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Right to Democracy and Right to Self-Determine

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In my life I have attended a number of events, whether in person or virtually, where representatives were gathered in solidarity from each of the current US territories. But in these spaces, there was usually just a single representative from different territories, owing to the distances or difficulties in physically bringing together people Guam, the CNMI, the US Virgin Islands, Puerto Rico and American Samoa. One thing that made the recent Right to Democracy summit different for me, was the amount of people in attendance representing each of the territories, and how each community wasn’t reduced to a single voice, a single soundbite or a short presentation. The experiences of those in the current US territories was not on the fringes or the margins, which is the norm, but instead we were all centered. This summit focused on developing a network across the territories, with the aim of helping to dismantle US colonialism, created a lot more possibilities than usual and that was exc
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The First Chamoru Female Navigator

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Every week I host the podcast Fanachu. In the past my role was something in the background with others such as Manny Cruz, Lawrence "Siguenzama" Lizama or Albert Toves and Hannah Rebadullah taking the lead.  Since the pandemic, I've been the primary producer and host for Fanachu, and it has been tough at times trying to put out an episode kada simåna, with so many other things constantly going on in my life. I've been grateful for a handful of other creators who have come along to help produce content for Fanachu and give me some breathing rooms some weeks.  Recently Monaeka Flores from Prutehi Litekyan and Independent Guåhan has been great in terms of hosting and helping organize guests related to current protest movements on Guam. I'm excited that next year Tori Manley, a young up and coming Chamoru activist with Replenish Earth will be taking on regular episodes.  One of the most consistent people in the past two years in terms of helping produce content is Ann
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Adios Siñot Kin

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  Earlier this month, Siñot Kin "JC" Concepcion, who was an inspirational elder to me, but also a good friend passed away. I have spent the days since his passing reflecting on his impact on me and on the wider Chamoru/Guam community over the course of his life. The first time I really remember meeting and talking to Siñot Kin "JC" Concepcion was in 2014 when his family was pushing for the legalization of medical marijuana on Guam in honor of his son, the singer Savage K. The family had asked if I could sponsor a film screening at the University of Guam as part of their community campaign and I was very happy to do so. The love and loss he felt for his son who had died the year prior was powerful and manifest then and it remained so in all the time I knew him. For the next few years, I would regularly see Siñot Kin at KUAM, where he was sometimes interviewing me and sometimes producing others. I was thankful for what he was doing in terms of continuing to pr
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Growing Up in Malesso'

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When we think of the past in terms of Chamoru history, we tend to simplify and flatten it. I am not immune from this, even when lecturing or teaching about Chamoru history, I have caught myself doing it as well. For instance, when we look at the ancient past we often times ignore references to castes or classes in Chamoru society prior to colonization by Europeans.  For me, I don't believe that the representations offers by the early Jesuit missionaries are particularly accurate in terms of describing Chamoru power dynamics.  But there was definitely divisions in society, but it is so tempting to simple ignore them and act as if all were united prior to Magellan.  A similar phenomena exists in relation to the pre-World War II era.  It is very tempting to see that time through the lens of nostalgia and simplicity, as an epoch prior to the complicated times of today. With so many of our elders telling stories of no crime, unlocked doors, close knit families, everyone having land to w
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Aye na Påtgon

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  When I first listened to this song more than 20 years ago, gi hinasso-ku gof na'chalek, lao ti hu komprende i tinahdong-ña gi kostumbren Chamoru. I was not aware when I first listened and translated to it, how much deeper the meaning is beyond the silly things described in the lyrics.   This song "Aye na Påtgon" from Johnny Sablan's album "My Marianas" describes a father taking his son to the ranch to try to teach him some basic life skills.  But for everything that he tells his son to do, his son does something different and sometimes nonsensically, as well as all around gago'.   For instance he tells his son to boil the papaya and the coconut and instead his son goes to pick berries.   He tells his son to go collect firewood but he doesn't actually come back until all the cooking is done.  The lyrics are silly and more about sounding fun or funny than actually depicting something real. But when I was younger I never connected this song to earlier
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Sounds both Old and New

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Sunidu Pasifika was formed prior to the 12th Festival of Pacific Arts (FESTPAC) held in Guam in 2016 to help teach the making and playing of the belembaotuyan to future generations. The group performed as part of the two-week festivities, including a rendition of “Fanohge CHamoru.”    Sunidu Pasifika was led by Delores Taitano Quinata, who was the last apprentice of Master of CHamoru Culture for the belembaotuyan, Jesus Crisostomo. She was assisted by musicians Ruby Santos and Jesse Bais, as well as her husband Joe Quinata from the Guam Preservation Trust.    Many of the members of Sunidu Pasifika were CHamoru language and culture teachers in Guam’s public schools, who learned how to make and play the belembaotuyan with the hopes of bringing this knowledge into their classrooms.   I look forward to hearing more of the belembaotuyan around the island, especially in schools. I wish some younger Chamoru musicians would take the sound and auto-tune it or find ways to transform it.    Below
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The Sound of Silencing

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In the 20th century, the fate of the Chamoru language depended heavily on the development of a contemporary Chamoru music industry. This is something that is scarcely discussed both in historical terms, but sadly even less so in terms of what it may take to revitalize or sustain the language in the future.   As the Chamoru language was rapidly losing relevance in society following World War II, with the language being used less and less, especially among younger generations, the creation of Chamoru music was essential in creating new and contemporary possibility for the language. It wouldn't be chained to the past, something to just disappear and fade away. It was something tied to the current moment, something that could gain new sounds and new life.   But with the decline of Chamoru music in the past two decades, as fewer and fewer artists are releasing songs or albums in the Chamoru language, means that this source of vitality has disappeared as well. Compared to the hundreds of
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