This work is from a series centred around the Chinese proverb “to hold a book in one’s hand is to hold a house of gold” in which the artist positions himself within sites of colonial power. Set within the National Wool Museum gallery, the artist references the pose of an exhausted shearer after a long day of arduous labour. However he is reclining while reading The Fire Stick by Wulla Merrii, a novel set against the 1891 Queensland Shearer’s Strike, questioning cultural stereotypes and how they pertain to concepts of work and leisure. Dressed in sub fusc, his official uniform as an Oxford scholar, Thompson is a defiant intellectual challenging past and continued misperceptions of First Nations people, while embracing both the intersections of his identity and his ancestral heritage. Dr Christian Thompson AO is a Bidjara man of the Kunja Nation with Irish and Chinese heritage. His practice spans across video, photography, sculpture, textiles, performance and sound, evolving through a process of auto – ethnography. While employing various modes of research, he connects his own experience to larger social, political, cultural meanings and understandings. His doctoral research and art practice has had a critical impact on International and Australian art, making global history as one of the first Australian Indigenous students at Oxford University. In 2018 he was made an Officer of the Order of Australia for distinguished services to the visual arts and as a role model to young indigenous artists in the Queen’s Birthday honours list.Framed photograph showing a man dressed in an academic gown, laying on their back holding a book. The setting is a reconstructed shearing shed, inside the galleries of the National Wool Museum.dr christian thompson, first nations, artwork, photography, oxford, heritage, national wool museum

These postcards were made for sale in the Orbost Ehibition Centre. The Snowy River Talking Wall is on the lower outside of the Orbost Exhibition Centre. The cards relate the history of Orbost both indigenous and white. The contributors are: Barry Miller; Gary Green; Becky Illume; Dawn Van Den Berg; Ruth Hansen; Geordie Webb; Graham Falls; Laurie Harvey and Jonathon Renn. The Orbost Exhibition Centre is a community based, not-for-profit arts and entertainment center in Orbost, Victoria. It is the home to the National Wood Design Collection and the Annual Australian Wood Design Exhibition. Wood Workers of Orbost and District initiated the Orbost Exhibition Centre back in 1997 and it was opened in 2004. (from web-site)These postcards are pictorial advertisements for Orbost. They are associated with the Orbost Exhibition Centre, an important tourist attraction, in the town.A set of eleven coloured postcards. Each depicts a section of the Snowy River Talking Wall. Each is a folded rectangle of cardboard with a photograph of a section of the display and information relating to it.talking-wall-orbost postcards orbost-exhibition-centre

British born artist John Wolseley relocated to Australia in 1976, where he travelled extensively through the outback mainly recording the natural history of remote north Australia in large, minutely detailed paintings. Since 2009, he has travelled to Darwin annually to continue his exploration of the Top End, visiting Arnhem Land and Daly River to work with Indigenous artists to research and capture the detail and essence of particular landscapes. His works reflect how landscape can be thought of as fields of energy in which plant forms move or dance with rhythmic life. After The Fire - Leaf Surge represents the vibrant regrowth of new foliage emerging from a landscape recently ravaged by fire.

Winner of the 175th Anniversary of Edward Henty landing at Portland, Acquisitive Art Prize.Gouache on paper depiction of Edward Henty's arrival at Portland Bay. Cream coloured mat board. Light coloured wooden frame. Wire hanging cord. A colourful border depicting native animals as well as other items such as a steam train, shovel, cartwheels surrounds an image of the coastline. Each corner of the border shows a sailing ship. In the foreground are two Indigenous Australians seated on the floor surrounded by bushland. To the left stands a man in European clothing - green trousers and a striped top. He is ankle deep in the water. Behind him are two baskets which he holds with a chain. Behind that are two sheep. Top left is a parchment which says, Thistle the Pioneer, Nov 19th 1834.Front: Back - 'Jennifer McCarthy Edward Henty - Arrival 2009' - Brown texta Also framers sticker1834, the thistle, henty, colonial, portland bay

Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan

Two bronze commemorative plaques on rocks, unveiled by Wurundjeri Tribe Council Elders, mark two eastern boundaries of the former Warrandyte Aboriginal Reserve on the north and south sides of the Yarra. This project was initiated by Nillumbik Reconciliation Group in close association with Reconciliation Manningham and the Wurundjeri Tribe Council, as a means of commemorating the last great corroboree of the Kulin Nation which was held at Pound Bend in March 1852. This plaque is on the Nillumbuk side of the Yarra, accessed via The Boulevard, North Warrandyte. The plaque is set on a rock approximately 50 metres before the turning circle at the end of The Boulevard. Plaque : Warrandyte Aboriginal Reserve This commemorative rock marks an eastern boundary of the former Warrandyte Aboriginal Reserve established in 1852. Centred on Pound Bend, it covered 1,908 acres on both sides of the Yarra River (Birrarung). That same year saw the last great gathering of the Kulin nation here in Wurundjeri country which was celebrated over two weeks with traditional performance and games. For a few years longer the reserve intermittently served as a ration station.With gold having been discovered at Warrandyte, the Wurundjeri were moved on again but ultimately secured a permanent home at Coranderrk, Healesville. A second commemorative plaque and rock is located on the opposite bank of the Yarra and its confluence with Stony Creek. Melway ref : 23 C 9 Unveiled by Wurundjeri Elder, Uncle Bill Nicholson on 23rd March 2013 Funded by the Robert Bridgford Indigenous Trust (Nillumbik Community Fund) with assistance from Manningham City Council Small Grants Program Ref: Monument Autralia https://monumentaustralia.org.au/themes/culture/indigenous/display/99680-warrandyte-aboriginal-reserve-fay bridge collection, 2016-11-07, aboriginal reserve, north warrandyte, plaques, warrandyte aboriginal reserve

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

Helmet of a type worn by soldiers the National Liberation Front of South Vietnam, commonly known by Australians as the Vietcong, was an armed communist political organization in South Vietnam and Cambodia. Its military force, the Liberation Army of South Vietnam, fought against the United States and South Vietnamese governments during the Vietnam War, eventually emerging on the winning side. The LASV had both guerrilla and regular army units, as well as a network of cadres who organized peasants in the territory the Việt Cộng controlled. During the war, communist insurgents and anti-war activists insisted the Việt Cộng was an insurgency indigenous to the South, while the U.S. and South Vietnamese governments portrayed the group as a tool of North Vietnam. The helmet usually had a waterproof cover often with camouflage scrim.Representative if the uniform of the guerrilla forces opposing Australian forces in Vietnam.Sun helmet with red star mounted centre front.military, helmet, vietnam, vietnam war, guerrilla

'Home' is a symbol of hopes, dreams, comfort, love, family and future. It is both a place and an idea, nor does it remain in time and space. It can also represent a time of sadness , fear and loss. Through the roller-coaster of the past year, I have used a series of homes belonging to family and friends. Each artwork of home tells a different story about its occupants, their story, and what home mean to them. Sarah CANHAM Sarah has had a life-long love of creative arts and a passion for nature she has pursued in her career. She has a Bachelor Applied Science degree from Charles Sturt University, a Masters of Environment from University of Melbourne, and works in natural resource management and conservation. Studying part time Sarah Canham completed a Bachelor of Visual Arts at Federation University Arts Academy in 2021. Her art is an expression of the awe she has for the natural world, and concerns for the future, including for our indigenous culture, and native flora and fauna in Australia. She also reflects on the current and past women and mother artists who have experienced the challenge of juggling art, career and motherhood, and have been under-represented in the arts community for millennia.Three handbuilt, slab construction, stoneware formsceramics, sarah canham, dvc art award, alumni

noombapee is an etching and lithograph by Gunditjmara and Keerray Woorroong artist Vicki Couzens. Couzens is a multi-disciplinary artist focused on strengthening her language and culture through research and creative projects. noombapee was created during a 2018 Collie Print Trust Printmaking Fellowship at the Australian Print Workshop. The work is an example of Couzens’ reclamation and celebration of Indigenous languages. The title is a Gunditjmara term which approximately translates to ‘have mercy’ or ‘forgiveness’. The word ‘noombapee’ appears multiple times in the lower right corner of the composition. The left side of the work includes a letter to the editor of the Warnambool Standard, dated 3 April 1940 and authored by Vicki’s ngapoon (paternal grandfather), Nicholas Couzens. Couzens explains that ‘he was an activist and advocate for our rights living on the Framlingham mission.’

australian artist, first nations artist, female artist, wonder woman, suzie quattro, sport spice, dolly parton, beyonce, catwoman, tina turner, david hasselhoff, painting, indigenous

The KVHS rotates its displays in the Mt Beauty Museum. These topics are researched and give a deeper insight into the chosen topic.A frosted white plastic tub holding blue plastic folders each with information and photos of each of the temporary displays that the KVHS has displayed in the Mt Beauty Museum. These include: 1. And Then There was Light 2. A Woman's Work is Never Done 3. Bogong Village - Camps 4. Cross Country Skiing 5. Electricity: Watts the Story 6. Here Comes the Bride 7. High Country Cattlemen 8. Indigenous People 9. Mt Beauty - Early; 10. Mt Beauty Sports 11. Not All Tea and Scones - C.W.A.12. Old School Days 13. Tawonga District General Hospital 14. The Buffalo Lodge 15. The Dairy Farm 16. Tobacco in the Kiewa Valley 17. What Makes our Community Great? Clubslight, women's work, bogong village, cross country skiing, electricity, weddings, cattlemen on the high plains, indigenous australians, mt beauty, c.w.a., schools, tawonga hospital, buffalo lodge, dairy farming, tobacco in the kiewa valley, community clubs

Coloured photographic postcard of Lane Cove River with 1.7cm white border on lower edge. The image depicts a bend of the Lane Cove River with many houses on the opposite shore at the apex of the bend and in the distance. A boat is on the far left, while trees and a person walking along a path are in the foreground. The words Lane Cove River. One of Sydney's Charming Suburbs are printed in black on the left hand side of the border. Handwritten across the border are the words Wishing you many happy returns of the day and a signature. On the reverse is a black and white image of an indigenous man lighting fire with a stick and the words Fire by friction printed across the image. Card is addressed to Miss Dean McKenzie St Golden Square. A one penny stamp is affixed and postmarked Bendigo.Symbol of artists palette with initials HB enclosedpostcard

The Beyond the Bars broadcasts are the culmination of 3CR's out + blak on air project. The project was produced with the support from the City of Melbourne, the Victorian Aboriginal Justice Agreement and the City of Yarra. This CD is an hour-long radio program of highlights from two live prison broadcasts. These broadcasts took place during NAIDOC Week 2004. The session includes interviews, songs, poems and messages from Indigenous inmates at Port Phillip Prison and the Dame Phyllis Frost Centre, Deer Park. The broadcasts were presented by 3CR broadcasters Lisa Bellear, Eleisha Jones, Gilla McGuinness, Johnny McGuinness, Ross Morgan, Lester Green, and Kutcha Edwards. Technical assistance by Greg Segal and Lotti Stein. Program coordination by Juliet Fox. Project coordination by Bree McKilligan.CDsocial justice, victorian prisons, naidoc, broadcasting, radio, 3cr, rehabilitation, dame phyllis frost centre, port phillip prison

The Everard Memorial was officially dedicated on 22 April 2004 by Betty Lynch OAM, daughter of William Everard and sister of Blanche Shallard. Newsletter No. 156 May 2004 THE MT. EVERARD CONNECTION Mt Everard in the Kinglake National Park commemorates William Hugh Everard, State Member for Evelyn and father of our member Blanche Shallard who died some eighteen months ago. Doug and Gwen Orford represented the Society at the unveiling of an interpretive sign at Mt Everard. Doug has written this account of the event on 22nd April. We all travelled to Kinglake and met near the Fire Station where we were picked up by two buses provided by Parks Victoria to take us to the top of Mt Everard. There we enjoyed morning tea (needed to as we from·the first bus had to walk the last hill when the bus broke down) while we waited for the official party to arrive. While waiting we had a look at the open four sided interpretive feature donated by Mrs Betty Lynch OAM (sister of Blanche) in memory of their father Bill Everard who was the State Member for the area for many years and in recognition of Kinglake National Park's 75th birthday. The information display describes the Blue Ant Butterfly, the Coconut Ant and the Swamp Pea, all of which are indigenous to the area. The Chief Executive of Parks Victoria welcomed everyone on this warm windy day after which Betty explained how the blue ant butterfly cohabited with the ants and survived. The swamp pea is described as a rare indigenous plant to the area. She also spoke of her father's interest in the area. The Governor, John Landy, then spoke before he and Betty moved up to the display board and cut the red ribbon from around it.10 colour photographsbetty lynch, everard memorial, mt everard, kinglake national park, dedication, blanche shallard

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

This film is a curated collection of iconic early Australian films. There are three sequences. The first sequence consists of a segment of 1908 boxing match between Jack Johnson and Tommy Burns at Sydney Stadium, 1906 Hawthorn street scenes, and a 1909 VFL Football final. The second sequence consists of 1896 Melbourne Cup, 1906 Sydney street scenes and Baldwin Spencer footage of Australian indigenous ceremonial dance. The third sequence consists of a bush ranger scene from "Robbery Under Arms" (1920), a great escape scene from "The Sentimental Bloke" (1919) and Sydney Harbour boat chase from "Let George Do It" (1938). These sequences are repeated several times. These would have been selected by Robin Boyd for screening at the Australian Pavilion at Expo 70 in Osaka, where Robin Boyd was Exhibitions Architect. 16mm black and white silent film inside a circular metal canister with lid. Duration-39:33 minutes. Head out - Loose archival wind placed in archival film storage container.expo 70, jack johnson, tommy burns, melbourne cup, spencer baldwin, early australian film, robin boyd

In April 2002, illustrative panels were set in place at Kangaroo Ground War Memorial Park designed to inform visitors about significant aspects of the reserve and its tower. One of these deals with its indigenous story, another portrays its original 1920 memorial, a third has upon it Will Longstaff’s famous war painting, “Midnight at Menin Gate.” This sign establishes a connection with the First World War by way of the painting "Menin Gate at Midnight". (NL 144) The artist William Longstaff lived in Eltham; his son attended school at Kangaroo Ground. The orignal of his painting is on permanent display in the Australian War Memorial. Since this photograph was taken (date unknown) the information panel has been restored and re-erected by staff of the Shire of Nillumbik who replicated the wooden side frame pieces with the same wood-turn design as seen here in the original. Colour photographMENIN GATE AT MIDNIGHT Will Longstaff, 1927 Oil on canvas, Size 135cm high x 254cm wide Collection: Australian War Memorial The artist Will Longstaff was born in in Ballarat in 1879 and died at Littlehampton, Sussex, UK, 1953. Will Longstaff for many years lived in Eltham, his son Tommy, attending school at Kangaroo Ground. As an Official War Artist, will Longstaff depicted in his alegorical painting the Menin Gate Memorial, Ypres, Belgium. The Memorial unveiled on 24th July 1927 honours by name over 50, 000 allied soldiers who fell in the Great War and have no known graves. The names of 6,208 men of the first Australian Imperial Force (A.I.F.) are listed within the Memorial on stone tablets. The painting held huge emotional appeal to Australians when it arrived from England in 1928, attracting an estimated one million viewers, many of whom interpreted the field of red poppies in the foreground as the spirits of the dead rising from their unknown graves. The painting is to be found in the Australian War Memorial, Canberra.menin gate at midnight, william longstaff, kangaroo ground memorial, information panel, shire of eltham war memorial

Digitised video (2.67GB). Duration: 58minutes. Recorded February, 2025 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)In this presentation, Ringwood and District Historical Society President Russ Haines provides a brief profile of Bob Croll, man of adventure, pioneer of amateur athletics in Victoria, a writer of collective note, an explorer of indigenous culture, as well as mixing with important artists, sculptors and authors of the pre-WW1 era. Bob shared his travels with eminent psychologist Stanley Porteus, the son of Ringwood Methodist David Porteus and his wife, Katherine, who attended Ringwood State School. Bob's walking adventures included following Canterbury Road up into the hills, through the Ringwood area of "heath" into the wonderful hamlets around Mount Dandenong.

Dry stone construction as a technique is used for much more than paddock walls. Across the volcanic plains of western Victoriaare marvelous sheep dips, stock loading ramps, huts, dams, retaining walls, and the rich and largely undiscovered heritage of indigenous dry stone structures. Dry stone walls indicate many aspects of our rural environment; the geological beginnings of the way the landscape was created, the patterns of early settlement by pastoralists and squatters, the types of stock that grazed the land and the methods of cattle and sheep management, of the efforts to thwart the spread of rabbits .... "For the casual but interested observer dry stone walls are good to look at, to photograph, to get up alongside and see the way they are constructed, to appreciate the varying shapes and sizes of stones and learn of the techniques of keeping often quite rounded stones in place. Apart from walls and other dry stone structures on grazing land we can also see dry stone techniques used in other places and in other phases of our history. Indigenous Australians have built, and continue to build, structures for shelter or hunting or trapping eels and fish in rivers and estuaries around the country. At spots around our coast line there is evidence of simple stone structures built by early maritime explorers. Prospectors in early mining encampments used dry stone construction to build retaining walls or the low walls of rudimentary shelters. If the future of dry stone walls in the Australian landscape is to be assured. wall owners and local governments have to accept and embrace their custodial role in assuring the preservation and celebration of walls. This is not an easy task, but, along with putting the necessary statutory mechanisms to ensure their retention, it is a task that must be pursued. The Dry Stone Walls Association of Australia has as its primary goal the increase in awareness of wall owners and local governments of the importance of dry stone walls. It also seeks to increase the level of training of skilled and semi skilled wallers, and the gaining of rudimentary skills by farmers so that they can maintain their own walls". Melton Star Weekly article about the Stone Wallslandscapes of significance

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Completed in November 1890, the railway viaduct (now the Chandler Highway Bridge) linked Kew and Fairfield. The viaduct is significant as the most substantial extant engineering remnant of the Outer Circle Railway Line. Opened in March 1891, the viaduct crossed the Yarra River in a single span, atop three supporting brick pillars. Following the closure of the railway line in 1927, and the construction of the Chandler Highway in 1930, the bridge was used for vehicular traffic. In 1891 when this panoramic photograph was taken, the grounds of what was then the Kew Lunatic Asylum extended down to the River and eastward beyond the viaduct. The landscape surrounding the Asylum was planted with traditional exotic trees such as Oaks, Pines and Cedars, and landmark trees from northern Australia such as the Hoop Pine. Remnant indigenous trees such as the River Red Gum, Yellow Box and Lightwood were scattered around the site, including beside the Yarra River.Railway Bridge Over the Yarrakew illustrated, kew where we live, photographic books, henry kellett, railway viaduct - - kew (vic)

It is known that we choose our family before we are born, for me I get a great deal of comfort knowing this, for me it is very true. I was adopted at birth, I have always known this. My mum is my best friend, she is my confidant in times of sadness and pain. She is my guiding light in times when I have lost my way. I share everything with her as she does me. She is my hero, especially now that I have my own children, seeing the sacrifices she has made along the way and is still sacrificing so much for our wellbeing. I celebrate her daily for all she does, we celebrate together the wonderful things that we achieve on a daily basis no matter how small they appear to be. She is always there for me – how privileged I am to have her in my life. I met my birth mother once I had children of my own, I understood what a sacrifice it must have been to give me up. The first words that I muttered out of my mouth when I met her was, “I am so proud of you, and thank you”. She was quite baffled by this and then I explained. Through your unconditional sacrifice I have been given a wonderful life, the doors have been opened to me in so many ways. I have been loved unconditionally and have had the devotion of my mum and dad behind me all the way – how blessed I have been. The dual figures that I have weaved signify my mothers, my mum is holding a babe in arms a gift from the universe. My birthmother is present within this figure, her face is at the back of my mums head. She wasn’t physically there during my many years without her, yet spiritually she never left. This figure is a homage to my mothers, a recognition of respect and admiration, to hold them in great esteem, adulation and worship. Lisa Waup, 2016emu feathers, parrot feathers, ostrich feathers, tapa cloth, fibre, crow’s feet, parrot feet, parrot wings, possum fur, seeds, raffia, woodmother and child, sculpure, weaving, lisa waup, torres strait islander, gunditjmara, indigenous, handcraft, chosen before birth, adoption, emu, feather, possum, mother, child

This book was compiled by Esther Temple and David Lloyd with illustrations by Betty Barberis and additional material provided by Clare Roper, Joan Macdonald, Wilma Davies and Nell Bateman. The book was first penned in 1971. It briefly covers the period from the indigenous tribes(broken down into family groupings) known as the "first Australians" who lived in the valley well before English settlers arrived. first white settlement (graziers, miners, stockmen) to smaller settlements.The development or transformation from a pristine(hunter/gatherer) valley environment to one that has been gradually changing to a more commercial rural/industrial landscaped valley. This transformation was made within a time span of two hundred years. The book details the first pioneers and their descendants, along with the changes to their environments both domestic and commercial. The book highlights dates and events that shaped the "feel" of the valley. The extreme hardships faced by pioneer families during the extremely isolated times away from "civilisation".This publication provides an insight to the struggles and victories against the harsh Australian bushland by people who had not been raised in such a sometimes inhospitable environment. It was this transformation which instilled into the Australian psyche of self sufficiency and the ability to grasp onto ideas or "bush" remedies to overcome enormous difficulties. It is is ability that has produced the many inventions useful in the 20th and 21st centuries.This book has a 250 g/m cream coloured cover with print and drawings of rural aspects of historical significance ( Aboriginal and early white settlers). The book contains 124 pages of black and white photographs(139), black and white sketches(75), two pages of sketches and freehand drawings, two freehand maps one county lease /subdivision plan and black and white printing. See KVHS 0237 (B) for the official invitation to the launch of the book.The front top cover heading(in shaded print and enclosed in a banner form) "A HISTORY OF THE KIEWA VALLEY" The bottom printing "BY ESTHER TEMPLE & DAVID LLOYD ILLUSTRATIONS BY BETTY BARBERIS" and at the very bottom "KIEWA VALLEY HISTORICAL SOCIETY" oN THE BOOK SPINE "A HISTORY OF THE KIEWA VALLEY.....BY ESTHER TEMPLE & DAVID LLOYD"early settlers, dederang, tawonga, mount beauty, sec vic hydro electricity, falls creek early settlers, bonegilla

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

Gloria PETYARRE (c.1942 - 2021) Born: Mosquito Bore, Utopia, Northern Territory Language Group: Anmatyerre Community: Utopia, Northern Territory Gloria Petyarre's depiction of the Kurrajong bush medicine leaves with her layered, swirling brushstrokes is her iconic motif. In 1999 Gloria Petyarre became the first Indigenous Australian artist to win the 'Wynne Prize for Landscape' at the New South Wales Gallery. She is credited with being the creator of this popular style, which was adopted and adapted by several generations of her family members over Gloria's retirement in 2019. The artistic tradition in Utopia started in the Utopia Women's Silk Batik Group introduced in 1977. Gloria Petyarre and her aunt Emily Karne Kngwarrye were found members of this group. Gloria Petyarre started painting on canvas in 1988 with her brushstrokes and layered paint having foundations in the batik tradition. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Utopian Art Movement‘Bush Medicine Dreaming’ depicts the leaves of a special plant that is used to aid in the healing process. The leaves are collected and then boiled to extract the resin. Following this, the resin is mixed with kangaroo fat collected from the kangaroo’s stomach. This creates a paste that can be stored for up to six months in bush conditions. This medicine is used to heal cuts, wounds, bites, rashes and as an insect repellent. The Dreaming that is the basis for Petyarre’s paintings comes from the important ceremonies and traditions held by the people of Atnwengerrp. art, artwork, gloria petyarre, aboriginal, utopia

The current city was originally named Wodonga, but its name was changed to Belvoir then later back to Wodonga, its indigenous name. The original post office opened on June 1, 1856. Wodonga Shire was created in 1876 when the colonial government agreed to ratepayers' petitions to have their part severed from the Yackandandah Shire and form a new municipality. On 30th March 1973, the Wodonga Shire was granted rural city status and was officially named the Rural City of Wodonga by the Governor of Victoria, Sir Rohan Delacombe. The date this logo first came into use is unsure, but it was used prior to the granting of rural city status. In 1994, the name was retained in a new local government authority and so the Wodonga Rural City Council was born. In 1995 it was decided to give the city a fresh image, so the term 'rural' was be dropped from use except where there was a legal requirement. In December 2003, it was decided to rename the council removing the term "rural" and it is now legally Wodonga City Council. This plate is of local historic significance as it documents the way in which the local government and community has evolved and depicts itself over time.Circular metal plate for public display of status of Rural City of Wodonga. Inscription including the Latin terms for "Faith and Justice" are embossed around the circumference on the front of the plaque. The symbols of wheat, cattle and grapes represent the major agricultural pursuits of the area. A representation of Hermes/Mercury is at the top centre of the plate.Around the circumference of the plate is the inscription "FIDES ET JUSTITIA / RURAL CITY OF WODONGA"local government, wodonga, rural city, council logo

The current city was originally named Wodonga, but its name was changed to Belvoir then later back to Wodonga, its indigenous name. The original post office opened on June 1, 1856. Wodonga Shire was created in 1876 when the colonial government agreed to ratepayers' petitions to have their part severed from the Yackandandah Shire and form a new municipality. On 30th March 1973, the Wodonga Shire was granted rural city status and was officially named the Rural City of Wodonga by the Governor of Victoria, Sir Rohan Delacombe. The date this logo first came into use is unsure, but it was used prior to the granting of rural city status. In 1994, the name was retained in a new local government authority and so the Wodonga Rural City Council was born. In 1995 it was decided to give the city a fresh image, so the term 'rural' was be dropped from use except where there was a legal requirement. In December 2003, it was decided to rename the council removing the term "rural" and it is now legally Wodonga City Council.On 30th March 1973, the Wodonga Shire was granted rural city status and was officially named the Rural City of Wodonga by the Governor of Victoria, Sir Rohan Delacombe. The badge on the spoon was used to represent the Council in all letters, communication and souvenirs at that time. The term "Rural City" was dropped from usage in 1994.2 silver souvenir teaspoons including the badge of the Rural City of Wodonga in gold and blue enamel on the top. The teaspoon is presented in a clear plastic rectangular presentation case lined with blue card. .In circle on top of spoon "FIDES ET JUSTITIA/ RURAL CITY OF WODONGA"memorabilia, rural city of wodonga, local government, victoria