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2019 | OriginalPaper | Buchkapitel

7. Painting Peace and Prosperity: Street Art, the Geração Foun, and Identifying with an Evolving ‘East Timorese-ness’

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Abstract

Building on an analysis of the symbolic representation of an evolving nationalism at the level of the political elite, this chapter explores how the reconceptualised struggle is visually represented at a grassroots level through street art. Street art is a primary medium of expression for the Geração Foun (the ‘new generation’), a younger generation of East Timorese who have been culturally and politically alienated from nation-building. This marginalisation is largely because their cultural-linguistic and educational backgrounds differ significantly to that of the older generation, to which the state’s leadership belongs. The chapter examines representations of the redefined struggle, peace, and unity as tropes of nationalist narratives. Applying theories of youth subcultures, it examines how the generation gap—one of the most pervasive social divisions of the post-independence state—is negotiated by the Geração Foun. It outlines the inherent tension of subcultures that is present in East Timorese street art: the desire to identify with the dominant culture in order to legitimise their claims to membership of the nation, and the need to critique the shortcomings of the older generation and make their voices heard.

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Fußnoten
1
For an overview of the main schools of thought on youth culture, see Carles Feixas and Jordi Nofre (2012).
 
2
‘The imagination of a new society projected on the walls of this young country is probably the strongest message that can be displayed. […] The Timorese “street art” continues the fight for human dignity, either by invoking the ghosts of the past or the revolt against the injustices of the present, either through the proclamation of the victory of the people’s right to self-determination or to protest against the discrimination and poverty that remain within Timorese society.’ Translation my own.
 
3
The artists at the Centro Arte Moris in Dili kindly helped me with my fieldwork and contributed greatly to my research on street art in Timor-Leste. Most interviews are with artists from this centre.
 
4
Jill Jolliffe is an Australian journalist and scholar who has written and published on the half-island since the 1975 Indonesian invasion, through the years following the return to self-determination.
 
5
It is worth noting that since 2012, a marked increase in youth representation in national politics has taken place. The Partido Democrático has a large youth following and, at the time of writing, the newest political party to be created, Enrich the National Unity of the Sons of Timor, or Khunto, claims to be specifically for the young, forgotten members of East Timorese society (see Scambary 2017).
 
6
Chris Parkinson is a professional photographer and scholar who has extensively documented street art in Timor-Leste since 2002.
 
7
‘My thoughts are of the creativity of each young person to make the city lively.’ This translation and all others in this chapter are my own.
 
8
For example, in 2013, numerous artists from the centre collaborated with Chris Parkinson in a project, entitled Animatism, that exhibited art, murals, and performance pieces in public spaces, both in Timor-Leste and Australia (see Centro Arte Moris 2013; Parkinson 2017, pp. 59–60).
 
9
Prior to the Crisis, Dili had been home to over 200,000 people, rendering the scale of violence and destruction unprecedented in the newly-independent state.
 
10
‘In 2006 everyone was scared to go outside, to send a message. People were shooting at each other. We went to paint. […] We gave the message so people wouldn’t be scared’.
 
11
‘It’s very popular in Timor, like “dreadlocks” because it’s like it shows a symbol, his “symbol peace” to all the people of Timor. When people see dreadlocks people say, “they don’t seem bad, they don’t like to create problems.” They’re like “peace” people’.
 
12
This image from 2006 was kindly shared with me by the artists at Centro Arte Moris from their archives.
 
13
The East Timorese government endorsed the enactment of the ‘Standard Orthography of the Tetum Language’ and established the Institute of National Linguistics to further the standardisation of Tetun and promote other East Timorese regional languages (see RDTL 2004; Leach 2017, pp. 154–155). While this and other ongoing projects continue to work on the Tetun vernacular, the configuration of the language is of a sufficiently high level for it to be universally understood and practically used in everyday life (in the media, such as newspapers, television etc.). Interestingly, there have been beginner’s courses, textbooks, and learning resources for Tetun language published in recent years for English speakers and non-native Tetun speakers (for example, see Manhitu 2016).
 
14
‘This one, we did before in 2006. Before, then there was a big problem between East-West. So we did this one about a new language connected to love, to peace, to freedom, to peace. Like the dove flies free. […] it is connected with politics because at that time there was a big problem’.
 
15
‘Codeswitching and codemixing are defined as ‘the graffiti discourse participants switch from one language to another within the same sentence’ (Obeng 2000, pp. 360–361).
 
16
Interview and transcript in English.
 
17
I would like to thank Kelly da Silva for bringing this point to my attention.
 
18
‘[in] the past there was violence. Now it’s important because the future is big, like, small children need to learn peace and love from adults. So it’s really important in Timor’.
 
19
Interestingly, the Tetun word for peace, ‘dame’, is used here, rather than the Portuguese ‘paz’, which has previously been employed. The artist, whose message is self-reflective in nature and acknowledges a responsibility to foster peace in the nation, has turned to her/his native tongue to articulate this idea.
 
20
‘It’s like he is a symbol of peace, Bob Marley. Like his face and his hair, he is symbol of peace’.
 
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Metadaten
Titel
Painting Peace and Prosperity: Street Art, the Geração Foun, and Identifying with an Evolving ‘East Timorese-ness’
verfasst von
Catherine E. Arthur
Copyright-Jahr
2019
DOI
https://doi.org/10.1007/978-3-319-98782-8_7