Bidu Lensu Mutin is a typical traditional dance from the community of the village of Suai Loro, Covalima Municipality.\n\nThis dance is performed in cultural occasions such as welcoming guests, inauguration of sacred houses, “sau batar” (corn harvest festival), and “tara bandu”. The movement and every step of the dance is following-up by traditional arrangement of music. Using a kind of dry palm leaf to give the sound and rhythm, and traditional song with local dialect give harmonies to the dance.\n\nThe dance have been passed from one generation to another and up to now it is still alive within the communities.\n\n---\n\nTais, Timor-Leste’s traditional textile, is a cultural heritage that has been passed from the ancestors, from generation to generation.\n\nTais has an important role in Timorese people’s life, starting from their birth until death. They use Tais to welcome guests, as well as to show their cultural identity and social class. It is also used as an object of value, for example, 'barlake' (dowry) which is given from family of bride to family of groom. Tais is used not only as an element to tighten the relationship between families, but also to pay penalty when people did not follow the rule within the community.\n\nTais is traditional clothes, which has men's style and women's style. In Timor-Leste, Tais has a variety of colors and motifs varying by ethnic groups. These days, cultural creative industry using Tais with respect to the tradition, is also growing.\n\nTais is made from cotton and natural plants are used to dye color. Production of Tais has been mainly done by women, since the past until now. Normally, Tais is woven manually using simple equipment such as 'atis', 'kida', and others. Process of producing Tais is complex and takes long time.\nTraditionally, Tais has been woven by individuals. However, some family members also contribute to mitigate the work of women weavers, such as in process of preparing cotton, 'kesi futus' (tie-dye) and dying cotton. These days, weavers also began to form groups to facilitate their weaving activities.

Bidu Lensu Mutin is a typical traditional dance from the community of the village of Suai Loro, Covalima Municipality. This dance is performed in cultural occasions such as welcoming guests, inauguration of sacred houses, “sau batar” (corn harvest festival), and “tara bandu”. \n\nThe movement and every step of the dance is following-up by traditional arrangement of music. Using a kind of dry palm leaf to give the sound and rhythm, and traditional song with local dialect give harmonies to the dance. The dance have been passed from one generation to another and up to now it is still alive within the communities.

Tara-Bandu is one of Timor-Leste’s most enduring systems of customary law—an ancestral method for maintaining harmony between humans, nature, and the spirit world. Practiced across many municipalities, this tradition involves the collective setting of social and environmental rules by the community, enforced not by police or government, but by deep-rooted respect for customary authority and ancestral belief.\n\nThe term “tara-bandu” itself means “to suspend” or “to declare a prohibition.” At its core, it is a communal agreement to protect certain aspects of life—be it sacred forests, clean water sources, agricultural land, or interpersonal relationships. Violating a tara-bandu is believed to bring not just social disapproval, but also spiritual misfortune, such as illness, crop failure, or even death.\n\nThe process of establishing a tara-bandu involves an elaborate ceremonial act led by lia-nain (customary custodians), elders, spiritual leaders, and village chiefs. At the heart of the ritual is the symbolic installation of the prohibition. This may take the form of hanging a tree branch, an animal skull, or even a bound bundle of leaves at the boundary of a protected area. These symbols serve as visible markers that the space or behavior they refer to is off-limits.\n\nEach tara-bandu is tailored to local needs. In some communities, it may prohibit cutting down trees from a specific forest. In others, it may regulate marriage customs, resolve conflicts, or prevent theft and violence. The process is highly participatory: villagers gather in large open-air meetings to discuss the rules, agree on penalties, and publicly reaffirm their commitment to uphold the communal values.\n\nThe ceremony itself often includes the sacrifice of an animal—commonly a pig, goat, or chicken—as an offering to the ancestral spirits. A traditional oath is spoken, and traditional liquor (tua sabu) is sometimes poured on the earth as a gesture of sealing the agreement. These rituals symbolize not only human consensus but a spiritual pact between the living and the unseen world.\n\nBeyond its legal implications, tara-bandu has an environmental and ethical function. It teaches respect for natural resources, encourages collective responsibility, and reinforces peaceful coexistence. It also represents an indigenous system of governance, reminding the Timorese people that long before modern institutions, their ancestors had mechanisms to resolve disputes and protect what mattered most.\n\nIn the years following independence, tara-bandu experienced a significant revival. Communities, NGOs, and government bodies alike have recognized its value—not as a relic of the past, but as a living, adaptable tool for building resilient societies. It is now being integrated into conservation projects, natural resource management plans, and even civic education programs in schools.\n\nStill, its continued vitality depends on intergenerational transmission. Elders must be supported in sharing their knowledge, and younger generations must be empowered to see the relevance of tara-bandu in today’s context. As both law and ritual, tara-bandu is a shining example of how intangible cultural heritage can guide communities in shaping a sustainable, respectful, and united future.

2020 World Forum for Intangible Cultural Heritage

This brochure introduces 14 intangible cultural heritage elements of Timor-Leste.\n\nThe publication is a result of a cooperative project between the Timor-Leste National Commission for UNESCO and ICHCAP.