Being able to connect with my CHamoru irensia (heritage) is something that gives me great pride. That pasion (passion) for my kuttura (culture) is hard to explain sometimes but easy to feel. Bailan CHamoru (CHamoru dance) is a big part of my life. It allows me to connect with my irensia. More importantly, I am able to pass it onto my famagu’on (children).
I was born and raised on Guam, so I was able to experience it first hand. Since moving to California, it is a bit of a challenge to share the experiences. Bailan CHamoru makes that possible. Through dance, I am able to share with them the lengguahi (language), kustumbre (traditions), and legends through daily praktika (practice).
In our guma’ (house), Auntie Rose focuses more on performances using the pre-contact era standards. Which means our dances are recreations of the ancient CHamorus. Keep in mind, CHamoru dance was not fully documented prior to nor during Spanish colonial period. Much of that part of our culture was forbidden & essentially lost. So much of the knowledge we have today is because of the 1st Master of CHamoru Dance, Frank Rabon. He is one of the pioneers who has spent his life dedicated to researching the CHamoru history and dance throughout Micronesia. Not only has Uncle Frank done extensive research for the CHamoru culture, but he is also well educated in many other cultures. He has traveled throughout Asia and the Pacific Islands participating in those cultures. From the Festivals of the Pacific Arts to the Austronesian Festivals, he has been able to connect with the many different cultures and people. This has made it possible to bridge the understanding of the similarities and differences. He has created many of our pre-contact dance movements based on the extensive research he as done. Some of which are universal dance steps and some of which depict our CHamoru way of life.
When we are taught dances and dance movements, we are also taught the story (estoria) behind it. We are expected to understand what it means, where it came from and how it ties together with CHamoru culture. There are times we learn movements that are similar to the other cultures. We are taught that there is a difference and it is important to be careful to not mix the two.
Occasionally, we get negative backlash from spectators, even within our own community. We are chastised for how our costumes look and dance the way we do. As a cultural dancer, it can get very frustrating. I want people to know, that I dance with education and research behind me. With todays technology it is easy to see something and have an opinion. It is our job as cultural practitioners to stay positive, persevere, and educate.
I am thankful every day for the pioneers like Uncle Frank and the Tribal Council back home, who have paved the road for me to walk as a cultural practitioner. I am thankful to my teacher who has dedicated years of her life to the movement that her teacher, Frank Rabon, first started.
Praktika, Sustieni, yan Prutehi i Kottura-Mu. Para i Mama’pos pa’go yan Para manmamaila’
Practice, Sustain and Protect your culture. For those who have gone now and those who have yet to come.
“At the end of the day, I have to hold strong to my beliefs and that for what I teach and for what we continue to do is perpetuate and preserve our indigenous culture through songs, dancing, chants and weaving…..that everything we do is to honor our ancestors and to gift off a promising prouder more clearer picture of our people to our children and our future generations to come”
– Fa’fanague Rosemary Mantanona
We are grateful to those who support and appreciate our movement. We also appreciate those who are open to learn about, discuss, and share our culture and why we do what we do. Please enjoy the video providing more insight.
~ Si Dre