Culture

What Are the “Diablos” We See on the Streets of Bocas?

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What Are the “Diablos” We See on the Streets of Bocas?
Isla Colón, 2019. Photo by Nina Hens of HNS Pictures

To understand, we need an overview of what happens in Panama.

The Diablos found in Panama are a cultural and traditional manifestation that has its roots in the colonial era. These devils are part of the dances and festivities representing “evil” in contrast with the “good” associated with the Catholic Church. The tradition of personifying the devil in different regions of Panama has led to various representations and costumes.

For example, the province of Coclé has the Diablo de Cucuá, and its attire is made from the bark of the cucuá tree. The Azuero region has the Diablicos Sucios whose dresses are striped in black and red, and they use the Spanish castanet in their dance. Los Santos has the Diablicos Limpios, who wear white shirts, black vests, and colored skirts. The province of Colón maintains two types of devils: Diablos de Espejos who wear wide skirts decorated with pieces of mirrors, a lot of color, and bells on their legs, and the Diablos Congos, which are the devils we see on the streets of Bocas del Toro.

Artículo en español

Diablos Cucuá - Coclé

Diablos Cucuá – Coclé. Photo courtesy of Daniel E. Sanchez Q.

Diablicos sucios - Azuero

Diablicos Sucios – Azuero. Photo courtesy of Daniel E. Sanchez Q.

Diablicos limpios - Los santos

Diablicos Liimpios – Los Santos. Photo courtesy of Daniel E. Sanchez Q.

Diablo de espejo - Colon

Diablo de espejo – Colón. Photo courtesy of Daniel E. Sanchez Q.

Diablos congos - Colón y Bocas del Toro.

Diablos Congos – Colón y Bocas del Toro. Photo courtesy of Daniel E. Sanchez Q.

What happens with the Diablos of Bocas del Toro is worthy of study to understand why they are here. It’s said that Panama as a country is historically South American, geographically Central American, and culturally Caribbean. This is due to the “4 migratory waves” from the Antilles that arrived in the country for the construction of the canal, the railway, the banana plantations, and the gold rush. Thus achieving Afro-Antillean settlements (Afro-Antilleans are Black people with ancestry in the Antilles) in various parts of the country, mainly in Bocas del Toro, Panama City, and the center of the Colón province. In simple terms, Bocas del Toro’s culture and generational identity are far more Afro-Antillean and Indigenous than Afro-Colonial/Maroon (people with ancestry from various countries of the African continent who arrived in Panama in a state of enslavement during the Spanish Colony more than 500 years ago).

The Diablos of Panama are dances and rituals mainly Afro-Colonial, considering they are linked to the palenques (settlements of Maroons in the jungles and forests after escaping from their captors/colonizers).

The province of Colón has a strong history of colonial resistance, mainly in the areas of Costa Arriba and Costa Abajo. Although the Congo culture still maintains its palenques (Maroon settlements) in areas like Chepo, Coclé, and Curundú, it is in the province of Colón where there is a greater amount of generational participation, which is why it is preserved the strongest.

Photo by Ramon Lepage

Going back to Bocas del Toro, the Diablos are an extension of Colón’s Congo Culture. The Congo is made up of several rituals and characters, each of which plays a distinct role. This celebration is called “Tempe de Soto,” which in the Congo dialect translates to “Our Time.” It is celebrated and commemorated from January 20th with the raising of the Congo flag until Ash Wednesday. It’s noteworthy to mention that the preparation for this celebration can take an entire year since all of the characters’ clothes and attire, including the devils’ masks, are handmade.

The “Tempe de Soto” is that time of the year when the Congo Culture celebrates and commemorates the struggle of Black people for freedom; In colonial times, the Congo used that time as a means of escape from the hostility and aggression of their masters.

The Congo Ritual is filled with a complex history where, in summary, the Devil represents the enslaving colonizer, who whipped Black people; the Queen Congo symbolizes the enslaved woman forced to bear a child from the colonizer, highlighting the injustices and exploitation that Afro-descendant women faced during that period. The offspring between the enslaved woman and the colonizer, personified in the “little bird,” represents the complexity of identity and how it could be strategically used to convey information from the colonizing group to the enslaved population due to their mixed appearance, thus facilitating resistance and escape strategies. The Congos represent the people, with their faces painted black and their clothes worn inside out to mock the Spanish masters who oppressed and enslaved their African ancestors.

According to the oral history passed down through the years, the Congo pollera (a traditional Panamanian folkloric skirt) has more flair compared to those from other provinces of the country (note: Panama has approximately 117 polleras), as underneath them, women hid children to keep them away from the colonizers and whips. This narrative shows the sharpness and wit used by women to ensure the safety of children and facilitate their escape to the palenques. The Congo Pollera thus becomes more than just an artistic expression; it is also a symbol of resistance and protection.

Festival de la Pollera Congo

Festival de la Pollera Congo, Portobelo 2024. Photo courtesy of www.prensa-latina.cu

The Congo ritual represents our ancestors’ experiences during the Spanish colony in Panama through drama and play. A story of struggle, resistance, and resilience that we could develop more clearly on another occasion.

It is important to note that the Congo Ritual’s dates coincide with the Carnival celebrations in Panama, which might lead to confusion and misunderstandings about the nature and significance of the diablos in Bocas del Toro. Because of the proximity of these events, people unfamiliar with Afro-Panamanian culture may mistake Diablos for a carnival event and costume.

It is important to educate and disseminate information about the authenticity and cultural depth of the diablos in Bocas del Toro, highlighting their connection with the Congo Ritual of the province of Colón and their meaning beyond being just carnival costumes or diablos. The coincidence of dates should not distort the historical and cultural importance of these manifestations.

It’s evident that the lack of deep understanding of the Congo Culture Ritual in places like Bocas del Toro, which being a primarily and culturally Afro-Antillean province, can lead to the simplification and misunderstandings about the authenticity and complexity of these cultural traditions.

The absence of certain key elements within the ritual, such as respect for the start date of the “Tempe de Soto”, the raising of the flag, the drums, the songs, the Congos closing the streets to cunfriar (asking for money and keeping the palenque alive for almost a month) among other significant aspects, makes it difficult to completely and accurately transmit the cultural richness of this celebration. What makes the task of educating the population even more difficult is not only do they prolong the idea that the Devils are part of the traditional Carnival within the Panamanian citizens unfamiliar with the ritual, but they also export it internationally, as Bocas del Toro is an area dedicated to tourism.

Isla Colon, 2019. Photo by Nina Hens of HNS Pictures

Isla Colon, 2019. Photo by Nina Hens of HNS Pictures

The “Diablos and Congos” season concludes on Ash Wednesday with the baptism of the Devils. This ritual not only ends the celebrations but also symbolizes the renewal and purification of the participants. The diablos face the queen and her entourage, they are hunted and captured by the angels. They are prayed for while being sprinkled with holy water, “They must be baptized, otherwise there will be no peace in the town” says the legend. Their masks are removed and they should not wear the costume again until the next “Tempe de Soto.”

The fact that the “Tempe de Soto” begins on the same date each year emphasizes the importance of the cultural cycle and the connection with the history and traditions of the Congo Culture. These rituals are not unique cultural events, but also profound expressions of cultural identity and resistance that deserve to be fully recognized and appreciated.

The Congo Culture has a history of rejection, even though it has been an integral part of the Afro-Panamanian identity since colonization, highlighting the complexities and challenges that Afro-descendant communities face in preserving and recognizing their traditions since their arrival in the region.

Today, we see the popularity and rise of the Congo Culture among the Panamanian population; however, this is not mere coincidence; there is a generational struggle that has promoted and managed to achieve things such as the inclusion of the Congo skirt in the “parade of the thousand polleras” in 2015 (parade held since 2010) and the official inscription of the Congo Culture in the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO in 2018. These events not only reflect a shift in cultural perspective and appreciation, but also demonstrate international understanding of the need to preserve and promote the rich heritage of the Congo Culture.

The description of the ritual and festive expressions of Congo culture on the UNESCO website emphasizes how these contemporary celebrations are a manifestation of the celebration of freedom by the descendants of rebellious slaves. The music, the barefoot dances, and other elements of these festivities reflect a deep connection with the earth and everyday life, highlighting the vitality and authenticity of the culture.

This current “popularity” has meant that places where historically there are no records of there being Congo palenques, such as Bocas Del Toro, and due to the historical connection that both provinces have (Bocas del Toro and Colón), today we can see the diablos in these areas. As the years go by, they study, learn, and gain strength among the population, we can see how they are incorporating the other characters that make up the Congo culture. Last year we not only saw diablos, we saw a Congo queen, a flag, and the beating of drums, demonstrating the ability of these traditions to transcend geographical and cultural borders.

This process of incorporation and dissemination must be carried out within the framework of respect and love for Afro-Panamanian culture. Proper guidance and cultural sensitivity are essential to ensure that these performances are authentic, respectful, and faithful to the rich heritage of the Palenques Congos who have fought to be recognized, accepted, and respected throughout Panama’s history.

With a conscious and respectful approach, it is possible to achieve a healthier and more faithful representation of the traditions of the Palenques Congos in Bocas del Toro, thus contributing to the preservation and appreciation of cultural diversity throughout the country.

I would like to end by inviting us to ponder the following: Where are the cultures and traditions of the Bocatoreño community? What can we do as a new generation to rescue and preserve them?

Article written by Nicole Ortiz, with invaluable contributions from Sielka Sanchez

Cultural content on The Bocas Breeze is made possible by our Breeze Card members.

Sielka Sanchez and Nicole Ortiz

 

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Article by:Nicole Ortiz
Nicole Ortiz holds a degree in mass communications with an emphasis on broadcasting. Inspired by the freedom of island life, the beauty of nature, and a community that feels like home, she finds joy in capturing Bocas del Toro’s unique charm. Through her writing, Nicole shares the spirit of a place where every day feels like an adventure. She is deeply interested in understanding human behavior and how people navigate life’s complexities and personal growth.
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2 Comments

  1. Yolanda Swilley Reply

    Thank you Nicole for this awesome, informative and educational article. I have a completely new understanding of the Bocas deal Toro diablos and the history behind culture as a whole.

  2. Melanie Myers Reply

    Thank you Nicole for this comprehensive explanation of the Congos and the Diablos here in Bocas del Toro. I gave a newfound respect and admiration for them and support the preservation of this important cultural heritage.

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