1
10
41
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https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/20e053a1ea3789f9c785975e197d379a.JPG
8cebce792084c469db808ceef3a0c72d
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
Pedro da Silva playing the kakal
https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/88cb53b8cd8f6ce36cccc4105efdc453.mp4
5ec24d76078435bda6d164739aff8b5b
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
Instrumentu múzika (musical instruments)
Subject
The topic of the resource
TETUM: Halo no mos toka Instrumentu múzika.
ENGLISH: Making and playing traditional musical instruments.
Description
An account of the resource
TETUM
Instrumentu múzika ne'ebé ema Fataluku toka inklui: oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, no puhu-puhu. Múzika ne'ebé tokadór Fataluku sira toka no kanta bazeia ba lingua Fataluku. Baibain múzika ne'e iha ritmu ne'ebé la regulár ne'ebé dala barak tuir kanta vaihoho nian duke tuir ritmu kanta baibain. Rezultadu peskiza hatudu katak la dun iha métodu baibain atu toka instrumentu sira-ne'e – instrumentu nia lian (ka setelnya) bele diferente, konforme tokadór ne'ebé toka. Instrumentu hotu-hotu nia lian afina besik nada E-flat, karik hodi halo instrumentu ne'e apár ho kantór lagu Fataluku.
Maioria instrumentu múzika iha funsaun prinsipál atu duni sai animál no manu-fuik hodi sira la bele han natar ka toos. Maibé instrumentu sira-ne'e mós toka tanba tokadór gosta rona nia lian ka tanba uza iha serimónia hanesan kazamentu, ka bele mós atu halo komunikasaun entre fatin rua ne'ebé dook malu. Koñesimentu kona-ba múzika no oinsá toka instrumentu sira-ne'e barak liu besik lakon tanba ema uitoan de'it mak bele halo no toka instrumentu múzika sira.
ENGLISH
Musical instruments used by the Fataluku people include oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, and puhu-puhu. Music played by Fataluku performers is composed around the Fataluku language. It often has an irregular rhythm, which often follows the inflections of vaihoho singing, rather than adhering to a specific time signature. There seems to be no moderation for how an instrument is to be played – tuning differs significantly between different players. All instruments were found to be tuned near to an E-flat, perhaps matching the regular vocal range for Fataluku singing.
Most instruments have a primary function of frightening away animals and birds from eating crops, but are also played for entertainment for the performer alone or for use at ceremonial occasions such as weddings, or to communicate across distances. Knowledge of the music and how to make and play these instruments is largely endangered given the small number of people who can still make and play them.
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
Kakal Uta (xilofone ai; wooden xylophone) - Aldeia Malahara
Suku Muaptine
Subject
The topic of the resource
Pedro da Silva halo no toka kakal iha aldeia Malahara.
Pedro da Silva making and playing the kakal in aldeia (village) Malahara.
Description
An account of the resource
TETUM:
Kakal mak xilofone halo ho ai husi ai-pokura ne'ebé hetan iha distritu Lautem nia ai-laran. Instrumentu ida-ne'e – pipa ai tolu – toka ho ai-dona. Ai-oan ho lian aas mak tau iha kraik no ai-oan ho lian la aas tau iha leten.
Bainhira toka, kakal nia ritmu la regulár no dala barak halo tuir kantiga vaihoho (kantiga tradisionál ka poema ne'ebé ema kanta). Kantiga vaihoho ne'ebé toka ho kakal mós hasara manu-aman, asu no kutun. Toos-na'in iha sira-nia natar toka kakal maka'as loos, uza nia lian boot ne'e atu halo manu-fuik, lekirauk no animál seluk tan ta'uk atu nune'e sira lakohi han natar ka toos. Kantiga domin toka neineik ho lian ida de'it hanesan bolu ita-nia doben mai. Instrumentu ida-ne'e mós toka bainhira ema kanta vaihoho iha serimónia kazamentu, hakoi mate, ko'a hare ka iha serimónia seluk tan.
Mane nomós feto toka kakal.
ENGLISH:
Kakal is a log xylophone made from the wood of the pokura tree found in the jungle of the Lautem district. The instrument comprises a set of three suspended cylindrical tubes and is played with sticks. The lowest pitch is at the top, and the highest at the bottom.
When played, the rhythm of the kakal is irregular, and often follows the inflections of sung vaihoho (traditional songs or sung poems). The vaihoho songs played on the kakal also imitate roosters, dogs and insects. Farmers in the fields play the kakal loudly, using the sound to scare away birds, monkeys or other animals from eating crops. Love songs are more often played softly, as single notes to call to ones' girlfriend or boyfriend. The instrument is also performed in accompaniment with vaihoho at weddings, funerals, harvest festivals and other ceremonial occasions.
The kakal is played by men and women.
BAHASA INDONESIA:
Kakal adalah xylophone kayu terbuat dari kayu dari pohon pokura, ditemukan di hutan kabupaten Lautem. Alat musik ini – yang terdiri dari tiga tangguhkan tabung silinder – dimainkan dengan dua tongkat. Nada terrendah adalah di atas, yang tertinggi di bawah.
Saat dimainkan, irama tidak teratur, dan sering mengikitu tafsir lagu vaihoho (lagu tradisional atau puisi yang dinyanyikan). Lagu vaihoho dimainkan dengan kakal juga imitasi suara ayam jago, anjing dan serangga.
Suara-suara kakal memiliki artinya yang beda-beda. Para petani di lapang memainkan kakal secara yang keras, untuk menakut-nakuti burung, monkey atau binatang lain dari makan panenan. Lagu cinta dimainkan secara lebih lembut, sebagai satu catatan untuk memanggil orang pacar. Alat music ini juga dimainkan bersama dengan vaihoho di pernikaan, permakaman, upacara panen dan upacara tradisi lain.
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 19.11.2012
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 Malahara, Suku Muapitine, Lautem.
Ai
artes performaticas
Instrument
Instrumentu
Lautem
Lospalos
Malahara
Muapitine
Music
Musica
Pedro da Silva
performing arts
Wood
Xilofone
Xylophone
-
https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/54156c014f009dfd47e933c5e8912af2.JPG
002c875b0d279aebf426ba31041ccb3a
https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/a486b93d297740b2fb743da9f6877b07.mp4
15bb4a7f94a059059d93d16c479ada9e
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
Instrumentu múzika (musical instruments)
Subject
The topic of the resource
TETUM: Halo no mos toka Instrumentu múzika.
ENGLISH: Making and playing traditional musical instruments.
Description
An account of the resource
TETUM
Instrumentu múzika ne'ebé ema Fataluku toka inklui: oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, no puhu-puhu. Múzika ne'ebé tokadór Fataluku sira toka no kanta bazeia ba lingua Fataluku. Baibain múzika ne'e iha ritmu ne'ebé la regulár ne'ebé dala barak tuir kanta vaihoho nian duke tuir ritmu kanta baibain. Rezultadu peskiza hatudu katak la dun iha métodu baibain atu toka instrumentu sira-ne'e – instrumentu nia lian (ka setelnya) bele diferente, konforme tokadór ne'ebé toka. Instrumentu hotu-hotu nia lian afina besik nada E-flat, karik hodi halo instrumentu ne'e apár ho kantór lagu Fataluku.
Maioria instrumentu múzika iha funsaun prinsipál atu duni sai animál no manu-fuik hodi sira la bele han natar ka toos. Maibé instrumentu sira-ne'e mós toka tanba tokadór gosta rona nia lian ka tanba uza iha serimónia hanesan kazamentu, ka bele mós atu halo komunikasaun entre fatin rua ne'ebé dook malu. Koñesimentu kona-ba múzika no oinsá toka instrumentu sira-ne'e barak liu besik lakon tanba ema uitoan de'it mak bele halo no toka instrumentu múzika sira.
ENGLISH
Musical instruments used by the Fataluku people include oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, and puhu-puhu. Music played by Fataluku performers is composed around the Fataluku language. It often has an irregular rhythm, which often follows the inflections of vaihoho singing, rather than adhering to a specific time signature. There seems to be no moderation for how an instrument is to be played – tuning differs significantly between different players. All instruments were found to be tuned near to an E-flat, perhaps matching the regular vocal range for Fataluku singing.
Most instruments have a primary function of frightening away animals and birds from eating crops, but are also played for entertainment for the performer alone or for use at ceremonial occasions such as weddings, or to communicate across distances. Knowledge of the music and how to make and play these instruments is largely endangered given the small number of people who can still make and play them.
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
Kakal Uta (xilofone ai; wooden xylophone) - Aldeia Soikili
Suku Parlamento
Subject
The topic of the resource
Josefina dos Santos, husi aldeia Soikili, koalia konaba kakal no kolega toka.
Josefina dos Santos from aldeia (village) Soikili, talks about the kakal and a friend plays it.
Description
An account of the resource
TETUM:
Kakal mak xilofone halo ho ai husi ai-pokura ne'ebé hetan iha distritu Lautem nia ai-laran. Instrumentu ida-ne'e – pipa ai tolu – toka ho ai-dona. Ai-oan ho lian aas mak tau iha kraik no ai-oan ho lian la aas tau iha leten.
Bainhira toka, kakal nia ritmu la regulár no dala barak halo tuir kantiga vaihoho (kantiga tradisionál ka poema ne'ebé ema kanta). Kantiga vaihoho ne'ebé toka ho kakal mós hasara manu-aman, asu no kutun. Toos-na'in iha sira-nia natar toka kakal maka'as loos, uza nia lian boot ne'e atu halo manu-fuik, lekirauk no animál seluk tan ta'uk atu nune'e sira lakohi han natar ka toos. Kantiga domin toka neineik ho lian ida de'it hanesan bolu ita-nia doben mai. Instrumentu ida-ne'e mós toka bainhira ema kanta vaihoho iha serimónia kazamentu, hakoi mate, ko'a hare ka iha serimónia seluk tan.
Mane nomós feto toka kakal.
ENGLISH:
Kakal is a log xylophone made from the wood of the pokura tree found in the jungle of the Lautem district. The instrument comprises a set of three suspended cylindrical tubes and is played with sticks. The lowest pitch is at the top, and the highest at the bottom.
When played, the rhythm of the kakal is irregular, and often follows the inflections of sung vaihoho (traditional songs or sung poems). The vaihoho songs played on the kakal also imitate roosters, dogs and insects. Farmers in the fields play the kakal loudly, using the sound to scare away birds, monkeys or other animals from eating crops. Love songs are more often played softly, as single notes to call to ones' girlfriend or boyfriend. The instrument is also performed in accompaniment with vaihoho at weddings, funerals, harvest festivals and other ceremonial occasions.
The kakal is played by men and women.
BAHASA INDONESIA:
Kakal adalah xylophone kayu terbuat dari kayu dari pohon pokura, ditemukan di hutan kabupaten Lautem. Alat musik ini – yang terdiri dari tiga tangguhkan tabung silinder – dimainkan dengan dua tongkat. Nada terrendah adalah di atas, yang tertinggi di bawah.
Saat dimainkan, irama tidak teratur, dan sering mengikitu tafsir lagu vaihoho (lagu tradisional atau puisi yang dinyanyikan). Lagu vaihoho dimainkan dengan kakal juga imitasi suara ayam jago, anjing dan serangga.
Suara-suara kakal memiliki artinya yang beda-beda. Para petani di lapang memainkan kakal secara yang keras, untuk menakut-nakuti burung, monkey atau binatang lain dari makan panenan. Lagu cinta dimainkan secara lebih lembut, sebagai satu catatan untuk memanggil orang pacar. Alat music ini juga dimainkan bersama dengan vaihoho di pernikaan, permakaman, upacara panen dan upacara tradisi lain.
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 16.12.2012
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 Soikili, suku Moro Parlamentu, sub-district Lautem.
Rights
Information about rights held in and over the resource
Video, photo and text rights: Many Hands International
Ai
artes performaticas
Instrument
Instrumentu
Josefina dos Santos
kakal uta
Moro Parlamentu
performing arts
Soikili
Wood
wooden xylophone
Xilofone
Xylophone
-
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https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/98cf7600ec168ba9c129349ed77e4aea.mp4
c6889c843d2a513a9205613b25f30712
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
Instrumentu múzika (musical instruments)
Subject
The topic of the resource
TETUM: Halo no mos toka Instrumentu múzika.
ENGLISH: Making and playing traditional musical instruments.
Description
An account of the resource
TETUM
Instrumentu múzika ne'ebé ema Fataluku toka inklui: oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, no puhu-puhu. Múzika ne'ebé tokadór Fataluku sira toka no kanta bazeia ba lingua Fataluku. Baibain múzika ne'e iha ritmu ne'ebé la regulár ne'ebé dala barak tuir kanta vaihoho nian duke tuir ritmu kanta baibain. Rezultadu peskiza hatudu katak la dun iha métodu baibain atu toka instrumentu sira-ne'e – instrumentu nia lian (ka setelnya) bele diferente, konforme tokadór ne'ebé toka. Instrumentu hotu-hotu nia lian afina besik nada E-flat, karik hodi halo instrumentu ne'e apár ho kantór lagu Fataluku.
Maioria instrumentu múzika iha funsaun prinsipál atu duni sai animál no manu-fuik hodi sira la bele han natar ka toos. Maibé instrumentu sira-ne'e mós toka tanba tokadór gosta rona nia lian ka tanba uza iha serimónia hanesan kazamentu, ka bele mós atu halo komunikasaun entre fatin rua ne'ebé dook malu. Koñesimentu kona-ba múzika no oinsá toka instrumentu sira-ne'e barak liu besik lakon tanba ema uitoan de'it mak bele halo no toka instrumentu múzika sira.
ENGLISH
Musical instruments used by the Fataluku people include oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, and puhu-puhu. Music played by Fataluku performers is composed around the Fataluku language. It often has an irregular rhythm, which often follows the inflections of vaihoho singing, rather than adhering to a specific time signature. There seems to be no moderation for how an instrument is to be played – tuning differs significantly between different players. All instruments were found to be tuned near to an E-flat, perhaps matching the regular vocal range for Fataluku singing.
Most instruments have a primary function of frightening away animals and birds from eating crops, but are also played for entertainment for the performer alone or for use at ceremonial occasions such as weddings, or to communicate across distances. Knowledge of the music and how to make and play these instruments is largely endangered given the small number of people who can still make and play them.
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
Oi-Oil (fafu'ik au; bamboo flute) - Aldeia Raça
Suku Raça
Description
An account of the resource
TETUM
Oi-oil, ka bele mós uza naran ruru veve ho lian Fataluku, mak fafu'ik au ne'ebé bele toka ida de'it ka dalaruma toka rua dala ida (duplu). Instrumentu múzika ida-ne'e halo husi au ka ai-nuu no bele naruk entre 20cm to'o 50cm. Instrumentu ne'ebé ekipa peskiza hetan iha Aldeia Raça iha kuak haat ba liman-fuan, maizumenus naruk to'o 20cm, no toka rua dala ida. Tipu ida-ne'e fó naran ruru veve iha aldeia Aldeia Raça, maibé iha fatin seluk ema fó naran oi-oil.
Oi-oil ne'ebé tokadór Senor Raul Victor Torres toka iha Aldeia Raça iha ai-tahan maran ida ne'ebé hatama ba kuak iha leten no muda ba-mai hodi troka lian atu nune'e bainhira toka duplu, oi-oil rua-rua iha lian hanesan. Kuak ikus iha oi-oil la uza no nia fatin dook loos husi kuak sira seluk entaun liman-fuan labele taka kuak ne'e. Fafu'ik ida (iha sorin karuk) mak sai hanesan lian baze nian, no ida fali iha sorin loos mak halo lian melodia. Múzika nia fraze mak determina husi tokadór nia iis. Oi-oil bele toka lian 'major third' iha melodia, no 'major second' iha parte lian baze. Tuir Yampolsky (2012), múzika ne'ebé toka ho oi-oil duplu mak melodia vaihoho, tanba fafu'ik rua bele halo tuir hanesan kantadór nia lian rua bainhira sira kanta vaihoho hamutuk. Oi-oil sira-ne'e toka bainhira labarik sira atu toba (lullaby) nomos toka iha eventu balun hanesan selebrasaun.
Oi-oil iha Aldeia Raça, sub-distritu Lospalos, naruk liu – maizumenus 40cm – no iha kuak neen ba liman-fuan. Instrumentu sira-ne'e toka ida de'it (laos duplu), kaer ho maneira vertikál no huu ba ibun-fatin nia leten. Iha au mihis loos ida ne'ebé kesi ba ibun-fatin ka kesi ba kuak ikus no ida-ne'e halo instrumentu nia lian sai aas liu ka tun liu.
ENGLISH:
Oi-oil, also known as a ruru veve in Fataluku (or kafu'i in Tetum), is a bamboo flute played singly or double. It is made of bamboo or coconut wood and varies in length from around 20cm to 50cm. Instruments in aldeia Rasa had four finger holes and were around 20cm in length and were played doubly. These are known as ruru veve in aldeia Rasa, while known elsewhere as the oi-oil.
Oi-oil played by musician Raul Victor Torres in aldeia Rasa has a tuning slide up near where it is blown, made out of dried leaf that is moved to allow the two flutes to play in tune with each other. The bottom hole isn’t used, and is far away from where the fingers can reach. One flute (left hand side) acts as a drone, and the right hand side makes the melody and embellishments, or ornament figures/melody. Phrasing is determined by the breath. The oi-oil showed a range of a major third in the melody, and a major second in the drone passages. According to Yampolsky (2012), the music played on doubly-played oi-oil are vaihoho melodies, as the two flutes can imitate the two voices of a vaihoho duo. These oi-oil are played as a lullaby and are also played at some celebrations.
BAHASA INDONESIA
Oi-oil, yang juga dikenal sebagai ruru veve di Fataluku (atau kafu'i dalam Bahasa Tetum), adalah suling bambu yang dimainkan secara tunggal atau ganda. Suling ini terbuat dari bambu atau kayu kelapa dengan variasi panjang mulai dari 20 cm hingga 50 cm. Instrumen-instrumen di Desa Rasa yang memiliki empat lubang jari dengan panjang sekitar 20cm ini dimainkan berganda. Alat ini dikenal sebagai ruru veve di Desa Rasa, sementara di tempat lain dikenal sebagai oi-oil.
Oi-oil yang dimainkan oleh musisi Raul Victor Torres di Desa Rasa memiliki tala luncuran ke atas di dekat tempat tiup, terbuat dari daun kering yang dapat dipindahkan sehingga memungkinkan dua seruling bermain selaras satu sama lain. Lubang bawah tidak digunakan, dan jauh dari capaian jemari. Satu flute di sisi kiri bertindak sebagai dengung, dan sisi kanan membuat melodi dan bubuhan, atau figur-figur ornamen/ melodi. Penyusunan kata-kata ditentukan oleh nafas. Oi-oil menunjukkan berbagai sepertiga utama dalam melodi, dan kedua utama dalam bagian-bagian dengung. Menurut Yampolsky (2012), musik yang dimainkan menggunakan oi-oil berganda adalah melodi-melodi vaihoho, lantaran kedua seruling dapat meniru dua suara dari duo vaihoho. Oi-oil ini dimainkan sebagai pengantar tidur dan juga dimainkan di beberapa perayaan.
Oi-oil di Desa Rasa., Kecamatan Lospalos berukuran lebih panjang – sekitar 40 cm – dan memiliki enam lubang jari. Instrumen ini dimainkan tunggal, dipegang secara vertikal dan dimainkan dengan cara meniup di corong mulut. Buluh bambu diikat di atas corong tersebut, atau di ujung lubang yang memungkinkan instrument memainkan oktaf yang berbeda.
Date
A point or period of time associated with an event in the lifecycle of the resource
Recorded 10-06-2013
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 Rasa, Suku Rasa, Sub-district Lospalos, Lautem.
Subject
The topic of the resource
Senor Raul Victor Torres toka oi-oil iha aldeia Rasa.
Senor Raul Victor Torres playing the oi-oil in aldeia Rasa.
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
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
artes performaticas
au
bamboo
fafu'ik
flute
Instrument
Instrumentu
Lautem
Lospalos
Music
oi-oil
performing arts
rasa
Raul Victor Torres
-
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https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/60436b37665dfd3fd24ee0a32ed62a1d.mp4
e34f66f2b0a789a5acfd454f7452578a
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
Instrumentu múzika (musical instruments)
Subject
The topic of the resource
TETUM: Halo no mos toka Instrumentu múzika.
ENGLISH: Making and playing traditional musical instruments.
Description
An account of the resource
TETUM
Instrumentu múzika ne'ebé ema Fataluku toka inklui: oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, no puhu-puhu. Múzika ne'ebé tokadór Fataluku sira toka no kanta bazeia ba lingua Fataluku. Baibain múzika ne'e iha ritmu ne'ebé la regulár ne'ebé dala barak tuir kanta vaihoho nian duke tuir ritmu kanta baibain. Rezultadu peskiza hatudu katak la dun iha métodu baibain atu toka instrumentu sira-ne'e – instrumentu nia lian (ka setelnya) bele diferente, konforme tokadór ne'ebé toka. Instrumentu hotu-hotu nia lian afina besik nada E-flat, karik hodi halo instrumentu ne'e apár ho kantór lagu Fataluku.
Maioria instrumentu múzika iha funsaun prinsipál atu duni sai animál no manu-fuik hodi sira la bele han natar ka toos. Maibé instrumentu sira-ne'e mós toka tanba tokadór gosta rona nia lian ka tanba uza iha serimónia hanesan kazamentu, ka bele mós atu halo komunikasaun entre fatin rua ne'ebé dook malu. Koñesimentu kona-ba múzika no oinsá toka instrumentu sira-ne'e barak liu besik lakon tanba ema uitoan de'it mak bele halo no toka instrumentu múzika sira.
ENGLISH
Musical instruments used by the Fataluku people include oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, and puhu-puhu. Music played by Fataluku performers is composed around the Fataluku language. It often has an irregular rhythm, which often follows the inflections of vaihoho singing, rather than adhering to a specific time signature. There seems to be no moderation for how an instrument is to be played – tuning differs significantly between different players. All instruments were found to be tuned near to an E-flat, perhaps matching the regular vocal range for Fataluku singing.
Most instruments have a primary function of frightening away animals and birds from eating crops, but are also played for entertainment for the performer alone or for use at ceremonial occasions such as weddings, or to communicate across distances. Knowledge of the music and how to make and play these instruments is largely endangered given the small number of people who can still make and play them.
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
Oi-Oil (fafu'ik au; bamboo flute) - Aldeia Sepelata
Suku Bauro
Description
An account of the resource
TETUM
Oi-oil, ka bele mós uza naran ruru veve ho lian Fataluku, mak fafu'ik au ne'ebé bele toka ida de'it ka dalaruma toka rua dala ida (duplu). Instrumentu múzika ida-ne'e halo husi au ka ai-nuu no bele naruk entre 20cm to'o 50cm. Instrumentu ne'ebé ekipa peskiza hetan iha aldeia Malahara iha kuak haat ba liman-fuan, maizumenus naruk to'o 20cm, no toka rua dala ida. Tipu ida-ne'e fó naran ruru veve iha aldeia Malahara, maibé iha fatin seluk ema fó naran oi-oil.
Oi-oil ne'ebé tokadór Henrique Lopes toka iha aldeia Malahara iha ai-tahan maran ida ne'ebé hatama ba kuak iha leten no muda ba-mai hodi troka lian atu nune'e bainhira toka duplu, oi-oil rua-rua iha lian hanesan. Kuak ikus iha oi-oil la uza no nia fatin dook loos husi kuak sira seluk entaun liman-fuan labele taka kuak ne'e. Fafu'ik ida (iha sorin karuk) mak sai hanesan lian baze nian, no ida fali iha sorin loos mak halo lian melodia. Múzika nia fraze mak determina husi tokadór nia iis. Oi-oil bele toka lian 'major third' iha melodia, no 'major second' iha parte lian baze. Tuir Yampolsky (2012), múzika ne'ebé toka ho oi-oil duplu mak melodia vaihoho, tanba fafu'ik rua bele halo tuir hanesan kantadór nia lian rua bainhira sira kanta vaihoho hamutuk. Oi-oil sira-ne'e toka bainhira labarik sira atu toba (lullaby) nomos toka iha eventu balun hanesan selebrasaun.
Oi-oil iha aldeia Sepelata, sub-distritu Lospalos, naruk liu – maizumenus 40cm – no iha kuak neen ba liman-fuan. Instrumentu sira-ne'e toka ida de'it (laos duplu), kaer ho maneira vertikál no huu ba ibun-fatin nia leten. Iha au mihis loos ida ne'ebé kesi ba ibun-fatin ka kesi ba kuak ikus no ida-ne'e halo instrumentu nia lian sai aas liu ka tun liu.
ENGLISH:
Oi-oil, also known as a ruru veve in Fataluku (or kafu'i in Tetum), is a bamboo flute played singly or double. It is made of bamboo or coconut wood and varies in length from around 20cm to 50cm. Instruments in aldeia Malahara had four finger holes and were around 20cm in length and were played doubly. These are known as ruru veve in aldeia Malahara, while known elsewhere as the oi-oil.
Oi-oil played by musician Henrique Lopes in aldeia Malahara has a tuning slide up near where it is blown, made out of dried leaf that is moved to allow the two flutes to play in tune with each other. The bottom hole isn’t used, and is far away from where the fingers can reach. One flute (left hand side) acts as a drone, and the right hand side makes the melody and embellishments, or ornament figures/melody. Phrasing is determined by the breath. The oi-oil showed a range of a major third in the melody, and a major second in the drone passages. According to Yampolsky (2012), the music played on doubly-played oi-oil are vaihoho melodies, as the two flutes can imitate the two voices of a vaihoho duo. These oi-oil are played as a lullaby and are also played at some celebrations.
BAHASA INDONESIA
Oi-oil, yang juga dikenal sebagai ruru veve di Fataluku (atau kafu'i dalam Bahasa Tetum), adalah suling bambu yang dimainkan secara tunggal atau ganda. Suling ini terbuat dari bambu atau kayu kelapa dengan variasi panjang mulai dari 20 cm hingga 50 cm. Instrumen-instrumen di Desa Malahara yang memiliki empat lubang jari dengan panjang sekitar 20cm ini dimainkan berganda. Alat ini dikenal sebagai ruru veve di Desa Malahara, sementara di tempat lain dikenal sebagai oi-oil.
Oi-oil yang dimainkan oleh musisi Henrique Lopes di Desa Malahara memiliki tala luncuran ke atas di dekat tempat tiup, terbuat dari daun kering yang dapat dipindahkan sehingga memungkinkan dua seruling bermain selaras satu sama lain. Lubang bawah tidak digunakan, dan jauh dari capaian jemari. Satu flute di sisi kiri bertindak sebagai dengung, dan sisi kanan membuat melodi dan bubuhan, atau figur-figur ornamen/ melodi. Penyusunan kata-kata ditentukan oleh nafas. Oi-oil menunjukkan berbagai sepertiga utama dalam melodi, dan kedua utama dalam bagian-bagian dengung. Menurut Yampolsky (2012), musik yang dimainkan menggunakan oi-oil berganda adalah melodi-melodi vaihoho, lantaran kedua seruling dapat meniru dua suara dari duo vaihoho. Oi-oil ini dimainkan sebagai pengantar tidur dan juga dimainkan di beberapa perayaan.
Oi-oil di Desa Sepelata, Kecamatan Lospalos berukuran lebih panjang – sekitar 40 cm – dan memiliki enam lubang jari. Instrumen ini dimainkan tunggal, dipegang secara vertikal dan dimainkan dengan cara meniup di corong mulut. Buluh bambu diikat di atas corong tersebut, atau di ujung lubang yang memungkinkan instrument memainkan oktaf yang berbeda.
Date
A point or period of time associated with an event in the lifecycle of the resource
Recorded 18.11.2012
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 Sepelata, Suku Bauro, sub-district Lospalos
Subject
The topic of the resource
Senor Domião Maria toka oi-oil iha adleia Sepelata.
Senor Domião Maria playing the oi-oil in aldeia (village) Sepelata.
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
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
artes performaticas
au
bamboo
Domião Maria
fafu'ik
flute
Instrument
Instrumentu
Lospalos
Music
oi-oil
performing arts
Sepelata
-
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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
Instrumentu múzika (musical instruments)
Subject
The topic of the resource
TETUM: Halo no mos toka Instrumentu múzika.
ENGLISH: Making and playing traditional musical instruments.
Description
An account of the resource
TETUM
Instrumentu múzika ne'ebé ema Fataluku toka inklui: oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, no puhu-puhu. Múzika ne'ebé tokadór Fataluku sira toka no kanta bazeia ba lingua Fataluku. Baibain múzika ne'e iha ritmu ne'ebé la regulár ne'ebé dala barak tuir kanta vaihoho nian duke tuir ritmu kanta baibain. Rezultadu peskiza hatudu katak la dun iha métodu baibain atu toka instrumentu sira-ne'e – instrumentu nia lian (ka setelnya) bele diferente, konforme tokadór ne'ebé toka. Instrumentu hotu-hotu nia lian afina besik nada E-flat, karik hodi halo instrumentu ne'e apár ho kantór lagu Fataluku.
Maioria instrumentu múzika iha funsaun prinsipál atu duni sai animál no manu-fuik hodi sira la bele han natar ka toos. Maibé instrumentu sira-ne'e mós toka tanba tokadór gosta rona nia lian ka tanba uza iha serimónia hanesan kazamentu, ka bele mós atu halo komunikasaun entre fatin rua ne'ebé dook malu. Koñesimentu kona-ba múzika no oinsá toka instrumentu sira-ne'e barak liu besik lakon tanba ema uitoan de'it mak bele halo no toka instrumentu múzika sira.
ENGLISH
Musical instruments used by the Fataluku people include oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, and puhu-puhu. Music played by Fataluku performers is composed around the Fataluku language. It often has an irregular rhythm, which often follows the inflections of vaihoho singing, rather than adhering to a specific time signature. There seems to be no moderation for how an instrument is to be played – tuning differs significantly between different players. All instruments were found to be tuned near to an E-flat, perhaps matching the regular vocal range for Fataluku singing.
Most instruments have a primary function of frightening away animals and birds from eating crops, but are also played for entertainment for the performer alone or for use at ceremonial occasions such as weddings, or to communicate across distances. Knowledge of the music and how to make and play these instruments is largely endangered given the small number of people who can still make and play them.
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
Oi-Oil (fafu'ik au; bamboo flute) - Aldeia Malahara
Date
A point or period of time associated with an event in the lifecycle of the resource
Recorded 16.11.2012
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, suco Muapitine, municipalidade Lautem
Subject
The topic of the resource
Senor Henrique Da Cruz toka oi-oil iha aldeia Malahara.
Senor Henrique Lopes playing the oi-oil in aldeia (village) Malahara.
Description
An account of the resource
TETUM
Oi-oil, ka bele mós uza naran ruru veve ho lian Fataluku, mak fafu'ik au ne'ebé bele toka ida de'it ka dalaruma toka rua dala ida (duplu). Instrumentu múzika ida-ne'e halo husi au ka ai-nuu no bele naruk entre 20cm to'o 50cm. Instrumentu ne'ebé ekipa peskiza hetan iha aldeia Malahara iha kuak haat ba liman-fuan, maizumenus naruk to'o 20cm, no toka rua dala ida. Tipu ida-ne'e fó naran ruru veve iha aldeia Malahara, maibé iha fatin seluk ema fó naran oi-oil.
Oi-oil ne'ebé tokadór Henrique Lopes toka iha aldeia Malahara iha ai-tahan maran ida ne'ebé hatama ba kuak iha leten no muda ba-mai hodi troka lian atu nune'e bainhira toka duplu, oi-oil rua-rua iha lian hanesan. Kuak ikus iha oi-oil la uza no nia fatin dook loos husi kuak sira seluk entaun liman-fuan labele taka kuak ne'e. Fafu'ik ida (iha sorin karuk) mak sai hanesan lian baze nian, no ida fali iha sorin loos mak halo lian melodia. Múzika nia fraze mak determina husi tokadór nia iis. Oi-oil bele toka lian 'major third' iha melodia, no 'major second' iha parte lian baze. Tuir Yampolsky (2012), múzika ne'ebé toka ho oi-oil duplu mak melodia vaihoho, tanba fafu'ik rua bele halo tuir hanesan kantadór nia lian rua bainhira sira kanta vaihoho hamutuk. Oi-oil sira-ne'e toka bainhira labarik sira atu toba (lullaby) nomos toka iha eventu balun hanesan selebrasaun.
Oi-oil iha aldeia Sepelata, sub-distritu Lospalos, naruk liu – maizumenus 40cm – no iha kuak neen ba liman-fuan. Instrumentu sira-ne'e toka ida de'it (laos duplu), kaer ho maneira vertikál no huu ba ibun-fatin nia leten. Iha au mihis loos ida ne'ebé kesi ba ibun-fatin ka kesi ba kuak ikus no ida-ne'e halo instrumentu nia lian sai aas liu ka tun liu.
ENGLISH:
Oi-oil, also known as a ruru veve in Fataluku (or kafu'i in Tetum), is a bamboo flute played singly or double. It is made of bamboo or coconut wood and varies in length from around 20cm to 50cm. Instruments in aldeia Malahara had four finger holes and were around 20cm in length and were played doubly. These are known as ruru veve in aldeia Malahara, while known elsewhere as the oi-oil.
Oi-oil played by musician Henrique Lopes in aldeia Malahara has a tuning slide up near where it is blown, made out of dried leaf that is moved to allow the two flutes to play in tune with each other. The bottom hole isn’t used, and is far away from where the fingers can reach. One flute (left hand side) acts as a drone, and the right hand side makes the melody and embellishments, or ornament figures/melody. Phrasing is determined by the breath. The oi-oil showed a range of a major third in the melody, and a major second in the drone passages. According to Yampolsky (2012), the music played on doubly-played oi-oil are vaihoho melodies, as the two flutes can imitate the two voices of a vaihoho duo. These oi-oil are played as a lullaby and are also played at some celebrations.
BAHASA INDONESIA
Oi-oil, yang juga dikenal sebagai ruru veve di Fataluku (atau kafu'i dalam Bahasa Tetum), adalah suling bambu yang dimainkan secara tunggal atau ganda. Suling ini terbuat dari bambu atau kayu kelapa dengan variasi panjang mulai dari 20 cm hingga 50 cm. Instrumen-instrumen di Desa Malahara yang memiliki empat lubang jari dengan panjang sekitar 20cm ini dimainkan berganda. Alat ini dikenal sebagai ruru veve di Desa Malahara, sementara di tempat lain dikenal sebagai oi-oil.
Oi-oil yang dimainkan oleh musisi Henrique Lopes di Desa Malahara memiliki tala luncuran ke atas di dekat tempat tiup, terbuat dari daun kering yang dapat dipindahkan sehingga memungkinkan dua seruling bermain selaras satu sama lain. Lubang bawah tidak digunakan, dan jauh dari capaian jemari. Satu flute di sisi kiri bertindak sebagai dengung, dan sisi kanan membuat melodi dan bubuhan, atau figur-figur ornamen/ melodi. Penyusunan kata-kata ditentukan oleh nafas. Oi-oil menunjukkan berbagai sepertiga utama dalam melodi, dan kedua utama dalam bagian-bagian dengung. Menurut Yampolsky (2012), musik yang dimainkan menggunakan oi-oil berganda adalah melodi-melodi vaihoho, lantaran kedua seruling dapat meniru dua suara dari duo vaihoho. Oi-oil ini dimainkan sebagai pengantar tidur dan juga dimainkan di beberapa perayaan.
Oi-oil di Desa Sepelata, Kecamatan Lospalos berukuran lebih panjang – sekitar 40 cm – dan memiliki enam lubang jari. Instrumen ini dimainkan tunggal, dipegang secara vertikal dan dimainkan dengan cara meniup di corong mulut. Buluh bambu diikat di atas corong tersebut, atau di ujung lubang yang memungkinkan instrument memainkan oktaf yang berbeda.
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
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
artes performaticas
au
bamboo
fafu'ik
flute
Henrique Lopes
Instrument
Instrumentu
Lospalos
Malahara
Music
oi-oil
performing arts
-
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43208cafa1885dfedf02fb8f8e243db5
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
Instrumentu múzika (musical instruments)
Subject
The topic of the resource
TETUM: Halo no mos toka Instrumentu múzika.
ENGLISH: Making and playing traditional musical instruments.
Description
An account of the resource
TETUM
Instrumentu múzika ne'ebé ema Fataluku toka inklui: oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, no puhu-puhu. Múzika ne'ebé tokadór Fataluku sira toka no kanta bazeia ba lingua Fataluku. Baibain múzika ne'e iha ritmu ne'ebé la regulár ne'ebé dala barak tuir kanta vaihoho nian duke tuir ritmu kanta baibain. Rezultadu peskiza hatudu katak la dun iha métodu baibain atu toka instrumentu sira-ne'e – instrumentu nia lian (ka setelnya) bele diferente, konforme tokadór ne'ebé toka. Instrumentu hotu-hotu nia lian afina besik nada E-flat, karik hodi halo instrumentu ne'e apár ho kantór lagu Fataluku.
Maioria instrumentu múzika iha funsaun prinsipál atu duni sai animál no manu-fuik hodi sira la bele han natar ka toos. Maibé instrumentu sira-ne'e mós toka tanba tokadór gosta rona nia lian ka tanba uza iha serimónia hanesan kazamentu, ka bele mós atu halo komunikasaun entre fatin rua ne'ebé dook malu. Koñesimentu kona-ba múzika no oinsá toka instrumentu sira-ne'e barak liu besik lakon tanba ema uitoan de'it mak bele halo no toka instrumentu múzika sira.
ENGLISH
Musical instruments used by the Fataluku people include oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, and puhu-puhu. Music played by Fataluku performers is composed around the Fataluku language. It often has an irregular rhythm, which often follows the inflections of vaihoho singing, rather than adhering to a specific time signature. There seems to be no moderation for how an instrument is to be played – tuning differs significantly between different players. All instruments were found to be tuned near to an E-flat, perhaps matching the regular vocal range for Fataluku singing.
Most instruments have a primary function of frightening away animals and birds from eating crops, but are also played for entertainment for the performer alone or for use at ceremonial occasions such as weddings, or to communicate across distances. Knowledge of the music and how to make and play these instruments is largely endangered given the small number of people who can still make and play them.
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
Pepur Uta (kekeit; jaw harp) - Aldeia Pajahara
Subject
The topic of the resource
Miguel da Costa koalia konaba no toka pepur.
Miguel da Costa talks about and plays the pepur
Description
An account of the resource
TETUM
Pepur (kekeit ho lian Tetum) mak arpa ibun ka kekeit ne'ebé halo husi au mihis ho naruk entre 10 cm no 14 cm. Tokadór kaer instrumentu ho liman ida no tau ba ninia ibun. Hafoin nia huu pepur no uza ninia ibun rasik atu halo lian tun-sae (ho Ingles dehan resonator), no nia liman seluk dudu tali ida hodi halo lian.
Pepur iha lian ki'ik no neineik. Ba Miguel da Costa iha aldeia Paijahara, sub-distritu Lautem/Moro, múzika pepur deskreve eventu istóriku ka ai-knanoik, bainhira mota boot sai no estraga povu lokál, nomos bainhira xefe sira uluk halo problems iha komunidade laran no "halo sira-nia komunidade sai fraku". Nia dehan ninia avó mane mak hanorin nia toka.
ENGLISH
Pepur (arpa ibun or kekeit in Tetum) is a jaw-harp made of 10 cm to 14 cm of very thinly cut bamboo. To play pepur, one end is held against the performer's mouth and blown using the mouth as a resonator, the other hand pulls at a piece of string to create a note.
Pepur makes a thin, soft sound. For Miguel da Costa in aldeia Paijahara, sub-district Lautem/Moro, pepur songs describe a historical or mythical event, where a big river rose to destroy local people, and where former rulers or village chief's that caused in-fighting amongst villagers, 'causing their community to become weak'. He reported being taught by his grandfather.
BAHASA INDONESIA
Pepur (kekeit dalam bahasa Tetum) adalah kecapi mulut yang terbuat dari bambu yang dipotong tipis dengan panjang 10 cm hingga 14 cm. Untuk memainkan pepur, salah satu ujung diletakan di mulut dan ditiup menggunakan mulut sbeagai resonator, tangan lainnya menarik seutas tali untuk membuat nada.
Pepur membuat suara yang tipis dan lembut. Maria da Conceica, pembuat dan pemain pepur di Desa Nanafoe, sub-distrik Lospalos, mengatakan bahwa lagu-lagu pepur adalah “kritik kuasa penguasa”. Bagi Miguel da Costa di Desa Paijahara, sub-distrik Lautem/Moro, lagu-lagu pepur menggambarkan peristiwa sejarah atau kejadian mitos, mengenai sungai besar yang meluap dan menghancurkan penduduk lokal, atau kepala desa yang menyebabkan pertengkaran antar-penduduk, ‘menyebakan komunitas mereka menjadi lemah’. Responden diajarkan untuk bermain oleh kerabat laki-laki mereka, salah satu dari mereka mengaku diajari oleh kakeknya.
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 Pajahara, Suco Maina II
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 15.04.2013
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
artes performaticas
au mihis
bamboo
Instrument
Instrumentu
jaw harp
kekeit
Maina II
Miguel da Costa
Paijahara
pepur uta
performing arts
-
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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
Instrumentu múzika (musical instruments)
Subject
The topic of the resource
TETUM: Halo no mos toka Instrumentu múzika.
ENGLISH: Making and playing traditional musical instruments.
Description
An account of the resource
TETUM
Instrumentu múzika ne'ebé ema Fataluku toka inklui: oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, no puhu-puhu. Múzika ne'ebé tokadór Fataluku sira toka no kanta bazeia ba lingua Fataluku. Baibain múzika ne'e iha ritmu ne'ebé la regulár ne'ebé dala barak tuir kanta vaihoho nian duke tuir ritmu kanta baibain. Rezultadu peskiza hatudu katak la dun iha métodu baibain atu toka instrumentu sira-ne'e – instrumentu nia lian (ka setelnya) bele diferente, konforme tokadór ne'ebé toka. Instrumentu hotu-hotu nia lian afina besik nada E-flat, karik hodi halo instrumentu ne'e apár ho kantór lagu Fataluku.
Maioria instrumentu múzika iha funsaun prinsipál atu duni sai animál no manu-fuik hodi sira la bele han natar ka toos. Maibé instrumentu sira-ne'e mós toka tanba tokadór gosta rona nia lian ka tanba uza iha serimónia hanesan kazamentu, ka bele mós atu halo komunikasaun entre fatin rua ne'ebé dook malu. Koñesimentu kona-ba múzika no oinsá toka instrumentu sira-ne'e barak liu besik lakon tanba ema uitoan de'it mak bele halo no toka instrumentu múzika sira.
ENGLISH
Musical instruments used by the Fataluku people include oi-oil, keko, fara-fara, moto me'n-me'n, pepur, kakal, and puhu-puhu. Music played by Fataluku performers is composed around the Fataluku language. It often has an irregular rhythm, which often follows the inflections of vaihoho singing, rather than adhering to a specific time signature. There seems to be no moderation for how an instrument is to be played – tuning differs significantly between different players. All instruments were found to be tuned near to an E-flat, perhaps matching the regular vocal range for Fataluku singing.
Most instruments have a primary function of frightening away animals and birds from eating crops, but are also played for entertainment for the performer alone or for use at ceremonial occasions such as weddings, or to communicate across distances. Knowledge of the music and how to make and play these instruments is largely endangered given the small number of people who can still make and play them.
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
Pepur (kekeit; jaw harp) - Aldeia Nanafoe
Subject
The topic of the resource
Maria da Conceiçaõ koalia konaba no toka pepur.
Maria da Conceiçaõ talks about and plays the pepur
Description
An account of the resource
TETUM
Pepur (kekeit ho lian Tetum) mak arpa ibun ka kekeit ne'ebé halo husi au mihis ho naruk entre 10 cm no 14 cm. Tokadór kaer instrumentu ho liman ida no tau ba ninia ibun. Hafoin nia huu pepur no uza ninia ibun rasik atu halo lian tun-sae (ho Ingles dehan resonator), no nia liman seluk dudu tali ida hodi halo lian.
Pepur iha lian ki'ik no neineik. Maria da Conceicao, ne'ebé halo no toka pepur iha aldeia Nanafoe, sub-distritu Lospalos, konta katak kantiga pepur 'kritika ukun-na'in nia podér'. Nia hato'o katak nia aprende toka husi nia família mane ida.
ENGLISH
Pepur (arpa ibun or kekeit in Tetum) is a jaw-harp made of 10 cm to 14 cm of very thinly cut bamboo. To play pepur, one end is held against the performer's mouth and blown using the mouth as a resonator, the other hand pulls at a piece of string to create a note.
Pepur makes a thin, soft sound. Maria da Conceicao, maker and performer of the pepur in aldeia Nanafoe, sub-district Lospalos, tells that pepur songs 'critique a ruler's power'. She was taught to play by a male relative.
BAHASA INDONESIA
Pepur (kekeit dalam bahasa Tetum) adalah kecapi mulut yang terbuat dari bambu yang dipotong tipis dengan panjang 10 cm hingga 14 cm. Untuk memainkan pepur, salah satu ujung diletakan di mulut dan ditiup menggunakan mulut sbeagai resonator, tangan lainnya menarik seutas tali untuk membuat nada.
Pepur membuat suara yang tipis dan lembut. Maria da Conceica, pembuat dan pemain pepur di Desa Nanafoe, sub-distrik Lospalos, mengatakan bahwa lagu-lagu pepur adalah “kritik kuasa penguasa”. Bagi Miguel da Costa di Desa Paijahara, sub-distrik Lospalos, lagu-lagu pepur menggambarkan peristiwa sejarah atau kejadian mitos, mengenai sungai besar yang meluap dan menghancurkan penduduk lokal, atau kepala desa yang menyebabkan pertengkaran antar-penduduk, ‘menyebakan komunitas mereka menjadi lemah’. Responden diajarkan untuk bermain oleh kerabat laki-laki mereka, salah satu dari mereka mengaku diajari oleh kakeknya.
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 Nanafor, Suco Bauro
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 15.04.2013
Rights
Information about rights held in and over the resource
Video, photo and text rights: Many Hands International
artes performaticas
au mihis
bamboo
Bauro
Instrument
Instrumentu
jaw harp
kekeit
Maria da Conceicao
Nanafoe
pepur
performing arts
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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
Ilha-Rala Viahoho (sung poem, Orphan song) Suku Leuro
Subject
The topic of the resource
Community members from Suku Leuro sing a common Orphan song, IIha-rala vaihoho.
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
05/August/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
Suku Leuro , Postu Administrativu Lospalos
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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 (Dadolin kona ba Domin Nian , Love song) Aldeia Cailoro, Rasa
Subject
The topic of the resource
Community members from aldeia Chailoro common Love song, icatutun vaihoho.
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
11- June - 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 Cailoro , Suku Raça , Postu Administrativu Lospalos
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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
Iharala Vaihoho (Dadolin Oan Kiak Nian, Orphan Song) Aldeia Soikili
Subject
The topic of the resource
Community members from Aldeia Soikili sing a common love song, Icatutun Vaihoho.
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
16 - December - 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 Soequili, Suku Parlamento , Postu Administrativu Lautem/Parlamento