In this excerpt, Chavarría discusses how he imagines retiring as Major Devil.
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Carlos Chavarria Devil’s Mask
In this excerpt, Chavarría discusses the ways in which the Devil’s mask initially captured his attention and the double perspective/participant-observer position that it provides.
Carlos Chavarria Legacy of Celedonio
In this excerpt, Chavarría discusses his mentor Celedonio Molinar’s lasting legacy to the town and to the Congo tradition, including a charge to embrace the tradition with pride and joy.
Carlos Chavarria Changes to the Major Devil
In this excerpt, Chavarría discusses the ways in which the Major Devil character has changed over his lifetime. He focuses particularly on his choice to follow his mentor’s example by wearing a smaller mask and discusses the value of smaller masks in relationship to the value of larger ones, which many younger devils choose to wear.
Carlos Chavarria Importance of Congo for Community Pride
In this excerpt, Chavarría talks about the importance of the Congo tradition and Congo dance to the community’s sense of pride and self. He urges young people to maintain the power of their traditions and to stay anchored to their sense of “place” and home.
Carlos Chavarria Childhood Memories of Congo before the Road
In this excerpt, Chavarría shares childhood memories about how the Congo tradition was enacted before “the road.” In the “closed” community people did not work during carnival season, pooled resources, shared food, and communed together for several days as part of their celebration.
Carlos Chavarria Major Devil in the Passion of the Christ
In this excerpt, Chavarría shares a story about what happened when the Major Devil played the starring role in the Passion of Christ.
Carlos Chavarria Most Important Things to Know about Congo in Portobelo
In this excerpt, Chavarría responds to the question, “One hundred years in the future when scholars are studying the Congo tradition in Portobelo, what are the most important things that they should know?”
Ileana Solis Palma Participation in Los Trashumantes
In this excerpt, Ileana discusses her participation with “Los Trashumantes,” the only theater group in Panama that was paid to do community theater and the Omjar Torrijos’ support for artistic culture.
Ileana Solis Palma Childhood in an Impoverished Neighborhood
In this excerpt, Ileana discusses being raised by a hardworking middle-class mother within the economically impoverished neighborhood of Calidonia and the centrality of art to her personal development.