Guillermo Anderson

Guillermo Andersons performances merged diverse music styles including parranda, punta, reggae, and salsa as well as latin jazz and rock, resulting in a style that has been described as "a combination of Afro-Caribbean percussions with contemporary sounds, local rhythms, and folklore of Honduras’ coastal regions." His songs are stories are about daily life and struggles of ordinary people in Honduras. Guillermo Anderson's song En mi país, released on the Pobre Marinero album in 2000, has become an alternative national anthem of Honduras, and his children's songs are sung throughout schools in Honduras. El Encarguito, released in 2003 on the Encarguitos del Caribe album, is also considered among his most successful songs both nationally and internationally.

Costa Norte Records published unpublished artistic material of Guillermo Anderson on the anniversary of his birthday, February 26, 2017. These are 18 instrumental and sung compositions that Anderson composed for the play Ese mortal llamado Morazán (That mortal called Morazán), a stage show presented in 1992 at the National Theater and Cultural Center Sampedrano, but not made again because Guillermo considered that the recording was of low quality and he would record it again in study. He never did.

After the technical cleaning of the audio system with modern systems, in February 2017 Costa Norte Records, in conjunction with Centro Editorial, offered Anderson's collectors and music lovers a limited edition of this unpublished disc, entitled "That mortal called Morazán ", accompanied by a special edition of the book of Scotus, so that the listener can follow the sequence between literature and the lyrical and rhythmic creation of Guillermo.

In November 2015 Anderson was diagnosed with anaplastic thyroid cancer. He died in company of his family on August 6, 2016 at the Hospital D'Antoni in La Ceiba, Atlantida.

The educational promotion of Honduras in 2016 was named "Guillermo Anderson" after the singer's death. Consequently, the Secretary of Education celebrated 200 days of classes in La Ceiba and paid tribute to the artist.

Whimsically written, this walk along the Honduran Caribbean coast is a sweet and ideal trip, in his beautiful words and beautiful drawings of Guillermo Anderson. Published in 2002 in San Pedro Sula, Honduras.

An intensive collaboration carried out between 2001 and 2002 resulted in this literary work, containing 140 pages with 40 color photographs, hard bound in a wide format, with compact disc. The two bilingual editions, one Spanish-English edition and another Dutch-English edition, published by Koninklijk Instituut Voor De Tropen in 2002, were the first of their kind in Europe.

The work is based on the novel "General Morazán marches from the death", by Julio Escoto, which the ballet master Flor Alvergue choreographed in 1992 a ballet of modern style for the celebration of the bicentenary of birth of Francisco Morazán. Those who know this artistic composition of Anderson think that it is a work of great intellectual depth, with much feeling and nostalgia, to such a degree that some of the songs that comprise it, such as Morazán's complaint that politics has distanced his love from Mary Josefa, his wife, caused tears in the auditorium, in 1992.

In 1987 Guillermo returned to Honduras. Guillermo first received widespread recognition with his acoustic guitar and two Garifuna drummers. He created La Ceiba COLECTIVARTES, an artist movement with other group of artists, and invited other artists from Europe and USA to perform different works on La Ceiba. The most popular of these works was "Sabor A Sombra", based on Nelson Merren poetry.

Guillermo, with encouragement of his friend Gus Gregory, traveled to United States and studied at the University of California, Santa Cruz. There he majored in arts with focus on Hispanoamerican literature, but he also studied music and acting. He was introduced to composition and performance in the theater at the university. With college friends, guitarist Mexico-American Eugene Rodríguez and Argentine Pablo Aslán, he formed a bassist trio called "Now". This trio played traditional Latin American music and songs at college events, bars, and university spaces. He graduated from Santa Cruz in 1986 and subsequently worked in theater with "El Teatro De La Esperanza" in San Francisco, California, and El Teatro Campesino with Luis Valdez (producer of La Bamba). One of his most important experiences during this period was to perform in a bilingual theater for immigrant children, which resulted in his concert and album Para Los Chiquitos.

Guillermo Anderson (February 26, 1962 – August 6, 2016) was one of the best known Honduran musicians. A singer-songwriter, his lyrics often touch upon themes of ecology (including exaltation of Honduras' natural landscapes) and social problems.

Guillermo Anderson was born in La Ceiba, Atlántida, Honduras, February 26, 1962 to Jorge Guillermo Anderson Sarmiento and Ida Avilés Sevilla. Guillermo Anderson grew up exposed to the mixture of Garifuna, North American, British, and Caribbean cultures characteristic to the Northern coast of Honduras, which later provided the basis for his artistic style. He attended the primary school at the Escuela Mazapán, in La Ceiba. It was in this school that he began to write his first poems and songs and learn chords on a toy banjo and sang for the first time on stage. In fourth grade Bill Stover, a teacher from North America, introduced him to American songwriters, like Paul Simon, Jim Croce, James Taylor and Crosby Stills and Nash. He attended secondary school at the Instituto San Isidro, also in La Ceiba. There he made friends with a cultural exchange student from North America, Gus Gregory, who introduced him to progressive jazz of the eighties.

Other titles deal with the popular march directed to save the Federal Republic in 1829 ("Two thousand men marking Guatemala"), the claim of the hero not to be considered only as a military man but as a statesman ("Do not draw me with that sword ") And the most intense and final, which is the testament of the hero, where he claims the injustice of his execution in Costa Rica, urges the young people to save the republic and declare their love for Central America.