NO REST FOR THE AWAKE - MINAGAHET CHAMORRO

10 years ago the cultural arts group Inetnon Gefpågo premiered "Fanhasso, Fanhita, Fanachu" a musical journey through Guam History and Chamorro issues written by Michael Lujan Bevacqua and Victoria Leon Guerrero, with choreography by Vince Reyes. The musical was directed by Clifford Guzman. The cast was made up of island youth in the group Inetnon Gefpågo.  Next Tuesday, December 8th, Inetnon Gefpågo and Independent Guåhan are holding a webinar to reflect back on the 10 years anniversary of this performance, which eventually was transformed into the play Pågat in 2014.  The webinar will be live on the Facebook pages of Independent Guåhan and Inetnon Gefpågo from 10 am - noon on December 8th. To say that I'm excited about this webinar would be an understatement. I am elated to the point where words are starting to fall short of expression.  The musical Fanhasso... was something I worked on with Victoria less than a year after starting teaching at UOG full-time and finish

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

If you were to ask me what type of music is my favorite, I will always say Chamorro music. It isn't really that I like every single Chamorro song, but I will purchase every single Chamorro CD or record I can get my hands on, in order to support one of the main ways that the Chamorro language persisted even during the generations which were quietly trying to silence it by not teaching it to their children. Chamorro musicians deserve far more support and credit than most people give them. They are, within recent Chamorro history, the ones who played the most significant, but unheralded role in keeping the language spoken and alive. While most families did not speak it to their children, collections of singers decided to keep using the language to make music, despite immense pressure to simply sing in English and Americanize the way everything else seemed to be going. Within that collection of musicians a few names stand out more than others. There are those who had their names on t

As part of my collaboration with the Learn Chamorro project I wrote up the following bio for myself. But as the project, led by Troy Aguon is aimed at teaching Chamorro and finding innovative ways to revive the language around us in our lives, I decided to write my biography in Chamorro. Si Michael Lujan Bevacqua, ginnen i familian Kabesa yan Bittot giya Guahan. Nietun Si Tun Jack Lujan i Sainan Menhalom na Herreron Chamorro, ya fina’na’na’gue gui’ as guiya gi kustumbren Herrero desde 2008 asta 2015. I inaligao-ña siha mismo put taimanu na macolonize i Chamorro, ya hafa taimanu na siña ta “decolonize” maisa hit. Para “decolonization” ti manaliligao ha’ gi bandan pulitikåt ha’, lao gi banda linenguahi yan kinettura lokkue’. Gi 2006 ha ayuda umotgånisa i konferensia Famoksaiyan: Decolonizing Chamorro Histories, Identities and Future giya San Diego. Este i fine’nina na konferensia taiguini masusedi gi halom i Chamorron diaspora. Gi 2011 ha ayuda Si Victoria Leon Gue

For years nothing much happened in terms of decolonization advocacy at the governmental level. I wish I couldn't make this statement, but it is unfortunately true. The issue fizzled out towards the end of Governor Gutierrez's last term, and received close to no attention during Governor Camacho's time in office. Even, the island's current chief executive, Governor Calvo, who is currently pushing for a decolonization vote in the near future, did very little for the majority of his term. While it is good to see him coming around on the issue, it has to be acknowledged, that with so little coordinated efforts for so long, it would take a great deal of resources and focus to make up for lost time. It remains to be seen if Governor Calvo recognizes this fact and will do what is necessary to make his current goals a reality. During that time, those in civil society and in particular in academia in Guam did what we could to make up the difference. Every year, either myself

This image is taken from the play Pågat, written by myself and Victoria Leon Guerrero and directed by Michelle Blas. The play was performed at UOG in the Spring of 2014 and received a great deal of attention from the local community. The choreography for the play came from Master of Chamorro Dance Vince Reyes, who has been touring the world recently as a prominent Chamorro folk artist with his group Inetnon Gefpago. This image in particular comes from what he calls the silhouette dance, which was performed to the tune of "Safe and Sound" by Taylor Swift, except sung in Chamorro. It portrays a Chamorro woman during World War II being beaten and raped by a Japanese soldier. She is able to endure however through the help of other women, who support her. The issue of comfort women and sexual violence on Guam has always been something on the edge of my academic consciousness, as during my oral history research it would also pop up, albeit in vague and impossible to pursue ways.