Suai Media Space friend and active member Chamot has got his own blog going with very interesting information about Camenassa his own district. You can see it here and visit Chamot on his FaceBook page. Don’t be surprised to find yourself trying to read Tetun. The Timorese have been trying to understand us for ten years, now it’s our turn.

The collection of stories reveal the role women played in East Timor’s independence struggle on the guerilla front, the diplomatic front and in the student movement inside and outside the country and afterwards.

The opening story told by Ceu Lopes Federer provides a lens through which to read the subsequent twelve stories. The work Ceu and her compatriots did to meet the financial needs of the resistance inside and outside Timor, to keep it alive and strong, and to provide them with accurate information about what was going on outside in relation to East Timor gives the reader an insight into how important women were in the solidarity movement that was the backbone to the diplomatic front. Mica Barreto Soares’ story tells how Timorese studied in Indonesia and the work they did for East Timor inside Indonesia. The two show the importance of the women’s solidarity work to the survival of the guerilla movement inside Timor and segue into the stories about the work Timorese women did all over the world. They also provide background for the sometimes small but extremely risky activities of other storytellers when they speak of secreting letters and notes, medicines or food, inside clothing and bluffing their way through Indonesian positions inside East Timor and Indonesia.

The simple device of providing an introductory paragraph about the circumstances of their family and ethnicity at birth in all the stories yields rich rewards by giving access to the intricate and personal character of conflicts of this kind, making a broader reading of how women and their families experience conflict possible. The stories make it clear, that war was everywhere and everywhere they turned every aspect of personal life was affected by it. Their family histories and the location in time and place of the storytellers dramatically impacts on the destiny of the women and their children.

The most heart wrenching story in the book is of a child who wished her mother, Dulce Vitor, dead because it was her military were chasing, and because of her they were hungry and had to run every day.

This collection of stories tells what the everyday embodiment of a conflict in your own community is like for families. It was in the fertile ground of dire need and ambition, in amongst the secrets, on the boundaries of family relationships, political and institutional alliances, the seeds of fear and distrust could be sewn by enemies, or serendipitously falling there, cause discovery and tempt betrayal. However it was in similar fissures and trusted spaces deeply embedded in the community that the resistant impulses became active too. The stories show, it was from the domestic spaces that courage, adaptability, resistance and resilience grew and spread over generations to the clandestine movement inside the country and the solidarity movement outside the country.

The various reasons for these women getting involved in the struggle for East Timor’s independence gives an insight into why these stories are critically different from oral histories about women’s involvement in war I’ve read before. Most of them became caught up because of their experience of the forced oppression and violence against themselves, their family and their fellow human beings. Carolina Do Rosario “As Timor women we felt worthless, little more than dolls. We felt that slaves had a history we shared, … that’s why…. we never walked away from the struggle, we kept fighting”. And Laura Soares Abrantes: “how can one practice culture without human rights”?

A book of oral histories runs the risk of losing the reader because the writing lacks the page-turning pulse that dramatic tension provides in a woven narrative. However the power of these stories resides in the realistic immediacy and verifiability of their first person narratives, published as they are while the protagonists still live. This personal as political approach to a historical record of an international political conflict, adds weight to the gender struggle that is on-going in East Timor, a deeply conservative male dominated society. The women want us to know the fight for equality was not introduced by foreigners but has grown from the struggle for independence. It is significant the stories have been published for a broader English-speaking readership. If the stories were recorded and used for research before being abstracted into a history authored by Conway rather than edited as they are they wouldn’t serve the same function politically or be as satisfying for the storytellers.

One of the strengths of the book is the history of the editor Jude Conway. Jude worked side by side with Timorese in Darwin and Dili for twenty years and many of the photographs in the book taken by her, amplify the stories, showing somewhat disconcertingly, how social life continued; how love and marriage, birth and friendship, educational achievement and the women themselves were growing older and their lives were changing during the time of the stories. The photograph albums for each storyteller are available on Conway’s FaceBook page here: http://www.facebook.com/media/albums/?id=746873182

Step by Step is a highly readable, timely collection of oral histories that shines a light on the pivotal role women played in East Timor’s struggle for independence and afterwards, inside and outside East Timor. I highly recommend it.

Jen Hughes is a writer and filmmaker. Producer/Director of The Circle of Stones (2001), Time to go John and Black Bullion (2003) as well as producer and co–author of http://www.suaimediaspace.org/ She has had eleven years involvement with East Timor, assisting the youth of Suai and the Friends of Suai: http://www.suaimediaspace.org/friends-of-suai-port-phillip/ set up a media training group YoMaTre:. http://www.suaimediaspace.org/youth/

“Tebe Liku Rai (dancing drum) consists of 8 -16 of women lined up in two rows with small drums under the armpit and two men in the middle with a Surik (sword), a white handkerchief up in hand while shaking, dancing and shouting while the women dance and play the drums”. TatolibaKultura YouTube Channel.

Tetun:
Tebe Liku Rai iha feto na’in 8 to’o 16 hamrik halo lina rua ho likurai iha kalilin no mane na’in rua iha oin/iha klaran ho surik ou lensu mutin foti ba leten ho tebe, dansa no hakilar wainhira feto sira dansa no baku liku rai. Filme ne’e halo iha Palacio Presidente iha Dili durante Festival Kultura 2010.

The Cultural Development Network and the City of Melbourne are presenting their first free public forum for 2011 ‘Home… Lands?’ on Wednesday 23 March, 2.00pm-5.00pm.

Constructing home and identity with young people from refugee backgrounds through media and technology.

This forum seeks to address issues arising from young people’s use of technology in construction of identity and home in a new country. Can re-settlement of young people from refugee backgrounds be more successful if identification and communication with home communities is maintained? How can technology assist with this?

Speakers:
Prof. Sandy Gifford & Dr. Raelene Wilding, La Trobe University Refugee Research Centre
Dave Nguyen, Artist
Jennifer Hughes, Digital Artist and Documentary Maker
Shakthi Sivanathan, CuriousWorks, Sydney

Wednesday 23 March, 2:00 – 5:00 pm
Blue Room, Multicultural Arts Hub, 506 Elizabeth Street, Melbourne
Registration:

Admission is free, but for catering purposes, RSVP via www.trybooking.com/LDN

How fantastic it was to see Shirley Shackleton receive the Walkley Book Award for her book The Circle of Silence – A personal testimony before, during and after Balibo, last night in front of Australia’s finest journalists.  Shirley has been writing articles about justice and the Balibo Five’s murder and cover up in East Timor for over thirty years. She set up a scholarship for journalists to study in the U.S. which saw several of our leading journalists educated through it. The Circle of Silence tells the story of the impact of the murder of the Balibo Five on Shirley and her family and the subsequent struggle against gigantic odds to inform people in this country as well as around the world about what was going on in East Timor. The roughshod treatment she received from the

Government and the television station who employed Shackleton following the journalists disappearance is eye opening stuff. Not always popular with local activists for her abrasive warts and all style,  her voice was the one that often cut through when others’ didn’t and she showed the courage of a true giant of democracy and truth putting aside the cost to her personally.  I highly recommend the book as a good read. Published by Murdoch Books.
In her speech Shirley said she ‘wanted to put down what I know to have happened so it’s on the record’.  She also called for help to pressure the Indonesian Government to send the bodies of the journalists. home. It seems at 78 Shirley still has unfinished business.

You can see the video of the Tebe Dai here and download it or read more about it.

It appears Chamot has ideas of starting up an off-shoot video production company under the banner of Komunidade Arte Audio Visual Kamanasa employing his natural graphic art skills to produce this graphic for the top.

Episodes 1 & 3

This re-enactment of the Santa Cruz Massacre that  took place on the the 12th November 2000 tells a very clear story of the impact of that horrendous day on the youth of East Timor and how they feel now. The title ‘Seeking the Light’ is taken from the drama written by the drama group shown here.

Episode 3 & 4