In this excerpt, Maestro Andrés describes the meaning of the Congo tradition and several of its major characters.
![](https://digitalportobelo.org/wp-content/uploads/sites/19/2013/10/Yeneka-Congo-Presentation-624x468.jpg)
In this excerpt, Maestro Andrés describes the meaning of the Congo tradition and several of its major characters.
In this excerpt, Chavarría talks about the importance of the Congo tradition and Congo dance to the community’s sense of pride and self. He urges young people to maintain the power of their traditions and to stay anchored to their sense of “place” and home.
In this excerpt, Chavarría responds to the question, “One hundred years in the future when scholars are studying the Congo tradition in Portobelo, what are the most important things that they should know?”
In this excerpt, Chavarría discusses the process by which he became Major Devil in the Congo tradition of Portobelo, Panama.
In this excerpt, Esquina discusses the changes she has seen in the Congo tradition over the course of her lifetime. Specifically, she talks about the role that the princess character once played.
In this excerpt, Esquina discusses the changes she has seen in the Congo tradition over the course of her lifetime. Specifically, she talks about the ways in which the king’s role has diminished since her father once played it.
In this excerpt, Esquina recounts watching her father, Vicente Esquina, get dressed as the Congo King and accompanying him to the palenque/palacio to play Congo. Memories of her father’s participation as king mark some of Esquina’s earliest recollections of the tradition.
In this excerpt, Esquina discusses the changes she has seen in the Congo tradition over the course of her lifetime. Specifically, she talks about changes that she has witnessed in ways in which younger practitioners who perform the role of devil in other communities sometimes put razor blades in their whips, which violates the nature of the game.
In this excerpt, Esquina discusses the changes she has seen in the Congo tradition over the course of her lifetime. Specifically, she talks about the rare existence of two palacios in 2003 and the shifting commitment of Congo practitioners who once participated in the tradition exclusively and without interruption during carnival season before the road was constructed in the early 1970s, which connected Portobelo and the rest of the Coasta Arriba to the broader Republic.
In this excerpt, Esquina discusses the changes she has seen in the Congo tradition over the course of her lifetime. Specifically, she talks about changes that she has witnessed in ways in which the devil character is played.