In this excerpt, Maestro Andrés discusses his participation in the tradition and the negative ways in which some members his parents’ generation, newer community members, and outsiders sometimes viewed the Congo tradition in the early twentieth century prior to the advent of “the road.”
Eric Blanquicet and Heraldo Eucebio De Hoyos discuss the ways in which the desire to create something positive in the community — that allows community members additional outlets for their time and talent — is their chief motivation for participating in Comparsa Barrio Fino.
Abdiel Valdez discusses the relationship between Barrio Fino and the Music School/ La Escuelita Del Ritmo.
Heraldo Eucebio De Hoyos, Abdiel Valdez, and Eric Blanquicet discuss the relationship between Barrio Fino and Congo carnival.
Abdiel Valdez shares some of the long-term goals of Barrio Fino, which include using participation in the group to help members become stronger musicians by expanding their skill set and gaining greater tools for cultural expression.
Heraldo Eucebio De Hoyos, Abdiel Valdez, and Eric Blanquicet discuss their favorite Barrio Fino memory or activity. All talk about the magic of their first public performance. In responding, Heraldo gives the spectrum of Portobelo personalities active with the group to illustrate how thoroughly it represents a broad spectrum of Portobelo culture and embodies the spirit of the community.
In this brief excerpt, Sandra Eleta talks about Arturo Lindsay and the founding of Taller Portobelo as a workshop for the Congo artists.
In this excerpt, Chavarría discusses the meaning and purpose of the Congo tradition as well as a recent opportunity to talk about the Portobelo Congo tradition with a colleague from the Democratic Republic of Congo.
In this excerpt, Chavarría discusses the significance and meaning of the devil character in the Congo tradition.