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From the Hands of our Ancestors online education resource

Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820

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education resource

husi bei ala TIMORSIRA NIA L IMANFROM THE HANDS OF OUR ANCESTORS

e art and craft of Timor-Leste

A joint exhibition presented by the Museum and Art GalleryNorthern Territory in partnership with the National Directorateof Culture, Timor-Leste at the Museum and Art GalleryNorthern Territory, Darwin

22 November 2008 July 2009

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Introduction

Husi Bei Ala Timor Sira Nia Liman From the Hands of Our Ancestors is testimony to the survival ofTimor-Lestes cultural inheritance and acknowledges the endurance of the many cultures that compriseone of the worlds newest nations.

For the first time since the nations restoration of independence in 2002, works from the NationalCollection of Timor-Leste are presented internationally. These works are complemented by a selectionfrom the Timor-Leste collection of the Museum and Art Gallery Northern Territory on exhibition 22November 2008 12 July 2009. Additional works on loan from public and private collections inTimor-Leste and Australia are also featured.

Several themes are explored in Husi Bei Ala Timor Sira Nia Liman From the Hands of OurAncestorsincluding:

Homage to the Ancestors (Ancestral figurines)

Binding Cultures (Textiles)

Entrance to the Sacred (Ceremonial house doors)

Adorned with Sun and Moon (Body adornment)

Enmity Protection (Warrior attire and masks)

Vessels of Sustenance (Ceramics and containers)

Recent Expressions (Contemporary 2D art)

Living Cultures (Dance, music and song)

Museum History (National Collection of Timor-Leste)



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This Online Education Resource Kit supports the Northern Territory Curriculum Framework. The kitis pitched at Primary and Middle Year students in the Learning Areas of the Arts and Studies of Societyand Environment (SOSE). Literacy skills are developed throughout the kit. The kit provides activitiesfor school-aged children and teenagers during a visit to the exhibition, in the classroom or at home.

This Online Education Resource Kit aims to:

stimulatethought,discussionandappreciationoftheart,culture,historyandchangeovertimein Timor-Leste.

encourageappreciationandengagement,andelicitresponsestoworksondisplayinthe exhibition.

explorethevariousmaterials,skillsandtechniquesusedintheconstructionandmakingofthe

works on display in the exhibition. expressideasthroughcreatingartworks,writingandanalyticaldiscussion.

compareandcontrastaspectsofTimoresecultureswithAustraliancultures.

Several themes are explored in the Online Education Resource Kit for Husi Bei Ala Timor Sira NiaLiman From the Hands of Our Ancestorsincluding:

Homage to the Ancestors: Ghosts and Spirits (Arts)

Enmity Protection: Masks and Shields (Arts)

Binding identities: Textiles (SOSE)

Recent Expressions: Timor-Leste a New Nation (SOSE)

This online education resource was compiled by Sally Savage, MAGNT Research Associate, and JoannaBarrkman, Curator of Southeast Asian Art, MAGNT, 2008

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Theme 1Homage to the Ancestors: Ghosts and SpiritsArts Learning Area

The Homage to the Ancestors section of the exhibition displays a variety of ancestor figurines fromdifferent regions of Timor-Leste. Carving in stone and wood is a significant craft in Timor-Leste due totherelativeavailabilityofwoodandthesimpletoolsrequired.ThepeopleofTimor-Lestebelievethe

world is inhabited by a multitude of good and evil spirits who, if looked after well, will protectthe living.

Ancestor figurines were put in special places within the house or used to mark the graves of deceasedrelatives. Homage was paid to these ancestors by offering them food, wine, tobacco and betel nut allthe necessities and comforts of life. When seeking advice or approval from the ancestors a chicken, goator buffalo was often sacrificed. Although today many people of Timor-Leste are Christians and religious

figurines are respected, some Timorese people still practise animist beliefs and continue to respect theirhuman ancestors. Sometimes animals are also attributed ancestor status by Timorese people.

Particular attention should be paid to the following three objects as they reflect some importantancestors of Timor-Leste.

A. Crocodile carving (DNC 167/09/1198-99)

ThemostimportantancestorinTimoresecultureisthecrocodile,whichisbelievedtobethegreat-grandfather,kingoftheancestors,kingofthewatersandkingofthemountains.

The origin myth of the island of Timor tells the story of a boy who saved a crocodile from death. In

return the crocodile offered to take the boy on its back for an adventure at sea. The crocodile becamelost and hungry and wanted to eat the boy, but did not do so as it owed him a debt for saving its life.

When they reached the place where the sun rises in the east, the crocodile changed itself into the landthat is now the island of Timor. The name for Timor-Leste in the Tetum language is Timor Loro Sae,meaningLandoftheRisingSun.Theislandisthoughttobeshapedlikeacrocodilewithruggedmountains like crocodile scales.

B. Pair of ancestor figurines (DNC 2001.8.173 and 2001.8.91)

This pair of carved wooden figurines could represent either the transition of people to the afterlife, orfertility. The male and female figurines have similar hair knots, hands, limbs and bases indicating they

are a pair or couple. The shallow bases suggest that stones were used to support these carvings upright orthat the figurines were placed into the ground outdoors. The weathering of the wood shows they havebeen exposed to the natural elements for a long time.

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C. Horse and rider (DNC 206.510.2)

The perspective used to depict the ancestor riding the horse is very interesting. The carving reminds us

of the importance of horses as a method of transport in the steep mountainous interior of Timor. Horseswere also ridden by warriors and aristocrats in Timor, where horses were diminutive and often referredtoasTimorponies.

In Timor, horses were so numerous that they were traded from there to parts of Indonesia as long ago asthe 16th century. They were even imported into Coburg Peninsula in the Northern Territory, Australia,by Europeans in the 19th century.

Arts Learning Area Primary Years 46

At the exhibition: response and analysis

Describethecrocodilecarvingusingadjectives.Howhastheartistshownthescalesandteethofthe crocodile?

Whatcommonfeaturesoftheancestorshastheartistusedtoindicatetheyareacoupleorapair?

Discusstheriderandthehorsewithyourfriends.

At school or home: creating art ideas, arts skills and processes

Findapaintingofananimalandexaminethewaytheartisthasshownthespecialfeatures.Does ithavebigclaws,orashinynose?Discusshowthesefeaturescouldbeshownonawooden

carving.

DrawamapofTimorshowingAtauroandJacoislands,andtheIndonesianenclaveofOecussi. Decidewhichendoftheislandlookslikethecrocodilesmouth.Colourtheislandlikea

crocodile.

Drawapictureofyourselfshowinghowyouwouldliketoberememberedbyyourfamilyifyou were an ancestral spirit or a ghost. Exaggerate your most distinctive features in the picture(freckles or moles, glasses, hairstyle, culture-specific clothing, etc.).

Discussthematerialsusedtocarvethehorse.Howarethelegsmade?

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Arts Learning Area Middle Years 79


Describethecrocodileusingadjectives.Whichfeaturesofthecarvingindicatethatitisareptile?

Studythepairofancestors.Describethefiguresusingadjectives.Discusswhichcommonfeaturesof the figurines the artist has used to indicate the ancestors are a couple or a pair?

Discussthepositionoftheancestorridingthehorseandtheperspectiveused.Discussthe variousmeaningsofthetermperspective .


Carveapieceofwoodintoasimpleanimalofyourchoice.(Pleasedonotcutanylivetreesanddo not do this without supervision by an adult). Write a short story about the animal youhave chosen.

DrawamapofTimorshowingAtauroandJacoislandsandtheIndonesianenclaveofOecussi.Indicate the border between Indonesian West Timor and Timor-Leste.

Drawapictureofyourselfshowinghowyouwouldliketoberememberedbyyourfamilyifyou were an ancestral spirit or a ghost. Exaggerate your most distinctive features in the picture.

Write a sentence on how your ancestors are honoured by your family.

Drawahorseandriderfromadifferentperspectivethantheoneintheexhibition.

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Theme 2Enmity Protection: Masks and ShieldsArts Learning Area

Timorese warriors traditionally wore masks to hide their identities from their enemies. Other powerfulprotectiveobjectsincludedswords,ceremonialmedallions(belak),headdressesandamulets,allofwhichwere stored inside special ceremonial houses, uma lulik, in the villages of Timor-Leste. This warriorattire was considered to possess amazing powers that protected the warrior when he or she went to war.Beforedeparture,specialritualswereperformedtoheattheprotectiveattire.

Killing an enemy symbolically strengthened the fertility of the clan. When the warriors returned to theirvillagetheyweremetbythewomenwho,dressedintheirownwarriorclothes,dancedtorituallycoolthe warriors after their battle. In the past, the warriors sometimes cut off their victims heads and hungthem from a sacred tree in their village. The heads were respected and offered food by the warriors sotheir power would pass to the villagers.

Masks are still worn occasionally by men in Timor-Leste when performing ceremonial dances. On theisland of Atauro masks are still carved and are sometimes hung from trees to protect gardensfrom thieves.

Particular attention should be paid to the following three objects as they exhibit both the skill andinnovation used by craftsmen to make culturally significant objects in Timor-Leste.

A. Figurine of a female warrior (DNC 03.1024)

This female warrior figurine presumably honours a powerful woman warrior and is adorned with severalsilver medallions, belak,whichrepresentherauthorityandachievementsatwar.Thesepreciousobjects

were created by skilled silversmiths from the towns of Atsabe, Ermera, Ainaro and Aileu using silvercoins that entered Timor during trade. Abelakwas often given by the husband to the wifes family whena couple married.

B. Warrior headdress (AM EO 89468 a & b)

Headdresses crafted from metal, cotton seeds and glass beads were customarily worn by Timoresewarriors to protect them from their enemies. People believed that the cloth, metals and beads containedpowers to protect them from danger and harm. When not in use, ceremonial and warrior attire wasstored in the ceremonial house of the clan. A headdress can be seen in the untitled linocut print on ricepaper by Januario Prada (Ino) (MAGNT SEA 30520) on display in the Recent Expressionssection of

the exhibition.

C. Mask (MAGNT SEA 03508)

Timorese warriors traditionally wore masks to hide their identities from their enemies. Wooden masksare still used by men in Timor during ceremonial dances. On the island of Atauro masks are still carvedand are sometimes hung from trees to protect gardens from thieves. They are also sold as souvenirs totouristsortointernationalaidworkersinDili.

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Arts Learning Area Primary Years 46


Describethewomanwarriorfigurineusingadjectives.Whatmaterialhasbeenusedforherhair?How many silver coins do you think the silversmith used to make one shield?

Discussthedifferentmaterialsusedtomakethewarriorheaddress.

Findthescariestmaskandtalkaboutitsfeatures.


Makeanddecorateabelak, medallion, with materials from home.

Makeawarriorheaddressofyourowndesignusingmaterialsfromhome(cardboard,beads,

buttons, braid, ribbons, etc.).

Makeandcolourascarymaskusingmaterialsfromhome.Discussotherwaysofmakingmaskssuch as face-painting, papier-mch and plaster of Paris.

Arts Learning Area Middle Years 79


Identifythedifferentmaterialsusedtocreatethewarriorfigurine.

Discussthematerialsusedtomakethewarriorheaddress.

Discussthescaryfeaturesofthecarvedwoodenmask.


Makeanddecorateabelak,medallion,usingmaterialsatyourdisposal.Discusstechnical problems you experienced making the medallion.

Makeawarriorheaddressofyourowndesignusingavailablematerials(cardboard,beads, buttons, feathers, braid, ribbon, etc.).

Makeandcolouramaskusingcardboard.Discussotherwaysofmakingmaskssuchasface-

painting, papier-mch and plaster of Paris.

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Theme 3Binding Identities: TextilesStudies of Society and Environment SOSE

Weaving of baskets, mats and tais, has been an important task of the women of Timor for hundreds ofyears.Themotifsandtechniquesarehandeddownfrommothertodaughterwithouteverbeingwrittendown. Taisare given as a symbolic gesture of friendship and relationship by placing them around theneckoftherecipient,symbolisingbindingpeopletogether.Textilesarealsoexchangedtomaintainrelationships between individuals, families, clans and even nations. The various colours, motifs anddesigns used to decorate tais in Timor-Leste indicate various districts and clans.

Although textiles have been woven for hundreds of years, they have altered over time due to foreigninfluences. The earliest textiles made in Timor-Leste were made from bark fibre and worn as loin clothsor tubeskirts. Later, traditional textiles were made from hand-picked and spun cotton. It can take one

month or more for a woman to hand spin enough thread for one woven cloth. The cotton threads arethen coloured with natural dyes from plant roots, leaves, bark and mud. Red is a dominant colour and isassociated with courage. Several types of blue indigo dye can be found in Timor, and a grey/black colourmay be achieved using mud. Traditional textiles are woven by women on back-strap looms during thedry season.

With the introduction of commercially spun and synthetically dyed threads, bright and colourful clothsare also made in Timor-Leste today. New motifs have also been copied from the Portuguese colonialists

who first arrived in Timor-Leste in the 16th century and remained in control there until 1974. Theenclave of Oecussi has adopted Catholic religious themes for patterns on church regalia, such as the altarcloth (MAGNT SEA 3108) seen in the exhibition.

Todaytaisare often woven with designs used to convey messages of hope and identity, to mark specialoccasions and to celebrate football teams and sporting events.

Particular attention should be paid to the following three objects which demonstrate theimportance of textiles in the culture of Timor-Leste, and how techniques and styles have changedover time.

A. Mans cloth wrap (MAGNT SEA 03535).

This beautiful textile is made from hand-spun cotton, coloured with natural dyes in reds, browns, black

and cream. It is worn wrapped around the waist by men of Timor-Leste on special occasions such asweddings, visits by important people and ceremonial occasions. Mens cloth wraps are also used as partofthegiftsassociatedwithmarriage,knownasbride-price,wherebythefamiliesofthebrideandgroomexchange gifts.

The little figures of men with their arms spread out are known as anthropomorphic motifs. Theirfront-on orientation is typical of designs found in Timor-Leste, the Moluccas and eastern Indonesia.This motif may have been exchanged between Timor-Leste and nearby islands through traders. Thehorses woven into the cloth represent Timor ponies, which are especially numerous in the mountains ofTimor-Leste. They are woven in profile (side-on).

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B. Altar cloth (MAGNT SEA 03551).

This fine altar cloth is made from commercially spun cotton, metallic threads and synthetic dyes. FromOecussi, it depicts the nativity scene of Jesus Christ. Cloths like these are placed on top of a white altar

cloth on the Communion table in church; the Communion wine and bread are then placed upon them.

The graphic style of the figures, architectural columns and decorative foliage were copied from aEuropean cross-stitch embroidery pattern. Versatile weavers in the Oecussi enclave have cleverly adaptedtheirtraditionalweavingtechniquestomanynewdesignsandmaterials,creatingdistinctivemodernTimorese tais.

C. Arafura Games sash (MAGNT SEA 03053)

This sash is made from imported, commercially spun rayon coloured with synthetic dyes. This taiscommemorates the first occasion on which Timorese sports people competed under their own national

flag,attheArafuraGamesinDarwin,Australia.TheinscriptionArafuraGamesonthis taisis wovenin blue in the English language, one of the working languages of Timor-Leste. The traditional styleLospalos house, an icon of Timor-Leste, is also woven on this tais.

Studies of Society and Environment Primary Years 46: (SOSE)

At the exhibition: time, continuity and change

Lookatthetraditionalwovenmansclothwrap.Whatsortofdyesdoyouthinkhavebeenused? Study the motifs (woven figure or patterns) of the little men and the Timor ponies. Canyou see that these figures have been shown in a different perspective?

Lookcloselyatthealtarcloth.Whichmotifstellyouthatitisaclothusedinthechurch?Thesepatterns were copied from embroidered Portuguese cloths and used for religious activities. This

showshowcleverthewomenweretoadaptanewpatterntoanoldtraditionaltechniqueof weaving.

LookattheArafura Games taiswhich is woven from brightly coloured commercially spun rayon withsyntheticdyes.NoticethewordsArafuraGamesinbluewitharowoftinytraditional Lospaloshouses.DoyouknowanybodyinDarwinwhoreceivedoneofthesesashes?

At school or home: values, beliefs and cultural diversity

Thinkofsomethinginyourownculturethathasbeengivenasagiftofloveorfriendship.

Whatcoloursdoesyourfavouritefootballteamuse?

ListthreeitemsfromyourownculturethatyouwouldtaketoTimor-Lestetogivetofriends.

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Studies of Society and Environment Middle Years 79


Studythemansclothwrapclosely.Comparethefiguresoftheponiesandthemenanddiscussthe difference in perspective. How can you tell this cloth is a traditional one?Explain your reasons.

Discussthefeaturesofthealtarcloththatshowitisnotmadewithtraditionaldyesandmotifs.

ExaminetheArafuraGamessashandcomparethecolourstothoseofthemansclothwrap.


Inafewsentences,explainwhythepeopleofTimor-Lestestillusetraditionalspinningand weavingafterhundredsofyears.Describesomethingthatwasmadeespeciallyforyouandhow

youfeelaboutit.Doyoufeelaspecialbondwiththepersonwhomadeit?

Inafewsentences,describethemotifsofthealtarclothandtheirsignificanceinTimor-Leste today.

ListthreeitemsfromyourownculturethatyouwouldtaketoTimor-Lestetogiveasgiftstoform friendships.

Theme 4Recent Expressions: Timor-Leste, a new nation

Studies of Society and EnvironmentAfter the violent struggle for independence of Timor-Leste, children were encouraged to draw and painttheir experiences to help recover from the trauma of the physical and social upheaval they had suffered.

The Timorese people seized the opportunity to paint expressions of their bad experiences on anymedium they could find: damaged walls, discarded cloth, cardboard, plywood and even driftwood.

However,graffitiandmuralsseeninthestreetsofDili,BaucauandSuaiinTimor-Lestearenowfullofhope for the future of one of the worlds newest nations, Timor-Leste.

There is also now a vibrant contemporary art movement in Timor-Leste where artists can express their

hopes for the future and the continuity of their cultural inheritance. Paintings can be viewed from manyperspectives. As well as art they can be viewed as expressions of feelings and memories, or social andhistorical events.

Particular attention should be paid to the following three artworks in the exhibition, which reflectchange over time, cultural symbolism and diversity.

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A. The Suffering and Hope of the Timorese People

This mural is part of a larger mural created from a total of 150 panels that were painted by EastTimoreserefugeesevacuatedtoDarwininSeptember1999.Someofthepanelsinthisworkwerealso

paintedbyIndigenousAustralianartistsandstafffromUnitedNationswhowerebasedinDarwinatthe time. Although there are many scenes of suffering, there are also many panels that show hope for thefuture of a united new nation of Timor-Leste.

B. Untitled, linocut on rice paper by Januario Prada (Ino) (MAGNT SEA 03519)

Thismoderntechniqueoflino-cuttinganddesignprintedonpapershowsanimageofawarriordressedfor battle leaving his house at Lospalos. The modern design maintains Timor-Leste traditions with aLospalos house, a warrior wearing a belak (medallion), sword, drum, buffalo horn, and with atraditional theme.

C. Peasant women planting soy beansby Sebastian Silva

This oil painting on canvas is a rural scene, which can be seen anywhere in Timor. The difficultmountainous topography and rainfall pattern make the growing of food difficult for men and womenof Timor-Leste. In the mountains, the land is cleared by the slash and burn method, and the beans areplanted by the women. Other crops grown in the mountains include peanuts, cassava, sweet potato andmaize. Planting and harvesting of food is daily work in Timor-Leste where people must grow foodto survive.

Studies of Society and Environment Primary Years 46


FindonepanelfromthemuralThe Suffering and Hope of the Timorese Peoplethat shows sadnessfromthepast,andfindonethatshowshopeforthefuture.Discusshowthesymbolic

crocodile ancestor has been used to give hope for the future.

FindthetraditionalLospaloshouse,shield,sword,drum,andceremonialheaddressintheuntitled linocut print by Januario Prada (Ino).

WhydothewomenplantsoybeansinthewayshowninthedrawingentitledPeasant womenplanting soy beansby Sebastian Silva?

At school or home: values, beliefs and cultural diversity FromthemuralThe Suffering and Hope of the Timorese Peoplediscuss the values, beliefs and

cultural background of the people of Timor-Leste that are found in the panels (history, grief,love of country, textile traditions, crocodile myth, etc.).

Listsomesymbolicitemsfromyourownculture.

FindouthowsoybeansaregrownforfoodinAustralia.

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Studies of Society and Environment Middle Years 79


FindfivepanelsfromthemuralThe Suffering and Hope of the Timorese Peoplethat show sadnessfromthepast,andfindfivepanelsthatshowhopeforthefuture.Discuss.Learnthe

colours of the flag of Timor-Leste.

IdentifytheculturalregaliawornbythewarriorintheuntitledlinocutonricepaperbyJanuarioPrada (Ino). Write them down.

DiscussthesceneofsoybeanplantinginthedrawingbySebastianSilvaandconsiderthe advantages and disadvantages of this agricultural method.


ResearchtheflagofTimor-Leste.Whatvalues,beliefsandsymbolismareinherentinthedesignof this flag?

InvestigateculturalsymbolismexpressedinthepanelsofThe Suffering and Hope of theTimorese People. Using the panels on the painting, list six cultural beliefs shown. Write downand find the meaning of one slogan from the panels of the mural.

WriteaparagraphaboutthevaluesandbeliefsofthepeopleofTimor-Lesteshowninthewarriorfigure on the untitled linocut on rice paper by Januario Prada (Ino).

Inoneparagraph,comparethemethodofplantingsoybeansinTimor-Leste,asshowninthe

drawing Peasant women planting soy beansby Sebastian Silva, to Australian production for themarket economy.

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images

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Theme 1Homage to the Ancestors: Ghosts and SpiritsArts Learning Area

a. Crocodile carving (DNC 167/09/1198-99) b. Pair of ancestor figurines(DNC 2001.8.173 and 2001.8.91)

c. Horse and rider (DNC 206.510.2)

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Theme 2Enmity Protection: Masks and ShieldsArts Learning Area

a. Figurine of a female warrior (DNC 03.1024) b. Warrior headdress (AM EO 89468 a & b)

c. Mask (MAGNT SEA 03508)

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Theme 3Binding Identities: TextilesStudies of Society and Environment SOSE

a. Mans cloth wrap (MAGNT SEA 03535).

b. Altar cloth (MAGNT SEA 03551)

c. Arafura Games sash (MAGNT SEA 03053)

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Theme 4Recent Expressions: Timor-Leste, a new nation

a. The Suffering and Hope of the Timorese People b. Untitled, linocut on rice paper byJanuario Prada (Ino) (MAGNT SEA 03519)

c. Peasant women planting soy beansby Sebastian Silva

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