In this excerpt, Molinar explains the “pujido,” a sound that the devils within the Congo tradition of Panama make that is a part of their embodiment of the character. The literal translation of the word is “grunt,” but the effect is more than that. The sound amplifies internal energy and is done in response to both internal desires and external stimuli.
In this excerpt, Jiménez discusses how he began to play the role of the Major Devil character in the Congo tradition of Portobelo, Panama when Carlos Chavarria took a sabbatical from the role to study abroad in Russia.
In this excerpt, Solís discusses her philosophy of art and the power of community theater as a communicative tool. She is committed to theater that energizes, surprises, engages, and maintains the ability to engender change.
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.
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 a character named “Mama Guardia” 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 role that Pajarito, the Little Bird, once played in the Congo game, and the ways in which the character and the game have shifted. The construction of the road signaled the end of the game as one between neighboring Congo Kingdoms who competed to capture each others’ palacio/palenque. The contemporary game is between the discrete Congo communities and the character of the devil.
In this short excerpt, Esquina talks about the ways in which tourism is reviving aspects of the Congo tradition in Portobelo.
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 shares one of her fondest childhood memories, the one and only time that her mother danced in the Congo tradition.
In this excerpt, Esquina discusses the meaning and significance of the Congo tradition to Portobelo.