the rich people could afford feasts. The child was "robbed" and when it was found there was a great party. Everyone knew who had robbed the child's image because it was a very expensive artistic article and supposedly they began to search for it as a pretext to go out and have fun. In the 19th century, this feast became popular and reached all social levels. It is still a custom in some villages and towns. The "Pastorelas" are musical representations in a theater, like the "Zarzuela" (a Spanish musical comedy) with all the Christmas figures, like the Virgin, St. Joseph, the shepherds. Father Trino (the founder of the National University) was famous for his pastorelas. They were represented in theaters and in private homes.