1 10 41 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/6665beb723516b5403fc518aacac0d72.mp4 e39e8c442e964f19778f8064d65ae2bc https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/6717786f2902fba15a87f0f5cdc1f426.mp4 f3f06d46c276b5b2a93f1fb9710c8965 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/78eaebaed96ed84b36ee04837e725916.mp4 07562c0f39d8aa3ab565cfb985ab3843 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/255768b7de6e07937c8b91ea50c9c680.mp4 c11e2582914cae0c53c7f49c727a6f2d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vaihoho (dadolin kanta; sung poetry) Subject The topic of the resource Oral Traditions And Expressions Description An account of the resource TETUM Istória orál Fataluku nian maioria mak dadolin kanta ne'ebé ema koñese ho naran vaihoho. Vaihoho uza metáfora atu konta kona-ba akontesimentu istóriku. Uluk vaihoho sira barak liu haree ba tema domin no sentimentu terus tanba domin, maibé agora sira konta barak kona-ba konflitu, funu no triste. Tema seluk mak kona-ba ko'a hare no silu batar. Vaihoho mak dadolin tradisionál ne'ebé bele ko'alia ka kanta, dala barak tuir formatu bolu-hatán no koru boot ka ki'ik mak kanta. Vaihoho ne'ebé kanta ho parte rua baibain kanta atu simu bainaka, ka iha kazamentu, tempu ko'a hare, serimónia hakoi mate no servisu todan (hanesan hamoos foos, dada ai boot sai husi ai-laran, monta ai-riin ba uma foun, foti meci, la'o dook no halimar). Ema Fataluku uza simbolizmu no imajen bainhira sira konta vaihoho, ne'ebé bele badak ka bele naruk loos. Dadolin vaihoho bele konta ka kanta uza lingua loron-loron nian, maibé dala barak ema uza lingua Fataluku aas ne'ebé inklui liafuan ne'ebé baibain la uza. Atu bele kanta vaihoho presiza kompriende didi'ak nia regulamentu komplikadu nomós kompriende liafuan aas barak. Tanba nune'e, oportunidade atu aprende vaihoho agora menus ona no ema uitoan de'it ne'ebé moris depois de 1980 hatene kanta vaihoho. Peskiza ida-ne'e dokumenta vaihoho oi-oin, inklui kantiga barlake nian, lipal vaihoho nu, ne'ebé uza bainhira halo negosiasaun kona-ba barlake; kantiga fahe hare (orontafa) ne'ebé kanta bainhira prepara foos ba serimónia; kantiga kona-ba domin, iha-rala vaihoho, no kantaiga kona-ba hasoru susar durante hala'o rezisténsia iha tempu okupasaun Indonézia, halu vaihoho, ne'ebé uza metáfora kona-ba ai boot ne'ebé monu ba rai; no vaihoho iharala, kantiga kona-ba oan-kiak iha tempu funu. Kanta iha serimónia hakoi-mate, sa’u, mak uza bainhira avó ruma mate no iha ninia rituál espesífiku inklui oferta animál no tais. Tanba rituál sa'u lulik, ekipa peskiza labele dokumenta ida-ne'e, maske akontese beibeik iha área Lautem. ENGLISH Much of Fataluku oral literature is held and told through the vast body of sung poetry known as vaihoho. Vaihoho engage metaphor to tell historical events. Vaihoho were once predominantly themed around the melancholia of love, but are now more about recent tragedies of conflict, war and loss. Others themes pertain to harvest. Vaihoho are traditional poems either spoken or sung, often in call-and-response format performed a capella by choirs of varying sizes. Vaihoho two-part singing is performed for welcoming guests, weddings, harvests, funerals and heavy work (threshing rice, hauling a tree from the forest, planting the post of a house, harvesting sea worms, walking, passing the time). Symbolism and imagery is engaged in the telling of vaihoho, which range in length from one to many stanzas. Vaihoho poems may be told in the ordinary daily language, but often use a high literature language with rare or archaic words. To be able to sing vaihoho requires understanding its complicated and intricate rules and archaic words. For this reason opportunities to learn vaihoho are diminished today, and few people born after 1980 are able to sing vaihoho. A range of vaihoho were documented in this study, including a bride price song, lipal vaihoho nu, used in negotiating a wedding contract; rice husking songs (orontafa) used when preparing rice for ceremonies; songs about love, iha-rala vaihoho, and songs about the hardships of the period of resistance to the Indonesian occupation, halu vaihoho, which uses a metaphor of a large tree that falls on the land; and vaihoho iharala, songs about the orphans left after war. Funeral singing, sa’u, is used at the funerals of elders, and has its own rituals involving making offerings of gifts of animals and textiles. As sa'u rituals are sacred, these were not able to be documented by researchers, despite their frequent occurrence in the Lautem region. Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Halu Vaihohonu (Dadolin funu nian , War song) - Aldeia Vailana Subject The topic of the resource [Grupu dadolin ] Dadolin funu vaihoho [Isinging group] sing War song Description An account of the resource TETUM Kantiga funu, halu vaihoho, konta kona-ba terus no triste husi konflitu no masakre ne'ebé akontese bainhira Indonézia okupa Timor-Leste. Ema barak hetan oho no balun halai subar iha ai-laran. Kantiga ne'e uza metáfora ai boot ida monu iha rai Timor hodi konta katak ema barak mate, liu-liu nasaun nia joven sira. ENGLISH War song, halu vaihoho, tells about the tragedy of the conflict and massacres involved when Indonesia occupied Timor Leste. Many people were killed, and some were able to escape by hiding in forest areas. The song uses the metaphor of a large tree that fell across Timor Leste, killing a large number of people and taking with it the country's youth. Creator An entity primarily responsible for making the resource Many Hands International Source A related resource from which the described resource is derived Preservation of Endangered Forms of Fataluku Cultural Expression Project Date A point or period of time associated with an event in the lifecycle of the resource 07 / November / 2012 Rights Information about rights held in and over the resource Video, photo and text rights: Many Hands International Language A language of the resource Fataluku Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Adeia Vailana, Suco Lore I , Post Adminstrativu Lospalos, canta dadolin kanta funu Leuro Lospalos poetry sung poem vaihoho Vailana war https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/bad01e1d84010cb94fbddc95c585632a.JPG 3d0cf5ea072ca735eb82e08b77ccca97 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/92dc86efa8078d4565f77dbf459b4389.jpg 0632459cb6a7be9e3ee512a8b7a90249 Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Konaba website ne'e no oinsa atu uza / About this website and how to use it Description An account of the resource TETUM Ema Fataluku iha Timor-Leste iha kultura oi-oin ne'ebé forte. Many Hands International hala'o peskiza kona-ba kultura Fataluku ne'ebé ameasadu atu lakon durante tinan ida nia laran iha Postu Administrativu 3, Lospalos, Lautem no Tutuala. Liu hosi estudu ne’e MHI identifika tiha ona elementus Kultura Fataluku liu tolu-nulu. Projetu ne'e koko atu hamoris fila-fali elementu kultura ne'ebé ameasadu atu lakon liu hosi halo dokumentasaun kona-ba elementu kultura sira ne'e; harii kapasidade iha nivel lokál atu bele preserva patrimóniu kulturál; no fó ema Fataluku oportunidade atu haree no aprende kona-ba sira-nia patrimóniu kulturál. Website ida ne’e apresenta gravasaun video sira husi Many Hands International projetu peskija ho modelu hanesan galeria. Iha video sira ne’e membru komunidade fahe sira nia matenek no formas pratika espresaun kultura Fataluku ne’ebe ameasadu atu lakon. Gravasaun sira ne’e fahe ba ‘Unid’, ‘Koleksaun’ no ‘Exebisaun’. Ita boot sira bele hare lista husi kada espresaun element kultural oi-oin ho deit klik iha menu browse item iha pagina nia leten. Kada titulu hakerek iha lian Fataluku, tuir fali ho tetun no ingles iha sinal entre parenteses nia laran. Titulu ne’e inklui naran ba forma espresaun kultural no fatin halo gravasaun. Klik iha titulu hodi belehare video sira no informasaun. Wainhira klik iha ‘Browse by Tag’ iha ‘Explorar Unid’ no klik iha a tag (lian ida), item sira hotu ne’ebe mak relevante ho tag sei mosu mai. Tag sei inklui naran husi forma espresaun kultural ne’ebe oi-oin, fatin sira ba halo gravasaun sira ne’e no mos naran ema sira ne’ebe fahe sira nia matenek ne’e. Tag ne’e iha lian Fataluku, Tetum no Ingles. Imi mos bele hare formas espresaun kultural iha grupu ho tema (e.g. instrumentu musika) ho klik iha ‘Explorar Koleksaun’ no klik iha collection ne’ebe mak ita hakarak atu hare. Ikus mai, ita bo’ot sira bele hare grafasaun sira kona ba espresaun kultural tuir kategoria UNESCO nian ba Patrimoniu Kultural Imaterial ho klik iha ‘Explorar Exebisaun’’. UNESCO nia kategoria sira mak : o Matenek no pratika konaba natureja no universu o Apresentasaun Arte o Abilidade tradisional o Pratika social, ritual sira no eventu festival sira o Tradisaun oral sira no espresaun sira. Favor, nota katak website ne'e la completu. Ami sei continua atu aumenta ho informasaun no video sira. Bele hetan informasaun liu konaba Many Hands International iha website www.manyhands.org.au Obrigada barak ba University of Melbourne mak supporta ita atu realiza website ne'e hus Conceder Communidade. ENGLISH The Fataluku people of far eastern Timor-Leste maintain diverse and unique forms of cultural expression. However, there are many forms of cultural expression that are now endangered. Many Hands International's research project, Preservation of Endangered Forms of Fataluku Cultural Expression, recorded 30 different cultural heritage elements (many practiced in different forms) in the municipality of Lautem between 2012 and 2013. The project sought to help re-invigorate critically endangered forms of cultural expression by recording those cultural forms, building local capacity to safeguard cultural heritage and providing Fataluku people with an opportunities to view and learn more about their cultural heritage. This website presents in gallery format the video recordings from the Many Hands International research project. In the videos, community members share their knowledge and practice of endangered forms of Fataluku cultural expression. The recordings are organised into 'items', 'collections' and 'exhibits'. You can see a list of each form of expression of different cultural elements by clicking on 'Browse Items' in the menu at the top of the page. Each item title is written in Fataluku, followed by the Tetum and English translations in brackets. The title includes the name of the form of cultural expression and the aldeia (village) it was recorded in. Click on the title to see the videos and read information. If you click on 'Browse by Tag' in 'Browse Items' and click on a tag (word), all items related to this tag will be shown. Tags include the names of the different forms of cultural expression, the places the videos were recorded and the name of the people sharing their knowledge. Tags are in Fataluku, Tetum and English. You can also view forms of cultural expression by grouping on a theme (i.e. musical instruments) by clicking on 'Browse Collections' and clicking on the collection you want view. Finally, you can view recordings of cultural expressions according to the UNESCO intangible cultural heritage domains (categorisations) by clicking on 'Browse Exhibits'. The UNESCO domains are: - Knowledge and practices concerning nature and the universe. - Performing Arts - Traditional craftsmanship - Social practices, rituals and festive events - Oral traditions and expressions Please note that this website is a work in progress and we are still uploading and organising items and creating collections and exhibitions. More information about Many Hands International can be found at www.manyhands.org.au Many thanks to The University of Melbourne for its support in creating this website through a Community Engagement Grant. Source A related resource from which the described resource is derived Schauble, H., Dunphy, K., Da Silva, I., Pereira, N. (2019). Kultura Fataluku Lautem. Melbourne: Many Hands International. https://omeka.cloud.unimelb.edu.au/kulturalautem/ https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/616cbef36f950e9183635dec9ee95f2c.JPG cf3ec6aebf7652a7b17779841e7ce044 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nian Fa'i (naha no kohe; products from woven palm leaves) Description An account of the resource TETUM Iha Lautem nia laran iha maneira oi-oin atu homan naha ka kohe, no ema homan buat sira-ne'e baibain iha komunidade ne'ebé iha asesu ba ai-tahan ne'ebé presiza hodi homan. Bele hetan naha barak liu iha area besik tasi ibun iha ne'ebé ai-tali moris. Atu prepara ai-tali tahan hodi homan, tenke tesi ai-tali tahan no rai iha loron-matan hodi sai maran hafoin uza atu homan naha ka kohe. Naha uza ba buat oi-oin, inklui rai naan no ai-han seluk ba serimónia tradisionál, no bainhira la'o dook ka atu foti modo husi toos ka ai-laran. ENGLISH There are a number of different types of nian fa’i, products woven from palm leaves, found in Lautem. Woven products include leu hina (storage baskets); pari pari hina (woven fans); neru moko hina and leu hina (baskets for tossing grain); meci leu moko hina (baskets for catching sea worms); likas hina (a wide shallow basket); rai soko hina, (woven basket for carrying food while travelling); and ulu halivan hina (small woven palm leaf container for the umbilical cord). Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Likas Fa'i (bikan-fatin; placemat) - Aldeia Ioro Subject The topic of the resource Eudocia Correia Pinto homan likas fa'i iha aldeia Ioro, sub-distritu Tutuala. Eudocia Correia Pinto weaving likas fa'i in aldeia Ioro, Tutuala sub-district. Description An account of the resource TETUM Homan bikan-fatin, ka ho lian Fataluku likas fa'i, mak uza hanesan bikan ka bikan-fatin hodi serve hahán. Atu halo, ema uza ai-tali matak no homan modelu oi-oin. ENGLISH Woven placemats, likas fa'i, are used as plates or trays for serving food. Green young palm leaves are used, and woven into intricate patterns. Creator An entity primarily responsible for making the resource Many Hands International Source A related resource from which the described resource is derived Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project Date A point or period of time associated with an event in the lifecycle of the resource Recorded 24-04-2013 Rights Information about rights held in and over the resource Video, photo and text rights: Many Hands International Language A language of the resource Fataluku Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Aldeia Ioro, Suku Tutuala, Sub-distritu Tutuala. ai-tali artezanatu tradisional bikan-fatin Eudocia Correia Pinto homan Ioro likas fa'i palm leaf placemat traditional craftsmanship Tutuala weaving https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/c21cf3751cda6f1a592912df8b388449.jpg 05c3439f29bd27461fb48f9e1be1d3af Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rata Lolo (konta istória; creation story) Description An account of the resource TETUM Istória ka ai-knanoik tradisionál, ka ho lingua Fataluku bolu rata lolo, dala barak konta iha uma laran no inan-aman mak konta ba sira-nia oan. Rata lolo konta kona-ba família ka suku ida nia orijen, nia lisan no kostume, nia istória, valór, nomós kona-ba mundu naturais inklui ai-moris, animál no buat seluk iha ambiente hanesan foho, mota no bee-matan. ENGLISH Traditional creation stories, rata lolo, are often told in the home, from parent to child. Rata lolo tell about the origins of their clan, its rules and practices, history, and values, as well as about the natural world, including plants, animals and natural features such as mountains, rivers and well springs. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rata Lolo 'Acanaltou ho Teterentau' (istória 'Acanaltou ho Teterentau'; creation story 'Acanaltou ho Teterentau') - Paijahara Subject The topic of the resource Miguel da Dosta no nia feen konta istória Acanaltou ho Teterentau Miguel da Dosta and his wife tell the story of Acanaltou and Teterenta. Description An account of the resource TETUM Ekipa peskiza dokumenta istória Acanaltou ho Teterentau iha aldeia rua, aldeia Paijahara iha sub-distritu Lautem no aldeia Malahara iha sub-distritu Lospalos. Istória ida-ne'e kona-ba feto na'in rua ne'ebé hola mane ida. Feen boot la bele isin rua. Feen ki'ik bele isin rua no nia hetan oan-kaduak. Feen boot sente laran moras. Bainhira feen ki'ik sei deskansa iha toba fatin tanba foin partu, feen boot foti nia oan-kaduak no troka ho bibi nia oan rua. Nia tau bibi oan rua ne'e toba iha feen ki'ik nia sorin no lori bebé kaduak ba ai-laran. Buat ne'e halo família ne'e triste boot. Tuir versaun istória ne'ebé konta iha aldeia Paijahara, feen ne'e promete ba nia la'en katak nia sei fó labarik mane ho fitun iha nia ulun no fulan iha nia hirus-matan. ENGLISH The story of Acanaltou and Teterentau was documented in two villages, in aldeia Paijahara, in sub-district Lautem, and aldeia Malahara, in sub-district Lospalos. The story is about two women, married to the same man. The first wife wasn't able to have children because she was infertile. The second wife was able to become pregnant and gave birth to twins. The first wife was jealous. When the young wife was still in bed, tired from giving birth, the older wife took the twin babies away and swapped them with twin kid goats, laying them beside the young wife. She took the twin babies away into the jungle. This made for great sorrow with the family in the story. The story in aldeia Paijahara, the women promise to her husband that she will give him a boy with the star in his head and the moon in his chest. Creator An entity primarily responsible for making the resource Many Hands International Date A point or period of time associated with an event in the lifecycle of the resource Recorded 18.04.2013 Language A language of the resource Fataluku Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Aldeia Paijahara, sub-district Lautem. Source A related resource from which the described resource is derived Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project Rights Information about rights held in and over the resource Video, photo and text rights: Many Hands International Acanaltou ho Teterentau creation story istória Knowledge and practices concerning nature and the universe Lautem Miguel da Dosta Paijahara rata lolo https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/cd95c1fdc760abf2e799fef51ec5bd82.jpg 0f8fd3ad3b755b5662aeb6b8e82b1ddf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rosinda Martins https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/ca9f740888921b24a17ccf4c90d4fbcd.mp4 5d73f10bb66eacb5a2a8db8ace13c625 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rata Lolo (konta istória; creation story) Description An account of the resource TETUM Istória ka ai-knanoik tradisionál, ka ho lingua Fataluku bolu rata lolo, dala barak konta iha uma laran no inan-aman mak konta ba sira-nia oan. Rata lolo konta kona-ba família ka suku ida nia orijen, nia lisan no kostume, nia istória, valór, nomós kona-ba mundu naturais inklui ai-moris, animál no buat seluk iha ambiente hanesan foho, mota no bee-matan. ENGLISH Traditional creation stories, rata lolo, are often told in the home, from parent to child. Rata lolo tell about the origins of their clan, its rules and practices, history, and values, as well as about the natural world, including plants, animals and natural features such as mountains, rivers and well springs. Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rata Lolo 'Rata tu Zenlai i Moco Hini' (istória ida kona-ba bebé husi ratu Zenlai ; creation story about a baby of the Zenlai tribe) - Aldeia Pitileti Subject The topic of the resource Rosinda Martins konta rata lolo Rata tu Zenlai i Moco Hini. Rosinda Martins tells the creation story about a baby of the Zenlai tribe. Description An account of the resource TETUM Ai-knanoik ida kona-ba bebé ida-ne'ebé mate kedas bainhira nia moris mai. Sira hakoi bebé ho nuu-nurak, entaun tuir tradisaun, nia bele hemu bainhira sente hamrook. Tanba nia sei bebé ki'ik loos, nia labele hemu entaun nia tanis iha Makua ka Lovaji Ward (lingua ne'ebé la iha tiha ona) atu mate klamar seluk bele ajuda nia. Mate klamar bei-ala sira fó nia susu hodi nia la bele tanis ona. ENGLISH 'Rata tu Zenlai i Moco Hini' is fable about a baby that died the day he was born. The baby was buried with a young coconut, so that according to tradition, he can drink when he feels thirsty. As he was so young, he could not drink so be cried in Makua or Lovaji Ward (languages that no long exist) so that other ghosts would help him. His ancestor ghost gave him milk, to stop him crying. Date A point or period of time associated with an event in the lifecycle of the resource Recorded 27-02-2013 Language A language of the resource Fataluku Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Aldeia Pitileti, Sub-district Tutuala Creator An entity primarily responsible for making the resource Many Hands International Source A related resource from which the described resource is derived Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project Rights Information about rights held in and over the resource Video, photo and text rights: Many Hands International. baby bebé creation story istória Knowledge and practices concerming nature and the universe moco hini Pitileti rata lolo Rosinda Martins Zenlai https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/0915f14bd648f34b270d0d2dae457216.JPG 67097f3262701818c4e0d5a1882aa538 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/eb225f8a048265eae3684462087a897c.mp4 3a6a37dec087f93c28d594f98f07dc58 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/52cf1a3dfc9bc0f2d56960f3851c812f.mp4 afc95d75db6ab97bbe800a7898b236a5 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/a30082a40e38003d643f706d45a1f981.mp4 ce5295e94a3e9c48bf36afe9cfd1ccbd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vaihoho (dadolin kanta; sung poetry) Subject The topic of the resource Oral Traditions And Expressions Description An account of the resource TETUM Istória orál Fataluku nian maioria mak dadolin kanta ne'ebé ema koñese ho naran vaihoho. Vaihoho uza metáfora atu konta kona-ba akontesimentu istóriku. Uluk vaihoho sira barak liu haree ba tema domin no sentimentu terus tanba domin, maibé agora sira konta barak kona-ba konflitu, funu no triste. Tema seluk mak kona-ba ko'a hare no silu batar. Vaihoho mak dadolin tradisionál ne'ebé bele ko'alia ka kanta, dala barak tuir formatu bolu-hatán no koru boot ka ki'ik mak kanta. Vaihoho ne'ebé kanta ho parte rua baibain kanta atu simu bainaka, ka iha kazamentu, tempu ko'a hare, serimónia hakoi mate no servisu todan (hanesan hamoos foos, dada ai boot sai husi ai-laran, monta ai-riin ba uma foun, foti meci, la'o dook no halimar). Ema Fataluku uza simbolizmu no imajen bainhira sira konta vaihoho, ne'ebé bele badak ka bele naruk loos. Dadolin vaihoho bele konta ka kanta uza lingua loron-loron nian, maibé dala barak ema uza lingua Fataluku aas ne'ebé inklui liafuan ne'ebé baibain la uza. Atu bele kanta vaihoho presiza kompriende didi'ak nia regulamentu komplikadu nomós kompriende liafuan aas barak. Tanba nune'e, oportunidade atu aprende vaihoho agora menus ona no ema uitoan de'it ne'ebé moris depois de 1980 hatene kanta vaihoho. Peskiza ida-ne'e dokumenta vaihoho oi-oin, inklui kantiga barlake nian, lipal vaihoho nu, ne'ebé uza bainhira halo negosiasaun kona-ba barlake; kantiga fahe hare (orontafa) ne'ebé kanta bainhira prepara foos ba serimónia; kantiga kona-ba domin, iha-rala vaihoho, no kantaiga kona-ba hasoru susar durante hala'o rezisténsia iha tempu okupasaun Indonézia, halu vaihoho, ne'ebé uza metáfora kona-ba ai boot ne'ebé monu ba rai; no vaihoho iharala, kantiga kona-ba oan-kiak iha tempu funu. Kanta iha serimónia hakoi-mate, sa’u, mak uza bainhira avó ruma mate no iha ninia rituál espesífiku inklui oferta animál no tais. Tanba rituál sa'u lulik, ekipa peskiza labele dokumenta ida-ne'e, maske akontese beibeik iha área Lautem. ENGLISH Much of Fataluku oral literature is held and told through the vast body of sung poetry known as vaihoho. Vaihoho engage metaphor to tell historical events. Vaihoho were once predominantly themed around the melancholia of love, but are now more about recent tragedies of conflict, war and loss. Others themes pertain to harvest. Vaihoho are traditional poems either spoken or sung, often in call-and-response format performed a capella by choirs of varying sizes. Vaihoho two-part singing is performed for welcoming guests, weddings, harvests, funerals and heavy work (threshing rice, hauling a tree from the forest, planting the post of a house, harvesting sea worms, walking, passing the time). Symbolism and imagery is engaged in the telling of vaihoho, which range in length from one to many stanzas. Vaihoho poems may be told in the ordinary daily language, but often use a high literature language with rare or archaic words. To be able to sing vaihoho requires understanding its complicated and intricate rules and archaic words. For this reason opportunities to learn vaihoho are diminished today, and few people born after 1980 are able to sing vaihoho. A range of vaihoho were documented in this study, including a bride price song, lipal vaihoho nu, used in negotiating a wedding contract; rice husking songs (orontafa) used when preparing rice for ceremonies; songs about love, iha-rala vaihoho, and songs about the hardships of the period of resistance to the Indonesian occupation, halu vaihoho, which uses a metaphor of a large tree that falls on the land; and vaihoho iharala, songs about the orphans left after war. Funeral singing, sa’u, is used at the funerals of elders, and has its own rituals involving making offerings of gifts of animals and textiles. As sa'u rituals are sacred, these were not able to be documented by researchers, despite their frequent occurrence in the Lautem region. Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vaihoho Orontafa (rice husking sung poem)- Aldeia Ililapa Description An account of the resource TETUM Istória orál Fataluku nian maioria mak dadolin kanta ne'ebé ema koñese ho naran vaihoho. Vaihoho uza metáfora atu konta kona-ba akontesimentu istóriku. Uluk vaihoho sira barak liu haree ba tema domin no sentimentu terus tanba domin, maibé agora sira konta barak kona-ba konflitu, funu no triste. Tema seluk mak kona-ba ko'a hare no silu batar. Vaihoho mak dadolin tradisionál ne'ebé bele ko'alia ka kanta, dala barak tuir formatu bolu-hatán no koru boot ka ki'ik mak kanta. Vaihoho ne'ebé kanta ho parte rua baibain kanta atu simu bainaka, ka iha kazamentu, tempu ko'a hare, serimónia hakoi mate no servisu todan (hanesan hamoos foos, dada ai boot sai husi ai-laran, monta ai-riin ba uma foun, foti meci, la'o dook no halimar). Ema Fataluku uza simbolizmu no imajen bainhira sira konta vaihoho, ne'ebé bele badak ka bele naruk loos. Dadolin vaihoho bele konta ka kanta uza lingua loron-loron nian, maibé dala barak ema uza lingua Fataluku aas ne'ebé inklui liafuan ne'ebé baibain la uza. Atu bele kanta vaihoho presiza kompriende didi'ak nia regulamentu komplikadu nomós kompriende liafuan aas barak. Tanba nune'e, oportunidade atu aprende vaihoho agora menus ona no ema uitoan de'it ne'ebé moris depois de 1980 hatene kanta vaihoho. Peskiza ida-ne'e dokumenta vaihoho oi-oin, inklui kantiga barlake nian, lipal vaihoho nu, ne'ebé uza bainhira halo negosiasaun kona-ba barlake; kantiga fahe hare (orontafa) ne'ebé kanta bainhira prepara foos ba serimónia; kantiga kona-ba domin, iha-rala vaihoho, no kantaiga kona-ba hasoru susar durante hala'o rezisténsia iha tempu okupasaun Indonézia, halu vaihoho, ne'ebé uza metáfora kona-ba ai boot ne'ebé monu ba rai; no vaihoho iharala, kantiga kona-ba oan-kiak iha tempu funu. Kanta iha serimónia hakoi-mate, sa’u, mak uza bainhira avó ruma mate no iha ninia rituál espesífiku inklui oferta animál no tais. Tanba rituál sa'u lulik, ekipa peskiza labele dokumenta ida-ne'e, maske akontese beibeik iha área Lautem. ENGLISH Much of Fataluku oral literature is held and told through the vast body of sung poetry known as vaihoho. Vaihoho engage metaphor to tell historical events. Vaihoho were once predominantly themed around the melancholia of love, but are now more about recent tragedies of conflict, war and loss. Others themes pertain to harvest. Vaihoho are traditional poems either spoken or sung, often in call-and-response format performed a capella by choirs of varying sizes. Vaihoho two-part singing is performed for welcoming guests, weddings, harvests, funerals and heavy work (threshing rice, hauling a tree from the forest, planting the post of a house, harvesting sea worms, walking, passing the time). Symbolism and imagery is engaged in the telling of vaihoho, which range in length from one to many stanzas. Vaihoho poems may be told in the ordinary daily language, but often use a high literature language with rare or archaic words. To be able to sing vaihoho requires understanding its complicated and intricate rules and archaic words. For this reason opportunities to learn vaihoho are diminished today, and few people born after 1980 are able to sing vaihoho. A range of vaihoho were documented in this study, including a bride price song, lipal vaihoho nu, used in negotiating a wedding contract; rice husking songs (orontafa) used when preparing rice for ceremonies; songs about love, iha-rala vaihoho, and songs about the hardships of the period of resistance to the Indonesian occupation, halu vaihoho, which uses a metaphor of a large tree that falls on the land; and vaihoho iharala, songs about the orphans left after war. Funeral singing, sa’u, is used at the funerals of elders, and has its own rituals involving making offerings of gifts of animals and textiles. As sa'u rituals are sacred, these were not able to be documented by researchers, despite their frequent occurrence in the Lautem region. Date A point or period of time associated with an event in the lifecycle of the resource Recorded 27.11.2012 Language A language of the resource Fataluku Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Aldeia Ililapa, Suku Lore II Postu Administrativu Lospalos ,Munisipiu Lautem Subject The topic of the resource Rice husking song sung by community members in aldeia (hamlet) Ililapa. Creator An entity primarily responsible for making the resource Many Hands International Source A related resource from which the described resource is derived Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project Rights Information about rights held in and over the resource Video, photo and text rights: Many Hands International https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/c77166d83a4c367d48a6c815c66a867e.JPG 5545c551fb53ce67e8831b6541826dd6 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/c1afbe6d75944204ee34e5802a4181fa.mp4 190b31954aaf15e08b4b4d7b831b7330 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/83cc80ee14cb68235c365cdca4a28e7d.mp4 3e04afad99055db37b962d7aa43c2378 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/3d68e8dc663db4be1134fc0e1629b64d.mp4 5a827d9d3dfb432cf2afd23bda5b95d3 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/6fc9dc7e6e64cdf0037625fa99bb438b.mp4 5d9381a5d69ae5e9ea1ba226fc0418a2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vaihoho (dadolin kanta; sung poetry) Subject The topic of the resource Oral Traditions And Expressions Description An account of the resource TETUM Istória orál Fataluku nian maioria mak dadolin kanta ne'ebé ema koñese ho naran vaihoho. Vaihoho uza metáfora atu konta kona-ba akontesimentu istóriku. Uluk vaihoho sira barak liu haree ba tema domin no sentimentu terus tanba domin, maibé agora sira konta barak kona-ba konflitu, funu no triste. Tema seluk mak kona-ba ko'a hare no silu batar. Vaihoho mak dadolin tradisionál ne'ebé bele ko'alia ka kanta, dala barak tuir formatu bolu-hatán no koru boot ka ki'ik mak kanta. Vaihoho ne'ebé kanta ho parte rua baibain kanta atu simu bainaka, ka iha kazamentu, tempu ko'a hare, serimónia hakoi mate no servisu todan (hanesan hamoos foos, dada ai boot sai husi ai-laran, monta ai-riin ba uma foun, foti meci, la'o dook no halimar). Ema Fataluku uza simbolizmu no imajen bainhira sira konta vaihoho, ne'ebé bele badak ka bele naruk loos. Dadolin vaihoho bele konta ka kanta uza lingua loron-loron nian, maibé dala barak ema uza lingua Fataluku aas ne'ebé inklui liafuan ne'ebé baibain la uza. Atu bele kanta vaihoho presiza kompriende didi'ak nia regulamentu komplikadu nomós kompriende liafuan aas barak. Tanba nune'e, oportunidade atu aprende vaihoho agora menus ona no ema uitoan de'it ne'ebé moris depois de 1980 hatene kanta vaihoho. Peskiza ida-ne'e dokumenta vaihoho oi-oin, inklui kantiga barlake nian, lipal vaihoho nu, ne'ebé uza bainhira halo negosiasaun kona-ba barlake; kantiga fahe hare (orontafa) ne'ebé kanta bainhira prepara foos ba serimónia; kantiga kona-ba domin, iha-rala vaihoho, no kantaiga kona-ba hasoru susar durante hala'o rezisténsia iha tempu okupasaun Indonézia, halu vaihoho, ne'ebé uza metáfora kona-ba ai boot ne'ebé monu ba rai; no vaihoho iharala, kantiga kona-ba oan-kiak iha tempu funu. Kanta iha serimónia hakoi-mate, sa’u, mak uza bainhira avó ruma mate no iha ninia rituál espesífiku inklui oferta animál no tais. Tanba rituál sa'u lulik, ekipa peskiza labele dokumenta ida-ne'e, maske akontese beibeik iha área Lautem. ENGLISH Much of Fataluku oral literature is held and told through the vast body of sung poetry known as vaihoho. Vaihoho engage metaphor to tell historical events. Vaihoho were once predominantly themed around the melancholia of love, but are now more about recent tragedies of conflict, war and loss. Others themes pertain to harvest. Vaihoho are traditional poems either spoken or sung, often in call-and-response format performed a capella by choirs of varying sizes. Vaihoho two-part singing is performed for welcoming guests, weddings, harvests, funerals and heavy work (threshing rice, hauling a tree from the forest, planting the post of a house, harvesting sea worms, walking, passing the time). Symbolism and imagery is engaged in the telling of vaihoho, which range in length from one to many stanzas. Vaihoho poems may be told in the ordinary daily language, but often use a high literature language with rare or archaic words. To be able to sing vaihoho requires understanding its complicated and intricate rules and archaic words. For this reason opportunities to learn vaihoho are diminished today, and few people born after 1980 are able to sing vaihoho. A range of vaihoho were documented in this study, including a bride price song, lipal vaihoho nu, used in negotiating a wedding contract; rice husking songs (orontafa) used when preparing rice for ceremonies; songs about love, iha-rala vaihoho, and songs about the hardships of the period of resistance to the Indonesian occupation, halu vaihoho, which uses a metaphor of a large tree that falls on the land; and vaihoho iharala, songs about the orphans left after war. Funeral singing, sa’u, is used at the funerals of elders, and has its own rituals involving making offerings of gifts of animals and textiles. As sa'u rituals are sacred, these were not able to be documented by researchers, despite their frequent occurrence in the Lautem region. Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vaihoho Orontafa (rice husking sung poem) - Aldeia Codu Subject The topic of the resource Rice husking song sung by community members in aldeia (hamlet) Codu. Description An account of the resource ENGLISH Much of Fataluku oral literature is held and told through the vast body of sung poetry known as vaihoho. Vaihoho engage metaphor to tell historical events. Vaihoho were once predominantly themed around the melancholia of love, but are now more about recent tragedies of conflict, war and loss. Others themes pertain to harvest. Vaihoho are traditional poems either spoken or sung, often in call-and-response format performed a capella by choirs of varying sizes. Vaihoho two-part singing is performed for welcoming guests, weddings, harvests, funerals and heavy work (threshing rice, hauling a tree from the forest, planting the post of a house, harvesting sea worms, walking, passing the time). Symbolism and imagery is engaged in the telling of vaihoho, which range in length from one to many stanzas. Vaihoho poems may be told in the ordinary daily language, but often use a high literature language with rare or archaic words. To be able to sing vaihoho requires understanding its complicated and intricate rules and archaic words. For this reason opportunities to learn vaihoho are diminished today, and few people born after 1980 are able to sing vaihoho. A range of vaihoho were documented in this study, including a bride price song, lipal vaihoho nu, used in negotiating a wedding contract; rice husking songs (orontafa) used when preparing rice for ceremonies; songs about love, iha-rala vaihoho, and songs about the hardships of the period of resistance to the Indonesian occupation, halu vaihoho, which uses a metaphor of a large tree that falls on the land; and vaihoho iharala, songs about the orphans left after war. Funeral singing, sa’u, is used at the funerals of elders, and has its own rituals involving making offerings of gifts of animals and textiles. As sa'u rituals are sacred, these were not able to be documented by researchers, despite their frequent occurrence in the Lautem region. Creator An entity primarily responsible for making the resource Many Hands International Source A related resource from which the described resource is derived Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project Date A point or period of time associated with an event in the lifecycle of the resource 27 - November - 2012 Rights Information about rights held in and over the resource Video, photo and text rights: Many Hands International Language A language of the resource Fataluku Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Aldeia Codu , Suku maina II , Postu Administrativu Lautem/Moro https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/aee3f5c2fa87f653ee944d16e9443156.JPG b72cb6a365974f80ac88cda6a94cc1aa https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/7ff23f4bace5d987a9df0c5be5ce5cfd.mp4 cfd549d381beb4d5c5263f6cdc7f95b4 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/fb839be37d77de639d6b0a204bf97026.mp4 f68b5749bc6e1b02e0a5b48c30147d11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vaihoho (dadolin kanta; sung poetry) Subject The topic of the resource Oral Traditions And Expressions Description An account of the resource TETUM Istória orál Fataluku nian maioria mak dadolin kanta ne'ebé ema koñese ho naran vaihoho. Vaihoho uza metáfora atu konta kona-ba akontesimentu istóriku. Uluk vaihoho sira barak liu haree ba tema domin no sentimentu terus tanba domin, maibé agora sira konta barak kona-ba konflitu, funu no triste. Tema seluk mak kona-ba ko'a hare no silu batar. Vaihoho mak dadolin tradisionál ne'ebé bele ko'alia ka kanta, dala barak tuir formatu bolu-hatán no koru boot ka ki'ik mak kanta. Vaihoho ne'ebé kanta ho parte rua baibain kanta atu simu bainaka, ka iha kazamentu, tempu ko'a hare, serimónia hakoi mate no servisu todan (hanesan hamoos foos, dada ai boot sai husi ai-laran, monta ai-riin ba uma foun, foti meci, la'o dook no halimar). Ema Fataluku uza simbolizmu no imajen bainhira sira konta vaihoho, ne'ebé bele badak ka bele naruk loos. Dadolin vaihoho bele konta ka kanta uza lingua loron-loron nian, maibé dala barak ema uza lingua Fataluku aas ne'ebé inklui liafuan ne'ebé baibain la uza. Atu bele kanta vaihoho presiza kompriende didi'ak nia regulamentu komplikadu nomós kompriende liafuan aas barak. Tanba nune'e, oportunidade atu aprende vaihoho agora menus ona no ema uitoan de'it ne'ebé moris depois de 1980 hatene kanta vaihoho. Peskiza ida-ne'e dokumenta vaihoho oi-oin, inklui kantiga barlake nian, lipal vaihoho nu, ne'ebé uza bainhira halo negosiasaun kona-ba barlake; kantiga fahe hare (orontafa) ne'ebé kanta bainhira prepara foos ba serimónia; kantiga kona-ba domin, iha-rala vaihoho, no kantaiga kona-ba hasoru susar durante hala'o rezisténsia iha tempu okupasaun Indonézia, halu vaihoho, ne'ebé uza metáfora kona-ba ai boot ne'ebé monu ba rai; no vaihoho iharala, kantiga kona-ba oan-kiak iha tempu funu. Kanta iha serimónia hakoi-mate, sa’u, mak uza bainhira avó ruma mate no iha ninia rituál espesífiku inklui oferta animál no tais. Tanba rituál sa'u lulik, ekipa peskiza labele dokumenta ida-ne'e, maske akontese beibeik iha área Lautem. ENGLISH Much of Fataluku oral literature is held and told through the vast body of sung poetry known as vaihoho. Vaihoho engage metaphor to tell historical events. Vaihoho were once predominantly themed around the melancholia of love, but are now more about recent tragedies of conflict, war and loss. Others themes pertain to harvest. Vaihoho are traditional poems either spoken or sung, often in call-and-response format performed a capella by choirs of varying sizes. Vaihoho two-part singing is performed for welcoming guests, weddings, harvests, funerals and heavy work (threshing rice, hauling a tree from the forest, planting the post of a house, harvesting sea worms, walking, passing the time). Symbolism and imagery is engaged in the telling of vaihoho, which range in length from one to many stanzas. Vaihoho poems may be told in the ordinary daily language, but often use a high literature language with rare or archaic words. To be able to sing vaihoho requires understanding its complicated and intricate rules and archaic words. For this reason opportunities to learn vaihoho are diminished today, and few people born after 1980 are able to sing vaihoho. A range of vaihoho were documented in this study, including a bride price song, lipal vaihoho nu, used in negotiating a wedding contract; rice husking songs (orontafa) used when preparing rice for ceremonies; songs about love, iha-rala vaihoho, and songs about the hardships of the period of resistance to the Indonesian occupation, halu vaihoho, which uses a metaphor of a large tree that falls on the land; and vaihoho iharala, songs about the orphans left after war. Funeral singing, sa’u, is used at the funerals of elders, and has its own rituals involving making offerings of gifts of animals and textiles. As sa'u rituals are sacred, these were not able to be documented by researchers, despite their frequent occurrence in the Lautem region. Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lipal Vaihoho Nu (bride price sung poem) - Aldeia Nanafoe Subject The topic of the resource Community members from aldeia (hamlet) Nanafoe singing the bride price song. Description An account of the resource Bride price song, lipal vaihoho nu, is used in negotiating a wedding contract. Date A point or period of time associated with an event in the lifecycle of the resource Recorded 18.11.2012 Language A language of the resource Fataluku Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Aldeia Nanafoe, Suku Bauro, Latuem https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/69a8ee2d0dc1ae25304f930a26b99ad8.JPG 6decb1405c7f5d9d169ec09dca3cd99d https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/0f86118c607435cb3b12474ee31fe7e5.mp4 2d01b2a0e23d51fd15e434efcef174b2 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/f5f523628952c2cc5cd2ee761eb72187.mp4 8594a760d8336e55bd26e8f2c31d6134 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/06b23cebf4f6d55ed82b22ed889b61c6.mp4 94e90625813d1cf2bae4d7a84271d39b https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/e59587c66f10fdb227b03f150e925179.mp4 40e0eb5cc924686b9f9e0e6f64ba9a3f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vaihoho (dadolin kanta; sung poetry) Subject The topic of the resource Oral Traditions And Expressions Description An account of the resource TETUM Istória orál Fataluku nian maioria mak dadolin kanta ne'ebé ema koñese ho naran vaihoho. Vaihoho uza metáfora atu konta kona-ba akontesimentu istóriku. Uluk vaihoho sira barak liu haree ba tema domin no sentimentu terus tanba domin, maibé agora sira konta barak kona-ba konflitu, funu no triste. Tema seluk mak kona-ba ko'a hare no silu batar. Vaihoho mak dadolin tradisionál ne'ebé bele ko'alia ka kanta, dala barak tuir formatu bolu-hatán no koru boot ka ki'ik mak kanta. Vaihoho ne'ebé kanta ho parte rua baibain kanta atu simu bainaka, ka iha kazamentu, tempu ko'a hare, serimónia hakoi mate no servisu todan (hanesan hamoos foos, dada ai boot sai husi ai-laran, monta ai-riin ba uma foun, foti meci, la'o dook no halimar). Ema Fataluku uza simbolizmu no imajen bainhira sira konta vaihoho, ne'ebé bele badak ka bele naruk loos. Dadolin vaihoho bele konta ka kanta uza lingua loron-loron nian, maibé dala barak ema uza lingua Fataluku aas ne'ebé inklui liafuan ne'ebé baibain la uza. Atu bele kanta vaihoho presiza kompriende didi'ak nia regulamentu komplikadu nomós kompriende liafuan aas barak. Tanba nune'e, oportunidade atu aprende vaihoho agora menus ona no ema uitoan de'it ne'ebé moris depois de 1980 hatene kanta vaihoho. Peskiza ida-ne'e dokumenta vaihoho oi-oin, inklui kantiga barlake nian, lipal vaihoho nu, ne'ebé uza bainhira halo negosiasaun kona-ba barlake; kantiga fahe hare (orontafa) ne'ebé kanta bainhira prepara foos ba serimónia; kantiga kona-ba domin, iha-rala vaihoho, no kantaiga kona-ba hasoru susar durante hala'o rezisténsia iha tempu okupasaun Indonézia, halu vaihoho, ne'ebé uza metáfora kona-ba ai boot ne'ebé monu ba rai; no vaihoho iharala, kantiga kona-ba oan-kiak iha tempu funu. Kanta iha serimónia hakoi-mate, sa’u, mak uza bainhira avó ruma mate no iha ninia rituál espesífiku inklui oferta animál no tais. Tanba rituál sa'u lulik, ekipa peskiza labele dokumenta ida-ne'e, maske akontese beibeik iha área Lautem. ENGLISH Much of Fataluku oral literature is held and told through the vast body of sung poetry known as vaihoho. Vaihoho engage metaphor to tell historical events. Vaihoho were once predominantly themed around the melancholia of love, but are now more about recent tragedies of conflict, war and loss. Others themes pertain to harvest. Vaihoho are traditional poems either spoken or sung, often in call-and-response format performed a capella by choirs of varying sizes. Vaihoho two-part singing is performed for welcoming guests, weddings, harvests, funerals and heavy work (threshing rice, hauling a tree from the forest, planting the post of a house, harvesting sea worms, walking, passing the time). Symbolism and imagery is engaged in the telling of vaihoho, which range in length from one to many stanzas. Vaihoho poems may be told in the ordinary daily language, but often use a high literature language with rare or archaic words. To be able to sing vaihoho requires understanding its complicated and intricate rules and archaic words. For this reason opportunities to learn vaihoho are diminished today, and few people born after 1980 are able to sing vaihoho. A range of vaihoho were documented in this study, including a bride price song, lipal vaihoho nu, used in negotiating a wedding contract; rice husking songs (orontafa) used when preparing rice for ceremonies; songs about love, iha-rala vaihoho, and songs about the hardships of the period of resistance to the Indonesian occupation, halu vaihoho, which uses a metaphor of a large tree that falls on the land; and vaihoho iharala, songs about the orphans left after war. Funeral singing, sa’u, is used at the funerals of elders, and has its own rituals involving making offerings of gifts of animals and textiles. As sa'u rituals are sacred, these were not able to be documented by researchers, despite their frequent occurrence in the Lautem region. Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Icatutun Vaihoho (love song) - Aldeia Malahara Subject The topic of the resource Community members from aldeia (hamlet) Malahara sing a common love song, icatutun vaihoho. Description An account of the resource ENGLISH Common love songs, Icatutun vaihoho, are sung by couples when they work in the fields. Singers described having learnt about this song - which has various different interpretations each with its own note and rhythm - from their parents. Icatutun vaihoho are sung about a person one is in love with, or about being gossiped behind one's back. A woman vaihoho singer said that love songs can be sung to ask a lover to wait while they can prepare to be married and can ‘journey though life together’. The singer said also that before there were telephones, they had to arrange to meet using song. Lovers created the song words so that others wouldn't understand. The songs helped them to arrange to meet, or to express their feelings for one another without others knowing. Date A point or period of time associated with an event in the lifecycle of the resource Recorded 16.11.2012 Language A language of the resource Fataluku Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Aldeia Malahara, Suku Muapitine, Lautem https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/7c0ea0460f4300120f2add0af5c139fb.JPG ea20fbf585040ce4aa0eb6b4f3c2b718 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/ad9ef38fa317892c8566521aeb3fc34e.mp4 80a4e444ff9079fb3d06530f16d69cd1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nian Fa'i (naha no kohe; products from woven palm leaves) Description An account of the resource TETUM Iha Lautem nia laran iha maneira oi-oin atu homan naha ka kohe, no ema homan buat sira-ne'e baibain iha komunidade ne'ebé iha asesu ba ai-tahan ne'ebé presiza hodi homan. Bele hetan naha barak liu iha area besik tasi ibun iha ne'ebé ai-tali moris. Atu prepara ai-tali tahan hodi homan, tenke tesi ai-tali tahan no rai iha loron-matan hodi sai maran hafoin uza atu homan naha ka kohe. Naha uza ba buat oi-oin, inklui rai naan no ai-han seluk ba serimónia tradisionál, no bainhira la'o dook ka atu foti modo husi toos ka ai-laran. ENGLISH There are a number of different types of nian fa’i, products woven from palm leaves, found in Lautem. Woven products include leu hina (storage baskets); pari pari hina (woven fans); neru moko hina and leu hina (baskets for tossing grain); meci leu moko hina (baskets for catching sea worms); likas hina (a wide shallow basket); rai soko hina, (woven basket for carrying food while travelling); and ulu halivan hina (small woven palm leaf container for the umbilical cord). Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vili-Vili Fa'i (reti husar-talin; basket for umbillical chord) - Aldeia Titilari Subject The topic of the resource Gilermina dos Santos koalia konaba no hatudo oinsa atu homan vili-vili. Gilermina dos Santos talks about and demonstrates how to weave a vili-vili. Description An account of the resource TETUM Reti husar-talin, ka ho lian Fataluku bolu vili vili, uza atu rai kosok-oan nia husar-talin. Bainhira kosok-oan moris semana ida ona, ema ida hasai nia husar-talin no rai iha vili vili. Se kosok-oan feto, entaun vili vili tara iha ai-kabas atu nune'e bainhira bebé ne'e sai boot nia hatene soru. Se kosok-oan mane, vila vila tara iha ai-nuu atu nune'e bainhira bebé sai boot nia matenek sai ai-nuu no halo tua mutin. Ekipa peskiza identifika ema na'in rua ne'ebé hatene homan reti vili vili, Gracinda da Assuncâo, iha aldeia Lora, sub-distritu Tutuala, no Gilermina dos Santos iha aldeia Titilari, sub-distritu Lospalos. Rua-rua dehan sira-nia inan mak hanorin sira homan reti. ENGLISH Umbilical chord baskets, vili vili, are used to store the umbilical chord of new-born children. When a baby is around one week old its dry umbilical cord is removed and placed in a vili vili. If the baby is female, the vili vili is hung in a cotton tree so that when she grows up she will know how to weave. If the baby is a boy, it is hung in a coconut tree, so that when he grows up he will be good at climbing coconut trees and making palm wine. Two weavers of vili vili, Gracinda da Assuncâo, in aledia Iora, Tutuala sub-district, and Gilermina dos Santos in aledia Titilari, Lospalos sub-district, said they were taught to weave by their mothers. BAHASA INDONESIA Keranjang tali pusat, vili vili, digunakan untuk menyimpan tali pusat dari bayi yang baru lahir. Saat bayi berusia sekitar seminggu, tali pusat yang mengering akan diputus dan diletakan di sebuah vili vili. Untuk bayi perempuan, vili vili digantung di pohon kapas sehingga saat tumbuh dia akan mengetahui cara memintal. Untuk bayi laki-laki, vili vili digantungkan di pohon kelapa sehingga saat tumbuh ia mengetahui cara memanjat pohon kelapa dan mengetahu cara membuat arak palem. Dua penganyam vili vili yang teridentifikasi, Gracinda da Assuncâo, di Desa Iora, sub-distrik Tutuala, and Gilermina dos Santos di Desa Titilari, sub-distrik Lospalos. Keduanya mengaku diajari cara menganyam oleh ibu mereka. Date A point or period of time associated with an event in the lifecycle of the resource Recorded 20.06.2013 Language A language of the resource Fataluku Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Aldeia Titilari, Suku Fuiloro II, Sub-distritu Lospalos Creator An entity primarily responsible for making the resource Many Hands International Source A related resource from which the described resource is derived Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project Rights Information about rights held in and over the resource Video, photo and text rights: Many Hands International artezanatu tradisional basket craft Gilermina dos Santos husar-talin practica social reti ritual rituals and festive events social practices Titilari traditional craftsmanship umbillical chord vili-vili fa'i