El habla de mi tierra
Speech Of my Land
Thursday, October 2, 2025
Severenda pendejada
Sunday, September 14, 2025
vení pacá
"Vení" es la forma de imperativo de la persona "vos" para la forma "venir". La raíz es completamente regular lo que contrasta con el imperativo de tuteo "ven" o con otras formas verbales de la misma entrada léxica altamente irregulares como "ven", "viene", "vengo", "vine" o "viniera". La razón por la que es regular es dónde cae el acento. En "ven" "viene" y "vengo" el acento está en la primera sílaba, y esto resultó afectado históricamente debido a que eran las vocales largas del latín. En imperativo de voseo, como dice el villancico "venite adoremus dominum", era a la vez una forma de plural, y en canción significaría "vengan, vamos a adorar al señor". En latín tardío una manera altamente formal de dirigirse a una figura de poder.
"Venite" evolucionó al sonido "venide" luego "veníe" y finalmente "vení", pero otro camino de su evolución fue "venide", y entonces "venid", que fue en español medieval tanto una forma de "vos" y la manera de expresar el plural informal "vosotros". Se dice que "venid" y "vení" se quedaron bastante tiempo como alternativas de "vos", pero "vení" fue perdiendo fuerza como alternativa de "vosotros", aunque en mi documentación tengo algunos casos de "vení" plural.
La entrada "venir" implica un desplazamiento físico hacia el hablante, es decir, la persona que emite el verbo "venir". Por eso la expresión "vení" indica una orden o comando de desplazamiento hacia la persona que dice "vení". Esta fuerte relación con el hablante se denomina un componente "deíctico" (de dedo, por tanto que señala a alguien).
La palabra "acá" tiene el mismo contenido deíctico. Se refiere precisamente al lugar donde se encuentra el hablante. Resulta un poco redundante "vení para acá" por cuanto dos palabras reiteran el hablante como lugar hacia donde se espera el desplazamiento, o sea que es como decir "entrar para adentro" o más corto "entrar paentro". Sin embargo, una orden categórica puede ser redundante debido a que el hablante se posiciona como sujeto de poder: yo puedo ser redundante si quiero y nadie me va a corregir. A la vez, la reiteración indica una mayor urgencia en el comando que se emite.
Por su parte, la expresión "pacá" es el acortamiento de dos palabras "para" y "acá", que pasan por un proceso fonológico o de cambio de sonido parecido al que explicamos en otra entrada con "careteta". Y así las cosas:
1. para acá (forma ideal)
2. paracá (fusión de aes)
3. paracá (debilitamiento de r)
4. paacá (desaparición de r)
5. pacá (fusión de aes, y forma final)
"Vení pacá" es una forma muy común en caleñol o español colombiano de Cali (ver entrada de "caleñol" aquí y digo "aquí" no "acá" porque yo no estoy allí, sino que estoy señalando un punto específico). Existe una serie de literatura infantil donde la personaje central, denominada "abuela terrible", siempre dice la expresión "vení pacá" cuando va a transformarse de abuela normal a abuela terrible.
Vea aquí.
Referencias:
Brown, R., & Gilman, A. (1960). The Pronouns of Power and Solidarity. En T. A. Sebeok (Ed.), Style in Language (pp. 253–276). MIT Press.
Díaz Collazos, A. María. (2015). Desarrollo sociolingüístico del voseo en la región andina de Colombia (1555-1976) [Beihefte zur Zeitschrift für romanische Philologie; 392]. Berlin / Boston: De Gruyter. De Gruyter Brill+2UGent Library+2
Malkiel, Y. (1948). Studies in Philology, Literature, and Linguistics. University of California Press.
Penny, R. (2002). A History of the Spanish Language (2ª ed.). Cambridge University Press.
Penny, R. (2000). Variation and Change in Spanish. Cambridge University Press.
Rini, J. L. (1999). Explaining Language Change: An Evolutionary Approach. John Benjamins.
abuela terrible / terrible grandma
The series “Abuela terrible” collects family stories based on real anecdotes, written in colloquial Colombian Spanish but translated into English for bilingual children and for use in bilingual schools. It is a resource designed for read-aloud sessions, with colorful drawings that add content to the main text. It evolves from a very simple story titled “Abuela terrible versus ratón,” which integrates Spanglish into a single inseparable system, to “Abuela terrible versus camión,” which separates the languages in an interaction integrated with the illustrations. The last two books in the series are “Abuela terrible versus terremoto,” which introduces more strategies so that Spanish-speaking or English-speaking readers can sound out the letters even if they don’t know the language. The illustrations were carefully created by Sabina VV, the pseudonym of the eight-year-old girl who invented the story together with her mother.
The idea was born one summer when my daughter kept asking me for stories about my family. Many of them she would ask for again and again, and each time I added a new detail that made her laugh even more. We were already using the nickname “abuela peligrosa” to make fun of my mom, from an anecdote similar to what happens in “Abuela terrible versus camión.” But the name “Grandma Dangerous” was already taken, so we changed it to “Abuela terrible.” When I told her that I had some stories ready to publish, she said she wanted to illustrate them. In the end, we decided not to start with those draft stories (which were being reviewed by a publisher—though they ended up rejecting them anyway), but rather with the family stories, and the recurring character of the “abuela terrible” had potential to create new tales.
We were going through a family tragedy—the loss of my job. She wanted to help support the family financially, so we explored the possibility of earning some money by putting the books on Amazxn. We would climb onto the trampoline to sketch drafts of the drawings, and she would jump every time she got a new idea. I learned a lot from a child’s perspective in storytelling, because she corrected me whenever my ideas sounded too grown-up or too hard for children to understand. I also learned much more about the feedback loop between drawing and text, where strong collaboration between writer and illustrator amplifies the meaning you want to convey.
My daughter was born here in the United States and is fluently bilingual in Colombian Spanish and North American Western English. In that special connection, I felt inspired to capture the oral language that emerged naturally in our interactions, to give readers tools to make it sound in their own reading, and not to censor content out of fear of criticism. This is deeply emotional content for me as the author, because the perspective of its reception forces me to face the need to protect my daughter from the cruelty of the world. It is far from ideal to start a project in the midst of the insecurities that come with losing a job, but once the idea was planted there was no turning back—only finding ways to cope with the emotions that came along the way.
The most excited about the project, of course, was my mom, the main source of the stories, and she has been an important support throughout this process. Thanks to this, Sabina gave me the idea of creating the story where Abuela terrible becomes a superhero to support the adult daughter going through a hard time, and later on—just like in Don Quixote—to write the story where Abuela terrible reads the book of Abuela terrible.
The stories are endless, but the interaction with the illustrations is very meticulous work, where legal compliance details also come into play, and each illustrated 50-page book ends up taking much longer to produce than a 150-page novel.
Readers in the United States and Europe can find the books on Amazxn, and in Colombia, they can contact my mom.
Wednesday, August 27, 2025
Caribonito
- careteta ✅
- cariteta❌
- carebonito❓
- caribonito✅
- piernipeluda
- pelinegro
- ojiazul
- manilargo
- uñisucia
- cejijunto
- cara sucia = alguien que tiene la cara un poco sucia, pero no tan sucia, así que deja la sensación de que esa pequeña suciedad es hasta tierna, mientras que en "carisucio" la suciedad tiene mayor vocación de permanencia.
- pecho bello = alguien que tiene el pecho bonito, pero no tan bonito como caracterizarlo definitivamente, lo que da el sentido sarcástico.
- manos largas = la largura se refiere a una cualidad física de la mano, mientras que "manilargo" tiene el sentido metafórico de alguien que tiene la manía de robar.
Friday, August 1, 2025
Care teta
La expresión "care" es el resultado de una amplia cadena de cambios fonológicos, y se usa en español colombiano para expresar múltiples insultos y comparaciones insultantes. La palabra viene del sustantivo "cara" y la preposición "de". Como la "d" queda entre vocales en la cadena hablada, esta se debilita muchísimo y, en lenguaje fluido, termina siendo "cara'e". Posteriormente se funcionan las vocales y queda "care"=cara de.
El proceso es el siguiente:
cara de teta (=su cara tiene un parecido al pecho femenino por lo blancuzco y redondeado, con una nariz un poco chupada que se parece al pezón, pero en realidad sí me gustan los pechos de las mujeres, entonces bueno, tal vez estoy queriendo decir todo lo contrario).
- cara de teta (pronunciación idealizada) /káradetéta/
- cara de teta (d muy débil) [káraɗetéta]
- cara
de teta (d casi desaparecida) [káraɗetéta] - cara'e teta (d reemplazada por una ligera oclusión glotal) [kára'etéta]
- carae teta (d completamente desaparecida) [káraetéta]
- caree teta (a asume paluatinamente la cualidad de la "e") [káreetéta]
- care teta (resultado final) [káretéta]
La palabra "teta" se puede sustituir por otras comparaciones odiosas:
- care culo = cuando alguien tiene el ceño fruncido o tiene una expresión facial de estar muy enojado.
- care barbie = cuando un hombre es muy caribonito y su cara parece la de una mujer.
- care ... = ayúdeme a agregar algo más, el diccionario careteta
También careteta es una expresión fonosimbólica que parodia el título de la serie "el pequeño karateca" =the little karate doer, en inglés "Side kids".
Referencia bibliográfica:
Quilis, A. (1993). Tratado de fonología y fonética españolas. Madrid: Gredos.
Tartikoff, B. (Productor ejecutivo). (1986–1987). Sidekicks [Serie de televisión]. American Broadcasting Company (ABC).
Friday, July 25, 2025
Speaking with kindness in Navajo / Spanish / English
See video here:
Speaking with kindness in Navajo / Spanish / English
Te digo muchas gracias
Axhéhee ntságo ndishní
Y te digo por favor
T’aa shǫǫdí ndishní
También te digo hola
Yá’át’ééh nidishní
Y también te digo adiós
Haagóónee' nidishní
Si hago algo malo,
If I do
something evil
Digo por favor
perdón / Mañana será mejor (no hay "perdón" en Navajo)
Yizką́ągo
nizhóní OR yizką́go nzhoní doolééł
Si esto está difícil
Díí ayóo hałtan
Yo te digo yo no sé
Doo bee hozhin da ni
Si digo no entiendo
Díí ayóo hałtan
Sihasin yéego ní
Te digo vamos! Tú puedes!
#RezPanich
Sunday, June 15, 2025
Sa’ah Naagháí Bik’eh Hózhóón in education
In the Diné (Navajo) worldview, learning is a lifelong journey guided by the principles of Sa’ah Naagháí Bik’eh Hózhǫ́ón—often translated as “the long life in beauty,” has a multilayered meaning: sa’ah = old, naaghá = he/she is going along in a direction, +í=the one who, bikeh=towards, hózhǫ́ǫ́n=beauty, peace, balance, harmony, happiness. Putting this altogether, it refers to an original purpose that moves life.
Read more about this here.
Download this article here.
It has been called the Corn Pollen model (Secatero, 2022,
and Fowler, 2022), the Navajo life cycle (Benally 1994), an educational
philosophy (Diné college), and Navajo teachings (Yazzie, 2007). It is a four-quadrant
model that mirrors the four seasons (winter, spring, summer, fall), the four
cardinal directions (east, south, west, north), the four stages of life (baby,
child, adult, elder), four worlds of creation, and the four sacred mountains:
Sis Naajiní, Tsoodził, Dook’o’oosłííd, Dibe Nitsaa.
The model provides an organizational structure to everyday
life. You can do anything with it. For example, you can wash dishes with this
model, which makes a daunting task more manageable. 1) Nitsáhákees: Look at
the dishes and decide an arrangement that makes them fit in the dishwasher. 2)
Nahat’á: Decide series of brief steps to support the arrangement. 3) Iiná:
Wash the dishes. 4) Sihasin: Hear the melody of the dishwasher, and enjoy for
at least three seconds the pleasure of a clean kitchen.
I started applying this model in my own lesson planning of
Spanish classes. That way, student received predictable structure and a fixed
set of steps that was more efficiently conducing to learning Spanish.
Teaching language through beauty
Nitsáhákees: Thinking
Students are required to respond to my greeting in a choir
and individually greet their peers. They repeat in a choir sets of numbers,
syllable layouts, and key vocabulary. Students listen to my lecture on grammar,
and they are required to perform physical note-taking. I provide notebooks to
students who don’t have them. Thinking also can happen in the form of active
discussion of those who feel the need to talk, but the choice of silence is
respected.
Nahat’á: Planning
Students receive a handout which they must fill out with
certain drills, conjugations, or sample sentences. This will let them plan for
the active conversation stage of the class, and feel comfortable speaking. They
look up for specific words on their phones, or ask for help from their
partners. Students glue their handouts on large paper sheets that they keep in
the classroom.
Break
Serves as an axis mundi that links the two stages, and
divides the class in perfectly two divided twins. Students can text or see
their phones in this moment, as usage of phones is not permitted during other
stages of the class.
Iiná: Living
Students move the chairs and tables out of the space and
perform a conversation cycle using their handout. I use the “circle-in,
circle-out” method for speaking practice, which is similar to speed dating but
in circle. This reduces the anxiety of finding a speaking partner on their own,
and allows for practice with multiple speakers. This also mirrors the movement
of the insect people from east to south in a cyclic manner.
In this stage, it is easier to perform culturally-immersive
activities such as singing, dancing, eating, cooking, crafting, or going
outside the classroom.
Sihasin: Assuring
I celebrate the class’s achievement: “You held a full
conversation in Spanish and danced to a Colombian cumbia.” I perform brief
reminders on homework. I ask students for help in cleaning up, and approach to
students who need an extra reminder one-to-one. This is the most efficient
moment to negotiate redos, extensions, and make-ups. When students request an
extension, redo, or make-up, I usually compliment their commitment to
improvement and recognize they are trying their best they can. I recognize that
life is hard and they are being strong are trying their best. And in the final
account, a midterm and final exam reassures students that they are really
learning.
Hispanic connection
Such ceremonial structure may be similar to certain rituals
of socialization and celebration. A social encounter includes 1) greeting, 2) talking
and finalize preparations together, 3) eating and drinking, 4) dancing, 5)
saying good bye. Greetings and farewells are long spaces of transition where
certain care is taken to send messages of mutual happiness with each other’s
presence. Early arrivers help the host family finalize the preparation to the
party: they inflate balloons, set up tables, decorate, and prepare food
together. It is very unpleasant that someone departs right after eating, but at
the same time the host delays eating in order to delay the meeting as much as
possible. Some Hispanic cultures may also add a ritual of social dancing even
among close relatives.
In order to match both cultural models, the class provides
such paralels:
|
Navajo |
Hispanic party |
Spanish class |
Nitsáhákees |
Lecture and note-taking |
The long greeting |
Greeting protocol, repetition
drills |
Nahat’á |
Individual exercises |
Inflating balloons, food
preparing |
Individually prepare the
conversation |
Iiná |
Active social practice |
Food eating, social dancing |
Conversation, music, dancing,
crafts |
Sihasin |
Feedback |
Promises never fulfilled,
greetings to absentees, cheerings |
Feedback, announcements,
reminders, cheerings, exams |
Applications into other subject areas
The model can be applied to teaching of any subject as it
implies the following steps: 1) lecture and note-taking, 2) silent practice, 3)
group practice, coming to the board, lab, field trip, and 4) feedback, exit
ticket, circle reflection, lab report. The instructor doesn’t need to be an
expert in indigenous matters in order to apply this model: just avoid flipped
classrooms, value silence and silent struggle, and perform a classic act of
lecture as the authority figure you are.
While I’m not an expert in math, I can provide some example
of how each step can help you ritualize the classroom this way:
Nitsáhákees:
Provide a brief review of the topic you covered last class,
and provide general feedback on common mistakes students made on a quiz. Then use
the board to introduce the new topic and enforce note-taking on a notebook. As you
speak, walk around the classroom and overlook note-taking among students. Address
as a group a general error you notice on note-taking. Keep mental mind of
students doing the wrong note-taking to address in the next step.
Nahat’á:
Provide students exercises that range from the easiest to
the difficult. Require students to perform at least the half of the exercises. Students
will work individually on the exercises, but they are allowed to discuss them
with a peer. Walk around and correct any note-taking mistake they have made, and
provide immediate feedback to struggling students one-to-one. Provide feedback
only twice per each student so no one feels singularized. Praise those who are
doing well or moving faster, and require them to move to harder exercises.
Iiná:
On a clean and organized board, with bright new markers, ask
volunteers to come to the board and fill it with their responses. Let the board
get crowded so the students don’t feel singularized. Address all exercises from
the easy to the difficult, but remind students the medium point you expect. Other
ways to enact the calculations may include a cooperative structure for comparison
and structure.
Examples:
- Using a social model similar to speed-dating, students can compare responses from different classmates and adjust their own responses.
- Group students of similar abilities to compare their exercises. Choose for them one sample exercise for them to present on the board or in a poster using a designated speaker.
- Pair up students of different abilities to discuss potential applications of the exercise in real life scenarios.
Sihasin
Recognize that the lesson was challenging, but assure them
you believe in their abilities to reach the course goals. State as a group what
they accomplished together. Remind them that you will do a brief quiz the next
class, and tell them what will be included in the quiz. Ask students who have
missed classes before why they missed class, and praise them for coming back to
class and trying hard.
References
Benally, H. J. (1994). Navajo Philosophy of Learning and
Pedagogy. Journal of Navajo Education, 12(1), 23–31.
Becenti, G. (2022). Native American Language Teachers Going Beyond Their
Classrooms. In Unsettling Settler-Colonial Education.
Fowler, H. (2022). Multicultural Education: Teaching Culturally Relevant
Mathematics. In Vallejo & Werito (Eds.), Transforming Diné Education.
Secatero, S. (2022). The Corn Pollen Model. In Transforming Diné
Education.
Yazzie, E. P., et al. (2007). Diné Bizaad Bináhoo’aah: An Introduction to
the Navajo Language. Salina Bookshelf.