Sister publication to "Coranderrk database". This is a compilation of Mick Woiwod's research material, gathered over many years with information on the history of the Wurundjeri people of the Yarra Valley, from the time of first European contact. The publication runs in excess of 140,000 words. Its prime focus is the Yarra River as it has been understood by its Wurundjeri people. Includes a compilation of those difficult to locate "brief snatches of the action" collated under headings with in each instance, the provenance as to source and / or author included. Themes include: agriculture, law, ceremony, language, reconciliation, retribution, lifestyle, art & craft, climate, personalities, disease, death and the river's flora and fauna.318 pages : illustrations, maps ; 30 cm + 1 CD-ROM (4 3/​4 in.) PDF or Microsoft Office Word 97-2003.ISBN 9780987157423wurundjeri, yarra river, indigenous history

This little model dinghy or rowing boat, together with its two oars and its display case, was made by Edward Richter using timber from the New Zealand-built schooner, the Enterprise, wrecked in Lady Bay, Warrnambool, in 1850 after only three years of sailing. The dinghy was originally presented to the old Warrnambool Museum and transferred to Flagstaff Hill along with its two descriptive card tags. EDWARD RICHTER (1853-1937) Edward Richter was the son of Henry and Charlotte Richter, who migrated from London and arrived in Port Phillip, Victoria, in 1850. Henry had worked in the Bank of England in London. In Australia, he worked for the Morning Herald and was a business partner in the Geelong Daily News. He served in the Volunteer Corps and had the honour of being one of the 500 Volunteers in the firing party at the grave of Sir Charles Hotham, Governor of Victoria. In Warrnambool, Henry was the Host/Licensee of the Royal Archer Hotel. He was also connected with Sheldrich's brewery (the Western Brewery) there. Henry and Charlotte’s son Edward was born in Collingwood, a Melbourne suburb, in 1853. The family moved to Warrnambool in 1867. In 1878 Edward married Susan (nee Saltz) and they had a family of twelve children. Sadly their son, Edward Henry Richter, died from drowning in Warrnambool’s Shelly Beech in 1907, aged 29 years. Edward was a prominent Warrnambool citizen. He worked as a coach painter and his hobbies included model making. He made this model dinghy and presented it to the old Warrnambool Museum in the late 1800s. He also made some model violins that are now in the care of the Warrnambool and District Historical Society. After the museum closed, this model was eventually transferred to Flagstaff Hill. Edward’s son, Herman, was also a model maker, making model boats and even boats in bottles. Edward passed away in Warrnambool in 1937. THE ENTERPRISE 1847-1850 The wooden, two-masted schooner Enterprise was built in New Zealand in 1847 and registered in Melbourne, Australia. The Enterprise carried cargos of agricultural produce and other commodities for trade between the ports of the Colony. On September 14, 1850, the Enterprise was at anchor in Lady Bay under its Master, James Gardiner Caughtt, loaded with a cargo of wheat and potatoes. A strong south-easterly wind caused the vessel to drag on its only anchor and the rudder was lost. The gale-force wind blew it sideways and it became grounded. A local indigenous Buckawall, braved the rough sea to take a line from the shore to the Enterprise. All five members of the crew were able to make it safely to land. The Enterprise was wrecked. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area became the location of the Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park on Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr Murray Johns, Melbourne, says in his article The Mahogany Ship Story “… As I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [with the spelling ‘Enterprise’], but built in New Zealand in 1847. Fawkner’s ship had already been sold to Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “ - (further details are in NOTES: and FHMV documents)The model of a dinghy is significant for its association wreck of the schooner Enterprise, now on the Victorian Heritage List VHR S238, being a New Zealand built but Australian owned coastal trader. The wreck is also significant, by connection with the Enterprise, for its association with indigenous hero Buckawall who saved the lives of the five crew on board. The maker of the model, Edward Richter, is significant as a member of one of Warrnambool’s pioneering families, which has contributed to the growth of the community in several ways over the years, living, working and bringing up their families in the coastal city. Ship model; model of a small wooden boat or dinghy and wooden two oars, displayed in timber case with open sides that have vertical wire strands from top to bottom. The model was made by Mr Edward Richter from the timber of the schooner Enterprise, built in New Zealand 1847 and wrecked three years later in Lady Bay, Warrnambool.Handwritten tag in pen and ink: "Model of Boat made from the timber of the schooner "Enterprise" wrecked at Warrnambool" Type written tag "MODEL DINGEY Made from Timber of Schooner "Enterprise". Made and presented by Mr Edward Richter."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, wooden ship building, carpentry, ship modelling hobby, dinghy, dingey, dingy, edward richter, enterprise, lady bay warrnambool, schooner enterprise, wreck of the enterprise 1850, richter family, warrnambool history, buckawall

This small piece of wood was cut from a rib of the wreck of the Enterprise in c1885 by Mr John Flett (1869 – 1944), whilst it was lying on the beach in Lady Bay, Warrnambool. Mr Flett was about 16 years old at the time and used the wood (with other pieces from the wreck) to make a picture frame. A newspaper report published in the Gippsland Gazette on Tuesday 16th July 1912 titled "An Interesting Relic" describes a picture frame being displayed in Mr. Flett's shop in Warragul which was of interest as it had been made from wood taken from the wreck of the Enterprise when it was lying on the beach at Lady Bay, Warrnambool. This was still in his possession in the 1930’s when Mr. Flett presented the small sample of wood to Mr. Henri Worland of the Warrnambool Museum and Art Gallery - along with a signed letter of ownership. A transcription of the letter is as follows - “Kalos” 12 Yendon Road Glen Huntly S.E.9 Dear Mr Warland, I am enclosing herewith a small piece of timber which, about 50 years ago, I cut from a rib of the old wreck which at that time was well known as the old “Enterprise”. I am prepared to sign a sworn statement that this is a piece of that wreck and has never been out of my possession since I cut it from the wreck. Since returning to the city I visited the museum and inspected the walking stick and small model of a boat, presented I think, by Mr Richie. I notice the different grain of the timber and would suggest that they are not Blue Gum, and the piece I am enclosing is definitely of that Tasmanian timber. Of course there may have been other imported timbers used and only the frame of the vessel made of the Blue Gum; I am not suggesting an error on the part of Mr Richie, who evidently knew the old wreck [in an?] earlier date than I did. The piece I am enclosing was incorporated in an old picture frame which I made 50 years ago, and although not used for many years has always been in my possession. With kind regards Yours faithfully J Flett (signature) P.S. I have other small pieces in a small photo frame which I may let you see some day, but not just now. Mr R. Christian will recognise the other frame when he sees it, as we were working together when it was made. J.F. There were several branches of Fletts living in Warrnambool in the mid to late 1800’s. They were all related and had emigrated from Stromness in the Orkney islands – arriving mostly in the 1850’s on different ships. John Flett’s mother was Jessie Isbister who arrived in Australia in 1852 with her family on board the Ticonderoga. Over 168 passengers died on the voyage including two of Jessie’s sisters and one of her brothers. Mrs Jessie Flett's obituary (titled "An Old Colonist") which appeared in the West Gippsland Gazette on Tuesday 8th September 1914 describes her early connections to Warnambool and the Ticonderoga. John Flett moved from Warrnambool to Birchip, Warragul and later went to Melbourne where he worked for the YMCA. During WW1, he worked at the Caulfield Military Hospital and volunteered for active service with the YMCA in France -caring for the welfare of the soldiers. After the war, he continued to work with the YMCA in a secretarial capacity. THE ENTERPRISE 1847-1850 The wooden, two-masted schooner Enterprise was built in New Zealand in 1847 and registered in Melbourne, Australia. The Enterprise carried a cargo of agricultural produce and other commodities for trade between the ports of the Colony. On September 14, 1850, the Enterprise was at anchor in Lady Bay under its Master, James Gardiner Caughtt, loaded with a cargo of wheat and potatoes. A strong south-easterly wind caused the vessel to drag on its only anchor and the rudder was lost. The gale force wind blew it sideways and it became grounded. A local aboriginal, Buckawall, braved the rough sea to take a line from the shore to the Enterprise. All five members of the crew were able to make it safely to land. The Enterprise was totally wrecked. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area became the location of the Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park in Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr. Murray Johns, Melbourne, says in his article The Mahogany Ship Story “… In fact, as I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [with the spelling ‘Enterprise’], but built in New Zealand in 1847. Fawkner’s ship had already been sold to a Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “ - (further details are in NOTES: and FHMV documents) Mr Flett had assumed the timber was Tasmanian Gum as he thought it had come from the Enterprise which had been owned by Mr Fawkner and built in Tasmania but we now know the ship was built in New Zealand and the timber was most probably New Zealand Rimu.This piece of wood is significant for its association with the wreck of the schooner Enterprise, now on the Victorian Heritage List VHR S238, being a New Zealand built but Australian owned coastal trader. The wreck is also significant, by connection with the Enterprise, for its association with indigenous hero Buckawall who saved the lives of the five crew on board. The original owner of the wood (Mr John Flett) is significant as a member of one of Warrnambool’s pioneering families, which has contributed to the growth of the community in several ways over the years, living and working in the area.Small square piece of brown wood with a handwritten inscription on the back. The front is polished with a prominent grain and a shallow indentation along two sides. The back has the words "FLETT" and "ENTERPRISE" written in ink with a line separating them. The back is rough and has two indentations - possibly from a nail or tack. The wood sample is accompanied by a letter. Handwritten letter (two pages) of authenticity by Mr. John Flett to Mr. Worland (Manager of the Warrnambool Museum and Art Gallery). Transcribed below"FLETT" and "ENTERPRISE"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, carpentry, enterprise, lady bay warrnambool, schooner enterprise, wreck of the enterprise 1850, buckawall, shipwreck relic, john flett, warrnambool museum and art gallery, flett relic, letter, flett letter, ticonderoga, henri worland

This wood carving is handmade and comes from the Schooner Enterprise. The inscription on the rear of the carving was added at a later date. The statement that the vessel "was the first boat up the river Yarra with Fawkner" is incorrect, confusing this Warrnambool wreck "Enterprise" with Fawkner's vessel "Enterprize" (sometimes written "Enterprise"). THE “ENTERPRISE” 1847-1850 The wooden, two-masted schooner Enterprise was built in New Zealand in 1847 and registered in Melbourne, Australia. The Enterprise carried cargos of agricultural produce and other commodities for trade between the ports of the Colony. On September 14, 1850, the Enterprise was at anchor in Lady Bay under its Master, James Gardiner Caughtt, loaded with a cargo of wheat and potatoes. A strong south-easterly wind caused the vessel to drag on its only anchor and the rudder was lost. The gale-force wind blew it sideways and it became grounded. A local indigenous man, Buckawall, braved the rough sea to take a line from the shore to the Enterprise. All five members of the crew were able to make it safely to land. The Enterprise was wrecked. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area became the location of the Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park on Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr Murray Johns, Melbourne, says in his article The Mahogany Ship Story “… As I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [with the spelling ‘Enterprise’], but built in New Zealand in 1847. Fawkner’s ship had already been sold to Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “ - (further details are in NOTES: and FHMV documents) The wood carving is significant for its association wreck of the Victorian Heritage Listed schooner Enterprise, VHR S238, being a New Zealand-built but Australian-owned coastal trader. The wreck was also significant for its association with indigenous hero Buckawall who saved the lives of the five crew on board.Wood carving; a handmade, carved wooden board from the vessel "Enterprise", 1847-1850. The board is made from several pieces of wood. It is concave, with engraved border and motifs, and has decorative scrolls on the sides. The inscription, added to the carving at a later date, is on the rear of the board and inscribed in blue ink script. A paper tag marked 'Swinburne' was with the board."Swinburne", "from the vessel Enterprise" Handwritten in blue ink script "Made from / wreck of / "Enterprise" first boat / up river Yarra with / Fawkner later wrecked / at Warrnambool Vic"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood carving, carving, carving craft, 1850 wreck, john watson, james gardiner caught, tramway jetty, lady bay, rescue line, ian mckiggan, vhr s238, relic, buckawall, schooner, enterprise, coastal trader, new zealand, indigenous rescue, indigenous hero

Valmai Heap was a one time cultural heritage officer with the Ballarat and District Aboriginal Cooperative.Soft covered booklet with information on the inductees to the Victorian Indigenous Honour Roll.victorian indigenous honour roll, aborigines, margaret tucher, harold blair, albert mullett, hyluss maris, fay carter, lovett brothers, laura bell, hebert austin, jock austin, beryl booth, valmai heap, jeanette powell, alfred lovett, leonatd lovett, frederick lovett, herbert lovett, edward lovett, ballarat and district aboriginal co-operative ltd

Booknon-fiction500 works of art by 500 Australian women from colonial times to 1955 with images and commentaries on each work prepared by by 200 curators, critics, family member or the artists herself. Includes images of many works which may never have been reproduced. A biographical section comprises concise entries on these artists.colonial art, craft, competitions, portraiture, furniture, sculpture, indigenous art, museology

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

'Whose Ethics?':Codifying and enacting ethics in research settings Bringing ethics up to date? A review of the AIATSIS ethical guidelines Michael Davis (Independent Academic) A revision of the AIATSIS Guidelines for Ethical Research in Indigenous Studies was carried out during 2009-10. The purpose of the revision was to bring the Guidelines up to date in light of a range of critical developments that have occurred in Indigenous rights, research and knowledge management since the previous version of the Guidelines was released in 2000. In this paper I present an outline of these developments, and briefly discuss the review process. I argue that the review, and the developments that it responded to, have highlighted that ethical research needs to be thought about more as a type of behaviour and practice between engaged participants, and less as an institutionalised, document-focused and prescriptive approach. The arrogance of ethnography: Managing anthropological research knowledge Sarah Holcombe (ANU) The ethnographic method is a core feature of anthropological practice. This locally intensive research enables insight into local praxis and culturally relative practices that would otherwise not be possible. Indeed, empathetic engagement is only possible in this close and intimate encounter. However, this paper argues that this method can also provide the practitioner with a false sense of his or her own knowing and expertise and, indeed, with arrogance. And the boundaries between the anthropologist as knowledge sink - cultural translator and interpreter - and the knowledge of the local knowledge owners can become opaque. Globalisation and the knowledge ?commons?, exemplified by Google, also highlight the increasing complexities in this area of the governance and ownership of knowledge. Our stronghold of working in remote areas and/or with marginalised groups places us at the forefront of negotiating the multiple new technological knowledge spaces that are opening up in the form of Indigenous websites and knowledge centres in these areas. Anthropology is not immune from the increasing awareness of the limitations and risks of the intellectual property regime for protecting or managing Indigenous knowledge. The relevance of the Declaration on the Rights of Indigenous Peoples in opening up a ?rights-based? discourse, especially in the area of knowledge ownership, brings these issues to the fore. For anthropology to remain relevant, we have to engage locally with these global discourses. This paper begins to traverse some of this ground. Protocols: Devices for translating moralities, controlling knowledge and defining actors in Indigenous research, and critical ethical reflection Margaret Raven (Institute for Sustainability and Technology Policy (ISTP), Murdoch University) Protocols are devices that act to assist with ethical research behaviour in Indigenous research contexts. Protocols also attempt to play a mediating role in the power and control inherent in research. While the development of bureaucratically derived protocols is on the increase, critiques and review of protocols have been undertaken in an ad hoc manner and in the absence of an overarching ethical framework or standard. Additionally, actors implicated in research networks are seldom theorised. This paper sketches out a typology of research characters and the different moral positioning that each of them plays in the research game. It argues that by understanding the ways actors enact research protocols we are better able to understand what protocols are, and how they seek to build ethical research practices. Ethics and research: Dilemmas raised in managing research collections of Aboriginal and Torres Strait Islander materials Grace Koch (AIATSIS) This paper examines some of the ethical dilemmas for the proper management of research collections of Indigenous cultural materials, concentrating upon the use of such material for Native Title purposes. It refers directly to a number of points in the draft of the revised AIATSIS Guidelines for Ethical Research in Indigenous Studies and draws upon both actual and hypothetical examples of issues that may arise when requests are made for Indigenous material. Specific concerns about ethical practices in collecting data and the subsequent control of access to both the data itself and to published works based upon it are raised within the context of several types of collections, including those held by AIATSIS and by Native Title Representative Bodies. Ethics or social justice? Heritage and the politics of recognition Laurajane Smith (ANU) Nancy Fraser?s model of the politics of recognition is used to examine how ethical practices are interconnected with wider struggles for recognition and social justice. This paper focuses on the concept of 'heritage' and the way it is often uncritically linked to 'identity' to illustrate how expert knowledge can become implicated in struggles for recognition. The consequences of this for ethical practice and for rethinking the role of expertise, professional discourses and disciplinary identity are discussed. The ethics of teaching from country Michael Christie (CDU), with the assistance of Yi?iya Guyula, Kathy Gotha and Dh�?gal Gurruwiwi The 'Teaching from Country' program provided the opportunity and the funding for Yol?u (north-east Arnhem Land Aboriginal) knowledge authorities to participate actively in the academic teaching of their languages and cultures from their remote homeland centres using new digital technologies. As two knowledge systems and their practices came to work together, so too did two divergent epistemologies and metaphysics, and challenges to our understandings of our ethical behaviour. This paper uses an examination of the philosophical and pedagogical work of the Yol?u Elders and their students to reflect upon ethical teaching and research in postcolonial knowledge practices. Closing the gaps in and through Indigenous health research: Guidelines, processes and practices Pat Dudgeon (UWA), Kerrie Kelly (Australian Indigenous Psychologists Association) and Roz Walker (UWA) Research in Aboriginal contexts remains a vexed issue given the ongoing inequities and injustices in Indigenous health. It is widely accepted that good research providing a sound evidence base is critical to closing the gap in Aboriginal health and wellbeing outcomes. However, key contemporary research issues still remain regarding how that research is prioritised, carried out, disseminated and translated so that Aboriginal people are the main beneficiaries of the research in every sense. It is widely acknowledged that, historically, research on Indigenous groups by non-Indigenous researchers has benefited the careers and reputations of researchers, often with little benefit and considerably more harm for Indigenous peoples in Australia and internationally. This paper argues that genuine collaborative and equal partnerships in Indigenous health research are critical to enable Aboriginal and Torres Islander people to determine the solutions to close the gap on many contemporary health issues. It suggests that greater recognition of research methodologies, such as community participatory action research, is necessary to ensure that Aboriginal people have control of, or significant input into, determining the Indigenous health research agenda at all levels. This can occur at a national level, such as through the National Health and Medical Research Council (NHMRC) Road Map on Indigenous research priorities (RAWG 2002), and at a local level through the development of structural mechanisms and processes, including research ethics committees? research protocols to hold researchers accountable to the NHMRC ethical guidelines and values which recognise Indigenous culture in all aspects of research. Researching on Ngarrindjeri Ruwe/Ruwar: Methodologies for positive transformation Steve Hemming (Flinders University) , Daryle Rigney (Flinders University) and Shaun Berg (Berg Lawyers) Ngarrindjeri engagement with cultural and natural resource management over the past decade provides a useful case study for examining the relationship between research, colonialism and improved Indigenous wellbeing. The Ngarrindjeri nation is located in south-eastern Australia, a ?white? space framed by Aboriginalist myths of cultural extinction recycled through burgeoning heritage, Native Title, natural resource management ?industries?. Research is a central element of this network of intrusive interests and colonising practices. Government management regimes such as natural resource management draw upon the research and business sectors to form complex alliances to access funds to support their research, monitoring, policy development, management and on-ground works programs. We argue that understanding the political and ethical location of research in this contemporary management landscape is crucial to any assessment of the potential positive contribution of research to 'Bridging the Gap' or improving Indigenous wellbeing. Recognition that research conducted on Ngarrindjeri Ruwe/Ruwar (country/body/spirit) has impacts on Ngarrindjeri and that Ngarrindjeri have a right and responsibility to care for their lands and waters are important platforms for any just or ethical research. Ngarrindjeri have linked these rights and responsibilities to long-term community development focused on Ngarrindjeri capacity building and shifts in Ngarrindjeri power in programs designed to research and manage Ngarrindjeri Ruwe/Ruwar. Research agreements that protect Ngarrindjeri interests, including cultural knowledge and intellectual property, are crucial elements in these shifts in power. A preliminary review of ethics resources, with particular focus on those available online from Indigenous organisations in WA, NT and Qld Sarah Holcombe (ANU) and Natalia Gould (La Trobe University) In light of a growing interest in Indigenous knowledge, this preliminary review maps the forms and contents of some existing resources and processes currently available and under development in the Northern Territory, Queensland and Western Australia, along with those enacted through several cross-jurisdictional initiatives. A significant majority of ethics resources have been developed in response to a growing interest in the application of Indigenous knowledge in land and natural resource management. The aim of these resources is to ?manage? (i.e. protect and maintain) Indigenous knowledge by ensuring ethical engagement with the knowledge holders. Case studies are drawn on from each jurisdiction to illustrate both the diversity and commonality in the approach to managing this intercultural engagement. Such resources include protocols, guidelines, memorandums of understanding, research agreements and strategic plans. In conducting this review we encourage greater awareness of the range of approaches in practice and under development today, while emphasising that systematic, localised processes for establishing these mechanisms is of fundamental importance to ensuring equitable collaboration. Likewise, making available a range of ethics tools and resources also enables the sharing of the local and regional initiatives in this very dynamic area of Indigenous knowledge rights.b&w photographs, colour photographsngarrindjeri, ethics, ethnography, indigenous research, social justice, indigenous health

We don?t leave our identities at the city limits: Aboriginal and Torres Strait Islander people living in urban localities Bronwyn Fredericks Aboriginal and Torres Strait Islander people who live in cities and towns are often thought of as ?less Indigenous? than those who live ?in the bush?, as though they are ?fake? Aboriginal people ? while ?real? Aboriginal people live ?on communities? and ?real? Torres Strait Islander people live ?on islands?. Yet more than 70 percent of Australia?s Indigenous peoples live in urban locations (ABS 2007), and urban living is just as much part of a reality for Aboriginal and Torres Strait Islander people as living in remote discrete communities. This paper examines the contradictions and struggles that Aboriginal and Torres Strait Islander people experience when living in urban environments. It looks at the symbols of place and space on display in the Australian cities of Melbourne and Brisbane to demonstrate how prevailing social, political and economic values are displayed. Symbols of place and space are never neutral, and this paper argues that they can either marginalise and oppress urban Aboriginal and Torres Strait Islander people, or demonstrate that they are included and engaged. Juggling with pronouns: Racist discourse in spoken interaction on the radio Di Roy While the discourse of deficit with regard to Australian Indigenous health and wellbeing has been well documented in print media and through images on film and on television, radio talk concerning this discourse remains underresearched. This paper interrogates the power of an interactive news interview, aired on the Radio National Breakfast program on ABC Radio in 2011, to maintain and reproduce the discourse of deficit, despite the best intentions of the interview participants. Using a conversation-analytical approach, and membership categorisation analysis in particular, this paper interrogates the spoken interaction between a well-known radio interviewer and a respected medical researcher into Indigenous eye health. It demonstrates the recreation of a discourse emanating from longstanding hegemonies between mainstream and Indigenous Australians. Analysis of firstperson pronoun use shows the ongoing negotiation of social category boundaries and construction of moral identities through ascriptions to category members, upon which the intelligibility of the interview for the listening audience depended. The findings from analysis support claims in a considerable body of whiteness studies literature, the main themes of which include the pervasiveness of a racist discourse in Australian media and society, the power of invisible assumptions, and the importance of naming and exposing them. Changes in Pitjantjatjara mourning and burial practices Bill Edwards, University of South Australia This paper is based on observations over a period of more than five decades of changes in Pitjantjatjara burial practices from traditional practices to the introduction of Christian services and cemeteries. Missions have been criticised for enforcing such changes. However, in this instance, the changes were implemented by the Aboriginal people themselves. Following brief outlines of Pitjantjatjara traditional life, including burial practices, and of the establishment of Ernabella Mission in 1937 and its policy of respect for Pitjantjatjara cultural practices and language, the history of these changes which commenced in 1973 are recorded. Previously, deceased bodies were interred according to traditional rites. However, as these practices were increasingly at odds with some of the features of contemporary social, economic and political life, two men who had lost close family members initiated church funeral services and established a cemetery. These practices soon spread to most Pitjantjatjara communities in a manner which illustrates the model of change outlined by Everett Rogers (1962) in Diffusion of Innovations. Reference is made to four more recent funerals to show how these events have been elaborated and have become major social occasions. The world from Malarrak: Depictions of South-east Asian and European subjects in rock art from the Wellington Range, Australia Sally K May, Paul SC Ta�on, Alistair Paterson, Meg Travers This paper investigates contact histories in northern Australia through an analysis of recent rock paintings. Around Australia Aboriginal artists have produced a unique record of their experiences of contact since the earliest encounters with South-east Asian and, later, European visitors and settlers. This rock art archive provides irreplaceable contemporary accounts of Aboriginal attitudes towards, and engagement with, foreigners on their shores. Since 2008 our team has been working to document contact period rock art in north-western and western Arnhem Land. This paper focuses on findings from a site complex known as Malarrak. It includes the most thorough analysis of contact rock art yet undertaken in this area and questions previous interpretations of subject matter and the relationship of particular paintings to historic events. Contact period rock art from Malarrak presents us with an illustrated history of international relationships in this isolated part of the world. It not only reflects the material changes brought about by outside cultural groups but also highlights the active role Aboriginal communities took in responding to these circumstances. Addressing the Arrernte: FJ Gillen?s 1896 Engwura speech Jason Gibson, Australian National University This paper analyses a speech delivered by Francis James Gillen during the opening stages of what is now regarded as one of the most significant ethnographic recording events in Australian history. Gillen?s ?speech? at the 1896 Engwura festival provides a unique insight into the complex personal relationships that early anthropologists had with Aboriginal people. This recently unearthed text, recorded by Walter Baldwin Spencer in his field notebook, demonstrates how Gillen and Spencer sought to establish the parameters of their anthropological enquiry in ways that involved both Arrernte agency and kinship while at the same time invoking the hierarchies of colonial anthropology in Australia. By examining the content of the speech, as it was written down by Spencer, we are also able to reassesses the importance of Gillen to the ethnographic ambitions of the Spencer/Gillen collaboration. The incorporation of fundamental Arrernte concepts and the use of Arrernte words to convey the purpose of their 1896 fieldwork suggest a degree of Arrernte involvement and consent not revealed before. The paper concludes with a discussion of the outcomes of the Engwura festival and the subsequent publication of The Native Tribes of Central Australia within the context of a broader set of relationships that helped to define the emergent field of Australian anthropology at the close of the nineteenth century. One size doesn?t fit all: Experiences of family members of Indigenous gamblers Louise Holdsworth, Helen Breen, Nerilee Hing and Ashley Gordon Centre for Gambling Education and Research, Southern Cross University This study explores help-seeking and help-provision by family members of Indigenous people experiencing gambling problems, a topic that previously has been ignored. Data are analysed from face-to-face interviews with 11 family members of Indigenous Australians who gamble regularly. The results confirm that substantial barriers are faced by Indigenous Australians in accessing formal help services and programs, whether for themselves or a loved one. Informal help from family and friends appears more common. In this study, this informal help includes emotional care, practical support and various forms of ?tough love?. However, these measures are mostly in vain. Participants emphasise that ?one size doesn?t fit all? when it comes to avenues of gambling help for Indigenous peoples. Efforts are needed to identify how Indigenous families and extended families can best provide social and practical support to assist their loved ones to acknowledge and address gambling problems. Western Australia?s Aboriginal heritage regime: Critiques of culture, ethnography, procedure and political economy Nicholas Herriman, La Trobe University Western Australia?s Aboriginal Heritage Act 1972 (WA) and the de facto arrangements that have arisen from it constitute a large part of the Aboriginal ?heritage regime? in that state. Although designed ostensibly to protect Aboriginal heritage, the heritage regime has been subjected to various scholarly critiques. Indeed, there is a widespread perception of a need to reform the Act. But on what basis could this proceed? Here I offer an analysis of these critiques, grouped according to their focus on political economy, procedure, ethnography and culture. I outline problems surrounding the first three criticisms and then discuss two versions of the cultural critique. I argue that an extreme version of this criticism is weak and inconsistent with the other three critiques. I conclude that there is room for optimism by pointing to ways in which the heritage regime could provide more beneficial outcomes for Aboriginal people. Read With Me Everyday: Community engagement and English literacy outcomes at Erambie Mission (research report) Lawrence Bamblett Since 2009 Lawrie Bamblett has been working with his community at Erambie Mission on a literacy project called Read With Me. The programs - three have been carried out over the past four years - encourage parents to actively engage with their children?s learning through reading workshops, social media, and the writing and publication of their own stories. Lawrie attributes much of the project?s extraordinary success to the intrinsic character of the Erambie community, not least of which is their communal approach to living and sense of shared responsibility. The forgotten Yuendumu Men?s Museum murals: Shedding new light on the progenitors of the Western Desert Art Movement (research report) Bethune Carmichael and Apolline Kohen In the history of the Western Desert Art Movement, the Papunya School murals are widely acclaimed as the movement?s progenitors. However, in another community, Yuendumu, some 150 kilometres from Papunya, a seminal museum project took place prior to the completion of the Papunya School murals and the production of the first Papunya boards. The Warlpiri men at Yuendumu undertook a ground-breaking project between 1969 and 1971 to build a men?s museum that would not only house ceremonial and traditional artefacts but would also be adorned with murals depicting the Dreamings of each of the Warlpiri groups that had recently settled at Yuendumu. While the murals at Papunya are lost, those at Yuendumu have, against all odds, survived. Having been all but forgotten, this unprecedented cultural and artistic endeavour is only now being fully appreciated. Through the story of the genesis and construction of the Yuendumu Men?s Museum and its extensive murals, this paper demonstrates that the Yuendumu murals significantly contributed to the early development of the Western Desert Art Movement. It is time to acknowledge the role of Warlpiri artists in the history of the movement.b&w photographs, colour photographsracism, media, radio, pitjantjatjara, malarrak, wellington range, rock art, arrernte, fj gillen, engwura, indigenous gambling, ethnography, literacy, erambie mission, yuendumu mens museum, western desert art movement

Introduction: In the Ngungikurungkurr language of the Daly River in the Northern Territory, the word for "Deep Listening" is 'Dadirri' (Ungunmurr, 2009) and in the Yorta Yorta language of the Murray River in Victoria, it is 'Gulpa Ngawal'. The closest we can get to describing it in English is deep and respectful listening which builds community. Deep listening draws on many senses beyond what is simply heard. It can take place in silence. Deep listening can be applied as a way of being together, as a research methodology and as a way of making a difference.CDsilcar, rmit, monash, koorie heritage trust, yorta yorta, taungurung, gunnai, gippsland, gunditjmara, richard frankland, deep listening, woolum bellum, education, art, music, indigenous research, sista girl productions

The Wurrung Wurrung Kit is designed to introduce students at all levels to the heritage of Aboriginal languages within the area now known as Victoria. The kit aims to: Create awareness of Victorian Aboriginal languages in the past and present. The kit is not designed for the teaching of languages, Develop students' understanding of the relationship between the languages and culture of Victorian Indigenous people, or Koories, Create awareness of the importance of language to indigenous communities today and to foster respect for these communities and their languages, Highlight the diversity within Aboriginal Victoria and Australia in terms of languages and culture, Provide resources for students and teachers that can be used either as a window into Aboriginal culture generally, or to complement a broader unit of work in indigenous studies. Resources for teachers Purpose of this kit Using this kit Terminology Pronunciation Facts about Aboriginal languages in Victoria Language and Aboriginal culture Revitalizatoin of Aboriginal languages Language Alive in the community Community protocols Understanding the Language Map VELS and Curriculum links Teaching Framework Resources and contacts Activities for students Animal names Colouring in Possum Koala Kangaroo Code breaker What do yo know? Concentration Sounds, spellings and symbols Kinship Different things, different words Koorie Garden Timeline Story of Victorian Languages Language on the Mission Role Play Traditional Owners Placenames Graffiti Wall Map References.maps, b&w photographs, b&w illustrations, colour illustrations, games, referenceswoiwurrung, boonwurrung, gunnai kurnai, djadjawurrung, wathaurong, keerraywoorroong, jardwadjali, wergaia, ladjiladji, taungurung, dhudhuroa, kulin

Good governance means good business What is governance? The Indigenous Governance Awards Key elements of good governance Finalists 2005: Koorie Heritage Trust, Victoria; Central Australian Aboriginal Congress, NT; Sunrise Health Service, NT; Goldfields Land and Sea Council, WA; Institute for Aboriginal Development, NT; Maari Ma Health Aboriginal Corporation NSW; North Coast Aboriginal Corporation for Community Health Qld; Tiwi Islands Local Government, NT What works: lessons from the 2005 Indigenous Governance awards Governing body: choosing the board; Size and frequency of meetings; Board change and continuity; Processes of decision-making; Making good decisions; Financial decision-making; Accountability tools Managing and implementing decisions: carrying out recommendations; Informing stakeholders Conflict resolution: conflicts among the board; Complaints from members; Staff conflicts Leadership development: developing youth; Staff development and training Cultural norms and values: Boards and elders; Community and culture Future planning.colour photographsbusiness enterprise, indigenous business

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape