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Bossa nova is a form of music for that holds an integral part in Brazilian culture. It's political, nationalistic and poetic. It is based on traditional Brazilian rhythms such as Samba and influences from American Jazz, characterized by a beat that altered the harmonies with the introduction of unconventional chords combined with syncopation of the rhythm. The form can be broken down to 4 parts, with the ride cymbal (or shaker traditionally) outlining the facade, pulse and tempo. The hats act as embellishments/ornaments accompanying every beat 2 and 4. The bass provides a foundation for the rhythm with a heartbeat pulse that plays over the bar. The most distinctive feature is the Clave pattern that is traditionally found in Cuban music. The featured track is "Desafinado", a 1959 Bossa nova and jazz standard song composed by Antonio Carlos Jobim. It was originally a response to critics who claimed that Bossa Nova was a new genre for singers who can't sing, hence the name "Desafinado" (Out of tune). The lyrics expressed a parallel between a lack of harmony in music and discord in human relationships.

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Timor-Leste Identity through Architectural Facades  

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Timor-Leste Identity through Architectural Facades  

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This exercise explores various significant architectural facades of Timor-Leste throughout the centuries. Through analysing these facades a sense of history and identity of the nation is illustrated and understood.

The disassembly of the cube tells a narrative of time and is symbolic for peeling back layers of Timor’s history through architecture.
The assembly of the cube symbolises the nation uniting as one throughout its battles and triumphs. It symbolises a sense of unity and togetherness.

Timor-Leste has one of the most youthful populations in the world. Through these architectural facades we are able to gain an understanding of this emerging youth and their urge to maintain cultural values, in hope for the country’s peace and social cohesion.

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'Esperança', meaning 'hope' in Portuguese is a driving sentiment of the collectivist Brazilian spirit.  Despite the appearance of many civil problems in Brazil such as poverty, violence, and climate issues, the period of Carnaval allows individuals to hide aspects of their identity (gender, ethnicity, social-class, and sexuality). It is a significant time of the year, as the country is able to unite and celebrate together, ultimately forming a strong collective identity.

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Famous street artist Eduardo Kobra has become an icon in Sao Paulo for his abstract art pieces which he terms ‘kaleidoscope theme’, creating a connection between people and cities through art. Kobra’s use of colour and repetition techniques allows him to convey important messages on topics of religion, culture, environmental and social issues throughout Brazil. He achieves this by creating pieces from vintage photographs that evoke a sense of memory and nostalgia for the passers-by. This interpretation of his work was inspired by my recent research into the history and cultural identity of the local indigenous. Shining a positive light on the impact and importance of past cultural traditions and ways of life that have been shunned throughout history, when in fact should be something to learn from and be proud of as a nation.

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‘Resilience disguised in art’

Michaela

Just as slaves in the U.S. used music, poetry, and dance to preserve their heritage and subtly organize against oppressors, African slaves in Brazil similarly created new forms of art & defence. Fuelled by a burning desire for freedom from Portuguese colonial rule, the martial art ‘Capoeira’ was developed in the escapee mountain communities known as the ‘Quilombos’ as a way of resisting oppression and the prohibition of cultural customs. When members of the Quilombos were recaptured and placed on plantations they introduced Capoeira to other enslaved persons, creating units of highly trained fighters. Accompanied by music and singing, plantation owners mistook it as simply dancing, strength and agility disguised by expressive movements.

Today a cultural symbol of Brazil, the Capoeira represents a beautiful strength and lack of surrender in the face of overwhelming odds, a survival tool not only of self-defence, but of cultural identity. Performed in various contexts from choreographed dances to competitions, it is an enduring tradition which speaks to the fighting spirit of the Brazilian people.

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Pushing the Boundaries of Expression, Anndrea D'Angelo

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Pushing the Boundaries of Expression, Anndrea D'Angelo

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Basilian artist Lygia Clark, is best known for her paintings and sculptures creating what would be known as ‘Bichos’ or ‘Critters’. Her Critters challenged ideals of the way ‘sculpture’ is portray, questioning if they not only need to fixed, but if there is only one way of viewing or experiencing it. They have no front or back, no inside or out, no left our right. This three-dimensional paper interpretation was an experimental process of taking the methods of Clark’s Critters, with the aim to create a participatory piece of art that challenges norms associated with sculptural mediums.

(Please select the link for time/space) https://drive.google.com/drive/folders/1-cIl6qG4QBN2X4HNwT5zmtvGO3PSFvSc?usp=sharing

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Time-lapse of process https://www.dropbox.com/s/f98l9r1h706et4d/Timor-Leste.mp4?dl=0

I started to read Lulik: The Core of Timorese Values, I became very interested in Lulik, the magic and the sacredness between people and people and nature.

I was please to see that women’s fertility is an important value and gives women high status in the Timorese society. I spoke with my friend who’s roots are from Timor-Leste. She told me that practices and rituals are very sacred. They involve elements of the earth. One ritual she spoke about was flower blessing, which is practiced when someone passes away.

I wanted to create something that symbolised the empowerment and sacredness of femininity. My own interpretation was a flower crown. A crown being a symbol of power & high status. Incorporating earth elements, found in the garden in my home. ‘Life is centred around women’ in Timor-Leste. Women are worshipped for their fertility. However they cannot express their sexuality or discuss reproductive health in public which will effect the women negatively.

As I was arranging the flowers, leaves, and twigs I began to think about the women in Timor-Leste and those negative impacts. Another thought came across my mind. If the status of the women heightened due to her fertility, what happens to the women who are infertile and can't bear children and how are they impacted?  I want to continue learning about Lulik, the idea of gender and the status of women in Timor-Leste.

I am dedicating this crown made from the earth to the women of Timor-Leste, to empower and to honour, whether fertile or infertile, all women are sacred.

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Timor | Feelings | Struggles, Remember, Woven | Repetition | Written | Expression, Narrative | Film, Object, Poem

“In remembering the dead”

By Ericka Palma

In remembering the dead

Flower petals are spread (kari aifunan)

Candles lit and prayers made

Together giving sustenance to the spirit (klamar)

In remembering the dead

I offered a minute of silence

Staring at the burning flame

Mourning over the woven names

In remembering the dead

I’m honouring the departed

These memories and feelings are eternal

Like the ruins that remained perpetual

In remembering the dead

Sadness and pain occupied my heart

Their struggles and fears were felt

Sacrifice that the Timorese will never forget

Inspiration:
General!
by Dadolin Murak
Dili, September 2017

General!

We didn’t know

The dark affair of 30 September 1965

When you came

We were indoctrinated by your false history:

Cutting genitals

Slashing with razors, gouging out eyes

Joined the communist cavorting at Lubang Buaya

General!

We were forbidden to speak of Boaventura and Nicolau Lobato

You forced us to memorize the seven Heroes of your Revolution

You even forced us to memorize the number of feathers on the Garuda’s wings

And the birth date of Diponegoro and Imam Bonjol

Not forgetting Suharto’s ancestors and grandchildren who we knew by heart

He called them the perfect Pancasila family!

General!

Your methods were truly sadistic

To stamp out the seeds of resistance

Yet through 24 years

Still we proved

That all your weapons were not as sharp

As the steel of our resistance

General!

From the land you once colonized

Our hearts torn open

The rank tactics you long used

To gag and kill us

You still use

Towards the children of your own nation

General!

Our country still has many troubles

But a discussion of history

Has never been raided by the state apparatus

discussion is a pre-condition

for human civilization

In our country, General!

The muezzin’s call to prayer and the Alleluyah choir

Resonate together as if in a sonata

Gay and Lesbian people hold hands

With no fear they will be tortured by the Police

General!

Today is September 30th

A dark day in the history of your country

And of the world

The same month

September 1999

You scorched the earth of our small country

You used bullets

When you failed at the ballot box

General!

There is still a long litany of bleak history

The May 1998 tragedy in the heart of your country

The kidnapping of Wiji Thukul and his friends

The poisoning of Comrade Munir

The massacre in the land of Cendrawasih

Santa Cruz, 1991 in Dili12

General!

Let our friends speak out

About the history of civilized nations

They are the children of that dark history

Learn from history

The barrel of your guns

Can’t silence

The cry for justice from the children of your nation!

A Minute of Silence
by Francisco Borja De Costa

Be silent
mountains
valleys and springs
rivers and streams
stony ways
and grassy reaches,
be silent
Be silent
birds of the air
and waves of the sea
winds that blow
and sands that flow
in lands that no-one owns,
be silent
Be silent
canes and bamboos
bushes and eucalypts
palms and grasses
endless verdure
of tiny Timor
be silent
Be silent
your silence, our silence
FOR ONE MINUTE
It is a time for silence
for the silenced time
for the lifetimes lost
the lives given
FOR THE HOMELAND
FOR THE NATION
FOR THE PEOPLE
FOR OUR
LIBERATION
BE SILENT — ONE MINUTE OF SILENCE…

- Ericka 22349978

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Resilience

Themes: Timor

Areas: People, Feelings, Places
Sources: Resilience, Hope, Funu,Terus
Process: Repetition

Search: Narrative, Expression
Produce: Film/Video format

The narrative of resilience is one that is deeply woven into the history of Timor Leste. From the country's flag- A white star that symbolizes ‘ peace and the light that guides the nation of East Timor to a brighter future’ amidst a black background- ‘the obscurantism that needs to be overcome.’ This narrative is also seen in two themes that seem fundamental to the national identity of Timor-Leste. The following themes are taken from Group 4’s research ‘Timor-leste:National Identity and Cultural influences’

“Funu- a sense of struggle arising from the binary nature of the occupied and occupier, a manifestation of Portuguese colonisation and Indonesian occupation.’

“Terus- a sense of solidarity and unity through suffering which has arisen from the brutality and violence of Indonesian occupation.”

These key words- Resilience, Hope, Funu, and Terus are explored through a parallel between the built environment and nature. I have always been intrigued by the ability of nature to push through hard and often harsh conditions. From a small weed growing between pavers, to the roots of trees disrupting and cracking tones of asphalt poured over the earth. I have recorded and compiled instances of nature growing through the built environment- showing its resilience and ability to grow and overcome. I believe this is seen in the Timorese people- their ability to move forward, and to forgive, but also within our site, where we have seen instances of Trees growing between colonnades.

https://youtu.be/ZqUV3VnoaU4

21711067
Matthias Widjaja

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Pakeha, Indian and South Korean students experiencing Brazil. Favela Edges Studio 2006, University of Auckland, New Zealand [Narrative motion document, 7 mins]

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You can add a link to another drive/google or somewhere else, so that you can add more images/videos, etc.
www.lms.uwa.edu.au

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The architectural style of Brazil is mainly divided into modern buildings and traditional buildings. Modern buildings are mainly European and American-style buildings, concrete is the main material. The other is traditional buildings, which are mainly built with local wood. Combining the two kinds of buildings and constructing them according to the local geography and climatic environment, a new architectural concept is derived: architectural regionality. The embodiment of regionality in modern architecture is to introduce regional nature into modern architecture to realize the integration of architecture and nature.

Brazilians living near the equator are accustomed to the bright colors of the tropical climate and the evergreen landscape, and their requirements for green are also reflected in Brazilian architecture, whether it is residential or public buildings, people's pursuit of natural and green landscapes is reflected in every space and detail of the building.

Please check out this Chinese paper on the courtyard renovation of the Brazilian embassy using the following link: http://www.doc88.com/p-2456927528715.html