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Sergio’s first commissions from Port Phillip

August 6th, 2008 jen Posted in Art, Art of Sergio da Costa, Commissions, News 2 Comments »

Tetun version
The ‘bush telegraph’ in Suai works like a dream. I think we had been there a day when Sergio turned up at the Community Centre. He had with him a huge painting of a traditional house of Lautem (Los Palos) that he was hoping to sell. It was over a metre high and about .75 of a metre wide, but that wasn’t the reason none of us bought it. We are more interested in the traditional culture of Cova Lima. Lautem is in the far East of East Timor in the “head of the crocodile” if you like. The traditional house of Lautem has become an international symbol of Traditional Timorese Architecture and I guessed that is why Sergio painted that particular style. The fact that it was so big also made it more expensive and more difficult to find a place for it in ones home. This is a photo of it taken by Desleigh Kent ( from the Friends of Suai), who was there, with some other paintings he brought sitting over the base of it.

[Note: Click on a photo to get the ‘gallery’ to pop up then scroll through the gallery using the ‘Next’ and ‘Back’ buttons near the top on the sides.]

lautem-house.jpg

Pat Jessen was impressed by his work however and commissioned him to do a painting of an old man holding a rooster as it was depicted in the foreground of the Lautem painting.

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Pat Jessen (‘Friends of Suai’ Co-ordinator Pt Phillip), Simao Barretto (‘Friends of Suai Co-ordinator’ in Suai) translating for Sergio (foreground and his friend).

Pat is discussing her commission and asking Sergio of he would do some small portraits of Suai youth for an exhibition to be held in St Kilda and run some art classes for other young people in Suai.

Below: Sergio working on Pat’s commission. (Photograph by YoMaTre members)

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The finished painting.
Desleigh was impressed and commissioned one for herself. She gave sergio a photograph of an old woman with a young woman she had taken in Suai Loro that week.
des-pat-annie.jpg desleighs-painting.jpg

Desleigh, Pat and Annie Sloman checking out the finished work.

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St Kilda Youth Portrait Exhibition 2008

July 31st, 2008 jen Posted in Art of Sergio da Costa, News, Portraits-English, St Kilda Youth Portrait Exhibition 2008, Youth Portrait Exchange Comments Off on St Kilda Youth Portrait Exhibition 2008

[Note: Click on a photo to get the ‘gallery’ to pop up then scroll through the gallery using the ‘Next’ and ‘Back’ buttons near the top on the sides.]

Portraits of Youth by Sergio (see ‘Portraits of Youth 2000‘ and ‘Portraits 2000‘)

When Pat Jessen wanted artists to paint portraits of the youth of Suai we turned to my friend Sergio da Costa for help. The paintings and drawings on the small canvasses above are his contributions to her project. The project was to provide some paintings of young people in Suai to hang alongside over one thousand portraits painted by youth in Pt Phillip and Obu Japan for the new art gallery inside the new wing of the St Kilda Town Hall.

The images the Australian students have painted of themselves provide a refreshing counterpoint to photographic portraits of youth that are prolific on social networking websites. These painted portraits open up a space in which the concept of identity is more fluid than within photographic self-portraits.

I am waiting on permission from the schools’ art teachers to upload a gallery of the Pt Phillip students’ work.

[Note: Click on a photo to get the ‘gallery’ to pop up then scroll through the gallery using the ‘Next’ and ‘Back’ buttons near the top on the sides.]

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Suai Portraits in St Kilda gallery

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Obu Portraits from Japan

The portraits from students in Obu are included in the exhibition because of Pt Phillip’s sister city relationship with Obu. My reason for including them is of the link between our three countries due to our history in East Timor in World War 2.

When Sergio heard we were in town he came to see us with a huge painting he had made of a traditional Lautem or Los Palos house in the Eastern most part of East Timor – the head of the crocodile. When he showed that to Pat she commissioned a painting.

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Stories from the Youth of Suai – ‘Traditional Art & Identity’

July 29th, 2008 jen Posted in Documentary Stories, News, Short Stories, Tradition Art & Identity Suai 1 Comment »

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Tetun Language
‘Stories from the Youth of Suai’ were written by participants in a digital stories workshop held in the Suai Youth Centre in June 2008 in response to a request for stories that symbolise Suai for the Pt Phillip community and the international audience that visits suaimediaspace. The eleven participants had just completed a five day workshop, that for many represented their first encounter with computers, when they were thrown into discussions about symbolism, local and international audiences and asked to write some stories and take the photographs to accompany them for this website.

The students were all aged between about 18 and their early twenties and there was a restlessness towards the end of the second week due to the fact that the students expected a ‘media workshop’ would involve video cameras and editing software. The third week therefore was dedicated to a simple animation workshop in which the students photographed each other and themselves with mobile phones and digital cameras and animated them to music in iMovie. The result is the collection of Comic Videos.

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Traditional Sacred House of Fohoren

July 24th, 2008 jen Posted in Architecture, News 3 Comments »

Tetun version: Uma Lulik Tradisional Lakon Kalae?

This story about Traditional Architecture was conceived and written by Suai youth in a media workshop in June 2008.

Uma Lulik Tradisional Fohorem

This is the traditional sacred house of Timor, particularly in Covalima. The traditional sacred houses still exist. Our ancestors have passed on to us these traditional sacred houses from one generation to another. Traditional sacred house is very, very sacred. Therefore, whenever we are in the traditional sacred house, it is forbidden to talk, to chat and to put on hat. In addition, the elders are to be respected. People have to follow their words of wisdom. If not, then the punishment from the Above, the High in sky, would descend on you taking the forms of: death, being barren/having no children, becoming mad, or becoming confused and restless. Therefore, we Timorese really adore and respect our traditional sacred houses and our elders.

Tuar Hamutuk iha Uma
Sitting together in a sacred house

“Sitting Together”

The process of building a traditional house needs a very long time. It involves many meetings, working together and traditional ceremonies.

The community members have to sit together. All the members who belong to one sacred house or uma lulik get together to make plan for the construction of the uma lulik. This includes those who married to people of other tribes and to the non-Timorese—the white and non-white foreigners—but who have not abandoned, and should not abandon, their traditional practices. All members of the sacred house (community) get together to make preparation for the building and the completion of the sacred house which ends with a very big celebration that lasts several days, in the past, even weeks. During this celebration of uma lulik people from other communities are invited. Preparation for the celebration of the completion and the blessing (traditional blessing) of the sacred house involve the preparations of buffaloes, pigs, goats, rice, local alcohol, tais, cova (traditional male and female baskets called cova mane and cova feto) and others for the celebrations.

Serimonia oho fahi

“Ceremony of slaughtering of pigs as an offering”

When the two main pillars for the sacred house have been found suitable, a small religious ceremony is conducted before the cutting of the trees for the pillars. A pig is slaughtered and the blood of the pig is sprinkled at the bottom of the trees and a prayer is said, led by an elder, before the trees are cut down. After that an offering of cooked heart of the pig and cooked rice, along with beetle nuts and beetle leaves are offered at the bottom of the trees. This is a sign of respect for the trees and a way of asking permission from the spiritual owners of the trees (the spirits of the land/the forest which is seen as being sacred).

Ta' ai rin Halas Uma

“Cutting trees for the pillars”or“Putting the ‘bones’ of house.”

The two main pillars are named after the names of the Grandfather and Grandmother of the sacred house community. The Grandfather is the south pillar which becomes the place in the house for sacred adoration, prayers and offerings, for the elder of the use to bless the members of the sacred house by means of what is called kaba. The ceremony of kaba is as follows. The offering in the form of beetle nuts and beetle leaves putting in a specially made female koba/cova (small and beautifully made basket) is made to the ancestors and is put on the bottom of the Grandfather’s pillar. After a prayer was said by the elder, the beetle nuts and beetle leaves are eaten by the elders but not swallowed. The elder then makes a mark on the chests and foreheads of the members of community with the crushed beetle nuts and leaves from his mouth mixed with saliva. And this is called kaba. The female pillar with the name of the grandmother is on the north where the kitchen is. It is just referred to is grandmother or bei feto. It is here in this side of the female pillar—the grandmother—that sacred baskets, sacred pots, sacred spoons and plate, sacred inheritance and others are kept.

Tali Halibur Hamutuk

Collecting ropes/strings and leaves together and putting the bones of house.

Collecting together grass/palm leaves

Having putting together the bones (woods) of the house tied tightly with strings from the forest, the roof of the house is put. The roof consists of either certain type of grass called hae manu lain for the people in highland where there are no palm tress or the leaves of the palm trees for the people in the coastal area and lowland. All these are done together in the group.

Having putting together the bones (woods) of the house tied tightly with strings from the forest, the roof of the house is put. The roof consists of either certain type of grass called hae manu lain for the people in highland where there are no palm tress or the leaves of the palm trees for the people in the coastal area and lowland. All these are done together in the group.

About the Sacred House

Hosi Uma

The Result of the process of building sacred house

The result of the process of constructing a sacred house is as follows. All the members of the uma lulik (the community) are very happy, although the process of building a sacred house is very long—a one-year-long process.

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Criado

April 18th, 2008 jen Posted in News Comments Off on Criado

Rufino & Digger Dare Remembrance Ceremony

‘Recollections of a Criado’ all Episodes

Rufino and Ron Archer (Photo: 2006) Both men were members of 2/2nd Company ‘Sparrow Force’

I had heard about the work of these young boys called ‘criados’ and I was curious about the meaning of the word’ criado’ from the first moment I heard it. I knew they were young boys because I had seen this photograph of them. In this photograph – Barana the criado for Archie Campbell – a member of 2/2nd Company who wrote his memoir – looks like a teenager and Mau Morni looks between 10 and 13 or 14. Naibilli appears to be about 8 or 9 years old.

Archie Barana & Mau Morni (Cailaco, 1942)don-turton-naibilli-1942.jpg

Barana, Archie Campbell & Mau Morni Cailaco, 1942 Don Turton & Naibilli 1942

(Source: The Double Reds of Timor Archie Campbell, 1995)

‘criado’: “little mate” – “brother” – “servant”?

I always wondered why this Portuguese word was used by Australians who are not renowned for their linguistic skills! Was it a word of endearment or praise? People seemed to love to say it, it seemed always to be embued with a fraction of awe and affection or simply mystery, by Australians who used it. When I learned it meant ‘servant’ I was shocked.

Everybody knows what that means but it conflicted with the impression I had been getting. Everywhere the relationship is described as involving closeness and Australian ‘mateship’. The word ‘love’ is rarely used because Australian men, especially soldiers of that generation don’t throw the ‘love’ word around much for fear of appearing ’emotional’ or vulnerable. However, Archie Campbell uses this word when describing his relationship with Barana and tears and strong feelings always abound in descriptions of departures and reunions between these men, and departures and reunions seemed to characterise their relationships. This excerpt from Archie Campbell’s memoir about his reunion with Barana is a good example:

“We rushed toward each other, and thirty long years vanished in one priceless instant of Timor magic. Our eyes were full of tears, and we hugged each other as if to be sure that each of us was real…Once again I was standing beside my wonderful, loyal, loveable Barana. It was like a dream come true, yet more than that: it was incredible – a miracle of miracles!”

Archie Campbell & Barana

Archie Campbell’s reunion with Barana

In his stories Rufino refers often to Tom Nisbet as his ‘Patron’. This word implies somebody who looks after you and sponsors you and this is in accord with the soldiers’ role following the War. Many Australian veterans of Timor sent money to the Timorese who helped them and Tom Nisbet was one of these. Rufino is a very polite and respectful old man, also a man of his generation. He grew up in the colonial world of the Portuguese and has spent the last thirty-five years of his life surviving the Indonesian occupation. The word patron is imbued with the respect of somebody grateful to another for their sponsorship, and this is clear in Rufino’s recollection of his response to receiving news of Tom Nisbet’s death..

Tom Nisbet’s 2/2nd Company were the first to land in East Timor in December 1941. According to Patsy Thatcher, who recorded the stories of all the 2/2nd Company known as ‘Sparrow Force’, for these men, ‘criado’ meant their “little mate”. Patsy also told me many Timorese were paid by the Australian Army for work they did, but the criados were not paid. Presumably because they were boys and they were not working in any ‘official’ capacity. Rufino seemed pleased with bits and pieces of money given to him by Nisbet, money found in his pockets. The men were without much cash until they established radio contact with Australia six months after the Japanese Landing and an air drop of money and other supplies was made.

Lt Tom Nisbet 1993Patsy Thatcher

Tom Nisbet & Patsy Thatcher (Photo: 1993.)

When is a history a history?

What is also said over and over again is that the Australians owed their lives to the Timorese and that leaving them in Betano was one of the most difficult things they ever did in their lives. But how did these young boys come to leave their families and work for the Australian soldiers at great risk to their lives and that of their families? At this point there are more questions than answers.

These recollections of WW2 in East Timor will not end here. It may become a new beginning or it may be too late. These stories are not deeply researched, or corroborated they are simply Rufino’s recollections. The written history of WW2 in East Timor published by the 2/2nd Commando Association ‘All the Bull’s Men’ relies mainly on personal accounts from the men of 2/2nd. The official history revolves around the official documentation of meetings and also personal accounts and some of these men spent decades doing their research and writing their memoirs. But the Timorese experience has not been documented in a volume.

Many Timorese worked for the Australians in East Timor during their time there doing a variety of tasks: building, educating them in language and culture, cooking, providing food, nursing them, informing them, guiding and so forth. According to one account from Rufino they sometimes helped them set up traps for the Japanese. But, they were not all ‘criados’. How many criados there were I haven’t discovered, Rufino says over a thousand, others say more like three hundred to three hundred and fifty, but there seems to be general agreement Rufino is the last ‘criado’ alive.

According to the personal accounts of the soldiers ‘criados’ attached themselves to Australian soldiers. By his own testimony Rufino didn’t go along with Lt. Nisbet of his own accord. Most of the criados were young children or teenagers and according to Rufino his father was left to discover where he was, and at one point he ran away and was pursued and brought back. What age the boys were seems to be controversial for a number of reasons, but it’s clear from photographs, some at least were pretty young. In my interview Rufino says he was 11 years old twice and nine years old once. Other older Timorese I know have no idea of their age either. Once again according to Patsy Thatcher Paddy Keneally claims he saw Rufino’s Baptism certificate which placed his birth in 1917. This seems impossible, it would be more likely to be 1927 that would put him at about the right age as he appears now, 81. That would make him 15 in 1942! Join the ranks of the confused.

Who died at Betano?

Rufino tells a story of how all the other criados died at Betano when Tom Nisbet and the rest of 2/2nd Company left East Timor in 1942. When we checked and re-checked this with him he was adamant. Australians are positive the story of this massacre is not true because we would have heard about it by now. Tom Nisbet made three or four visits to East Timor and at times searches were made for criados. We can probably be pretty confident Rufino lives with the idea the boys he left behind were all killed. Whether he has always believed this or not, at this point we don’t know. Perhaps this story will help flush out some more Timorese relatives of criados and others who worked for the Australians or who live near Betano who know these stories.

The 2/2nd Association built a swimming pool in Dare at the base of the mountains above Dili as a practical memorial site for the Timorese who served them in 1942 and it was opened in 1969. It is well known that many of the Australians reunited with their criados in 1969 at that event. It is likely there are photographs of this event in family albums too. If anyone knows of these we would love to post these on suaimediaspace.

This photograph testifies to the fact that Barana, Archie Campbell’s criado survived until at least 1973.

Archie Barana & Family 1973

Archie Campbell’s reunion with Barana & his family 1973.
{Source: Archie’s Autobiography the Double Reds of Timor (Published by ‘John Burridge Military Antiques’ 1995. Out of Print.)}

It is said 40,000 Timorese died in WW2. Many criados were killed by the Japanese for fraternising with the Australians. According to soldiers’ testimony nobody from the 2/2nd Company was ever betrayed by Timorese. However 2/4th Company who exchanged places with them at Betano in December 1942 suffered a different fate. By this time the Japanese began killing Liurai, (roughly translates as Chief or King), to entice betrayals and flush out the Australians. Many criados who survived until 1975 were sought after and killed by the Indonesian Military. It’s presumed this was done, to ensure any arms or skills they may have had were removed. The presence of the Japanese in East Timor also led to Allied aircraft returning from sorties in the region emptying their remaining bomb loads over East Timor.

Hopefully in the future some young Timorese will chase down the relatives of the boys for Timorese history of this time. Rufino’s recollections are those of a very old man who has had limited access to others who shared his experiences over the years, meaning corroboration and consolidation of his narratives has been very limited. Rufino has also had to endure the occupation of the Indonesian Military and the loss of three of his children at the Santa Cruz massacre. The episodes provided here, which have been extracted from an interview with him provide a rare insight to the memories and stories of a man whose humour and dignity are enviable. We guess from reportage and Rufino’s own estimates, that he is between 77 and 89!

Names & spellings of places in the video interview have been checked by Patsy Thatcher & Balthasar Kehi using Portuguese map published by Junta de Investigacoes do Ultramar and ‘Maps in ‘East Timor A Country at the Crossroads of Asia and the Pacific’. 2002. Silkworm Books. Discrepancies in spellings in documentation can be explained to some extent by changes in Language in the country and English spellings imposed by English speakers. Australian versions of these stories have been checked in The Australian Memorial History and ‘All the Bull’s Men’, Cyril Ayris. April 2006. Published by 2/2nd Commando Association.
‘All the Bull’s Men’ is still available and it has a bibliography in the back. Printer PK Print Pty Ltd. 61-08-933603800 jobs@pkprint.com.au

Jen Hughes

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Heru Ini Lafu – Weaving Life Exhibition Dec. 2007

April 4th, 2008 jen Posted in News Comments Off on Heru Ini Lafu – Weaving Life Exhibition Dec. 2007

Tais - How Women Were Made Annette Sax

This post is a bit late but worth the wait. The East Timor Womens Association (ETWA), always comes up with creative and enjoyable events to raise funds and awareness to the role of women in East Timorese life beyond the apparently passive victims you see on current affairs television.

Women are primarily responsible for weaving tais, the traditional cloth of East Timor ( as many of you well know!). This event – ‘Heru ini Lafu’ means Weaving Life in Makalero, the language of the Iliomar region in the south-eastern highlands of East Timor. The event organised by ETWA was held in the Fitzroy Gallery in early December. I have chosen to feature the work of Annette Sax, Deborah Salvagnos, Alan Browne and Katheryn Philip .

Detail Creation Story Annette SaxDetail Creation Story 2 Annette Sax

I was especially thrilled to see the work of Annette Sax a Taungurung woman from the Franklin Mob. Her language group is part of the Kulin Nation. Pt Phillip is also situated on the land of the Kulin Nation.

In her artist’s statement Annette expresses the similarities between her own people and the Timorese: “The women in the Mate Restu Weaving collective do not have written records to follow. Our traditions are oral as well. It is the spiritual connection that inspires our craft. I have painted one of my Creation Stories. I have interpreted the story ‘ How women were first made’. I have used the symbols that represent land and water.” Annette explains the designs incorporate traditional and contemporary aspects of culture experienced in her daily family life. A culture that is “always changing and adapting”.

Batik Wax & Tais on Cotton Alan BrowneTais on Cotton Cross Alan Browne

Alan Browne has taken the raw materials of the traditional Indonesian Batik and incorporated a small piece of cut tais on to it. Deborah Salvagnos explains her pieces ‘Light Works’. “The stories behind both the pictures and their accompanying cloth sheds ‘light’ on cloth sheds light on the intricate and beautiful lives held within them”.

‘Breaking Free from Poverty’ was conceived by Deborah Salvagnos and Katheryn Philip “with a view of hope and strength … a look towards the future and the ultimage goal of women regaining control over their lives …”

Light Works Deborah SalvagnosBreaking Free of Poverty Katheryn Philips & Deborah Salvagnos

Neville Kitchen presented Ego Lemnos with a new Macon guitar. Ego lost his when he accidently left it in Flinders Street Railway station. The guitar was Ego’s ‘best friend’ and he was lost without it. He is in high demand as an entertainer and probably earns his living with it. So Deb appealed to who came up with the goods with great charity and grace.

Ego with Neville Kitchen Ego Lemnos & Deborah Salvagnos

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Father Soares – by Joaquim Amaral

February 1st, 2008 jen Posted in Art, Drawings: Suai Church Massacre, Murder of 3 Priests, News 2 Comments »

All the drawings of the massacre were posted on the wall of the Suai Church School on the occasion of the First Anniversary of the Suai Church Massacre.

Coloured Pencil Drawing on Paper (2000)

Pastor Soares

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Father Hilario (2) Drawing by Artist Unknown

February 1st, 2008 jen Posted in Art, Drawings: Suai Church Massacre, Murder of 3 Priests, News, Poetry, Timorese Poems Comments Off on Father Hilario (2) Drawing by Artist Unknown

Coloured Pencil Drawing on Paper (2000)

Pastor Hilario (2)

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Pastor Dewato – Drawing by Artist Unknown

February 1st, 2008 jen Posted in Art, Drawings: Suai Church Massacre, Murder of 3 Priests, News 1 Comment »

Coloured Pencil Drawing on Paper (September 2000)

Pastor Dewato

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32nd Anniversary: Proclamation of Independence of the Democratic Republic of East Timor

November 29th, 2007 jen Posted in 1975, News Comments Off on 32nd Anniversary: Proclamation of Independence of the Democratic Republic of East Timor

Last night the Australian East Timor Association and many of its members celebrated the 32nd Anniversary of the Proclamation of Independence of the Democratic Republic of East Timor at the Spanish Club in Fitzroy an inner suburb of Melbourne. I was there as documentary-maker and friend of Suai.

One of the oldest and most respected of East Timor’s friends in solidarity for over thirty two years – David Scott was there at the dinner. David founded AETA and John Sinnot has run AETA for the same period of time. I have photographs of them which you can see in
as well as Ego Lemos and Salvador Castro performing for us. You will be able to read more about David Scott in the ‘Timor Ponies of Pt Phillip’ pages next year. And before that I will post a chapter from his book ‘Last Flight out of Dili’ which tells the story of Australia’s betrayal of East Timor in 1945.
I met Pedro Lebre of the famous Villa Harmonia in June 2005. In the short history of Villa Harmonia Pedro Lebre wrote for sms he mentioned that he first fled East Timor in 1974 , because he was in fear for his life. Pedro Lebre also gave me three poems. It seemed an appropriate act of remembrance to post his poems and his short history on this day 32 years afterwards. /category/events/

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