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Port Fairy Historical Society Museum and Archives
Costume - Ceremonial Apron, c.1900
Used in the Port Fairy Masonic Lodge of the MUIOOF during rituals.White satin Grand Master's Lodge apron with metallic thread embroidery and black fabric backingMUIOOF symbol embroidered on frontlocal history, societies, muioof, masonic lodge -
Bialik College
Photograph (Item) - Bnei Mitzvah 1995
1995 Bnei Mitzvah ceremony image. A bar mitzvah or bat mitzvah is a coming-of-age ritual in Judaism. According to Jewish law, before children reach a certain age, the parents are responsible for their child's actions. After this event they assume responsibility for their own actions. Bnei Mitzvah is they plural, they/them, of this ritual. Reverse side Bnei Mitzvah, sticker with details from Splitters image works. For access or permissions regarding these materials contact the archive [email protected] mitzvah, 1990s, judiasm, bialik college -
National Vietnam Veterans Museum (NVVM)
Photograph, Gibbons, Denis, Walking the Flight Deck
Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph of crew members of the Vung Tau Ferry ( HMAS Sydney) going through the ritual of walking the flight deck prior to a Sea King helicopter launch. They are picking up any foreign bodies that might be sucked into the helicopters engines on take-off.photograph, hmas sydney, vung tau ferry, sea king helicopter, gibbons collection catalogue, denis gibbons, photographer, vietnam war, crew members -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - cemetery and headstones, n.d
Black and white photograph of headstones in cemetery. Names include: 'Heath', 'Flowers', 'Gwyther'. Photograph has been trimmed, with rounded corners.Back: 'Flowers' 'Heath' - handwritten, pencilcemetery, headstones, death, ritual, memorial -
Freemasons Victoria - Southern Cross Lodge No. 24 (Maldon)
Document - Installation Card, Edwin Thompson, 1973
Edwin Thompsoninstallation ceremony, f. delmenico, i.l. galagher, edwin james thompson, ritual -
Uniting Church Archives - Synod of Victoria
Booklet, Presbyterian Board of Religious Education, The Order of the Burning Bush and Covenant
Presbyterian Church of Australia The Order of the Burning Bush a Church club for boys and young men small, 12 page book. The book has a blue cover and contains The Rules of the Order; Commendations; The Ritual; Initiation to the First Degree; Initiation to the Second Degree and Appendix. 3rd edition.the order of the burning bush -
Uniting Church Archives - Synod of Victoria
Symbol, The Page's/Esquire's Mark/General Mark of the Order
"Seven is regarded in the scriptures as a perfect number, and reminded the Page of his high ideals embodied in his seven-fold Law. The number is enclosed in an equilateral triangle which is the symbol of the triune God: Father, Son and Holy Spirit "[Ritual of the Page's Degree for use in Junior Court Ceremonies, 1952, pg 5] "In olden times, both the figure seven and the equal-sided triangle were considered to be perfect signs, therefore the two signs together become an ideal symbol for God, Who is perfect. The mark is also known as the General Mark of the Order" [Ritual of the Page's Degree for use in Junior Court Ceremonies, 1963, pg7]MOK Esquire's Mark symbols in various sizes. MOK220.1 MOK220.2 on wood base MOK220.3 methodist order of knights -
Mission to Seafarers Victoria
Photograph - Photograph, Black and white, Allan Charles Quinn, Crossing the line on the Ariston, 10 September 1946
This photograph depicts the ritual of "crossing the line" which marks the point at which a sailor first crosses the equator. Allan worked aboard the M.T. Ariston during 1946 and worked between Sweden, Central America, North West Indies and South America.This photograph is from the Allan Charles Quinn collection which is a collection of letters and photographs depicting life at sea for a young man in the period immediately following World War II.Black and white photograph of the "crossing the line" ceremony aboard the Ariston.Black ink on reverse: Crossing the equator on Ariston/ 10.9.46allan-charles-quinn, crossing-the-line, sweden, central-america, north-west-indies, south-america, equator, ariston -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Central Australian 'pointing bone', c1920?
Pointing bones were ritualistically used by sorcerers for magic. The 'magic' and 'sorcery' from 'pointing the bone' can involve the ritual removal of organs from the body, done when a person is asleep, and then put back into the person unknowingly. In this way a person can be 'sung' but will be unaware of it. This pointing bone was originally given to Sir Wilfred Fish, FRCS, who was a Kings Surgeon and had been giving lectures in Sydney in the 1920s on his specialty, maxillofacial surgery. His daughter, Mrs Vivian Greaves, gave this item to Sir Keith Drayton some years later. Pointing bone, from Central Australia. The object is a carved macropod fibula. At one end there is a blob of resin and an attachment of human hair in a string. At the other end, the bone has been sharpened to a point. -
Bendigo Military Museum
Letter - LETTER OF THANKS 1969, Bendigo RSL Sub Branch, 18.6.1969
The letter is to William John Turner in appreciation of him conducting the Ritual (ODE) on numerous occasions. Turner is a Life Member of the Bendigo Sub Branch. Refer Cat No's 8029 & 8030 for details of his volunteer/committee work, Life Membership and his WW1 service records.Letter off white colour, letter head of the "Returned Services League of Australia" - Bendigo Sub Branch, all type in black, signed in blue pen. The letter is to "Mr W. Turner" of 121 Barnard St Bendigo."Bendigo 18th June 1969" "President C.J. Plant" "Secretary J.K. Barnes" "Mr W. Turner"brsl, smirsl, letter -
Uniting Church Archives - Synod of Victoria
Letter - Methodist Girls' Comradeship
This is a letter from Joyce Edgcumbe, MGC State Superintendent and Chris J Reid, State Recorder asking members to distribute invitations to a 'get together'. Participants are asked to bring officers, ritual books, constitutions, regalia, notebook, pencil, hymnbook and second and third degree question sheets.Small piece of headed writing paper with typed message. The paper has the Methodist Girls' Comradeship badge and address printed in blue at the top.methodist girls' comradeship vic & tas, joyce edgcumbe, state superintendent, chris j reid, state recorder -
Uniting Church Archives - Synod of Victoria
Ceremonial object - Stave Top, General Mark of the Order
"In olden times, both the figure seven and the equal-sided triangle were considered to be perfect signs, therefore the two signs together become an ideal symbol for God, Who is perfect. The mark is also known as the General Mark of the Order" [Ritual of the Page's Degree for use in Junior Court Ceremonies, 1963, pg7] Stave tops of ceremonial staves. MOK221.1 Chrome MOK Esquire's Mark MOK221.1 Aluminium MOK Esquire's Markmethodist order of knights -
Federation University Art Collection
Painting - Acrylic on Linen, 'Tingari Cycle' by Walala Tjapaltjarri
Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu -
Orbost & District Historical Society
shield
Parrying shields have long been used within Aboriginal communities not only for protection, but as a symbolic implement used in rituals. Aboriginal men using very basic tools made them. They were designed to be mainly used in battle but were also used in ceremonies. Many shields have traditional designs or fluting on them whilst others are just smooth. The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This is a good example of a wooden Indigenous artefact from Eastern Australia.An Aboriginal shield of roughly carved wood. Has a square shaped hollowed out hand grip. -
Mission to Seafarers Victoria
Photograph - Photograph, Black and white, Allan Charles Quinn, Crossing the line on the Ariston, 10 September 1946
"Crossing the line" was an important maritime ritual and denoted the first crossing of the equator by a sailor. This photograph has been taken by Allan Charles Quinn and obviously is not his first crossing but depicts aspects of the ceremony, in particular the way in which crew members would dress up to represent King and Queen Neptune. This photograph was exhibited by the Mission to Seafarers as part of the exhibition "Letters from Abroad" in 2012.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.Black and white photograph of the "crossing the line" ceremony aboard the Ariston in 1946. Crew members are dressed as King and Queen Neptune.Black ink on reverse: Crossing the equator/ 10.9.46allan-charles-quinn, crossing-the-line, sweden, central-america, north-west-indies, south-america, equator, ariston, letters-from-abroad -
Uniting Church Archives - Synod of Victoria
Equipment - Printing block, 1935 - 1966
In 1918 the Rev Harold Wheen presided at a meeting at Bondi and outlined the Constitution and the Ritual of the Methodist Girls' Comradeship. He suggested that members submit designs for a badge, incorporating the chosen colours (blue, white and gold) and the new name, Methodist Girls' Comradeship. The badge designed by Miss Bessie Sanger of Bondi, an ivy leaf signifying friendship, was chosen and subsequently became the badge of the Comrades Section of the Order. Wooden cube shaped block with a metal printer's die attached. The die is a replica of the Methodist Girls' Comradeship ivy-shaped badge emblem with the initials of the Comradeship inside and the motto at the bottom."MGC" "THE UTMOST FOR THE HIGHEST"methodist church of australasia, printing, methodist girls' comradeship, rev harold wheeen, bessie sanger -
Merri-bek City Council
Acrylic on watercolour paper, Mandy Nicholson, Birrarung dragonflies in the rain, 2006
Primarily a painter, Mandy Nicholson also produces ceramics, carvings, murals, prints, designs and children’s clothing. Born in 1975, Nicholson was raised in Healesville and belongs to the Wurundjeri-willam (Woiwurrung language) clan of the Kulin Nation. Mandy’s paintings often represent important cultural rituals and are executed in her distinct graphic style. She uses the traditional motifs of her people blended with contemporary interpretation. -
Women's Art Register
Book, Elinor W. Gaddon, The Once & Future Goddess. A Sweeping Visual Chronicle of the Sacred Female and Her Reemergence in the Cultural Mythology of our time, 1989
An examination of the relationship between representations of ancient and contemporary goddesses, and how they are used by contemporary artists.Booknon-fictionAn examination of the relationship between representations of ancient and contemporary goddesses, and how they are used by contemporary artists.pre-history, spirituality, frida kahlo, judy chicago, religion, mythology, anna mendieta, ritual, sacred at, women's movement -
Eltham District Historical Society Inc
Photograph, Not Just a Pretty Place, Aleks Danko (2000), Lennister Farm, Eltham South, 2000c
Not Just a Pretty Place acknowledges the cultural significance of this site for the residents of Nillumbik Shire and for the Wurrundjeri community. Historically the confluence of rivers have particular importance as these were sites where rituals and ceremonies took place. The carved bluestone form presents an oversize river pebble that echoes the spirit of the water and draws attention to this location as a meeting place an landmark. Awarded the 2000 Nillumbik Art in Public Places Award and situated behind Lennister Farm near Yarra ParkColour photograph printaleks danko, eltham, lennister farm, yarra park -
Eltham District Historical Society Inc
Photograph, Not Just a Pretty Place, Aleks Danko (2000), Lennister Farm, Eltham South, 2000c
Not Just a Pretty Place acknowledges the cultural significance of this site for the residents of Nillumbik Shire and for the Wurrundjeri community. Historically the confluence of rivers have particular importance as these were sites where rituals and ceremonies took place. The carved bluestone form presents an oversize river pebble that echoes the spirit of the water and draws attention to this location as a meeting place an landmark. Awarded the 2000 Nillumbik Art in Public Places Award and situated behind Lennister Farm near Yarra ParkColour photograph printaleks danko, eltham, lennister farm, yarra park -
Eltham District Historical Society Inc
Photograph, Not Just a Pretty Place, Aleks Danko (2000), Lennister Farm, Eltham South, 2000c
Not Just a Pretty Place acknowledges the cultural significance of this site for the residents of Nillumbik Shire and for the Wurrundjeri community. Historically the confluence of rivers have particular importance as these were sites where rituals and ceremonies took place. The carved bluestone form presents an oversize river pebble that echoes the spirit of the water and draws attention to this location as a meeting place an landmark. Awarded the 2000 Nillumbik Art in Public Places Award and situated behind Lennister Farm near Yarra ParkColour photograph printaleks danko, eltham, lennister farm, yarra park -
Ararat Gallery TAMA
Mixed media, Inga Hunter, Iboriis Bone Bag, 1986-1989
´This is the bag carried by the Keeper of the Dead, in which he keeps his relics of the dead, the ritual objects of his trade and the special talisman to protect both himself and his charges from harm. He casts the Bones in regular protection ceremonies, and is sought after secretly by people who want to find out the spiritual state of their loved ones. Some think he can predict the future with unfailing accuracy, though few dare to seek him out for such a purpose.´ -Inga Hunter -
Ballarat Tramway Museum
Slide - 35mm slide/s, Graham Evans, Mar. 1972
White cardboard mount, 35mm slide, from the Association of Railway Enthusiast's film strip titled "Provincial Tramway Film Strip" of a crew member reversing the pole of Bendigo No. 19 at the Golden Square terminus with the Golden Square hotel in the background. The film strip notes (Reg. Item 2560), provided the following caption details: ""Swinging the pole" was a ritual performed every time a single trucker reversed direction. Here No. 19 is dealt with at "GOLDEN SQUARE" - Mar '72 (Graham Evans)" See image btm2585p.tif for high level scan of image. Stamped on base of slide "11794" and written in ink on top edge "No. 19 Golden Square Bendigo"tramways, trams, are, film strip, golden square, trolley poles, crews, tram 19 -
Orbost & District Historical Society
book, Kim Hup Lee Printing, A Ton of Spirit, 1990
This book contains interviews with 48 of the 300 centenarians listed by the Australian Bicentennial Authority, whose long lives together form an oral social history of the development of Australia over the past one hundred years. It includes reminiscences of Judy Bagu, Jimmy Bird, Paddy Djiaween and Walter Smith; brief accounts of bush foods, medicines, uses of plants, birth and mortuary rituals; working lives on cattle stations, missions, prospecting, dingo trapping, camel working, pearling, shire council; Kunmunyah, Beagle Bay Mission, Broome.This compilation of stories from centenarians is a contemporary social record of one hundred years of living through two world wars and the Great Depression in Australia. A 183 pp book with a light brown cover, darker spine. On the front cover is a photograph of a pair of hands. Print is black "A Ton of Spirit Australian Centenarians talk with Penny Smith".book-a-ton-of-spirit-penny-smith social-records-early-australia -
Robin Boyd Foundation
Letter, The Melbourne Beefsteak Club, The Melbourne Beefsteak Club to Robin Boyd, 11.11.1966
The Melbourne Beefsteak Club, Australia’s oldest food society, was founded in May 1886. Members were from business, professional and academic circles. The Club had some arcane rituals, with Masters and Writers of the Records. This letter from The Recorder is addressed to Brother Boyd and includes a list of 26 members and lists of past Writers of the Records and Masters from 1964-1966, and list of Writers of the Records and Masters for the next two years 1967-1968. These roles change each month. Boyd was scheduled to be Writer in March 1968.Letter plus two pages with list of members and Writers of the Records and Masters. -
Greensborough Historical Society
Photograph - Photograph - Digital Image, Sandy Anton, Briar Hill Shops, 2021
Photograph of two of the shops at Briar Hill. Also in this shopping precinct is Briar Hill Bakehouse which made the Urban List May 2022 guide to Melbourne and Victoria’s Best Vanilla Slice. "Briar Hill Traditional Bakehouse. When half of Melbourne are contacting Urban List and singing the praise of Briar Hill's snot block, there wasn't a chance that it'd miss out on a spot in this list. Flaky and custard-y in all the right ways, Briar Hill Traditional Bakehouses vanilla slice has cemented itself as a part of many local's mid-morning ritual." Colour digital photograph.briar hill, briar hill shops, mountainview road briar hill, sherbourne road briar hill, briar hill bakehouse -
Victorian Aboriginal Corporation for Languages
Book, Ann E Wells, This their dreaming : legends of the panels of Aboriginal art in the Yirrkala Church, 1971
Some time before the end of the year 1962, two great panels of Aboriginal art were begun. They were painted for part of a screen placed behind the Communion table in the Yirrkala church, and represented the two main, creative legends governing the lives, the behaviour and the ritual of the Aborigines belonging to a wide area of northeast Arnhem Land. Gives a brief outline of circumstances surrounding the panels. Lists the artists for each moiety. Maps show the territory of the people mentioned in the text. For each panel, there is a description of each section and an explanation of associated myths. Dua panel - the Djankawu journeys. Yiritja panel - legend of Banaitja. Glossary of terms.b&w art reproductionsyirrkala, yirrkala church, arnhem land -
Eltham District Historical Society Inc
Photograph, Not Just a Pretty Place, Aleks Danko (2000), Lennister Farm, Eltham South, 2000c
The sculpture was launched on 9th August 2000 by Cr Diane Bullen and welcomed by Annette Xiberras of the Wurundjeri community. Not Just a Pretty Place acknowledges the cultural significance of this site for the residents of Nillumbik Shire and for the Wurrundjeri community. Historically the confluence of rivers have particular importance as these were sites where rituals and ceremonies took place. The carved bluestone form presents an oversize river pebble that echoes the spirit of the water and draws attention to this location as a meeting place an landmark. Awarded the 2000 Nillumbik Art in Public Places Award and situated behind Lennister Farm near Yarra ParkColour photograph printaleks danko, eltham, lennister farm, yarra park, cr. diane bullen -
Merri-bek City Council
Acrylic on watercolour paper, Mandy Nicholson, Cultural Map of Melbourne, 2003
Primarily a painter, Mandy Nicholson also produces ceramics, carvings, murals, prints, designs and children’s clothing. Born in 1975, Nicholson was raised in Healesville and belongs to the Wurundjeri-willam (Woiwurrung language) clan of the Kulin Nation. Mandy’s paintings often represent important cultural rituals and are executed in her distinct graphic style using the traditional motifs of her people blended with contemporary interpretation. Cultural Map of Melbourne shows significant sites across Melbourne. These include scar trees, corroboree trees, stone quarries, bush tucker sites, significant rivers, fresh water wells and traditional campsites. -
Ararat Gallery TAMA
Mixed media, Inga Hunter, Iboriis Robe of the Keeper of the Dead, 1986-1989
“The Keeper looks after the shrines of the dead and he is responsible for their wellbeing, to make sure that their spirits do not return to make trouble for the living. Beyond their grave there is no blame, so he keeps all the dead, criminal, foreign etc. Keepers are not often seen because they live well away from all social groups, being supposed to spend most of their time in the nether world. The Keeper’s Robes carry complex amulets or protection from the dead, who he both guards and fears. He must also stop the living from using his charges against one another. His life is almost totally ritual, given over to chants and spells. He will never marry, but will breed by impregnating a selected mate in order to carry on the line, the office is hereditary. When his children are old enough, they are apprenticed to him and must live apart from the community, looked after by a nurse and taught all the rituals necessary for their future career. Very occasionally, a child is chosen from the community because of some special characteristic - precognition, albino colouring, special interest in the dead etc. At any time there might be up to twelve apprentices of various ages who assist the Keeper in his work. These children are taboo to all others, who must close their eyes if they accidentally catch sight of an apprentice.” -Inga Hunter