This is the full story as told in the book, Estorian Inalahan.

Malagua’i, was a powerful chief of Tomhom, in the north of Guahan.  He came to Inalahan in his canoe to challenge Gadao.  Upon beaching his canoe on the bayside, he met a man whom he mistook as a servant or assistant to Gadao.  The man was in fact, Gadao; but he continued to pretend to be Gadao’s assistant and invited Malagua’i to sit and eat while they awaited Gadao’s return.

While they waited, Gadao began to prepare food.  First, he obtained coconuts from a tree by shaking the tree instead of climbing it to pick the fruit.  Next, he squeezed the cream from the coconut by twisting the unopened nut in his bare hands.  Seeing this, Malagua’i thought to himself that if the assistant was so strong, how much stronger must be the chief; and he decided to leave.  

 

 

As he got into his canoe, Gadao revealed his true identity and jumped into the other end of Malagua’i's canoe.  Malagua’i paddled furiously toward the sea, and at the same time Gadao paddled in the opposite direction.  The strength of the two men was such that the canoe broke in half.  Malagua’i shot out to sea in his half of the canoe, while Gadao’s half cleaved into the land, creating the Inalahan river.  Following this battle, Gadao wrote about the story in the cave at the mouth of Inalahan Bay.  

 

 

In actuality, we do not know the age of these cave writings, nor their meaning.  Who knows?  Maybe this piece of oral history comes as close to the truth as we will ever find.  A bronze statue of Gadao in his half of the canoe is located near the north entrance to Inalahan, near the head of the bay and the mouth of As Misa River.  The statue was commissioned and dedicated by Inetnon Famalao’on in 1986.

 

 

*the legend of Gadao batik is a downloadable gift upon registering with Guam Batik Gallery.

Thanks to Samuel Flores for the use of his Gadao painting photograph.

 

 

 

If a society is able to produce some type of art, it uplifts that society. They have something that makes their identity… It’s more than just a physical, day by day struggle to put food on the table. It’s a sign that that society, that family, that whoever it is, has aspired to greater things – Judy Flores

U Matuna Si Yu’os spoke with Ms. Flores recently on the nature of art and the role of the artist in the life of faith.

Q: When younger generations are asked, “What is art?” the response is often, “Whatever you want it to be” or “Whatever you think is art.” For the rest of us, things might have artistic qualities or they might be pleasing to the eye, but that doesn’t necessarily make it art. Now comes the simplest but hardest question: what, to your mind, is “art?”

A: To me, art is a way to elicit emotions from the viewer, and my philosophy has always been to elicit this feeling of beauty and peace. I know art can elicit other things, but those are the emotions I wanted to draw out of the viewer.
I remember after I’d already graduated from University that there was a very dynamic professor there, and the art department was thriving. But it was ugly art. Yes, it was art, but it wasn’t something you would ever want to see in your house. His philosophy was that it was eliciting responses from people, it can influence change, to elicit horror or a rebellious nature, and that’s what he was doing. There were letters to the editor in a back-and-forth about people not liking what he did, and he would respond.
My response to this is that I really don’t want art like that in my living room. Art is a very personal thing. It is something I want to live with. Yes, it can be used for other things, but my manipulation of art is to help people make a connection…That’s what I do with my art.

Q: Your answer reflects the understanding of art as for the sake of beauty itself. That’s the traditional view of it—even the Catholic philosophical view of it. Some Catholics like Etienne Gilson note that art is not really about expression for the artist; it’s an act of making. The expression comes in the receivers’ response to that act of making. Do you think that philosophical approach to art holds water: as an “act of making” since there is a real skill, or craft, in this type of production?

A: Yes, there is a craft in the production of feeling, the projection of that feeling, for someone else to get. The feelings I get are, to a certain extent, projected and received by a number of people. They like my art because it reminds them of things that are likewise important to me.

Q: That issue of craft seems to pop up and seems to get to the heart of how some of us understand art. Jackson Pollack, for example: his work might be visually appealing, but it’s hard to argue that he demonstrates a real craft there.

A: That’s true to a degree. Early in my art studies in college, and even now, I appreciate an abstract piece if I can see what the artist has gone through—if they can really manipulate the art-form, to have the discipline to know what they are doing, then I am better able to appreciate their abstract art.

Q: In Islamic societies, visual arts are very representative because of religious proscriptions, so artistic forms such as calligraphy are given great priority. The society seems to force the art form, and yet the art-form helps to shape the society to remain that way. With this in mind, what in your opinion is the role of art in society at large, both in Chamorro culture and in society at large, from an artist’s point of view?

A: I think the role of art in society is to uplift the society into a realm of critical thinking and responding to more of a spiritual shift, a response no matter what the religion, to more than making a living and buying enough bread for the day. If a society is able to produce some type of art, it uplifts that society. They have something that makes their identity, and it’s all about their identity and their well-being. It’s more than just a physical, day by day struggle to put food on the table. It’s a sign that that society, that family, that whoever it is, has aspired to greater things.

Q: Moving to the milieu of faith or religion in general—and this question is not meant to be specifically Catholic—how do you see the proper role of art within the realm of religion, or does it even have a legitimate role?

A: In general, looking at the contributions of art, it was patronized by religion for centuries and it supplied this beautiful art, regardless of whether or not we believe in the message the artist is giving us. We just have these beautiful masterpieces because of the patronage of whatever religion. I think religion and religious institutions have done a lot in providing and ensuring an “art history” and providing a standard, so to speak, and have uplifted and allowed artists to project what they hope to inspire in the viewer. If they [religion and religious institutions] didn’t do this, they would still be writing on cave walls.

Q: There’s an old saying in theology that goes: “Lex orandi, lex credendi:” in other words, as we pray, so we believe. So they actual practice of worship tends to dictate the tenets of the belief system. One of the great criticisms of the Church since the 1970s is the gutting of churches, the removal of all art, the removal of statues, and the general appearance of churches that they are just sacred spaces. Using that illustration of architecture as art, how do you interpret the visual arts, music, or any musical modality as “shapers” of faith? Do you see it as transformative in that sense, or do you think that’s overstating the case for the power of art?

A: No, looking at art in the broad sense, the great cathedrals were there for poor people, rich people—anyone could go there and receive through the architecture. I believe it certainly inspired prayer. Not only that, it gave them icons to which they were drawn, and aided in their worship. The art was an intimate part of preparing a person to meditate, to reach out in a spiritual way, because they were surrounded by this atmosphere, and the arts were central to that. The architecture, the paintings, the music. All of it.
For myself, I feel very fortunate to be able to surround myself with art. It really has contributed, if you will, to my quality of life. How drab our lives would be if the arts did not or could not affect us in this way!

Q: Regarding the “vocation” of the artist in the Catholic sense of the term, the artist it would seem based on the awesome power of art does indeed have a “vocation” within the Church, particularly since it does seem (in the Catholic sense) grounded in a certain kind of “making.” How would you interpret the vocation of the artist? What does that mean to be an artist in one’s identity and how one’s life and vocation are lived out?

A: I feel very privileged to have done case studies and to have been around people whose vocation is art. They are not getting rich from it, there is no monetary incentive or reasoning for why they are doing this. Their convictions and identity is tied to this vocation as an artist and in artistic and cultural renewal. No matter what, a person with a vocation in the arts is going to strive to do that. They live and breathe it…And that’s what a vocation is.

Next week, U Matuna Si Yu’os will feature the conclusion of our conversation with Judy Flores on the role of art in the renewal of Chamorro culture and identity.

 

 

 

 

The Guam Batik Gallery would like to lend a hand to Guampedia.com who provides such a valuable resource for those who want to learn about Guam from the people of Guam.  Participating in a 10 minute survey will help them know who you are and what you would like to see Guampedia provide in the future.  The link to their survey will take you to the Guampedia site where you can enjoy the unique collection of  information and images provided there.  You can look for your area of interest by category, or by authors, or specifically Judy Flores’ contributions.

Thank you for your help with the Chamorro Language Suvey.  BEGIN SURVEY HERE.

 

 

We hope your celebrations are full of fun and family.  As for the Flores family, we will gather together at the beach with friends and good food.

To share at the family beach gathering, I made some Katdiyu - fried the atulai real crispy so 

even the bones were crunchy, then set them aside. Added green papaya slices, onions and 

greens to quick cook in some of the hot oil, then seasoned with tumeric, sea salt, fresh 

lemon juice. Added thick lechen niyok as a finishing touch and poured it over layers of 

atulai and veggies - mmmm. 

I had a sample first (over hot rice) and now will take it out to the gang at the beach. 

Happy New Year!

si Judy

 

 

 

 

 

 

 

A Guam Batik Gallery Tradition

Dandan I Panduretas

I never knew what Panduretas were until just recently – I just never thought to ask. This song was always sung on the last night of the Nubenan Ninio.

I knew that “Dandan I Panduretas” meant to make a joyful noise. “Panduretas”, it turns out, are pots and pans and other objects with which to beat on and make a joyful noise.

The Nubenan Ninio (nine days of prayer for the Baby Jesus) is always calculated to end on Christmas Eve, Christmas, New Year’s Eve, New Year’s Day, or Three Kings (January 6).  So Christmas parties were spread out all over Inalahan village as various families celebrated on any of these days.

On the ending celebrations, a full party meal was usually served, with everyone in the extended family contributing food and helping to prepare it.  Hineksa’ Agaga’ (red rice), barbeque fish, chicken keleguin, fish kelaguin, amotsiyas (chopped chicken with herbs, wrapped in pumpkin leaf), tamales gisu (made with corn meal and bacon, wrapped in banana leaf), galai appan lemmai (breadfruit in coconut milk), titiyas mai’es (corn tortillas), gollai agun suni (chopped taro leaves in coconut milk, lemon and turmeric) and whatever produce and meats that came from the family lanchos.

 

Paketin Christmas

In my childhood in Inalahan, I observed that children didn’t wait for Santa Claus.  Christmas presents came from one’s godparents.

My husband, Juan, talks about visiting his godfather and receiving a rooster as his gift.  He came home very happy, and the rooster probably ended up in a Christmas meal.  He talks about his grandmother, Nan Kolasa, working many months to weave each grandchild a new guafak – sleeping mat – for Christmas. 

In my childhood in the late 1950s one’s godparents often gave them money – a couple of dollars that could buy a lot back then.  “Nginge’ Nina, Na’i Pe’ “ was a saying that meant, “Kiss your godmother, receive money.”

 

We still have wonderful Christmases in Guam, and families still gather together, make their bilens, and celebrate the Nubenan Ninio.

It seems that we have so much more of everything – more parties to prepare and to attend, through work and other social relationships.  The children have more toys to play with, more sports to participate in, and more social and school functions to attend.

Parents buy presents (or give money to) godchildren, plus their own children, plus friends and family.  More of everything has created less time to spend with children to prepare the bilen and celebrate the Nubenan Ninio.

Let’s remember what is really precious from our childhood and make sure that our children experience some of the magic we felt in simple celebrations.

si Judy

This is the last of the Chamorro Christmas memories series.  

Felis Nabidat from the Guam Batik Gallery!