NO REST FOR THE AWAKE - MINAGAHET CHAMORRO

During the pandemic lockdown on Guam, I was feeling at various points, like so many, stressed and anxious about the world and what was happening and what might happen. I was fortunate to still have a job during the lockdown, and because of technology like zoom and social media, I could still keep up my community work, by teaching classes in the Chamoru language and also history. I also was able to keep up with Fanachu! the podcast for Independent Guåhan. Because of so many people sheltering at home, our audience grew exponentially. One thing that I found myself doing more, like most people with a certain level of privilege and comfort, was watching more things online, on laptops and on my phones. Movie theaters were closed, but Netflix and Youtube were always open, so long as I had data on my phone and wifi in the home. As most people were locked down, sheltering in place, only encouraged to go out and explore for essential tasks or errands, things in general started to shift to becomi

For my intermediate Chamoru coffeeshop classes, which during the current lockdown, have been moved online, we translate a Chamoru song into English each week. We listen to the song twice, go over the lyrics, sometimes talk about the cultural dimensions of the song or the metaphors and history that it invokes. It is one of my favorite ways to teach the language, since it involves not only teaching the language itself, but also making connections across generations and sometimes using the nostalgia that people have to encourage further learning. My lyrics are often from just listening since few Chamoru albums include lyrics. This means that sometimes my lyrics are slightly to noticeably off. But even years after doing this regular assignment, I still learn new things from this exercise, even for myself. Sometimes I hear lyrics in a new way and realize I was singing them wrong for years. Last week, at the request of one of my students, we translated the song "An Mo'na Hao&quo;

For the past few months my Saturday morning Chamoru coffee shop classes have been structured around two activities. Each class begins with the translation of a Chamoru song into English. Usually the students get to the pick the particular song, or at least the type of song. Second, we go through a longer narrative, sometimes a story, a speech or a poem in Chamoru and also spend time translating it and practicing reading it. As a result of this, I've been translating lots of Chamoru songs lately. When I first started learning Chamoru, gi minagahet, I was terrible at transcribing Chamoru songs. I hadn't grown up with the ear for hearing or catching Chamoru and so my transcriptions of songs were often wildly inaccurate. For the first few years I had people both politely and impolitely correct my attempts at transcription and then translation. My ear for Chamoru has gotten better, but I still struggle sometimes with particular artists who may have their own flair for pronunciat

Imagine a Decolonized Future for Guåhan at Independent Guåhan’s “Na’lå’la’: Songs of Freedom Vol. 2” Concert on July 4 th . For Immediate Release, June 20, 2018 – Each July 4 th the island commemorates the independence day of the United States, despite the fact that Guåhan remains its colony. On that day last year Independent Guåhan organized the concert “Na’lå’la’: Songs of Freedom,” which was attended by more than 600 people. Independent Guåhan is proud to announce Volume 2 in their concert series, to take place on July 4 th from 3-6 pm in the front field at Adelup. This event is free and open to the public. Independent Guåhan is an organization that is committed to educating the island community about the importance of Guåhan’s decolonization and the possibilities should it become an independent country. The organization has spent the past two years organizing General Assemblies, village meetings, teach-ins, petition drives, coffee shop conversations and podcasts. The Na’

On April 7, 2017, more than 800 people gathered in the field in front of the Ricardo J. Bordallo Government Complex in Adelup, Guåhan for the “Respect the Chamoru People Rally.” The event, organized by a grassroots collective of volunteers, aimed at celebrating the culture of the island’s indigenous people, the Chamorros, and at helping remind the Guam community about the need to maintain a respectful relationship to them in their island homeland. The event was non-partisan, backing no political candidates or agendas. Over the course of the event’s 2 ½ hours, 15 speakers shared stories of the struggles of Chamorros in the past and the need to protect their island and heritage for future generations. Cultural groups offered blessings. Poets and musicians delivered inspiration through powerful words and melodies. Community organizations manned tables providing information on the military buildup, decolonization, and cultural preservation. The Håya Foundation, which seeks to preserve

My Pacific Daily News columns from the past two weeks focused on Chamorro music and how to determine what makes a great Chamorro song. It didn't pick any favorite Chamorro song, but it was fun thinking about the issues and how one might go about it. Here are the two columns. ******************* The decades since World War II have brought a great number of changes to Chamorro culture and Chamorro life. Practices and trades once considered essential to life have disappeared or been adapted to societal and technological changes. The decline of the Chamorro language is one of the clearest ways you can perceive these changes. But there is one way in which the Chamorro language, even as it was banned in schools and not taught to children in many homes, remained alive and well, and that was in Chamorro music. During a time of rapid Americanization, where Chamorros were actively giving up and tossing away things that had once defined them proudly as Chamorro

Each month Independent Guåhan honors a Maga'taotao or an elite, pioneering or noble person, who has fought hard in some way for the rights of the Chamorro people, especially in terms of self-determination. This month we are honoring the late Clotilde "Ding" Castro Gould who was a war-survivor, an educator, author, song-writer and a master story-teller. She is best known for her creation of the Chamorro language comic strip Juan Malimanga, which appears in the Pacific Daily News six times a week and her role in helping develop the bilingual and bicultural education program in Guam’s public school system. Tan Gould was also a member of PARA (People's Alliance for Responsible Alternatives) and OPI-R (Organization of People for Indigenous Rights), and as a political activist fought hard for the right to self-determination of the Chamorro people.  Para Guahu, there is an extra dimension to this honor, as I, through my work in the Chamorro Studies Program