Textile Cultural tradition and their Preservation, Promotion and development By: Rosalia M Soares
Facts • Many collection of the National collection have been lost, stolen, sold and destroyed during the time of conflict; • Tais plays a significant role in the live of a Timorese; • Weaving is one of the skill of the women in rural areas.
objectives • To promote an inclusive and empowered society, where the cultural traditions may be preserved, documented, promoted and protected • To facilitate the linkage and the networking of civil society organizations, local authorities and private organizations (such as weaver cooperatives) from Timor Leste in facing the issue of preservation, promotion and education around their shared and endangered cultural heritages; • To promote and support the production of traditional textiles in Timor Leste as a sustainable and viable way to improve livelihoods through operations of cultural marketing
What we have done? • Timor Aid Collection : 150 tais from Timor – Leste and West Timor active and developed
Researches • Through 2009 to 2014 in partnership with Alola Foundation and Yayasan Bebali, Ubud, Bali, organize several field trips and workshop to revive the traditional dying • 2012 with the resources of French anthropologist Bridgette Clamagirand that visit Timor in 1967 and 1970 , Timor Aid conducted a research about the tradition of the Kemak people in Bobonaro district, Timor -Leste • 2013 the local government requested Timor aid to conduct 2 researches to collect tais information in Covalima and Lautem districts.
Researches 2012 to 2014 conducted 5 researches Collecting information through old photos Community trying to recognize familiar faces in the photos
Researches Weaving pattern Observing the Mud dying identification process
Some Finding • The number of young women willing to continue with this tradition is decreasing; • In several districts the weavers no longer used the hand spun cotton; • Some of the weavers prefer to weave the new/modern style of tais then the traditional once. • Marketing of the tais is still an issue
Exhibitions... • 2009 together with Alola Foundation (another NGO) mounted the exhibition “From light to dark” at Casa Europa, Dili • 2010, for the first time Timor Aid mounted a solo exhibition and exposed the collection to public. • 2013, in partnership with “Museum Tekstil ” in Jakarta, Timor Aid, Alola Foundation and the local government mount the exhibition entitle “ Futus- tenun ikat dari Timor-Leste and publish a catalogue with the same name • 2014, mount Lautem and Suai exhibition in Timor Aid office • 2014, Oecusse textile exhibition at Xanana culture centre in Dili • 2014, requested by the local government to mount the exhibition “ Our Heritage” for the CPLP summit in Dili.
Tais, the traditional cloth that play significance role in the live of Timorese
Exhibitions 2009 to 2014 mounted 6 tais exhibitions Reafirming the Kemak Culture now and then, Dili Seni Futus dari Timor Leste, Jakarta 2013
Publication from 2013 published 3 catalogues based on the research results Reafirming the Kemak cultura, The art of futus now and then
Other activities • Enhance the capacity of institutions working in the area and local authority • Establish partnerships and linkages in the field of cultural preservation
Conclusion • Timor Aid has gained the trust of the local government to carry out researches and exhibitions about Tais; • Continue to establish partnerships and strengthen the existing once to improve the quality of our work;
Textile Cultural tradition and their Preservation, Promotion and development
Issues • Timor-Leste has no Museum to mount the exhibition • Lack of the proper materials to support the collections • Timor-Leste has no institutions that can provide trainings in this area.
Timor - Leste collection There are three main collections in Timor-Leste such as: • Timor Aid collection The collection was set up by Ms Ceu Federer. She is one of the founder of Timor Aid The collection is buying from the weavers, commissioned for the exhibition and donation. Timor Aid collection is active and develop Timor Aid is possible using the collection for publications, exhibitions and educations.
• Alola foundation collection The collection has around 50 textiles. The collection was set up by Ms Sara Niener . The collection was acquired by buying from the weavers and donation. Alola collection is not active, but develop. • National collection is under supervision of the Secretary state of art and culture. The collection has around 1800 artefacts such as: Textiles, historic, basketries, ceramics, wooden objects, metal objects and other fine arts item. Many collection of National collections have been lost, stolen, sold and destroyed during the time of conflict, however, has been retrieved, listed, and conserved by three staff of Museum and art gallery northern territory (MAGNT) in 2000 and help by the National Museum staff too. The collection is active and developed. Private collectors are also consider in the exhibitions
The art of futus : Weaving technique from Timor-Leste By: Jaquelina Ximenes
Aims • As an on the job training for the staff of organizations involves to learn about the process and the work involves in mounting an exhibition abroad • As a way to introduce our work to textile communities and collectors in Jakarta • As a way to promote the tais to wider communities and strengthen the relations of the two countries.
Seni futus; tenun ikat dari Timor leste • Jakarta exhibition held in 2013; • Its was presenting cloths from Timor Leste and West Timor • The cloths of Timor-Leste from five districts such as Baucau, Cova Lima, Bobonaro, Lautem and Oecusse district. • The exhibition was exhibited in Jakarta Museum Tekstil (JTM) for two weeks on 19 Sept till 1 of October 2013. • It was done in partnership with Alola Foundation and Secretary State of Art and Culture and JTM
• In this exhibition was launch a catalogue with the same title in English and Indonesia • There were sessions of student visits to learn about the tais; • A floor talk with the textile collectors and museum practitioners.
Conclusion • The students show big interested in learning the technique of tais making • Timor Aid will continue to build the staff capacity through on the job training; • Able to meet with several tais collectors in Jakarta and identify some high value cloth; • Strengthened the relationship with partners as a way to improve the quality of the program outcome • Recommendations for Melbourne University especially art department to involve Timor Aid culture team if there is any conservation training.
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