Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, fishing

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, community radio

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, pubs

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-mapsapollo bay, golf course, surf lifesaving club

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii

Local Otways residents (Gadubanud Country) were interviewed by artist/researcher Amy Tsilemanis for the 2023 storytelling project Heart Maps, a collaboration with the Apollo Bay Museum and Historical Society. Themes include memories of communication technologies, entertainments, school, work, community, and life near the ocean. More information here: https://amytsilemanis.com.au/portfolio/heart-maps In this interview: teaching, Apollo Bay School, Waratah Caravan Park, 1960s, 1970s, OtwaysMP3 Audio file apollo bay, teaching, caravan park

This dress belonged to Brighton woman Mariam Issa, an author, public speaker and co-founder with Katharina Kons of the nonprofit organisation Resilient Aspiring Women (RAW). Born in Somalia, Mariam and her family arrived in Australia as refugees in 1998. Seeking to bring women together and foster connections, in 2012 Mariam opened her Brighton backyard to the community. The RAW community garden unites women from all cultures through gardening, food and storytelling.Long loose kaftan-style dress, turquoise cotton with black, brown and cream embroidery around neck and shoulders, depicting large brown flowers surrounded by swirling cream border. Round neck and short, loose sleeves.mariam issa, migration, somalia, resilient aspiring women

Resource book developed by Aboriginal woman in consultation with local Kurnai community of Gippsland, Victoria; includes advice on story telling, involving community and parents, Koorie parents view of schooling , how Koories learn, strategies and activities for classroom, shows symbols used in art, making animal tracks, Kurnai stories include the first man and woman, the Southern Cross and the moon, the talking dog, the echidna, robin redbreast, Tidda-lick the frog, origin of fire, Kur-bo-roo the koala bear, how the sun was made; artwork in planning lessons is copyright free.b&w illustrations, games, classroom activitiesgunai, kurnai, gippsland, lake tyers, koorie studies, dreaming stories, storytelling, koorie education

Writing competition featuring stories, poems and plays by junior entrants. Encourages Indigenous people of the region to write well and develop good standards of literacy.Illustrationsgoulburn valley, creative writing, children, literacy, storytelling, rap, poetry, plays, articles

Luke King’s mixed media artwork Portrait (2023) was shown in the group exhibition Fever’Dreams at the Counihan Gallery in 2023. The group exhibition explored the slippery boundaries between abstract and figurative artwork, showcasing local artists with a strong connection to Merri-bek’s arts community. King uses portraiture to highlight the importance of gesture and facial expression in personal storytelling. Exhibition curator of Fever’Dreams, Mitchel Brannan, writes of King’s work: ‘King explores the profound capacity of the human face to convey emotions within the context of constraint. Through his art, King invites viewers to reflect on the complexities of human expression and the underlying dynamics of restraint within society.’

Murray WALKER (1937- ) Born Ballarat, Victoria Described as one of Melbourne's Figurative Expressionists Murray Walker educated at the Ballarat Technical Art School (a division of the Ballarat School of Mines) in 1952 and 1953, followed by the National Gallery School and RMIT Art school, Melbourne between 1858 and 1859. He studied at the Slade School of Fine Art (London) from 1960 to 1962, with a Summer School at the Academia della Belle Arti, Perugia, Italy in 1961. Myth, narrative and people form an important place in the work of Murray Walker, and he has worked in many mediums including printmaking, painting, collage, assemblage, ceramics and tapestry design. Humour and storytelling are a feature of his work Figurative ExpressionismGift of Dr Graeme Williams OAMFramed hand coloured pen drawing of a number of life modelsavailable, alumni, life models, nude, life drawing

Whilst my main focus for the artwork design was on the Hotels on Main Road, I felt there was an opportunity to tell a broader story of Main Rd and combine/include some interesting pieces of information from many stages of the history of Main Road. Considering that at one point in time there would have been at more than six hotels in this very short section of street….there’s no doubt Main Rd was an epicentre of communication and festivities for the Goldfields of Ballarat. “No matter what luck he had, every miner needed supplies, food and something to entertain him when he was not searching for gold.” Described as being an overcrowded jumble of muddy streets loosely arranged around mining camps...and loud, muddy, colourful and sometimes illicit. I wanted the artwork composition to consist of overlapping images and text to reflect this sense of hustle and bustle. Main Road Mural tells the broader story of the history of Main Road in Ballarat. In 2018, the City of Ballarat commissioned local Ballarat artist Travis Price to create an artwork to align with the Main Road Revitalisation Project and deliver a key component of the storytelling (heritage interpretation) project that spans the length of the shopping precinct. The artwork is featured on a prominent site in the shopping precinct of main road and tells the story of Main Road through depicting key timeline events. Main Road, as its name suggests, was one of the main entries to the mining areas of East Ballarat. It had several names: Main Street before 1858, Plank Road between 1858 and 1868 and Main Road from 1868 onwards. The centre of mining life, it was crowded, prosperous, raucous and dirty. Painted mural on shop wall in Main Road, BallaratBallaarat, Gold Fever, The Royal Standard Hotel, Flood, Boxing Saloon, Plank Road, Kulin Nation, 3350, Election, East, Grog House, The Scandinavian Hotel. Images; Chinese lantern, Pick & Shovel, Miners Licence burning.main road history, ballarat hotels, gold fever, wadawurrung, kulin nation

Canwen Zhao was awarded the $10,000 We The Makers Acquisitive Prize for '35 Life' in 2023. Artist Statement: "35life" is a sustainable fashion project that transforms second-hand clothing materials into urban street outdoor-style products. Highlighting prominent Chinese classic red and green colours not only conveys eastern aesthetics but also adds a sense of unity to the clothing collection. The high-saturation and high-brightness full-colour palette keeps the clothing consistently "fresh," allowing any trendy colours to seamlessly integrate into the project's designs, thus extending the lifespan of the garments. Additionally, all clothing items can quickly transform into a stylish bag for convenient daily carrying and home storage. These bags are made from leftover fabric generated during the production process and serve as original packaging for sale. This approach not only reduces excessive packaging but also enhances the chances of resale in the second-hand market. The project draws inspiration from the traditional Chinese cultural concept of "huo feng ding," meaning "exchange the old for the new." it's also influenced by the designer's personal experience with health issues, making the designs suitable for individuals who can't be exposed to sunlight for extended periods, adapting to the changing urban lifestyle. 35life aims to provide visually pleasing and comfortable dressing experiences for urban dwellers who are busy with work and experience high levels of stress. Unlike traditional design patterns, this project adopts a unique design approach. It selects 3-5 pieces of raw materials based on their colours, and then disassembles them through structural lines. While retaining most of their functionality, these materials are rearranged and assembled on a flat surface before being shaped on a dress form. Subsequently, various ways of creating storage bags are derived from the initial clothing prototypes. After refining the designs, the final products are developed, and similar materials are used to create samples. Therefore, under this design methodology, even for the same garment, it is impossible to produce two identical pieces of clothing. Each garment is truly one-of-a-kind, which enhances its rarity and contributes to the longevity of the fashion pieces. The project includes various types of clothing, each with unique storage methods. This yellow look, named "elegant beach sunscreen monarch," draws its fashion inspiration from traditional Han Chinese attire and its storage concept from the Chinese cultural concept of "jiu jiu gui yi." the design employs flat pattern cutting, utilizing materials from the second-hand market such as beach towels, children's waterproof clothing, and women's dresses. Similar colours and patterns are reassembled through cutting and combining. For the sleeves, quick-drying, sun-protective sport fabric forms the base, overlaid with discarded silk fabric dyed with turmeric and plant dyes. This not only ensures functionality but also adds a sense of elegance. The length can be adjusted using drawstrings. Artist Bio: Zhao Canwen is a multidisciplinary fashion designer with a strong passion for integrating art, history, culture, and sustainable design. With over 15 years of experience in painting, she draws inspiration from ancient Chinese philosophy and aesthetics, which gives her a unique sense of beauty. After 8 years of fashion and art training, she possesses a keen insight into current trends and tends to combine art with commercial needs. Zhao's design style is diverse, characterized by a multidimensional approach, a focus on colour application, and storytelling through details.Outfit consisting of six pieces: - Orange plastic eye wear with green paint - Pair of red and green metal clip on earrings - Red beaded phone case with attached beads on string - Pair of red and green painted running shoes - Yellow and green hooded garment with red piping and zips - Brown bag with green beaded handlessustainable, fashion, we the makers, art, culture, design, chinese philosophy, prize

Index, bibliography, notes, ill, maps, p.628.non-fictionThe Australian experience of war in all its complexity - from the homefront as well as the battlefront - as the men and women who experienced it chose to understand and remember it. The Great War is, for many Australians, the event that defined our nation. The larrikin diggers, trench warfare, and the landing at Gallipoli have become the stuff of the Anzac legend. But it was also a war fought by the families at home. Their resilience in the face of hardship, their stoic acceptance of enormous casualty lists and their belief that their cause was just, made the war effort possible. This book brings together all the dimensions of World War I. Combining deep scholarship with powerful storytelling, this book brings the war years to life: from the well-known battles at Gallipoli, Pozieres, Fromelles and Villers-Bretonneux, to the lesser known battles in Europe and the Middle East; from the ferocious debates over conscription to the disillusioning Paris peace conference and the devastating Spanish flu the soldiers brought home. We witness the fear and courage of tens of thousands of soldiers, grapple with the strategic nightmares confronting the commanders, and come to understand the impact on Australians at home and at the front of death on an unprecedented scale. A century after the Great War, this book brings lucid insight into the dramatic events, mass grief and political turmoil that makes the memory of this terrible war central to Australia's history.world war 1914-1918- australia - history, world war 1914-1918 - social conditions

In Deep Survival Laurence Gonzales combines hard science and powerful storytelling to illuminate the mysteries of survival, whether in the wilderness of in meeting any of life's great challenges.wilderness survival -- case studies, vietnam war

In August 2013, Kiwa Digital, in conjunction with the Victorian Aboriginal Corporation for Languages brought the KIWA SLAM™ to the Ngulu (Language) Class of Healesville High school. Under the guidance of Aunty Joy Murphy, our Wurundjeri elder, nineteen years 7, 8 & 9 students undertook an intensive two days of Dreamtime story telling, culminating in four dreamtime stories told through striking artwork and narrated in the students' own voices. (cover notes)vacl, healesville high school, creation stories, dreamtime, storytelling, education, digital resources, storybook app

Story in Language and Englishmaps, illustrations, photographs, CDstorytelling in language, magati ke rak yederr, marri ngarr rak thawurr

illustrationsstorytelling in language, marri ngarr people

Collection of stories and photographs of people living in Clunes in 2015. Published by J. Christine Rowenon-fictionSHORT STORIES ABOUT WHAT BROUGHT PEOPLE TO SETTLE IN CLUNESwords in winter, clunes storytelling, tree changers

p.247.non-fictionThe stories in this volumereveal for us the the Ireland of a bygone era, of a people with daily strife's and joys not experienced today.literature - ireland, storytelling - ireland