In this excerpt, Solís discusses the enchantment she felt the first time that she witnessed Celedonio Molinar performing the role of Major Devil, the baptism of the devils, and how she learned about the performance traditions of Portobelo, Panama.
In this excerpt, Solís discusses the enchantment she felt the first time that she witnessed Celedonio Molinar performing the role of Major Devil, the baptism of the devils, and how she learned about the performance traditions of Portobelo, Panama.
In this excerpt, Jiménez describes the “pujido”/”grunt” that the devil character uses to build internal energy and externalize it. He then discusses his interpretation of its relationship to the occult and a potential existential compromise.
In this excerpt, Molinar shares his experience of being symbolically blessed or “baptized” as the Major Devil character. Just as the “pujido” or “grunt” helps to amplify internal energy, the process of being symbolically baptized helps to abate energy.
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.
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 discusses the significance of her Congo name “Revellin.”
In this excerpt, Esquina discusses the differences between the costumes of the Congo community of Portobelo and other Congo communities in Panama.