Inafa’måolek is an exploratory body of work that looks at the colonial influences on the CHamoru culture. It is my journey of self-discovery as I establish my identity as a colonized CHamoru man. These works use the figure and symbolism to illustrate the CHamoru culture’s conformity to ideological influences brought about by the effect of its colonial past. My intention is to produce a body of work that brings awareness to these colonial influences, provide understanding of its current status, generate acceptance, or inspire change to the situation in which my culture resides.
The title of this series literally translates in the CHamoru language as “To Make Good”. This phrase encompasses the entire cultural attitude that everything and everyone has to be in harmony for the society to remain functional. Everyone is connected and interdependent. Harmony among individuals and groups is of primary importance. I believe that because of this core CHamoru value, it was natural for the CHamoru people to adapt our culture and to adopt colonial practices from the colonizing countries.
As a native CHamoru born and raised on Guam, I draw from my experience living in an environment subjected to centuries of colonial occupation. This project highlights inferences to traditional and new native practices and beliefs, as well as political symbols of our modern-day colonial status. Each painting consists of single or multiple figures placed in symbolic poses and circumstance that bring awareness to the CHamoru people’s desires for self-determination, reclaiming of lost practices, and willingness to redefine our culture. For this project, I employ a restrained palette that encourages a specific mood to exemplify the situation that the figure resides and evokes the viewer to sympathize with the subject matter. Since this project is ultimately a journey to find my cultural identity, I used myself as the primary figure in each painting. The entire body of work is a self-portrait that reflects my struggles to find my true self in my culture.
Ultimately, Inafa’maolek brings awareness and understanding about the history and current status of the CHamoru. Knowledge about the circumstance of my people can bring acceptance or evoke change. The entirety of this body of work is a call for the CHamoru to find a sense of balance as we attempt to reclaim lost practices, redefine our culture, and further assimilate into the colonizing culture.
The title of this series literally translates in the CHamoru language as “To Make Good”. This phrase encompasses the entire cultural attitude that everything and everyone has to be in harmony for the society to remain functional. Everyone is connected and interdependent. Harmony among individuals and groups is of primary importance. I believe that because of this core CHamoru value, it was natural for the CHamoru people to adapt our culture and to adopt colonial practices from the colonizing countries.
As a native CHamoru born and raised on Guam, I draw from my experience living in an environment subjected to centuries of colonial occupation. This project highlights inferences to traditional and new native practices and beliefs, as well as political symbols of our modern-day colonial status. Each painting consists of single or multiple figures placed in symbolic poses and circumstance that bring awareness to the CHamoru people’s desires for self-determination, reclaiming of lost practices, and willingness to redefine our culture. For this project, I employ a restrained palette that encourages a specific mood to exemplify the situation that the figure resides and evokes the viewer to sympathize with the subject matter. Since this project is ultimately a journey to find my cultural identity, I used myself as the primary figure in each painting. The entire body of work is a self-portrait that reflects my struggles to find my true self in my culture.
Ultimately, Inafa’maolek brings awareness and understanding about the history and current status of the CHamoru. Knowledge about the circumstance of my people can bring acceptance or evoke change. The entirety of this body of work is a call for the CHamoru to find a sense of balance as we attempt to reclaim lost practices, redefine our culture, and further assimilate into the colonizing culture.
All images and content of this website are copyrighted by the artist, Jerrold Dwayne Castro.
Any use or reproduction in any form without permission is prohibited.
Any use or reproduction in any form without permission is prohibited.
