Cultura Marobo

English
Timor Aid
Timor Aid acknowledges the European Union for their support for this
program through their programme Investing in People and Eastern Partnership
Culture: Strengthening capacities in the cultural sector.
SECRETARIA DE ESTADO DA
TIMOR - LESTE
The Rotary Club of Dili
CULTURA
ISBN 978-989-98064-3-6
First Edition: March 2013
Exhibition Curator and Catalogue Author: Joanna Barrkman
Tetun Translator: Maria Madeira & Rosalia Soares
Catalogue Designer: Baraka Grafika
Photographers: Brigitte Clamagirand, Victor de Sousa Pereira,
Taryn Lane, Greg Haraldson, Margot Durin, Joanna Barrkman, David Palazn
Printed by: Prolong Press, China
Published by: Timor Aid, Dili, 2013
Copyright Timor Aid
www.timoraid.org
Cover image of Dasi Ubun ceremonial house and Kemak people.
Digital reproduction of an original photograph taken by Brigitte Clamagirand in 1966 or 1970.
J oanna B arrkman
Timor Aid
2013
Foreword by the Chairperson of Timor Aid
T he maintenance and encouragement of culture in TimorLeste , including woven textiles and Tetum language has
always been a core focus for Timor Aid, a non-government
organisation based in Dili. These culture heritages are an
essential part of our identity as Timorese people. In our
journey of nation building, these heritages not only serve as
a guidance to understand where we come from but also as
an inspirational force to continue our progress.
We believe that through the documentation, presentation
and promotion of cultures the people of Timor-Leste
will gain a greater appreciation of the nations rich and
diverse cultural heritage. Although much of the material
cultural heritage of Timor-Leste has been damaged and
lost in recent decades, the intangible heritage such as
the knowledge and skills of cultural practice remains
spread across the nation and its many cultural groups and
communities.
Kemak Culture of Marobo Then and Now has been developed

with support of the European Union, and has been a
training exercise as part of the project In Search of Common
Ground: textile cultural traditions in the island of Timor their
preservation, promotion and the development of cultural social
capital.
Timor Aid is also grateful to the French Institute TimorLeste and the US Embassy of Timor-Leste for their generous
support toward this project.
I hope that the exhibition Hametin Kultura Kemak Marobo
- Uluk no Agora Reaffirming Kemak Marobo Culture Then
and Now stimulates thought and discussion about the role
of cultural heritage in Timor-Leste society. I also hope that
through this exhibition young and old Timorese people gain
a deeper appreciation of our historical past.
J ose L obato
The process of documenting heritage serves to make the

community proud and healthy as people feel connected to
their past enabling them to enjoy the present and envisage
their personal, as well as the nations future.
Chairperson, Timor Aid
The exhibition focuses on the Kemak culture of Marobo.

Timor Aid looks forward to working with other cultural
groups throughout Timor-Leste in the years to come to
document aspects of their cultural heritage.
Mask, Mau Goa (K) Marobo, 20th

century, 20 (H) x 11 (W) cm; wood.
National Collection of Timor-Leste,
00136. Masks were originally worn
to protect the faces and identities of
warriors in raids and battles.
Hametin Kultura Kemak Marobo Uluk no Agora - Reaffirming
Foreword by the Ambassador of France to Timor-Leste
We would like to thank Timor Aid, particularly Rosalia

Soares and the curator Joanna Barrkman, for developing
this exhibition. We are also grateful to the Kemak Marobo
people for their enthusiasm and active involvement in this
project.
T he island of T imor , one of the most culturally diverse

place on the planet, has been for a long time a source of
fascination for a French school of anthropology seeking to
understand the development of human cultures.
Brigitte Clamagirand visited Timor-Leste in 1966 and
1969/70, as part of her doctoral research, to document the
daily life, craftsmanship, environment, and the rituals of the
Kemak Marobo people. Her visits came at a very particular
moment of history as the country was about to experience
dramatic transformations due to foreign occupation and the
forces of globalisation.
C orinne B reuz
Ambassador of France to Timor-Leste
We are delighted that Dr. Clamagirands touching and

beautiful photographic collection could be brought back
to Timor-Leste as the basis of this collaborative research
between Timor Aid and the Kemak people of Marobo.
The result of this research, the exhibition Reaffirming
the Kemak Culture of Marobo Then and Now, is a fine
illustration of the wealth, diversity, and dynamism of
Timor-Lestes cultural heritage. It helps us understand how
local traditions, particularly those related to weaving, have
evolved over the past 40 years. It also shows that there exists
a strong desire among the people of this country to put
culture at the center of socio-economic development and
peace building efforts.
France remains committed to support Timor-Lestes efforts
in preserving and promoting its cultural heritage.
Ceremonial house door, odamatan (K,T), Marobo, 20th century, 109 (L) x
31.6 (W) x 4.5 (D) cm; wood. This door once flanked the entrance to a
ceremonial house in Marobo. It is incised with serpents. The handle features
carved faces of the ancestors, who previously protected the entrance way.
Reaffirming Kemak Marobo Culture Then and Now
Foreword by the Head of the E.U. Delegation in Timor-Leste
O n behalf of the Delegation of the European Union to

Timor-Leste, I would like to extend our appreciation and
congratulations to the team at Timor Aid for their efforts
to beautifully present the Kemak culture of Marobo
and for revisiting and building-upon the work of French
anthropologist, Brigitte Clamagirand, conducted some 40
years ago.
project partners Yayasan Tafean Pah, West Timor, and the

Tropenmuseum, the Netherlands, has resulted in positive
knowledge exchanges and I look forward to seeing these
partnerships develop further.
The European Union is proud to support this exhibition

Reaffirming the Kemak Culture of Marobo Then and Now in
sharing the unique cultural traditions of the Kemak people
with the broader Timorese and global communities.
S ylvie T abesse
My best wishes to all the project team for a successful

implementation of the project.
Ambassador, Head of the EU Delegation to Timor-Leste.
O ur cultures make us what we are. Our cultural heritages

endure as reminders of the contributions and historical
experiences of humanity. Our cultures express themselves
in multiple forms, both permanent and ephemeral. To
treasure our heritages is to acknowledge our identity. In
Timor-Leste, the United States Embassy has supported
the restoration of ancient and historic structures, the
preservation of important cultural attributes such as
carvings, music, and poetry, and the documentation of
vanishing traditional craft techniques.
Works of art and artisanship are particularly important
vehicles of expression and people all over the earth create
them. Renowned American artist Georgia OKeeffe
remarked that she could say things with color and shapes
that she couldnt say in any other way things that she had
no words for. When we study an OKeeffe painting or touch
the complex weaving of a tais, we can indeed divine the
artists message.
The exhibition is part of a broader cultural sector project

under the thematic programme of Investing in People
focusing on the Cultural Sector, funded by the European
Union, In Search of a Common Ground: Textile Cultural
Traditions in the Island of Timor - their Preservation, Promotion
and the Development of Cultural Social Capital.
This three-year project is aiming at increasing the capacity
of cultural institutions and this exhibition and catalogue
certainly demonstrate the capacity that has been developed
within Timor Aid and project partner the Alola Foundation.
The exhibition and catalogue also contribute to the other
goal of the project which is to encourage exchange between
the two sides of the island of Timor. The involvement of
Foreword by the US Ambassador to Timor-Leste
Mortar, Tobi (K), Marobo, incised stone, 18.5 (H) x 12 (Dia) cm. National
Museum Collection of Timor-Leste, 00319. This mortar was once used to
pound betelnut. Made from stone and decorated with anthropomorphic
designs, it is likely it was used as a ceremonial mortar.
As this exhibit catalogue richly illustrates, Kemak

creations embody great artistry and evocative beauty.
Congratulations to the artists, researchers and curator who
have assembled this magnificent collection and its catalogue.
I am pleased that the U.S. Embassy has the opportunity
to help bring to national and international notice TimorLestes very special Kemak culture.
Mask, Mau Goa (K), Marobo, 20th century,
23 (H) x 17cm (W); stone. National
Collection Timor-Leste, 00115.
J udith R. F ergin
U.S. Ambassador
Dili, Timor-Leste
Introduction
T imor A id , in conjunction with Alola Foundation and the
Timor-Leste National Directorate of Culture, proudly
presented Hametin Kultura Kemak Marobo - Uluk no Agora
Reaffirming Kemak Marobo Culture Then and Now at the
Cmara Municipal Bobonaro, Maliana from 11 29 January
and in Dili, April June, 2013.
This exhibition features past and present aspects of
Marobo culture and was inspired by the work of French
anthropologist, Brigitte Clamagirand, who lived with and
studied the Kemak People in 1966 and 1969/70.
We extend our thanks to these collectors for allowing Timor

Aid to borrow their objects and also extend our thanks to
private collectors from whom we have borrowed works.
Thanks are also due to the members of the communities of
Ilat Laun, Soe Lesu and Atu Aben for their enthusiasm and
commitment to the process of researching and preparing
this exhibition.
J oanna B arrkman
Exhibition Curator
It has been my pleasure to work with the magnificent

photographs taken by Brigitte Clamagirand that provide
insights into the Kemak society, ceremonial practices and
daily life. The process of developing the exhibition occurred
in partnership with the Marobo communities of Ilat Laun,
Soe Lesu and Atu Aben. They have shared insights, stories
and recollections that continue to relate to Kemak culture in
the 21 st century.
The exhibition also features one of the enduring aspects
of Marobo culture textile production. Until now textile
production continues to be a vital aspect of Kemak culture.
In addition to textiles the exhibition also features textile
production equipment and other associated examples
of Kemak material culture drawn from the following
collections:
Alola Foundation Collection
Bobonaro District Collection
National Museum of Timor-Leste Collection
Timor Aid Collection
Descendants of Dasi Mau

Descendants of Dasi Mau stand in front
of the Dasi Ubun ceremonial house at Soe
Lesu. They wear classic Marobo textiles,
tais (K,T) to protect them from the cool
mountain temperature. Dasi Mau was one of
the three founding ancestral brothers of the
Marobo Kemak people. The eldest brother,
Lolo Mau, is the ancestor for Ilat Laun clan.
The people of Atu Aben are descendants
from the youngest brother, Bere Mau.
Secretary of State, Culture, Sra. Maria Isabel de Jesus Ximenes

with the Bobonaro District Administrator, Sr. Domingos Martins
offically open Reaffirming Kemak Marobo Culture Now and Then, 11
January 2013 at Cmara Municipal, Maliana.
Digital reproduction of original photograph

taken in 1966 or 1969/70
Brigitte Clamagirand, b. 1939
France
Private Collection, CLA_TIM_0235
of the agricultural cycle in September. The time for sowing

crops is marked by the arrival of the northwest winds and
the wet season, between September to December. Cuhi is a
harvesting ceremony that annually occurred in May.
The Kemak People
T he K emak people of Marobo are renown in Timor-Leste

for their distinguished and elegant textiles, tais (K, T).
Amongst other neighbouring Kemak communities, Marobo
is attributed as the home of tais production. They are also
attributed as being the first place to plant cotton and to
give cotton seeds to other Kemak regions (Molnar 2011,
p.90). The distinctive Marobo tais feature minimal resist
dye patterning with mud and indigo dyes in keeping with
traditions of unknown age.
125
TIMOR - LESTE
Atauro
Selat Wetar
Biquele
Atauro
Berau
Liquica
LIQUICA
Bazar
Tete
Gleno
DILI
BOBONARO
Maliana
Balibo
OECUSSI
Nitibe
Baucau
Manatuto
DILI
AILEU
Ermera Aileu
ERMERA
Pante Macassar
Villages which are predominantly populated by the Kemak

people are located in the Kai Lako sub-district of Bobonaro.
The Hau-ba complex consists of Maliubu, Kolimau, Tebabui,
Karabau and Kota Bot villages. The Marobo complex, consists
of Ilat Laun, Soe Lesu and Atu Aben villages. The village of
Obulo in the Atsabe sub-district is considered to be part of
the Marobo complex due to many of the named houses of
Obulo being derived from Marobo. The people of Marobo
also have marriage alliances with major origin houses in
Obulo and Boboe villages (Molnar, 2011, p.91,92.).
127
Banda Sea
The Kemak people live in the western part of Timor-Leste

nestled up in the mountains within Bobonaro District.
Kemak people also live in Ermera, Ainaro and Cova-Lima
districts. Located approximately 5 kilometres from the
town of Bobonaro and approximately 17 kilometres from
Maliana, the impressive Loi Lako Mountain marks the
entrance into Kemak lands.
126
Laklo
Bucoji
Laleia
BAUCAU
Venilale
Kelikai
MANATUTO
Uatolari
Pacluta
VIQUEQUE
Laclubar
Viqueque
Same
Ainaro
MANUFAHI
AINARO Holudo
Lolotoe
Zumalai
Lautem
Laivai
Laga
Com
Lospalos
Luro
LAUTEM
Iliomar
Suai
Jaco
Island
Lore
Beacu
Natabora
Marobo
COVALIMA
Tutuala
Timor
Tilomar Cape
Suai
Timor Sea
125
126
Following the end of the rains, sometime from April

onwards, the dry season arrives. Once the crops have been
harvested, the men customarily spend the dry season
months engaged in repairs and construction of dwellings,
ceremonial houses and tending livestock. This has also been
a time for collective ceremony. Annually, the routines of
women revolve around caring for children and the domestic
chores of tending gardens, wood collection and the dyeing
processes for the distinctive Kemak textiles (tais). The
complex process of tais production is also shaped by the
seasons and the availability of cotton and plants used for
dyes.
brothers; Lolu Mau, Dasi Mau and Bere Mau. Lolu Mau is
associated with Ilat Laun, Dasi Mau is associated with Soe
Lesu and Bere Mau is associated with Ilat Laun and Bere
Mau is associated with Atu Aben. The ceremony affirms the
cosmic connection that is believed to have occurred at the
site place of origin of the brothers at Marobo Mountain. It
is there that it is believed the upper world of the ancestors
(the sky) and the lower worlds of the living (the earth)
connected.
127
The Kemak population consists of approximately 45,000

people. They have lived for generations as subsistence
farmers who used slash and burn techniques as well as
tending livestock such as cattle, fowl and goats. The Kemak
have a tradition of creating stone-terraced fields for shifting
cultivation of crops such as maize, rice, taro and yams,
although crops today are more focused around maize and
beans, with some rice grown in particular areas.
The Kemak lifestyle is shaped by the tropical seasons of the
dry season (April September) and the wet season (October
March). Annual ceremonies include Suma ai, which relates
to preparing the fields and calling the rains at the beginning
Much has changed for the Kemak people during the past 35
years; social unrest and dislocation were experienced during
the Indonesian occupation (1975-1999). In 1976 many people
from Marobo were forcibly relocated to Maliana. Others fled
to the village of Aituto whilst others fled to West Timor,
Indonesia (pers. comm., Domingos Martins, 26 September
2012). In the turmoil of 1999 during the transition of
occupied territory to independent nation, many Kemak
people again fled into the western half of the island
and until today not all have returned. In addition to the
immense personal and emotional turmoil caused by these
events, ceremonial houses, uma luli (K), became derelict
and unattended. Some uma luli were burnt. Disruption and
discontinuation of ceremonial rituals also occurred.
Symptomatic of these changes is the cessation of a major
ceremony known as Solteri that was last performed in 1970.
Formerly, the Solteri ceremony occurred every seven years
and was performed jointly by members of the three Marobo
villages; Ilat Laun, Soe Lesu and Atu Aben. These villages
share common ancestry as descendents from a triad of
Marobo landscape
The Kemak people live in the mountainous lands of Bobonaro District. They
are well known for their use of stone terraces for farming. The main crops
grown in Marobo include beans, rice and cassava, as well as vegetables such as
onions, pumpkins and corn. In this photo you can see the grass called suucu
lei (K) which the Kemak people use for thatching the roofs of traditional
houses.
Digital reproduction of original photograph taken in 1966 or 1969/70
France
Private collection, CLA_TIM_0439
The communal nature of this Solteri ceremony ultimately

served to define Marobo Kemak identity and to affirm
association with ancestors, houses and land. In its simplest
form this ceremony necessitates the coming together of
the three main Marobo houses and the harvest of the
communal lands known as upes, so as feasting can occur at
the ceremony. From these associations a complex system of
core ceremonial houses and adjunct houses flow. The uma
features in both the Kemak individual and collective systems
of social organisation and beliefs. The house defines a
persons place within the social hierarchy according to the
location of their house in the order of precedence.
In neighbouring Atsabe Kemak lands cuha also features in

an origin myth where it similarly connected sky and earth
at the important site of Darlau Mountain. There the vine
also connected the ancestral realm with the mundane realm
and served as a conduit for transmitting deceased sprits
between realms and communicating with Maromak (God)
through objects such as prayer beads and carved likenesses
of ancestors known as ai toos (T) (Molnar, A.K. 2011, pp
94-5). 2 The similarities between these two origin myths
that emanate from neighbouring communities either side
of Marobo resonates with the significance of the Marobo
Solteri.
Ceremonies such as Solteri affirm the order of precedence

in Marobo Kemak society and in doing so sought fecundity
of the land and maintenance of social structures by the
ancestors. The Solteri ceremony required substantial
sacrifice of livestock; buffalo, goats and pigs, as a means of
feeding the ancestors.
Each village has an associated water source commonly

referred to as bea mata (K); bee matan (T); a type of fountain
or well encased with stones. Ilat Laun has Beadere as its
water source, Soe Lesu has Ermori and Atu Aben relies on
Hue for water. Evident in the delivery of ceremonies such
as Suma ai these sites are critical for ceremonial preparation
and activity. These sites feature stone structures where
customarily men sit and hold discussions, prepare offerings
of water and betelnut. Often a grove of betelnut trees is in
the area. There are four such sites including Direman, Bour
Luli 3, Beadere and Nuareman.
Another feature of the Solteri ceremony is the use of a

local plant cuha (Entada phaseolides) that is found in the
nearby forests. This is symbolic of the cord that linked
the mundane and upper worlds. In nearby Bunak lands
(Lamaknen) the use of this monumental vine has been
documented as being the umbilical cord in the myth known
as bon gozep (B) to cut the liana. 1 This myth refers to the
events that resulted in the arrival of the knowledge of
procreation into the worldly realm, and thus records the
moment the connection between the ancestral and worldly
realms was severed. With the knowledge of procreation also
arrived the notion of human mortality, thus distinguishing
the living from the ancestral realm (Friedberg, 1980, pp. 266
289; Molnar, 2011 pp. 94 104).
1 As recorded by Friedberg (1980; p. 280), this Bunak myth is set in the
beginning of time when heaven and earth still touched each other.
A local feature of the Marobo area are the hot pools that
are located at the base of the Marobo complex. Formerly a
Portuguese resort this hot spring remains a striking natural
feature of the district.
Women bathing at Bea Manas

Bea Manas is the name of the well-known natural hot springs located
deep down in a valley outside the Marobo boundary. The warm water
at Bea Manas is considered to be healing due to its high sulphur content.
2 Earth and sky were connected by a huge, thick vine (cuha), and that way the
people of the two realms could visit one another and God could talk directly
to the people. The voices of the female sun and the male sun (Lelo Hine and
Lelo Mane) were close in those days. The earth and the sky were linked on
top of Darlau Mountain.
3 Bour Luli hosts a small pond known as Bea Dois which is a sulphur pool and
is used locally as a site where people with skin irritations can go and bathe
and heal their ailments.

France
10
11
Marobo, Une socite ma de Timor

(Marobo, A Society of the Ema of Timor)
book cover.
This anthropological publication is the outcome of the time

Brigitte Clamagirand lived and researched the Kemak people
of Marobo. Her book documents the social structure and ritual
practices of the Kemak People as well as documenting aspects
of their architecture, material culture and ritual exchange
practices. This books remains the definitive publication about
Kemak culture. It is published in the French language.
Brigitte Clamgirand
1982
Published by SELAF in collaboration with Le Centre national
de la recherche scientifique, Paris, France (C.N.R.S)
Private collection
The Work of Brigitte Clamagirand

B orn in 1939 in France, Brigitte Clamagirand studied
ethnology and history at Sorbonne University in Paris.
As a student in 1966 she traveled to Portuguese Timor
to study the Kemak people of Marobo. Clamagirand
arrived with her five year old daughter, Pascale, and was
introduced to the Soe Lesu village liurai by the Portuguese
Administrator. Brigitte and Pascale resided in the village
chief s residence, an old Portuguese house in Soe Lesu.
This first visit to Marobo lasted for six months, from April
to October, 1966.
During her initial six months Clamagirand was fortunate

to observe many cultural ceremonies, but due to her
limited language skills it was difficult to understand
their significance. With assistance from young Kemak
speakers she spent this time learning Kemak language.
She focused on day-to-day survival and was fortunate
to have the support of a cook, Mali Bere. Everyone
was fond of Pascale who was referred to as kai buti a
Pascale, daughter of Brigitte Clamagirand, in Marobo, circa 1966 or 1969/70. Photograph by Brigitte Clamagirand.
traditional Kemak name 1 (pers. comm. Domingo Martins,

26 September 2012). Brigitte was known as Pascale Ina
Mother of Pascale.
Clamagirand returned to Marobo a second time in
September 1969 and stayed until April 1970. The
combined duration of her two visits to Marobo meant
that she witnessed a full annual ritual cycle. In 1970 she
1 The name cai buti is a version of the Tetum phrase menina mutin meaning
young white girl.
also attended the Solteri ceremony, which has not been

performed since. Following 1970 Clamagirands research
drew to a halt as her second child arrived and access into
Timor-Leste was restricted following the Indonesian
occupation.
Publications in French and English languages were written
by Clamagirand after her time spent with the Kemak
people. She is the author of the anthropological work,
Marobo: Une socit ema de Timor that elucidates Kemak
society, its social structure, beliefs and cultural practices.
12
13
In 2002, Clamagirand returned to visit the Kemak

people following the reconstitution of independence in
Timor-Leste in 2000. One striking change observed by
Clamagirand was the local cemetery. Previously a site
for interring corpses into the ground the cemetery had
become transformed with the presence of constructed
graves, tombstones and Christian crucifixes. Another
change that indicated the increased presence of
Catholicism was the All Souls Day ceremony that occurs
annually across Timor island on the second day of
November. For Clamagirand the scale of the All Souls Day
ceremony was reminiscent of earlier Kemak ceremonies
that she had observed however, the symbolic meaning of
honoring ancestors had been realigned to more overtly
Christian rituals.
Clamagirand also noticed the decline of collective rituals
compared with 1966 or 1969/70. Solteri, Cuhi and Suma
ai ceremonies that were no longer being frequently
performed. However, individual family rituals were still
strong with people adhering to marriage alliance patterns.
The reduced number of residents in Marobo was another
noticeable difference compared with four decades earlier.
Also, the architecture of Marobo dwellings had altered
due to the introduction of new building materials such as
cement, corrugated iron and bricks.
Christian gravestones at Ilat Laun, Marobo, 2012.
Clamagirands work was a major contribution to the field

of Austronesian anthropology. She also recorded a series
of Kemak chants and ritual songs.
In addition to her writings and sound recordings
Clamagirand was an accomplished photographer.
Her photographs, totaling over 400 images provide a
detailed visual record of the daily activities, ceremonies,
architecture and material culture of the Kemak people
during the period of 1966 and 1969/70. Most importantly
they record an earlier generation of Kemak people, within
living memory.
P ublications
and recordings by
Clamagirand, B. 1971, Rapport de Mission au Timor

Portugais, Asie du Sud-Est & Monde Indonesien, vol. 2,
no. 2, pp. 229.
Clamagirand, B. 1972, Le Travail Du Coton Chez Les
Ema De Timor Portugais, Etudes interdisciplinaires sur
le monde insulindien Archipel 3, vol. 3, pp. 5580.
Clamagirand, B. 1975, La Maison Ema (Timor
Portugais), Asie du Sud-est Monde Insulindien, vol. 6, pp.
3560.
Clamagirand, B. 1980, The Social organization of the
Ema of Timor, in J. J. Fox (ed.), The Flow of Life:
Essays on eastern Indonesia, Harvard University Press,
Cambridge, Mass., pp. 23147.
B rigitte C lamagirand
include :
Clamagirand, B. 1982, Marobo: Une socit ema de Timor,

Langues et Civilisation de LAsie du Sud-Est et du
Monde Insulindien 12, SELAF, Paris.
Clamagirand, B. comp. Timor: Chants des ma / Timor:
Songs of the Ema. LP. Le Chant du Monde LDX 74693.
(Traditions Musicales des Cinq Continents / Collection
du C.N.R.S. et du Muse de lHomme.)Paris: Le
Chant du Monde, 1979. Recordings and commentary
by Brigitte Clamagirand. Recorded 1966 and 1969-1970
in the Marobo region of (then) Portuguese East Timor.
Chants des ma (Songs of the Ema)
album cover.
This album documents various vocal chants performed by the Kemak People
of Marobo at ceremonies to mark the social life of the community and
individuals. The chants are of both a ceremonial and festive nature. There are
also recordings of two instruments the nago (a type of jews harp) and the
genu (a wind instrument made from a notched reed).
Clamagirand was astonished to see so many women still

weaving tais. I had thought it may have disappeared
but there were a lot of people (weaving) because it was
very important to Marobo people Clamgirand recalled.
They made cloth for ritual exchange the best weavings
were kept for rituals and when you do a ritual exchange
you must do a very good weaving. The survival and
continuation of the Marobo weaving practices indicates
the cultural significance attributed to local textile
production.
Clamagirand, Brigitte, comp. Timor: Chants des ma Timor:

Songs of the Ema. LP. Le Chant du Monde LDX 74693. (Traditions Musicales
des Cinq Continents / Collection du C.N.R.S. et du Muse de lHomme.)
Paris: Le Chant du Monde, 1979. Recordings and commentary by Brigitte
Clamagirand. Recorded 1966 and 1969-1970 in the Marobo region of (then)
Portuguese East Timor.
Private Collection
Based on an interview with Brigitte Clamagirand conducted by Taryn

Lane, Paris, France, 9 July 2012.
14
15
Re-roofing a ceremonial house
Cuhi ceremony
The rehabilitation of this ceremonial house in the Dasi Ubun compound at

Soe Lesu involved stripping the thatching from the roof. New bundles of
grass, suucu lei (K) were bound together and lashed onto the conical frame
of this ceremonial house known as uma luli (K), in Soe Lesu. The wooden
frame of the ceremonial house is constructed from ai gou (Casuarina sp.)
branches. This style of ceremonial house is considered female as the roof
completely encases the frame to the ground and is known as uma ine (K). A
stone altar, known as achu bosok (K) in Kemak language is located near the
ceremonial house where offerings are made to the ancestors.
The Cuhi ceremony is performed in April to

announce the commencement of the harvest.
Cuhi starts at the top of Mount Marobo near Ilat
Laun. Ceremonial leaders walk in a large circle
encompassing Obulo, in Atsabe, Ermera District,
Soe Lesu and Atu Aben villages. As they walk,
the leader of the ceremony blows the buffalo
horn and people join in and follow behind.

France
Private collection, CLA_TIM_0327 & CLA_TIM_0322.
Digital reproduction of original photograph

taken in 1966 or 1969/70
France
Private collection CLA_TIM_0432.
Solteri ceremony
The Solteri ceremony formerly occurred every seven years and was last
performed in 1970. It occurred at a ceremonial site located on Marobo
Mountain. This site was used by the three clans of Ilat Laun, Soe Lesu and
Atu Aben.
Harvest
Women harvest in the fields dry crops of rice, mee orchu (K), hare rai maran (T)
and wear flowers of duut meetama (K) in their hair. The process of stamping the
rice from its husk is known as lete mee (K), sama hare (T). Then the rice grains
are put into woven baskets manaha (K) luhu (T). A womans tubeskirt, Tais Bo
Dato (K) is wound and placed inside the basket on top of the well packed rice.
Newly married men, mane heu (K), perform this task known as cucur ko bon (K).
They carry the heavy baskets to the common ceremonial area on top of Mount
Marobo, demonstrating prowess. These photos depict the rice collected for the
ceremony for the re-roofing of the Dasi Ubun ceremonial house. The rice was
especially planted on land reserved for ceremonial crops used for feasting.

France
Private collection, CLA_TIM_0568.
In preparation for the Solteri ceremony, an upes (K) ceremony occurred

whereby the common land was cleared, lere asi (K), hamoos toos (T), and a dog
was sacrificed to the ancestors on a stone altar. Then the crops were planted
for later use for feasting in the ceremony.
Digital reproduction of an original photograph taken in 1966 or 1969/70,
Brigitte Clamagirand, b.1939, France, private collection, CLA_TIM_0643.
18
19
Solteri ceremony
Solteri ceremony
As part of the Solteri ceremony a dance known as tei solteri (K) occurred and
chants, tolaka (K) were performed. The tei uses bamboo poles decorated with
ears of rice. The tolaka reference the genealogies of the Marobo ancestors.
The sacred cuha (Entada phaseolides) vine is used in a ceremonial 'tug-of-war'

between the three clans as part of the Solteri ceremony.
Digital reproduction of an original photograph taken in 1966 or 1969/70
Brigitte Clamagirand, b.1939
France
Digital reproduction of an original photograph taken in 1966 or 1969/70,

Brigitte Clamagirand, b.1939, France, private collection, CLA_TIM_0375.
20
21
Making textiles
The production of textiles, tais (K,T) is an aspect of Marobo
womens daily lives. The complex process of textile production
is captured in these images. These two women spin locally
grown cotton into thread using a wooden spindle. The ability
to spin cotton for the production of tais remains a highly prized
accomplishment.
Ili Bere is photographed dyeing handspun cotton threads with
indigo, taum (K,T) dye, after the indigo has soaked in water in
hand made ura rai (K) ceramic pots.
Suma ai ceremony
Suma ai ceremony occurs annually in September or October in preparation
for planting crops. Part of the ceremony is called Lape bea (K), calling the
rains. Cylinders of bamboo are filled with water from Hue Spring (Atu
Aben), Beadere Spring (Ilat Laun) and Ermori Spring (Soe Lesu). They
are decorated with betel flower (Areca catechu), bosaran (K) and leaves
called bugas (K), symbolic of rice, bean and corn crops. The bamboo poles
are carried to the top of Mount Marobo overnight. Chanting invokes
the ancestors. The following morning the water levels of the bamboo
containers are checked. Based on evaporation and the water levels, the
rains for the coming year are predicted. Dances, tebe (K,T) are performed
throughout the Suma ai ceremony, which can last for up to one month.
Digital reproduction of original photograph taken in 1966 or

1969/70
France
Private collection, CLA_TIM_0270 and CLA_TIM_0090

France
Private collection
CLA_TIM_0394, CLA_TIM_0196 & CLA_TIM_0563
22
23
made to return to specific images, as relatives since deceased

loomed large. Five hours later the images had been viewed
and much discussion followed.
In 2012 Timor Aid produced banners of Brigitte Clamagirands photographs. The

banners were displayed in Marobo for community members to view.
Four generations of Marobo men engage in research about the photographs of

Brigitte Clamagirand.
A Community Engagement Process

I n 2011 C lamagirand provided Timor Aid with her Marobo
photographic archive. This archive provides a rare insight
into the material culture, architecture, ceremonial and dayto-day life of the Kemak people during 1966 and 1969/70.
The archive is also a testament to Clamagirands superb
photographic skills.
The access to this photographic archive was made on the
basis that Timor Aid had been actively documenting local
textile traditions in partnership with local weavers groups
across the nation. In 2000 Timor Aid had established a
permanent tais collection. This collection was a response to
the loss of material culture from Timor-Leste due to war,
civil unrest and the selling of family heirlooms to foreigners
in order to survive and rebuild. The Timor Aid collection
has become a resource for the documentation, research
and interpretation of Timor-Lestes pre-eminent art form,
textiles.
What catalyst, if any, would Clamagirands archive of
historic images provide in the community of Marobo? In
an environment of catastrophic loss what potential does
a photographic archive have to stimulate engagement
with local history and strengthen cultural identity and
community belonging? The UNESCO Convention for the

Safeguarding of the Intangible Cultural Heritage states that The
intangible cultural heritage, transmitted from generation
to generation, is constantly recreated by communities and
groups in response to their environment, their interaction
with nature and their history, and provides them with a
sense of identity and continuity thus promoting respect for
cultural diversity and human creativivity.
Timor Aid had begun to explore how to record not only the
tangible heritage of Timorese tais but also the intangible
heritage 1 and knowledge that surround the production, use
1 The UNESCO Convention for the Safeguarding of the Intangible Cultural

Heritage was adopted by the United Nations General Conference in 2003
and was enforced in 2006. The Convention defines intangible heritage as
The practices, representations, expressions, knowledge, skills as well as
the instruments, objects, artifacts and cultural spaces associated therewith
that communities, groups and in some cases individuals recognize as part
of their cultural heritage. The intangible cultural heritage, transmitted
from generation to generation, is constantly recreated by communities and
groups in response to their environment, their interaction with nature and
their history, and provides them with a sense of identity and continuity thus
promoting respect for cultural diversity and human creativity.
and broader significance of textiles in Timorese cultures.

Through an interconnected approach that acknowledges
living cultural traditions, practices and processes together
with collecting, preserving and presenting cultural material
the opportunity to assert cultural identity and strengthen
community affiliation seemed more likely.
So in September 2011, a small team of researchers visited
Marobo, armed with Clamagirands photos, a lap-top and
projector. 2 The images were shown to the Xefe de Suco,
Loreno Barreto, who insisted that they be presented that
evening to a fuller audience. By dusk Seor Lorenos
living room was filled with people of all ages whilst the
overflow of people stood on the verandah. The excitement
was palpable as the generator started and Clamagirands
images were projected. Squeals, laughter and gasps of awe
and disbelief were constant. Poignantly, many requests were
2 The team from Timor Aid included Rosalia Soares and Joanna Barrkman,
and was assisted byMaria Gama, DNC. Dr Tony Cunningham, Willy
Kadati, Jose Ximenes and Luis Soares de Costa were also involved as
they undertook the research on Marobo dye plant use, verifying and
augmenting the work of Clamagirand. Their documentation from this
fieldtrip is available in Cunningham, A.B. (Tony), 2011. Plants and textile
traditions: a review of past research with recommendations for the future. A
consultancy report to Timor-Aid.
The next day the community members and visitors

continued discussions at the site of the Tunero (Kebo
Ibun) ceremonial house located at Ilat Laun. As a matter of
priority the ceremonial house had been reconstructed (2011)
and was awaiting inauguration. The effort required for the
upkeep of this ceremonial house was reinforced by images
taken by Clamagirand over forty years earlier of young men
laboriously carrying wooden plants up the hillside for the
same purpose of rejuvenating the ceremonial house. Such
images underscored that although some aspects of cultural
practice had changed or disappeared, other apsects, such as
maintaining the uma lulik, remained important.
Following this initial viewing of Clamagirands photographs
a series of banners were produced by Timor Aid so that
the images could be widely viewed in the communities
of Ilat laun, Soi Lesu and Atu Aben. The banners were
enthusiastically received and visits and discussions followed
with teams from Timor Aid meeting with Marobo weavers
and community members. The banners prompted stories
and recollections of the past as well as information about
the present sites and cultural practices.
Through this process much valuable information was
conveyed about the local textile traditions. Textiles were
commissioned for the Timor Aid collection based on designs
documented in Clamagirands photographs that were no
longer in use. A film on textile production methods was
produced. For the older and middle-aged Kemak people
viewing Clamigirands photographs, their abiding interest
was identifying relatives and community members, some
of whom are still living. For the younger generation the
photographs represent a link to their history and became
the key by which they heard elders speak about former
ceremonies and activities from four decades earlier.
Clamagirands photographs have revitalised memory and
have strengthened the cultural identity and well-being of
the Marobo community.
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25
Adriano Afonso Cardoso learnt the craft of silver-smithing as a young man in Soe
Lesu. His father and brother taught him this skill over five decades ago. Foreign
coins, high in silver content, were melted and used to produced silver headdresses,
kaibauk (T), bracelets, earrings and hairpins. Using simple tools and a metal anvil,
Ser Cardoso produced jewellery for the community, often decorated with filagree.
Adriano Afonso Cardoso considers the work of a silversmith as a work of patience
(nee servisu pasinsia). He retired from making jewellery five years ago and now
resides in Maliana.
a) & b) Photographs of silversmith, Adriano Afonso Cardoso
1967 or 1969/70
Soe Lesu, Marobo, Bobonaro District, Timor-Leste
Brigitte Clamagirand, photographer
c) Photograph of Adriano Afonso Cardosa
2012
Maliana, Bobonaro District, Timor-Leste
Taryn Lane, photographer
Bere Siga was the lia-nain, ritual speaker for Marobo. In this role he was responsible for
performing chants, known as tolaka in Kemak language that listed the ancestral genealogies of
the clan. The recitation of chants was an important aspect of the Kemak peoples ceremonial life
and Bere Siga memorised the chants from a young age. Bere Siga was photographed by Brigitte
Clamagirand as he performed the final chant for the Suma ai (K) ceremony, known as Lape bea (K)
with Mau Loko. He is also depicted by Clamgirand officiating at a ceremony unfolding the path of
wealth; De sanu soin sala (K) ceremony with betelnut placed on top of a banana leaf. In 2012 Bere
Siga was photographed as a senior man, katuas (T). Bere Siga was born in 1927, as evidenced by his
birth certificate, which he still proudly owns.
a) & b) Photographs of Bere Siga
1967 or 1969/70
Marobo, Bobonaro District, Timor-Leste
c) Photograph of Bere Siga
2012
Ilat Laun, Maliana, Bobonaro District, Timor-Leste
26
27
Mau Asa had removed these heirloom Chinese ceramic plates from the ceremonial
house at Dasi Ubun compound when it was being refurbished in 1970. His role
was as caretaker of heirloom objects on behalf of the clan. After the refurbishment
of the ceremonial house heirlooms were also ceremonially cleansed before being
returned to the completed and sanctified dwelling. Heirlooms such as these
ceramics verified the continuation of the clan over generations. Such objects,
although foreign, were accorded much prestige and were considered to be hot
and inherently powerful and worthy of respect, care and veneration. These
ceramics were produced in Europe, based on Chinese designs, intended for trade
in insular Southeast Asia in the late 19th and early 20th centuries. A descendant of
Mau Asa is photographed in 2012 as he proudly holds a photograph of his forebear.
a) Mau Asa with heirloom ceramics at the Dasi Ubun ceremonial house
1967 or 1969/70
b) Photograph of Ser Silvino
2012
Maliana, Bobonaro District, Timor-Leste
Margot Durin, photographer
Maria Valentin was photographed by Brigitte Clamagriand with baskets of

foodstuffs. These foodstuffs were distributed to the young men, mane heu (K),
who had carried the baskets of harvested rice to the top of Mount Marobo.
Along with the rice, other goods were distributed at this site, such as maize
and betelnut. These foodstuffs were used by the three clans of Marobo to
honour their original ancestors; Bere Mau, Lolo Mau and Dasi Mau. Maria
Valentin is also photographed here in 2012 at her home in Ilat Laun.
a) Maria Valentin with baskets of foodstuffs

1967 or 1969/70
b) Photograph of Maria Valentin
2012
Ilat Laun, Marobo, Bobonaro District, Timor-Leste
28
29
Seora Martinha lives in Atu Aben where she weaves textiles. She and
her mother were photographed by Brigitte Clamagirand. Ili Bere,
Seora Martinhas mother, is dying threads with indigo while Seora
Martinha ties threads on an ikat frame in preparation for dyeing. The
same equipment continues to be used by Seora Martinha today as she
produces textiles.
a) Seora Martinha preparing threads on an ikat frame
b) Ili Bere dyeing threads in an indigo bath
1967 or 1969/70
c) Photograph of Seora Martinha
2012
Dasi Lelo was known as dato muna (K), meaning cool dato. He was
photographed here wearing a Tais Sabu (K) and leaning on his walking stick.
Dasi Lelo was also photographed by Brigitte Clamagirand with the dato
mori (K) meaning hot dato. Together the dato muna and the dato mori were
responsible for inspecting all ceremonial sites prior to ceremonial activity. The
grandson of the Dasi Lelo, Mestre Angelo, was photographed in 2012 in Atu
Aben where he is the Headmaster of the local school.
a) Dasi Lelo
b) Dasi Lelo and unknown man
1967 or 1969/70
c) Photograph of Mestre Angelo
2012
Atu Aben, Marobo, Bobonaro District, Timor-Leste
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31
Seora Joana is a weaver from Atu Aben. Brigitte Clamagirand

photographed Seora Joana harvesting dry rice fields with her
companions over four decades ago. This harvest was used for the
feast that commemorated the refurbishment of the Dasi Ubun
ceremonial house in Soe Lesu compound. Since she was a young
woman Seora Joana has produced Marobo textiles using locally
harvested cotton. She softens the cotton and separates the seeds from
the cotton by using a cotton mangle, known as ai dedun (K).
This photograph, taken at Ai Aras, Ermori Spring, documents the

Lape bea (K) ceremony that was part of the larger annual Suma ai
(K) ceremony. The men carry bamboo poles filled with water from
Ermori. The bamboo poles and water were then carried to the top
of Mount Marobo. Overnight the poles were left outside while the
men chant invoking the support of the ancestors. In the morning
the water levels in the bamboos were checked. Based on evaporation
levels, a decision was made about whether it was the time to start
planting crops for the year. Mau Buti and Ser Alberto both
participated in this ceremony over four decades ago.
a) Women harvest dry rice

1967 or 1969/70
b) & c)
Photograph of Seora Joana
2009 and 2012
Atu Aben
b) Joanna Barrkman, photographer
c) Taryn Lane, photographer
a) Photograph of Suma ai ceremony at Ermori .

1967 or 1969/70
b) Photograph of Mau Buti and Ser Alberto
2012
Soe Lesu, Bobonaro District, Timor-Leste
Margot Durin, photographer
32
33
Revisiting Kemak Textile Practices

T he practice of weaving textiles in Marobo has remained
virtually unchanged, for centuries, an achievement that
indicates the significance attributed to hand-woven cloth
by the Kemak people of Marobo. Clamagirand (1972)
outlined in detail the textile production process of the
Kemak weavers. Today, young women are actively learning
this craft as both a source of income and pride in their local
culture. Textiles continue to play roles in the lifecycle rituals
in Kemak society.
The production of textiles in Marobo is delineated by a
boundary that marks the inner, sacred area, ilat (K) where
ritual prohibitions apply and the outer, mundane area, rai
mdon (K). 1 Tasks such as ginning cotton, tying the ikat and
dyeing the threads must occur outside the village perimeter.
Specific types of weaving techniques are also not permitted
within the sacred ilat area including weaving of float warp
weave, biciri (K) and discontinuous supplementary weft
weave, paa (K). Fear of disaster, such as land-slides and
being struck by lightning are considered retribution for
ignoring this rule. It is also taboo for styles of cloths such
as Tais Mgai, Tais Biciri and Tais Bo Dato to be woven inside
the ilat. This restriction relates to designs that have been
1 Central to the structure of Marobo is the concept of ilat (K) and rai mdon
(K). Ilat refers to the land for which ritual prohibitions are applied such as
the orientation of the house should be due west so as to avoid seeing the
rising sun that is an ancestral personification. The ilat encompasses the
mountain-top of Marobo (and two nearby rivers), due to its significance
as the site of origin for the Marobo Kemak people. Land prohibitions do
not apply for houses located on the rai mdon (Clamagirand, 1980, p. 136).
The Marobo Chapel, established in 1991, serves as a noteworthy boundary
marker between the ilat and rai mdon lands.
introduced and are not part of the classic Marobo textile

repertoire. In the case of Tais Bo Dato, a classic Marobo
womans cloth, the innovation of using of colourful threads
to create the floral borders circa 1950s has caused this cloth
also, to be woven outside of the ilat area. Prior to such
innovation Tais Bo Dato were woven inside the ilat.
Cotton, bai (K), (Gossypium sp.) and indigo, taum (K),
(Indigofera tinctoria) are sown in the wet season for use in the
production of Kemak cloths. The indigo is most plentiful
in April and dyeing occurs anytime between January and
June. The cotton is harvested as it opens into four sections
as depicted in the keke (K) bracelets worn for ceremonial
occasions.
Bracelet, keke (K), Timor, presumed 20th century, silver alloy. Tropenmusuem
Collection, 4852-1. The bulbous decoration adorning this ceremonial bracelet
depicts a cotton boll within which cotton grows. Bracelets are worn by
dancers on ceremonial occasions. Their movements cause the bracelet to
tinkle, as the cotton boll serves as a bell.
The cleaning process for the cotton is known as gana loma

(K) whereby any debris is removed from the cotton by hand.
The cotton is then wound through a mangle that enables the
seeds to be removed from the actual cotton. The seeds are
collected and stored for planting in the coming wet season.
The process of using a cotton mangle occurs in the rai mdon
area, outside the sacred boundary whilst the cleaning and
spinning of the cotton can occur either within or outside
the sacred perimeter.
Carding is the next step in the process to prepare the cotton
for weaving. A carding bow, usu (K); made from bamboo is
used whereby the iri (K), cord made from stretched Corypha
palm fronds is plucked with the cotton attached. The
vibrations of the palm separate the strands of the cotton.
After carding the cotton is rolled beneath the palm of the
hand to form a cylindrical cocoon. The cotton is ready to be
spun.
The cotton is spun using implements of a spindle, kida (K),
made from pinang wood (Areca catechu) 2 which is weighted
with a flat circular stone at its base and a dish, bian (K)
encased in a small basket, taka ana (K). Using one hand to
twirl the spindle and another to pull the cotton away from
the spindle ensures sufficient tension to stretch the cotton
from the cocoon into a thread. The thread is wound onto
the spindle as it is spun. Ash is used on the spinners fingers
to keep her fingers dry, ensuring friction between the fingertips and the cotton.
Once the cotton is spun it is wound into a ball, bei (K).
The ball of cotton is then measured out into quantities
using thread measuring frame, lale (K) which is made from
a central stick made from Corypha palm fronds and two
cross bars made from Areca palm. The amount of thread

woven on to the lale is approximately 10 rotations. Thus one
lale is a measuring unit of thread used by Marobo weavers.
The amount of four lale is equivalent to one birin of thread
(approx 65.5 grams depending on the thickness of the
thread). Three birin are equivalent to one umurun and two
and a half umurun are equivalent to one nian (Clamagirand,
1972). Two nian are used to make most mens cloths
however, three nian are used to make Tais Kasen. Four nian
are used to make one Tais Bo Dato.
The warp threads are then wrapped onto an ikat frame,

ai den (K) and motifs are tied into sections of threads
using raffia. The weaver ties the design from memory.
The sections tied off with raffia, will later resist the dye, a
process referred to as utus (K), futus (T).
2 Pinang wood is ritually significant as well as extremely strong and termite

resistant.
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35
Milena dos Santos using the lale, thread counter.
Indigo dye pots in Marobo.
Indigo dyeing and tannin-rich mud-dyeing processes vary

from dyer to dyer. However, the following outline explains
the basic process used by Marobo weavers:
Indigo (Indigofera tinctoria) leaves are collected and placed
in bulbous clay pots, ura rai (K) with cold water and left to
soak for approximately 12 hours. Once the water becomes
brown the leaves are removed. A portion of the indigo liquid
is then mixed with a handful of lime powder, rapo (K) and
poured into the wooden dye-basin, oro (K). The threads are
then submerged in the dye-basin and kneaded.
The threads are thoroughly soaked in the indigo solution
and are then removed from the dye-basin. Any excess
liquid is squeezed out. The threads are routinely shaken
and stretched so as to maximize their exposure to air that
activates the oxidization process. This sequence of steps is
repeated several times until all the indigo solution is used. A
new handful of lime powder is added to the dye-basin each
time.
Next, the threads are stored for two days and kept moist.
Then they are placed outdoors on a bamboo frame, esa
(K) to dry. The entire process outlined above is repeated
between 10 and 30 times, until the desired depth of colour is
achieved.
Once dried, the blue threads are submerged in liquid from
boiled klan (K,T) leaves (Euphorbiaceae phyllanthus reticulatus)
which have been boiled for approximately one hour. The
threads are then submerged in a mud bath repeatedly, until
the colour of the threads darkens. The mud is squeezed out
and then the klan juice is poured over the threads, causing
the colour to fix to the threads. The threads are then added
into the mud again where they are left to soak. Finally, they
are rinsed and soaked in klan juice, before drying on the esa.
mixed and boiled. Then it is poured over the threads. The

threads are placed for the last time on the esa to dry.
The final stage to fasten the black colour to the threads

involves boiling the red inner bark of the Casuarina tree,
ai gou (K). Also added to the mixture is a handful of burnt
corn kernels, a young leaf from a banana tree, a handful of
lemon leaves, and a slither of beeswax. This mixture is well
The raffia ties are carefully cut away to reveal the motif
dyed into the warp threads. Then the threads are placed on
two large bamboo poles and untied further. Sections of split
rattan are then used as a clamping device with the threads
held firmly in place so as they can be arranged neatly and
After dyeing the threads they are strung on a bamboo frame, esa (K), to dry.
systematically prior to being placed onto the loom. This

process is known as meci. The luba process involves adding
the threads onto the loom and wrapping selvedge threads
along the sides of the dyed threads, along the sides of the
dyed threads.
Weaving, on a back-strap loom, is customarily taught
36
37
Tais Bo dato
Threads that have been resist dyed, futus, and then dyed black with indigo and mud.
from mother to daughter. A small training loom is used

in Marobo made from the fibre of the banana trunk and
wooden sticks. Using this soft, pliable fibre, children learn
the basics of tabby weave, the basic weaving technique
employed by Kemak weavers.
The classic repertoire of Marobo tais include Tais Bo Dato,
Tais Api Den, Tais Sabu, Tais Naben and Tais Kasen. Tais
Tadan was a black and white stripped style of cloth worn
in Marobo as an everyday cloth, prior to the availability of
commercially woven cloth. Tais nochi is a plain white cloth,
again worn as an everyday cloth for warmth from the cold
mountain night air. Textiles such as Tais Lar Lipa and Tais
Mgai indicate influence from Bunak textiles with whom the
Kemak are neighbours.
This training loom was used to teach children how to weave. Such looms are
also made from the bracts of the banana flower. With a few sticks and strips
from the banana plant trunk, the principles of the warp and weft tabby weave
are taught and learnt. Usually children begin to learn weaving in Marobo at the
age of six to seven years old.
Made by Arminda dos Santos
2012
Banana plant trunk and sticks
18 (L) x 25 (W) cm
Timor Aid Collection, TA00125
Tais Bo Dato (K) tubeskirts are also known as tais ine (K) womans
cloth in the Kemak language. The blue ikat motif featured on the
bands of this womans tubeskirt is known as hun bot (K). The brown
motif is known as pule ruui (K), silu kesak (T). It is based on the pattern
created by bending the spine of the fronds of the black fibre palm tree
(Arenga pinnata). The border of this womans tais is decorated with paa
bria (K), the seeds of the bitter cucumber motif and paa manu aen
(K), the foot of the chicken motif. Tais Bo Dato must be woven outside
the Marobo village boundary as the use of colourful, commercial
threads for the border decoration is an innovation to a classic design.
The purple and green lines that feature in the cloth were customarily
woven in indigo dyed blue threads.
Maker unknown
Circa 2011
Handspun cotton and naturl and synthetic dyes
168 (L) x 64.5 (W) cm
38
39
Tais Sabu
Tais Api Den
This Tais Sabu (K) is a distinguished cloth in the

repertoire of Marobo textiles. This style of tais was
formerly worn by men of senior status. Made from
two panels hand-stitched together, the blue on black
motif is created using indigo and mud dyes. Ikat on the
side panel is also known as utus anan (K), gun (K) and
silu kesak (T). These ikat motifs are dyed using Morinda
citrifolia root. Dried us kain (K), (Symplocos sp.) leaves,
which are traded from Ermera District, are added as a
mordant.
Indigo and mud are the dominant materials used to achieve the blue and black colours
that feature on this Tais Api Den (K). Indigo leaves (Indigofera tinctoria) are soaked in
water and then the liquid is mixed with lime powder.
Maker unknown
Kemak People, Timor-Leste
Circa mid 20th century
Handspun cotton with natural dyes
225 (L) x 99 (W)
Maker unknown
Handspun cotton and natural dyes
225 (L) x 106.5 (W) cm
Alola Foundation Collection, FA0009
40
41
Tais Naban
Tais Mgai Naban
The black centrefield of this Tais Naban (K) features 6 stripes of the kleun (K) motif and 7 panels
of the gun (K) motif. This centrefield is a classic feature of Kemak tais. Tais Naban are only allowed
to be ikatted outside the boundary of Marobo in an area known as rai mdon (K). However, it is
permitted for Tais Naban be woven inside the Marobo boundary in the area known as ilat (K). This
restriction suggests they may have not originally been a classic Marobo tais. The incorporation of
colourful striped side panels in Tais Naban differs from the otherwise black traditional Marobo tais.
Is it possible that the red panels were influence from Bunak textiles? Or was it due to the arrival of
bright commercially spun threads available from Chinese traders? Tais Naban have been worn by
Kemak men for several decades but traditionally they were not worn for ceremonies, suggesting
they are a more recent version of the classic Marobo tais. Four Tais Naban were gifted in return for
one ceremonial pendant, belak (K,T), or a pig, as part of engagement exchanges between families
known as ume mane (K) mane f (T). The Kemak community in Atsabe Sub-District of Ermera
District refer to Tais Naban as Lar echu (K). This style of mans cloth is also called Tais Kedelen (K).
The ikat motif on this tais was copied by Lina Ribeiro from an old tais belonging to
her mother-in-law. Lina originates from Lori One in Lautem. She learnt to weave
Kemak motifs from her mother-in-law, after marrying her husband, who is Kemak.
The motif known as ai echun (K) features a flower and vine. This cloth can be
considered mgai (K) a foreign design. This style of ikat motif was introduced,
presumably through Portuguese cross-stitch patterns and was copied into both
Kemak and Bunak textiles.
Maker unknown
Late 20th century
Handspun and commercially spun cotton with synthetic dyes
226 (L) x 111.5 (W) cm
Alola Foundation Collection, FA00014
Made by Lina Ribeiro

2011
232 (L) x 120 (W) cm
Handspun and commercially spun cotton with natural and synthetic dyes
42
43
Tais Mgai ine

The motif on this tais was illustrated by Clamagirand was known as manu
no ai etun (K) chicken and flower motif. The flower is considered to be
the flower commonly called lar echu (K). This tais was commissioned in
2012 based the illustration by Clamagirand. This type of floral motif is no
longer used in Marobo textiles. This cloth is the original length of Tais Mgai
ine and is made from four panels of handwoven cloth. Nowadays, most Tais
Mgai ine are shorter and made from only two panels of handwoven cloth.
The tais features discontinuous supplementary weft technique known as
paa (T) on both borders of small, colourful motifs known as bria, mata
kesan and manu matan (K), which are often sometimes mistaken for flowers.
Made by Carlota Afonso Barreto
2012
168.5 (L) x 70.2 (W) cm
Commercially spun cotton and synthetic dyes
Tais Mgai mane

This tais features the design structure of Kemak cloths including the black
centre field with red, pink, yellow, green and purple linear bands as side borders.
However, the floral ikat motif in the centre of this cloth is more aligned to Bunak
textile designs. The horse motif remains of mysterious origins while the flowerpot design may originate from a Portuguese cross-stitch pattern. The colourful
striped side panels are the same design as those used on Tais Naban (K). The red
and yellow band of tapestry weave, known as homan (K) is wider on this cloth
than commonly found on Kemak textiles.
Maker unknown
Presumed Kemak People, Timor-Leste
Handspun and commercially spun threads with natural and synthetic dyes
193 (L) x 133 (W) cm
Private collection of Rui Carvalho
44
45
Tais Mgai mane
Tais nochi (detail)
The word mgai in Kemak language means stranger and is often

used to describe Bunak People. The term Tais Mgai refers to
tais that incorporate design elements, such as the colorful stripes
in the centrefield of this textile, which are not original to the
Kemak design repertoire. This style of cloth can also be referred
to as Tais Lar Lipa (K). The ikat motif in the side panels a classic
Kemak motif that also appears in blue on Tais Sabu and in white
on Tais Api Den. The motif is sometimes called laka bua which
means butterfly in Kemak language. This style of tais is not
commonly made in Marobo in 2012. It was commissioned based
on photographs taken by Brigitte Clamagirand of Kemak men
wearing similar cloths 1970.
White cloths were worn by men either as shoulder cloths or as belts.

They were called luci (K) shoulder cloths.
Made by Carlota Afonso Barreto and Arminda Abulelo Amaral
2012
227 (L) x 47 (W) cm
Handspun cotton
Made by Milena dos Santos

2012
229 (L) X 119 (W) cm
Commercially spun threads and synthetic dyes
46
47
Tais tadan
Cotton mangle (ai dedun)
This Tais Tadan (K) was commissioned based on a photo taken

by Brigette Clamagirand. Stripped tais were worn as everyday
wear by men and women when working in the fields or tending
gardens. Nowadays Tais Tadan have been replaced by cotton
sarongs purchased in local shops.
As cotton bolls are fed between the two rollers of the cotton mangle,
the rollers separate the hard cotton seeds, which are too large to pass
through them, from the cotton. The seeds fall at the base of the mangle
and are collected for replanting. The cotton passes onto the other side
of the mangle. Mi kase (K) seeds (Jatropha curcas) are rubbed onto the
cotton mangle rollers to make the wood smoother. The Kemak names
of the parts of the cotton mangle are:
Ai liman wooden hands, crank
Bane bar, rollers
Oen feet, mounts
Ai dapen wooden shoulders, struts
Ai anan small wood, wedge to regulate the clamping of the rollers
Pulsalar navel
Ai idaman wooden hip, plinth
Made by Carlota Afonso Barreto and Arminda Abulelo Amaral

2012
107 (L) x 67 (W) cm
Handspun cotton and natural dyes
Eva Mocu Bere

Mid 20th century
Atu Aben, Timor-Leste
Wood (Albizia saman), ai salmema (K), ai samtuku (T), handcarved
Dimensions variable
Timor Aid Collection, TA 00130
48
49
Spindle and basket with dish

(Kida ho taka ana ho piris ana)
The small basket of palm leaf has been woven around this fine dish. Wood from
the betelnut tree is used for the spindle, which is both ritually significant as well
as resistant to termites. The spinner holds the cotton cocoon shape, known
as a lera (K), in one hand between her thumb and forefingers. With her other
hand she activates the spindle to pivot on its base, as it is weighted with a stone
flywheel. The base of the spindle rests on the small ceramic dish inside the
woven basket. With a graceful motion the spinner pulls the unspun cotton away
from the spindle creating tension and rotation that spins the cotton into thread.
Maker unknown
Circa 1970
Wood. betelnut palm (Areca catechu), stone weight, pandanus palm and
European ceramic dish
a) Spindle 35 (L) x 10 (Dia) cm
b) Basket and dish 7 (H) x 36 (Dia) cm
Private collection of Milena dos Santos
Yarn winder (Lale)

The ball of spun thread is then wound around
the lale (K) for ten rotations. The threads are then
removed from the lale as a long coil of cotton
strands. Four coils of threads (from the lale) form
one birin(K), a quantifiable amount of thread.
50
51
Ikat frame (ai den)
Dye tub (Oro)
Two motifs are tied into this ikat frame, pun saramata (K)
and kleun (K) motifs. The tying of these motifs is incomplete
on this frame. Once the tying is completed the threads
are removed from the frame and then dyed. Pola utus (K)
refers to the process of tying the threads with thin strips of
polypropylene from rice bags. These strips are tightly tied
to resist moisture when the threads are later submerged in a
liquid dye.
This oro (K) is used as a tub into which the indigo dye and
mud is placed. The threads are put inside the oro and kneaded on its
sturdy base.
Eva Mocu Bere
Circa 1970
Wood (Alstonia scholaris), Ai rita (K), Ai dotik (T); hand carved
58 (L) x 28 (W) x 8.5 (D) cm
Private collection of Milena dos Santos
Eva Mocu Bere

Circa 1970
Atu Aben, Marobo, Bobonaro District , Timor-Leste
Bamboo, wood and cotton threads tied with polypropylene
136 (L) x 42 (W) cm
Frame from private collection of Milena dos Santos
Tied threads from Timor Aid Collection, TA00123
52
53
Dye Pots (Ura rai)
Dyed threads with Api Den motif (Utus meci), (detail)
These pots are used to store indigo dye baths. The leaves of indigo plants are placed in water to
soak overnight in ceramic pots. The indigo plants vary according to their fruit as one type has
straight fruit (Indigofera tinctoria) and the other has curved fruit (Indigofera suffruticosa). While both
plants grow in Marobo only Indigofera tinctoria is preferred for textile production. Once the indigo
leaves are removed from the pot the remaining liquid is mixed with lime powder to form the dye
bath in which the threads are soaked. Depending on the depth of colour required threads can
be left to soak in covered pots of indigo dye for up to three days. Between each immersion the
threads are dried. This process can occur several times until a dark blue colour is achieved. These
pots are hand-built using a stone anvil and wooden paddle. They were made by Bunak ceramicists
who trade their pots at the weekly Bobonaro market.
These threads have been resist dyed with the Api Den (K) motif in
white and black. The threads are tied onto the rattan sticks before
putting them on the loom for weaving. The sticks keep the threads
in place so as the warp threads remain aligned, resulting in a clearly
woven motif.
Makers unknown
2012
Bunak People, Laho, Bobonaro District, Timor-Leste
Clay and sand; hand-built
a) Pot with raised rim 117 (Dia) cm
b) Pot with curved decoration 114 (Dia) cm
Timor Aid Collection, a) TA00126 & b) TA00128
Milena dos Santos

2012
Cotton, bamboo and polypropylene ties
102 (L) x 17 (W) cm
54
55
Backstrap loom (Oen no lima)

This traditional backstrap tension loom features a partly
woven Tais Api Den (K). The Kemak terms to describe the parts of the
loom are as follows:
1. Ai idama made from buffalo leather
2. Ai lulu (x 2) made from Casuarina sp. wood
3. Knuru made from Casuarina sp. wood
4. Suua which is wrapped with the black weft thread
5. Kai ana made from betelnut palm wood (Areca catcatechu)
6. Gaau made from commercially coloured threads
7. Ulo made from bamboo
8. Kakabalu (x 2) made from bamboo
9. Beba made from bamboo
10. Etasa made from fronds of sago palm
11. Tali gniuuru made from tali Belanda (unidentified)
Isabel Abu Mali and Julio Mau Kali
Mid 20th century
Maliubu, Bobonaro District, Timor-Leste
Wood, Casuarina sp., betelnut palm (Areca catechu) and bamboo and cord
Dimensions variable
The weaving process and technology used by Marobo

weavers has remained largely unchanged since Brigitte
Clamagirand researched the textile production
methods of the Kemak people in 1966 and 1969/70.
Digital reproduction of original photograph taken in

1966 or 1969/70
France
Private collection CLA_TIM_0604
56
57
Women from Marobo view images taken by Brigitte Clamagirand in 1966 and 1969/70 at Marobo on
the occassion of the opening of the exhibition Reaffirming Kemak Marobo Culture Now and Then.
R eferences
Men from Marobo view the exhibition Reaffirming the Kemak Culture of Marobo Then and Now, Cmara Municipal Bobonaro, Maliana, 11 January 2013.
E xhibition T eam
Clamagirand, B. 1972, Le Travail Du Coton Chez Les Ema De Timor Portugais.

Etudes interdisciplinaires sur le monde insulindien. Archipel 3, vol. 3, pp. 5580.
Clamagirand, B. 1980, The Social organization of the Ema of Timor, in J. J.
Fox (ed.), The Flow of Life: Essays on eastern Indonesia, Harvard University
Press, Cambridge, Mass., pp. 134 151
Friedberg Claudine, 1980. Boiled Woman and Broiled man: Myths and
Agricultural Rituals of the Bunaq of Central Timor in Fox, James, J. The
Flow of Life, pp. 266 289.
Interview with Brigitte Clamagirand conducted by Taryn Lane, Paris, France,

9 July 2012.
Molnar, Andrea. K. 2011. Darlau: Origins and their significance for Atsabe
Kemak identity in McWilliam, A. and Traube Elizabeth G (eds), Land and
Life in Timor-Leste: Ethnographic Essays, ANU E Press, Canberra.
UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage 2003
http://portal.unesco.org/en/ev.php-URL_ID=17716&URL_DO=DO_
TOPIC&URL_SECTION=201.html
Curator :
Exhibition Manager :
Display Technicians :
Exhibition Design :
Research :
Collection Manager :
Photography :
Tetum Translation :
Promotion and marketing :
Logistics :
Organisation management :
Joanna Barrkman
Jaqueina M.F. Ximenes
Victor de Sousa Pereira, Antony van Papenrecht, Jose Ximenes, Luis Soares da Costa
Baraka Grafika
Rosalia Soares, Joanna Barrkman, Jaqueina M.F. Ximenes, Margot Durin, Taryn Lane
Angelina dos Santos
Greg Haraldson, Taryn Lane, Margot Durin, Victor de Sousa Pereira, Joanna Barrkman
Maria Madeira, Rosalia Soares
Emilia Tilman, Greg Haraldson, Dirce Rosa Pinheiro
Agustinho Moniz
Rosalia Soares, Albino Amaral and Anne Finch
58
59
Prosesu soru iha Marobo - Making Marobo textiles

documents the indigo and mud-dyeing processes used
for dyeing black threads in Marobo.
It features Milena dos Santos and Maculada Barreto
making textiles at their home in Atu Aben, Marobo.
Director and Creative Producer: Joanna Barrkman
Camera Operator and Editor: Victor de Sousa Pereira
Production Manger: Jaquelina M.F. Ximenes
Produced by Timor Aid, 2012
Digital DVD: running time 23 minutes
Timor Aid
60

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English

The Rotary Club of Dili

Foreword by the Chairperson of Timor Aid

Kemak Culture of Marobo Then and Now has been developed

The process of documenting heritage serves to make the

Chairperson, Timor Aid

The exhibition focuses on the Kemak culture of Marobo.

Mask, Mau Goa (K) Marobo, 20th

Hametin Kultura Kemak Marobo Uluk no Agora - Reaffirming

Foreword by the Ambassador of France to Timor-Leste

We would like to thank Timor Aid, particularly Rosalia

T he island of T imor , one of the most culturally diverse

Ambassador of France to Timor-Leste

We are delighted that Dr. Clamagirands touching and

Reaffirming Kemak Marobo Culture Then and Now

Reaffirming Kemak Marobo Culture Then and Now

Foreword by the Head of the E.U. Delegation in Timor-Leste

O n behalf of the Delegation of the European Union to

project partners Yayasan Tafean Pah, West Timor, and the

The European Union is proud to support this exhibition

My best wishes to all the project team for a successful

Ambassador, Head of the EU Delegation to Timor-Leste.

O ur cultures make us what we are. Our cultural heritages

The exhibition is part of a broader cultural sector project

Foreword by the US Ambassador to Timor-Leste

As this exhibit catalogue richly illustrates, Kemak

Reaffirming Kemak Marobo Culture Then and Now

Reaffirming Kemak Marobo Culture Then and Now

We extend our thanks to these collectors for allowing Timor

It has been my pleasure to work with the magnificent

Descendants of Dasi Mau

Secretary of State, Culture, Sra. Maria Isabel de Jesus Ximenes

Reaffirming Kemak Marobo Culture Then and Now

Digital reproduction of original photograph

of the agricultural cycle in September. The time for sowing

The Kemak People

T he K emak people of Marobo are renown in Timor-Leste

Villages which are predominantly populated by the Kemak

The Kemak people live in the western part of Timor-Leste

Following the end of the rains, sometime from April

The Kemak population consists of approximately 45,000

Reaffirming Kemak Marobo Culture Then and Now

Reaffirming Kemak Marobo Culture Then and Now

The communal nature of this Solteri ceremony ultimately

In neighbouring Atsabe Kemak lands cuha also features in

Ceremonies such as Solteri affirm the order of precedence

Each village has an associated water source commonly

Another feature of the Solteri ceremony is the use of a

Women bathing at Bea Manas

Digital reproduction of original photograph taken in 1966 or 1960/70

Reaffirming Kemak Marobo Culture Then and Now

Reaffirming Kemak Marobo Culture Then and Now

Marobo, Une socite ma de Timor

This anthropological publication is the outcome of the time

The Work of Brigitte Clamagirand

During her initial six months Clamagirand was fortunate

traditional Kemak name 1 (pers. comm. Domingo Martins,

also attended the Solteri ceremony, which has not been

Reaffirming Kemak Marobo Culture Then and Now

Reaffirming Kemak Marobo Culture Then and Now

In 2002, Clamagirand returned to visit the Kemak

Clamagirands work was a major contribution to the field

Clamagirand, B. 1971, Rapport de Mission au Timor

Clamagirand, B. 1982, Marobo: Une socit ema de Timor,

Clamagirand, B. 1982, Marobo: Une socit ema de Timor,

1 The UNESCO Convention for the Safeguarding of the Intangible Cultural

2 Pinang wood is ritually significant as well as extremely strong and termite