Rev. Djiniyini Gondarra 1986. Moderator Northern Synod and Vice President of Uniting Aboriginal and Islander Christian Conference.Head and shoulders portrait."Rev. Djiniyini Gondara, Vice President of Uniting Aboriginal and Islander Christian Congress"gondarra, djiniyini, uniting aboriginal & islander christian congress

Rev. Djiniyini Gondarra 1986. Moderator Northern Synod and Vice President of Uniting Aboriginal and Islander Christian Conference.Head and shoulders portrait."Rev. Djiniyini Gondara, Vice President of Uniting Aboriginal and Islander Christian Congress"gondarra, djiniyini, uniting aboriginal & islander christian congress

Rev. Djiniyini Gondarra 1986. Moderator Northern Synod and Vice President of Uniting Aboriginal and Islander Christian Conference.Head and shoulders portrait."Rev. Djiniyini Gondara, Vice President of Uniting Aboriginal and Islander Christian Congress"gondarra, djiniyini, uniting aboriginal & islander christian congress

Line black and white image of an Aboriginal shell necklace.shell necklace, aboriginal, aborigine

Digitised directly from 'Blackfellows of Australia' by Charles Barrett and A.S. Kenyon (Sun Books)Black and white depiction of an Aboriginal man in a bark canoe. aborigine, aboriginal, bark canoe

AboriginalGroup of Aboriginals seated on tree trunk, woman in possum skin cloak. Buggys in backgroundCarrs Plains

Australian air mail envelopes with Aboriginal motif based on 1930s photograph of "One pound Jimmy"Air Mail envelopes, printed in red-brown on off-white. "By AirMail, Par avion" with aboriginal motif. "Sender's name and address" on gummed flap on back.envelope, air mail

Digitised directly from 'The Native Races of the British Empire: Victoria' Black and white Image of an Aboriginal man about to throw a boomerang.aborigine, aboriginal, boomerang

Digitised directly from 'The Native Races of the British Empire: Victoria' Black and white Image of an Aboriginal man about to throw a boomerang.aborigine, aboriginal, boomerang

A black and white image of a number of Aboriginal people in a bark canoe. aborigines, canoe, aboriginal

Glazed jug with Aboriginal motif and the work 'Hepburn'.studio anna, jug, aboriginal, hepburn

Introduction - Jim Fingleton - Outlines history and problem aspects to do with the formulation of the Native Title Act 1993 and subsidiary /? consultative bodies (eg National Native Title Tribunal and Regulations; Native Title Implementation Task Force); Note: Talks &? discussion papers annotated separately by author/?title/?workshop title; SESSION GROUP DISCUSSIONS ONLY annotated here; First Session: Claims - Matters raised in discussion - timing; restraining orders; requirement for claim acceptance; researching claims; disputes; representative bodies; native title /? compensation claims; Second Session: Hearings - "Main matters raised in discussion" - 1.gender issue in hearings; 2.subjective /? objective tests of native title; 3.use of maps; 4.practice directions; 5. mediation; 6. what precision is needed to prove ownership; Third Session: Determinations - "Matters raised in discussion" - 1.what is a community; 2.the legal process for proof of communal title(i-iv); Fourth Session: New Management Regimes - Main matters raised in discussion - 1. need for new development models; 2. need for new administrative models; 3. is self-sufficiency a realistic goal; 4. actve/?passive income; 5. direct funding of Indigenous bodies; 6. towards self-government; Fifth Session: New Management Decisions - Main matters raised in discussion - 1. different models for money management; 2. local government laws and native title; 3. restrictions on the enjoyment of native title rights; 4. need for flexibility in investigating native title; Sixth Session: Conclusions and Recommendations - Papers as requested; discussion; Main New Matters raised by panel in discussion - 1. recommendations from the Aboriginal caucus; 2. requirements for an application; 3. issues for funding; 4. role of representative bodies; 5. double dipping; 6. role of AIATSIS; 7. trustees or agents; 8. land management issues; Annexes: annotated separately under author /? title.tablesnative title, land tenure

Wooden shield with emblem, gold bordered ships crown, kiln oven and aboriginal weapons below.Motto: Silence is Golden"plaque, aboriginal

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

A number of photographs were taken to record the various aboriginal sites around Sunbury.View of one of the aboriginal sites in Sunbury. The sky is grey and the hillside are golden brown.sunbury, aborigines, sacred sites, george evans collection

In 1860 the Wurundjeri Elder, Wonga, petitioned the Victorian Parliament for a piece of land in his people’s own country where he could establish a settlement. The land later named Coranderrk was granted. When Wonga died in 1875 his nephew William Barak, known by settlers as ‘King William, last chief of the Yarra Yarra tribe’, became the leader, the Ngurungaeta. William Barak believed strongly in justice for his people, and time and again made the arduous walk to Melbourne to petition to Parliament and to Queen Victoria for his people. ‘Freedom for our lifetime’, he said. The community at Coranderrk welcomed Aboriginal people displaced from other parts of Victoria; they established an economically self-sufficient settlement by growing and marketing hops. Barak negotiated with the Victorian Government officials as they made promises and broke promises. They finally promised to export the whole of a hop harvest of one year. The people worked around the clock to fill the contract; the Government pocketed the proceeds. The community never recovered. Barak died in 1903— a broken-hearted man. (from http://www.sosj.org.au/_uploads/_cknw/files/Corenderrk.pdf) Artist William Barak is buried in this cemetery.Photographs of graves in grass and bushland. It is the Corenderrk Cemetery, and is associated with the former Corenderrk Aboriginal Reserve.corenderrk, wurundjeri, barak, aborigines, aboriginal, cemetery, grave, barak, jemima dunolly

Wooden shield featuring emblem gold bordered ships crown with gold fish centre and aboriginal weapons belowMotto "Unsean We Seek"plaque, aboriginal

Digitised directly from 'The Native Races of the British Empire: Victoria' The Barwon River in New South Wales is formed through the confluence of the Macintyre River and Weir River (part of the Border Rivers system), north of Mungindi, in the Southern Downs region of Queensland. The Barwon River generally flows south and west, joined by 36 tributaries, including major inflows from the Boomi, Moonie, Gwydir, Mehi, Namoi, Macquarie, Bokhara and Bogan rivers. During major flooding, overflow from the Narran Lakes and the Narran River also flows into the Barwon. The confluence of the Barwon and Culgoa rivers, between Brewarrina and Bourke, marks the start of the Darling River.Black and white Image of an Aboriginal man from Barwon River, New South Wales. Aboriginal people from six language groups originally occupied the area of the Barwon River wetlands. These were the Ngemba, the Baranbinja, the Murrawari, the Ualayai, the Weilwan, and the Kamilaroi peoples. The Aboriginal people generally used the wetlands for hunting, fishing, and gathering uses, and for cultural association.(Wikipedia) The name "barwon" is derived from the Australian Aboriginal words of barwum or bawon, meaning great, wide, awful river of muddy water; and also baawan, a Ngiyambaa name for both the Barwon and Darling rivers. The history, culture and livelihoods of the local Aboriginal people are closely intertwined with the Barwon River and its associated tributaries and downstream flows. (Wikipedia)aborigine, aboriginal, barwon river

Round edge stone with X ridges perhaps used by local Aboriginal people as a tool.X shaped ridge across stone.stone, aboriginal, rock

A study was conducted to locate a number of Aboriginal sites in Sunbury in the 1980s. This study took place as a result of the expanding development on Sunbury's outskirts.A black and white aerial view of one of the Aboriginal ring sites in Sunburyaboriginal sites, aboriginal rings, george evans collection

An early black and white photograph of the residents of Coranderrk Aboriginal Station near Healesville in Victoria.An early black and white photograph of the residents of Coranderrk Aboriginal Station near Healesville in Victoria.coranderrk, john green, kulin nation, healesville

Digitised directly from 'Blackfellows of Australia' by Charles Barrett and A.S. Kenyon (Sun Books)Black and white depiction of an Aboriginal man spearing fish at the waters edge. aborigine, aboriginal, spear, fishing

From Victoria and Metropolis.Black and white image of 16 Aborigines who were living at Coranderrk Aboriginal Station in 1886.aboriginal, aborigines, coranderrk

This book tells the story of Barak of the Wurundjeri Clan.20 pages, illus. (some col.).william barak, aborigines victoria

Draft document for reconciliation for discussion by the Australian people.1 portfolio (various pieces) ; 31 cm.aboriginal reconciliation

Database of information on Coranderrk 1835 to 1995.Winner of the Local History Project Award (for activities that enhance access to records of significance to local communities) as part of the Victorian Community History Awards 2012 242 pages : illustrations ; 30 cm + 1 CD-ROM (4 3/​4 in.) PDF, Word files.ISBN 9780987157416green, john., bon, anne fraser, 1838-1936., coranderrk aboriginal station.