NO REST FOR THE AWAKE - MINAGAHET CHAMORRO

I put this together for a Chamoru language curriculum project I was working on a few years ago. It was meant to be an appendix to go along with other cultural components about learning Chamoru. The list started with the work of Malia Ramirez and then I added on a few more here and there. It is by no means meant to be exhaustive or complete. Chamoru family names are still evolving, although perhaps not at the rate they have previously. For every Chamoru, there are a number of names they can claim, but unless they are running for office, tend to only invoke one or two when representing their identity.  I returned to this list recently while discussing the topic in one of my Chamoru language classes. For many Chamorus in the states or who grow up on Guam without much emphasis on their heritage, they assume that their "family name" is their last name. I have had many troubling conversations with young people who assert that their clan name is "Leon Guerrero" or &qu;

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