The table of ten contents covers 65 items relating to returning to civilian life.Book, “Return to Civil Life” cardboard covers with dark and light blue and red colours, text in white & blue, Coat of Arms in LH corner, 55 pages with 10 main content table all print in black.book, civil life

These dressing table doilies were made by women of the early settler families in Moorabbin Shire c1900 and show their crochet skills . Although living conditions were basic families still held onto their traditional English and European customs and took pride in presenting elements of refined society. These tray covers are examples of the crochet skills of the women of the early settler families in Moorabbin Shire c1900 2 x small ecru crocheted dressing table doilies a) oval with flowers and shapes, b) star shaped lacyclothing, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, hunt ailsa, dairy farms, fruit orchards

Photos the 10th Annual Art and Craft Exhibition that was run by the Widows' Club. The label identifies Marianne Spruyt from Guterman Craft as the judge that year. The items could be sold at trading tables and at the table outside Legacy House during Badge Week in September to raise funds. The label mentions the Widows' Club made a donation each year to Legacy. The photos were taken by Susie Howard the publicity officer. These photos were in a scrapbook of A record of the type of activities Legacy provided as a social outlet for widows. Colour photo x 7 of tables of craft items at Legacy house, some have been awarded 'Best Art exhibition' and 'Best dressed doll' and three paper labels.White paper label with black type 'Legacy holds an annual Arts and Crafts Exhibition at Legacy House. A wide range of items are displayed and many of the wonderful items are for sale. The Legacy Widows' Club raises funds throughout the year and kindly makes a donation to Legacy.' Yellow paper label with black type 'Marianne Spruyt, Area Manager of Guterman Craft, had the difficult task of judging the best of the Arts and Crafts on display.' White paper label with handwriting in blue pen '10th Annual Craft Exhibition 1991 / Susie / L.H. / 1991' 00676.2 has 61% in red pen on back. Printed on Fujicolor paper.widows, craft, activities

A variety of papers on linguistic and applied languages.Screen shots, tableslinguistics, warlpiri

Pt 1 History and contexts: 1. Australian Aboriginal and Torres Strait Islander mental health: an overview 2. A history of psychology in Aboriginal and Torres Strait Islander mental health 3. The social, cultural and historical context of Aboriginal and Torres Strait Islander Australians 4. The policy context of Aboriginal and Torres Strait Islander mental health Pt 2 Issues of Aboriginal and Torres Strait Islander mental health and wellbeing: 5. Mental illness in Aboriginal and Torres Strait Islander peoples 6. Social determinants of Aboriginal and Torres Strait Islander social and emotional wellbeing 7. Preventing suicide among Indigenous Australians 8. Anxiety and Aboriginal and Torres Strait Islander young people 9. Substance misuse and mental health among Aboriginal Australians 10. Trauma, transgenerational transfer and effects on community wellbeing 11. Indigenous family violence: pathways forward Pt 3 Mental health practice: 12. Working as a culturally competent mental health practitioner 13. Communication and engagement: urban diversity 14. Issues in mental health assessment with Indigenous Australians 15. Reviewing psychiatric assessment in remote Aboriginal communities 16. Promoting perinatal mental health wellness in Aboriginal and Torres Strait Islander communities Pt 4 Working with specific groups: models, programs and services: 17. Ngarlu: a cultural and spiritual strengthening model 18. Principled engagement: Gelganyem youth and community well being program 19. Dealing with loss, grief and trauma: seven phases to healing 20. The Marumali program: an Aboriginal model of healing 21. Mental health programs and services.colour photographs, tablesmental health

"The relation of Aboriginality to English has important implications for communication between Aborigines and other Australians, and especially for the education of Aboriginal and other Australian children within a context of reconciliation." Executive summary "The relationship between Aboriginal English and Australian English requires an appropriate educational response, and the report concludes by providing the rationale for two way bidialectal education which is the best way in which Aboriginality and English may thrive together within a schooling which will relate meaningfully to a life experience in which both English dialects have an important place". Executive summaryword lists, tableslinguistics, education, reconciliation, sociolinguistics

South Australian Education Department Curriculum planning document.tables, wall chartseducation, south australia, curriculum development, early childhood education, primary school education, secondary school education, curriculum policy, curriculum planning

Notes on a school providing a Bilingual Education in an independent community school.colour photographs, tablesyipirinya school, mparntwe, western arrernte, northern territory, aboriginal english, bilingual education, bicultural education, primary school education, two way education

word lists, tablesdjab wurrung, djabwurrung, wembawemba, wemba wemba, wergaia, luise hercus, robert brough smyth

word lists, tablesdjab wurrung, wembawemba, wemba wemba, wergaia, djadja wurrung, chaap wurrong, wimmera, dawson, grammar

Black cylindrical pencil holder with marking for metric conversion.Metric conversion tablesinstruments, general

This table runner is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Table Runner, white cottonNonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, flagstaff-hill-maritime-village, table runner, giles collection, henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods, textile

19 pages in table format, of events that occurred and people who were involved with the RVIB, and 1 page showing an aerial view of an unknown area. Possibly used as a base for creating in house history or to assist the foundation of Lighthouse on the Boulevard.19 pages in table format, of events that occurred and people who were involved with the RVIB, and 1 page showing an aerial view of an unknown areanon-fictionelizabeth maxwell, neil maxwell, royal victorian institute for the blind

Manufactured by E. Hoppus the Hoppus's Practical Measurer, or measuring made easy by a new set of tables which show by looking the solid content of any piece of timber, stone, etc, either square, round or unequally sided, and the value at any price of cubic feet. The book also gives the superficial comtent of boards, glass, painting and plastering with explanations of the uses and applications of the tables. The contents are given in feet, inches, quarters and twelfth parts of an inch. It includes the measurment of timber by several dimensions together with tables showing the weight of iron by measure.Hoppus's Practical Measurer; or, Measuring made easy by a new set of tables, which show, at sight, the solid content of any piece of timber, stone, &c. W. Nicholson & Sons; London; nd. 238 p. Hard cover.e. hoppus; measurment; timber; stone; boards; glass; painting; plastering, iron;

These white table cloths were made by women of the early settler families in Moorabbin Shire c1900 and show their needlework skills . Although living conditions were basic families still held onto their traditional English and European customs and took pride in presenting elements of refined society. These table cloths are examples of the dressmaking, crochet and needlework skills of the women of the early settler families in Moorabbin Shire c1900 2 small white table cloths a) linen with wide crochet edge b) cotton with coloured needlework flowers and crochet edge clothing, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, hunt ailsa, dairy farms, fruit orchards

This was an early table setting used by the Shire of Bulla.A maroon and gold table setting consisting of a cup 271.1 a band of maroon around top of cup with two lines of gold in middle of cup and one line of gold on lip and inside of cup. 271.2 maroon and gold around saucer. 271.3 maroon and gold around the edge of saucerQueens Maroon "Solian ware"shire of bulla, crockery, simpsons, potters, containers, domestic items, george evans collection

Australia converted to decimal currency on 14 February 1966. This coin purse is printed with a simple conversion table to help the user navigate the switch from pounds, shillings and pence to the new dollars and cents.Cream vinyl coin purse with conversion table for pre-decimal and decimal currency printed in black on each side. Hinged silver metal opening and kiss clasp. Unlined.coin purse, decimal currency, 1960s

Document - The Met design or style manual details the Corporate Identity to be used on all publications, and documents including logos, logotypes, symbols, standard lettering, and colour. Has a table of contents. The design manual is dated Nov 1984, just over one year after the creation of The Met - see reference. Parts 2, and 4 to 9 are missing insert pages.Demonstrates a Style Guide or Design Manual used by The Met in Melbourne.Document - multi ring binder green plastic covers, with approx 40 sheets, full colour, including table of contents.the met, design, style guide, logos, colour schemes

A photo of widows at trading tables in the Clubrooms at Legacy House. It is one of the annual fetes usually held in November. Items for sale included home made food items like relish and jams, and craft items. Legacy House held craft lessons throughout the year and often the items made were sold at the fetes or at a stall outside Legacy House during Legacy Week for fundraising. The lady second from left is Vera Lang who was on the Widows committee for many years. It is likely to be 1988 due to the photographers reference number meaning 17 November 1988 (ref no. 881117). These regular meetings, fetes and workshops provided important opportunities for widows to meet, socialise and be active.A record of the type of activities Legacy provided as a social outlet for widows and for fundraising. Colour photo x 3 of widows at a trading table at the 1988 fete.Label on the back from Keesing Photographic.widows, fete, activities

A widows' function, possibly a craft exhibition (some of the same ladies are in 00654 and 00655) or a time when craft items are sold on trading tables. Second from left is Billie Sims, president of the Widows Club in the early 1990s, the lady on the left is Vera Lang (see 00664), other names are unknown. The date is assumed as 1992 due to the reference number from the photographic studio 920609 could mean 9 June 1992.Legacy provided the opportunity for many gatherings of widows to enjoy social interaction and companionship.Black and white photo of 4 Legacy widows at Legacy House with craft items exhibited on tables and a proof sheet.Label on the back from Keesing Photographic with Reference No: 920609A-19.widows, widows club, activities

These Table Runners were made by women of the early settler families in Moorabbin Shire c1900 and show their needlework skills . Although living conditions were basic families still held onto their traditional English and European customs and took pride in presenting elements of refined society These table runners are examples of the dressmaking, crochet and needlework skills of the women of the early settler families in Moorabbin Shire c1900 2 Table Runners c1900 a) cream fine cotton with bands of cut-work and needlework border b) white linen with crochet squirrels at one end clothing, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, hunt ailsa, dairy farms, fruit orchards

Confidential report dated 11th November 1970 by Forecasting Sub-Committee chaired by A.V. Dore. Itemises occupancy from 1961-71, annual cost of the residences, auxiliary accommodation costs and Legacy manpower needed, as well as the philosophy behind providing residential care. Consideration is given to the need for accommodation, equivalent care available elsewhere, and the projected decline in the number of children needing accommodation. The Forecasting Sub-Committee recommended that a further sub-committee be appointed by the Board to enquire further along the lines suggested in this report, and this became the Residences Review Sub-Committee in 1971. (See Cat.No. 01671) The table (01670(5)) compares statistics from 1961, 1971 and 1980 for Legatees, children, and gross spending, all of which showed an increase.Part of the history of Melbourne Legacy's involvement with residential care for children.5 photocopied foolscap sheets, black on discoloured white. Two holes punched for filing. Adhesive tape has deteriorated and come off 01670(5), leaving it in two pieces. Page 1: Handwritten 'Arrange meeting', and annotations to the figures in the occupancy table. Page 4: 'L/tee J.E. Chancellor' handwritten at top Table: '£35 per week for 1 child in residences' under 1971, other handwritten annotations.residences, review

These measuring glasses would have been used by chemists and doctors for measuring ingredients for medicines and medical preparations. They could also have been used in households. One of the measurements is the drachm which was a unit of weight and a unit of volume (fluid dram) which was an apothecary measurement equivalent to 60 grains or one-eighth of an ounce. Glass measuring containers such as these could still be in use today but plastic containers are also used. These two glasses are of interest as examples of medicine measuring containers used in the 19th and 20th centuries. They will be useful for display. These are two identical clear glass containers used for measuring medicines. The measurements for tablespoons, teaspoons, ounces and drachms are marked on the side of the glass. One glass has a small chip on the upper rim. ‘Table, Tea, Ounces, Drachms’ 19th and 20th century medicine, history of warrnambool, measuring glass, medicine glass

This small medicine glass has ho manufacturer's or owner's marks. It has no side seams, the base is slightly concave, the embossed inscriptions are inside the glass, the clear glass has slight imperfections and ripples, and the glass is slightly opaque below the lip; these features point to the glass being blown into a mould, partially set, and spun between that mould and an internal mould that had the embossing on it, called a turn-mould process. The lip was then ground to be smooth. The process was patented in 1887 with the title of "Mold for blowing turned bottles".This medicine glass is significant as an example of medical equipment that has a design still used today. It is significant also for having the embossing inside the glass, which was likely produced by the turn-mould method of bottle (and container) making.Medicine glass or dose cup; clear glass with small imperfections and ripples in the glass, no side seams and a slightly concave base. All embossed marks are inside the glass. The imperial measurements are in graduated scales for tablespoons, teaspoons, and ounces and drachmas. "OUNCES DRACHMS" "TABLE TEA"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, medicine glass, measuring glass, dose cup, medicine dispensing, medicine measurement, sambell pharmacy warrnambool, sambell chemist and dentist, internal embossing, glass embossed inside, 20th century chemist, blown glass, two-piece mould, turn-moulded glass, turned bottles

colour photographs, graphs, tablesgovernment policy, indigenous affairs, native title, literacy and numeracy, family violence, economic development, vcal

1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture