Transcripción del extracto: 00:06:26.0-00:11:55.0

Nombre del Entrevistado: Andrés Jiménez
Descripción extracto: In this excerpt, Maestro Andrés discusses his reasons for no longer participating in the Congo tradition and the changes he has seen in the tradition with the advent of "the road."
Foto por: Elaine Eversley

Transcripción del extracto: 00:00:30.0-00:02:30.0

Nombre del Entrevistado: Andrés Jiménez
Descripción extracto: 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."
Foto por: unknown

Transcripción del extracto: 00:04:15.0-00:05:58.0

Nombre del Entrevistado: Andrés Jiménez
Descripción extracto: In this excerpt, Maestro Andrés describes the meaning of the Congo tradition and several of its major characters.
Foto por: unknown

Transcripción del extracto: 00:10:26.2-00:12:02.1

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: Eric Blanquicet maps the history of the comparsa sound in Portobelo through its origins in Santiago de Cuba and history in Panama. In doing so, he shares how the group based the sound on comparsa traditions in Colon but shifted it to better represent the uniqueness of Portobelo.
Foto por: unknown

Transcripción del extracto: 00:07:40.1-00:10:26.2

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: Heraldo Eucebio De Hoyos and Abdiel Valdez discuss the number of members and types of instruments that make up the comparsa. Comparsa Barrio Fino is unique in that it incorporates the spectrum of instruments one would find in a Latin orchestra.
Foto por: unknown

Transcripción del extracto: 00:04:12.9-00:07:40.1

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: Heraldo Eucebio De Hoyos discusses how the group started and how he approached the music school to help supply the group with instruments.
Foto por: unknown

Transcripción del extracto: 00:03:04.03-00:04:12.9

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: Heraldo Eucebio De Hoyos, Abdiel Valdez, and Eric Blanquicet discuss the meaning of the name "Comparsa Barrio Fino."
Foto por: unknown

Transcripción del extracto: 00:02:12.5-00:05:40.0

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: Heraldo Eucebio De Hoyos, Abdiel Valdez, and Eric Blanquicet introduce themselves and talk about their relationship to the group as well as the town.
Foto por: unknown

Transcripción del extracto: 00:07:33.6-00:08:20.3

Nombre del Entrevistado: Angelo Esquina, Gustavo Esquina de la Espada
Descripción extracto: Gustavo Esquina discusses Barrio Fino as the continuation of several cultural innovations that have been happening in Portobelo over the past decade.
Foto por: unknown

Transcripción del extracto: 00:04:10.3-00:06:45.1

Nombre del Entrevistado: Angelo Esquina, Gustavo Esquina de la Espada
Descripción extracto: Gustavo Esquina and Angelo Esquina discuss what motivates them to stay involved with Barrio Fino; each share a favorite memory.
Foto por: Tosha Grantham

Transcripción del extracto: 00:01:54.8-00:03:23.5

Nombre del Entrevistado: Angelo Esquina, Gustavo Esquina de la Espada
Descripción extracto: Gustavo Esquina discusses the relationship between Barrio Fino and Congo carnival traditions.
Foto por: unknown

Transcripción del extracto: 00:00:39.4-00:01:46.4

Nombre del Entrevistado: Angelo Esquina, Gustavo Esquina de la Espada
Descripción extracto: Gustavo Esquina and Angelo Esquina discuss what they find unique about Barrio Fino and how they initiated their participation in the group.
Foto por: unknown

Transcripción del extracto: 00:23:31.0-00:24:04.0

Nombre del Entrevistado: Andrés Jiménez
Descripción extracto: In this excerpt, Maestro Andrés discusses the beauty of the Congo tradition, its relationship to the history of the town and other cultural practices associated with the town. This interview was recorded using a cassette tape. At this point in the recording, the tape appears to have sped up causing distortion.
Foto por: unknown

Transcripción del extracto: 00:18:42.0-00:23:18.0

Nombre del Entrevistado: Andrés Jiménez
Descripción extracto: In this excerpt, Maestro Andrés discusses the impact of tourism on the tradition, including the monetization of various aspects and changes in costuming. In describing the current tradition, he references the impact of the "the road" on the town. At this point in the recording, the tape appears to have sped up causing distortion.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:14:27.0-00:17:42.0

Nombre del Entrevistado: Andrés Jiménez
Descripción extracto: In this excerpt, he discusses his favorite childhood memories of the tradition when the town was more isolated and Congo communities visited each other via boat during carnival season.
Foto por: unknown

Transcripción del extracto: 00:12:27.0-00:14:17.0

Nombre del Entrevistado: Andrés Jiménez
Descripción extracto: In this excerpt, Maestro Andrés discusses the changes he witness in the tradition after the advent of "the road." He especially focuses on the changes he has seen with respect to the devil character.
Foto por: José Cooper

Transcripción del extracto: 00:10:58.4-00:12:46.9

Nombre del Entrevistado: Sandra Eleta
Descripción extracto: In this excerpt, Sandra Eleta discusses the founding and operation of Taller Portobelo Women's Cooperative, a textile-arts workshop for local women.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:09:18.7-00:10:58.4

Nombre del Entrevistado: Sandra Eleta
Descripción extracto: In this excerpt, Sandra Eleta discusses the founding of a recent cultural innovation, "El Festival de los Diablos y Congos."
Foto por: Saleem Reshamwala

Transcripción del extracto: 00:06:34.0-00:09:18.7

Nombre del Entrevistado: Sandra Eleta
Descripción extracto: In this excerpt, Sandra Eleta shares her first impressions of the Congo tradition of Portobelo and how she became exposed to it through a Congo practitioner named Longaniza and his daughter Paloma.
Foto por: Elaine Eversley

Transcripción del extracto: 00:05:23.8-00:06:34.0

Nombre del Entrevistado: Sandra Eleta
Descripción extracto: In this excerpt, Sandra Eleta discusses her experiences entering Portobelo as an outsider and the ways in which the children of the town served as a bridge to integrate her into the community.
Foto por: Sandra Eleta

Transcripción del extracto: 00:00:00.0-00:05:23.8

Nombre del Entrevistado: Sandra Eleta
Descripción extracto: In this excerpt, Sandra Eleta discusses her earliest encounters with Portobelo and how the generous acts of a man from the French Antilles named Dorcy caused her to settle and work in Portobelo.
Foto por: Elaine Eversley

Transcripción del extracto: 00:20:48.4-00:26:21.5

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: 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.
Foto por: unknown

Transcripción del extracto: 00:19:16.9-00:20:48.4

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: 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.
Foto por: unknown

Transcripción del extracto: 00:16:27.0-00:19:16.9

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: Heraldo Eucebio De Hoyos, Abdiel Valdez, and Eric Blanquicet discuss the relationship between Barrio Fino and Congo carnival.
Foto por: Oronike Odeleye

Transcripción del extracto: 00:14:42.1-00:16:27.0

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: Abdiel Valdez discusses the relationship between Barrio Fino and the Music School/ La Escuelita Del Ritmo.
Foto por: unknown

Transcripción del extracto: 00:12:02.1-00:14:42.1

Nombre del Entrevistado: Abdiel Valdez, Eric Blanquicet, Heraldo Eucebio De Hoyos
Descripción extracto: 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.
Foto por: Tosha Grantham

Transcripción del extracto: 00:04:28.1-00:07:38.4

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría shares memories about how the Congo tradition of Portobelo was enacted before "the road" opened up the town to the broader community. Then, Congo carnival was a intimate community celebration in which everyone participated.
Foto por: Andrew Synowiez

Transcripción del extracto: 00:03:11.0-00:04:28.1

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría discusses the significance and meaning of the devil character in the Congo tradition.
Foto por: Elaine Eversley

Transcripción del extracto: 00:00:15.5-00:03:11.0

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: 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.
Foto por: Elaine Eversley

Transcripción del extracto: 00:16:00.9-00:18:26.4

Nombre del Entrevistado: Sandra Eleta
Descripción extracto: In this excerpt, Sandra Eleta shares memories of the first children and community members she chose to photograph.
Foto por: Sandra Eleta

Transcripción del extracto: 00:15:14.8-00:16:00.3

Nombre del Entrevistado: Sandra Eleta
Descripción extracto: In this excerpt, Sandra Eleta discusses the development of La Casa de la Cultura Congo and her hopes that it will serve as a cultural repository.
Foto por: Jose Moraitho Angulo

Transcripción del extracto: 00:13:36.6-00:15:14.8

Nombre del Entrevistado: Sandra Eleta
Descripción extracto: In this excerpt, Sandra Eleta discusses the founding of El Festival de las Polleras Congas and its entry onto the cultural landscape in Portobelo.
Foto por: Elaine Eversley

Transcripción del extracto: 00:12:48.2-00:13:36.6

Nombre del Entrevistado: Sandra Eleta
Descripción extracto: In this brief excerpt, Sandra Eleta talks about Arturo Lindsay and the founding of Taller Portobelo as a workshop for the Congo artists.
Foto por: unknown

Transcripción del extracto: 00:09:55.5-00:15:01.7

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: 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.
Foto por: Elaine Eversley

Transcripción del extracto: 00:08:55.4-00:09:55.5

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: 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.
Foto por: Arturo Lindsay

Transcripción del extracto: 00:07:38.4-00:08:55.4

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría talks about his choice to play the devil role in the Congo tradition and shares his memories of how he came to play the role for the first time as a school-aged boy.
Foto por: Arturo Lindsay

Transcripción del extracto: 00:23:47.0-00:25:26.0

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría discusses his particular style of "Devil" embodiment within the Congo tradition and the way others perceive of his performance. He also talks about the respect devils from outside of the community give to the devil of the town they are visiting. Each visiting devil must submit to the rules of the game as practiced by the local community.
Foto por: unknown

Transcripción del extracto: 00:19:33.2-00:23:46.6

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría discusses the process by which he became Major Devil in the Congo tradition of Portobelo, Panama.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:15:01.7-00:19:33.2

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarria talks about his history of involvement in local politics and offers his unique perspective as Major Devil in the Congo tradition and Mayor of Portobelo district. The district includes: Isla Grande, Juan Gallego, La Guaira, Puerto Lindo o Garrote, Cacique, Jose Pobre, Valle Estilla, San Antonio, Nuevo Tonosi, Portobelo, La Escucha, Buenaventura, Guanche, Mechi, Alto de la Cruz, Playa Langosta, Rio Piedra, María Chiquita, Las Mercedes y Las Merceditas.
Foto por: unknown

Transcripción del extracto: 00:31:14.9-00:31:59.5

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría talks about the importance, for him, of playing the Devil character from "emotion" and his decision to break away from a particular ritual that marked his mentor's embodiment of Major Devil.
Foto por: unknown

Transcripción del extracto: 00:25:32.9-00:31:14.9

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría shares cherished memories of his mentor, Celedonio Molinar, including seeing him "fly" from roof to roof as Major Devil. Chavarría also discusses important lessons and ritual practices that he learned from his mentor about performing the Major Devil role.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:34:33.4-00:39:32.5

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría discusses his memory of the last time the renowned Celedonio Molinar performed as devil and how his mentor retired in 2003 after being honored at that year's Festival de los Diablos.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:32:11.1-00:34:33.4

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría discusses the way in which hierarchies of Congo Devils greet one another, how they are baptized within the tradition, and the importance of crossing one's feet and "dancing" in the devil way.
Foto por: Elaine Eversley

Transcripción del extracto: 00:03:06.6-00:05:28.2

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: 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.
Foto por: unknown

Transcripción del extracto: 00:00:08.8-00:03:06.6

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: 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.
Foto por: unknown

Transcripción del extracto: 00:49:33.2-00:51:33.4

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: 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?"
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:48:10.8-00:49:28.0

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría shares a story about what happened when the Major Devil played the starring role in the Passion of Christ.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:46:45.8-00:48:10.8

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: 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.
Foto por: Andrew Synowiez

Transcripción del extracto: 00:42:27.8-00:46:45.8

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: 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.
Foto por: Oronike Odeleye

Transcripción del extracto: 00:40:03.5-00:42:27.8

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: 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.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:39:32.5-00:40:03.5

Nombre del Entrevistado: Carlos Chavarría
Descripción extracto: In this excerpt, Chavarría discusses how he imagines retiring as Major Devil.
Foto por: unknown

Transcripción del extracto: 00:18:25.4-00:21:43.0

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: In this excerpt, Solís discusses the one-person performance that she created through her theater company to celebrate Celedonio and the Major Devil tradition of Portobelo, Panama.
Foto por: unknown

Transcripción del extracto: 00:12:43.2-00:18:25.4

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: In this excerpt, Solís discusses studying the dance of the devil in 1994 under the tutelage of Celedonio Molinar, legionary Major Devil of Portobelo, Panama and receiving permission from the Congo King and Queen to dress and dance as a devil in 1995.
Foto por: unknown

Transcripción del extracto: 00:09:01.5-00:12:43.2

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: 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.
Foto por: Arturo Lindsay

Transcripción del extracto: 00:05:28.2-00:09:01.5

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: 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.
Foto por: unknown

Transcripción del extracto: 00:18:10.5-00:23:08.8

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: 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.
Foto por: Charles Mack

Transcripción del extracto: 00:17:39.7-00:18:07.5

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: In this short excerpt, Molinar discusses his choice to come out as Major Devil each year even after training others to do so.
Foto por: unknown

Transcripción del extracto: 00:10:38.7-00:17:10.0

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: In this excerpt, Molinar discusses the process by which the Major Devil is chosen and trained for the role. He also clarifies that he ascended to the role of Major Devil in Nombre de Dios and arrived in Portobelo with the experience and title to play the role.
Foto por: Elaine Eversley

Transcripción del extracto: 00:03:20.7-00:10:38.7

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: In this excerpt, Molinar discusses how he learned the role of Major Devil and the tradition of "Blessing the Devil" from a Portobelo native named Viudo Ceballos who had moved to Nombre de Dios. He also describes the way the devil tradition was practiced in Portobelo when he arrived there in 1945.
Foto por: Charles Mack

Transcripción del extracto: 00:00:28.1-00:03:20.7

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: In this excerpt, Molinar discusses how he came to play the role of Major Devil in Portobelo. And how he reintroduced the practice of "Blessing" or "Baptizing" the Devil.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:31:37.0-00:35:57.0

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: In this excerpt, Solís discusses what she believes is the legacy of Celedonio Molinar, renowned Major Devil in the Congo tradition of Portobelo, Panama.
Foto por: unknown

Transcripción del extracto: 00:27:58.2-00:31:37.0

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: In this excerpt, Ileana discusses the unique energy and magnetism that made Celedonio Molinar's embodiment of the devil character within the Congo tradition of Portobelo, Panama so special.
Foto por: Ileana Solis Palma

Transcripción del extracto: 00:24:00.2-00:27:16.6

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: In this excerpt, Solís discusses the relationship between the economy and the increasingly violent ways in which younger generations of devils within Congo traditions of Panama embody the character.
Foto por: unknown

Transcripción del extracto: 00:21:43.0-00:24:00.2

Nombre del Entrevistado: Ileana Solís Palma
Descripción extracto: In this excerpt, Solís discusses the ritual process that Celedonio used to prepared to "transform" into the Major Devil character.
Foto por: unknown

Transcripción del extracto: 00:29:22.0-00:31:23.0

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: In this excerpt, Molinar discusses the current existence of three people who play the role of Major Devil in the Congo tradition even though the official narrative about the tradition only signifies one Major Devil character playing at any one time.
Foto por: Arturo-Lindsay

Transcripción del extracto: 00:28:09.9-00:29:22.0

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: In this excerpt, Molinar discusses a few of the changes that he has witnessed in the devil character's embodiment within the tradition that displease him and responds to Arturo Lindsay's question regarding the escalating violence he has witnessed with the way some younger practitioners wield their whips.
Foto por: Elaine Eversley

Transcripción del extracto: 00:24:19.4-00:27:31.0

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: In this excerpt, Molinar discusses the practice of symbolically selling the devil at the conclusion of the Congo game and his interpretation of what the devil character represents within the Congo tradition.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:23:08.8-00:24:19.4

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: 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.
Foto por: Elaine Eversley

Transcripción del extracto: 00:18:32.4-00:24:21.6

Nombre del Entrevistado: Raúl Orlando Jiménez Delgado
Descripción extracto: 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.
Foto por: unknown

Transcripción del extracto: 00:15:09.6-00:18:32.4

Nombre del Entrevistado: Raúl Orlando Jiménez Delgado
Descripción extracto: In this excerpt, Jiménez discusses the significance of the devil character to the Congo tradition of Panama and his perspective on playing the Major Devil character.
Foto por: unknown

Transcripción del extracto: 00:13:31.2-00:14:49.0

Nombre del Entrevistado: Raúl Orlando Jiménez Delgado
Descripción extracto: 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.
Foto por: unknown

Transcripción del extracto: 00:06:48.7-00:12:31.0

Nombre del Entrevistado: Raúl Orlando Jiménez Delgado
Descripción extracto: In this excerpt, Jiménez discuses the ways in which the 20th century notion of the devil character in the Congo tradition of Panama was "born" in Portobelo and discusses the ways in which his mentor in the tradition, Celedonio Molinar, brought back the practice of "Blessing the Devils."
Foto por: Elaine Eversley

Transcripción del extracto: 00:04:19.5-00:06:33.9

Nombre del Entrevistado: Raúl Orlando Jiménez Delgado
Descripción extracto: In this excerpt, Jiménez talks about the participation of other family members in the Congo tradition, including an older brother who has performed the role of Pajarito and a younger brother who has performed the role of devil. His father, Andrés, also performed in the role of priest in the Congo tradition and, like him, was trained in his role by Celedonio Molinar.
Foto por: Elaine Eversley

Transcripción del extracto: 00:03:33.2-00:04:19.5

Nombre del Entrevistado: Raúl Orlando Jiménez Delgado
Descripción extracto: 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.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:00:00.0-00:03:20.8

Nombre del Entrevistado: Raúl Orlando Jiménez Delgado
Descripción extracto: In this excerpt, Jiménez discusses how he began to play the devil character in the Congo tradition.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:32:35.4-00:33:04.4

Nombre del Entrevistado: Celedonio Molinar
Descripción extracto: In this short excerpt, Molinar laments some of the escalating violence that he witnessed in the early 21st century.
Foto por: Elaine Eversley

Transcripción del extracto: 00:01:36.0-00:04:59.0

Nombre del Entrevistado: Simona Esquina
Descripción extracto: 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.
Foto por: Painting of Congo King by Ariel Jimenez. Photo by Renee Alexander Craft.

Transcripción del extracto: 00:00:06.1-00:01:02.3

Nombre del Entrevistado: Simona Esquina
Descripción extracto: In this Excerpt, Esquina discusses the significance of her Congo name "Revellin."
Foto por: Elaine Eversley

Transcripción del extracto: 00:08:38.4-00:10:21.6

Nombre del Entrevistado: Simona Esquina
Descripción extracto: 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.
Foto por: Oronike Odeleye

Transcripción del extracto: 00:06:36.1-00:08:23.9

Nombre del Entrevistado: Simona Esquina
Descripción extracto: In this excerpt, Esquina discusses the meaning and significance of the Congo tradition to Portobelo.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:04:59.0-00:06:19.5

Nombre del Entrevistado: Simona Esquina
Descripción extracto: In this excerpt, Esquina shares one of her fondest childhood memories, the one and only time that her mother danced in the Congo tradition.
Foto por: Taken from Festival de la Pullera Conga Poster

Transcripción del extracto: 00:11:10.4-00:12:11.5

Nombre del Entrevistado: Simona Esquina
Descripción extracto: 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.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:10:46.5-00:11:10.4

Nombre del Entrevistado: Simona Esquina
Descripción extracto: In this short excerpt, Esquina talks about the ways in which tourism is reviving aspects of the Congo tradition in Portobelo.
Foto por: unknown

Transcripción del extracto: 00:13:54.4-00:15:17.6

Nombre del Entrevistado: Simona Esquina
Descripción extracto: 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.
Foto por: Oronike Odeleye

Transcripción del extracto: 00:12:23.1-00:13:36.6

Nombre del Entrevistado: Simona Esquina
Descripción extracto: 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.
Foto por: unknown

Transcripción del extracto: 00:17:35.2-00:21:23.8

Nombre del Entrevistado: Simona Esquina
Descripción extracto: 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.
Foto por: Painting of Major Devil and Angels by Gustavo Esquina. Photo by Renee Alexander Craft.

Transcripción del extracto: 00:15:17.6-00:16:13.0

Nombre del Entrevistado: Simona Esquina
Descripción extracto: 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 rare existence of two palacios in 2003 and the shifting commitment of Congo practitioners who once participated in the tradition exclusively and without interruption during carnival season before the road was constructed in the early 1970s, which connected Portobelo and the rest of the Coasta Arriba to the broader Republic.
Foto por: Elaine Eversley

Transcripción del extracto: 00:25:25.2-00:27:48.2

Nombre del Entrevistado: Simona Esquina
Descripción extracto: In this brief excerpt, Esquina describes the ways in which Congo season begins in Panama on the feast day of San Sebastian with the raising of the Congo flag.
Foto por: Oronike Odeleye

Transcripción del extracto: 00:22:03.9-00:24:51.7

Nombre del Entrevistado: Simona Esquina
Descripción extracto: 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 younger practitioners who perform the role of devil in other communities sometimes put razor blades in their whips, which violates the nature of the game.
Foto por: unknown

Transcripción del extracto: 00:34:53.2-00:36:56.5

Nombre del Entrevistado: Simona Esquina
Descripción extracto: In this excerpt, Esquina discusses her pride for the Congo tradition and its importance to the towns of Panama's upper coast.
Foto por: Renee Alexander Craft

Transcripción del extracto: 00:31:03.6-00:33:42.1

Nombre del Entrevistado: Simona Esquina
Descripción extracto: In this brief excerpt, Esquina discusses the significance of the Congo game and Congo dance including how prominently performing as a primary singer has figured into her life.
Foto por: Oronike Odeleye

Transcripción del extracto: 00:28:17.0-00:31:03.6

Nombre del Entrevistado: Simona Esquina
Descripción extracto: In this brief excerpt, Esquina discusses occasions on which the community offers presentations of Congo performance locally as well as abroad and her perception of their response to the tradition.
Foto por: Elaine Eversley

Transcripción del extracto: 00:36:56.5-00:40:15.0

Nombre del Entrevistado: Simona Esquina
Descripción extracto: In this excerpt, Esquina discusses the differences between the costumes of the Congo community of Portobelo and other Congo communities in Panama.
Foto por: Arturo Lindsay