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 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 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 short excerpt, Molinar laments some of the escalating violence that he witnessed in the early 21st century.
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.