From the Hands of our Ancestors online education resource

husi bei ala TIMOR

e art and craft of Timor-Leste
A joint exhibition presented by the Museum and Art Gallery Northern Territory in partnership with the National Directorate of Culture, Timor-Leste at the Museum and Art Gallery Northern Territory, Darwin

SIRA NIA LIMAN

FROM THE HANDS OF OUR ANCESTORS

22 November 2008 July 2009

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

education resource

From the Hands of our Ancestors online education resource

husi bei ala TIMOR

e art and craft of Timor-Leste
Introduction

SIRA NIA LIMAN

FROM THE HANDS OF OUR ANCESTORS

Husi Bei Ala Timor Sira Nia Liman From the Hands of Our Ancestors is testimony to the survival of Timor-Lestes cultural inheritance and acknowledges the endurance of the many cultures that comprise one of the worlds newest nations. For the first time since the nations restoration of independence in 2002, works from the National Collection of Timor-Leste are presented internationally. These works are complemented by a selection from the Timor-Leste collection of the Museum and Art Gallery Northern Territory on exhibition 22 November 2008 12 July 2009. Additional works on loan from public and private collections in Timor-Leste and Australia are also featured.
Several themes are explored in Husi Bei Ala Timor Sira Nia Liman From the Hands of Our Ancestors including:

Homage to the Ancestors Binding Cultures Entrance to the Sacred Adorned with Sun and Moon Enmity Protection Vessels of Sustenance Recent Expressions Living Cultures Museum History

(Ancestral figurines) (Textiles) (Ceremonial house doors) (Body adornment) (Warrior attire and masks) (Ceramics and containers) (Contemporary 2D art) (Dance, music and song) (National Collection of Timor-Leste)

Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820 2

From the Hands of our Ancestors online education resource

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

stimulate thought, discussion and appreciation of the art, culture, history and change over time in Timor-Leste. encourage appreciation and engagement, and elicit responses to works on display in the exhibition.

explore the various materials, skills and techniques used in the construction and making of the works on display in the exhibition. express ideas through creating artworks, writing and analytical discussion. compare and contrast aspects of Timorese cultures with Australian cultures.

Several themes are explored in the Online Education Resource Kit for Husi Bei Ala Timor Sira Nia Liman From the Hands of Our Ancestors including:

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 Joanna Barrkman, Curator of Southeast Asian Art, MAGNT, 2008

Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820 3

From the Hands of our Ancestors online education resource

Theme 1 Homage to the Ancestors: Ghosts and Spirits Arts Learning Area
The Homage to the Ancestors section of the exhibition displays a variety of ancestor figurines from different regions of Timor-Leste. Carving in stone and wood is a significant craft in Timor-Leste due to the relative availability of wood and the simple tools required. The people of Timor-Leste believe the world is inhabited by a multitude of good and evil spirits who, if looked after well, will protect the living. Ancestor figurines were put in special places within the house or used to mark the graves of deceased relatives. Homage was paid to these ancestors by offering them food, wine, tobacco and betel nut all the necessities and comforts of life. When seeking advice or approval from the ancestors a chicken, goat or 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 their human 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 important ancestors of Timor-Leste. A. Crocodile carving (DNC 167/09/1198-99)

The most important ancestor in Timorese culture is the crocodile, which is believed to be the greatgrandfather, king of the ancestors, king of the waters and king of the mountains. 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 became lost 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 land that is now the island of Timor. The name for Timor-Leste in the Tetum language is Timor Loro Sae, meaning Land of the Rising Sun. The island is thought to be shaped like a crocodile with rugged mountains 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, or fertility. 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 or that the figurines were placed into the ground outdoors. The weathering of the wood shows they have been exposed to the natural elements for a long time.

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From the Hands of our Ancestors online education resource

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. Horses were also ridden by warriors and aristocrats in Timor, where horses were diminutive and often referred to as Timor ponies. In Timor, horses were so numerous that they were traded from there to parts of Indonesia as long ago as the 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

Describe the crocodile carving using adjectives. How has the artist shown the scales and teeth of the crocodile? What common features of the ancestors has the artist used to indicate they are a couple or a pair? Discuss the rider and the horse with your friends.

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

Find a painting of an animal and examine the way the artist has shown the special features. Does it have big claws, or a shiny nose? Discuss how these features could be shown on a wooden carving. Draw a map of Timor showing Atauro and Jaco islands, and the Indonesian enclave of Oecussi. Decide which end of the island looks like the crocodiles mouth. Colour the island like a crocodile. Draw a picture of yourself showing how you would like to be remembered by your family if you were an ancestral spirit or a ghost. Exaggerate your most distinctive features in the picture (freckles or moles, glasses, hairstyle, culture-specific clothing, etc.). Discuss the materials used to carve the horse. How are the legs made?

Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820 5

From the Hands of our Ancestors online education resource

Arts Learning Area Middle Years 79

At the exhibition: response and analysis

Describe the crocodile using adjectives. Which features of the carving indicate that it is a reptile? Study the pair of ancestors. Describe the figures using adjectives. Discuss which common features of the figurines the artist has used to indicate the ancestors are a couple or a pair? Discuss the position of the ancestor riding the horse and the perspective used. Discuss the various meanings of the term perspective.

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

Carve a piece of wood into a simple animal of your choice. (Please do not cut any live trees and do not do this without supervision by an adult). Write a short story about the animal you have chosen. Draw a map of Timor showing Atauro and Jaco islands and the Indonesian enclave of Oecussi. Indicate the border between Indonesian West Timor and Timor-Leste. Draw a picture of yourself showing how you would like to be remembered by your family if you 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. Draw a horse and rider from a different perspective than the one in the exhibition.

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From the Hands of our Ancestors online education resource

Theme 2 Enmity Protection: Masks and Shields Arts Learning Area

Timorese warriors traditionally wore masks to hide their identities from their enemies. Other powerful protective objects included swords, ceremonial medallions (belak), headdresses and amulets, all of which were stored inside special ceremonial houses, uma lulik, in the villages of Timor-Leste. This warrior attire was considered to possess amazing powers that protected the warrior when he or she went to war. Before departure, special rituals were performed to heat the protective attire. Killing an enemy symbolically strengthened the fertility of the clan. When the warriors returned to their village they were met by the women who, dressed in their own warrior clothes, danced to ritually cool the warriors after their battle. In the past, the warriors sometimes cut off their victims heads and hung them from a sacred tree in their village. The heads were respected and offered food by the warriors so their power would pass to the villagers. Masks are still worn occasionally by men in Timor-Leste when performing ceremonial dances. On the island of Atauro masks are still carved and are sometimes hung from trees to protect gardens from thieves. Particular attention should be paid to the following three objects as they exhibit both the skill and innovation 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 several silver medallions, belak, which represent her authority and achievements at war. These precious objects were created by skilled silversmiths from the towns of Atsabe, Ermera, Ainaro and Aileu using silver coins that entered Timor during trade. A belak was often given by the husband to the wifes family when a couple married. B. Warrior headdress (AM EO 89468 a & b)

Headdresses crafted from metal, cotton seeds and glass beads were customarily worn by Timorese warriors to protect them from their enemies. People believed that the cloth, metals and beads contained powers to protect them from danger and harm. When not in use, ceremonial and warrior attire was stored in the ceremonial house of the clan. A headdress can be seen in the untitled linocut print on rice paper by Januario Prada (Ino) (MAGNT SEA 30520) on display in the Recent Expressions section of the exhibition. C. Mask (MAGNT SEA 03508)

Timorese warriors traditionally wore masks to hide their identities from their enemies. Wooden masks are still used by men in Timor during ceremonial dances. On the island of Atauro masks are still carved and are sometimes hung from trees to protect gardens from thieves. They are also sold as souvenirs to tourists or to international aid workers in Dili.

Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820 7

From the Hands of our Ancestors online education resource

Arts Learning Area Primary Years 46

At the exhibition: response and analysis

Describe the woman warrior figurine using adjectives. What material has been used for her hair? How many silver coins do you think the silversmith used to make one shield? Discuss the different materials used to make the warrior headdress. Find the scariest mask and talk about its features.

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

Make and decorate a belak, medallion, with materials from home. Make a warrior headdress of your own design using materials from home (cardboard, beads, buttons, braid, ribbons, etc.). Make and colour a scary mask using materials from home. Discuss other ways of making masks such as face-painting, papier-mch and plaster of Paris.

Arts Learning Area Middle Years 79

At the exhibition: response and analysis

Identify the different materials used to create the warrior figurine. Discuss the materials used to make the warrior headdress. Discuss the scary features of the carved wooden mask.

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

Make and decorate a belak, medallion, using materials at your disposal. Discuss technical problems you experienced making the medallion. Make a warrior headdress of your own design using available materials (cardboard, beads, buttons, feathers, braid, ribbon, etc.). Make and colour a mask using cardboard. Discuss other ways of making masks such as face- painting, papier-mch and plaster of Paris.

Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820 8

From the Hands of our Ancestors online education resource

Theme 3 Binding Identities: Textiles Studies of Society and Environment SOSE

Weaving of baskets, mats and tais, has been an important task of the women of Timor for hundreds of years. The motifs and techniques are handed down from mother to daughter without ever being written down. Tais are given as a symbolic gesture of friendship and relationship by placing them around the neck of the recipient, symbolising binding people together. Textiles are also exchanged to maintain relationships between individuals, families, clans and even nations. The various colours, motifs and designs 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 foreign influences. The earliest textiles made in Timor-Leste were made from bark fibre and worn as loin cloths or 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 are then coloured with natural dyes from plant roots, leaves, bark and mud. Red is a dominant colour and is associated with courage. Several types of blue indigo dye can be found in Timor, and a grey/black colour may be achieved using mud. Traditional textiles are woven by women on back-strap looms during the dry season. With the introduction of commercially spun and synthetically dyed threads, bright and colourful cloths are 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. The enclave of Oecussi has adopted Catholic religious themes for patterns on church regalia, such as the altar cloth (MAGNT SEA 3108) seen in the exhibition. Today tais are often woven with designs used to convey messages of hope and identity, to mark special occasions and to celebrate football teams and sporting events. Particular attention should be paid to the following three objects which demonstrate the importance of textiles in the culture of Timor-Leste, and how techniques and styles have changed over 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 as weddings, visits by important people and ceremonial occasions. Mens cloth wraps are also used as part of the gifts associated with marriage, known as bride-price, whereby the families of the bride and groom exchange gifts. The little figures of men with their arms spread out are known as anthropomorphic motifs. Their front-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. The horses woven into the cloth represent Timor ponies, which are especially numerous in the mountains of Timor-Leste. They are woven in profile (side-on).

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From the Hands of our Ancestors online education resource

B.

Altar cloth (MAGNT SEA 03551).

This fine altar cloth is made from commercially spun cotton, metallic threads and synthetic dyes. From Oecussi, 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 a European cross-stitch embroidery pattern. Versatile weavers in the Oecussi enclave have cleverly adapted their traditional weaving techniques to many new designs and materials, creating distinctive modern Timorese tais. C. Arafura Games sash (MAGNT SEA 03053)

This sash is made from imported, commercially spun rayon coloured with synthetic dyes. This tais commemorates the first occasion on which Timorese sports people competed under their own national flag, at the Arafura Games in Darwin, Australia. The inscription Arafura Games on this tais is woven in blue in the English language, one of the working languages of Timor-Leste. The traditional style Lospalos 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

Look at the traditional woven mans cloth wrap. What sort of dyes do you think have been used? Study the motifs (woven figure or patterns) of the little men and the Timor ponies. Can you see that these figures have been shown in a different perspective? Look closely at the altar cloth. Which motifs tell you that it is a cloth used in the church? These patterns were copied from embroidered Portuguese cloths and used for religious activities. This shows how clever the women were to adapt a new pattern to an old traditional technique of weaving. Look at the Arafura Games tais which is woven from brightly coloured commercially spun rayon with synthetic dyes. Notice the words Arafura Games in blue with a row of tiny traditional Lospalos houses. Do you know anybody in Darwin who received one of these sashes?

At school or home: values, beliefs and cultural diversity

Think of something in your own culture that has been given as a gift of love or friendship. What colours does your favourite football team use? List three items from your own culture that you would take to Timor-Leste to give to friends.

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From the Hands of our Ancestors online education resource

Studies of Society and Environment Middle Years 79

At the exhibition: time, continuity and change

Study the mans cloth wrap closely. Compare the figures of the ponies and the men and discuss the difference in perspective. How can you tell this cloth is a traditional one? Explain your reasons. Discuss the features of the altar cloth that show it is not made with traditional dyes and motifs. Examine the Arafura Games sash and compare the colours to those of the mans cloth wrap.

At school or home: values, beliefs and cultural diversity

In a few sentences, explain why the people of Timor-Leste still use traditional spinning and weaving after hundreds of years. Describe something that was made especially for you and how you feel about it. Do you feel a special bond with the person who made it? In a few sentences, describe the motifs of the altar cloth and their significance in Timor-Leste today. List three items from your own culture that you would take to Timor-Leste to give as gifts to form friendships.

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

Studies of Society and Environment

After the violent struggle for independence of Timor-Leste, children were encouraged to draw and paint their 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 any medium they could find: damaged walls, discarded cloth, cardboard, plywood and even driftwood. However, graffiti and murals seen in the streets of Dili, Baucau and Suai in Timor-Leste are now full of hope 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 many perspectives. As well as art they can be viewed as expressions of feelings and memories, or social and historical events. Particular attention should be paid to the following three artworks in the exhibition, which reflect change over time, cultural symbolism and diversity.

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From the Hands of our Ancestors online education resource

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 East Timorese refugees evacuated to Darwin in September 1999. Some of the panels in this work were also painted by Indigenous Australian artists and staff from United Nations who were based in Darwin at the time. Although there are many scenes of suffering, there are also many panels that show hope for the future of a united new nation of Timor-Leste. B. Untitled, linocut on rice paper by Januario Prada (Ino) (MAGNT SEA 03519)

This modern technique of lino-cutting and design printed on paper shows an image of a warrior dressed for battle leaving his house at Lospalos. The modern design maintains Timor-Leste traditions with a Lospalos house, a warrior wearing a belak (medallion), sword, drum, buffalo horn, and with a traditional theme. C. Peasant women planting soy beans by Sebastian Silva

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

Studies of Society and Environment Primary Years 46

At the exhibition: time, continuity and change

Find one panel from the mural The Suffering and Hope of the Timorese People that shows sadness from the past, and find one that shows hope for the future. Discuss how the symbolic crocodile ancestor has been used to give hope for the future. Find the traditional Lospalos house, shield, sword, drum, and ceremonial headdress in the untitled linocut print by Januario Prada (Ino). Why do the women plant soy beans in the way shown in the drawing entitled Peasant women planting soy beans by Sebastian Silva?

At school or home: values, beliefs and cultural diversity

From the mural The Suffering and Hope of the Timorese People discuss 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.). List some symbolic items from your own culture. Find out how soy beans are grown for food in Australia.

Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820 12

From the Hands of our Ancestors online education resource

Studies of Society and Environment Middle Years 79

At the exhibition: time, continuity and change

Find five panels from the mural The Suffering and Hope of the Timorese People that show sadness from the past, and find five panels that show hope for the future. Discuss. Learn the colours of the flag of Timor-Leste. Identify the cultural regalia worn by the warrior in the untitled linocut on rice paper by Januario Prada (Ino). Write them down. Discuss the scene of soy bean planting in the drawing by Sebastian Silva and consider the advantages and disadvantages of this agricultural method.

At school or home: values, beliefs and cultural diversity

Research the flag of Timor-Leste. What values, beliefs and symbolism are inherent in the design of this flag? Investigate cultural symbolism expressed in the panels of The Suffering and Hope of the Timorese People. Using the panels on the painting, list six cultural beliefs shown. Write down and find the meaning of one slogan from the panels of the mural. Write a paragraph about the values and beliefs of the people of Timor-Leste shown in the warrior figure on the untitled linocut on rice paper by Januario Prada (Ino). In one paragraph, compare the method of planting soy beans in Timor-Leste, as shown in the drawing Peasant women planting soy beans by Sebastian Silva, to Australian production for the market economy.

Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820 13

From the Hands of our Ancestors online education resource

husi bei ala TIMOR

e art and craft of Timor-Leste
images
Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820 14

SIRA NIA LIMAN

FROM THE HANDS OF OUR ANCESTORS

From the Hands of our Ancestors online education resource

Theme 1 Homage to the Ancestors: Ghosts and Spirits Arts 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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From the Hands of our Ancestors online education resource

Theme 2 Enmity Protection: Masks and Shields Arts 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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From the Hands of our Ancestors online education resource

Theme 3 Binding Identities: Textiles Studies 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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From the Hands of our Ancestors online education resource

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

a. The Suffering and Hope of the Timorese People

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

c. Peasant women planting soy beans by Sebastian Silva

Museum and Art Gallery Northern Territory www.magnt.nt.gov.au Conacher Street, Fannie Bay NT 0820 18