In 1965, HMAS Sydney sailed on the first of 25 trips to Vũng Tàu, transporting Australian soldiers and equipment to serve in the Vietnam War. This is how the ship became known by the nickname " the Vung Tau Ferry".Shield-shaped wooden plaque with a bronze attachment displaying a crown, anchor, boomerang, woomera and nulla nulla with the word Sydney. Emblem of he HMAS SydneySYDNEY / THOROUGH AND READYsydney, navy, vungtau ferry, hmas sydney, australian navy

Wood veneer plaque with fabric crest of 1 Operational Support Unit RAAF:- White centre of two aboriginal weapons - spear and woomera. Motto; Strike Furtherplaque, operational support unit, raaf

HMAS Perth (II) served on three tours of duty off South Vietnam during the Vietnam War and was awarded a US Navy Unit Commendation and a Meritorious Unit Commendation for her service during the conflict. Shield-shaped wooden plaque with a circular white ceramic insert in he middle. It features a transfer of a crown, black swan and boomerang with woomera: the symbol of HMAS Perth.Perth Fight and Flourishperth, hmas perth, australian navy

Art pigments Boomerangs Woomera Natural resins and gums Separation of poisons from edible plants Aboriginal bush foods Stone tool technology Aboriginal inventors Aboriginal bush medicine Specific uses of technology by a community Seasonal calendars Games and toys Firestickscolour photographs, b&w illustrations, diagramsart, seasonal calendars, aboriginal social life and customs, stone tool technology, games and toys

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

The mysterious spots were caused by mosquito bites, due to the stagnant water from the flood. They had run out of medicines, bandages, everything, with no money to buy more. The Dogtor discovered a gold nugget in his bag from the mines and told nurse Sister Spaniel to take it to the bank to change it for money. Life then returned to normal at Hilltop Hospital. Then one day, a big loud silver helicopter appeared in the sky with a notice: WOOMERA RANGE. V.I.P. TOP SECRET. SPACE SURVEY. ROCKET DIVISION.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 2 pagesPage 1: handwritten 'CUT' on left hand side.the flying dogtor, robin boyd, crawford productions, manuscript

Major Minor, the space mouse, was feeling well again now that no-one was poisoning his food and plans were made to send him up in the satellite that afternoon. The countdown began. Major Minor was strapped in and given his camera, notebook and cheese lunch packages for seven orbits. The Flying Dogtor thought his work in Woomera had been completed when he realised they’d given the space mouse the wrong package. The Dogtor and the Secret Service Man looked at each other in horror because that meant that Crafty was onboard the rocket!The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Handwritten, foolscap, 2 pagesThe title is crossed out. Many edits.the flying dogtor, robin boyd, crawford productions, manuscript

The most secretive experiments of the most secretive scientists were carried out in Room Z at the Woomera Range Space Rocket Division. The only people with a key were the topmost scientist, the Prime Minister and the cleaning lady. They had to wait until 5pm for the cleaning lady to arrive so they could get Crafty Carson Carpetbag out, who was hiding from The Flying Dogtor. The Flying Dogtor could hear Crafty making whistling, humming noises and the Secret Service Man said he was messing with Mixture 8X, the most secretive invention of them all, Special Reducing Mixture for use when travelling in small satellites.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Handwritten in pencil, foolscap, 2 pagesThe title is crossed out and it is noted that this is a contraction (eliminating sound effects) of Episodes 23, 24, and 25. Many edits.the flying dogtor, robin boyd, crawford productions, manuscript

On reverse: Nose Cone - Skylark Rocket Also stamped in blue ink: Phone: Ex. 253 STILL PHOTO SECTION W.R.E. SALISBURY, S.A. Neg. No. E1532A (in pencil) Date: 17.6.60 (in pencil) Subject: Skylark Nose. (in pencil) Classification: RESTRICTED (over stamped) 9 Feb 1961 (over stamped)alan gardiner collection, space industry, 1960-06-17, rocket, salisbury, skylark rocket, south australia, weapons research establishment (wre), woomera, 1960

On reverse: Nose Cone - W.R.E. Skylark Rocket Also stamped in blue ink: Phone: Ex. 253 STILL PHOTO SECTION W.R.E. SALISBURY, S.A. Neg. No. E1532 (in pencil) Date: 17.6.60 (in pencil) Subject: Skylark Nose. (in pencil) Classification: RESTRICTED (over stamped) 9 Feb 1961 (over stamped)alan gardiner collection, space industry, 1960-06-17, rocket, salisbury, skylark rocket, south australia, weapons research establishment (wre), woomera, 1960

On reverse: Nose Cone - Skylark Rocket Also stamped in blue ink: Phone: Ex. 253 STILL PHOTO SECTION W.R.E. SALISBURY, S.A. Neg. No. E1532B (in pencil) Date: 17.6.60 (in pencil) Subject: Skylark Nose. (in pencil) Classification: RESTRICTED (over stamped) 9 Feb 1961 (over stamped)alan gardiner collection, space industry, 1960-06-17, rocket, salisbury, skylark rocket, south australia, weapons research establishment (wre), woomera, 1960

On reverse: Skylark Launcher Also stamped in blue ink: Phone: Ex. 253 STILL PHOTO SECTION W.R.E. SALISBURY, S.A. Neg. No. E581 (in pencil) Date: 25 Jul 1967 (over stamped) Subject: Classification: UNCLASSIFIED (over stamped)alan gardiner collection, salisbury, south australia, space industry, weapons research establishment (wre), woomera, launch pad, 1967, 1967-07-25, skylark rocket

On reverse: British Black Knight Rocket on Launcher Also stamped in blue ink: Phone: Ex. 253 STILL PHOTO SECTION W.R.E. SALISBURY, S.A. Neg. No. E1548 (in pencil) Date: 25.7.60 (in pencil) Subject: B.K. (in pencil) Classification: RESTRICTED (over stamped) 9 Feb 1961 (over stamped)alan gardiner collection, 1960, 1960-07-25, black knight rocket, launch pad, rocket, salisbury, south australia, space industry, weapons research establishment (wre), woomera

On reverse: W.R.E. Rocket - Skylark Also stamped in blue ink: Phone: Ex. 253 STILL PHOTO SECTION W.R.E. SALISBURY, S.A. Neg. No. E573 (in pencil) Date: 25 Jul 1967 (over stamped) Subject: Classification: UNCLASSIFIED (over stamped)alan gardiner collection, salisbury, south australia, space industry, weapons research establishment (wre), woomera, launch pad, 1967, 1967-07-25, skylark rocket, rocket

On reverse: R.A.F. Vulcan Bomber Also stamped in blue ink: Phone: Ex. 253 STILL PHOTO SECTION W.R.E. SALISBURY, S.A. Neg. No. N60/1707 (in pencil) Date: 24.6.60 (in pencil) Subject: Vulcan (in pencil) Classification: UNCLASSIFIED (over stamped) 9 Feb 1961 (over stamped)alan gardiner collection, 1960, 1960-06-24, aircraft, avro vulcan, r.a.f., royal air force, salisbury, south australia, space industry, strategic bomber, weapons research establishment (wre), woomera

William (Bill) ONUS (15 November 1906-1968) Born Cummeragunja Aboriginal Reserve, Murray River, New South Wales Clan: Wiradjuri William Townsend (Bill) Onus was a shearer, actor and activist who revived the Australian Aboriginese League in Melbourne in 1946. He retired from politics in to start the Aboriginal Enterprises workship in Belgrave with his brother Eric. They produced boomerangs, woomeras, fabrics and greeting cards imprinted with Aboriginal motifs. He ran the business from his small factory and shop at Belgrave in the Dandenong Ranges. To promote his wares Bill Onus toured widely in Victoria and beyond as a travelling showman, giving demonstrations of boomerang-throwing, which he advocated as a national sport. (ADB) Bill Onus adopted similar imagery to that which appeared in mass-produced indigenised design; however, he used such works to draw attention to his political work with the ‘Committee for Aboriginal Citizen Rights’ and the ‘Australian Aborigines League.’ William McLintock (Lin) Onus is the son of Bill Onus. Painted boomerang thought to be decorated by Bill Onus.boomerang, aboriginal, bill onus, aboriginal enterprise novelties

William (Bill) ONUS (15 November 1906-1968) Born Cummeragunja Aboriginal Reserve, Murray River, New South Wales Clan: Wiradjuri William Townsend (Bill) Onus was a shearer, actor and activist who revived the Australian Aboriginese League in Melbourne in 1946. He retired from politics in to start the Aboriginal Enterprises workship in Belgrave with his brother Eric. They produced boomerangs, woomeras, fabrics and greeting cards imprinted with Aboriginal motifs. He ran the business from his small factory and shop at Belgrave in the Dandenong Ranges. To promote his wares Bill Onus toured widely in Victoria and beyond as a travelling showman, giving demonstrations of boomerang-throwing, which he advocated as a national sport. (ADB) Bill Onus adopted similar imagery to that which appeared in mass-produced indigenised design; however, he used such works to draw attention to his political work with the ‘Committee for Aboriginal Citizen Rights’ and the ‘Australian Aborigines League.’ William McLintock (Lin) Onus is the son of Bill Onus. Ceramic form decorated with Aboriginal design by Bill Onus.aboriginal, bill onus, aboriginal enterprise novelties, ceramics

William (Bill) ONUS (15 November 1906-1968) Born Cummeragunja Aboriginal Reserve, Murray River, New South Wales Clan: Wiradjuri William Townsend (Bill) Onus was a shearer, actor and activist who revived the Australian Aboriginese League in Melbourne in 1946. He retired from politics in to start the Aboriginal Enterprises workship in Belgrave with his brother Eric. They produced boomerangs, woomeras, fabrics and greeting cards imprinted with Aboriginal motifs. He ran the business from his small factory and shop at Belgrave in the Dandenong Ranges. To promote his wares Bill Onus toured widely in Victoria and beyond as a travelling showman, giving demonstrations of boomerang-throwing, which he advocated as a national sport. (ADB) Bill Onus adopted similar imagery to that which appeared in mass-produced indigenised design; however, he used such works to draw attention to his political work with the ‘Committee for Aboriginal Citizen Rights’ and the ‘Australian Aborigines League.’ William McLintock (Lin) Onus is the son of Bill Onus. Wooden plate decorated with Aboriginal design by Bill Onus.Stamped on back "Made in Australia Bill Onus"aboriginal, bill onus, aboriginal enterprise novelties, ceramics

Between 1915 and 1951, military topographical mapping in SA was conducted by Royal Australian Survey Corps (RASvy) units based outside the state. In February 1952, Army HQ Field Survey Section (Central Command Detachment) was established in Adelaide in a drill hall at Largs Bay. It was tasked with providing map coverage in the Woomera and Southern areas of the state. The section was subsequently reorganised as Central Command Field Survey Section moving firstly to Hampstead Barracks, Hampstead in 1953 and then into accommodation at Keswick Barracks in 1954. In 1957 the Section commenced mapping operations in the NT. The Unit was relocated to the old cavalry stables in 1961 and was redesignated Central Command Survey Unit and remained there till 1973. In 1970 the Unit was redesignated 4 Fd Svy Sqn and engaged in operations conducted in PNG from 1972 to 1974 inclusive. In 1973 the Squadron moved into a brand new two-storey specially designed and purpose built building adjacent to the old building. The old building then became the Squadron Q and Map store with an interconnecting lobby to the new building. Since 1975 the Unit was involved in the 1:50,000 Mapping Programme in WA, NT, QLD, SA and conducted many other operations within Australia and overseas. Post disbandment of the Corps the old Squadron building (cavalry stables) now houses the Army Museum of South Australia (AMOSA). The Royal Australian Survey Corps was amalgimated into the Royal Australian Engineer Corps in July 1996. In the lead up to this amalgamation, 4 Field Survey Squadron Keswick Barracks, Adelaide, South Australia was disbanded in 1995. A closing Ceremony was held on 25 November 1995 at 4 Fd Svy Sqn Keswick Barracks attended by about 208 former members of the Unit. A photo was taken of attendees at that event on the day and a list was prepared of attendees. All attendees were sent a copy of the photograph and the list of names as a momento of the Unit and the ceremony..1P A4 Print of an original photo of attendees at the 4 Fd Survey Sqn Closure Ceremony at Keswick Barracks 25 Nov 1995. .2P A4 Print of the names of the attendees at the 4 Fd Survey Sqn Closure Ceremony at Keswick Barracks 25 Nov 1995. Approx 208 attendees.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr, 4 fd svy sqn

'Worlingworth', Eltham, home of noted anthropologist the late Professor Donald Thomson and his wife Dorita Thomson. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p127 Dubbed as ‘Australia’s Lawrence of Arabia’ anthropologist Donald Thomson lived much of his life in Eltham, at Banoon Road. On his retirement as Professor of Anthropology in 1968, The University of Melbourne professorial board compared Thomson to Lawrence of Arabia because of his work for Aborigines and his controversial personality. Although Thomson is now recognised for his huge contribution, during his lifetime he suffered opposition and his life has been described as ‘tragic’.1 Thomson failed to gain the recognition as a scientist that he felt he deserved and he failed to alter government policy towards Aboriginal people. But towards the end of his life in 1970, anthropologists were moving towards the type of research he had done and the movement to grant land rights to Aborigines was strengthening. Thomson is best known for his anthropological fieldwork in Cape York, Arnhem Land and Central Australia, but he is also known for his scholarly contributions to ornithology and ecology. Thomson documented every aspect of the daily and ritual life of the Aboriginal world of Cape York and Arnhem Land in the 1930s and 1940s. The huge collection in Museum Victoria includes 11,000 photographs, 7500 items of material culture, 1000 botanical and zoological specimens and 4500 pages of field-notes.2 The film Ten Canoes used Thomson’s photographs as a source. Thomson bought the Eltham property known as Worlingworth in 1934. The single-storey 60-square house standing by the Yarra River was built in 1922-23. It is one of the last in Eltham to survive with its farm setting intact. It is also one of the few substantial residences built in the Eltham Shire from the late 19th century to the early 20th century, which signalled a major change in the area towards the residential municipality it is today.3 The original section, built in the mid 1860s, of rose pink hand-made bricks and stone quarried on the property, was incorporated in the new red-brick house built in 1922. An immense oak tree by the house grew from an acorn brought by Patrick Armstrong who first bought the land in March 14, 1862. Armstrong named Worlingworth after his forbears’ village in Suffolk, England. Worlingworth saw grand days when Commander Alan A Barlee (R.N.) bought it in 1922 after winning the Calcutta Sweep. The property then included a nine-hole golf course, a tennis court, a bowling green, a boathouse and a boat-ramp.4 For most of his career Thomson, who was born in 1901, was attached to The University of Melbourne. In 1935 he represented the Commonwealth Government at Caledon Bay in east Arnhem Land to investigate and mediate for four Aborigines accused of killing five Japanese and three Europeans. In 1938 Thomson was awarded a PhD in Anthropology at Cambridge University, and during his career, he received several medals from British Societies, who perhaps appreciated his work better than their Australian counterparts. From World War Two, Thomson suffered a string of hardships, beginning with severe wounding in Dutch New Guinea (for his military service in New Guinea he was awarded an OBE) and he was invalided from service in 1944. That year he was diagnosed with diabetes. A fire in 1946 destroyed what Thomson regarded as perhaps the best record he had made of Aboriginal life – the 20,000 feet, (6096m) of film he had shot in Arnhem Land. In 1954 he and wife, Gladys, divorced. The next year he married his technical assistant, Dorita McColl. Several times during his career Thomson had major disagreements. For instance Professor P Elkin constantly opposed his work. He also opposed Thomson when he campaigned vigorously in 1947 against the establishment of a rocket range at Woomera, South Australia, because of the threat it posed Aborigines. Thomson resigned in frustration from the Victorian Aborigines Welfare Board in 1967, after serving for ten years, because he found that his advice was disregarded. His ashes were scattered over Caledon Bay from the air.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, banoon road, donald thomson, dorita thomson, eltham, worlingworth