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About
Hondurean Artisanry
Set
in the heart of Central America, Honduras is a multiracial, multiethnic
country with a wide diversity of geography, biology and culture.
In Pre-colonial times, it was the meeting place between Mesoamerican
and the peoples of the tropical rain forests, who were related to
the Caribbeans and Chibcha. It was one of the places where
the Spaniards first set foot on American soil. It was a land of
freedom for African slaves and later for European and Asian immigrants.
This diversity is reflected in the rich traditions of its crafts,
rooted in an ancient indigenous and colonial heritage and transformed
through history to meet socio-cultural changes as well as consumer
demands. Sometimes these traditions hold surprises; often they require
attention to the subtle grace of daily items, such as the beauty
interwoven in a cross-stitch or hidden in a religious offering.
Historically,
the countrys most important handicrafts have been the production
of pottery and objects made of twisted, knotted, spun and woven
plant fibers, especially ropes, baskets, textiles, and mats. The
Mesoamerican peoples that lived in the Honduran territory at the
time of the Spanish conquest, the Chortis, Chorotegas and Lencas,
developed a highly sophisticated level of pottery, ranging from
the simplest products for daily use to the most intricate ceremonial
objects. Fixed in clay, these people detailed their astrological
observations and aesthetic tastes as well as left recordings of
their daily life. Other ethnic groups, such as the Tawahkas, Pech
and Tolupanes, were experts in working with plant and animal materials
to produce houses, containers, mats, adornments, musical instruments,
and hunting tools.
They
also made tree bark linens, which they used for blankets, clothing,
and ceremonial purposes, as did the Maya. Spanish colonization meant
the introduction of new ethnic and cultural elements, which transformed
and sometimes replaced the existent material cultures. Above all,
the indigenous population stopped producing and using those objects
of great symbolic and artistic ceremonial value.
New
ethnic groups, such as the Misquitos and the Garifunas, arrived
in the area. In addition, colonization introduced Mesoamerican elements
from the plains of Mexico. Ranging from Language to the material
culture and customs imported fashions spread among the local population.
The construction of churches and other colonial buildings as well
as the material needs of the Spaniards introduced new arts and new
styles, products of the Iberian -Arab mix. These required new crafts
such as the manufacturing of roof an glazed tiles and bricks; the
sculpting, fretwork and rounding of so forth. Other occupations
and skills were perfected, such as tanning, blacksmithing and gunpowder
manufacturing, the production of oil paints and tempera, textiles,
and many others.
In the process of ethnic mixing and colonization, the interchange
was mutual. The arts brought by the Spanish and Africans were transformed,
and the mixed population took on the traditional indigenous crafts.
When
Independence came, it meant further changes in the production of
crafts. Some arts declined; new techniques appeared. With the spread
of dyes and synthetic varnishes, the production of indigo dyes and
many lacquers and plant essences disappeared. During this time,
there was an expansion in the production of reed hats in the province
of Santa Barbara. The craft of cigar manufacturing was developed
in the provinces of Copan and El Paraiso in accordance with the
ancient tradition of cultivating and smoking tabacco. Nowadays,
this is a flourishing industry.
Some
of the most important traditional crafts practiced in Honduras today
include pottery, basket weaving, hat-making, rope spinning, carpentry,
saddlery, jewelry, stone and wood sculpture, cigar making, house
building, musical instrument making, cooking, and the textile production
of hammocks, mats and bags.
The
production of crafts in Honduras is important for economic as well
as socio-cultural reasons. It reinforces the national and ethnic
cultural identity. In addition, it provides an important source
or rural employment, especially in low-income areas. Crafts benefit
the family and community, and help prevent migration to overpopulated
urban areas and the disintegration of family, ethnic and social
groups. They also present many women and mothers with a source of
revenue that allows them to remain at home.
By: Alessandra Foletti Castegnaro, antrhopologist
© Editorial Transamerica, Tegucigalpa, Honduras
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