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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Instrumentu múzika (musical instruments)</text>
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                  <text>TETUM: Halo no mos toka Instrumentu múzika.&#13;
&#13;
ENGLISH: Making and playing traditional musical instruments.</text>
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                  <text>TETUM&#13;
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. &#13;
&#13;
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.&#13;
&#13;
ENGLISH&#13;
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.&#13;
&#13;
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.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Moto Me'e Me'en (oboe au; bamboo oboe) - Aldeia Codo</text>
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            <description>The topic of the resource</description>
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                <text>Americo Marques Cabral toka moto me'n-me'n &#13;
&#13;
Americo Marques Cabral plays the moto me'n-me'n </text>
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            <description>An account of the resource</description>
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                <text>TETUM&#13;
Moto me’n-me’n atu hanesan ho instrumentu oboé, ho sinu ai-tahan akadiru iha rohan. Au mihis iha ibun-fatin nakdedar bainhira ema toka, hanesan iha rezisténsia ba lian ne'ebé sai. Tokadór nia nanál taka ibun-fatin bainhira huu ba laran. Ibun-fatin monta ba au ne'ebé naruk no luan liu, atu hanesan ho oboé. Instrumentu ne'e iha kuak liman-fuan haat, no sinu ai-tahan akadiru mak tau iha rohan. &#13;
&#13;
Ekipa peskiza buka hetan ema na'in rua ne'ebé hatene toka moto me’n-me’n: Americo Marques Cabral  husi aldeia Codo, sub-distritu Lautem. Ton ka lian ne'ebé sai maizumenus B-flat. Nomos tokadór uza pentatonic scale ho nota 5: F-sharp, B-flat, B-natural, D, no F-natural. Moto me’n-me’n toka hodi hata'uk animál no manu-fuik atu sira la han natar, nomos hodi halo kontente no espresa ita-nia sentimentu. Tuir Americo esplika, bainhira toka moto me’n-me’n, ‘tenke iha sentimentu.’&#13;
&#13;
ENGLISH&#13;
Moto me’n-me’n is similar to an oboe, with a palm bell at the end. The thin whistle-sounding mouthpiece vibrates, as if there is some resistance in the sound. The tongue closes over the mouthpiece while it is blown. The mouthpiece fits into a longer, wider length of bamboo in much the same way as an oboe. The instrument has four finger holes, and a bell made of palm leaf is then wrapped around the end for resonance.&#13;
&#13;
Two respondents were found who play the moto me’n-me’n: Americo Marques Cabral and both in aldeia Codo, sub-district Lautem. The pitch they use is situated around the B-flat. A kind of pentatonic scale is used, using 5 notes: F-sharp, B-flat, B-natural, D, and F-natural. Moto me’n-me’n is played to scare away animals and birds from eating crops and as entertainment, to communicate one’s feelings. As Americo notes, when playing the moto me’n-me’n, ‘it must be with meaning.’</text>
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                <text>Recorded 27-11-2012</text>
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                <text>Many Hands International</text>
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                <text>Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project</text>
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                <text>Video, photo and text rights: Many Hands International</text>
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                <text>Fataluku</text>
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                <text>Aldeia Codo, Suco Maina II, Sub-distritu Lautem</text>
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        <name>moto me'e me'en</name>
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        <name>oboe</name>
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        <name>Raimundo Marques Cabral</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Instrumentu múzika (musical instruments)</text>
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                  <text>TETUM: Halo no mos toka Instrumentu múzika.&#13;
&#13;
ENGLISH: Making and playing traditional musical instruments.</text>
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              <description>An account of the resource</description>
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                  <text>TETUM&#13;
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. &#13;
&#13;
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.&#13;
&#13;
ENGLISH&#13;
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.&#13;
&#13;
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.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Fara-Fara (trombeta; bamboo trumpet) - Aldeia Codo</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Americo Marques Cabral toka fara-fara&#13;
&#13;
Americo Marques Cabral plays the fara-fara </text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>TETUM&#13;
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.&#13;
&#13;
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. &#13;
&#13;
ENGLISH&#13;
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.&#13;
&#13;
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.&#13;
&#13;
In these videos, Americo Marques Cabral demonstrates how to make and play the fara-fara in aldeia Codo, sub-district Lautem.</text>
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                <text>Many Hands International</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>23.07.2013</text>
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                <text>Video, photo and text rights: Many Hands International</text>
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            <description>A language of the resource</description>
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                <text>Fataluku</text>
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                <text>Aldeia Codo, Suco Maina II</text>
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        <name>Americo Marques Cabral</name>
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        <name>artes performaticas</name>
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        <name>trombeta</name>
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        <name>tumpet</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Ete Asa Fa'i (ai-moruk tradisionál; traditional medicine) - Aldeia Codo </text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Americo Marques Cabral koalia konaba no halo ete asa fa’i.&#13;
&#13;
Americo Marques Cabral talks about and makes ete asa fa’i.</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>TETUM&#13;
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. &#13;
&#13;
ENGLISH&#13;
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. </text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Recorded 28.11.2012</text>
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Gracinda dos Anjos da Assuncāo tells the story of the woman who gave birth to a handkerchief.&#13;
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Gracinda dos Anjos da Assuncāo iha aldeia Pitileti, sub-distritu Tutuala konta istória ida naran Tupur Un I Tu Lesu Me Valeabout, kona-ba feto ida-ne'ebé isin rua no bainhira partu lensu ida mak moris fali. Lensu ne'e tau ba luhu ida naran 'Poko' ne'ebé halo husi ai-tali tahan. Fulan ba fulan lensu sai boot no inan halo poko foun. Loron-loron bainhira inan-aman ba toos lensu sai husi nia poko no transforma ba feto joven ida bonita loos ne'ebé te'in etu, modo no fehuk ba nia inan-aman no hamoos sira-nia uma. Loron-loron bainhira inan-aman fila-fali mai sira-nia uma, sira hetan uma moos no hahán prontu iha meza, maibé sira la hatene sé mak tau matan ba sira. Loron ida nia inan sai ba toos maibé nia aman hela iha uma, subar iha toba-fatin okos. Labarik feto tun husi nia luhu (poko) no komesa te'in, no nia aman hakfodak loos. Bainhira nia te'in hotu tiha nia hakarak fila ba nia luhu, maibé inan-aman sira hakarak nia nafatin hatudu nia an nudár ema umanu no hela ho sira, no nia aseita. Ikus liu sira buka hetan mane ida no sira-nia oan feto kaben no sai inan ida. &#13;
&#13;
ENGLISH&#13;
'Tupur Un I Tu Lesu Me Vale' is a creation story about a woman that was pregnant and gave birth to a handkerchief. The handkerchief was put into a traditional flat basket called 'Poko' made of palm leaf. As the handkerchief grew up month by month the mother made a new basket to fit. Each day when the parents were in the field the handkerchief came out of the basket and transformed into a beautiful young woman and cooked rice, vegetables and yam for her parents, and cleaned the house for them. Each day the parents returned home to find their house clean and food ready for them on the table, but they didn't know who was looking after them. One day her mother left for the field but her father stayed behind, hiding under his sleeping mat. The girl climbed down from the basket and began cooking, to her father's surprise. Once she was finished cooking she wanted to go back to the box, but the parents wanted them to show herself and stay with them as a human, and she accepted. They found her a suitor and she was married and had children of her own.</text>
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Istória ka ai-knanoik tradisionál, ka ho lingua Fataluku bolu rata lolo, dala barak konta iha uma laran no inan-aman mak konta ba sira-nia oan. Rata lolo konta kona-ba família ka suku ida nia orijen, nia lisan no kostume, nia istória, valór, nomós kona-ba mundu naturais inklui ai-moris, animál no buat seluk iha ambiente hanesan foho, mota no bee-matan.&#13;
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Traditional creation stories, rata lolo, are often told in the home, from parent to child. Rata lolo tell about the origins of their clan, its rules and practices, history, and values, as well as about the natural world, including plants, animals and natural features such as mountains, rivers and well springs.</text>
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Santos Viegas tells the story of Serelau spring</text>
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Istória ida-ne'e deskreve bee-matan ida ho naran Tei Ratu Pana Ratu iha Aldeia Serelau iha Sub-Distritu Lautem. Santos Viegas konta istória ne'e tanba nia mak tau matan ba bee-matan ida-nia. Nia konta katak iha tempu uluk liu ba, iha ema barak hela iha Serelau ne'ebé la iha asesu ba bee moos no loron-loron sira tenke lao dook hodi ba kuru bee. Iha uma ida, inan-aman ba servisu halo toos no husik hela sira-nia oan feto mesak iha uma. Sira-nia asu lao sai, no bainhira asu ne'e fila mai uma nia isin bokon loos. Labarik feto nota katak nia asu bokon no koko buka hatene tanbasá nia asu ne'e bele nune'e. Nia buka hetan katak asu ne'e lao sai ba bee-matan foun ida no nia sai bokon tanba halimar iha bee laran. Bainhira labarik feto to'o iha bee-matan, bee-matan nia na'in ko'alia ho nia, dehan "se o hakarak fatin ne'e seguru, la hetan susar, no se o hakarak o-nia família mai foti bee ne'e hodi hemu, rega natar, no fó animál sira, entaun o tenke sai ha'u-nia feen'. Labarik feto fila ba nia inan-aman no konta saida mak bee-matan na'in dehan. Nia inan-aman presiza loos bee-matan, entaun sira simu no sira fó sira-nia oan feto nudár sakrifisiu ba bee-matan. Povu halo dansa tradisionál no toka múzika tradisionál, to'o ikus labarik feto lakon kedas tanba bee-matan nia forsa lulik mak lori nia ba. To'o agora povu sira sei halo dansa ne'e iha Serelau, dansa ho naran Bidu no múzika ho naran Tebedai. &#13;
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ENGLISH&#13;
This story describes the origins of a spring named Tei Ratu Pana Ratu in aldeia Serelau in the Lautem sub-district. This story is told by Santos Viegas, the traditional owner of the spring. The story he tells is that a long time ago there were many people in Serelau who couldn't access clean water and each day had to travel long distances to find water. The father and mother of the house were away in the fields, farming, leaving their girl was in the house. Their dog went off, and came back to the house wet. The girl noticed this and went to find how the dog had become wet. She found that the dog had found a new spring and had played in it. When she found the spring the spirit owner spoke to her, saying: 'if you want this place to be safe from difficulties, and if you want your people to have water for drinking, for watering animals and for rice fields, then you must become my wife'. The girl returned to her parents to discuss this. The parents, desparate for a water source, accepted the rules of the spring and sacrificed their daughter as an offering to the spring. A traditional line dance accompanied by instrumental music was performed, until this girl was swept sway by the power of the magic spring. This dance is called Bidu, with hand drum accompaniment, Tebedai, is now performed in Serelau.</text>
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Istória ka ai-knanoik tradisionál, ka ho lingua Fataluku bolu rata lolo, dala barak konta iha uma laran no inan-aman mak konta ba sira-nia oan. Rata lolo konta kona-ba família ka suku ida nia orijen, nia lisan no kostume, nia istória, valór, nomós kona-ba mundu naturais inklui ai-moris, animál no buat seluk iha ambiente hanesan foho, mota no bee-matan.&#13;
&#13;
ENGLISH&#13;
Traditional creation stories, rata lolo, are often told in the home, from parent to child. Rata lolo tell about the origins of their clan, its rules and practices, history, and values, as well as about the natural world, including plants, animals and natural features such as mountains, rivers and well springs.</text>
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                <text>Vincente da Goma konta rata lolo konaba Ilarala Mocoru.&#13;
&#13;
Vincente da Goma tells the story of Ilarala Mocoru.</text>
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Vincente da Goma iha Aldeia Loho Matu, Sub-Distritu Lautem konta rata lolo ida kona-ba labarik oan-kiak, alin mane ida naran Puiletemaa no nia biin, Levepuimaa. Sira moris ho terus no susar, sira bele tahan tanba han ai-dila tahan bainhira sente hamlaha. Loron-loron sira te'in ai-dila tahan no fore (fofon). Bainhira alin mane hakarak han de'it fofon, nia biin bandu. Loron ida, bainhira nia biin sai hela, alin mane ne'e han fofon. Abiin hatene tuir tiha, nia baku maka'as alin mane ne'e. Alin mane halai sai hodi buka tuir nia inan-aman nia mate klamar, no depois de buka tempu naruk, nia hetan duni sira. &#13;
&#13;
ENGLISH&#13;
Vincente da Goma in aldeia Loho Matu, Lautem sub-district tells a rata lolo about young orphan children, a brother named Puiletemaa and sister, Levepuimaa. Their life was one of suffering and trouble, they survived eating papaya leaf when they were hungry. Each day they cooked papaya leaf and pieces of bean (fofon). When her young brother wanted to eat only fofon his sister forbade him. One day when his sister went out the brother ate fofon. When the sister found out she hit her brother badly. The young boy ran away to find his parent's ghost, which after a long journey, he found.</text>
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                <text>Aldeia Loho Matu, Suco Com, Sub-district Lautem </text>
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                <text>Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project</text>
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                  <text>Nian Fa'i (naha no kohe; products from woven palm leaves) </text>
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Iha Lautem nia laran iha maneira oi-oin atu homan naha ka kohe, no ema homan buat sira-ne'e baibain iha komunidade ne'ebé iha asesu ba ai-tahan ne'ebé presiza hodi homan. Bele hetan naha barak liu iha area besik tasi ibun iha ne'ebé ai-tali moris. Atu prepara ai-tali tahan hodi homan, tenke tesi ai-tali tahan no rai iha loron-matan hodi sai maran hafoin uza atu homan naha ka kohe. Naha uza ba buat oi-oin, inklui rai naan no ai-han seluk ba serimónia tradisionál, no bainhira la'o dook ka atu foti modo husi toos ka ai-laran.&#13;
&#13;
ENGLISH&#13;
There are a number of different types of nian fa’i, products woven from palm leaves, found in Lautem. Woven products include leu hina (storage baskets); pari pari hina (woven fans); neru moko hina and leu hina (baskets for tossing grain); meci leu moko hina (baskets for catching sea worms); likas hina (a wide shallow basket); rai soko hina, (woven basket for carrying food while travelling); and ulu halivan hina (small woven palm leaf container for the umbilical cord). </text>
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                <text>Nerumoko hina  (naha ba taka hodi rai sasan; ) - Aldeia Malai Lada</text>
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                <text>Lucia da Cruz koalia konaba no hatudu oinsa atu Homan  Nerumoko Hina&#13;
&#13;
Lucia da Cruz discusses and demonstrates how to make leu hina fa'i.</text>
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                <text>TETUM&#13;
Iha Lautem nia laran iha maneira oi-oin atu homan naha ka kohe, no ema homan buat sira-ne'e baibain iha komunidade ne'ebé iha asesu ba ai-tahan ne'ebé presiza hodi homan. Bele hetan naha barak liu iha area besik tasi ibun iha ne'ebé ai-tali moris. Atu prepara ai-tali tahan hodi homan, tenke tesi ai-tali tahan no rai iha loron-matan hodi sai maran hafoin uza atu homan naha ka kohe. Naha uza ba buat oi-oin, inklui rai naan no ai-han seluk ba serimónia tradisionál, no bainhira la'o dook ka atu foti modo husi toos ka ai-laran.&#13;
&#13;
Leu hina ne'e naha ba taka hodi rai sasán. Leu hina fa’i mak naha ne'ebé bele homan tuir forma barak. Atu halo leu hina fa’i tenke foti ai-tali tahan husi ai-tali, no tesi ai-tahan sira ba forma ne'ebé naruk no mihis. Iha Malai Lada, sub-distritu Lautem, no Vailana, sub-distritu Lospalos, ai-tahan husik liga nafatin ba nia ai-sorun. Ema uza ai-tahan haat atu homan pasta ne'ebé tara ba ita-nia kotuk. Ai-tahan nia rohan mak sai baze ba pasta ne'e, no parte naruk no mihis mak homan hodi sai pasta nia sorin. Iha Loro, sub-distritu Tutuala, ema ne'ebé homan halo kohe ne'ebé ki'ik liu no halo husi ai-tali tahan mihis.&#13;
&#13;
ENGLISH&#13;
Across Lautem a number of different styles of basketry weaving can be found, largely in communities with access to the kind of palm leaf needed. Palm basketry is most plentiful in coastal areas, where palm trees grow. To prepare palm leaves for weaving, palm leaves are cut straight and left to dry in the sun then are woven to form baskets. Baskets are used for various purposes, to store meat and food for traditional ceremonies, and when travelling or for collecting food from gardens or forests.&#13;
&#13;
Leu hina fa’i are palm baskets woven into many different forms. To make these baskets, lontar palm fronds are collected from palm trees, and the leaves are cut into thin, straight strips. In Malai Lada, sub-district Lautem, and Vailana, sub-district Lospalos, palm leaves are left attached to the fronds. Four fronds are used to weave long dilly bags with a handle to be worn slung over ones back. The end of the fronds forms the base of the dilly bags, which are interwoven to form a mutually reinforcing base. The leaves of the fronds then form the sides. In Ioro, sub-district Tutuala weavers made smaller, more delicate baskets with a base made of thin palm leaves that had been cut from the palm fronds.&#13;
&#13;
BAHASA INDONESIA&#13;
Di Lautem sejumlah gaya yang berbeda dari keranjang anyam dapat ditemukan, sebagian besar berasal dari masyarakat dengan akses ke jenis daun palem-paleman yang dibutuhkan. Keranjang palem melimpah di daerah pesisir, tempat pepohonan palem tumbuh. Dalam mempersiapkan daun palem untuk anyaman, dedaunan palem dipotong memanjang dan dikeringkan di bawah matahari, dan kemudian dianyam untuk membentuk keranjang. Berbagai keranjang digunakan untuk bermacam keperluan, menyimpan daging dan makanan untuk perayaan tradisional, ketika bepergian, atau untuk mengumpulkan makanan dari kebun dan hutan.&#13;
&#13;
Leu hina fa’i adalah keranjang daun basket yang dianyam menjadi berbagai bentuk. Untuk membuat keranjang-keranjang ini, daun pohon lontar dikumpulkan dan dipotong lurus dan tipis. Di Malai Lada, sub-distrik Lautem, dan Vailana, sub-distrik Lospalos, daun dibiarkan melekat. Empat daun digunakan untuk menenun tas berlengah panjang dengan pegangan untuk dikenakan tersampir. Ujung daun membentuk dasar dari tas berlengah, yang terjalin untuk membentuk dasar yang saling memperkuat. Dedaunan kemudian membentuk sisi. Di Ioro, sub-distrik Tutuala penenun membuat keranjang yang lebih kecil, dan lebih halus dengan dasar yang terbuat dari daun palem tipis yang telah dipotong.</text>
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Iha Lautem nia laran iha maneira oi-oin atu homan naha ka kohe, no ema homan buat sira-ne'e baibain iha komunidade ne'ebé iha asesu ba ai-tahan ne'ebé presiza hodi homan. Bele hetan naha barak liu iha area besik tasi ibun iha ne'ebé ai-tali moris. Atu prepara ai-tali tahan hodi homan, tenke tesi ai-tali tahan no rai iha loron-matan hodi sai maran hafoin uza atu homan naha ka kohe. Naha uza ba buat oi-oin, inklui rai naan no ai-han seluk ba serimónia tradisionál, no bainhira la'o dook ka atu foti modo husi toos ka ai-laran.&#13;
&#13;
ENGLISH&#13;
There are a number of different types of nian fa’i, products woven from palm leaves, found in Lautem. Woven products include leu hina (storage baskets); pari pari hina (woven fans); neru moko hina and leu hina (baskets for tossing grain); meci leu moko hina (baskets for catching sea worms); likas hina (a wide shallow basket); rai soko hina, (woven basket for carrying food while travelling); and ulu halivan hina (small woven palm leaf container for the umbilical cord). </text>
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                <text>Membru communidade feto sira koalia konaba no hatudu oinsa atu halo leu hina fa'i.</text>
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Iha Lautem nia laran iha maneira oi-oin atu homan naha ka kohe, no ema homan buat sira-ne'e baibain iha komunidade ne'ebé iha asesu ba ai-tahan ne'ebé presiza hodi homan. Bele hetan naha barak liu iha area besik tasi ibun iha ne'ebé ai-tali moris. Atu prepara ai-tali tahan hodi homan, tenke tesi ai-tali tahan no rai iha loron-matan hodi sai maran hafoin uza atu homan naha ka kohe. Naha uza ba buat oi-oin, inklui rai naan no ai-han seluk ba serimónia tradisionál, no bainhira la'o dook ka atu foti modo husi toos ka ai-laran.&#13;
&#13;
Leu hina ne'e naha ba taka hodi rai sasán. Leu hina fa’i mak naha ne'ebé bele homan tuir forma barak. Atu halo leu hina fa’i tenke foti ai-tali tahan husi ai-tali, no tesi ai-tahan sira ba forma ne'ebé naruk no mihis. Iha Malai Lada, sub-distritu Lautem, no Vailana, sub-distritu Lospalos, ai-tahan husik liga nafatin ba nia ai-sorun. Ema uza ai-tahan haat atu homan pasta ne'ebé tara ba ita-nia kotuk. Ai-tahan nia rohan mak sai baze ba pasta ne'e, no parte naruk no mihis mak homan hodi sai pasta nia sorin. Iha Loro, sub-distritu Tutuala, ema ne'ebé homan halo kohe ne'ebé ki'ik liu no halo husi ai-tali tahan mihis.&#13;
&#13;
ENGLISH&#13;
Across Lautem a number of different styles of basketry weaving can be found, largely in communities with access to the kind of palm leaf needed. Palm basketry is most plentiful in coastal areas, where palm trees grow. To prepare palm leaves for weaving, palm leaves are cut straight and left to dry in the sun then are woven to form baskets. Baskets are used for various purposes, to store meat and food for traditional ceremonies, and when travelling or for collecting food from gardens or forests.&#13;
&#13;
Leu hina fa’i are palm baskets woven into many different forms. To make these baskets, lontar palm fronds are collected from palm trees, and the leaves are cut into thin, straight strips. In Malai Lada, sub-district Lautem, and Vailana, sub-district Lospalos, palm leaves are left attached to the fronds. Four fronds are used to weave long dilly bags with a handle to be worn slung over ones back. The end of the fronds forms the base of the dilly bags, which are interwoven to form a mutually reinforcing base. The leaves of the fronds then form the sides. In Ioro, sub-district Tutuala weavers made smaller, more delicate baskets with a base made of thin palm leaves that had been cut from the palm fronds.&#13;
&#13;
BAHASA INDONESIA&#13;
Di Lautem sejumlah gaya yang berbeda dari keranjang anyam dapat ditemukan, sebagian besar berasal dari masyarakat dengan akses ke jenis daun palem-paleman yang dibutuhkan. Keranjang palem melimpah di daerah pesisir, tempat pepohonan palem tumbuh. Dalam mempersiapkan daun palem untuk anyaman, dedaunan palem dipotong memanjang dan dikeringkan di bawah matahari, dan kemudian dianyam untuk membentuk keranjang. Berbagai keranjang digunakan untuk bermacam keperluan, menyimpan daging dan makanan untuk perayaan tradisional, ketika bepergian, atau untuk mengumpulkan makanan dari kebun dan hutan.&#13;
&#13;
Leu hina fa’i adalah keranjang daun basket yang dianyam menjadi berbagai bentuk. Untuk membuat keranjang-keranjang ini, daun pohon lontar dikumpulkan dan dipotong lurus dan tipis. Di Malai Lada, sub-distrik Lautem, dan Vailana, sub-distrik Lospalos, daun dibiarkan melekat. Empat daun digunakan untuk menenun tas berlengah panjang dengan pegangan untuk dikenakan tersampir. Ujung daun membentuk dasar dari tas berlengah, yang terjalin untuk membentuk dasar yang saling memperkuat. Dedaunan kemudian membentuk sisi. Di Ioro, sub-distrik Tutuala penenun membuat keranjang yang lebih kecil, dan lebih halus dengan dasar yang terbuat dari daun palem tipis yang telah dipotong.</text>
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Iha Lautem nia laran iha maneira oi-oin atu homan naha ka kohe, no ema homan buat sira-ne'e baibain iha komunidade ne'ebé iha asesu ba ai-tahan ne'ebé presiza hodi homan. Bele hetan naha barak liu iha area besik tasi ibun iha ne'ebé ai-tali moris. Atu prepara ai-tali tahan hodi homan, tenke tesi ai-tali tahan no rai iha loron-matan hodi sai maran hafoin uza atu homan naha ka kohe. Naha uza ba buat oi-oin, inklui rai naan no ai-han seluk ba serimónia tradisionál, no bainhira la'o dook ka atu foti modo husi toos ka ai-laran.&#13;
&#13;
ENGLISH&#13;
There are a number of different types of nian fa’i, products woven from palm leaves, found in Lautem. Woven products include leu hina (storage baskets); pari pari hina (woven fans); neru moko hina and leu hina (baskets for tossing grain); meci leu moko hina (baskets for catching sea worms); likas hina (a wide shallow basket); rai soko hina, (woven basket for carrying food while travelling); and ulu halivan hina (small woven palm leaf container for the umbilical cord). </text>
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Female community members talk about and demonstrate how to weave leu hina fa'i.</text>
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Iha Lautem nia laran iha maneira oi-oin atu homan naha ka kohe, no ema homan buat sira-ne'e baibain iha komunidade ne'ebé iha asesu ba ai-tahan ne'ebé presiza hodi homan. Bele hetan naha barak liu iha area besik tasi ibun iha ne'ebé ai-tali moris. Atu prepara ai-tali tahan hodi homan, tenke tesi ai-tali tahan no rai iha loron-matan hodi sai maran hafoin uza atu homan naha ka kohe. Naha uza ba buat oi-oin, inklui rai naan no ai-han seluk ba serimónia tradisionál, no bainhira la'o dook ka atu foti modo husi toos ka ai-laran.&#13;
&#13;
Leu hina ne'e naha ba taka hodi rai sasán. Leu hina fa’i mak naha ne'ebé bele homan tuir forma barak. Atu halo leu hina fa’i tenke foti ai-tali tahan husi ai-tali, no tesi ai-tahan sira ba forma ne'ebé naruk no mihis. Iha Malai Lada, sub-distritu Lautem, no Vailana, sub-distritu Lospalos, ai-tahan husik liga nafatin ba nia ai-sorun. Ema uza ai-tahan haat atu homan pasta ne'ebé tara ba ita-nia kotuk. Ai-tahan nia rohan mak sai baze ba pasta ne'e, no parte naruk no mihis mak homan hodi sai pasta nia sorin. Iha Loro, sub-distritu Tutuala, ema ne'ebé homan halo kohe ne'ebé ki'ik liu no halo husi ai-tali tahan mihis.&#13;
&#13;
ENGLISH&#13;
Across Lautem a number of different styles of basketry weaving can be found, largely in communities with access to the kind of palm leaf needed. Palm basketry is most plentiful in coastal areas, where palm trees grow. To prepare palm leaves for weaving, palm leaves are cut straight and left to dry in the sun then are woven to form baskets. Baskets are used for various purposes, to store meat and food for traditional ceremonies, and when travelling or for collecting food from gardens or forests.&#13;
&#13;
Leu hina fa’i are palm baskets woven into many different forms. To make these baskets, lontar palm fronds are collected from palm trees, and the leaves are cut into thin, straight strips. In Malai Lada, sub-district Lautem, and Vailana, sub-district Lospalos, palm leaves are left attached to the fronds. Four fronds are used to weave long dilly bags with a handle to be worn slung over ones back. The end of the fronds forms the base of the dilly bags, which are interwoven to form a mutually reinforcing base. The leaves of the fronds then form the sides. In Ioro, sub-district Tutuala weavers made smaller, more delicate baskets with a base made of thin palm leaves that had been cut from the palm fronds.&#13;
&#13;
BAHASA INDONESIA&#13;
Di Lautem sejumlah gaya yang berbeda dari keranjang anyam dapat ditemukan, sebagian besar berasal dari masyarakat dengan akses ke jenis daun palem-paleman yang dibutuhkan. Keranjang palem melimpah di daerah pesisir, tempat pepohonan palem tumbuh. Dalam mempersiapkan daun palem untuk anyaman, dedaunan palem dipotong memanjang dan dikeringkan di bawah matahari, dan kemudian dianyam untuk membentuk keranjang. Berbagai keranjang digunakan untuk bermacam keperluan, menyimpan daging dan makanan untuk perayaan tradisional, ketika bepergian, atau untuk mengumpulkan makanan dari kebun dan hutan.&#13;
&#13;
Leu hina fa’i adalah keranjang daun basket yang dianyam menjadi berbagai bentuk. Untuk membuat keranjang-keranjang ini, daun pohon lontar dikumpulkan dan dipotong lurus dan tipis. Di Malai Lada, sub-distrik Lautem, dan Vailana, sub-distrik Lospalos, daun dibiarkan melekat. Empat daun digunakan untuk menenun tas berlengah panjang dengan pegangan untuk dikenakan tersampir. Ujung daun membentuk dasar dari tas berlengah, yang terjalin untuk membentuk dasar yang saling memperkuat. Dedaunan kemudian membentuk sisi. Di Ioro, sub-distrik Tutuala penenun membuat keranjang yang lebih kecil, dan lebih halus dengan dasar yang terbuat dari daun palem tipis yang telah dipotong.</text>
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Iha Lautem nia laran iha maneira oi-oin atu homan naha ka kohe, no ema homan buat sira-ne'e baibain iha komunidade ne'ebé iha asesu ba ai-tahan ne'ebé presiza hodi homan. Bele hetan naha barak liu iha area besik tasi ibun iha ne'ebé ai-tali moris. Atu prepara ai-tali tahan hodi homan, tenke tesi ai-tali tahan no rai iha loron-matan hodi sai maran hafoin uza atu homan naha ka kohe. Naha uza ba buat oi-oin, inklui rai naan no ai-han seluk ba serimónia tradisionál, no bainhira la'o dook ka atu foti modo husi toos ka ai-laran.&#13;
&#13;
ENGLISH&#13;
There are a number of different types of nian fa’i, products woven from palm leaves, found in Lautem. Woven products include leu hina (storage baskets); pari pari hina (woven fans); neru moko hina and leu hina (baskets for tossing grain); meci leu moko hina (baskets for catching sea worms); likas hina (a wide shallow basket); rai soko hina, (woven basket for carrying food while travelling); and ulu halivan hina (small woven palm leaf container for the umbilical cord). </text>
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Women in the community talk about and demonstrate how to weave storage baskets.</text>
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Nian fa’i oi-oin sasán ne'ebé soru ho ai-tali. Sasán soru sira-ne'e inklui leu hina (taka hodi rai sasán); pari pari hina (kakehe); neru moko hina no leu hina (luhu atu hamoos foos); meci leu moko hina, (luhu atu kaer meci); likas hina, (luhu boot); rai soko hina (hanesan dabu); no ulu halivan hina (hanesan oko ki'ik hodi rai husar-talin).&#13;
&#13;
ENGLISH&#13;
Across Lautem a number of different styles of basketry weaving can be found, largely in communities with access to the kind of palm leaf needed. Palm basketry is most plentiful in coastal areas, where palm trees grow. To prepare palm leaves for weaving, palm leaves are cut straight and left to dry in the sun then are woven to form baskets. Baskets are used for various purposes, to store meat and food for traditional ceremonies, and when travelling or for collecting food from gardens or forests.&#13;
&#13;
Leu hina fa’i are palm baskets woven into many different forms. To make these baskets, lontar palm fronds are collected from palm trees, and the leaves are cut into thin, straight strips. In Malai Lada, sub-district Lautem, and Vailana, sub-district Lospalos, palm leaves are left attached to the fronds. Four fronds are used to weave long dilly bags with a handle to be worn slung over ones back. The end of the fronds forms the base of the dilly bags, which are interwoven to form a mutually reinforcing base. The leaves of the fronds then form the sides. In Ioro, sub-district Tutuala weavers made smaller, more delicate baskets with a base made of thin palm leaves that had been cut from the palm fronds.</text>
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            <elementTextContainer>
              <elementText elementTextId="212">
                <text>Fataluku</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="213">
                <text>Aldeia Ioro, Suku Tutuala.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="321">
                <text>Many Hands International</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="322">
                <text>Preservation of Endangered Forms of Intangible Fataluku Cultural Expression Project</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="323">
                <text>Video, photo and text rights: Many Hands International</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="73">
        <name>artezanatu tradisional</name>
      </tag>
      <tag tagId="72">
        <name>craft</name>
      </tag>
      <tag tagId="89">
        <name>homan</name>
      </tag>
      <tag tagId="122">
        <name>Ioro</name>
      </tag>
      <tag tagId="128">
        <name>leu hina fa'i</name>
      </tag>
      <tag tagId="127">
        <name>palm leaf storage basket</name>
      </tag>
      <tag tagId="126">
        <name>taka hodi rai sasán</name>
      </tag>
      <tag tagId="71">
        <name>traditional craftsmanship</name>
      </tag>
      <tag tagId="83">
        <name>Tutuala</name>
      </tag>
      <tag tagId="129">
        <name>weaving</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
