Wednesday, October 14, 2015

Saonao yan Eyak: Estoria

It is now almost 200 days til Guam hosts FESTPAC or the largest cultural festival in the Pacific. I am involved in FESTPAC in a number of forms and there are some ways that we are clearly ready and on course and others where ai adai it seems like it'll take a miracle for us to make it on time.  Para i taotao ni' muna'la'la'la' yan chumochonnek mo'na i kuttura-ta (gi meggai na manera) este na dinana' i mas takhilo', i mas sagradu na tiempo. Kada kuatro na sakkan mandadana' i taotaogues i Pasifiku gi unu na isla, ya manafa'nu'i yan manapatte i kutturan-niha. Un sen dangkolu na onra este na para ta kombida taotao ginen kana trenta diferentes na isla siha magi para i tano'-ta. 

For those of you who would like to receive regular updates about FESTPAC, its planning and organizing go on Facebook and LIKE the official FESTPAC page. Here is the link:

https://www.facebook.com/guamfestpac2016

Or, each Friday the Pacific Daily News is featuring a different column under the banner of "Saonao yan Eyak" which covers a different aspect of the organizing taking place and also hopes to help prepare the people for what it is like to host a FESTPAC. Here is one such column from Dr. Kelly Marsh-Taitano, talking about what historians have planned for people during the two weeks of FESTPAC next year. I've written two columns such as these so far this year and will be writing one or two more about my upcoming Austronesian culture conference in Taiwan.

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Highlighting history at FestPac
by Kelly G. Marsh
Pacific Daily News
July 30, 2015

In Pacific Island cultures, our familial, cultural, environmental,and political histories inform us of who we are and guide us as we navigate through issues. Recognizing this, Guam has formally created a space to showcase History at the Festival of Pacific Arts 2016.


History is an important part of our cultures and has much to contribute to what the Festival of Pacific Arts offers. Exploring and portraying our unique yet overlapping historical pasts are opportunities to learn about each other and, even more importantly, ensure that such traditions and knowledge are transmitted to the next generations.

History has been a part of the Festival of Pacific Arts informally, since in Oceania history is documented, shared and passed on through numerous mediums— song, chant, oral narrative, dance, visual art and inscription — much of which has a strong tradition of presence in the Festival of Pacific Arts, as we will all soon get to see first-hand.

In carving out a distinct space for showcasing History as a Pacific Island tradition and the contributions it offers to our communities, History’s first formal presence at next year’s Festival of Pacific Arts will host three types of activities and events.

On a daily basis, from their seats on guåfak (a woven mat), History delegates will share stories and the history of their cultures and societies. They will tell us of the places of power in their islands and their stories of place. We will share our myths, legends, and heroes and heroines and get to hear theirs.

Historians will impart historical and cultural stories with lessons, including those of our colonial histories and types of cultural and other resistance. Important to learn will be about each of our journeys to independence or incorporation. We will all share the empowering histories of islander cultural persistence in times of rapid change and modernization as well as of cultural revitalization in the face of these dynamics.

Festival attendees are invited to gather around and listen to historians from islands as close as our neighbors to the south in Yap and Palau to those from islands across the Pacific such as Vanuatu, the Solomon Islands or the indigenous communities of Australia.

Special History events will be held on three separate occasions. The first will focus on our creation stories, and where better to share them than at Fouha Bay in Humåtak, the place of creation for Guåhan yan i manaotao Guåhan (Guam and its people).

Another will explore World War II experiences and island social, cultural, environmental, and political transformations. On this day, historians will tour the Hågatña historic walking trail with special emphasis on the defense of the Plaza de España by the Guam Insular Force Guard as well as on the bulldozing of village houses, churches and other buildings which formed Paseo. Historians will stop along the walk to view the remains of the Santa Cruz church, which lay in the waters surrounding Paseo.

The third event will showcase our island youths and the ways that they are sharing CHamoru culture and history through modern mediums. All festival attendees will be invited to view the sharing of select videos and presentations representing university documentary projects, local radio shows, local groups creating interactive software apps and animated movies, rap and slam poetry performances, children’s educational programs, local journals and our very own island version of History Day.

As a final offering, Guam’s History delegation will promote our currently existing historic village tours that have been serving our community for years. To showcase these tours, as well as encourage festival delegates and all attendees to participate, the History delegation will be liaising with villages to assist in translating their historic village brochures into two of the Festival’s official languages, CHamoru and French, and to develop podcasts to serve as virtual tour guides to accommodate possible tour overflow and those who require CHamoru or French narration for the tours.

Kelly G. Marsh (Taitano), Ph.D., is a cultural and historical consultant, and an adjunct professor at the University of Guam.

Tuesday, October 13, 2015

Around the Latte Seminar Series...


Come along! and be part of this exciting  series of event!!!!

The inaugural seminar series of the School of Education and Chamorro Studies “Around the Latte Stone Series” kicks off this Thursday 15th October, 2015  at 2pm-4p in the School of Education lounge , University of Guam, Guam, USA & Northern Pacific.

Topic: “War for Guam”-a documentary and a discussion by the film co-producer Mr Baltazar Aguon;

With…An Introductory Comment by the 10th President of the University of Guam and Former Congressman, Dr. Robert Underwood, a traditional welcome and chant and more….

The Acting head of Chamorro Studies at Guam DOE Rufina Mendiola and her team will also be at hand to assist with the organization for the day’s event


Food and drinks will be available to share…


Come along!!!!

Unaisi and Michael (coordinators)
[Dr. Nabobo-Baba & Dr. Bevacqua]

Chamorro Studies History

The Chamorro Studies Program (Prugraman Inestudian Chamorro) at the University of Guam is located within the College of Liberal Arts and Social Sciences (Kolehon Atson Liberat yan Siensihan Sosiat). It has existed for four years and was officially launched in October of 2013. It was started by a faculty task force consisting of myself, Anne Perez Hattori, Evelyn San Miguel Flores, Rosa Salas Palomo, Sharleen Santos-Bamba, James Perez Viernes and a handful of others.

On October 24th, 2013 a launch event was held which featured panels, performances and also the start of a Chamorro language lecture series titled "The Chamorro Experience gi Fino' Chamorro." The late Chamorro Master Blacksmith Joaquin Flores Lujan or Tun Jack was the speaker for the inaugural event. On that day we signed up seven majors and seven minors into the program. Since that time, the Chamorro Studies Program has organized numerous events and programs all meant at promoting Chamorro language, culture and history. We piloted a new language learning program called "Master Apprentice." We have worked and continue to work on developing a new standardized curriculum for teaching Chamorro at the college level with the I Ma'adahen i Fino' Chamorro gi Koleho project with Dr. Faye Untalan. We worked with the late Mr. Jose Mata Torres on the publication of his memoir Massacre at Atate which provides a first hand account of how the men of Malesso' in the closing days of World War II, rose up against the Japanese occupiers in their village and liberated themselves. We continue to have annual events such as I Inacha'igen Fino' CHamoru or Chamorro Language Competition which brings hundreds of students from across the Marianas together to compete in the use of the Chamorro language in a variety of categories and formats. We've also offered for our majors special elective classes in weaving, dance and this semester one which under the direction of Dr. Kelly Marsh-Taitano offers students the chance to learn first hand the process and theory behind the construction of Latte stones. At present we have grown to more than 30 majors and 10 minors. Last semester we had our first three students graduate with their BA in Chamorro Studies.

Although the program has accomplished alot, it is still growing and finding itself. Last year, the faculty came together to discuss the issue of what exactly our intellectual corpus or what is the theoretical focus of our program. It is difficult to determine what this is exactly because our faculty is spread out across other programs or primarily adjunct and not full-time. Developing a focus can be hard to do when you are moving wherever the resources or assistance is. But in terms of establishing the intellectual core of what the program is supposed to be, we came up with this draft:

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The Chamorro Studies Program at the University of Guam acknowledges that Chamorro identity is not located at any particular point in time, but across a historical continuum, that spans the first settling of the Marianas Islands and persists into the present. At the core of this continuum is the Chamorro language, that has carried culture, values and cosmology of the Chamorro people through times of turbulence and adaptation.

Chamorro culture is formed through a combination of innovation, adaptation and creativity and adherence to tradition. As there is not set form for Chamorro identity, but rather a multiplicities and range of both contemporary and historical possibilities, there is a strong need for a space in which the nature of Chamorro identity and culture can be discussed in critical ways through informed, evidence-based research and community engagement. The Chamorro Studies Program at UOG is meant to be one such space, where the scholarly resources of the University of Guam can be utilized to better educate and illuminate the trajectories of particular Chamorro cultural manifestations. To this end the Chamorro Studies Program will provide scholarly interventions through the development of resources, programs and texts that can aid in the ongoing conversation over cultural perpetuation and language revitalization.

Sunday, October 11, 2015

James Baldwin and Audre Lorde


Audre Lorde and James Baldwin interview
Essence 1984

JB: One of the dangers of being a Black American is being schizophrenic, and I mean ‘schizophrenic’ in the most literal sense. To be a Black American is in some ways to be born with the desire to be white. It’s a part of the price you pay for being born here, and it affects every Black person. We can go back to Vietnam, we can go back to Korea. We can go back for that matter to the First World War. We can go back to W.E.B. Du Bois – an honorable and beautiful man – who campaigned to persuade Black people to fight in the First World War, saying that if we fight in this war to save this country, our right to citizenship can never, never again be questioned – and who can blame him? He really meant it, and if I’d been there at that moment I would have said so too perhaps. Du Bois believed in the American dream. So did Martin. So did Malcolm. So do I. So do you. That’s why we’re sitting here.

AL: I don’t, honey. I’m sorry, I just can’t let that go past. Deep, deep, deep down I know that dream was never mine. And I wept and I cried and I fought and I stormed, but I just knew it. I was Black. I was female. And I was out – out – by any construct wherever the power lay. So if I had to claw myself insane, if I lived I was going to have to do it alone. Nobody was dreaming about me. Nobody was even studying me except as something to wipe out.

JB: You are saying you do not exist in the American dream except as a nightmare.

AL: That’s right. And I knew it every time I opened Jet, too. I knew that every time I opened a Kotex box. I knew that every time I went to school. I knew that every time I opened a prayer book. I knew it, I just knew it.

JB: It is difficult to be born in a place where you are despised and also promised that with endeavor – with this, with that, you know – you can accomplish the impossible. You’re trying to deal with the man, the woman, the child – the child of whichever sex – and he or she and your man or your woman has got to deal with the 24-hour-a-day facts of life in this country. We’re not going to fly off someplace else, you know, we’d better get through whatever that day is and still have each other and still raise children – somehow manage all of that. And this is 24 hours of every day, and you’re surrounded by all of the paraphernalia of safety: If you can strike this bargain here. If you can make sure your armpits are odorless. Curl your hair. Be impeccable. Be all the things that the American public says you should do, right? And you do all those things – and nothing happens really. And what is much worse than that, nothing happens to your child either.

AL: Even worse than the nightmare is the blank. And Black women are the blank. I don’t want to break all this down, then have to stop at the wall of male/female division. When we admit and deal with difference; when we deal with the deep bitterness; when we deal with the horror of even our different nightmares; when we turn them and look at them, it’s like looking at death: hard but possible. If you look at it directly without embracing it, then there is much less that you can ever be made to fear.

JB: I agree.

AL: Well, in the same way when we look at our differences and not allow ourselves to be divided, when we own them and are not divided by them, that is when we will be able to move on. But we haven’t reached square one yet.

JB: I’m not sure of that. I think the Black sense of male and female is much more sophisticated than the western idea. I think that Black men and women are much less easily thrown by the question of gender or sexual preference – all that jazz. At least that is true of my experience.

AL: Yea, but let’s remove ourselves from merely a reactive position – i.e., Black men and women reacting to what’s out there. While we are reacting to what’s out there, we’re also dealing between ourselves – and between ourselves there are power differences that come down…

JB: Oh, yes…

AL: Truly dealing with how we live, recognizing each other’s differences, is something that hasn’t happened…

JB: Differences and samenesses.

AL: Differences and samenesses. But in a crunch, when all our asses are in the sling, it looks like it is easier to deal with the samenesses. When we deal with sameness only, we develop weapons that we use against each other when the differences become apparent. And we wipe each other out – Black men and women can wipe each other out – far more effectively than outsiders do.

JB: That’s true enough.

AL: And our blood is high, our furies are up. I mean, it’s what Black women do to each other, Black men do to each other, and Black people do to each other. We are in the business of wiping each other out in one way or the other – and essentially doing our enemy’s work.

JB: That’s quite true.

AL: We need to acknowledge those power differences between us and see where they lead us. An enormous amount of energy is being taken up with either denying the power differences between Black men and women or fighting over power differences between Black men and women or killing each other off behind them. I’m talking about Black women’s blood flowing in the streets – and how do we get a 14-year-old boy to know I am not the legitimate target of his fury? The boot is on both of our necks. Let’s talk about getting it off. My blood will not wash out your horror. That’s what I’m interested in getting across to adolescent Black boys.

There are little Black girl children having babies. But this is not an immaculate conception, so we’ve got little Black boys who are making babies, too. We have little Black children making little Black children. I want to deal with that so our kids will not have to repeat that waste of themselves.

JB: I hear you – but let me backtrack, for better or worse. You know, for whatever reason and whether it’s wrong or right, for generations men have come into the world, either instinctively knowing or believing or being taught that since they were men they in one way or another had to be responsible for the women and children, which means the universe.

AL: Mm-hm.

JB: I don’t think there’s any way around that.

AL: Any way around that now?

JB: I don’t think there’s any way around that fact.

AL: If we can put people on the moon and we can blow this whole planet up, if we can consider digging 18 inches of radioactive dirt off of the Bikini atolls and somehow finding something to do with it – if we can do that, we as Black cultural workers can somehow begin to turn that stuff around – because there’s nobody anymore buying ‘cave politics’ – ‘Kill the mammoth or else the species is extinct.’ We have moved beyond that. Those little scrubby-ass kids in the sixth grade – I want those Black kids to know that brute force is not a legitimate way of dealing across sex difference. I want to set up some different paradigms.

JB: Yea, but there’s a real difference between the way a man looks at the world…

AL: Yes, yes…

JB: And the way a woman looks at the world. A woman does know much more than a man.

AL: And why? For the same reason Black people know what white people are thinking: because we had to do it for our survival…

JB: All right, all right…

AL: We’re finished being bridges. Don’t you see? It’s not Black women who are shedding Black men’s blood on the street – yet. We’re not cleaving your head open with axes. We’re not shooting you down. We’re saying, “Listen, what’s going on between us is related to what’s going on between us and other people,” but we have to solve our own shit at the same time as we’re protecting our Black asses, because if we don’t, we are wasting energy that we need for joint survival.

JB: I’m not even disagreeing – but if you put the argument in that way, you see, a man has a certain story to tell, too, just because he is a man…

AL: Yes, yes, and it’s vital that I be alive and able to listen to it.

JB: Yes. Because we are the only hope we have. A family quarrel is one thing; a public quarrel is another. And you and I, you know – in the kitchen, with the kids, with each other or in bed – we have a lot to deal with, with each other, but we’ve got to know what we’re dealing with. And there is no way around it. There is no way around it. I’m a man. I am not a woman.

AL: That’s right, that’s right.

JB: No one will turn me into a woman. You’re a woman and you’re not a man. No one will turn you into a man. And we are indispensable for each other, and the children depend on us both.

AL: It’s vital for me to be able to listen to you, to hear what is it that defines you and for you to listen to me, to hear what is it that defines me – because so long as we are operating in that old pattern, it doesn’t serve anybody, and it certainly hasn’t served us.

JB: I know that. What I really think is that neither of us has anything to prove, at least not in the same way, if we weren’t in the North American wilderness. And the inevitable dissension between brother and sister, between man and woman – let’s face it, all those relations which are rooted in love also are involved in this quarrel. Because our real responsibility is to endlessly redefine each other. I cannot live without you, and you cannot live without me – and the children can’t live without us.

AL: But we have to define ourselves for each other. We have to redefine ourselves for each other because no matter what the underpinnings of the distortion are, the fact remains that we have absorbed it. We have all absorbed this sickness and ideas in the same way we absorbed racism. It’s vital that we deal constantly with racism, and with white racism among Black people – that we recognize this as a legitimate area of inquiry. We must also examine the ways that we have absorbed sexism and heterosexism. These are the norms in this dragon we have been born into – and we need to examine these distortions with the same kind of openness and dedication that we examine racism…

JB: You use the word ‘racism’…

AL: The hatred of Black, or color…

JB: - but beneath the word ‘racism’ sleeps the word ‘safety.’ Why is it important to be white or Black?

AL: Why is it important to be a man rather than a woman?

JB: In both cases, it is assumed that it is safer to be white than to be Black. And it’s assumed that it is safer to be a man than to be a woman. These are both masculine assumptions. But those are the assumptions that we’re trying to overcome or to confront…

AL: To confront, yeah. The vulnerability that lies behind those masculine assumptions is different for me and you, and we must begin to look at that…

JB: Yes, yes…

AL: And the fury that is engendered in the denial of that vulnerability – we have to break through it because there are children growing up believe that it is legitimate to shed female blood, right? I have to break through it because those boys really think that the sign of their masculinity is impregnating a sixth grader. I have to break through it because of that little sixth-grade girl who believes that the only thing in life she has is what lies between her legs…

JB: Yeah, but we’re not talking now about men and women. We’re talking about a particular society. We’re talking about a particular time and place. You were talking about the shedding of Black blood in the streets, but I don’t understand –

AL: Okay, the cops are killing the men and the men are killing the women. I’m talking about rape. I’m talking about murder.

JB: I’m not disagreeing with you, but I do think you’re barking up the wrong tree. I’m not trying to get the Black man off the hook – or Black women, for that matter – but I am talking about the kingdom in which we live.

AL: Yes, I absolutely agree; the kingdom in which these distortions occur has to be changed.

JB: Something happens to the man who beats up a lady. Something happens to the man who beats up his grandmother. Something happens to the junkie. I know that very well. I walked the streets of Harlem; I grew up there, right? Now you know it is not the Black cat’s fault who sees me and tries to mug me. I got to know that. It’s his responsibility but it’s not his fault. That’s a nuance. UI got to know that it’s not him who is my enemy even when he beats up his grandmother. His grandmother has got to know. I’m trying to say one’s got to see what drove both of us into those streets. We be both from the same track. Do you see what I mean? I’ve come home myself, you know, wanting to beat up anything in sight- but Audre, Audre…

AL: I’m here, I’m here…

JB: I agree with you. I see exactly what you mean and it hurts me at least as much as it hurts you. But how to maneuver oneself past this point – how not to lose him or her who may be in what is in effect occupied territory. That is really what the Black situation is in this country. For the ghetto, all that is lacking is barbed wire, and when you pen people up like animals, the intention is to debase them and you have debased them.

AL: Jimmy, we don’t have an argument

JB: I know we don’t.

AL: But what we do have is a real disagreement about your responsibility not just to me but to my son and to our boys. Your responsibility to him is to get across to him in a way that I never will be able to because he did not come out of my body and has another relationship to me. Your relationship to him as his farther is to tell him I’m not a fit target for his fury.

JB: Okay, okay…

AL: It’s so entrenched in him that it’s part of him as much as his Blackness is.
JB: All right, all right…

AL: I can’t do it. You have to.

JB: All right, I accept – the challenge is there in any case. It never occurred to me that it would be otherwise. That’s absolutely true. I simply want to locate where the danger is…

AL: Yeah, we’re at war…

JB: We are behind the gates of a kingdom which is determined to destroy us.

AL: Yes, exactly so. And I’m interested in seeing that we do not accept terms that will help us destroy each other. And I think one of the ways in which we destroy each other is by being programmed to knee-jerk on our differences. Knee-jerk on sex. Knee-jerk on sexuality…

JB: I don’t quite know what to do about it, but I agree with you. And I understand exactly what you mean. You’re quite right. We get confused with genders – you know, what the western notion of woman is, which is not necessarily what a woman is at all. It’s certainly not the African notion of what a woman is. Or even the European notion of what a woman is. And there’s certainly not standard of masculinity in this country which anybody can respect. Part of the horror of being a Black American is being trapped into being an imitation of an imitation.

AL: I can’t tell you what I wished you would be doing. I can’t redefine masculinity. I can’t redefine Black masculinity certainly. I am in the business of redefining Black womanness. You are in the business of redefining Black masculinity. And I’m saying, ‘Hey, please go on doing it,’ because I don’t know how much longer I can hold this fort, and I really feel that Black women are holding it and we’re beginning to hold it in ways that are making this dialogue less possible.

JB: Really? Why do you say that? I don’t feel that at all. It seems to me you’re blaming the Black man for the trap he’s in.

AL: I’m not blaming the Black man; I’m saying don’t shed my blood. I’m not blaming the Black man. I’m saying if my blood is being shed, at some point I’m gonna have a legitimate reason to take up a knife and cut your damn head off, and I’m not trying to do it.

JB: If you drive a man mad, you’ll turn him into a beast – it has nothing to do with his color.

AL: If you drive a woman insane, she will react like a beast too. There is a larger structure, a society with which we are in total and absolute war. We live in the mouth of a dragon, and we must be able to use each other’s forces to fight it together, because we need each other. I am saying that in our joint battle we have also developed some very real weapons, and when we turn them against each other they are even more bloody, because we know each other in a particular way. When we turn those weapons against each other, the bloodshed is terrible. Even worse, we are doing this in a structure where we are already embattled. I am not denying that. It is a family discussion I’m having now. I’m not laying blame. I do not blame Black men for what they are. I’m asking them to move beyond. I do not blame Black men; what I’m saying is, we have to take a new look at the ways in which we fight our joint oppression because if we don’t, we’re gonna be blowing each other up. We have to begin to redefine the terms of what woman is, what man is, how we relate to each other.

JB: But that demands redefining the terms of the western world…

AL: And both of us have to do it; both of us have to do it…

JB: But you don’t realize that in this republic the only real crime is to be a Black man?

AL: No, I don’t realize that. I realize the only crime is to be Black. I realize the only crime is to be Black, and that includes me too.

JB: A Black man has a prick, they hack it off. A Black man is a ****** when he tries to be a model for his children and he tries to protect his women. That is a principal crime in this republic. And every Black man knows it. And every Black woman pays for it. And every Black child. How can you be so sentimental as to blame the Black man for a situation which has nothing to do with him?

AL: You still haven’t come past blame. I’m not interested in blame, I’m interested in changing…

JB: May I tell you something? May I tell you something? I might be wrong or right.

AL: I don’t know – tell me.

JB: Do you know what happens to a man-?

AL: How can I know what happens to a man?

JB: Do you know what happens to a man when he’s ashamed of himself when he can’t find a job? When his socks stink? When he can’t protect anybody? When he can’t do anything? Do you know what happens to a man when he can’t face his children because he’s ashamed of himself? It’s not like being a woman…

AL: No, that’s right. Do you know what happens to a woman who gives birth, who puts that child out there and has to go out and hook to feed it? Do you know what happens to a woman who goes crazy and beats her kids across the room because she’s so full of frustration and anger? Do you know what that is? Do you know what happens to a lesbian who sees her woman and her child beaten on the street while six other guys are holding her? Do you know what that feels like?

JB: Mm-hm.

AL: Well then, in the same way you know how a woman feels, I know how a man feels, because it comes down to human beings being frustrated and distorted because we can’t protect the people we love. So now let’s start –

JB: All right, okay…

AL: - let’s start with that and deal.
Essence Magazine, 1984

Saturday, October 10, 2015

Mad as Hell

The "mad as hell" monologue from the film Network. I'm thinking about translating it into Chamorro this week. This past week I was having my students write letters in Chamorro to politicians and someone mentioned how "mad" they should be in their letter. As mad as you want to be. Na'chilong i siniente-mu yan i tinige'-mu.

Sometimes, as the monologue makes very clear, sometimes the fury, the catharsis can be the cleansing of the soul, the clearing of the mind that can allow strategic action. Other times it can be something which ends up being enjoyed as the action itself, rather than the first step to political action. That dangerous step of boldly and angrily declaring yourself out of agency or activity.

I remember last year when the elected officials at Adelup and at the Legislature quietly passed for themselves a pay increase. The amount of anger that appeared was significant. For a few days it was everywhere. People would randomly speak out it. People would randomly rant about it on social media. It was even in the papers and on the radio. Some politicians felt the pressure while others knew that it would go away. For the most part it did. It got subsumed into the general distrust that people have about their elected leaders and feeling that they are inept or corrupt. The anger became nothing, didn't inspire much new vigilance, didn't create a large amount of change (although there were a few quiet protests and a few voices on social media who are still trying to remind everyone). But this is always the task of the activist, the activator, the community organizer of whatever political persuasion. Gaige huyong gi kumunidat i binibu. Guaha na biahi i manannok pat ti manoppan. Lao gigon na humongga pat mali'e', debi di un hakot, sa' ayu i amot para i prublema yan chetnot gi taotao-mu.

Here below is the tirade from the movie Network, it was performed by Peter Finch, playing the role of Howard Beale:

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I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth. Banks are going bust. Shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TVs while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be.

We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is: 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.'

Well, I'm not gonna leave you alone. I want you to get MAD! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman, because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. (shouting) You've got to say: 'I'm a human being, god-dammit! My life has value!'

So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell: 'I'm as mad as hell, and I'm not gonna take this anymore!'

I want you to get up right now. Sit up. Go to your windows. Open them and stick your head out and yell - 'I'm as mad as hell and I'm not gonna take this anymore!' Things have got to change. But first, you've gotta get mad!...You've got to say, 'I'm as mad as hell, and I'm not gonna take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first, get up out of your chairs, open the window, stick your head out, and yell, and say it: 'I'm as mad as hell, and I'm not gonna take this anymore!'


Thursday, October 08, 2015

The Heart of the Language

I've spent the past week asking several dozen people what the favorite classical music choices were of an 89 year old Chamorro man who passed away last week. It has been a strange experience on so many levels.

Jose Mata Torres, who I spent close to two years working with passed away last week. I assisted him in getting his memoir titled "Massacre at Atate" through the research, editing and publishing process. After learning he had passed away I immediately felt the need to do something to commemorate him and his contributions to the community and to Chamorro history. Mr. Torres was a host on the Guam public radio station KPRG for 20 years. His show "classical concert" pushed the boundaries of Chamorro possibility in ways that I still find fascinating. Torres was a proud Chamorro man, who felt it was very important that Chamorros keep their language alive and also keep alive a memory of their culture even if it has changed substantially from his youth. When I first met Jose Torres I admired him for his actions in World War II, when he joined other men from the village of Malesso' and they fought and killed the Japanese who were guarding them in a concentration camp. I later admired him for his dedication to seeing the story of those mighty men of Malesso' be published through his book. His unwillingness to let that story fade into oblivion, but that it serve as an important reminder to Chamorros for generations to come.

But now, with his passing there is something else that I have come to admire about him, and that is his willingness to sometimes push the boundaries on what is or isn't Chamorro. I've been writing on my blog and in my Guam Daily Post columns for weeks about this issue, about the need to push the boundaries of what we imagine to be Chamorro, and have the language expand and be the force that we use to colonize other domains which we previously thought of as being not Chamorro or the end of the Chamorro, or something which Chamorro culture or language can have no authentic connection or relation to. I have tried to challenge these Chamorro conventions for years, by translating manga comic books, writing about everything from postmodern philosophy to US Presidential politics in Chamorro, and even making a short film Pakto: I Hinekka with my friend Ken Kuper showing how to play the game Magic: The Gathering in the Chamorro language!

For me, the issue is simple, if you somehow imagine that things which are not normally Chamorro, cannot or should not be talked about in Chamorro, you are pushing the language closer to its death. If you imagine that things which are "contemporary" or come from other countries cannot or should not be talked about in Chamorro, you are limiting the language and hence the consciousness of the people. You are tying it to the past and not allowing it to evolve and move forward. You are not allowing it to change and to find new forms, more durable and relevant forms, as the people themselves change. You are basically advocating that the language be less important and less interesting, less cool, less viable today, and as a result killing its vitality for the sake of some preferred version of authenticity.

We should not be limiting what we use the Chamorro language or culture for, but expanding it. As we become more connected to the rest of the world, if we feel our existence is small, is minor, is too rooted, we won't survive the transition. We will silence ourselves and erase ourselves in a casual and pointless manner. Who we are and were and could be will enjoy eternity in the authenticity oubliette.

There was one powerful way that Mr. Torres embodied this idea of the Chamorro not sitting silently as it watched the world of potential wonder rush by. But rather that whatever is out there that strikes us in a very personal way, that we feel connected to and find a meaningful source of emotion and passion as a result, we should find ways to connect it to our language. Hearing Mr. Torres speak about classical music in the Chamorro language was such a treat, it was like nerd prom for my Chamorro nerd sotteru. It was something I would never associate with Chamorro anything, but for him, if there was room for it in his heart, then there should be room for it in the Chamorro language. This is the consciousness, the mentality, that will keep the language alive today. This is the still beating heart of our language.

Even beyond his love of classical music, Mr. Torres and I also discussed ways we could take other things he enjoyed and appreciated, literature and plays and translate them into Chamorro or transform them into Chamorro settings. We were working on a project when he passed away and I am hoping to be able to finish it in his honor.

Tuesday, October 06, 2015

Hita i Chamorro

I collect as many things in the Chamorro language as I can. I have my students interview elders in Chamorro. I try to find everything online in Chamorro and cut and paste them into word documents. I have thousands of pages of photocopies children’s books and informational materials in Chamorro. I also, as much as I can try to write down or remember the things that people say to me. I have countless random pages from minutes of meetings, to the backs of student papers, to even napkins from restaurants, all of which have scribbles of Chamorro sentences on them.

As I was trying to find some materials for my class tomorrow, I came across this excerpt from a conversation I had with an elderly Chamorro man last year. I really like its message. I may someday get this blown up and place it on my wall as a poster
Hu faisen i lahi-hu, sa’ håfa malago’ hao umotro? Håfa na un tatitiyi i kustumbren Amerikånu? Ilek-ña tåya’ dangkolu na bidå-ta hun i Chamorro. Ilek-hu, lachi hao lahi-hu. Atan i estoria-ta. I taotao-ta fuma’tinas i sakman yan hita luma’yak gi i tasi antes di todu i pumalu na råsa siha. Hita sumodda’ este na isla siha. Hita fuma’tinas i acho’ latte yan Hita humåtsa siha sin kosas sanhiyong. Ilek-ña i lahi-hu na puru ha’ antigu ayu siha. Pues hu faisen gui’, “Håyi fuma’tinas i mas mangge na nengkanno?” Siempre hita! Chumålek i lahi-hu, lao ha komprende ha’.

Saturday, October 03, 2015

A Man from Malesso'


Jose Mata Torres, who I've spent the past two years working with, passed away earlier this week. I worked with him for more than a year in getting his memoir "Massacre at Atate" published. We held a book launch in February of this year and more than 200 people showed up to hear the story of how the people of Malesso' suffered during World War II, and when faced with possible annihilation at the hands of the Japanese, decided to fight back. We had begun work on another project and I am hoping that I can finish it in his honor.

We would meet regularly sometimes three or four times a month and I will miss those meetings so much.

Below is a list of accomplishments and other bio-data for Mr. Torres.

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Jose Mata Torres was born November 26, 1926 and died September 28, 2015.

He was born in the village of Malesso’ and was a lifelong resident of the village.

He married Carmen Lizama Torres and they had two daughters, Rita Benavente and Carmelita Reyes. He had seven grandchildren and twelve great-grandchildren.

Jose Torres was 15 years old when the Japanese invaded and occupied Guam. In July 1944 he joined with other men from the village of Malesso’ who, led by Jose “Tonko” Reyes banded together to kill the Japanese in their village and liberated themselves. This uprising took place at the concentration camp in Atate.

Following the uprising at Atate, Torres joined five others (Jesus Barcias, Antonio Leon Guerrero Cruz, Joaquin Chargualaf Manalisay, Juan Meno Garrido and Juan Atoigue Cruz) who sailed out in a canoe to send word to the American ships circling the island about the Japanese atrocities. The six men were initially picked up by the USS Wadsworth and later transferred to the USS George Clymer.

Torres attended schools in Malesso’ and Hagatna, and after the war attended and graduated from St. John Fisher College in Pittsford, a suburb of Rochester, New York.

On Guam Torres worked for the US National Institutes of Health research team that was studying Guam’s high incidences of Amyotrophic Lateral Sclerosis and Parkinsonism-Dementia Complex, also known as Lytico-Bodig or ALS-PDC.

In 1995 he began hosting a weekly radio show “Classical Concert” on Guam’s public radio station KPRG. On his show he would share his love of classical music with the island, frequently expressing his joy for it in the Chamorro language. He retired his show in 2015 after 20 years on the air, after being named a “living legend” by the crew at KPRG.

In 2010 he was interviewed as a featured guest on the internationally syndicated show “Exploring Music” with Bill McGlaughlin. He discussed the beauty of Guam, his experiences during the Japanese occupation and his love of classical music.

In 2012 Torres was chosen as a guest conductor for the Guam Symphony during their show The Music and Legends of Guam at the Aurora Resort in Tumon. Torres fulfilled a life-long dream of his when he conducted the Guam Symphony in their performance of Tchaikovsky’s March Slav.

Torres worked for the US Civil Service on Guam and retired in 1986.

In 2015, he published his memoir entitled “Massacre at Atåte” through the University of Guam Micronesian Area Research Center (MARC) with the assistance of the UOG Chamorro Studies Program. In his memoir he documented not only his own World War II story, but also the heroism of the men who fought the Japanese and liberated themselves, helping to ensure that future generations will be able to read and appreciate their story. 

Thursday, October 01, 2015

Para Si Isa


Gumugupu
Muna’mahålang yu’
Nu Hågu
Yan i matå-mu
Gaige chågo’
Guatu gi tano’-hu


Tuesday, September 29, 2015

Decolonizing Death


People ask me all the time what decolonization means or is. Manhoben, manåmko’, taotao sanhiyong, taotao sanhalom, all hear of this term as they go about their lives, but are unclear as to what it might mean. For most it stirs up fearsome feelings about losing everything that makes life possible and so they are seeking some reassurance that decolonization couldn’t mean that. I have a variety of answers, anecdotes, theoretical lens and concept ready to go, but it always depends on the context. Are they speaking to me about decolonization in a political context? Or is it cultural? Linguistic? Economic? Spiritual? People will conceive of decolonization differently based on their particular interests or their set of phobias. Many will instinctively define decolonization in a particular way because of their fears of feelings of dependency. Others will want to define it in a certain way because of their interest in something changing.

You can conceive of decolonization in a very narrow sense, as either a pointless or useful thing. You can see it as a matter primarily for cultural practitioners, for political activists or for crazy people and narrowly define it so that it is easier to manage, understand or ignore. For me, I believe in the opposite philosophy. As colonization is something that permeates almost all aspects of life on Guam, decolonization must necessarily be something with the same potential scope. As colonization affects the large, the small and all in between, decolonization must be able to work in the same way. It has to be something that we can conceive of as working in a multitude of ways on a multitude of levels. 

To simplify things from this point, I would argue that decolonization can be broken down into two basic ways. The first is when something significant happens that people are aware of and take note of. It can be for example if Guam became an independent country or if it became a state. There is a public, formalness to the event, a feeling that we have entered a new realm of time and that things have changed in earnest. When a previous Governor of Guam wanted to changed the official name of the island to Guahan, he was attempting to facilitate one such sea-level changes, although it did backfire when people realized that emptiness of the intentions and the actions. 

More often than not though, decolonization happens without people even realizing it. Because decolonization is something that ultimately is centered around colonial legacies and what to do with things that are currently attributed to the colonizer’s presence or influence, there are explicit ways that people contend with those things, and people generally fear those sorts of changes as not being possible or advisable. People on Guam lament everything from the economy to the educational system to the government but resist any discussion about changing those things so that they don’t follow the imported colonial models that we have been making minute changes to for decades and centuries. Although people may resist openly these changes, Guam changes constantly, with meaning and identity shifting and people not realizing their own role in the shifting. 
 
I have plenty of examples to help illustrate this point, but I’ll provide a very personal one today for this column. And as the title indicates, I am speaking about “finatai” or death. Prior to European colonization, the religious framework for Chamorros was centered around ancestral veneration. Upon death, family members would become aniti, ancestral spirits who existed around us and could be called upon for help in times of need. The worship of skulls was a key part of this, and as you can imagine the Spanish priests sought to separate, by any means necessary, Chamorros from these totems and these beliefs.

Later Chamorros became Catholic and adopted a European religious cosmology, although aspects of their beliefs prior to colonization persisted. Belief in the aniti, now rebranded as taotaomo’na is still present up until today, but the dominant framework for belief and for giving the world a spiritual structure is one dictated by churches such as i Gima’yu’us Katoliko. Chamorros began to revere and remember their dead in ways that sometimes hinted at their older traditions, but were primarily reliant on Western religious rituals and beliefs.

When my grandfather, Tun Jack Lujan, the Chamorro Master Blacksmith passed away earlier this year we held a burial ceremony for him and sang songs that reflected a Chamorro Seventh Day Adventist tradition, a religion that was only introduced to the island a few generations ago. But we were also happy to welcome to the ceremony the groups Pa’a Taotao Tano’ and Inetnon Gefpago, who opened and close the service with chants. For these groups, they saw my grandfather as an honored elder, a master artisan who had dedicated his life to perpetuating the culture of the Chamorro people. They sang of him not as a soul to be caught by God in death, but as a spirit who connected us to our ancestors for thousands of generations past, long before the introduction of Christianity. 

Just a few generations ago, having cultural dance groups like this was impossible and unthinkable. It would have been further unimaginable to have them sing at a funeral and to honor the dead through references to ancient elders and ancestral spirits. But this is the possibilities for decolonization. When groups such as Pa’a Taotao Tano’ and Inetnon Gefpago take on the task of changing the contours of our consciousness, it can happen without many people even realizing how what was once made impossible via colonization has now been made normal through decolonization.

Sunday, September 27, 2015

Påkto: I Hinekka


The film I made with Kenneth Gofigan Kuper titled "Påkto: I Hinekka" is being shown tomorrow at the Fifth Guam International Film Festival at 7:30 at the Agana Shopping Center Theaters. Below is some information on the film itself and its cast.

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PÅKTO: I Hinekka - Film Synopsis

            “Påkto: I Hinekka” pins nerd ambassadors Ken and Miget in the most epic battle of their lives. While playing the popular fantasy card “Magic: The Gathering” they once again battle to the death, only this time things are different, this time things are in the Chamorro language. “Påkto: I Hinekka” is filled with nerd humor, drama and glory, but more than anything aims to show that it is possible to use the Chamorro language everyday, no matter what one is doing. 

The Chamorro language has existed for thousands of years and has recently become endangered as it is no longer being actively transmitted from one generation to the next. Part of this decline is due to the fact that new media through television, books, films and games that are brought to Guam are discussed and integrated into local identity in the English language. This has created a divide where things which are timely, cool or that which people follow or play religiously is connected to English, whereas Chamorro remains firmly tied to the past and not what people are actively identifying this today.

This film represents an attempt to take one such popular cultural text, the strategy card game, Magic: The Gathering and illustrate the possibilities for expanding the use of the Chamorro language beyond what we normally associate it with. We look forward to making more films such as this one, that help us understand that the vitality of the Chamorro language is directly related to how we use it and what we use it for. By using Chamorro to connect more and more to the things which are popular today we make our language more relevant and more likely to be spoken. Anggen ta la’la’ gi Fino’ Chamoru, ta na’la’la’ i Fino’ Chamoru. If we live through the Chamorro language, we give life to the Chamorro language.

Cast and Crew:

Co-Director: Michael Lujan Bevacqua, Kenneth Gofigan Kuper
Co-Writer: Kenneth Gofigan Kuper and Michael Lujan Bevacqua
Co-Producer: Michael Lujan Bevacqua, Kenneth Gofigan Kuper
Cast: Kenneth Gofigan Kuper and Michael Lujan Bevacqua
Cinematographer: Leonard Leon
Production Assistant: Elizabeth Kelley Bowman

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