El Acordeoncito (The Little Accordian)

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 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 indigenous 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 (Dawn of Love)

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.

The phrase, Amor en Puyitas signifies the beginning of love, in other words, the infatuation when a person initially falls in love with another and the emotion one feels when first in love, literlly translated, pinpricks of love.

According to one witness, Mr. Concepción, this dance was originally accompanied only by guitar and then by mandolin. He danced in all the festivals of the region. Each man wears a red handkerchief his right hand, initially faces his partner and salutes, and only then do the couples began to dance. This dance was danced in living rooms or public halls.

Arranca Terrones de Nueva Esperanza (or Raspa Terrones)

In the times of this dance, the floors of the house were usually earthen rather than the tile, brick or cement you will discover now. During festivals the dancers raised dust and clods of earth, therefore the name of the dance translates to "plucking up clods of earth". However, this didn't interrupt the festivities, not until the contented and happy participants all left with dirty feet.

This dance was popular in the village of Nueva Esperanza, although it was danced throughout the municipality of San Antonio in the department of Intibucá. The dance was documented by Wilberto Bonilla Ríos.

Cachazas con Leche or Quita Sueños (Slow with Milk or Awaken from Dreams)

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 "Awaken from Dreams", because it was one of the most joyful dances of the time. Dancers danced it to lift the mood at the end of an night of dancing, to and eliminate the sleep that seized dancers at dawn, as everyone had to return to their houses.

La Cadena (The Chain)

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.

La Campesina (The Countrywoman)

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.

La Colosuca (Bird of Beautiful Plumage)

Note: The name of the dance is sometimes spelled "Colozuka" or "Colosuka". However, the previous name of San Sebastian, Lempira, is "Colosuca".

This indigenous dance was compiled by Professor Gaspar Mejía Molina. It takes the name of Colosuca because it is from the municipality of San Sebastián, Lempira, formerly called Colosuca. The spelling is from a Quechollocan word from Mexico, which means "bird of beautiful plumage."

This dance was forgottne for a long time in San Sebastian until it was investigated and restored by Professor Gaspar Mejía. Thanks to his effort, at present the dance is returning to the community as being performed elsewhere in Honduras. The steps of the dance were originally those from the indigenous Lenca. Due to the constant acculturation that occurs in all the regions of the country, it now incorporates steps from people of French and Salvadoran origin in San Sebastian, joining cultures and giving way to the unique customs of the town.

In the dance, the young man is initially spurned by the young woman when he offers her a feather. After he makes several attempts, she accept his offer to dance. This dance was held in all of the surrounding towns, especially when the guancascos were performed (ceremonies in which the peoples from Lenca towns gather in peace and fraternity). The people of San Sebastian participate in a guancasco with La Campa and Belén from February 15 to 24 in honor of San Matías and from 17 to 23 in Bethlehem for the Virgen del Rosario.

Initially this dance was performed with whistle and drum, then played with stringed instruments such as violin, guitar, concertina. It is now usually performed marimaba, double bass, accordion, guitar and percussion instruments. The indigenous costume of Intibucá is usually used to perform this dance.

El Distró

Dance compiled in the municipality of Santiago de Puringla in the village of Las Delicias in the the year 2009 and the beginning of 2010 by Dr. Wilberto Bonilla Ríos in collaboration of Allan Mauricio Castro Vásquez. This dance arises at the initiative of the retired teacher Thelma Esperanza Moreno Velásquez who was concerned that the dance would not be lost as the only informant who knew it was already very old.

The information of this dance was Mr. Lorenzo Mejia Manzanares who comes from a family of musicians and dancers. His parents were Celestino Mejia Euceda and Jerónima Manzanares Maldonado, who were originally from Mercedes de Oriente in the Department of La Paz. Don Lorenzo tells us that this dance was originally from Mercedes de Oriente. Those who carried the dance to the municipality of Santiago de Puringla were the families Maldonado, Mejia, and Galo. The dance was also known in Lauterique, Aguanquetrique and Santa Rosita La Paz. Mr. Mejia Manzanares knew of this, because he lived in those places before moving to live permanently in Santiago de Puringla.

Don Lorenzo tells us that he saw this dance for the first time when he was 8 years old. Those who performed the dance were his aunts Bruna Galo and Bonifacia Galo. He learned the dance by watching them, although in general he later always played the music. When the family of Don Lorenzo moved to the municipality of Santiago de Puringla, the dance was ladinoised, and acquired more color and rhythm as it was originally danced in Mercedes de Oriente with caramba, violin and mandolin, and the costumes that were used were simpler, made from blanket material because of the time there were no other fabrics to make costumes of colors. The dance performed in Santiago de Puringla the costumes were more colorful. This suggests that the dance is mestizo with indigenous influence. In both locations it can be performed with native or indigenous costumes.

This dance was perfomed in the municipal council house and some other houses in the town, although Don Lencho tells us that these houses have fallen already fallen and the people who danced it have passed away.

Note: This is a mestizo dance of indigenous influence.

When he was younger Don Lorenzo belonged to a group that was responsible for entertaining the parties that were called Los Chávez. That was because the brothers of his wife, who died in the previous year, were surnamed Chávez.

In this dance it was customary to use handkerchiefs so as not to dirty the dresses of the ladies. The man approached the woman and said "Offer me this" and at the same time he threw the handkerchief, meaning that if he wanted to dance with the woman. Couples also used to change partners between dancing, saying "No jodas cambiemos pareja", because it was customary to dance between cousins and relatives. If the woman agreed, they changed partners, and if not, then they did not change. At other times they changed partners because those who danced were boyfriends or girlfriends dancing with other couples, so they changed to dance together. Couples who were engaged to get married or dating could bring their cheeks togehter in the dance, as there was more confidence in their relationships. It was customary to perform this dance on July 25, the day of the patron saint Santiago, as well as for other parties.

Also this dance was influenced by the dance El Zope, also known as El Zopilote, because it was also danced with the music of this dance. In earlier times it was both danced and sung than in more recent times. The instruments included caramba violin, mandolin and guitar.

It is not known why the dance is called Distró la danza. The compilers of the dance as a result of their research believed that the name refers to a rhythm that in different places has changed wording as El Destro, Vals Destro, El Distró. What all of these dances have in common is that it is a slow type of waltz, fast a little rough and with a rhythm of xique.

Although Don Lorenzo was already old, he showed us that he could still do the steps with a joy and dynamism and he answered many questions that are generally very difficult for informants of other dances. Later he taught the music to his two children who were with him. He could not play the melody because of ear problems, but he taught his children the terms where the music and rhythm go, and also hummed so that they would be able to reproduce it. The musicians who collaborated with us with music were his children:

• Miguel Ángel Mejia Argueta
• Felipe Galeano

They played us the music once Don Lorenzo showed them. An introduction to the piece was also made by the musicians to accommodate an invitation to the dance that originally did not exist but they added it and Don Lorenzo did not oppose it, as he said that the music was not rigid but flexible and that he could change his figures according to the imagination of the musicians as well as the decoration of the same when performed by several musicians with various instruments.

Mr. Rubén Raudales Rubio also helped us a lot. He helped us with transportation to reach the village of Las Delicias where the dance was researched.

Aldea Las Delicias

This dance could be danced in a circle but when the couples did not fit in the room others danced inside the circle or in a watered-down way that if without sticking couples with others, originally the dance does not have a skirt but at my initiative a skirt was added to make it a little more colorful and giving a little more dynamism in the turns that occur in the dance according to the informant were made to the right and then to the left to not get tied up as he says.

Once the music was recorded Don Lorenzo danced with me and guided me to teach me the steps, although with great difficulty because it was difficult for him to hear the music. But even so he did much to make this work as good as possible. He recounted that at parties it was customary to throw bombs among people some could be to fall in love, or others to jocularity of some event occurred and caused laughter among people, but most of the phrases that were said were liked and liked a lot.

The music must be performed in the first two sentences on any instrument as if it were played in the caramba since the musicians played the violún in pizzicato or punte or short notes and the last phrase was pretty legatto or long and united notes.

Las Escobas (The Brooms)

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.

La Estaca (The Stake)

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 (The Indian or Sad Bird)

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 Danzas Folklóricas de Honduras.

La Lima (The Lemon)

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.

La Picoteña

This dance with peasant roots was compiled in El Pedrero, Pavana of the municipality of Choluteca on September 29, 1998, by professors Tania Pinto de Morán and Sara Emilia de Mendoza de Ordóñez. Processed and incorporated into the National Folklore office by Professor David Adolfo Flores Valladares.

Don Atanasio Gonzales, 70 years old, resident of Pavana, and Mrs. Crecencia López, 66 years old from Pespire and resident of Pavana and La Picota, they recollected that this piece of music was performed around the Picota hills and its surroundings, hence the name refers to someone from that location but also to the manner of dancing.

The way of dancing, that is, the position on the cross, was very common in these places, as the dancers demonstrated their agility; also that they only touched their hands. Dona Crecencia says that the double step is done so as not to lose the rhythm, it also sounds louder and you can rest a little, because the rest of the piece is made at the tip of your feet.

La Piedrita (Little Stone)

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 (The Piece of the Indian)

Researched and documented by Tania 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 (The Little Flea)

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 Regalito

Dance of peasant origin with indigenous influence, collected in the village of La Picota, municipality of Choluteca, department of Choluteca, by Ricardo Rodríguez and informed by Julio Rodríguez.

Al Son de Castula

Compiled by: Wilberto Bonilla Ríos

This dance is originally from the municipality of Tómala in the department of Lempira.

Preliminary release: This dance has not yet been officially certified by the National Office of Folklore.

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 (You are an Angel)

This dance was 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. In grammatical Spanish, the first word in the title would be "Sois", but the people in the countryside use the form "Sos." This dance reminds us of times 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 Ángel

Yo 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.

El Sueñito (The Dream)

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 to continue the festival. 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.

Tat-Sap

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.

Tat-Sap

   Sabi, sabi - pengue, pengue.
Tatsap, tatsap, - pengue, pengue (bis 4 v.)

Aparu taiburu, aparu taiburu (bis 4 v.)
   Sabi, sabi - pengue, pengue.

Tatsap, tatsap - pengue, pengue

Torito Pinto (Little Painted Bull)

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.

Folkloric Song Torito Pinto

Echame 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.

Échame ese toro prieto, chinita,
hijo de la vaca gacha,
quiero sacarle una suerte
delante de mi muchacha

Échale que le eche el toro, chinita,
échele sin cuidado, chinita,
es que ese torito quiere
una copita de anizado.

Pero ve amigo que toro tan bravo,
que con las orejas me quiere cornear,
dejemelo amigo que esta sofocado,
que de la cola al toro lo voy a agarrar,

A ña Chepa la vide, con la panza pelada,
con la música dentro y la puerta cerrada (bis)

Pero ve amigo que toro tan bravo,
que con las orejas me quiere cornear,
dejemelo amigo que esta sofocado,
que de la cola al toro lo voy a agarrar.

El Tropezón or El Machucón

El Tropezón (the stumble) or El Machucón (the smashing, pounding) is an 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 his or her partner so that the partner loses his or her balance and falls. Initially the women do the tripping 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.

El Tunal

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.

La Tusa (The Corncob)

This dance is performed very often. It takes its name from the corncob, which the male dancers give to their partners, a joke that the women obviously dislike until the men pin the tassel (the silky flower) from a corn stalk 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 the man.

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.

El Xixique

The dance was compiled by the folklorist Rafael Manzanares Aguilar in the village of Cacautare, municipality of Pespire, department of Choluteca. According to Manzanares, Xixique is an onomatopoeia 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.

The dance, in triple meter, has a thermal rhythm with two soft and one strong sound. It is accompanied by varying instrumentations of vocals, accordian, guitar, and other stringed instruments. The music has a strongly Iberian musical foundation.

This dance was introduced little by little in the towns and now enjoys great acceptance with the abbreviated denomination of Xique, so customarily it is often called "Xique," although in Cacautare they also call it "Quixique".

El Zapateado de Copal

This dance was recorded for 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 Folklóricas de Honduras 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 danced barefoot because shoes prevented them from making the proper movements.