Abstract
When the Devil Knocks provides an insightful view into the Congo tradition (s) that coincides with Carnival in Portobelo, Panama and surrounding Atlantic-based Afro-Colonial Panamanian communities. Reminiscent of the Peruvian ethnography Yo soy negro due to its Afro-diasporic focus, Renee Alexander Craft demonstrates an exhaustive maneuvering of knowledge pertaining to a nuanced understanding of blackness in contemporary Panama.
Highlights
When the Devil Knocks provides an insightful view into the Congo tradition (s) that coincides with Carnival in Portobelo, Panama and surrounding Atlantic-based Afro-Colonial Panamanian communities
The polychromic nature of a practical consciousness approach signifies that Carnival does not commence on a specific day, but is an approximation
The “circum-local” example that the author utilizes describes how Celedonio transformed the locality of Portobelo, Panama, producing the Major Devil character, which lacked precedence in the town previously
Summary
When the Devil Knocks provides an insightful view into the Congo tradition (s) that coincides with Carnival in Portobelo, Panama and surrounding Atlantic-based Afro-Colonial Panamanian communities. Performativity is the predominant element in analyzing the cast of “Congo” characters in When the Devil Knocks and the author distinguishes between local communal understandings of the Congo tradition and “like-local” performances that are intended for tourists.
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