the last in his country to still speak the Garifuna language. The elder couldn’t believe his ears when he heard the young Palacio greet him in Garifuna, crying out “Are you telling the truth?” Andy replied, ‘Yes, my uncle; I am Garifuna just like you,’” and the man embraced him and would not let go. He could not imagine someone so young could speak Garifuna, having thought the language would perish with him.

This emotional reunion led Palacio to realize that the disappearance of Gari-funa culture in Nicaragua foreshadowed what could happen in his own country a generation or two down the road. At that moment, Palacio decided to follow his passion for Garifuna music, using it as a vehicle to promote Garifuna culture and inspire young people to be proud of their heritage. He gained local and interna-tional fame as a performer of punta rock, a popular upbeat dance music based on the Garifuna Punta rhythm blended with pan-Caribbean styles like zouk and soca. Palacio worked tirelessly to bring attention to the plight of the Garifuna people, and in recent years has held various posts at the Belizean Ministry of Culture.

Enter Ivan Duran, a Belizean musician and producer who in 1995 founded the re-cord label Stonetree Records with the express mission of recording and promot-ing Belize’s rich musical traditions. Duran eventually convinced Palacio that he should focus on less commercial forms of Garifuna music and look more deeply into its soul and roots. Duran and Palacio set out to create an all-star, multi-generational ensemble of some of the best Garifuna musicians from Guatemala, Honduras and Belize. They also invited some of their favorite composers, includ-ing the 78 year-old paranda icon, Paul Nabor and rising star Aurelio Martinez, to form the backbone of this exciting new project.

The initial recording sessions took place over a 4-month period in an improvised studio inside a thatch-roofed cabin by the sea in the small village of Hopkins, Belize. It was an informal environment, where the musicians spent many hours playing together late into the night, honing the arrangements of the songs that would eventually end up on this album. They were inspired by a wide range of

In 1635 two ships loaded with slaves from West Africa were shipwrecked off the shores of the Caribbean island now known as St. Vincent. The surviving Africans were welcomed by the local Arawak and Carib Indian populations, leading to a distinctive Afro-Amerindian culture and language. Thus began the first chapter in the history of the Garinagu, more widely known as the Garifuna, one of the most unique and threatened cultures in the Americas. Their tale is one of tragedy and adversity, as well as one of triumph, community and hope.

Called the “Black Caribs” by the British, the Garifuna lived in relative tranquility for many years, their ranks increased by other escaped slaves who heard about this outpost of free Africans. After siding with the French in a battle over control over the island of St. Vincent, however, the Garifuna were defeated and captured by the British in 1797 and exiled to a small island off the coast of Honduras. Nearly half of the Garifuna population died en route, but a cadre of around 3,000 people survived, and eventually journeyed out to set up small villages on the Caribbean coast of Guatemala, Belize, Honduras and Nicaragua.

Today there are roughly 250,000 Garifuna in the world, including immigrant communities in Los Angeles, New York, Chicago and Miami. A small and often oppressed minority in their home countries, the Garifuna have valiantly pre-served their heritage over the years in the face of tremendous outside pressures. Recently, however, the forces of globalization have overwhelmed them, threaten-ing extinction to their unique language, traditions and music. Fewer and fewer children are learning the Garifuna language, performing the songs or memoriz-ing the oral histories and stories that serve as the legacy of the culture.

Andy Palacio is an exception to these unfortunate circumstances. Raised in the Garifuna stronghold of Barranco, Belize, Palacio spoke the Garifuna language at home and grew up surrounded by music and other traditions. “Music was always a part of daily life,” says Palacio, “It was the soundtrack that we lived to.” He didn’t even realize the extent of the threat to his culture until he was eighteen years old, when he traveled to Nicaragua and met an old man who was among

Produced by Ivan DuranArranged by Ivan Duran and Rolando “Chichi” SosaRecorded at Sandy Beach, Hopkins Village, Belize by Ivan DuranAdditional Recordings by Al Ovando and Ivan Duran at Stonetree Studios, BelizeMixed by Al Ovando at Stonetree StudiosMastered by Emily Lazar at The Lodge, New York, USAArt Direction: Tim O’Malley and Ivan DuranGraphic Design and Photography: Tim O’Malley / YuquillaAdditional photography: Katia Paradis, Ivan Duran,Greg Brosnan/Machu Picshurs, Cubola ArchivesGarifuna Translations: Andy Palacio with Roy CayetanoIntroduction: Jacob EdgarVideos by Katia Paradis

Special Thanks: To the Sandy Beach Women Cooperative and the people ofHopkins Village, Katia Paradis, Montserrat Casademunt, Otto Puc, Shirlene Tor-res and Julio Carias at Stonetree Records and Cubola Productions, Joan Duran, Al Ovando, Ed Ashcroft, Roy Cayetano, Brent Toombs at Oxa Productions, Carla Zuniga, Greg Vernon, Michael Stone, Tim O’Malley, Susana Rochna at HIVOS, Jacob Edgar at Cumbancha and to all the musicians and composers who took part in this recording.

Garifuna styles, such as the Latin-influenced paranda, the sacred dügü, punta and gunjei rhythms. While the traditions provided the inspiration, the musicians also added contemporary elements that helped give the songs relevance to their modern context. After the sessions, Ivan Duran worked tirelessly back at his stu-dio to craft what is surely the pinnacle of Garifuna music production to date.

Echoes of the poignant history of the Garifuna can be heard reverberating through the songs on this album. Beaten out on distinctive Garifuna drums, called primero and segunda, the rhythms recall the spirit of a long-lost Africa, where their exact origins are shrouded in mystery. The melodies are tinged with a heart-wrenching melancholy that reflects a longing for answers to the enigmat-ic questions of both the past and the future, as well as joyful cries of celebration and thanks for the uplifting traditions they have been blessed with. The lyrics deal with the everyday challenges of life, faith in the face of adversity, and rally-ing cries of hope and solidarity. With any luck, the power of the music on Wátina and the talent of the musicians who perform it will serve as an inspiration for a new generation of Garifuna musicians, who might take on the responsibility of keeping these traditions growing strong…in times to come…

Enhanced CD: To access the additional content included on this disc, insert it into your computer. If it does not auto-start, please click the file named “watina_start”.

Para obtener información sobre Andy Palacio & the Garifuna Collective en español, visita www.cumbancha.com

Pour obtenir de l’information en français sur Andy Palacio & the Garifuna Collective, visitez www.cumbancha.com

To listen other Garifuna recordings produced by Stonetree visit www.stonetreerecords.com

www.cumbancha.com

1. WÁTINA ( B. Martinez / J. Miranda / A. Palacio / I. Duran )

Wátina. Sítina. Dimuretina tuma lugunena muaMáhati ayudante lanügünina

Arihabei lásügürün amuleñei le ya lémeri wageiraSügürügü sügürügü ugunei

Bungiu Baba, sánsibei me ei niwiwan nu aü lidan irumu leMama luéigien naríengu bun aü luni basansiruni niwiwan luni báfaruninaÍgiraraü yebe bana ya lun ügüriu meDagagüdaraü yebe bana ya lun ügüriu me

Gálati nubusedun. Gebegiti nupasei ei, menege hamutina gaseinsutian

“I Called Out” — Stranded on the road, the singer is unable to get a ride, despite his best efforts. In many Garifuna songs, common daily occurrences become an inspiration to sing and share an experience with others.

I called out. I whistled. I shouted at the vehicleThe person refused to pick me up

Just look at this brother suffering here on our country’s roadsThe vehicles just keep passing him by

Oh God, please change my life this yearI ask you to change my life but please do not take it away Please leave me here where I can be a bothersome spiritJust leave me here where I can be a bothersome spirit

I have money in my pocketsI can pay my fare but my appearance does not make me look rich

Andy Palacio: Vocals, Garifuna Drum | Justo Miranda: Vocals | Aurelio Martinez: Vocals | Rolando “Chichi” Sosa: Garifuna Drum, Acoustic Guitar, Maracas | Alantl Molina: Jarana | Eduardo “Guayo” Cedeño: Lead Guitar | Al Ovando: Maya Guitar, Electric Guitar | Ivan Duran: Bass, Electric Guitar, Mandolin, Guitarron, Ebow

ANDY PALACIO

2. WEYU LÁRIGI WEYU ( A. Palacio )

Wáguchi Bungiu, aganbabéi wamamali. Wátiwa buagu. ÍderabawaArihabá hawagun bisanigu ubowagu, Úguchili. Gíbeti mégeiti. Furíeigitiwa bun aü

Fuba garabali wawagun weyu lárigi weyuRuba derebugu wouni weyu lárigi weyuFegegüdabéitia wagu weyu lárigi weyuDurágüdabátia wau weyu lárigi weyu

Wáguchi Bungiu, aganbabéi wamamali. Wátiwa buagu. ÍderabawaBinibaña birahüñü afíentian buagu, Aburemei Súntigabafu. Rútiwa seremei bun aü

Wabureme góunigibáwa weyu lárigi weyu Ruba ibagari wouni weyu lárigi weyu Faradiu, dundeibáwa weyu lárigi weyuLidoun lémeri buiti, weyu lárigi weyu

“Day By Day” — Set to a semi-sacred hüngü-hüngü rhythm, the composer reflects on the dai-ly challenges of life, asking God’s guidance, protection and blessings with each passing day.

God, Our Father, hear our voicesWe call on you. Please help usLook upon your children on Earth, FatherSo much has gone wrong. We pray to you

Blow a breeze over us (Day by day)Give us strength (Day by day)Open our eyes (Day by day)Make us wiser (Day by day)

God, Our Father, hear our voicesWe call on you. Please help usBless your faithful children, Almighty Lord. We give you thanks.

Andy Palacio: Vocals, Acoustic Guitar, Hand Claps | Rolando “Chichi” Sosa: Garifuna Drum, Acoustic Gui-tar, Shakers | Joshua Arana: Garifuna Drum | Sofia Blanco: Vocals | Silvia Blanco: Vocals | Sam Harris: Lead Guitar | Eduardo “Guayo” Cedeño: Lead Guitar, Spanish Guitar | Al Ovando: Bass, Maya Guitar

Lord, protect us (Day by day)Give us life (Day by day)Oh Father, guide us (Day by day)Into the path of righteousness (Day by day)

3. MIAMI

Gaweiyasúntina liumou Miami ma Narihin ei aruruwa súdara nau. Háluguñóu nege nigáradan numa. Bugarügüladina Consul Feliz ei

Dánbeigu nachülürün liumou Miami ma Náluguñei yebe nísebe owa. Náluguñei yebe louba kolonia.Nigu Miami ei mabaratina

Ówenbu mábuigaü houn sun gürigie ha yabaña Hopkins hari-taguágüle me hárigie gürigie ha adügübalin paranda

This song reflects the increasing concern over land rights and land ownership in the Gari-funa costal communities of Honduras. Backed by a festive paranda beat, the singer finds that the area near the river in the village of Miami is now restricted territory.

( Agustina Martinez )

I took a trip to the river near MiamiWhen I looked, I was surrounded by soldiers They were asking me for my papersConsul Feliz just drove me away

When I got to the river near MiamiI was searching for my comfortI was looking for the neighborhood Even in Miami, I have no place

A special greeting to all the people here in HopkinsThis will help you to remember the people who made paranda

Andy Palacio: Vocals, Garifuna Drum | Justo Miranda: Vocals, Clave | Rolando “Chichi” Sosa: Vocals, Garifuna Drum, Acoustic Guitar, Maracas, Tenor Sax, Congas | Eduardo “Guayo” Cedeño: Lead Guitar | Al Ovando: Wah Guitar | Ivan Duran: Bass, Electric Guitar

4. BABA

Anihein Baba wama, furíeigiwamá lun WabúngiuteÍderalámugawa lídangien siantiAnihein Baba wama, furíeigiwamá lun WabúngiuteDúsuma lámuga wachara ya ubowagu

Anihein Baba wama, furíeigiwamá lun wabúngiuteÍderabawa lídangien siantiFuríeigibá wawagu wabúngiute

Íderabawa lídangien lamíseluRagüba gurasu wawagu, birahüñü wagíaDan me le lásienrun aü adúndeihabáwa lidoun bémeri

Safabaña birahüñü, Bungiu, wéirihali figóu ya ubówaguChülüha dan lun barufuduni ei bubafu wouni le magumuchaguáti

“Father” — This song is played every Sunday at church in the Garifuna communities in Belize. It is usually performed with three large segunda drums with little or no rhythmic embellish-ments. The song asks God for His intervention in these times of misery. The Garifuna are generally very devout people with a faith that blends Christianity with a strong traditional spirituality in which ancestral spirits are held in reverence.

The Father is with us. Let us pray to our GodThat he may help us out of the impossibleThe Father is with us. Let us pray to our GodThat our wrongs may be less here on Earth

The Father is with us. Let us pray to our GodHelp us out of the impossiblePray for us, Our God

Help us out of our miseryBe patient with us. We are your childrenWhen times are hard, guide us into your path

Save your children, God, sin abounds here on EarthThe time has come for you to show us Your endless power

( Adrian Martinez )

Adrian Martinez: Vocals, Acoustic Guitar | Andy Palacio: Vocals | Rolando “Chichi” Sosa: Garifuna Drum, Acoustic Guitar, Maracas | Joshua Arana: Garifuna Drum | Sofia Blanco: Vocals | Silvia Blanco: Vocals | Marcela Torres: Vocals | Rosa Bermudez: Vocals | Sam Harris: Dobro | Eduardo “Guayo” Cede-ño: Lead Guitar | Al Ovando: Guitarron, Maya Guitar | Ivan Duran: Electric and Acoustic Guitars

ADRIAN MARTINEZ

Everybody together, we will lift our voices

The sun has risen. Let us open our eyesLet us see the light this morningA new morning, let us do what is rightWe wish well with a clean heart

Everybody together on Satuye’s1 vessel traveling from Yurumein2 Bearing Garinagu.3

Everybody together, let us lift our voicesEverybody together, All Garinagu

My friends, brothers and sisters! Listen, my peopleNever get tired and don’t stop tryingPatience! Strength! Knowledge and ambition!Are the requirements for the children to advance

Everybody together we will lift our voices for them to hear That there is strength in us and that there is progress among GarinaguEverybody togetherThat which Andy is referring to is about all Garinagu being as oneAll Garinagu Let us discuss among ourselves like siblings and a big brotherBig brother and little brotherBlessings, My uncle! Blessings, My grandmother!

Let’s go forwardLet’s seek the truthLet’s give loveAnd respectEverybody together

5. LIDAN ABAN ( Andy Palacio / Aurelio Martinez )

Súngubei lidan aban wagúarali wamalali

Bóuhali weyu. Fegela wagu. Ariha wameitia larungouga binafi leIseri weyu, adüga waméi le buídubei. Buiti wayumahan o lau taruma anigi ei

Súngubei lidan aban tidan lagei Satuye lun liábin Yurumeigien sun Garinagu tidan. Súngubei lidan aban iñura waméi wamálali. Súngubei lidan aban. Sun Garinagu.

Numadagu! Namulenu! Aganba huma niduheñu!Mabuchadalá huagu. Merederalá gien háfagunGurasu! Erei! Furendei luma anichigu!Ligíaba megei lun hawanserun isanigu

Súngubei lidan aban wagúarali wamalali lun haganbun ubaraü luagu aniheilá erei wadan aniheilá awanseruni hadan Garinagu súngubei lidan aban. Luagu le meme uágubei ... layanuha Andy hawagu hásurun Garinagu súngubei lidan aban. Sun Garinagu. Wayanuhan wámawagua kei amulenu luma íbugañaü; íbuga-ñaü luma amuleñei. Bendisión Yau. Bendisión Nagütü. Buiti bináhuri.

Wabarounguón wamáSubudi waméi inarüniRúwama ísieni Luma inebeseiSúngubei lidan aban

“Together” — This is a call for unity and progress among Garifuna people everywhere. Despite the national boundaries that separate their communities, the Garifuna remain united by sense of common identity. Fusing reggae influences with paranda, this song also explores commonali-ties between Garifuna music and its Caribbean cousins.

1Satuye refers to the historical leader of the Garifuna nation, Joseph Chattoyer. 2Yurumein is the Garifuna name for their ancestral home, the Caribbean island of St. Vincent. 3Garinagu is plural for Garifuna when referring to persons.

Andy Palacio: Vocals, Clave | Aurelio Martinez: Vocals | Rolando “Chichi” Sosa: Vocals, Garifuna Drum, Shaker, Congas, Tenor Sax | Denmark Flores: Garifuna Drum | Emmeth Young: Talking Drum | Marcela Torres: Vocals | Rosa Bermudez: Vocals | Alantl Molina: Jaranas | Eduardo “Guayo” Cedeño: Lead Guitar | Al Ovando: Electric Guitar, Maya Guitar | Ivan Duran: Bass

6. GAGANBADIBÁ

Niráü nüraügídibu Aganbabéitia tadimurehan búguchu bun. Aganbabéitia tererun bunAganbabéitia tayanuhan búguchu bun. Aganbabéitia tianu bun

Adamuribei fulasu lun barihini ei. Góunigibei me tia bigaburi

Bídiba tidan muna lánina furéindei aranseha luba bibagari

Niráü GaganbadibáLiábiba weyu ligía. Madiseli eiBasubudirúbei

“Take Advice” — Words of advice sung to a young child. The Garifuna have a tradition of lullabies and a communal approach to raising their children. In recent times many young par-ents have left home in search of better opportunities elsewhere, often leaving their children behind in the care of grandparents.

( L. Agustine / A. Palacio / I. Duran )

My child, you are youngListen when your mother speaks to youHear her words to youListen when your mother speaks with youListen to her conversation

You will see lots of placesAlways be on your best behavior

You will go to the place of learning to prepare for your lifeMy childBe obedientThe day will come, it’s not far away

Lloyd Agustine: Vocals | Andy Palacio: Vocals, Clave | Rolando “Chichi” Sosa: Vocals, Garifuna Drums, Kalimba, Shaker | Joshua Arana: Garifuna Drum | Emmeth Young: Talking Drum | Alantl Molina : Jaranas | Carlos Perrote: Finger Cymbal | Eduardo “Guayo” Cedeño: Electric Guitar, Voice Effects | Ivan Duran: Bass, Electric Guitar

AURELIO MARTINEZ JUSTO MIRANDAROLANDO “CHICHI” SOSA SOFIA BLANCO

7. BEIBA

Beiba yagien. Mabusuenrun nádibuFuriba yágien. Mabusuenrun nádibuTian würi nu samudi áriebu ladáünrü gádürü lubá larugan le

Lanarime bulíeiguáü tuagu Odilia ni ei Bulíeitáli tagüriahóuniwa habu tisanigu. Ru numuti yebe gusan le niáran tun

Beiba yagien. Mabusuenrun nádibu. Hilaniei bun lidan gudemei

“Go Away” — This song deals with the all too common price someone pays for partying too much and staying out all night. The husband comes home to an angry wife, who kicks him out of the house.

( L. Centeno / I. Duran )

Go away! I don’t want you any moreGet out! I don’t want you any moreSaid the woman to me on a Saturday night It was four o’clock before daybreak

How terribly forgetful Odilia isShe has forgotten that I supported her along with her childrenI tried to give her whatever I could

Lugua Centeno: Vocals, Clave | Andy Palacio: Vocals, Garifuna Drum | Justo Miranda: Garifuna Drum | Rolando “Chichi” Sosa: Darbuka, Tenor Sax, Banjo, Maracas, Bamboo Block | Eduardo “Guayo” Cedeño: Lead Guitar | Jacob Edgar: Conch Shell | Al Ovando: Wah Maya GuitarIvan Duran: Bass, Electric Guitar

LUGUA CENTENO

8. SIN PRECIO

Wa ta tura lúgubu niri nu“Sin Precio” ligíagu níribei, haraü niduheñu, néiganabégibei

Nihein weyu násurun asaminaraNihein weyu násurun aritaguaLubá dahirügünáli lila nibasigidinHotel Ceiba tuguyaba nuban aü

Ariramaháru gárada nübügürü eiLubá hanufudeguádina tuei ligaradan EsoAn me nuguya luei namulen eiLubá adadagarádina tuei ligaradan EsoAn me nuguya luei namulen ei

“Worthless” — Facing the challenges of making a daily living, one endures so much, including malicious name calling. The composer reflects on her circumstances and the need to do whatever is necessary in order to raise her child. The music is a slower form of the paranda style performed with no drums and a more intimate mood.

She has called me names“Worthless” is my name among my people and that is how I earn my living

There are days when I ponderThere are days when I thinkAnd I carry my basketHotel Ceiba will be my home

Letters have been flying towards meAnd I am frightened by the letter I am concerned for myself and my little boyI am trembling because of the letter I am concerned for myself and my little boy

( Alba Guity )

ROLANDO “CHICHI” SOSA

Andy Palacio: Vocals | Rolando “Chichi” Sosa: Vocals, Acoustic Guitar | Eduardo “Guayo” Cedeño: Lead Guitar | Ivan Duran: Bass, Slide Guitar, Dobro, Electric Guitar

9. YAGANE

Ei wátina yebe tun yagane yaMáhatu guríera lun tagiribudun Ladüga timarügü nounli nuNónweya lubéi ya lagunurugu

Bungiu Baba, sáluba bana.Yaba réibuga nígirei nabuMawisahátina tuni nágañaLadüga timarügü nounli nuNónweya lubéi ya lagunurugu

Bungiu Baba, ídera bana Yaba réibuga nígirei nabuMawisahátina tuni nuguchuruLadüga timarügü nounli nu Nónweya lubéi ya lagunurugu

Nabor: Lárigi buga adibiruni ligía, namulen, ábati níwinruni. Lúmagien dan ligía aban natatirun eremuhaAndy: Átiri irumu bau dan tuguya?Nabor: Disi widü irumuAndy: Wafeiridirádibu yebe ya ganliruguNabor: ItagaraüyebeNabor: Bungiu numaAndy: Ay!

“My Canoe” — Historically, the sea has been vital to the livelihood of Garifuna communities, where men go out to sea in small dugout canoes. After capsizing, the singer calls out to his canoe to return for him but the canoe keeps on drifting away. At night, he sings about the incident and his friends spontaneously play a paranda beat on the table and improvised percussion instruments.

( Paul Nabor )

Andy Palacio: Vocals | Paul Nabor: Vocals | Lugua Centeno: Garifuna Drum | Rolando “Chichi” Sosa: Table-top Drumming, Maracas | Justo Miranda: Table-top Drumming | Denmark Flores: Rum Bottle clave, Wood Guiro

I tried to call out to my canoeAnd it refused to come back for meBecause of my wanton waysI will perish here in this lagoon

Oh God, please save meLittle did I know that I would leave my bones hereI never said goodbye to my motherBecause of my wanton waysI will perish here in this lagoon

Oh God, please help meBecause of my wanton waysI will perish here in this lagoon

Nabor: … After that incident, My Little Brother, I composed it and as of then, I began singing.Andy: How old were you at that time?Nabor: Eighteen years old.Andy: We almost lost you on the watersNabor: Indeed! Almost!Nabor: God was with meAndy: Ay!

10. ÁGUYUHA NIDÚHEÑU

Águyuha niduheñu. Águyuha níbegu nuari Águyuha niduheñu nuariÁguyuha níbegu nuari

Anirein Baba hadan aü, laransehaña nege nubara neiNuguya nei gabáradina yagura

Renunsiatina yebe luaria ladügüniwa duru Renúnsiatina yebe ah luariRenúnsiatina yebe ah luari

Renúnsiatina yebe luari. Buléiseitáru nanigiNuguya nei labureme duru

“My People Have Moved On” — The singer laments the passing of loved ones and takes comfort in the knowledge that he has a secure place in the afterlife. The Garifuna “Nine-Night” is the family’s final farewell to the spirit (Ahari) of a deceased relative. The wake lasts for nine days. It is only then that the trip to the other world begins.

My people have moved onMy relatives have moved on from meMy people have moved on from meMy relatives have moved on from me

The Father is with them preparing a place for meAs for me, I have a place over yonder

I tried to give up doing wrongShe has hurt my heartI am the guilty one

( Trad. Arranged by Felix “Reckless” Flores )

Reckless: Vocals | Andy Palacio: Vocals, Garifuna Drum | Joshua Arana: Garifuna Drum | Rolando “Chi-chi” Sosa: Garifuna Drum, Acoustic Guitar, Clave, Maracas | Sofia Blanco: Vocals | Silvia Blanco: Vocals | Eduardo “Guayo” Cedeño: Electric Guitar | Al Ovando: Maya Guitar, Electric Guitar | Ivan Duran: Bass

11. AYÓ DA

Chona, nitu. Chonita, níturaü mamaAbiruwayumáli gien núragu le

Ida núba me ei hama besinagu hama familia dan me nachülürün aü

Ayó, Da aü. Néibuga nian. Híruti dan nau lagunurugu.Níngirali weyu nau, núguchuru; nau nágaña, ya lagunurugu

Ida nuba me ei hama besinagu hama familia dan me nachülürün aü

“Goodbye My Dear” — As a teenager, Paul Nabor went fishing with two friends on a lagoon. When it was time to head back home, one of them was missing. Despite an intense search, he was never found. Nabor believes he was attacked by a crocodile, and he composed this song to break the sad news to his friend’s family.

( Paul Nabor )

Chona, my sister, Chonita, my sister, a fever is overcoming my body

What will I say to the neighbors and the family when I arrive?

Goodbye, My Dear. I am leaving. These are sad times for me at the lagoon The sun is setting for me, Dear Mother, here at the lagoon

Paul Nabor: Vocals | Andy Palacio: Vocals | Rolando “Chichi” Sosa: Acoustic Guitar | Alantl Molina: Ja-rana | Eduardo “Guayo” Cedeño: Lead Guitar | Ivan Duran: Acoustic and Electric Guitars, Dobro, Bass

PAUL NABOR

12. ÁMUÑEGÜ

Kaba funa san áñüga wabute ámuñegüKaba funa san ayanuha Garifuna numa ámuñeguKaba funa san arumaha numa o ámuñegüKaba funa san adügüraha wau o ámuñegü

Chülühali dan lun lareidahóunChülühali dan lun larufudahóunChülühali dan lun lareidahóunFéiridiwañáli ei gumugubei

Ageindaguatian wayunagu lun habagaridun kei GarinaguWagía me san aferidirei wagaburi, madügawaméi

Aganba humaña agübürigu, harufudaha houn isaniguWererun luma weremuhan, wafíen luma wabínahan

Chülühali dan lun lareidahóunChülühali dan lun larufudahóunChülühali dan lun lareidahóunFéiridiwañáli ei gumugubei

Féiridiwañáli ei gumugubei

“In Times to Come” — Pondering the future and the potential decline of Garifuna culture, the singer expresses deep concern and urges preservation. In 2001, UNESCO proclaimed the Garifuna culture a “Masterpiece of the Oral and Intangible Heritage of Humanity”. Since then, there has been a renewed effort to revive the Garifuna language, which for many years has been ignored by the national educational systems.

I wonder who will bake cassava1 bread for us in times to comeI wonder who will speak with me in Garifuna in times to comeI wonder who will sing Arúmahaní 2 songs with me in times to comeI wonder who will heal us with the dügü 3

in times to come

The time has come for it to be preservedThe time has come for it to be taughtThe time has come for it to be preservedLest we lose it altogether

Our ancestors fought to remain GarifunaWhy must we be the ones to lose our culture?Let’s not do it

Parents, please listen to me. Teach the childrenOur language and our songs; our beliefs and our dances

The time has come for it to be preservedThe time has come for it to be taughtThe time has come for it to be preservedLest we lose it altogether

Lest we lose it altogether

( Andy Palacio )

Andy Palacio: Vocals, Acoustic Guitar | Demnark Flores: Garifuna Drum | Rolando “Chichi” Sosa: Garifuna Drum, Djembe, Acoustic Guitar | Carlos Perrote: Shaker, Finger Cymbal, Wood Block | Children Voices: Lirahuyu Emenigi Group | Eduardo “Guayo” Cedeño: Lead Guitar | Al Ovando: Maya Guitar | Cello: Shirley Dayana Paz | Ivan Duran: Bass, Acoustic Guitar

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1 Cassava bread is the staple food of the Garifuna and it is derived from the manioc root. 2 Arúmahani is a genre of Garifuna music in which men link their hands and sing a capella. It is a dying art form. 3 The dügü is the traditional Garifuna healing ceremony in which the extended family gathers to make offerings of food, drinks, music and dance to the ancestral spirits. It is presided over by a spiritual healer (buyei).

12. ÁMUÑEGÜ11. AYÓ DA10. ÁGUYUHA NIDÚHEÑU

9. YAGANE8. SIN PRECIO7. BEIBA

6. GAGANBADIBÁ5. LIDAN ABAN4. BABA

3. MIAMI2. WEYU LÁRIGI WEYU1. WÁTINA

All songs and arrangements published by Stonetree Music BMI, administered by Comparsa Publishing. For inquiries, contact info@comparsapublishing.com.