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.
[2] 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.
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.
Another theme, "El Encarguito", is a song that celebrates the culinary diversity of Honduras and comments on the nostalgia of Honduran immigrants for their traditional foods.
It was inspired by Anderson's curiosity to test the diversity of food in Honduras and his experience living abroad and missing the culinary flavors of his homeland.
His music was and continues to be heard in Panama, Costa Rica, Nicaragua, El Salvador, Guatemala, United States of America, Brazil, Colombia, Venezuela, Ecuador, Argentina, Cuba and the Dominican Republic.
[9] This book resulted from a collaboration between Guillermo Anderson, the Honduran novelist Julio Escoto, and the German artist Hannes Wallrafen.
Wallrafen settled in La Ceiba to capture historical moments of the city, reflecting in his photographs the development of the Honduran Caribbean, the banana industry, the railroad, and domestic and daily life.
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.
[10] Bordeando La Costa (Bordering the Coast) contains stories of the sea and its characters: seagulls, dolphins, cayucos, mermaids, stars of the sky and of the water, birds that swim, fish that fly, winds that sing, storms whistling and turning away, children with light and dark eyes, incognito lights and bearded sailors who pipe human while holding the string with which they fish in the depth of hope.
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.
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.
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.
Notably among these: Known in Honduras for his music for children, Anderson's work enjoys an important audience in elementary schools, many of which teach songs from his compact disc "Para los chiquitos".
With the support of the United Nations Development Program (UNDP), the project brought together young men and women and trained them in traditional Garífuna percussion.
In addition to being an ensemble that participated in the cultural life of La Ceiba, this activity was accompanied by workshops of self-esteem, coexistence, gender and other personal and artistic expressions.