1 10 41 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/59640576b4a658373be63a4fdfde73f5.JPG c92d7e2f40e1c89140151646f7e523f0 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/3219c5c6851a8d8f8135f16ca3d7913d.mp4 9b017e50d0d87a9432e1cc5546713693 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 kasa animál no kail ikan (animal hunting and trapping and fishing tools) Subject The topic of the resource TETUM: Halo instrumentu atu kasa animál no kail ikan ENGLISH: Making traditional hunting, trapping and fishing tools Description An account of the resource TETUM Ema Fataluku mantén ligasaun forte ho sira-nia rai foho no rai tasi ibun. Rai sira-ne'e iha funsaun ekolojia no bio-diversidade ne'ebé ema Fataluku sira uza atu soru tais, halo kabas, halo serámika no halo artezanatu, no mos ba kasa animál no kail ikan iha ne'ebá. Instrumentu tradisionál ba kasa animál no kail ikan inklui diman, pipa hodi huu rama, rama-inan no rama, no lasu. ENGLISH The Fataluku people maintain a strong connection to their rugged forested mountain and coastal landscapes. These landscapes provide important ecological and biodiversity functions that are used by the Fataluku people to hunt and fish to meet livelihood needs. Hunting tools traditionally used by the Fataluku people include include spears, blow pipes and bow and arrows and traps. 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 Cain Fai (alat halo ahi ; fire stone) - Aldeia Pai Ira Subject The topic of the resource Jose Antonio explica no hatudu uza cain fa'i atu kria ahi-funan no halo ahi. Jose Antonio explains and shows how to use cain fa'i. Description An account of the resource TETUM Antes komesa uza ahi-kose, ema Fataluku sira halo ahi uza cain fa’i; sira uza fatuk nelukala no baku ba besi ka au ida hodi halo ahi. Jose Antonio, matenek na'in cain fa’i ida, hato'o katak bele hetan fatuk nelukala iha ai-laran balun iha Lautem. Atu uza cain fa'i, tenke falun fatuk nelukaka ho nuu-kulit ka ai-kulit husi ai-tali hodi kria ahi-funan. Hafoin halo ahi boot liu husi kehe ahi ho ai-kulit no transfere lalais ba buat seluk ne'ebé bele sunu di'ak. Ikus liu uza ai-nuu nia kulit, tanba sunu di'ak, hodi halo ahi boot. Avó sira uluk lori fatuk nelukaka tuir-tuir iha sira-nia pasta, inklui lori ba ai-laran bainhira kasa ka ba tasi bainhira kail ikan hodi sira bele halo ahi bainhira de'it mak sira presiza. Jose Antonio, ne'ebé uza cain fa’i, hato'o katak ohin loron ema prefere liu uza ahi-kose ka iskeiru duke métodu tradisionál. ENGLISH Before the introduction of matches fires were started using cain fa’i; sparking a chert stone (nelukala) against metal or another piece of bamboo to create sparks from friction. Nelukala stone is found in the stone of forested areas in Fataluku areas, reports Jose Antonio a cain fa'i maker. To use cain fa'i, nelukaka stone is wrapped with a piece of coconut fiber or the bark of the nipah palm tree to allow it to catch sparks. Fire is then fanned by moving the bark, and quickly transferred to another material to light fire. Dried coconut tree bark, easily combustible, is then used to light a fire. Older generations used to carry nelukaka stones in their bags everywhere, taking it to forests when hunting or fishing to be able to create fire where needed. Jose Antonio, who uses cain fa’i, reported that today people prefer matches or firelighters over traditional methods, for the ease. BAHASA INDONESIA Sebelum mengenal korek api, cain fa'i terlebih dahulu digunakan; memicu batu rijang (nelukala) terhadap logam atau sepotong bambu untuk membuat percikan api dari gesekan. Batu nelukala ditemukan di kawasan hutan batu di daerah Fataluku, ujar Jose Antonio pembuat cain fa'i. Untuk menggunakan cain fa'i, batu nelukaka dibungkus dengan sepotong serat kelapa atau kulit pohon nipah untuk menangkap bunga api. Api kemudian menyebar dengan menggerakkan kulit, dan cepat ditransfer ke bahan lain untuk api ringan. Pelepah kelapa kering yang mudah terbakar, kemudian digunakan untuk menyalakan api. Generasi yang lebih tua membawa batu nelukaka di tas mereka ke mana-mana, ke hutan ketika berburu atau memancing agar dapat membuat api ketika diperlukan. Jose Antonio, yang menggunakan cain fa'i, melaporkan bahwa saat ini orang lebih memilih korek atau pemantik api dari pada metode tradisional, untuk kemudahan. Date A point or period of time associated with an event in the lifecycle of the resource Recorded 30.04.2013 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 Pai Ira, sub-district Lospalos, Lautem Language A language of the resource Fataluku 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 cain fai fatuk ahi fire stone Jose Antonio Lautem Lospalos Pai Ira traditional craftsmanship https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/3af7adeabf45f59795d996ecb05a8335.JPG 8f1a7a08d8358ad378283a4fede73981 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/be5fe77438d0ded8045825c066d8cd3a.mp4 3a7671239652dd0160a9c723ea874eb6 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 kasa animál no kail ikan (animal hunting and trapping and fishing tools) Subject The topic of the resource TETUM: Halo instrumentu atu kasa animál no kail ikan ENGLISH: Making traditional hunting, trapping and fishing tools Description An account of the resource TETUM Ema Fataluku mantén ligasaun forte ho sira-nia rai foho no rai tasi ibun. Rai sira-ne'e iha funsaun ekolojia no bio-diversidade ne'ebé ema Fataluku sira uza atu soru tais, halo kabas, halo serámika no halo artezanatu, no mos ba kasa animál no kail ikan iha ne'ebá. Instrumentu tradisionál ba kasa animál no kail ikan inklui diman, pipa hodi huu rama, rama-inan no rama, no lasu. ENGLISH The Fataluku people maintain a strong connection to their rugged forested mountain and coastal landscapes. These landscapes provide important ecological and biodiversity functions that are used by the Fataluku people to hunt and fish to meet livelihood needs. Hunting tools traditionally used by the Fataluku people include include spears, blow pipes and bow and arrows and traps. 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 Coro fa'i (diman, spear) - Aldeia Paiira Subject The topic of the resource Orlando Baptista koalia konaba no kaer coro au ida iha aldeia Paiira, sub-distritu Lospalos. Orlando Baptista talks about and shows coro in aldeia Paiira, sub-district Lospalos. Description An account of the resource TETUM Coro mak diman ne'ebé halo husi au ka ai ho naruk entre 1.5m to'o 2m. Baibain ema uza coro atu kasa animál fuik hanesan rusa, fahi, lekirauk no manu-fuik. Coro ne'ebé halo husi au mak instrumentu simples; ema foti au naruk no mihis no iha nia rohan ida uza tudik atu halo kro'at. Hafoin au ne'e enxe ho rai-henek hodi halo todan entaun fasil liu atu soe no nia tama di'ak liu ba animál nia isin. Coro ne'ebé halo husi ai susar liu atu halo. Coro hanesan ne'e mak halo ho ai naruk ida ho besi kro'at iha ulun. Besi ulun monta ba ai naruk, no besi ulun iha bentuk hanesan ai-tahan ho pontu kro'at loos iha leten. Orlando Baptista, badain diman ida husi aldeia Paiira, sub-distritu Lospalos, hato'o katak ema barak prefere liu uza coro besi kompara ho coro au. Ema Fataluku mantén ligasaun forte ho sira-nia rai foho no rai tasi ibun. Rai sira-ne'e iha funsaun ekolojia no bio-diversidade ne'ebé ema Fataluku sira uza atu soru tais, halo kabas, halo serámika no halo artezanatu, no mos ba kasa animál no kail ikan iha ne'ebá. Instrumentu tradisionál ba kasa animál no kail ikan inklui diman, pipa hodi huu rama, rama-inan no rama, no lasu. ENGLISH Coro are spears made from a length of around 1.5 to 2 m of bamboo or wood and are used primarily as projectile weapons for hunting wild deer, pig, monkeys and birds. Coro made from bamboo are simple tools; slim lengths of hollow bamboo are sharpened at one end into a point. The bamboo is then filled with sand to make it heavier, making it more effective to throw and impact effectively. Coro from wood are more involved, with a shaft of wood ending in a steel or metal head. The metal spearhead attaches to the top of the spear with a hooded cover. The metal point is shaped in a leaf or lozenge shape; at the point where it attaches to the bamboo it is narrow, then expands into a flattened knife and ends in a narrow point. Orlando Baptista, a spear maker from aldeia Paiira, sub-district Lospalos, reported that people prefer to use iron instead of bamboo spears. The Fataluku people maintain a strong connection to their rugged forested mountain and coastal landscapes. These landscapes provide important ecological and biodiversity functions that are used by the Fataluku people to hunt and fish to meet livelihood needs. Hunting tools traditionally used by the Fataluku people include include spears, blow pipes and bow and arrows and traps. BAHASA INDONESIA Coro adalah tombak yang terbuat dari bambu atau dengan panjang sekitar 1,5 m sampai 2 m, terutama digunakan terutama sebagai senjata proyektil untuk berburu rusa, babi, monyet dan burung. Coro terbuat dari bambu adalah alat sederhana; panjang ramping dari bambu berongga diasah di salah satu ujung hingga runcing. bambu tersebut kemudian diisi dengan pasir untuk membuatnya lebih berat, sehingga lebih efektif saat dilempar dan berdampak efektif. Coro yang terbuat dari kayu lebih rumit, dengan poros kayu dan kepala baja atau logam pada ujungnya. Ujung tombak logam menempel ke puncak tombak dengan penutup berkerudung. Titik logam berbentuk daun atau belah ketupat; bagian yang menempel pada bambu lebih sempit, kemudian meluas ke pisau pipih dan berakhir di titik yang sempit. Orlando Baptista, pembuat tombak dari Desa Paiira, sub-distrik Lospalos, melaporkan bahwa orang lebih suka menggunakan besi dari pada bambu runcing. Date A point or period of time associated with an event in the lifecycle of the resource Recorded 30.04.13 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 Paiira, Suco Cacavei 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 bamboo Cacavei coro craft diman metal Orlando Baptista Paiira spear traditional craftsmanship Wood https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/ec7682f1c6f50ddb8b1b1491f7d7e57b.png e3d7dfa10cb5eea0760367fe606db5fa https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/f3bf88af31c03d49fa1f15ccaf743928.mp4 409d496b2d884867bab86dcc32ab5d8e 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 kasa animál no kail ikan (animal hunting and trapping and fishing tools) Subject The topic of the resource TETUM: Halo instrumentu atu kasa animál no kail ikan ENGLISH: Making traditional hunting, trapping and fishing tools Description An account of the resource TETUM Ema Fataluku mantén ligasaun forte ho sira-nia rai foho no rai tasi ibun. Rai sira-ne'e iha funsaun ekolojia no bio-diversidade ne'ebé ema Fataluku sira uza atu soru tais, halo kabas, halo serámika no halo artezanatu, no mos ba kasa animál no kail ikan iha ne'ebá. Instrumentu tradisionál ba kasa animál no kail ikan inklui diman, pipa hodi huu rama, rama-inan no rama, no lasu. ENGLISH The Fataluku people maintain a strong connection to their rugged forested mountain and coastal landscapes. These landscapes provide important ecological and biodiversity functions that are used by the Fataluku people to hunt and fish to meet livelihood needs. Hunting tools traditionally used by the Fataluku people include include spears, blow pipes and bow and arrows and traps. 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 Cura Hiil Fa'i (lasu laho; mouse trap) - Aldeia Loho Matu Subject The topic of the resource Adāo da Cruz koalia konaba no halo cura hiil fa'i. Adāo da Cruz discusses and makes a cura hiil fa'i. Description An account of the resource TETUM Lasu laho, ho naran cura hiil fa'I ho lian Fataluku, halo iha aldeia Loho Matu, sub-distritu Lautem. Ema uza lasu laho atu kaer laho ne'ebé gosta han foos no batar. Tipu lasu ida-ne'e halo husi au laran mamuk ho naruk maizumenus 50cm. Au nia rohan ida taka metin, no rohan seluk mak sai fatin hodi laho bele tama. Iha rohan nakloke, sira husik au naruk uitoan (maizumenus 10cm) hodi halo hanesan dalan tama ba lasu laran. Au mihis rua mak uza hodi halo odamatan ba lasu. Parte ida iha au nia klaran ko'a hodi halo kuak atu nune'e bele tau au mihis ba laran. Au mihis seluk mak ba lasu nia oin, no bainhira laho tama tiha ba laran au mihis ne'e mak sai odamatan no taka hodi laho la bele sai fali. Iha mós ai ida-ne'ebé hatama ba au laran liu husi kuak iha leten. Bainhira laho tama ba lasu laran, nia koko han buat ida-ne'ebé kesi ba ai ne'e. Asaun ida-ne'e mak halo au mihis iha oin monu tun atu nune'e laho la bele halai sai. Matenek na'in cura hiil fa'i aprende halo husi ninia família mane sira. Nia dehan katak agora ema ladún uza ona tanba prefere liu uza venenu atu oho laho. ENGLISH Cura hiil fa'i are mouse traps used to catch mice that eat crops stored after harvest. The traps are made from hollowed out bamboo cut to around 50 cm in length. One end is blocked, while the other end becomes the opening for the mice to entre. At the open end a 10 cm length 'tray' or bottom section of bamboo is left, to aid mice to enter the trap. Two supple, thin lengths of bamboo are used to make the clasps of the trap. A mid-section of the bamboo is cut away, creating a hole for one of the bamboo clasps to fit into neatly. The other clasp fits over the mouth, and works to shut the mouse in the bamboo trap when it triggers the trap. The trap is triggered with a length of wood that dangles into the trap from a hole in the top. When a mouse enters the trap, it will gnaw or try to pull at food attached to this piece of wood. This triggers the trap, slipping the clasp down to close the mouth of the trap - the mouse is trapped. The cura hiil fa'i maker learnt how to make the trap from male relatives. He reported that a threat to the viability of mouse traps are that these are used less frequently now as people today use poison to kill mice. BAHASA INDONESIA Perangkap tikus, dinamai cura hiil fa’i, dibuat di Desa Loho Matu, sub-distrik Lautem. Perangkap tikus digunakan untuk menangkap tikus yang memakan hasil panen. Perangkap dibuat dari bambu berlubang yang dipotong dengan panjang sekitar 50 cm. salah satu ujung diblokir, sementara ujung lainnya adalah pembuka bagi tikus untuk masuk. Pada ujung yang terbuka, ‘baki’ sepanjang 10 cm, atau bagian bawah bambu yang tersisa, digunakan untuk membuat tikut masuk perangkap. Dua bilah bambu yang panjang, tipis dan lentur digunakan untuk membuat jepitan perangkap. Date A point or period of time associated with an event in the lifecycle of the resource Recorded 11.02.2013 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 Loho Matu, Suku Com, Lautem. 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 Adao da Cruz artezanatu tradisional bamboo craft cura hiil fa'i lasu loho Lautem Loho Matu mouse trap traditional craftsmanship trap https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/262babb34cf90c92de2dc7397ce0f776.jpg c856c705f111fb23d68fc5f249e9976c https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/f72d66f51cc46e05a28c77cd6ff4a004.mp4 9ccf2891b0ef558ac2e544b71f40ab55 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 Ete Asa Fa'i (ai-moruk tradisionál; traditional medicine) - Aldeia Codo Subject The topic of the resource Americo Marques Cabral koalia konaba no halo ete asa fa’i. Americo Marques Cabral talks about and makes ete asa fa’i. Description An account of the resource TETUM Ete asa fa’i, ka ai-moruk tradisionál, mak halo husi produtu animál nian ka materiál husi ai-laran, inklui samea no ikan nia mina, du'ut-morin, tasi-been no nuu-been. Ai-moruk aplika ba isin bainhira iha kanek ka isin moras, ka bele mós hemu bainhira moras virus ruma ka moras seluk tan. Tuir tradisaun, kuandu hakarak uza materiál ruma iha ai-moruk tradisionál, tenke husu lisensa uluk husi materiál nia na'in hodi nune'e ai-moruk ne'e efetivu. ENGLISH Ete asa fa’i, or traditional medicine, is made from animal and forest products, including snake and fish oil, herbs, sea water and coconut water. Medicine is applied externally to wounds or aching muscles, or is drunk to treat viruses or other diseases. According to tradition, any materials used in traditional medicine must first be asked permission to be used by the maker in order to be effective in treatment. Date A point or period of time associated with an event in the lifecycle of the resource Recorded 28.11.2012 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 Codo, 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 Rights Information about rights held in and over the resource Video, photo and text rights: Many Hands International ai-moruk tradisionál Americo Marques Cabra Codo ete asa fa'i Knowledge and practices concerning nature and the universe Maina II matenek no practica konaba natureza no universa traditional medicine https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/3261bf66d689c64114874448ee99b921.png 2ba28d3862dca71188a4924020756142 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/61e899e3e2335e77c8dc490f4eb4c1c4.mp4 bb083debbbbb81341e2310b6704574da 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 Fara-Fara (trombeta; bamboo trumpet) - Aldeia Codo Subject The topic of the resource Americo Marques Cabral toka fara-fara Americo Marques Cabral plays the fara-fara Description An account of the resource TETUM Fara-fara mak instrumentu hanesan trombeta no atu hanesan ho keko, maibé parte diferente mak ibun-fatin. Fara-fara uza pipa au naruk to'o 1.5m nomos ai-tahan akadiru mak uza hodi halo bentuk kuhus no monta ba bamboo nia rohan ida, hanesan ho keko. Ibun-fatin ko'a diagonál no ai-tahan akadiru maran ida hatama ba laran no kesi metin. Bainhira toka instrumentu múzika ida-ne'e tenke kaer ho rohan ida tun ba rai no huu iis boot ba laran. Presiza aten-book forte loos atu bele halo lian boot. Instrumentu ida-ne'e uza atu hata'uk manu-fuik hodi sira la han natar no toos. ENGLISH Fara-fara is a trumpet-like instrument built similarly to the keko, with a distinction being with the mouthpiece and reed. The fara-fara has a bamboo tube body around 1.5m in length and a cone trumpet made out of palm which is attached to the end of the instrument, like with the keko. The mouthpiece is cut diagonally, over which a small leaf-shaped piece of dried palm leaf is inserted to function as the reed, held in place in a slit made in the top of the bamboo tube. The instrument is played by holding the instrument pointing downwards, and blowing a long extended breath. Strong lungs are needed to blow loudly. The instrument is used to scare away birds from eating rice fields and other crops. In these videos, Americo Marques Cabral demonstrates how to make and play the fara-fara in aldeia Codo, sub-district Lautem. 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 23.07.2013 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 Codo, Suco Maina II Americo Marques Cabral artes performaticas au mihis bamboo Codo fara-fara Instrument Instrumentu Music musika performing arts trombeta tumpet https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/df65084718cc9e03a0fab57aa6975f14.JPG a1fe3cabcd3611ffef11134a62906510 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/5f6f1c3ddea11dc9e22eadf324ebdb40.mp4 9b4b8f88de659a3f28645310177306c0 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 kasa animál no kail ikan (animal hunting and trapping and fishing tools) Subject The topic of the resource TETUM: Halo instrumentu atu kasa animál no kail ikan ENGLISH: Making traditional hunting, trapping and fishing tools Description An account of the resource TETUM Ema Fataluku mantén ligasaun forte ho sira-nia rai foho no rai tasi ibun. Rai sira-ne'e iha funsaun ekolojia no bio-diversidade ne'ebé ema Fataluku sira uza atu soru tais, halo kabas, halo serámika no halo artezanatu, no mos ba kasa animál no kail ikan iha ne'ebá. Instrumentu tradisionál ba kasa animál no kail ikan inklui diman, pipa hodi huu rama, rama-inan no rama, no lasu. ENGLISH The Fataluku people maintain a strong connection to their rugged forested mountain and coastal landscapes. These landscapes provide important ecological and biodiversity functions that are used by the Fataluku people to hunt and fish to meet livelihood needs. Hunting tools traditionally used by the Fataluku people include include spears, blow pipes and bow and arrows and traps. 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 Fei fa'i (rama-inan no rama-isin; bow and arrow) - Aldeia Titilari Subject The topic of the resource Americo de Jesus halo no uza ninia fei fa'I ida. Americo de Jesus making and using the fei fa'i. Description An account of the resource TETUM Fei-fa'i ho lian Fataluku (ka rama-inan ho lian Tetum), mak rama-inan no rama-isin ne'ebé uza hodi kasa animál fuik iha ai-laran, nomos atu kaer ikan iha tasi laran. Rama-inan halo husi au ida ho naruk maizumenus 1.5m. Iha au nia sorin-sorin ita halo kuak ki'ik no kesi tali (tali dalaruma halo husi tali-metan) iha au nia sorin-sorin no halo metin. Rama-isin mak au mihis ida ho sorin ida ne'ebé kro'at loos. Americo de Jesus, husi Titilari iha Lospalos, halo fei-fa'i no esplika katak agora ita ladún hetan rama-inan no rama-isin tanba juventude sira prefere liu uza alat kasa modernu hanesan kilat duke uza alat tradisionál hanesan rama-inan no rama-isin. Ema Fataluku mantén ligasaun forte ho sira-nia rai foho no rai tasi ibun. Rai sira-ne'e iha funsaun ekolojia no bio-diversidade ne'ebé ema Fataluku sira uza atu soru tais, halo kabas, halo serámika no halo artezanatu, no mos ba kasa animál no kail ikan iha ne'ebá. Instrumentu tradisionál ba kasa animál no kail ikan inklui diman, pipa hodi huu rama, rama-inan no rama, no lasu. ENGLISH Fei-fa'i in Fataluku (rama inan in Tetum), are bow and arrow used for hunting wild animals in the jungle, and for spearing fish. A bow is made from a length of supple bamboo around 1.5 m long. At both ends of the bamboo a groove is cut away, and a rope (possibly made from lontar (palm) fibre or rattan loops) is tied taut to both ends of the bamboo. The arrow is a thin piece of bamboo, with the tip end carved into a very sharp point. Americo de Jesus, a bow and arrow maker from Titilari, Lospalos, reported that bow and arrow are not commonly found now as young people prefer modern weapons, like rifles and fire guns, over the traditional bow and arrow. The Fataluku people maintain a strong connection to their rugged forested mountain and coastal landscapes. These landscapes provide important ecological and biodiversity functions that are used by the Fataluku people to hunt and fish to meet livelihood needs. Hunting tools traditionally used by the Fataluku people include include spears, blow pipes and bow and arrows and traps. BAHASA INDONESIA Fei-fa'i dalam Bahasa Fataluku (rama inan dalam Bahasa Tetum), adalah busur dan panah yang digunakan untuk berburu binatang liar di hutan, dan untuk menombak ikan. Busur terbuat dari bambu lentur dengan panjang sekitar 1,5 m. Ujung-ujung bambu yang dipotong diikat dengan tali (kemungkinan terbuat dari serat lontar (sejenis palem), atau rotan). Panah adalah potongan tipis bambu dengan ujung yang diukir sangat tajam. Americo de Jesus, pembuat busur dan anak panah dari Titilari, Lospalos, mengatakan bahwa busur dan anak panah tidak lagi umum digunakan lantaran para pemuda lebih menyukai senjata modern seperti senapan dan senjata api dari pada busur dan panah tradisional. 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 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 Americo de Jesus arrow artezanatu tradisional au bamboo bow craft fei fa'i Fuiloro rama-inan rama-isin Titilari traditional craftsmanship 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/61063b5ce68566206d2027d133a03b04.JPG df180921a7691ccb22a3aec2de0757c7 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/9d020d89e8852eaceeac1b6cb6d07072.mp4 ccf27e1ee7a43313cae47b3abe30b9b1 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/8b7989bbc499720bc14caf315fb19e91.mp4 ded82ec231e42a18fce2d305eae53b37 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/f753848e2fdbfed5ab9d4d632bcf9f18.mp4 552663d2063c15220c87323f18c0ea39 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 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/4e3c7f0f5ee8e9c4db0e12b8c92e9905.jpg f60e01d0c5eaf45b421b8dac29d4c750 https://omeka.cloud.unimelb.edu.au/kulturalautem/files/original/2f5d9a7281b550585e435e69152dc140.mp4 fa2d5e3ea5a70c4dfc4fbc55ea5da170 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