The most important day at the Basilica of Esquipulas is January 15, when many thousands of pilgrims flock from all over Latin America.

Ask most Guatemaltecos what is in Chiquimula and you will invariably receive the reply: “El Cristo Negro,” often followed by, “That is all there is in Chiquimula …” Undaunted by such disparaging remarks and the prospect of a long journey, I set out from Guatemala City on a trip that would end in the Basilica of Esquipulas, face to face with El Cristo Negro (the Black Christ).

The city of Esquipulas is a five-hour drive from the capital in the department of Chiquimula, which is in eastern Guatemala, close to the borders with Honduras and El Salvador. The Catholic faith arrived in the region in 1525, brought by the Conquistadors, and, after intense resistance waged by the indigenous inhabitants, a peace treaty was signed in 1530. After this reconciliation, a church was founded in honor of Santiago, the patron saint of Spain, and it was here that the rise of El Cristo Negro was initiated in 1595.

The sculpture was commissioned the previous year by Bishop Morales, from a Portuguese artist, Quirio Catano, a long-term resident of the area, who was familiar with its particular history.

Two competing versions account for the color of El Cristo Negro. The first explanation suggests that it was the result of an administrative oversight, and that the required color and characteristics of the figure of Christ were not specified to Catano. Catano delivered the finished sculpture in the naturally dark color of the wood it was made from and it was accepted. Another version credits Catano as being a man of grand philosophical vision, who clearly conceived of the black Christ as a work of national importance, a uniquely Guatemalan symbol, that would fuse the suffering inflicted on the native population with that endured by Christ. On a more practical level, he also thought his creation likely to prove a sensation with pilgrims, a presentiment borne out in the five centuries since.

Made from lemon wood and darkened further with the fumes from incense, the Cristo Negro was installed in March 1595. For the next century and a half, it resided in the church of Santiago until, in 1759, it was transported a kilometer or so to the newly built Church of Esquipulas, where it stands today. Upgraded to the status of basilica in 1961, the imposing church was financed by a group of men from La Antigua. Maintained in pristine white with a wonderful brown-orange dome, the Basilica of Esquipulas stands in its own gardens, where visitors relax shaded by enormous palm trees.

Throughout the centuries, numerous miracles have been attributed to El Cristo Negro, and large displays inside the church document these personal stories. In recognition of divine assistance, pilgrims have presented small plaques, expressing gratitude or simply small silver images of the particular body parts healed by El Cristo Negro, and these can be viewed on the approach to the statue itself. While for many centuries, visitors were at liberty to approach and kiss the statue, and did so, fervently, wear and tear (and perhaps common sense) have since dictated that El Cristo Negro retire behind a glass screen; he is now watched over by a security camera.

As I stood there, waiting my turn, pigeons flew in from a hole in the dome, swirling in circles and swooping into the midst of an ongoing service. Nobody paid any notice. The man in front took care as he photographed the statue with his cellphone, and then, after a few silent moments before the figure, he retreated, walking backward away from El Cristo Negro, a traditional Catholic show of respect when visiting such icons.

Walking around the outside of the church, visitors may be surprised to discover a second El Cristo Negro, in a covered area where thousands of candles burn, these offerings tended diligently by a priest. This El Cristo Negro is a recently commissioned replica, a practical measure that permitted the candles to be relocated outside, as over the years they had caused significant damage to the floor of the basilica.

The most important day at the Basilica is the 15th of January, when many thousands of pilgrims flock to Esquipulas from all over Latin America, in scenes reminiscent of Semana Santa in La Antigua. The people come both to request assistance from El Cristo Negro and to fulfill promises to return, made in exchange for assistance that was gratefully received. In years past, it was common for cars and buses to park inside the gardens in the days preceding the 15th, stretching out sheets of tarpaulin and creating an impromptu settlement. Today, a perimeter fence thwarts vehicles, but it is still common for pilgrims to camp in the grounds, to secure a prime spot on the big day. Another practice that is observed is that many visitors, in a display of humility, approach the basilica on hands and knees, crawling the few hundred meters or so, from the entrance to the park, up the steps, and to the church itself, before joining the long lines waiting for their turn with El Cristo Negro.

Having made the journey myself, without knowing what I would find, I was delighted to discover such a magnificent building and so many rich details of the experiences that have occurred there. One cannot help but be impressed by the atmossphere that centuries of reverence and awe have created around the figure of El Cristo Negro, and with the thought of the many thousands who have passed here before, each with their own unique story. While there may be a grain of truth in the notion that all Chiquimula offers visitors by way of attractions is the Cristo Negro at the Basilica of Esquipulas, the church stands as a singular statement of religious faith in Guatemala and a visit there can be at once a pleasure and an inspiration.

Everything offered won’t be new to a traveler who’s at least trolled the occasional market: fruit and knick-knacks, dance troupes and shows, and carnival rides that may have been assembled with scrap wood.

What sets Xela’s apart is the sheer scope of it all: This is Vegas for someone used to pulling airport slots.

If you’ve mastered the coasters at your state fair back home, these will take you to a whole new level. Tickets buy you three times as much time upside down than you’re used to, so save the (surprisingly good) peanut smoothies until after.

The countdown for next year begins now, when Guatemalans from all over experience a unifying week of great tacos, endless shopping and the largest Ferris wheel you’ve ever seen.

Communities large and small marked the occasion with torch-bearing runners, drumbeats of school bands, concerts and speeches. Food vendors served a mouth-watering variety of dishes as locals and tourists alike joined the annual celebration.

U.S. Secretary of State Hillary Clinton sent congratulatory remarks to the people of Guatemala:

“On behalf of President Obama and the people of the United States, I congratulate the people of Guatemala on the 190th anniversary of your independence this September 15.

“As Guatemalans the world over celebrate this special day and honor the heroes of Guatemala’s independence, we stand with you in celebration. Americans have long enjoyed the beauty of Guatemala – from the ancient ruins of Tikal to the stunning volcanoes that surround Lake Atitlán – as well as the warmth and hospitality of the Guatemalan people. Your rich culture, diversity of languages, and traditions steeped in history are a special part of our region.

“During my visit last June for the Central American security conference, President Colom and I renewed our commitment to building strong democratic institutions, promoting the rule of law, and expanding economic growth and opportunity to our nations’ citizens.

“On this historic day, I send best wishes to all Guatemalans – in Guatemala, the United States, and around the globe. We look forward to deepening the ties between our two countries as we work to build a safer, more prosperous and democratic future for our peoples.”

Also celebrating their independence along with Guatemala were Honduras, El Salvador, Nicaragua and Costa Rica. On Sept. 15, 1821, representatives from all those regions formally accepted a plan drafted by Mexican Gen. Agustín de Iturbide that declared them free from the crumbling Kingdom of Spain. Mexico celebrates its break from “la madre patria” on Sept. 16.

Guests mingled and listened a series of speakers at the hotel’s Galería Quiroa, where a retrospective of works by Guatemalan artist Carlos Mérida (1891-1984) was introduced.

The Paiz International Festival of Art and Culture, a nearly yearlong series of music, dance and art, opens Friday night, Feb. 11, with a reunion concert by the Guatemalan rock group Alux Nahual and Éditus, the Grammy-winning jazz group from Costa Rica. The concert is at 8 p.m. at Ermita de Santa Cruz in La Antigua.

Festival events continue at 3 p.m. Saturday Feb. 12, with the public opening of the Mérida exhibit at the Casa Santo Domingo. 

At 8 p.m. Saturday Feb. 12, Ermita de Santa Cruz will be rocked by power pianist Jorge Gomez and his Grammy-nominated Cuban timba group Tiempo Libre, accompanied by La Orquesta Sinfonica Juvenil.

The following weekend, Feb. 19-20, the hilarious international sensation Les Ballet Trockaderos de Montecarlo will perform at 8 p.m. at Ermita de la Santa Cruz. The festival’s opening month wraps up Feb. 26-27 with Ballet Hispánico, also at Ermita de la Santa Cruz.

Tickets to all performances are on sale at TodoTicket.com. For more information about Fundación Paiz, visit www.fundacionpaiz.org.gt.

Niños con Bendición is a group of 16 children ages 6-13 who perform folk dances before various audiences to raise money for scholarships for their schooling and to help cover daily living expenses.

Dressed in traditional traje from various Guatemala communities, the children enchanted patrons Saturday, Dec. 11, at La Peña del Sol Latino, 5a calle poniente #15-C in La Antigua.

The group was founded in 2004 to give children in the village of San Antonio Aguas Calientes a way to attend school while maintaining their cultural roots.

Lesbi Chavez had the idea to choreograph short dances and use the presentation to maintain the children’s cultural roots while having something tangible to generate funds.  I was looking for a meaningful activity for a large annual group of (different) families traveling and sat down with Lesbi to formalize her idea into an actual activity. The presentation for my group in June of 2005 was their first experience in front of a large audience.

The original idea we worked with was to find each child a sponsor for their education, then that child would leave the group (with the sponsor) and another child would join the group.

What Lesbi and I did not anticipate was that the group quickly became a “surrogate family” for many of the children, and for them to leave the group was not an option.  Lesbi literally opens her home for the children to come to whenever they want to play, hang out, do homework, need school supplies, use a computer, etc.  The children are together six days a week.

In the beginning, the children danced to a cassette recording of marimba music. The group has since purchased a used marimba, and the children have taught themselves how to play with the occasional assistance of a music teacher (part paid, part donated time). They also have a drum, and Tino — Lesbi’s husband, a carpenter — made a couple of simple flutes as well.

Once a month, La Peña del Sol Latino in Antigua hosts the group to perform for the general public. Restaurant patrons enjoy the performances and make donations to support the children.

Occasionally, the group receives an offer to perform somewhere near Antigua or in Guatemala City. Aside from that, Lesbi depends on me or others who know of the group to send folks to her home in San Antonio Aguas Calientes where the children perform. Those attending have the incredible opportunity to make tortillas and hang out / play with the children.

Sponsorship is designed to be the same sponsor/child yearly, but with the world economy, there are sponsors who can no longer afford the $300 yearly cost.

Every year I make sure we can get enough sponsors for each child so they can continue with their education.  Donations and the calendar sales (this is our second year selling calendars at Q100 / $15 each) have also enabled Lesbi to serve the children a hot meal every day after school.

Though there are still many other needs and unplanned expenses, we are thankful for the generosity of our donors. And the children’s parents are especially appreciative.

To arrange a presentation or sponsorship, contact Nancy Hoffman at nancy@guatemalareservations.com. You can also visit www.supportlosninos.net

While Santa Claus and Christmas trees may be symbols of the Christmas season, nacimientos (nativity scenes) are a Christmas custom the world over.

Saint Francis of Assisi built the first one in 1223 after returning from a trip to Bethlehem. It quickly became a tradition and spread throughout the Catholic world, including Spain. The Spanish brought the custom to Guatemala.

Depicting the legendary scene where Christ was born, Mary, Joseph and baby Jesus hold court in the center of the action. However, the supporting cast isn’t limited to an ox and burro anymore. From volcanoes to palm trees, Guatemalans have combined imagination and environment to make this tradition their own.

Nacimientos photos Rudy A. Girón

Joshua Bell plays Bach
at a Metro Station in Washington,
D.C. on a cold, January morning

The man with a violin played six Bach pieces in about 45 minutes. During that time approximately 2,000 people went through the station, most of them on their way to work. After three minutes a middle-aged man noticed there was a musician playing. He slowed his pace and stopped for a few seconds and then hurried to meet his schedule.

Four minutes later the violinist received his first dollar from a woman who threw the money in the hat and, without stopping, continued to walk. Six minutes later, a young man leaned against the wall to listen to him, then looked at his watch and started to walk again.

Ten minutes later a three-year old boy stopped, but his mother tugged him along hurriedly. The kid stopped to look at the violinist again, but the mother pushed hard and the child continued to walk, turning his head all the time. This action was repeated by several other children. Every parent, without exception, forced their children to move on quickly.

The musician played continuously for 45 minutes. Only six people stopped and listened for a short while. About 20 gave money but continued to walk at their normal pace. The man collected a total of $32.00.

He finished playing and silence took over. No one noticed. No one applauded, nor was there any recognition. No one knew this, but the violinist was Joshua Bell, one of the greatest musicians in the world. He played one of the most intricate pieces ever written, with a violin worth $3.5 million dollars. Two days before, Joshua Bell sold out a theater in Boston where the seats averaged $200.

This is a true story. Joshua Bell playing incognito in the Metro Station was organized by the Washington Post as part of a social experiment about perception, taste and people’s priorities. In a common place, do we perceive beauty? Do we stop to appreciate it? Do we recognize talent in an unexpected context?

One conclusion reached from this experiment could be this. If we do not have a moment to stop and listen to one of the best musicians in the world, playing some of the finest music ever written, with one of the most beautiful instruments ever made, how many other things are we missing?

Ochoa (rt) with some of the royalty of the 2008 Santiago Kite Festival

written by Ignacio Ochoa

“Diamond” kites range up to 10 meters in diameter and have a diamond-shaped frame and long tails. “Moon” kites are large circles of bamboo framing with a circular center, and range from 10 to 15 meters in diameter.

On November 1 and 2, Guatemalan markets are filled with marigolds, chrysanthemums and copal—a pre-Columbian incense made from pine resin. People clean family graves and adorn them with cut tissue paper called papel picado, flowers, and candles. They also honor the dead with festive foods such as candied fruits, tamales, and fiambre (a cold meat and vegetable dish prepared only at this time of year). These dates mark the celebration of El Día de los Difuntos or “the Day of the Dead,” a very important festival throughout Guatemala, especially in the predominantly Kakchiquel town of Santiago Sacatépequez, where a colorful kite-flying ritual takes place.

Preparations for Day of the Dead begin 40 days before November 1, when youths begin the construction of the kites, a tradition dating back at least 110 years. Customarily, men did most of the work, but today women join them in creating the intricately designed kites, which may have political, religious, or cultural themes. There is now a female kite-making contingency in Sacatepéquez that competes in the annual kite-making competitions.

Before the kites can be made, the unmarried men of the village travel to the coast to hunt for bamboo for the frames. In the eyes of the town, this journey marks males’ passage from boys to men. The trip to the coast is difficult and the work of cutting the thick bamboo is laborious. They return from the coast to find the townspeople awaiting them, eager to hear of their adventures. The bamboo is distributed to the kite-making groups to begin making frames, a process that continues every day until the Day of the Dead.

Women’s role in the celebration has historically been less public than that of men, but crucial. They participate in the measurement, design, and construction of the kites, prepare the glue ingredients and kite materials, and help decide on colors and designs. Women also do the bulk of the festival food preparation, as well as the decorating of churches and public squares.

All kite materials are natural. The glue is made from yucca flour mixed with pieces of lemon peel and water. Ropes used for kite strings are made from maguey, the plant from which tequila is extracted. Kite tails are made from woven cloth (to which people often attach hand-written messages to the spirits). Woven stalks of castilla, a plant similar to wheat, form the frames of smaller kites, while the largest frames are made from bamboo.

The kites display three main styles: “Crown” kites measure from three to five meters in diameter and have a circular frame around an empty center, like a donut. The inner and outer circles are connected with four bamboo stalks.

On November 1, people in Santiago begin to fill the cemetery at 4:00 a.m. While cleaning, repainting, and decorating their family tombs, neighbors fondly reminisce about the deceased, and catch up on the latest news. Community bonds are renewed and strengthened as people work side by side, sharing paint, tools, and brushes to refurbish tombs, while they water flowers, pray, and picnic together. It is a happy time.

Young people await a strong wind to raise their giant kites to the skies, beckoning the traveling spirits until 4:00 p.m., when the kites are lowered and the townspeople return home to await the arrival of the souls. People may set up home altars in honor of deceased family members, and relatives and neighbors visit each other to pay their respects. Visitors are offered boiled güisquiles (a green vegetable), sweet corn, and chilacayote (sweet squash), along with chicha, a hot fermented corn beverage.

Eventually, there is a procession through the streets, with residents playing the harp and accordion to the delight of the public. The townspeople travel with the procession from house to house throughout the night, sharing traditional foods and alcohol along the way.

At 4:00 a.m. on November 2, the procession moves toward the cemetery with candles. The townspeople raise the giant kites one last time to guide the spirits back to heaven. Later that evening, kites torn by the winds are burned inside the cemetery, the smoke guiding vagabond spirits to the skies. The surviving kites are exhibited in the local Catholic church during a novena for the deceased, after which they are burned and the ashes buried in the cemetery, completing the annual ritual for the Day of the Dead in Santiago Sacatepéquez.

Kites from Santiago Sacatepéquez will be on exhibit at the Fundación Nahual (2a av. norte 6-B, La Antigua. tels: 7832-0167, 5985-4954) throughout the month. Since 2004, the Fundación Nahual has conducted public kite-making workshops led by young kite builders from Santiago Sacatepéquez. One of the Nahual Association’s goals is to strengthen local Kaqchikel youth groups by giving them opportunities to teach about their cultural traditions. For more information, visit or call the Fundación.

Ignacio Ochoa holds MA degrees in Latin American Studies and Philosophy and has worked in Indigenous, rural, and refugee communities in Panama, Colombia, Ecuador, Nicaragua, El Salvador, Mexico and Guatemala. He has taught at San Diego State University, the Harvard University School of Business, Northeastern University, San Carlos University and the Jesuit Landívar University. He was one of the judges for the Santiago Sacatepéquez kite competition from 2005-2007.