In this excerpt, Molinar discusses the current existence of three people who play the role of Major Devil in the Congo tradition even though the official narrative about the tradition only signifies one Major Devil character playing at any one time.

In this excerpt, Molinar discusses the current existence of three people who play the role of Major Devil in the Congo tradition even though the official narrative about the tradition only signifies one Major Devil character playing at any one time.
In this excerpt, Solís discusses the ritual process that Celedonio used to prepared to “transform” into the Major Devil character.
In this excerpt, Solís discusses the relationship between the economy and the increasingly violent ways in which younger generations of devils within Congo traditions of Panama embody the character.
In this excerpt, Ileana discusses the unique energy and magnetism that made Celedonio Molinar’s embodiment of the devil character within the Congo tradition of Portobelo, Panama so special.
In this excerpt, Solís discusses what she believes is the legacy of Celedonio Molinar, renowned Major Devil in the Congo tradition of Portobelo, Panama.
In this excerpt, Molinar discusses how he came to play the role of Major Devil in Portobelo. And how he reintroduced the practice of “Blessing” or “Baptizing” the Devil.
In this excerpt, Molinar discusses how he learned the role of Major Devil and the tradition of “Blessing the Devil” from a Portobelo native named Viudo Ceballos who had moved to Nombre de Dios. He also describes the way the devil tradition was practiced in Portobelo when he arrived there in 1945.
In this excerpt, Esquina discusses her pride for the Congo tradition and its importance to the towns of Panama’s upper coast.
In this excerpt, Jiménez discusses his interpretation of how one is selected to play the role of 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 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.