In these dances or native dances, expressions of religious syncretism are manifested, since along with the Catholic faith that unfolds around the patron saints involved in the guancasco, also the native faith moves. Most of the traditional dances are of Lenca origin and are of a representative character, in other words, they are performed for an audience. These dances have been maintained through the mayordomías, cofradías, municipalities of indigenous and councils of elders and are carried out within ceremonies or rituals according to established calendars. These dances carry a certain skill in the work of the body, gestures, postures and musicality. Most of the dances are accompanied by costumes, masks, musical instruments, and ritual objects.
Dance of peasant origin with indigenous root, native of the village Pavana, municipality of Choluteca, department of Choluteca. This dance was one of the most popular in the area, danced in different feasts such as birthdays, weddings and industry patronal feasts. It was compiled in the village Pavana, by Professor Oscar Armando Guevara and Professor Sara Emilia Mendoza and informed by Mr. Julio Rodríguez on March 16, 1990.
La Aguateña (o La que lleva agua)
Dance compiled by Professor David Flores in collaboration with Erika Cecilia Cuellar and Professor Luis Gustavo Castellán on July 12, 1992. The music was processed by the musicians of the Cuadro Nacional de Danzas Folklóricas de Honduras. It is an indigenous root dance from the village of La Casas Viejas, La Venta village, municipality of Gualaco, department of Olancho, informed by Doña Teresa de Posantes and musician Don Bacho Herrera, both residents of the same village. "La Aguateña", one of the most popular dances in its time, was danced in the feasts of Patron Saint San José de Chindona, Saint Cristo de Esquipulas and Saint Antonio. It is a picturesque dance, since the men make flirting gestures to their partners, and these in turn show their timidity by lowering the face. The music was originally performed by Mr. José Antonio Zuniga Posantes.
It is a dance of peasant or native root origin of the Casas Viejas hamlet, aldea of La Venta, municipality of Guanaco, department of Olancho. It was informed by Doña Teresa de Posantes and the musician Vacho Herrera, both residents in the same hamlet.
The Aguateña was one of the most popular dances of its time. It was danced at Christmas and New Year, at weddings, and in the celebrations of Patron Saint San José de Chindona, saint of Esquipulas and San Antonio.
Amor en Puyitas
This dance was informed by Mr. Concepción Troches of the hamlet of El Escondido, village of La estancia, department of Santa Bárbara. It was compiled by Professor David Adolfo Flores and businessman Ramón Antonio Bonilla Coello of the Department of National Folklore with the collaboration of Raúl Alvarado, Walter Trochez and Justiniano Reyes.
Amor en Puyitas means the principle of love. According to one witness, Mr. Concepción this dance, this dance was originally accompanied only by guitar and then by mandolin. He danced in all the festivals of the region. The man wore a red handkerchief in his right hand and each one first separated out his partner out and saluted, and only then began to dance. This dance was danced in living rooms or public halls.
Cachazas con Leche (o la Quita Sueños)
It was informed by don Concepción Troches Pineda and compiled by Professor David Adolfo Flores and businessman Ramón Antonio Bonilla Coello, with the collaboration of Messrs. Raúl Alvarado, Walter Troches and Justiniano Reyes. Originally from the department of Santa Bárbara, the village Ocotillo of the Municipality of Arada and surrounding villages. This dance was called "Remove the dreams", because it was one of the most joyful dances of the time. The dances danced it to lift the mood at the end of the dancing, to and eliminate the dreams that seized dancers at dawn, everyone had to return to their houses.
This dance was compiled by Rafael Manzanares Aguilar, in the city of Olanchito department of Yoro. It presents a series of choreographic figures and rounds executed by the dancers, finally interlacing their arms in a tight chain and then uncoiling to finish the dance.
This dance was originally from the department of Olancho, municipality of Guata, in the village of Cerro Galán, compiled by Professor Diógenes Álvarez and the young Neptalí Cáceres. The music was performed on guitar and accordion by Serapio Hernández and Blas Figueroa. Information on the steps was gather by the dancing of Mr. Alcides Díaz. This dance was very popular in that region, as it was visited by all of the neighboring communities in the times of the patronal fair in honor to Patrón Santiago. This fair was celebrated the July 25 of each year. The special feature of this dance is the insinuation or flirtation of the woman. It was danced for the first time by the Cuadro de Dances of the institute Manuel Bonilla of La Ceiba Atlántida, and was incorporated into the Department of National Folklore on September 4, 1998.
This indigenous dance was was compiled by Professor Gaspar Mejía Molina. It takes the name of Colozuka because it is of the municipality of San Sebastián, Lempira, formerly called Colozuka that means "bird of beautiful plumage". The word Colosuka comes from the Mayan dialect, is a primitive indigenous name. The different steps of this dance were taken from the dance form of the creole indians of the town and also steps of French and Salvadoran origin who were also inhabitants of that place, joining these cultures and giving way to the unique customs of the town.
A musical piece classified as an indigenous dance that was compiled by Lic. Rafael Manzanares Aguilar, in the town of Santa María, department of La Paz.
This dance presents a series of choreographic figures of the ceremony of the overseers who perform during the feast in honor of the virgin of the Assumption of Mary (August 15), when they receive or surrender authority, while those in charge of keeping clean the temple carries brooms adorned with ribbons and flowers, music, rockets, etc. The whole ceremony ends with a merry party and dance of predominantly indigenous origin.
Dance compiled on April 7, 1993, in the village of El Tunal, municipality of San Esteban, department of Olancho. The informant was Mr. Jerónimo Padilla, 70 years old and originally from the same village, the music informant is the businessman Roger Antúnez. Don Jeronimo relates that the elders called this dance "The Ball of Stakes" for being danced in one foot and said that it is an extremely difficult dance for their movements, steps and complicated turns. With this dance the custom is that the man offers a handkerchief to his partner and if she accepts it, it meant that he could dance with her and that the girl was the most beautiful. The handkerchiefs offered were very thin, embroidered and perfumed to please the partner and if he could conquer her there could be nothing better.
This dance was danced on birthdays, and in the middle of the dance one would here cries of joy and the boy crying, "What foot am I standing on Gerayda?", and his partner would answer either "On the right," or "On the left."
The was compiled by the professors Luis Gustavo Castellón and David Adolfo Flores Valladares, in collaboration of the teacher Cándida Marlen Antúnez and the businessman, Alcira Boquín de Flores.
El indio o Pájaro Triste
Peasant dance investigated in the village of Copal Arriba, municipality of Choluteca, department of Choluteca. This piece of music was danced for the patronal fairs in honor of the Virgin of the Mercedes, which is celebrated on September 24.
It was informed by Mr. Santos Seferino Ordonez who heard for the first time from Mr. Santos Claro Marthel who executed it in accordion with the name of "Sad Bird". For being a very agitated dance and with abrupt movements, they called to it "The Indian". This dance shows us the way of dancing of peasants during the feasts that are realized in the southern region of the country. The different steps and way of dancing were taken from the dancers who attended the party. To this patronal party people come from different places like: Copal Arriba, Copal Down, Fray Lázaro, Marillal, Jocomico, Trapiche, San Ramón, among others.
The dance was documented by the Department of National Folklore by the Oscar Guevara and processed musically by the artistic director, dancers and musicians of the Cuadro Nacional de Danza.
This dance was compiled by Professor David Adolfo Flores, Ramon Antonio Bonilla Coello, in collaboration with Walter Tróchez, Justiniano Reyes and Professor Raúl Alvarado, all of them from the department of Santa Barbara. It was informed by Mr. Concepción Tróchez Pineda in the El Escondido hamlet, La Estancia village, Santa Bárbara municipality and surrounding villages. In this dance, like others, the dancers with their gestures try to court their partner. This is a mixed dance, because it is danced and sung at the same time with both the men and women singing provoked by all that is happening in the dance. Mr. Concepcion says that in this dance the man uses two handkerchiefs, one to avoid directly touching the hand of his partner and the other not to avoid dirtying her dress.
This dance has peasant roots. The dance was researched in the village Pavana, municipality of Choluteca, department of Choluteca, by Tania Pinto de Morán and Sara Emilia Mendoza. Reported by Atanasio Gonzáles and Cresencia López, they recorded that this piece of music was performed around the Picota hills and its surroundings. The way of dancing, that is to say the arrangement of dancers in a cross, was very common in those places, because it demonstrated the agility the dancers. Only the hands were touched. Informants also say that it takes a double step and is to not lose the rhythm, and to rest a little because the remainder of the dance is done with the tip of the foot.
Dance researched in the city of Marcala by the bachelor Wilberto Bonilla Ríos and informed by Don Leonidas Trejo, collaborated, in the quadrature of the choreography of professor Rosmar Perdomo. Bessy Consuelo Bonilla R., Celeste Aída Godoy B., Milton Gerardo López R. and members of the dance group of the Escuela Centro América. The dance was researched January 19-23, 2001.
The name comes from the belief of the elf (sambito). It represents girls in the river washing clothes and corn in the afternoon when their friends approach them without the girls noticing. The friends hide behind the bolders and throw stones at them. The girls look every where but do not see anyone, so they are frightened believing that it was the elf sambito. When they discover their friends who approach to ask that they dance with them in the sarabanda (a party) they are angry and beat them in the hands for the fright their friends gave them. However, they then agree to dance in the night gesturing to keep silent so nobody knows.
The dance was performed by campesinos in Marcala and the surrounding in the department of La Paz, for this reason it is categorized as indigenous campesino and was danced with brilliantly colored costumes.
The instruments used with this dance were accordion, marimba, chirimía, guitar, reed flute, and drum.
La Pieza del Indio
Researched and documented byTania Pinto de Moran, Auxiliadora Narváez y reverend Jesús Valladares in 1977. It was informed by Justo Rufino Ordóñez, Marta Gómez and Rodrigo Álvarez.
This dance was performed in the patron saint festivities of the hamlet of San Ramón Abajo, village of San Ramón Abajo, Linaca, municipality of Choluteca, department of Choluteca. It presents amorous situations where the young men always end up convincing their partners, so celebrating the event with great joy.
La Pulguita Saltarina
This indigenous dance was researched in the munincipality of Marcala, department of La Paz, by the bachelor Wilberto Rios and informed by Leonidas Trejo.
This dance was performed in the popular festivals of the different villages of all around Guajiquiro, Santa Cruz de Marcala. This music was danced by all ages, especially by young people. According to Leonidas, the music existed before he was born.
This wild dance was performed for almost any party or festival, Christmas, village fairs or any organized party. It is called "the jumping flea" because participants in the dance resemble the position of the flea with its jumps and hops. It is followed by very abrupt steps of the peasantry of this region of Marcala.
The music was originally executed with marimba, accordian, chirimias, leather drum and principle instruments including the drum, flute and guitar, the latter to the produces the jocular sound of the dance. The dress was the indigenous peasant costume of these villages, which consisted of white suits made by the dancers . Also this dance is known by the name of "Flea" or "little flea" as this region tends to use diminutives forms of nouns. This dance is not religious and in spite of this they keep in their choreography the figure of the cross like other dances of this zone. However, this dance is always popular in the festivals and celebrations.
You can click here (YouTube) to view a performance of this dance performed by Instituto Santo Thomas in the "Gran Pereke" dance competition.
El Son de Tuno
According to the informant Saturnino Osorto, this cherished dance is most commonly known as "Tuno". This dance was performed at the end of the holidays in Jocomico, Palón Copal Arriba, Copal Abajo, El Marillal, among other communities. They ask "Tuno" to interpret this piece, which is only danced by single young men, as it has a special meaning. The young man recognizes among the young women dancers the girl whom he prefers and asks her to accompany his house. Saturnino adds "Tuno is not responsible if afterwards he is then called to entertain a wedding or a birth out of wedlock." This dance was compiled in the village of Papalón, municipality of Choluteca, department of Choluteca in August 1977, and it was informed by Saturnino Osorto and Rosa Osorto (QDDG) and compiled by Tania Pinto de Moran.
Sos un Ángel
It is a dance informed by Mrs. Francisca Navas de Miralda in the Department of Olancho and compiled by Rafael Manzanares Aguilar in the city of Olanchito, Department of Yoro. This dance reminds us oftimes in which the young people courted and fell in love with music, the popular poetry, and exchanging notes, to which the girls responded, letting a young man know by the wit and grace in their answers that they were pleased by him.
Sos un ÁngelYo te quiero y te ensalzo, bien mío tus miradas me han robado el alma, me has quitado hasta la última calma, yo no se si será la ilusión. Tus ojitos llorar no sabían y ahora lloran con tanta amargura el llorar les parece locura, llora, llora con ciega pasión. Bomba! Las piñas en el piñal de maduras se pasan así te pasará a vos si tu mama no te casa. Si mi mama no me casa es porque no meay convenido, si no me caso con vos, no es de cuenta, metido Sos un angel, sos una estrea sos un angel, sos una rosa, yo te pido la mano pa-esposa en que seya en el último adiós. Yo te canto a la luz de la luna vida mia, con ciega pasión, este canto son las tristes quejas de mi adolorido corazón. Yo te quiero y te canto, bien mio, tus ojitos me roban la calma, yo te llevo grabada en el alma mesmamente como una ilusión.
This whimsical peasant dance relates to the dreams that seize dances as they dance late into the night. The dancers drowse off in each others arms during passages of gentle music but then awaken and become animated when the music becomes lively. For its movements it is often performed as a ballroom dance.
Researched by the folklorist Rafael Manzanares Aguilar and informed by Mrs. Ubaldina Suazo de Salazar in the village of Cacautare, municipality of Pespire, department of Choluteca.
Dance belonging to the Miskito culture, originally from the municipality of Brus Laguna in the department of Gracias A Dios. It was informed by the teacher of primary education, Modesto Morales in the city of Tegucigalpa and compiled by Carlos Gómez and Rubén Ruiz of the Department of National Folklore.
It's an imitation dance. The people of southern Honduras, remember with this dance the old bullfights that provoked the joy and emotion of the public. It was compiled by the folklorist Rafael Manzanares Aguilar, in the communities of La Esperanza, department of Intibucá and Alianza, department Valle.
Torito PintoEchame ese toro pinto, chinita, que lo quiero conocer, a ver si tiene calzones, chinita, o naguas como mujer. échele que le eche el toro, chinita, échele entre la gente, chinita, es que ese torito quiere una copita de aguardiente. Echame ese toro prieto, chinita, hijo de la vaca gacha, quiero sacarle una suerte delante de mi muchacha Echale que le eche el toro, chinita, échele sin cuidado, chinita, es que ese torito quiere una copita de anizado.
Indigenous dance originally from the hamlet of Fray Lázaro, municipality of Choluteca, department of Choluteca. Its name El Tropezón or "The Stumble" in English, originates because during the dance, each dancer tries to trip the partner so that he or she loses his balance and falls. Initially the women do it and then the men. It was researched in the hamlet of Fray Lázaro by Oscar Armando Molina and informed by Don Terencio de Jesús Salgado and Don Claudio Gómez.
This dance was researched in the village of El Tunal, municipality of San Esteban department of Olancho, on May 4, 1993 by Professor Luis Gustavo Castellón and David Flores, in collaboration with Nelson Martín Chirinos and Karla Perdomo. The music, steps and choreography was informed by Mr. Manuel de Jesus Padilla, from the village of El Tunal. The musician who played the piece was José Manuel Maldonado.
The dance is called “Tunal” because it originates from the village. The inhabitants of El Tunal called it "The Dance," which dancers joyfully requested at the edge of midnight, saying Let us dance the dance. In this dance we had to dance with our eyes wide open because dancers who were tripped by their partners were removed from the dance. They started the dance by placing the men on one side and women on the other, face to face. The first dancer shouted first and he went out to collect and distribute each of the men dancers to his respective woman partner, which was followed by all the couples, until the dance ended.
This dance was well known because the national flag accompanied it every September 15 (Independence Day in Hondaras), when it was danced, it was also performed in all social parties, and for birthdays. The most famous dancer in those days was Don Jaime Méndez from the village of Las Limas, Municipality of San Esteban. Everyone remembers him for his skill and skill with which he performed this dance at every party in the region. This dance was also very famous and in the village of La Conce, where the musician who played it it very well was Gabino Rivera with the dancers Mr. Jesus Aguilar and Concepción Rivera.
This dance is performed very often. It takes its name from the corn husk, which the male dancers give to their partner, a joke that the women obviously dislike until the men pin a corn flower into the hair of their partners. After which all is forgiven and the men drop to one knee so the women can sit and kiss or flirt with their partners, typically hidden behind the raised hat of their partner.
The dance was documented by Rafael Manzanares Aguilar and informed by the folklorist Martín Alvarado in the municipality of Cantarranas, today San Juan de Flores, of the department of Francisco Morazán.
Xixique is an onomatopoeic voice that is derived from the sound produced by the rubbing of the caite (a raw leather sandal worn by campesinos, consisting of a thick sole with straps that cross over the instep) against the floor during the dance. It has a thermal rhythm with two soft and one strong sound. This dance was introduced little by little in the towns and now enjoys great acceptance with the abbreviated denomination of Xique. Customarily it is often called "Xique," although in Cacautare they also call it "Quixique". The dance was compiled by the foklorist Rafael Manzanares Aguilar in the village of Cacautare, municipality of Pespire, department of Choluteca.
El Zapateado de Copal
This dance was recorded for the the Department of National Folklore by Father Jesus Valladares, parish priest of the Choluteca church. This dance was informed by Mr. Bonifacio Cruz Ramírez, 70 years old during the interviews and had danced since the age of 18, and Mrs. Victoria Murguía, who was 55 years old. It was researched and recorded with the Department of National Folklore by Professor David Flores between the villages of Copal Arriba and Copal Abajo, the music was recreated and recorded by by the musicians of the Cuadro Nacional de Danzas and the dance by professor David Flores and Alex Osorio, with The collaboration and research of Cesar Silva and Ms. María Gabriela Irías.
According to the informants, this dance was performed in the meetings that were held in the region. The peculiar thing about this dance is the great competition that the dancers had with each other to prove themselves. Through the dance they tried to demonstrate their manliness to the young ladies of that way and also flirt with them. The difficult thing in this dance are the movements that are made, because you have to pass the handkerchief while dancing without losing the rhythm of the music. For this the dancers are barefoot because shoes prevented them from making the proper movements.