NO REST FOR THE AWAKE - MINAGAHET CHAMORRO

  My third oldest child Lulai has officially started cultural dance.   Twice a week, at the MTM Community Center, she dances with Siñora Max Bigler-Tainatongo and the group Guma' Kinalameten i Taotao Tåno'. She is only three years old, much younger than the rest of the dancers, and literally doesn’t know yet the meaning of the word “discipline.” As such, during practices she more often than not dances to the beat of her own drum, causing chaos and confusion, rather than following the lead of others. Lao gof ya-ña sinembåtgo. But she likes it nonetheless.   For me, seeing one of my children in Chamoru cultural dance, is a beautiful moment of decolonization. For many people, they might connect decolonization to being political status change, such as Guam becoming independent or a state or a freely associated entity. Others might hear decolonization and think of it through some of the misconceptions out there of the idea. They might think of it as being, trying to go...

 Maila ya ta fambaila! Independent Guåhan is having an IndepenDaNCE fundraiser this Friday, March 28th from 7-11 pm at Good Company. There will be a Cha Cha Competition with prizes, raffle and silent art and book auction and mångnge music by Ma’lak Mo’na.    Tickets are just $15 and it includes a drink.    We are fundraising to support art and community projects that we have planned for the rest of the year.  Having an IndepenDANCE fundraiser is something Independent Guåhan has been talking, joking and dreaming about since we first started 9 years ago.  This will be a nice way to end Mes Chamoru this year and also hopefully get us primed for some important, creative community collaborations on the horizon. 

In recent years my research and scholarly work has become heavily focused on Chamoru music.  Part of this stems from the fact that my own journey in starting to learn the Chamoru language, more than 20 years ago, was heavily aided by Chamoru music, listening to songs and trying to translate songs with my grandmother.  Party of it also stems from the fact that when you go through Guam's history, even from the perspective of outsiders, music was an essential part of life, and one of the most important ways that Chamorus expressed themselves. This is something that the Spanish smartly focused on in their colonization of the Chamoru people in the 17th century. Using Chamoru and focusing on teaching the new religion through songs. Here is an account from Le Gobien in 1700, At first the natives shyly held back upon the arrival of the ships and did not want to come aboard. San Vitores, however, encouraged them to sing the litany of the Virgin and soon they approached...

A few times each year I testify publicly on Guam about something.  Usually it is at the Guam Legislature over a bill or a resolution or as part of a hearing.  Regardless of what the topic is, I try to do it in Chamoru, especially if I have time to prepare my written comments ahead of time, so they go into the public record.  Chamoru is a national language for Guam, which means that it can be used regularly for public activities and public representations.  Official documents can be in both Chamoru and English. Signage around the island can be bilingual.  The fact that Chamoru is an official and national language of Guam is something that many indigenous groups around the world might be envious of, since it provides for a far amount of existing legitimacy and social/political power.  You don't have to fight for recognition, since the law already accepts it. But sadly we don't do more to build off to this.  It could begin in simple ways, such as public s...

10 years ago the cultural arts group Inetnon Gefpågo premiered "Fanhasso, Fanhita, Fanachu" a musical journey through Guam History and Chamorro issues written by Michael Lujan Bevacqua and Victoria Leon Guerrero, with choreography by Vince Reyes. The musical was directed by Clifford Guzman. The cast was made up of island youth in the group Inetnon Gefpågo.  Next Tuesday, December 8th, Inetnon Gefpågo and Independent Guåhan are holding a webinar to reflect back on the 10 years anniversary of this performance, which eventually was transformed into the play Pågat in 2014.  The webinar will be live on the Facebook pages of Independent Guåhan and Inetnon Gefpågo from 10 am - noon on December 8th. To say that I'm excited about this webinar would be an understatement. I am elated to the point where words are starting to fall short of expression.  The musical Fanhasso... was something I worked on with Victoria less than a year after starting teaching at UOG full-time and finish...

In his uneven, albeit interesting book "The Fire and the Tale (2017)," Italian political theorist Giorgio Agamben provides an anecdote from the history of Judaism that struck an chord for me in terms of debates over Chamoru authenticity in culture, the issue of contemporary Chamoru cultural dance, and our relationship to our past. Here is the anecdote, which is the source of the title for this book on aesthetics.  “When Baal Schem, the founder of Hasidism, had a difficult task before him, he would go to a certain place in the woods, light a fire and meditate in prayer; and what he had set out to perform was done. When a generation later, the Maggid of Meseritz was faced with the same task, he would go to the same place in the woods, and say: “We can no longer light a fire, but we can pray.” And everything happened according to his will. When another generation had passed, Rabbi Moshe Leib of Sassov was faced with the same task, and he would to the same place in t...

One of the aspects of Chamorro life that has frequently haunted me and frustrated me is the division between Chamorros in the Marianas and those who come from the diaspora, primarily the United States. It is a division that so much is made about in everyday conversation, which amounts to very little when you interrogate it. There is often times a perception that those from the diaspora are stuck-up, more Americanized and are completely disconnected from their culture and their identity. There is some truth to this, because much of what we get in terms of our identity has more to do with proximity and frequently than actual choices. You feel a certain way about yourself or you struggle with your identity in certain ways based on what you see around you, although there is always some element of personal agency or choice. Because of this, if you are born in Guam or the CNMI, chances are good you will generally know more Chamorro words or slang. You may know more Catholic songs. You may ...

 Bei fangge' mas put i binaban FESTPAC gi otro biahi. Meggai na prublema, meggai na'ma'a'se gi taimanu na mamaneha i sirimonias. Sigi ha' hu hungok na debi di ta panot ha' este na hinasso siha, lao ai adai. Annai sen annok yan sen oppan i prublema siha taiguihi, para ke na un pañot, ti mampañot'an.

Chamorro Soil, Chamorro Soul by Michael Lujan Bevacqua May 4, 2016 The Guam Daily Post Last week’s University of Guam Film Festival or UOGFF was very exciting for me personally. In three of the films featured, I had a role in creating, whether as an actor, producer or consultant. I had a minor speaking role in the film “You’re Not Going Anywhere…Kid” directed by my former student Kyle Twardowsky, who shot the entire film on his iPhone. The documentary “War For Guam” which was premiered last year on PBS stations around the United States was also shown. It was directed by Frances Negron-Muntaner, a prominent Puerto Rican scholar who teaches at Columbia University. I worked for a several years as a co-producer (along with local filmmaker Baltazar Aguon and others) on this film that shows the Chamorro experience in World War II, primarily through the re-telling of the stories of American holdout George Tweed and Chamorro priest Jesus Baza Duenas. The final film, which was...

2016 Inachá’igen Fino’ CHamoru Chamorro Language Competition March 8 and 9, 2016 University of Guam Theme/Tema: I Fino’ CHamoru: I Guinaha-ta, Iyo-ta yan Ta Fanána’i (The Chamorro Language: Our Abundance and Ours to Share with One Another) List of Winners I. Eskuelan Elementario/Elementary Schools A.     K-2 Dinilitreha/Spelling 1 st Place:         Nathan Galas, Ordot-Chalan Pa’go 2 nd Place:         Antonio Cruz, Mt. Carmel Catholic School 3 rd Place:         Elah Amaqui, Inarajan   B.     3-5 Dinilitreha/Spelling 1 st Place:        Marcy Buekea, J. Q. San Migel 2 nd Place:        Dylan Babauta, Wettengel 3 rd Place:        Ryne Rosario, J. M. Guerrero C.    ...