NO REST FOR THE AWAKE - MINAGAHET CHAMORRO

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

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

Typhoon Mawar was the first major typhoon for all of my children. My two older children who are in their teens, had experienced Typhoon Mangkhut in 2018 and Typhoon Dolphin in 2015. Both of these typhoons were damaging to Guam, but not in the same way that Mawar was last month. For my two smaller children, Lulai and Makåhna, this was their first typhoon of any type. And what a first typhoon it was for both of them. Lulai who will be turning 2 in a few months and Makåhna who wasn’t yet 3 weeks old when the storm hit. I am grateful that we weathered the typhoon well, no major injuries other than diaper and heat rashes. Two weeks later we still didn't have electricity and our cellphone service and data remains intermittent. But thankfully we had water albeit low at times, throughout. My partner Desiree and I have both been through major typhoons, with catastrophic destruction and disruption. Mawar was our first as parents. Looking back, it was a dramatically different expe

In 2022 while attending the first ever Native Hawaiian Pacific Islander Museum Institute (NHPIMI) in Hawai'i, I began to write a series of columns for the Pacific Daily News that covered some of the 90 year history of the Guam Museum.   In recent decades the Guam Museum has a fairly complicated history, where at times for years there was no actual museum, just a collection moving from storage space to storage space. Even at times when there has been a physical, dedicated facility for the museum, sometimes there has been insufficient staff or resources. Even legally where the museum falls within the Government of Guam as an agency has changed over the past forty years.  For these complicating factors, the columns focused on the museum's history from the 1930s to the 1970s.  ******************* “Can a Museum Being a Living Institution?” July 21, 2022   I am spending the month of July at the East-West Center as part of the historic first cohort for the Native Hawaiian Pacifi

Chenchule' kumekeilekña nina'i para ayudu gi maseha håfa na cho'cho' familia pat cho'cho' gi halom i kumunidåt. Siña ha' mana'enñaihon salåpe' pat efektos yanggen guaha gupot nobena, fandanggo, måtai, bautismu, showern nobia pat showern påtgon yan yanggen guaha makompliåñios. Gof ayudu på'go na tiempo este i kostumbren Chamoru ni' chenchule', pi'ot ha' sa' gof guaguan siha i bentan nengkånno' gi tenda. Yanggen guaha måtai gi familia, meggai na tåya' plånu ya ti mampriparao i familia para i manadan gåsto. Mangof guaguan lokkue' i ata’ut yan i para ma'entieru. Guaha nai kahulo' ha' i gåsto gi tres pat kuatro mit pesos. Ti opbligao i familia na para u fanna'chocho, lao kostumbren Chamoru na para ma'agradesi i finatton i taotao gi che'cho'-ñiha. Guaha lokkue' meggai na familia ginen i chago' para u fanmanayuda ya nisisario na u mana'fañocho. Tenga ma

I have for several years now been collecting plåkan Chamoru or Chamoru vinyl albums.  Each week I scour the internet searching for records I haven't seen or heard yet.  Every few months I'm able to find a new one to fill in the gaps in my collection.  I have over the past few years been able to find four copies of this album "Dalai Nene" released by Johnny Sablan in 1968. This was the first ever Chamoru language music album and was released when Johnny Sablan was just 20 years old.  I have collected four in all, one for each of my kids (three are already here, one more is a few months out from when I am typing this).  Each will inherit one of them when I pass away.  This album is historic in so many ways, but one thing for me makes it even more unique and special, namely its use of Chamoru for its text.  There are hundreds of Chamoru albums that have been released on vinyl, cassette and CDs. And while all used Chamoru as the primary language for their songs, hardly an