In the specific case of Timor-Leste, it is very difficult to identify and map the various ethnic groups. Still, today it is possible to find great cultural and linguistic diversity, mostly due to old internal wars and consequent integrations in subgroups and other ethnic-linguistic groups. This diversity has been transposed to the textiles, in terms of colours, motives and weaving techniques. However, the different languages make the study of textiles difficult due to the variety of the terms that apply to the same utensil or technique. Though Timor-Leste is divided into thirteen districts, there are nearly fifteen different languages distributed in a sparse and erratic manner throughout the territory.

The main fibre used for weaving is cotton. In the areas where this fibre is produced, spinning is usually still done manually, particularly for textiles that have a special character. Commercialised cotton, pre-dyed threads and chemical pigments can easily be found in regional markets; Los Palos, for example, is known for its textile production using commercialised thread and chemical pigments. Synthetic fibres have consistently intruded in textiles and today it is possible to buy most of them in the regional markets: rayon, acetate, acrylic, polyester, as well as metallic threads, mostly golden (previously obtained in some regions from the melting of Dutch coins).

Natural dyes are greatly used all over the island. In Timor, more than in any other of the islands in the archipelago, red is the dominant colour. For many Timorese communities, this colour is associated to life, blood and courage. Timor is known for the lively colours of its textiles, though this is not a common characteristic throughout the whole of the Timor-Leste territory. Most of the colours come from natural pigments from three sources, all easy to obtain in any region of the island. Some of the deying solutions mentioned above are still cooked in clay pots. In certain regions of Timor, a good dyer is seen to be similar to a medieval alchemist. All weavers have their secret recipe to get the desired tone, be it brown, blue, green, yellow or pink. The threads that are to be dyed in a certain colour and that need a mordant, must be immersed in candlenut or tamarind seed oil for approximately a week. The recipes or formulas of the dyeing processes have been transmitted verbally from mother to daughter over the generations, without a written register. The recent wars that took place on the island have endangered this ancient cultural legacy.

The construction of the frames for the ikat method and for the looms is generally left for the men. Though complex in the way they work, in most cases they have a rudimentary appearance.

Timor is known not only by the quality of its textiles, but also for the different decorative techniques. The Warp-faced Ikat (ikat in a warp, where the warp threads predominate over those of the weft) is carried out in all regions. It is one of the main techniques and the most relevant as its characteristics are strongly associated to those of the island and not of the rest of the archipelago. Neither the Portuguese nor Tetum languages have a word, or a set of words, that can translate this technique in an exact manner.

The ikat technique (tie before dye) can be carried out in warp or weft threads; in Timor-Leste it is seen solely in warp threads. This decorative process is used to reproduce drawings from cards used in basketry motives, or, most common today, due to Portuguese influence, drawings on paper that were destined for crochet. In this art, the cotton threads, still in their original colour, are laid out in the ikat frame. The weaver, following the design, will tie dry vegetable strips or raffia to the various threads, covering areas that correspond to the motive. Once this task is complete, the skeins are removed from the frame and are dyed in the chosen colour. The united sections resist the dye. After the threads have been dyed and before the weaving, they are treated with a tapioca and water solution to harden them, making it easier to weave the pattern that, ideally, is very tight and clear. The tied sections are then undone and the design comes through in the original colour of the thread, surrounded by the new dye colour. Once the warp threads are weaved, with only one weft thread of only one colour, they are washed several times in cold water so that the textile is softened by dissolving the solution that hardened it. The dyes are prepared with such care and expertise that, in this process, there is hardly any loss of colour. The final appearance of the colours is smooth and subtle, almost faint, with ikat motives that look like a negative of the natural colour of the threads.

There are other complementary unique decorative techniques in Timor, sotis – supplementary warp float technique, weaved in what seems to be a reversible manner -, and buna – a supplementary and discontinuous weft, that looks like an embroidery. Though the method is the same in the different regions of the island, as previously mentioned, there are various names for these techniques.
Weaving is done by weavers that live in the local communities, where, with their families, they are responsible for the whole process, from the preparation of the threads to the tying operation for the drawings, the dyeing of the threads and lastly, the weaving of the textiles. The production often combines the ikat and sotis (supplementary warp float) techniques.

Though western clothes are used on a day-to-day basis, local textiles still have a very important meaning in the rituals that celebrate the changes in the various phases of life or social status, in animist rituals or others that are connected to agriculture. In the ceremonies, men wear rectangular cloths known as tais mane, made up of two or three panels sewn to each other, worn around the waist. The women wear tais feton (sabulu) that are similar, but sewn in a tubular way, to adjust closely to the body; it is worn around the waist or across the chest, with only a fold below, to allow for movement. Small sashes or cloths are popular as gifts or goods for exchange, as are belts, bags for shiri or betel (chewable vegetable stimulants) and headpieces. All these elements are, in a general manner, decorated with sotis or buna instead of ikat.

There is undoubtedly a greater regional variety in weaving in Timor-Leste than in West Timor. However, due to the political instability that occurred in the eastern part of the island, this art was never greatly developed, nor has it ever been the object of in-depth study. Timor-Leste is divided into thirteen districts: Oekussi, Kovalima, Bobonaru, Likisá, Ermera, Ainaru, Manufahi, Dili, Aileu, Manatutu, Vikeke, Baukau and Lautein. These districts can be used to compare similarities and differences in the textiles. Essentially, contemporary weaving in Timor is either traditional in its style or in its commercial character.

last updated: Wednesday June 1, 2005 16:30

 

 

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