MANY people don’t really know the people behind the making of the Saipan Cultural Center aside from family owners. I for one played an important role as a naïve and inexperienced cultural consultant at that time for a price of one dinner plate. I soon realized I was cheated.
It all happened one day back in the 1980s after work when a former local neighbor of mine and his Chinese investor (I forgot his name) visited me at my make-shift house about 6 p.m. When they told me that a cultural center was soon to be opened and they wanted me to share my cultural expertise in return for a position (which never took place), I was so thrilled to finally manage what I always wanted to do. Without hesitation, I jumped into my car and followed them to dinner. During mealtime they presented what they wanted to establish and they knew that I knew that history was in the making for a unique cultural center—a first of its kind that would definitely become an important attraction for both locals and visitors alike.
Here were some of my original suggestions and recommendations that were actually carried on: a statue representing Chief Taga should stand at the entrance welcoming visitors; a giant man-made waterfall be erected somewhere in the middle and/or corner area and that its stream would travel around the center—its water tank directly underneath the fall with giant water pumps and it would be entirely camouflaged with stones, dirt and various ferns; medicinal plants and other vegetation should be planted within the vicinity including water cress for the restaurant’s daily meal; local fruit trees and vegetables should be planted everywhere thus creating a natural scenery; useful trees such as breadfruit, coconut, hibiscus, pandanus and other important plants should be incorporated to showcase their importance in making various objects such as basket weaving, hat weaving and other woven items including rope making. Other useful trees highly considered were pandanus, bamboo, and various local iron wood trees as well as various medicinal plants, vines and shrubs that would be identified in vernacular and scientific names.
The infrastructures which I proposed should be constructed entirely of wood and bamboo and woven with coconut leafs and/or nette’ to cover the roofs on each building. These would include the main office, local bar and the restaurant which was also to be named “kusina”—although Spanish, yet appropriate at this time and that, if possible, local food should only be the main dish everyday and daily and/or nightly cultural dances should be performed within the restaurant.
Other facilities constructed were a “hotno” (outdoor brick even) to demonstrate how bread and other sweets were baked as well as the roasting of pigs, fish and others. For tourists, I proposed that a small chapel for future newly weds be erected. Walkway encircling the center should be part of its botanical garden and must be accessible for people with disabilities including the restrooms. In this way, visitors will take a walking tour around the center witnessing all cultural implements like stone pounders, potteries, metati scattered everywhere and animals (chicken, goats and others) run freely for people to pad and feed and enjoy a rural environment of the olden days.
The center, however, would not be as lively as it should be in the absence of traditional games. Hence, I suggested that a cockfight arena be constructed to showcase one of the earliest form of gambling men enjoyed after attending a Mass. The other game is balu. Both games were to demonstrate pastime activities we still see today. Other cultural demonstration would include tuba making, weaving demonstrations, food preparation and cooking, metati grinding, coconut husking and grating and other activities.
In terms of generating revenue, here’s a few recommendations I proposed which were eventually applied: entrances fee (to a certain extent), eatery or restaurant, chapel for wedding services, feeding of animals, local bar, cart riding, sales of local food, coconut candies, craft items among others.
After our meal and my dinner being taken cared, a big “dangkolo na si yu’us ma’ase ya cha’mu un luluhan sa’ hagu I paire ya’ siempre ta fan a’asodda la’lo’” were Mr. Chamorro’s last remarks. Suddenly I had a bad feeling this would be the end of my new beginning. Months passed by. I waited and waited and not even an official invitation for its grand opening. I thought, I would let it pass which I did and my only connection with the center was through TV commercials featuring everything I proposed.
One day, about a year or so later, my brother paid a visit to my house and told me about his position at the center. I was very happy that he finally found himself a job, but deep inside me past anger still lingered and the only remedy to clear my mind was to pay a visit and witness it entirely in person. Sure enough, three months later, everything I proposed, suggested and recommended were in place. Unfortunately, management disputes were brewing at the time of my visit. As I looked back for the last time on my way out, I realized it was the right time for a cultural center, but it was the wrong group of people. On my way to my car, I felt contented that all my proposals were, at least, considered.
The intent of this letter is for those of you who now know some of the actual people behind the development of the Saipan Cultural Center. Once upon a time it was one of the most beautiful cultural facilities on Saipan that suddenly came crumbling down due to various webs of entanglement of greed that resulted in its demise. The winners are the vegetation engulfing all man-made structures thus claiming its rightful ownership.NOEL QUITUGUA
Chamorro Advocate
Koblerville, Saipan
