# Tais

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Form of traditional weaving created by the women of East Timor

This article is about East Timorese weaving. For the Yemeni town, see [Taiz](/source/Taiz). For the band also known as TAIS, see [The Apples in Stereo](/source/The_Apples_in_Stereo). For the school, [TAIS](/source/TAIS).

Woman in [Cova Lima](/source/Cova_Lima) weaving tais in 2009

***Tais*** cloth is a form of traditional [weaving](/source/Weaving) created by the women of [East Timor](/source/East_Timor). An essential part of the nation's [cultural heritage](/source/Culture_of_East_Timor), tais weavings are used for ceremonial adornment, sign of respect and appreciation towards guests, friends, relatives, home decor, and personal apparel. The [Catholic Church](/source/Roman_Catholicism_in_East_Timor) of East Timor has also adopted the use of tais during its ceremonies. Because of the [Indonesian occupation of East Timor](/source/Indonesian_occupation_of_East_Timor), detailed study of the history and importance of the tais began only after 2000.[1]

## History and social role

The tais has been used in East Timor as a unit of exchange, often for livestock or other valuables. In ceremonial use, the tais is usually worn along with feathers, coral, gold and/or silver.[2] Still, the sale of tais has become common only in the last thirty years. Although small-scale commerce of tais is an important source of income for women, however, export is difficult and nearly all sales take place with foreigners.[2] In recent years, the public textile market in the capital [Dili](/source/Dili) has seen an influx of foreign-made weavings, which often look like tais and are sold (and made) more cheaply.[3]

Weaving of tais is performed solely by women, with techniques passed down from generation to generation in an [oral tradition](/source/Oral_tradition).[1][3][4] The activity often serves as a community gathering as much as a chore of productivity, and served as a rare form of self-expression in the restrictive environment of the 25-year Indonesian occupation.

Tia Veronica Pereira weaves a special tais to commemorate the 1991 [Santa Cruz Massacre](/source/Dili_Massacre)

Tia Veronica Pereira created a black tais with the names of the 271 victims woven in red into it, to commemorate the victims of the 1991 [Santa Cruz Massacre](/source/Dili_Massacre).[2] The influence of textiles on the lives of women is reflected in the East Timorese expression "bringing a thread and bobbin" in reference to a newborn child.[2]

During the occupation, Indonesian soldiers were a considerable market for tais weavers. In the 1970s, tais for the first time began to feature inscriptions, usually written in [Indonesian](/source/Indonesian_language). In the era of independence, tais artisans have begun specializing in customized weavings, as well as tais-like products such as handbags and scarves.[2]

Since 1999 workers in NGO's and the UN bought tais to take home as gifts and mementos and new messages found their way into the tais in English and Portuguese as well as Tetun. A quite remarkable fact, given that most of the weavers are found in rural areas where they have not had the opportunity to learn how to read or write.

Many people wishing to assist East Timorese women develop income streams have imported tais for sale and assisted weavers and sewing groups to produce items such as purses, bags, cushion covers and baskets that are saleable in Australia and elsewhere. The selling of tais is rapidly moving off-shore as many of the people taking these initiatives belong to Local Government Friendship groups in Australia.[5]

An East Timorese man in traditional attire, including *tais mane*

Traditional Timorese culture is supported by growing, cutting, tying, knotting, weaving, dying and sheathing a variety of fibres, grasses and leaves for ceremonial and practical purposes. The weaving of the tais plays an integral role in Timorese life and especially women's lives: shaping identity and attitudes towards them. Before the introduction of currency and after, the tais has been used as a valued object of exchange in gifting and ceremonies. Textiles are the art-form of the South-east Asian region and often the most beautiful tais are used to wrap around the bodies of loved ones for burial. Its role in wedding arrangements and the associated family ties, is attributed by some writers with contributing to the maintenance and strength of Timorese identity despite hundreds of years of colonial occupation. A Forum was recently held in Melbourne to stimulate and expand the debate and dialogue about the impact of commodifying the tais because it is a craft grounded in culture and sacred life.[6]

## Designs

Tais in the National Parliament

The imagery and patterns of tais vary greatly from region to region, but they often include messages of locale and significant events.[3] Imagery often includes animals such as the [crocodile](/source/Crocodile), upon which the creation legend of the island is based. Geometric patterns known as *kaif* are also employed in most tais.[1]

Styles of tais worn on the body are differentiated by gender: men traditionally wear the *tais mane* (or "man's cloth"), a single large wrap around the waist usually finished with [tassels](/source/Tassel). Women wear the *tais feto* ("women's cloth"), a form of strapless [dress](/source/Dress) woven in the shape of a tube.[3] A third type known as the *selendang*, a slender cloth worn around the neck, has become popular in recent years.[2]

## Production

Women in [Lospalos](/source/Lospalos) weaving tais in 1986

Using mostly [cotton](/source/Cotton) threads, the cloth is created during the island's dry season, almost entirely by hand. The use of cotton is a legacy of the [Portuguese](/source/Portugal) colonial era, when Timor was an important port for the trade in the material. Synthetic fibers like [rayon](/source/Rayon), [acrylic](/source/Acrylic_fiber) and [polyester](/source/Polyester) are becoming more common as they are imported more cheaply into East Timor.[1] A single tais can take anywhere from several days to a year, depending on the complexity of design and variety of colors used.[3]

Dyes are used to create bright colors in the tais; these are mixed from plants like taun, kinur, and teka.[1] Other dyes are derived from [mango](/source/Mango) skin, [potato](/source/Potato) leaf, [cactus](/source/Cactus) flowers, and [turmeric](/source/Turmeric).[4] Individuals skilled in mixing dyes are sometimes compared to [alchemists](/source/Alchemy), using traditional recipes for creating desired colors.[1] Although colors carry different associations from village to village, red is often used predominantly, as it is connected to long life and courage, in addition to being the base of the East Timorese flag.[4] When the [United Nations](/source/United_Nations) became the administering power in East Timor from 1999–2002, tais markets increased production of blue fabrics to match that organization's [trademark flag](/source/Flag_of_the_United_Nations).[7]

A collection of tais from around East Timor, 2003

One of the most common tools for tais weaving is the back-strap loom, which allows tension on the cloth while the [warp](/source/Warp_(weaving)) is manipulated. The pressure from the strap and the time required for the intricate designs on many tais produce significant pain for many women.[4] During the 1999 wave of violence known in East Timor as "Black September", many tais weavers saw their tools and equipment stolen or destroyed. Recent years have also seen a decline in the number of young women learning traditional methods of tais weaving.[3]

## Regional variations

Designs, colors, and styles of tais production vary greatly in each of East Timor's thirteen districts. In the enclave of [Oecussi-Ambeno](/source/Oecussi-Ambeno), Portuguese influence is most apparent, with floral and religious imagery predominating alongside subdued shades of black, orange, and yellow. In the capital city [Dili](/source/Dili), by contrast, bright colors and solid panels reflect the focus on tais commerce.[1]

In the district of [Ermera](/source/Ermera), black-and-white designs are most common, reflecting the royalty of the traditional leaders, who often lived in the area. The village of [Manufahi](/source/Manufahi) produces tais with certain common animal themes, specifically the [lizard](/source/Lizard) and [pig](/source/Pig).[1]

## Notes

1. ^ [***a***](#cite_ref-turismo_1-0) [***b***](#cite_ref-turismo_1-1) [***c***](#cite_ref-turismo_1-2) [***d***](#cite_ref-turismo_1-3) [***e***](#cite_ref-turismo_1-4) [***f***](#cite_ref-turismo_1-5) [***g***](#cite_ref-turismo_1-6) [***h***](#cite_ref-turismo_1-7) Sacchetti, Maria José. ["Tais: The Textiles of Timor-Leste"](http://www.turismotimorleste.com/en/about/tais/) [Archived](https://web.archive.org/web/20070126085906/http://www.turismotimorleste.com/en/about/tais/) 26 January 2007 at the [Wayback Machine](/source/Wayback_Machine). Timor-Leste Government Tourism Office. 2005. Retrieved 7 February 2008.

1. ^ [***a***](#cite_ref-strong_2-0) [***b***](#cite_ref-strong_2-1) [***c***](#cite_ref-strong_2-2) [***d***](#cite_ref-strong_2-3) [***e***](#cite_ref-strong_2-4) [***f***](#cite_ref-strong_2-5) Niner, Sara. ["Strong Cloth: East Timor's Tais"](http://www.craftculture.org/world/niner1.htm). *Craft Culture*. 2 September 2003. Retrieved 7 February 2008.

1. ^ [***a***](#cite_ref-threads_3-0) [***b***](#cite_ref-threads_3-1) [***c***](#cite_ref-threads_3-2) [***d***](#cite_ref-threads_3-3) [***e***](#cite_ref-threads_3-4) [***f***](#cite_ref-threads_3-5) Delaney, Dawn. ["Threads of Hope"](http://www.craftculture.org/world/threads.htm). *Craft Culture*. 7 May 2003. Retrieved 7 February 2008.

1. ^ [***a***](#cite_ref-etwa_4-0) [***b***](#cite_ref-etwa_4-1) [***c***](#cite_ref-etwa_4-2) [***d***](#cite_ref-etwa_4-3) ["Hand-weaving: threads of hope"](http://www.etwa.org.au/weaving.htm) [Archived](https://web.archive.org/web/20081103003631/http://www.etwa.org.au/weaving.htm) 3 November 2008 at the [Wayback Machine](/source/Wayback_Machine). [East Timor Women Australia](https://en.wikipedia.org/w/index.php?title=East_Timor_Women_Australia&action=edit&redlink=1). Retrieved 7 February 2008.

1. **[^](#cite_ref-5)** [Friends of Suai](http://www.suaimediaspace.org).

1. **[^](#cite_ref-6)** [Suai Mediaspace](http://www.suaimediaspace.org/2008/09/08/weaving-meanings-makers-from-east-timor/).

1. **[^](#cite_ref-7)** Pride, p. 17.

## Bibliography

- Hamilton, Roy W; Barrkman, Joanna, eds. (2014). *Textiles of Timor: Island in The Woven Sea*. Fowler Museum textile series, 13. Los Angeles: Fowler Museum at UCLA. [ISBN](/source/ISBN_(identifier)) [9780984755080](https://en.wikipedia.org/wiki/Special:BookSources/9780984755080).

- Pride, Natali. ["Weaving the Country Together: Identities and Traditions in East Timor"](http://www.eastimorlawjournal.org/OTHERWRITINGS/introduction_identitiesandtraditionsineasttimor_natali_pride2002.html). Dissertation, [University of New South Wales](/source/University_of_New_South_Wales): 2002. Online at [East Timor Law Journal](http://www.eastimorlawjournal.org/). Retrieved 7 February 2008.

## External links

- [Then and Now](http://www.etimortais.org/stories/then_and_now/then_and_now.htm) [Archived](https://web.archive.org/web/20080413235231/http://www.etimortais.org/stories/then_and_now/then_and_now.htm) 13 April 2008 at the [Wayback Machine](/source/Wayback_Machine): Tais through the history of East Timor, presented by the Virtual Museum of East Timorese Tais

- [\[1\]](http://www.suaimediaspace.org/2008/09/08/weaving-meanings-makers-from-east-timor/)

## Further reading

- Rosália E. Madeira Soares (2017). [*The Textiles of Bobonaro*](https://issuu.com/incidentaldoc/docs/bobonaro_textiles__low_res_). Government of Timor-Leste. [ISBN](/source/ISBN_(identifier)) [978-989-8726-34-6](https://en.wikipedia.org/wiki/Special:BookSources/978-989-8726-34-6).

- Rosália E. Madeira Soares (2018). [*The Textiles of Baucau*](https://issuu.com/incidentaldoc/docs/baucau_textiles__low_res_). Government of Timor-Leste. [ISBN](/source/ISBN_(identifier)) [978-989-8726-30-8](https://en.wikipedia.org/wiki/Special:BookSources/978-989-8726-30-8).

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Adapted from the Wikipedia article [Tais](https://en.wikipedia.org/wiki/Tais) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Tais?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.