Source: http://www.geographicguide.net/america/panama.htm

Monday, February 21, 2011

Panamanian Cuisine

In the words of Dr. James Seaman, professor of History, “You cannot know a culture until you know its food.”  After digesting these words of advice, I sought to explore Panamanian cuisine.  From previous research, I learned that shrimp is a major resource for Panama.  So while scavenging around the internet, I searched for an “authentic” Panamanian shrimp meal.  I came across a recipe for Seviche, which is a chilled seafood dish popular in Central America.  I found the preparation interesting because it did not involve cooking the fish on a grill or stove.  Rather, the recipe demands to soak the fresh fish in lemon juice for at least twenty four hours.  Apparently, the acid from the lemon juice cooks the meat.  In my situation, I used precooked shrimp, so I cannot speak firsthand about this potentially exciting experiment.  But I still soaked the shrimp in lemon juice for flavor.  After the shrimp/fish is done soaking in lemon juice, it is tossed with vegetables.  These include onions, green peppers, diced tomatoes, and lots of parsley.  The inclusion of spicy peppers and tomatoes is significant because both of these plants are native to the Americas.
For my side dish, I decided to prepare Tostone, which is a very basic fried plantain dish. Plantains are commonly consumed in Panama and all over Central America because the fruit is widely abundant, can be eaten during any stage of ripeness, and can be prepared for any course. Plantains resemble bananas, except they are larger, stiffer, and much bitterer. The recipe I followed was simple; I cut the plantain into slices, fried them in a pan until they softened, smashed them into disks, and then continued to the fry them.
The overall meal was tasty. The Tostone was my favorite.  Cooked during its greenest stage of ripeness, the plantains tasted a lot like French fries, except much better. I read that as the fruit ripens, the flavor enhances.   Mine was fairly bland, so I sprinkled it with brown sugar.  On the other side of the plate, the Seviche was super flavorful; the chilled aspect of its preparation seemed to intensify the flavors.  It almost seems like a salsa, but with shrimp. It was good, but I do not think I will make it again.  My wimpy Scandinavian taste buds simply cannot handle the heat.
TOSTONE RECIPE
Ingredients:
·         2 green plantains
·         Oil for frying
·         Salt
Preparation:
1.    Heat the oil to 375 degrees.
2.    While the oil is heating up, peel the green plantains and then cut them into 3/4 inch slices.
3.    Fry the slices in the hot oil for 3 minutes. They should be a light golden color and semi-soft.
4.    Remove the plantain slices with a slotted spoon and drain on paper towels.
Tip: Maintain the oil’s temperature.
5.    When the plantain slices are cool enough to handle (about 1 minute), smash them into flat rounds.
6.    Fry the rounds in the hot oil for 3 minutes. They will turn crisp and golden brown.
Remove the tostones with a slotted spoon and drain on paper towels. Salt to taste
TROPICAL SEVICHE RECIPE
  • 2 lbs. shrimp (small)
  • 2/3 cup fresh lemon juice
  • 6 tablespoons minced onions
  • 1/2 cup minced green pepper
  • 1/4 cup minced fresh parsley
  • 1 large tomato, peeled and chopped
  • 1 tablespoon Tarragon vinegar
  • 1/2 tsp. oregano
  • salt and pepper to taste


http://panamaliving.com/recipes.html




Tuesday, February 15, 2011

Cultural Identity found in Poetry


One of the greatest literary figures existing in Panamanian culture is Ricardo Miró (1883-1940). In his poetry, he incorporates nationalistic influence, describing and romanticizing a distinct Panamanian identity. This style developed presumably as a reaction to Panama achieving independence from Colombia in 1903. His work does not simply center on nationalism; he gathers much inspiration from nature to illustrate the beauty of Panama’s topography.  His most famous poem, ranking high in cultural significance, is "Patria." It was written in 1909 while he served as Panama’s chancellor in Spain.  The poem centers on Miró’s feelings of nostalgia, driven by his distance from Panama:
“I feel the nostalgia of your ring!
I have seen many towers, I heard many bells,
but none knew. My distant towers!
sing like you, sing and weep.”
Miró also touches on nationalism by referencing to the young age of Panama, in terms of recent independence from Colombia:
“Oh Patria so small that you fit the whole entire
under the shadow of our flag
maybe you were so young that I could,
pordoquiera take you into the heart!”
     Miró’s poetry is significant because it is a symbol of Panamanian identity.  Through his works, he describes and documents the revival of early Panamanian independence, just prior to United States involvement. The following text is a rough translation of “Patria.” Despite the occasional awkward stumble caused by translation, the reader can sense the beauty in his words and only imagine how great it is when read in Spanish.




Oh such a small country, lying on an isthmus
 where the sky is clearer and brighter the sun,
In my rings all your music, as
the sea in the small cell of the snail!
 Stir the look and sometimes I fear
when I see the way you turn me on ...
May never know that you loved so much
if Fate does not have to cross the sea!
 The country is the memory ... pieces of life
wrapped in ribbons of love or pain;
rustling palm, known music,
the garden and no flowers, no leaves, no green
 The country is the old paths twisted
the foot from childhood toured relentlessly
where are the trees, old acquaintances
that way we talk of a time spent
 Instead of these magnificent towers with golden arrow
where a weary sun is faint,
leave me the old trunk, where I wrote a date
where I stole a kiss, where I learned to dream
Oh, my hoary towers, ladies and distant
I feel the nostalgia of your ring!
I have seen many towers, I heard many bells,
but none knew.  My distant towers!
sing like you, sing and weep.
 The country is the memory ... pieces of life
wrapped in ribbons of love or pain;
rustling palm, known music,
the garden and no flowers, no leaves, no green
Oh Patria so small that you fit the whole entire
under the shadow of our flag
maybe you were so young that I could,
pordoquiera take you into the heart!


Sources:

http://translate.google.com/translate?hl=en&sl=es&u=http://www.poemasde.net/patria-ricardo-miro/&ei=SUtbTeWgHsTngQeNu4TuDA&sa=X&oi=translate&ct=result&resnum=1&ved=0CCEQ7gEwAA&prev=/search%3Fq%3Dricardo%2Bmir%25C3%25B3%2B%2522Patria%2522%26hl%3Den%26prmd%3Divnso

Thursday, February 10, 2011

Mola Art of Panama

A major form of ethnic identity found in the Kuna community of eastern Panama is the mola textile.  It is the vibrant and multi-layered appliqué material, draped to the blouses worn by the Kuna women.  Molas are constructed using reverse appliqué technique, involving several layers of different colored cotton cloth and cutting through the layers to create designs.  The original Mola designs were inspired by indigenous Kuna body painting. However, as the art developed, artists have incorporated geometric, flora, abstract fauna, and Kuna mythological designs into their Molas.
Molas are not an invention of pre-Columbian Kuna culture.  The textile was developed approximately one hundred years ago when cotton material became available to the Kuna society.  Although it is a recent cultural development, it exists as a strong symbol of their culture.  Art museums have exhibits dedicated to these intricate and vivid abstract textile designs.








Friday, February 4, 2011

Pre-Colonization

Prior to the disturbance of Spanish conquest in 1501, Panama was home to dozens of indigenous tribes, including the Ngöbe-Buglé, the Kuna, the Emberá, the Naso, and the Wounaan (2).  Although oral histories have passed down through these indigenous populations, which describe great civilizations, there is little archeological evidence to support these claims.  The absence of strong artifacts and sites is probably because the tribes materialized their civilization with perishable items. Another possible explanation is that archeologists have not ventured deep enough into the jungles and mountains to find such sites.   
Just like the people of Panama today, the indigenous populations took advantage of their land’s geography to serve as a strategic trade zone. Panama exists as a narrow strip of land connecting Central and South America. Early inhabitants developed a trade route that extended from Peru, across Panama, and up into Mexico.  This trail was called Las Cruces. Along this tired road, archeologists have discovered large stone statues, pottery, gold ornaments, and mutates (stones for grinding corn) (2).  This trade route is significant because it shows how different societies across continents were connected and sharing their beliefs and customs with each other.  After the colonization of the Europeans, Las Cruces helped transport enslaved Africans, and eventually evolved into the Camino Real (1).
Another geographical aspect that affected develop of indigenous Panamanian culture is its position between two oceans. Indigenous people relied heavily on fish protein, and are believed to have fished in estuaries, coral reefs, and mangrove swamps. So important is the country’s fish culture that the name “Panama” derives from the indigenous expression meaning “abundance of fish (2).”
Sources:
(1)   http://www.minorityrights.org/?lid=4214
(2)   http://www.lonelyplanet.com/panama/history