I first heard this song in the late 80s or maybe the early 90s, I don't remember, in Saipan.
But only recently, 40 years later, did I find out this song by the Saipan musical group Rematau is based on a song recorded by Nat King Cole in 1964!
LYRICS
Mungnga yo' nene lumi'e' agupa' solo ta li'e' na dos.
(I don't want to see tomorrow baby unless we see it together.)
Ma
sångan agupa' bonito na ha'åne para u ina påpa' nu i atdao.
(They say that tomorrow will be a beautiful day, the sun will shine down.)
Mungnga yo' nene lumi'e' agupa' solo ta li'e' na dos.
(I don't want to see tomorrow unless we see it together.)
Agupa' u mågong
todos i pinite gumefsaga nene hinasso-ko.
(Tomorrow all sorrows will be eased, my thoughts, baby, will be happy.)
Mungnga yo' nene lumi'e' agupa' solo ta hita na dos.
(I don't want to see tomorrow baby unless we are together.)
Mungnga yo' nene lumi'e' agupa' solo ta hita na dos.
(I don't want to see tomorrow baby unless we are together.)
Nene an pupuenge
sesso de hu guife na gaige hao gi fi'on-ho.
(Baby, I often dream at night that you are by my side.)
Yanggen ti ya-mo yo' håfa yo' bai
cho'gue?
(If you do not like me, what can I do?)
An Damenggo pat Lunes ti kontento yo' gi dia.
(On Sundays or Mondays I am not happy during the day.)
An ti ya-mo yo', yan ti
ya-mo yo' ti åpmam nene mågi manana.
(If you don't like me, if you don't like me, the daylight is not far from coming.)
Mungnga yo' nene lumi'e' agupa' solo ta li'e' na dos.
(I don't want to see tomorrow baby unless we see it together.)
Mungnga yo' nene lumi'e' agupa' solo ta li'e' na dos.
(I don't want to see tomorrow baby unless we see it together.)
Nene an pupuenge sesso de hu guife na gaige hao gi fi'on-ho.
(Baby, I often dream at night that you are by my side.)
Yanggen ti ya-mo yo' håfa yo' bai cho'gue?
(If you do not like me, what can I do?)
An Damenggo pat Lunes ti kontento yo' gi dia.
(On Sundays or Mondays I am not happy during the day.)
An ti ya-mo yo', yan ti ya-mo yo' ti åpmam nene mågi manana.
(If you don't like me, if you don't like me, the daylight is not far from coming.)
Mungnga yo' nene lumi'e' agupa' solo ta li'e' na dos.
(I don't want to see tomorrow baby unless we see it together.)
Mungnga yo' nene lumi'e' agupa' solo ta hita na dos.
(I don't want to see tomorrow baby unless we are together.)
ORIGINAL
This Chamorro version is based on a 1964 hit song recorded by Nat King Cole titled "I Don't Want to See Tomorrow." The Chamorro version tries to follow the English original very much.
Here's the English version :
(I don't want to see tomorrow)
(Unless I see it with you)
Tomorrow, so they say, will be a lovely day
A bright new sun will suddenly break through
But I don't want to see tomorrow
Unless I see it with you
Tomorrow, so I hear, the clouds will disappear
The door to happiness will open wide
But I don't want to see tomorrow
Unless you're there by my side
Don't want to walk alone
Don't want to dream alone
Just want you close to my heart
For if your love is gone
How can I face the dawn of
Sunday, or Monday?
I just can't face one day
Until you say you're mine, oh, darling, please be mine
And make each bright tomorrow young and new
But I don't want to face tomorrow
Unless I see it with you
(Tomorrow, so I hear, the clouds will disappear)
(The door to happiness will open wide)
But I don't want to see tomorrow
Unless I see it with you
Larry Saralu was singing about marital break-ups since the 1970s.
One of his more famous songs was a Chamorro version of the 1977 Kenny Rogers hit "Lucille."
LYRICS
Annai un dingu i gima’
(when you left the house)
Ni sikiera un fånge’ notisia
(you didn't even write a note)
Na para un hånao i che'lu-ho. (1)
(that you were leaving, my sister.)
Hihot yo’ kaduko, esta hu aliligao hao gi besino.
(I was close to going crazy, I was even looking for you at the neighbor's.)
Pues hu nangga i famagu'on
(So I waited for the children)
Para u fan måtto ginen eskuela
(to come back from school)
Ya puede siña ma tungo’ hao malak måno.
(and maybe they'd know where you went.)
Ya ayo ha’ ilek-ñiha i ma didingu hao gi gima’
(And all they said was you were leaving the house)
Na un preprensa i magagu-mo.
(and you were ironing your clothes.)
Ai na ora para un dingu yo’ Lucille.
(What a time to leave me Lucille.)
Benti åños i tiempo-ta desde ke i umakamo’-ta
(We've had twenty years since we got married)
Ya ennao para un cho’gue
(and that's what you're going to do)
I para un dingu yo’ på'go Lucille.
(to leave me now Lucille.)
Humålom yo’ gi apusento (2)
(I went into the bedroom)
Ya hu sodda’ i aparadot-mo
(and I found your closet)
Na atbietto yan gåsgagas.
(open and cleaned.)
Tåya’ un na’ sopbla, i magågo ni ti un dopbla
(You left nothing behind of the clothes you didn't fold)
Yan palo alåhas.
(and some jewelry.)
Hahasso ha’ i che’lu-ho na manguaiya yo’ nu hågo
(Remember my sister that I love you)
Sa’ hågo i sineda’-ho gof mames.
(Because you are the one I sweetly found.)
I famagu'on gi oriyå-ho ma toktok i sinturå-ho
(The children around me hugged my waist)
Ya sige de manånges.
(and kept crying.)
Thanks to Rose Treltas for helping me with the lyrics.
NOTES
(1) People of equal standing can call each other brother or sister, even if they're married. One wouldn't call someone higher or lower in status your brother or sister.
(2) The apusento is the private section of a home, where non-family members wouldn't go unless invited. The sleeping quarters were in the apusento, although some family members, especially the children, slept in the sala or living room on the floor on woven mats (guåfak). The såla was a public space where visitors could be.
In 1980, a Saipan band called Tropicsette released their album PalasyonRico. One of the biggest hits from that album was a song that even made Guam go crazy, even my own classmates aged 18 years old who could hardly speak, or even understand, Chamorro.
That song was PåtgonNeni.
Everyone on Guam was singing it, even if they pronounced the words badly and didn't understand what they were singing. The song was important on Guam in the way it introduced many Guam people to the "Micronesian" sound in music. Chamorro music on Guam didn't have that sound, but the music scene in Saipan did, since the Carolinians of Saipan had their influence on that island. Since my classmates and I barely understood the words, we loved the song PåtgonNeni because of the sound.
That sound came from Pohnpei.
In a 2008 newspaper article written by one-time Tropicsette member Herbert Del Rosario, to honor Frank Bokonggo Pangelinan, another Tropicsette member who had just died, Del Rosario says the following,
"I must admit the song PatgonNeni was our most popular song, which brought the whole island (Saipan) to Oleai Room (a bar) every weekend to listen to this song which originated from the island of Pohnpei."
With the help of Pohnpeian friends, I was able to find the original Pohnpeian song on which Patgon Neni is based. The song is titled PwurodoKameiehla. I believe it was composed by Daniel Isaac.
According to a Pohnpeian friend, the first line more or less says "Come and take my life, because I have none, anyway, without you..."
Somehow, someone in Tropicsette got to know this song. Candy Taman often borrowed songs from Chuuk and other islands and added Chamorro lyrics to them, but I'm not sure who penned the Chamorro version of this Pohnpeian song.
The Chamorro version is also about a broken relationship, seen from the man's perspective. He tells the woman that if she remarries, then bring their child to him, since it would be bad for the child to be raised by another man who is not his father.
CHAMORRO LYRICS
Pues adios ya bai hu hånao.
(So goodbye and I will go.)
Ya an siakåso na umassagua hao
(And if you should marry)
Pot fabot konne' mågi i patgon nene.
(Please bring the child here.)
Na'ma'ase' i patgon yanggen otro tåta para u atiende gue'.
(Pity the child if another father will care for him/her.)
Hånao mågi ya un nangga yo'
(Come here and wait for me)
ya un sångan ha' ya bai hu hånao.
(and just say so and I will go.)
The Tropicsette recording then goes on to sing a verse in Carolinian and finally a verse from the Pohnpeian original.
Here is a recording of the original Pohnpeian song :
This song was recorded more than twenty years ago by the Singing Bus Drivers of the Department of Public Works.
LYRICS
I puti’on kahulo’ åntes de hu maigo’.
(The star rises before I sleep.)
I pilan sumåhe gi uriya. (1)
(The moon nearby wanes.)
Ya bai hu sodda’ i kayon ya hu dalalake. (2)
(I will find the path and I will follow it.)
Osodda’ si nene ni hu guaiya. (3) (4)
(Go to find the baby whom I love.)
Ya i kamå-ña gaige gi fi’on bentåna.
(And her bed lies by the window.)
Na ini’inan i pilan hålom.
(Where the moon shines in.)
Ini’inan i pilan mampos triste.
(The shining of the moon is so sad.)
Ha na’ fåtto piniti-ho.
(It brings my sorrow to me.)
Ya desde ayo na momento nai hu hasso
(And from that moment is when I remembered)
fina’tinås-ña si nene nu guåho. (5)
(what baby did to me.)
LANGUAGE NOTES
(1) Uriya literally means either the edge of something or the immediate vicinity of something . It is borrowed from the Spanish orilla which means the edge or outer limit of something (the edge of a table, the banks of a river, the rim of a cup, the hem of a garment). From there Chamorros broadened the meaning to include the immediate vicinity or surroundings of a thing because the edges of things are in the vicinity of the thing, just not at the center.
(2) Sodda'. Because the recording is from many years ago and probably a copy of many copies, the audio quality is rough at times and the words not entirely clear. So there is a possibility that the singer is saying SOTTA instead of SODDA'. Sotta means "to let go of." In this case, the song says the singer will leave the road (the path of life he is on) and follow the star which will lead him to the one he loves.
(3) Osodda'. I am not 100% positive this is what the singer is saying and he has passed away so I cannot ask him. But I can think of no other word that comes close to what I am hearing him sing and it does make sense, though it is the first time I have heard this word used, if in fact it is the word he is singing. Sodda' many of us know means "to find." When we attach an O or an E in front of a word, it can mean "to be in search of." To OPÅNGLAO is "to go in search of land crab." So OSODDA' would mean "to go in search of finding something."
(4) Nene literally means "baby" but it's also a term of endearment, just as we say in English, "Baby darling."
(5) Fina'tinas literally means "something made" but here it means what someone did, because our actions are what we make happen. The Chamorro term for "Act of Contrition" is Fina'tinasSinetsot.
One of my favorite Candy Taman songs. On the surface you'd think it's all about different flowers, but he told me the heart of the song is, "Håfa taimano siña un konsuelan maisa hao, para un disimula i piniti-mo." "How you can comfort yourself, to cover your pain."
The melody is a traditional one from many years ago.
LYRICS
Flores de Dios ginen as adetfa.
(Flower of God, from the oleander)
Ya si hasmin triste gi kamå-ña.
(and jasmine, sad in her bed.) (1)
Tamantiget malåyo hagon-ña
(The petals of the tamantiget are wilted) (2)
Na sige de tumånges ya mumaleffa.
(as she weeps continuously and then forgets.) (3)
Hågo solo et mås bonita
(You alone are the most beautiful)
Na flores gi halom korason-ho.
(flower inside my heart.)
Ya petmanente guine sagå-mo
(And you have a permanent place here)
Ya ti un li’e’ nene ine’son-ho.
(and you will never see my fatigue.) (4)
Ai ai ai ai keridå-ho
(Oh my beloved)
Hågo flores gi halom korason-ho.
(You are a flower within my heart.)
Flores rosåt gi halom maseta
(Rose flower in a vase)
Sen bonita ya bai hu respeta.
(Very beautiful and I will respect it.)
Kada dia siempre bai hu rega
(Each day I will surely water it)
Ya ti bai desatiende ti bai maleffa.
(And I won't ignore nor forget about it.)
Ai ai ai ai keridå-ho
(Oh my beloved)
Hågo flores gi halom korason-ho.
(You are a flower within my heart.)
Ai ai ai ai todo i tempo
(Oh all the time)
Ya ti un li’e’ nene ine’son-ho.
(And you won't see my fatigue.)
NOTES
(1) Bed, as in bed of flowers.
(2) Tamantiget. The name of a flower in Saipan.
(3) The sad flower weeps and by weeping forgets her sorrow and is consoled.
(4) Ine'son comes from the adjective o'son which means "weary or fatigued" but emotional and mental tiredness, not physical fatigue. When one sees a person too much, or has been watching TV to the point of boredom, one becomes o'son. Ine'son is the noun form (weariness, boredom, fatigue).
A song recorded by the Saipan musical group Rematau.
Mames korason (Sweet heart)
yanggen konfotme hao (if you agree)
na un guaiya yo' (to love me)
sa' hågo ha' i guinifi-ho. (because you alone are my dream.)
Triste yan mahålang (Sad and longing)
ya bai hu padese (and I will suffer)
yan i putin korason-ho (and the pain of my heart)
nene aksepta yo'. (baby accept me.)
Matå-mo sen asut, (Your eyes are so blue,)
fasu-mo sen freska (your face so fresh)
lao i guinaiya-mo nene (but your love baby)
ti para guåho. (is not for me.)
Sångan i magåhet (Tell the truth)
kao esta guaha otro (if there is already someone else)
ya bai fan aligao lokkue' (and I too shall search)
para i lina'lå'-ho. (for someone for my life.)
VERSIÓN ESPAÑOLA
(traducida por Manuel Rodríguez)
Una canción grabada por el grupo musical de Saipán, Rematau.
Mames korason
(Dulce corazón)
yanggen konfotme hao
(si estás conforme)
na un guaiya yo '
(para amarme)
sa' hågo ha' i guinifi-ho.
(porque solo tú eres mi sueño)
Triste yan mahålang
(Triste y anhelante)
ya bai hu padese (y voy a padecer) yan i putin korason-ho (y el dolor de mi corazón) nene aksepta yo '. (nena acéptame) Matå-mo sen asut, (Tus ojos son tan azules) fasu-mo sen freska (tu cara tan fresca) lao i guinaiya-mo nene (pero tu amor, nena) ti para guåho. (no es para mí.)
Sångan i magåhet (Di la verdad) kao esta guaha otro
(si ya hay otro más) ya bai fan aligao lokkue ' (y yo también buscaré) para i lina'lå'-ho.
Some thirty years ago, the late Vicente M. Perez wrote a song in tribute of the employees of Guam's Department of Public Works, to honor all the work they do for the island community.
He gave the song the title "I man ga'chong gi Public Works." Ga'chong means "companion," someone you are with on a journey, or in some event, or staying in the same dwelling. It can also mean people you're associated with in work. So it can mean the gang, the crew and similar words.
LYRICS
Maila’ ya ta saluda
(Let's salute)
i man ga’chong gi Public Works
(the crew at Public Works)
pot todo i ånimon-ñiha
(for all their valor)
yan cho’cho’ para hita.
(and work on our behalf.)
Pues måtto i momento
(So the moment has come)
para ta onra siha på’go.
(for us to honor them now.)
Ta agradese i che’cho’-ñiha
(Let us appreciate their work)
ginen este mañe’lu-ta.
(from these our brothers and sisters.)
Man ma konne' i famagu’on-ta
(They take our children)
pot para u fan eskuela.
(so they can go to school.)
Ma fa’ maolek i chalån-ta,
(They fix our streets,)
man ma yute’ basulå-ta.
(they dispose of our trash.)
I ira yanggen måtto, (1)
(When fury comes,)
taiguennao na påkyo,
(like typhoons,)
i Public Works na man ga’chong
(the Public Works crew)
annai ta sosodda’ alibio.
(is where we find relief.)
Familia u fan ma dingu
(They will leave their families)
gi interes i pupbliko
(in the public interest)
gi impottånte na setbsio
(in the important service)
sa’ siha ta angokko.
(because we depend on them.)
I atension tåt na fåtta
(Attention is never lacking)
ya i problema ma komprende.
(and they understand the problem.)
Yanggen guaha nai linache
(If something is wrong)
todo i tiempo ma korihe.
(they always correct it.)
I Engineering na funsion,
(The Engineering role,)
Administration yan Operations,
(Administration and Operations,)
ginen este i tres na tuhu (2)
(these three droplets)
i fumotma i man ga’chong.
(which formed the crew.)
Siha lokkue’ man impottånte
(They also are important)
sa’ sin siha ti u kabåles
(because it wouldn't be complete without them)
i asentådo na setbisio
(the fitting service)
ni pumosipble gi Public Works;
(which is made possible at Public Works;)
asentådo na setbiso ni u ta sodda’ gi Public Works;
(fitting service which we will find at Public Works;)
i man gåtbo na setbisio ni u ta sodda’ gi Public Works.
(the beautiful service we will find at Public Works.)
NOTES
(1) Ira in Spanish means "anger, rage" like the English word ire. But applied to nature in means "violence, fury, wrath" as in anything calamitous in nature; typhoons, earthquakes, volcanic eruptions and so on. Iran Yu'us means "God's rage" and older generations believed that natural disasters could be God's punishment for our evil deeds. Iran Yu'us .
(2) The singer says that the crew (man ga'chong) at Public Works were formed by three tuhu (or droplets, as in water drops). The author is passed away so we cannot ask him what he meant by this. But just as a large body of water is formed by single, individual drops of water, perhaps the author is saying the same thing.
VERSIÓN ESPAÑOLA
(traducida por Manuel Rodríguez)
Hace unos treinta años, el fallecido Vicente M. Pérez
compuso una canción en homenaje a los empleados del Departamento de Obras
Públicas de Guam, para honrar todo el trabajo que hacían por la comunidad
isleña.
Le dio a la canción el título "I man ga'chong gi Public
Works". Ga'chong significa "compañero" (del español, gachón),
alguien que te acompaña en un viaje, o en algún evento, o que se queda en la
misma vivienda. También puede referirse a las personas con las que uno está
asociado en el trabajo. Entonces puede significar la pandilla, la tripulación o
palabras similares.
LETRA
“Saludemos
al equipo de Obras Públicas
por todo su valor
y por trabajar en nuestro nombre.
Entonces ha llegado el momento
para que los honremos ahora.
Apreciemos el trabajo
de estos hermanos y hermanas.
Se llevan a nuestros hijos
para que puedan ir a la escuela.
Ellos arreglan nuestras calles,
tiran nuestra basura.
Cuando viene la furia
de los tifones
en el equipo de Obras Públicas
es donde encontramos alivio.
Dejarán a sus familias
por el interés público
es un servicio importante
porque dependemos de ellos.
La atención nunca falta
y entienden el problema.
Si algo anda mal
siempre lo corrigen.
El rol de Ingeniería
Administración y Operaciones,
estas tres gotitas.
que formó esta tripulación.
También son importantes
porque no estaría completo sin ellos
el servicio de montaje
que es posible en Obras Públicas;
servicio de montaje que encontraremos en Obras Públicas;
el hermoso servicio que encontraremos en Obras Públicas.
NOTAS
(1) La palabra chamorra “Ira” en español significa
"ira, rabia" como la palabra inglesa “ire”. Pero aplicado a la
naturaleza significa "violencia, furor" como cualquier cosa
calamitosa en la naturaleza; tifones, terremotos, erupciones volcánicas, etc.
“Iran Yu'us” significa "la ira de Dios" y las generaciones anteriores
creían que los desastres naturales podrían ser el castigo de Dios por nuestras
malas acciones.
(2) El cantante dice que la tripulación (man ga'chong) de
Obras Públicas estaba formada por tres tuhu (o gotitas, como en gotas de agua).
El autor falleció, por lo que no podemos preguntarle qué quiso decir con esto.
Pero así como una gran masa de agua está formada por gotas de agua individuales,
tal vez el autor esté haciendo una comparación.
There are several recorded versions of this song, because it is one of our standard, "oldie but goodie" songs that started so long ago we don't even know when it was first sung or who composed it. It's been around so long that it has had time to be changed here and there by the many singers who sing it.
So you will see differences in the lyrics among the versions recorded by Johnny Sablan, Jimmy Dee and whoever else may have recorded it, or if you just hear it being sung live at parties or the kitchen table.
This is the late David Peter's version, as recorded in his album from many years ago. Most people know this song as "Dalai Nene," taken from the refrain, but here it is entitled "Sombres i Pilan," taken from the opening lines.
This song is FULL of Chamorro phraseology; things expressed in Chamorro that we would never phrase that way in English. So I have numerous explanatory notes at the very end.
LYRICS
Sombres i pilan yanggen sumåhi (1)
(Because even the moon when it is born)
guaha nai triste sumahi-ña. (2)
(its birth is sometimes sad.)
Kostaria un kilisyåno (3) (4)
(What more the person)
yanggen guaha piniti-ña.
(when he or she has pain.)
Ya dalai nene ya ti un siesiente (5)
(And my goodness baby and you don't sense)
i manåddong siha na inigong. (6)
(the deep groanings.)
Likido na finañågo (7) (8)
(Unique one)
kumaotiba i korason-ho. (9)
(captured my heart.)
Ya bai måtai gi hilo’ tåno’
(And I will die upon earth)
ya ti un li’e’ ine’son-ho. (10)
(and you won't see my fatigue.)
I lassås-mo para i kaohao (11)
(Your skin for the chest)
ya i fino’-mo maila’ mågi. (12)
(and let your word come here.)
Korason-ho aseladura (13)
(My heart is the lock)
ya i te’lång-ho para i yabe.
(and my bones will be for the key.)
NOTES
(1) Sombres. This is a shortening (contraction) of the phrase sa' ombres. Sa' means "because." Ombres is from the Spanish word hombre meaning "man." As we say in English, "Hey man!" The Spaniards say to each other, "Hombre!" and Chamorros picked it up and say ombre or åmbre. From there the meaning became "come on" or "oh please" as when we're asking someone to do something or if we're being sarcastic or disbelieving. There are many meanings to this expression! Ombres has the meaning "even." Ombres hågo means "even you." Sa' ombres, or sombres if cut short, means "because even you." Sombres hågo chumocho'gue! "Because even you do it!"
(2) For many people, the moon, in any of its phases, evokes deep feelings all across the board. For one, it can romantic. For another, it can make him or her homesick. For someone else, it can be scary, especially in the woods or jungle. There is no logical reason why. A fire burns everybody but how the moon affects you is personal to you. So whoever composed these lyrics is expressing his or her personal reaction to seeing a new moon being born. Why a new moon can be sad, only the composer knows why he or she says so, and every listener can hold the meaning it has for each.
(3) The Chamorro word kostaria comes from the Spanish "cual estaría," which means "which would be" or "what would be," as in the question in English, "If I, who am young and strong, get sick like this, what would be the case with you, who are old and weak?" So the Chamorro version of "cual estaría," kostaria, means "what more" or "what would be the case," as in "If the new moon can be sad, what more, or what would be the case, with the person who has pain?
(4) Kilisyåno literally means "Christian." It's the Chamorro version of the Spanish word cristiano. But since all the Chamorros in time became Christian, the name became a way of calling another person. Instead of saying, for example, "Here comes that person," we could say, "Here comes the Christian." It emphasized the Christian identity of the other person, even another Chamorro we never met before. If the other person is a Christian, then we should treat him or her as a brother or sister in Jesus.
(5) Dalai is one of those that is hard to define precisely. Just as it's hard to define the English word "gosh." It is said to express our reaction to an imperfect situation, something we may find objectionable, even mildly. It's similar to the English "oh come on!" which we say when someone says something unbelievable or does something irritating.
(6) The deep (tåddong) groans (ugong is the verb, inigong is the noun) of the singer's heart which loves his or her romantic interest.
(7) Likido means "unique" and I have only heard it in reference to a person and only in love songs. So, "unique" means "special." For years I have tried, without success, to find a possible Spanish original word because the sound of this word suggests a Spanish origin. So rare and mysterious in origin is this word that it didn't appear in any published Chamorro dictionary until 2009 (Katherine Aguon's dictionary).
(8) Finañågo literally means "someone birthed," and thus can mean "baby" or even, as in this song, a "person." Just like calling a person a Christian (kilisyåno), calling a person "birthed" is unusual to our Americanized ears but it's pointing to the other person's identity as a human being born into this world, just as the singer is. When combined with likido, it means "you're one of a kind," "the only person born into this world like you is you."
(9) Kaotiba is no longer understood by most Chamorro speakers and even some Chamorro singers think the word is kastiga ("to punish") and sing it that way rather than kaotiba. Kaotiba means "to captivate." It is borrowed from the Spanish cautivar, also meaning "to captivate." The singer's heart was captivated by this unique human being.
(10) His love is so genuine and lasting that till the day he dies he will never tire of loving her or working for the good of the family. O'son doesn't mean physical tiredness, but rather emotional or mental fatigue or boredom.
(11) Now we get into symbolic and poetic language, where words are not to be taken literally. A kaohao is a wooden chest where valuables are locked and stored. Their love is a treasured thing that must be protected so he is using the idea of the kaohao that is made up of their body parts; her skin, his heart and bones, for the different parts of the chest and the padlock. The imagery comes from an old Chamorro perspective which modern Chamorros may find unusual.
(12) He is asking his sweetheart for her word of promise, her word accepting his love and maybe marriage proposal. Her "yes" to him will be safely stored as in a kaohao.
(13) Aseladura means "lock" and comes from the Spanish cerradura, of the same meaning. Some people say seladura instead of aseladura and you'll find that in other versions of this song.
VERSIÓN ESPAÑOLA
(traducida por Manuel Rodríguez)
SOMBRES I PILAN
Hay varias versiones grabadas de esta canción, porque es una
de nuestras canciones estándar, "viejas pero buenas" que comenzaron
hace tanto tiempo que ni siquiera sabemos cuándo se cantó por primera vez o
quién la compuso. Ha existido durante tantos años que ha tenido la posibilidad
de ser modificada aquí y allá por los muchos cantantes que la interpretan.
Entonces se verán diferencias en la letra entre las
versiones grabadas por Johnny Sablan, Jimmy Dee y quienquiera que la haya
grabado, o si solo se escucha cantar en vivo en las fiestas o en la mesa de la
cocina.
Ésta es la versión del difunto David Peter, tal como se
registró en su álbum de hace mucho tiempo. La mayoría de la gente conoce esta
canción con el título de "Dalai Nene", tomado del estribillo, pero
aquí se titula "Sombres i Pilan", tomado de las primeras líneas.
Esta canción está repleta de fraseología chamorra; cosas
expresadas en chamorro que nunca expresaríamos así en inglés. Así que tengo
numerosas notas explicativas al final.
LETRA
“Porque hasta la luna cuando nace,
su nacimiento es a veces triste.
Cuanto más una persona,
cuando tiene dolor.
Y vamos nena, no sientes
los profundos gemidos.
Alguien único
capturó mi corazón
Y moriré en tierra
y no verás mi fatiga.
Tu piel para el pecho
y deja que tu palabra venga aquí.
Mi corazón es la cerradura
y mis huesos serán la llave.
NOTAS
(1) “Sombres”. Ésta es una contracción de la frase “sa
'ombres”. “Sa” 'significa "porque". “Ombres” proviene de la palabra
española "hombre". Como decimos en inglés, "Hey man!" Los
españoles se dicen unos a otros: "¡Hombre!" y los chamorros lo
tomamos prestado y decimos “ombre” o “åmbre”. A partir de ahí, el significado
se convirtió en "vamos" o "oh, por favor", como cuando le
pedimos a alguien que haga algo o si estamos siendo sarcásticos o incrédulos.
¡Hay muchos significados para esta expresión! “Ombres” tiene el significado de
"incluso". “Ombres hago” significa "incluso tú". “Sa 'ombres”,
o “sombres” si se abrevia, significa "porque incluso tú". “Sombres
hågo chumocho'gue!” "¡Porque incluso tú lo haces!"
(2) Para muchas personas, la luna, en cualquiera de sus
fases, evoca sentimientos profundos en diferentes ámbitos. Por un lado, puede
ser romántica. Por otro, puede hacernos extrañar el hogar. Para otra persona,
puede ser aterradora, especialmente en el bosque o en la jungla. No hay una
razón lógica para ello. Un fuego nos quema a todos, pero la forma en que la
luna nos afecta es algo personal. Entonces, quien haya compuesto estas letras
está expresando su reacción personal al ver nacer una luna nueva. Por qué una
luna nueva puede ser triste, solo el compositor sabe por qué lo dice, y cada
oyente puede interpretarlo a su manera.
(3) La palabra chamorra “kostaria” proviene del español
"cual estaría", que significa "cuál sería", como en la
pregunta, "Si yo, que soy joven y fuerte, me enfermo, ¿cuál sería tu caso,
que eres viejo y débil? " Entonces la versión chamorra de "cual
estaría", “kostaria”, significa "qué más" o "cuál sería el
caso", como en "Si la luna nueva puede ser triste, qué más, o cuál
sería el caso, con la persona que tiene dolor”.
(4) “Kilisyåno” significa literalmente
"cristiano". Es la versión chamorra de la palabra española
“cristiano”. Pero como todos los chamorros con el tiempo se hicieron
cristianos, el nombre se convirtió en una forma de denominar a otra persona. En
lugar de decir, por ejemplo, "Aquí viene esa persona", podríamos
decir, "Aquí viene ese cristiano". Enfatizaba la identidad cristiana
de la otra persona, incluso de otro chamorro que nunca antes habíamos conocido.
Si la otra persona es cristiana, debemos tratarla como a un hermano o hermana
en Jesús.
(5) “Dalai” es uno de esos términos que es difícil de
definir con precisión. Así como es difícil definir la palabra inglesa
"gosh". Se dice que expresa nuestra reacción ante una situación
imperfecta, algo que podemos encontrar objetable, incluso levemente. Es similar
al inglés "oh, come on!" que decimos cuando alguien dice algo
increíble o hace algo irritante.
6) Los gemidos profundos (“tåddong”) (“ugong” es el verbo,
“inigong” es el sustantivo) del corazón del cantante que ama su interés
romántico.
(7) “Likido” significa "único" y solo lo he
escuchado en referencia a una persona y solo en canciones de amor. Entonces,
"único" significa "especial". Durante años he intentado,
sin éxito, encontrar una posible palabra original española porque el sonido de
esta palabra sugiere un origen español. Esta palabra es tan rara y misteriosa
en su origen que no aparece en ningún diccionario chamorro publicado hasta 2009
(diccionario de Katherine Aguon).
(8) “Finañågo” significa literalmente "alguien dio a
luz" y, por lo tanto, puede significar "bebé" o incluso, como en
esta canción, una "persona". Al igual que llamar cristiano a una
persona (“kilisyåno”), llamar a una persona "nacido" es inusual para
nuestros oídos americanizados, pero apunta a la identidad de la otra persona
como un ser humano nacido en este mundo, tal como lo es el cantante. Cuando se
combina con “likido”, significa "eres único en tu clase", "la
única persona nacida en este mundo como tú eres tú".
(9) “Kaotiba” ya no es entendido por la mayoría de los
hablantes de chamorro e incluso algunos cantantes de chamorro piensan que la
palabra es “kastiga” ("castigar") y la cantan de esa manera en lugar
de “kaotiba”. “Kaotiba” significa "cautivar". Está tomado del
español. El corazón del cantante quedó cautivado por este ser humano único.
(10) Su amor es tan genuino y duradero que hasta el día de
su muerte nunca se cansará de amarla o de trabajar por el bien de la familia.
“O'son” no significa cansancio físico, sino fatiga o aburrimiento emocional o
mental.
(11) Ahora entramos en un lenguaje simbólico y poético,
donde las palabras no deben tomarse literalmente. Un “kaohao” es un cofre de
madera donde se guardan y guardan los objetos de valor. Su amor es una cosa
preciada que debe ser protegida por lo que está usando la idea del “kaohao” que
se compone de las partes de su cuerpo; su piel, su corazón y huesos, por las
diferentes partes del pecho y el candado. Las imágenes provienen de una antigua
perspectiva chamorra que los chamorros modernos pueden encontrar inusual.
(12) Le está pidiendo a su novia su palabra de promesa, su
palabra aceptando su amor y tal vez su propuesta de matrimonio. Su
"sí" a él se guardará de forma segura como en un “kaohao”.
(13) “Aseladura” significa "candado" y proviene
del español “cerradura”. Algunas personas dicen “seladura” en lugar de
“aseladura” y eso lo encontraremos en otras versiones de esta canción.
Several of Candy Taman's songs warn us against losing our culture and language as we become super Americanized.
We have a Chamorro term for that - Amerikånon Pao Asu. The smokey, or smoke-smelling, "American."
The Amerikånon Pao Asu is a Chamorro who tries to shed his or her Chamorro ways and become American alone in language and culture. But for all his or her effort to sound and act American, he or she still "smells like smoke," åsu (smoke), in reference to the brown Chamorro skin or perhaps ranch life or outdoor cooking. The Amerikånon Pao Asu speaks only English, with a stateside accent, and behaves and acts in American style, but his color and facial features, and certainly his roots and lineage are all Chamorro.
So the term Amerikånon Pao Asu is bursting the balloon of the American wannabee, who fails to change his skin color or make his Chamorro identity disappear entirely.
Candy's song pokes fun at the Chamorro lady trying to be as American as possible. So we switch to the feminine gender and instead of Amerikåno she is Amerikånan Pao Asu.
LYRICS
Un yute' nai i Chamorro
(So you threw away the Chamorro)
pot i Amerikåno.
(in exchange for the American.)
Binense hao sa' bulenchok
(You were won over by his pointed nose)
ya å'paka' i lasås-ña.
(and because his skin is white.)
Un penta i gapotilu-mo
(You dyed your hair)
agaga' yan amariyo.
(red and yellow.)
Lasås-mo åttilong.
(Your skin is dark.)
Mampos ti chumilong.
(It really doesn't match.)
Pao asu hao na haole. (1)
(You're a smoke-smelling haole.)
Ai ke pendeha! (2)
(What a vixen!)
Hågo ha' ma chachatge.
(Only you they mock.)
Ti usu-mo un u'usa (3)
(You don't use what is yours)
sa' mampos hao banidosa.
(because you are overly vain.)
Ginen lemmai yan chotda.
(It used to be breadfruit and bananas.)
Guihan yan fritåda. (4)
(Fish and blood stew.)
Ayo hao nai pumoksai.
(That's how you were raised.)
Chamorro na sentåda.
(Chamorro meals.)
Maleffa hao ni kostumbre.
(You have forgotten the customs.)
Kontodo i lengguåhe.
(And also the language.)
Lasås-mo åttilong.
(Your skin is dark.)
Mampos ti chumilong.
(It really doesn't match.)
Pao asu hao na haole.
(You're a smoke-smelling haole.)
Un pula' i magagu-mo. (5)
(You took off your clothes.)
Un usa i bikini.
(You wore a bikini.)
Annok sensen dagån-mo
(The flesh of your butt is showing)
kulan låtan kåtne.
(like a canned meat.)
Ma chuchuda' i sisu-mo.
(Your breasts are spilling out.)
Ti nahong nai tåmpe.
(There's not enough cover.)
Lasås-mo åttilong.
(Your skin is dark.)
Mampos ti chumilong.
(It really doesn't match.)
Pao asu hao na haole.
(You're a smoke-smelling haole.)
NOTES
(1) Chamorros picked up the Hawaiian word haole and use it to mean any Caucasian statesider.
(2) Pendeho (for the male) and pendeha (for the female) are not so easily translated. In Spanish, it generally means "rascal, rogue, mischievous person" but in Chamorro it's just a playful or teasing way of calling people.
(3) Literally "Your use is not what you're using." You do not use what is yours, meaning your own language and culture.
(4) Fritåda is a stew of animal organs cooked in its own blood and vinegar. The song points out that Americanized Chamorros lose their desire to eat traditional foods.
(5) Traditional Chamorro culture since Spanish times does not approve of women showing their bodies.
ORIGINAL SONG
Candy's song borrows the tune from Marty Robbins' 1962 hit song Devil Woman.
VERSIÓN ESPAÑOLA
(traducida por Manuel Rodríguez)
CANCIÓN: “AMERIKÅNAN PAO ASU”
Varias de las canciones de Candy Taman nos advierten de la
pérdida de nuestra cultura e idioma a medida que nos volvemos súper
americanizados.
Tenemos un término chamorro para eso: Amerikånon Pao Asu. El
"americano" ahumado o con olor a humo.
El Amerikånon Pao Asu es un chamorro que intenta deshacerse
de sus costumbres chamorras y convertirse en estadounidense en el idioma y la
cultura. Pero a pesar de todos sus esfuerzos por sonar y actuar como un
americano, él o ella todavía "huelen a humo", åsu (humo), en
referencia a la piel marrón de los chamorros o quizás a la vida en un rancho o
cocinar al aire libre. El Amerikånon Pao Asu solo habla inglés, con acento
estadounidense, y se comporta y actúa al estilo americano, pero su color y
rasgos faciales, y ciertamente sus raíces y linaje son completamente chamorros.
Entonces, el término Amerikånon Pao Asu está entorpeciendo
al aspirante a ser estadounidense, que no logra cambiar el color de su piel o
hacer que su identidad chamorra desaparezca por completo.
La canción de Candy se burla de la dama chamorra que intenta
ser lo más estadounidense posible. Así que cambiamos al género femenino y en
lugar de Amerikåno, ella es Amerikånan Pao Asu.
LETRA
Un yute 'nai i Chamorro
(Entonces tiraste el chamorro)
pot i Amerikåno.
(por el americano).
Binense hao sa 'bulenchok
(Te venció su nariz puntiaguda)
ya å'paka 'i lasås-ña.
(y porque su piel es blanca).
Un penta i gapotilu-mo
(Te pintaste el pelo)
agaga 'yan amariyo.
(rojo y amarillo.)
Lasås-mo åttilong.
(Tu piel es oscura)
Mampos ti chumilong.
(Realmente no coincide).
Pao asu hao na haole. (1)
(Eres una haole que huele a humo).
¡Ai ke pendeha! (2)
(¡Ay qué pendeja!)
Hågo ha 'ma chachatge.
(Solo de ti se burlan)
Ti usu-mo un u'usa (3)
(No usas lo que es tuyo)
sa 'mampos hao banidosa.
(porque eres demasiado vanidosa).
Ginen lemmai yan chotda.
(Solía ser fruta del pan y plátanos).
Guihan yan fritåda. (4)
(Cocido de pescado y sangre).
Ayo hao nai pumoksai.
(Así es como te criaron).
Chamorro na sentåda.
(Comidas chamorras.)
Maleffa hao ni kostumbre.
(Te has olvidado de las costumbres).
Kontodo i lengguåhe.
(Y también del idioma).
Lasås-mo åttilong.
(Tu piel es oscura)
Mampos ti chumilong.
(Realmente no coincide).
Pao asu hao na haole.
(Eres una haole que huele a humo).
Un pula 'i magagu-mo. (5)
(Te quitaste la ropa)
Un usa i bikini.
(Llevabas bikini).
Annok sensen dagån-mo
(La carne de tu trasero se ve)
kulan låtan kåtne.
(como una carne enlatada).
Ma chuchuda 'i sisu-mo.
(Tus pechos se están desbordando).
Ti nahong nai tåmpe.
(No hay suficiente cobertura).
Lasås-mo åttilong.
(Tu piel es oscura)
Mampos ti chumilong.
(Realmente no coincide).
Pao asu hao na haole.
(Eres un haole que huele a humo).
NOTAS
(1) Los chamorros tomaron la palabra hawaiana haole y la
usaron para referirse a cualquier ciudadano caucásico.
(2) Pendeho (para el hombre) y pendeha (para la mujer) no se
traducen tan fácilmente. En español, generalmente significa "persona
pícara, traviesa", pero en chamorro es solo una forma divertida o burlona
de llamar a la gente.
(3) Literalmente "Tu uso no es lo que estás
usando". No usas lo que es tuyo, es decir, tu propio idioma y cultura.
(4) Fritåda es un guiso de órganos de animales cocidos en su
propia sangre y vinagre. La canción señala que los chamorros americanizados
pierden el deseo de comer alimentos tradicionales.
(5) La cultura tradicional chamorra desde la época española
no aprueba que las mujeres muestren sus cuerpos.
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