NO REST FOR THE AWAKE - MINAGAHET CHAMORRO

  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...

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 t...

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 ...