The Sound of Silencing

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 Chamoru musicians who recorded and released Chamoru music in the 20th century, today there are only a handful. 

I have been reflecting on this today, after seeing while searching the internet, this article from 2017 about Matua Sablan, son of music pioneer Johnny Sablan, carrying on his legacy. If more isn't done to support the next generation in terms of writing, recording and releasing music in Chamoru, it could be another sign of the Chamoru language being quieted in our lives.

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 Kåntan CHamoru: Guaha sustånsia yanggen kumånta

Perpetuating the culture through music

by Tihu Lujan

March 19, 2017

The Guam Daily Post

Continuing Mes CHamoru, this Sunday the Guam Daily Post sat down with popular CHamoru cover artist Matua Sablan and several young contemporary CHamoru dance practitioners to review the vibrance and continuity of the more well known parts of the island culture.

Matua, son of CHamoru music legend and pioneer recording artist Johnny Sablan, released his self-titled album in 2014, featuring several renditions of his dad’s songs along with some of his own.

“I’m very passionate when it comes to my music and my dad’s music,” Matua said. “Something that my dad said to me that I’ll never forget is to ‘Keep the culture alive through music,’ so, for the rest of my life, I’ll continue to sing his songs. I’m always going to have a passion for it.”

Dad’s inspiration

Growing up on the island, Matua recalled selling his dad’s CDs to mom-and-pop stores around the island, but never really had the chance to see his dad perform his songs on stage.

Matua does remember one event that still inspires him to this day: his dad performing at the opening ceremony of the South Pacific Games on Guam in 1999.

“I remember being at the John F. Kennedy field with the lights on and hollow latte stones around the stage,” Matua said. “My dad appeared in the spotlight and sang ‘Hafa Adai,’ welcoming all the nations that came here for the SPG games. That was one of the most memorable moments of my dad performing. It was a good time.”

While his dad promoted the CHamoru culture and language through a music career that spanned more than five decades, Matua wouldn’t begin his musical journey until he attended Father Duenas Memorial School.

He said he became interested in music throughout middle and high school and started his first band with some friends during his senior year, covering a range of popular songs of the time.

Performing in Chamoru

It was during this time, back in the late 2000s, that Matua said he really began to think about his culture and how he could contribute to its perpetuation. Near 18 years of age and with the advice of his dad, Matua decided that he would start singing in CHamoru by performing his dad’s songs.

“My dad kept telling me that I didn’t need to be an activist on the front lines and that I could still preserve the culture in other ways,” Matua said. “My dad told me ‘The way I did it was by making music.’ And he knew that I was into music too. That’s the whole reason I took an interest in CHamoru music.”

Matua said that he was born and raised in the CHamoru culture, but sought more than to just accept it as his demographic.

“I needed to identify who I was as a person in this world,” he said. “I wanted to be Chamoru. I was born and raised as an island boy, but what really is an island boy? I wanted more of an identity and so I became interested in our culture and our arts.”

A few years after this realization, the 23-years-old released his freshman album with several covers of his dad’s most recognizable songs, including “Nobia Nene,” “U Guiaya Hao” and “Hafa Adai.”

Local music scene today

Just like in the 1980s and '90s, Guam has recently seen an emergence of contemporary local artists covering popular songs from the albums of legendary CHamoru singers.

“I think it’s great for those that are already an artist or aspiring to be one to come out and sing CHamoru,” Matua said. “That’s the same reason why I started singing my dad’s music. I’m sure they're still people trying to figure out their identity, so I encourage it, I praise it, and I’m open to anyone who wants to sing music in their native tongue.”

Iconic CHamoru artists like J.D. Crutch, Gus and Doll, Alexandro Sablan, The Guam Sirenas, Frank Magellan Santos, K.C. DeLeon Guerrero, Candy Taman, Frank "Bokonggo" Pangelinan and many others have paved the way for new artists visible in online music forums such Acoustic Attack Guam and several Guam music YouTube channels.

“It’s not a matter of trying to keep up with Joneses, it’s just a matter of trying to find personal happiness and success,” Matua said. “When you look at what these artists and other celebrities have accomplished, you go back to your family and say ‘Mom and dad, I want to be like them one day.’ Those are just stepping stones for you to capture that success and to be successful on your own terms.”

Keeping the culture alive

For CHamoru youths or those interested in the island culture, Matua recommends pursuing cultural interests of any kind and to be proud of the CHamoru identity.

“All I can say is that for those of us that are seeking to identify ourselves as a CHamoru race, continue to find whatever outlet it is – whether it’s music, arts and crafts, weaving, blacksmithing, or even just being a fisherman. Learning all of these things that make us a CHamoru race. By all means continue to do it and do it well, so that we can share it with our kids.”

As for the future of CHamoru music, traditional or contemporary, Matua is one of the many emerging local artists hoping to perpetuate his culture through passion.

“Some of us say the languages is dying, but as long as we learn from our parents’ generation and the ones before them, it’s always going to be present. And as long as there are people who have an interest in it, we can forever keep it alive.”