'Whose Ethics?':Codifying and enacting ethics in research settings Bringing ethics up to date? A review of the AIATSIS ethical guidelines Michael Davis (Independent Academic) A revision of the AIATSIS Guidelines for Ethical Research in Indigenous Studies was carried out during 2009-10. The purpose of the revision was to bring the Guidelines up to date in light of a range of critical developments that have occurred in Indigenous rights, research and knowledge management since the previous version of the Guidelines was released in 2000. In this paper I present an outline of these developments, and briefly discuss the review process. I argue that the review, and the developments that it responded to, have highlighted that ethical research needs to be thought about more as a type of behaviour and practice between engaged participants, and less as an institutionalised, document-focused and prescriptive approach. The arrogance of ethnography: Managing anthropological research knowledge Sarah Holcombe (ANU) The ethnographic method is a core feature of anthropological practice. This locally intensive research enables insight into local praxis and culturally relative practices that would otherwise not be possible. Indeed, empathetic engagement is only possible in this close and intimate encounter. However, this paper argues that this method can also provide the practitioner with a false sense of his or her own knowing and expertise and, indeed, with arrogance. And the boundaries between the anthropologist as knowledge sink - cultural translator and interpreter - and the knowledge of the local knowledge owners can become opaque. Globalisation and the knowledge ?commons?, exemplified by Google, also highlight the increasing complexities in this area of the governance and ownership of knowledge. Our stronghold of working in remote areas and/or with marginalised groups places us at the forefront of negotiating the multiple new technological knowledge spaces that are opening up in the form of Indigenous websites and knowledge centres in these areas. Anthropology is not immune from the increasing awareness of the limitations and risks of the intellectual property regime for protecting or managing Indigenous knowledge. The relevance of the Declaration on the Rights of Indigenous Peoples in opening up a ?rights-based? discourse, especially in the area of knowledge ownership, brings these issues to the fore. For anthropology to remain relevant, we have to engage locally with these global discourses. This paper begins to traverse some of this ground. Protocols: Devices for translating moralities, controlling knowledge and defining actors in Indigenous research, and critical ethical reflection Margaret Raven (Institute for Sustainability and Technology Policy (ISTP), Murdoch University) Protocols are devices that act to assist with ethical research behaviour in Indigenous research contexts. Protocols also attempt to play a mediating role in the power and control inherent in research. While the development of bureaucratically derived protocols is on the increase, critiques and review of protocols have been undertaken in an ad hoc manner and in the absence of an overarching ethical framework or standard. Additionally, actors implicated in research networks are seldom theorised. This paper sketches out a typology of research characters and the different moral positioning that each of them plays in the research game. It argues that by understanding the ways actors enact research protocols we are better able to understand what protocols are, and how they seek to build ethical research practices. Ethics and research: Dilemmas raised in managing research collections of Aboriginal and Torres Strait Islander materials Grace Koch (AIATSIS) This paper examines some of the ethical dilemmas for the proper management of research collections of Indigenous cultural materials, concentrating upon the use of such material for Native Title purposes. It refers directly to a number of points in the draft of the revised AIATSIS Guidelines for Ethical Research in Indigenous Studies and draws upon both actual and hypothetical examples of issues that may arise when requests are made for Indigenous material. Specific concerns about ethical practices in collecting data and the subsequent control of access to both the data itself and to published works based upon it are raised within the context of several types of collections, including those held by AIATSIS and by Native Title Representative Bodies. Ethics or social justice? Heritage and the politics of recognition Laurajane Smith (ANU) Nancy Fraser?s model of the politics of recognition is used to examine how ethical practices are interconnected with wider struggles for recognition and social justice. This paper focuses on the concept of 'heritage' and the way it is often uncritically linked to 'identity' to illustrate how expert knowledge can become implicated in struggles for recognition. The consequences of this for ethical practice and for rethinking the role of expertise, professional discourses and disciplinary identity are discussed. The ethics of teaching from country Michael Christie (CDU), with the assistance of Yi?iya Guyula, Kathy Gotha and Dh�?gal Gurruwiwi The 'Teaching from Country' program provided the opportunity and the funding for Yol?u (north-east Arnhem Land Aboriginal) knowledge authorities to participate actively in the academic teaching of their languages and cultures from their remote homeland centres using new digital technologies. As two knowledge systems and their practices came to work together, so too did two divergent epistemologies and metaphysics, and challenges to our understandings of our ethical behaviour. This paper uses an examination of the philosophical and pedagogical work of the Yol?u Elders and their students to reflect upon ethical teaching and research in postcolonial knowledge practices. Closing the gaps in and through Indigenous health research: Guidelines, processes and practices Pat Dudgeon (UWA), Kerrie Kelly (Australian Indigenous Psychologists Association) and Roz Walker (UWA) Research in Aboriginal contexts remains a vexed issue given the ongoing inequities and injustices in Indigenous health. It is widely accepted that good research providing a sound evidence base is critical to closing the gap in Aboriginal health and wellbeing outcomes. However, key contemporary research issues still remain regarding how that research is prioritised, carried out, disseminated and translated so that Aboriginal people are the main beneficiaries of the research in every sense. It is widely acknowledged that, historically, research on Indigenous groups by non-Indigenous researchers has benefited the careers and reputations of researchers, often with little benefit and considerably more harm for Indigenous peoples in Australia and internationally. This paper argues that genuine collaborative and equal partnerships in Indigenous health research are critical to enable Aboriginal and Torres Islander people to determine the solutions to close the gap on many contemporary health issues. It suggests that greater recognition of research methodologies, such as community participatory action research, is necessary to ensure that Aboriginal people have control of, or significant input into, determining the Indigenous health research agenda at all levels. This can occur at a national level, such as through the National Health and Medical Research Council (NHMRC) Road Map on Indigenous research priorities (RAWG 2002), and at a local level through the development of structural mechanisms and processes, including research ethics committees? research protocols to hold researchers accountable to the NHMRC ethical guidelines and values which recognise Indigenous culture in all aspects of research. Researching on Ngarrindjeri Ruwe/Ruwar: Methodologies for positive transformation Steve Hemming (Flinders University) , Daryle Rigney (Flinders University) and Shaun Berg (Berg Lawyers) Ngarrindjeri engagement with cultural and natural resource management over the past decade provides a useful case study for examining the relationship between research, colonialism and improved Indigenous wellbeing. The Ngarrindjeri nation is located in south-eastern Australia, a ?white? space framed by Aboriginalist myths of cultural extinction recycled through burgeoning heritage, Native Title, natural resource management ?industries?. Research is a central element of this network of intrusive interests and colonising practices. Government management regimes such as natural resource management draw upon the research and business sectors to form complex alliances to access funds to support their research, monitoring, policy development, management and on-ground works programs. We argue that understanding the political and ethical location of research in this contemporary management landscape is crucial to any assessment of the potential positive contribution of research to 'Bridging the Gap' or improving Indigenous wellbeing. Recognition that research conducted on Ngarrindjeri Ruwe/Ruwar (country/body/spirit) has impacts on Ngarrindjeri and that Ngarrindjeri have a right and responsibility to care for their lands and waters are important platforms for any just or ethical research. Ngarrindjeri have linked these rights and responsibilities to long-term community development focused on Ngarrindjeri capacity building and shifts in Ngarrindjeri power in programs designed to research and manage Ngarrindjeri Ruwe/Ruwar. Research agreements that protect Ngarrindjeri interests, including cultural knowledge and intellectual property, are crucial elements in these shifts in power. A preliminary review of ethics resources, with particular focus on those available online from Indigenous organisations in WA, NT and Qld Sarah Holcombe (ANU) and Natalia Gould (La Trobe University) In light of a growing interest in Indigenous knowledge, this preliminary review maps the forms and contents of some existing resources and processes currently available and under development in the Northern Territory, Queensland and Western Australia, along with those enacted through several cross-jurisdictional initiatives. A significant majority of ethics resources have been developed in response to a growing interest in the application of Indigenous knowledge in land and natural resource management. The aim of these resources is to ?manage? (i.e. protect and maintain) Indigenous knowledge by ensuring ethical engagement with the knowledge holders. Case studies are drawn on from each jurisdiction to illustrate both the diversity and commonality in the approach to managing this intercultural engagement. Such resources include protocols, guidelines, memorandums of understanding, research agreements and strategic plans. In conducting this review we encourage greater awareness of the range of approaches in practice and under development today, while emphasising that systematic, localised processes for establishing these mechanisms is of fundamental importance to ensuring equitable collaboration. Likewise, making available a range of ethics tools and resources also enables the sharing of the local and regional initiatives in this very dynamic area of Indigenous knowledge rights.b&w photographs, colour photographsngarrindjeri, ethics, ethnography, indigenous research, social justice, indigenous health

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

All language educators are aware that culture is a vitally important reason for teaching languages. All curriculum statements for languages contain strong references to the importance of culture. We need to offer accessible cultural input to initiate the teaching of culture in language use, while at the same time not simplifying or stereotyping the community that speaks the language we are teaching. This book takes up these important questions and places in the hands of teachers well researched but very practical guidance, advice, resources and information on teaching culture in language. In this book you will find a discussion of what researchers, and classroom teachers, think and do about culture in language education and you will find a rich array of practical resources and advice for enhancing classroom practice. Specific languages addressed are: Chinese, French, German, Italian, Japanese and English as a Second Language. Preface /? Joseph Lo Bianco 1. Common themes /? Joseph Lo Bianco 2. Culture: visible, invisible and multiple /? Joseph Lo Bianco 3. A conceptual framework to help teachers identify where culture is located in language use /? Chantal Crozet 4. Chinese /? Li Kaining 5. How can we make Australian English meaningful to ESL learners? /? Anne-Marie Barraja-Rohan 6. Teaching French and culture in language use /? Chantal Crozet and Louise Maurer 7. Are Germans rude or just doing things differently? Understanding and teaching language and culture /? Winfried Thielmann 8. Face value: teaching Italian verbal and social-cultural interaction /? Piera Carroli, Adriana Pavone, Vincenza Tudini 9. The teaching of culture in Japanese /? Miyuki Toyoda and Shunichi Ishihara.diagrams, word listsculture theory, australian english, esl, language and culture, english as a second language

The focus of this publication is on the range of records of most value to genealogists, those in which essential details of former lives are held. Exploring official records reveals the facts of these lives: of where and when and how men and women served their nation in wartime; or settled in a new country; or were employed on public projects; or were educated or assisted through Commonwealth government agencies.b&w photographs, copies of records, chartsgenealogy, local history, national archives of australia

Outlines the Aboriginal use of native plants as well as how early European settlers learned from Aboriginal people about their medicinal value. Chapters arranged according to ailments and their treatment.Colour illustrations, colour photographsmedicinal plants, plant identification

The origins of the humble handheld driptorch have been lost in time. They are widely used for ignition in controlled burning operations in forest and grasslands. The “Pacific Forester“ with its short central wand and somewhat leaky ball-valve was made by the American Wajax company in the 1940s. The Pacific Forester is slightly different in design from the more robust and common “Panama” driptorch first manufactured in 1933 and used extensively by Queensland cane farmers. The Panama is closely related to the current “Firebug” used in Victoria which is manufactured by Rodney Industries in Brisbane and has an offset wand design which gives it good balance. The fuel is a mixture of petrol and diesel and every FCV District had their own closely-guarded secret formula ... 2:1, 3:1, 1:1, 4:1 or 3:2 ratio. There was also the choice of 91, 95 or 98 octane petrol mixed with summer or winter diesel. Occasionally some of the old Avgas or Jet-A1 lying around the depot was added with a splash of engine oil to make the mixture stick to the fuel to be ignited. The fuel mixed also varied between autumn or spring, heathland, mixed forest, or high-intensity slash burnsCommon driptorch used throughout AustraliaDrip torch with handle Wand has loop and valve. The loop is designed to assist with even flow of fuel which flows out onto the burning head of the wand. Pressure equalising value in top of aluminum fuel container which holds 4 litres of burner mix. Gravitational feed of the driptorch allows the unit to drip fire, making it simple and quick to operate. Instructions for use. CF+L written with texta pen.bushfire

Many displaced people who migrated to Australia after World War 2 brought similar tubs with them as part of their luggage. The tubs were valued by the migrants because they were used for washing clothes and other laundry items, and for bathing children and even adults. The tub in our possession was brought out to Australia in 1950 by the Pierzak family who eventually settled in North Sunshine, Victoria. The following story about the Pierzak family has been provided by the daughter Halina Wlodarczyk (nee Pierzak). The father Stanislaw Pierzak was born on the 26th of July 1916 in Zbrza, and the mother Teodozja (Teodozia) Szalas on the 5th of March 1919 in Goleciny, both villages in the Kielce district of Poland. In 1940 they were both taken by the German Army to work as slave labour on farms in Germany. Stanislaw worked in the Saxonia area and Teodozja near Dillingen. The work was hard, and when Teodozja contracted pneumonia she was told that she would not be given any food if she did not work. After the war the displaced persons, as they were called, were settled in various barracks and camps organised by the United States Army. Stanislaw and Teodozja married in Gablingen, Bavaria, Germany, and Halina was born in the camp at Gablingen in 1949. The displaced people were given the choice of several countries if they wanted to migrate from war torn Germany, and so the Pierzak family chose Australia. The Pierzak family set sail from Naples, Italy aboard the ship General M. B. Stewart and arrived in Sydney on the 17th of April 1950. The men and women had to stay in separate quarters, and many passengers were so sick that they did not think they would survive the journey. In Australia they lived in migrant camps in NSW at Bathurst, Orange, Parkes and Cowra. To pay off their fares to Australia migrants were required to work under contract for 2 years. Stanislaw Pierzak worked in Broken Hill NSW returning to visit his family every 3 to 4 months. The son John was born in the Red Cross building at the Parkes camp in 1952. In 1953 the whole family moved to Melbourne and lived in a converted garage in Victor Street, North Sunshine. In 1954 the family bought a bungalow on a block of land in Compton Parade, North Sunshine, where eventually they built a house. Stanislaw Pierzak worked at Steelweld in Ashley Street, Braybrook travelling there on his bicycle, while Teodozja Pierzak found work at Smorgon in West Footscray. Stanislaw and Teodozja Pierzak lived in North Sunshine for the rest of their lives, and Mrs Pierzak always said that Sunshine was the best place in the world.Tubs like this which belonged to displaced people were highly valued possessions and are of historic significance. They were brought out to Australia after World War 2 by many migrating displaced families. The tubs were used for washing activities in the camps in Germany, and the migrant camps in Australia, and also when people lived in bungalows in Australia before they built houses with laundries and bathrooms.Oval shaped galvanised iron tub with two rigid handles, one at each end. The top of the tub is larger than the base. The galvanising is deteriorating in some parts which show a whitish appearance. There are some small dents, and a few chips in the galvanising where surface rust has appeared.The number 70 is stamped on both sides.washing tub, galvanised tub, laundry, bath, displaced persons, immigration, general m. b. stewart, galvanized tub, pierzak, galvanised wash tub

Gunn’s work explores political and social values through the mediums she uses and the inspiration she draws upon. In 'Fire Sticks', Gunn uses recycled material as an explorational response to throw away culture, while the design draws inspiration from the sticks used in firestick farming and the charred remains of flora after a fire, which highlights the history and place of fire in Australia.Wangaratta Art Gallery Collection. Winner of the 2009 Wangaratta Contemporary Textile Award.This artwork was sculpted out of recycled inner tubes woven together with cotton thread on wooden poles.wangaratta art gallery, mandy gunn, sculpture, textile, wcta

Upon confirmation that a new bridge was to be built, there was some discussion about the possibility of retaining the old bridge for pedestrian purposes, or part of the old bridge as a fishing platform. These letters are part of the correspondence re an organisation taking responsibility for the ongoing maintenance so the old bridge could be retained.The old bridge was constructed of locally sourced timber and was such an important structure to the town when built. Its sentimental value saw locals attempt (although unsuccessfully) to retain the old bridge.Two A4 Typewritten letters, one from the Road Construction Authority to the National Trust Australia, the other from the Department of Conservation Forests & Lands to Mr John Irvine. And one hand written letter.RCA letter is stamped "Received 22 Aug 1985", Dept of Conservation Forests & Lands has a pencilled phone no inscribed.peterborough, curdies river bridge, old peterborough bridge, department of conservation forest & lands, road construction authority

A 45kg Spanish Merino from Mt Bute at Linton, Victoria. It is a descendant of the original Spanish Merino brought to Australia by John MacArthur in 1797. John and Elizabeth MacArthur undertook breeding experiments at Camden Park, Parramatta, crossing the Spanish Merino with Bengal and Irish sheep already in the Colony. The resultant merino became the foundation of Australias sheep industry. Although of little commercial value, the Mt Bute station has ensured the survival of the Camden bloodline.Taxidermy figure of a Spanish merino ram on display in Gallery 1. Ram has curved horns and is mounted with crooked front legs.sheep, taxidermy, spanish merino, irish sheep, camden, mt bute station

Cloth sample from an opera cloak made in England c. 1820 from wool clipped from Macarthur's merino sheep in 1816. The cloak was passed down through the family to Harold Lethbridge with whom the main part of the cloak resides, in Narrandera. The fragment was passed to Lethbridge's niece who gave it to the donor's mother who passed it onto him and then it was donated to the National Wool Museum. The cloth fragment was tested by Gordon Institute of Technology in 1974 showing the wool to be very fine (15-16 microns) which is consistent with the pure lineage of Macarthur's sheep. The cloth fragment was framed in 1952 and remains in the original frame to this day. Cloth sample form an opera cloak made in England c. 1820. Wool for the cloak was clipped from John Macarthur’s merino sheep in 1816. Macarthur is recognised as the pioneer of the wool industry that was to boom in Australia in the early 19th century and become a trademark of the nation. Macarthur was responsible for the first bale of Australian wool to be exported. The British woollen mills were desperate for wool at the time because of the Napoleonic blockade, and the Australian bale sold for a record price. Australia needed a product to sell in European markets which did not perish during long sea-voyages and which offered high value per unit of weight. Wool also had a ready market in England because the Napoleonic Wars had increased demand and cut English cloth-makers off from their traditional source of quality wool, Spain. Australia's first $2 banknote featured John Macarthur thanks largely to his establishment of wool as the backbone of the early Australian economy. Red fabric sample folded in half and mounted in the centre of a brown metal frame.'ARCO' MADE IN ENGLANDmacarthur, wool industry, australian economy

This congratulatory letter was sent to St John of Kronstadt Russian Welfare Society from John Howard, Prime Minister of Australia, on the celebration of its Golden Jubilee in 2005.This letter is recognition of the Russian Welfare Society's work in the Victorian community with Australians of Russian and Slavic backgrounds between 1955 and 2005 from the then Prime Minister of Australia, John Howard. The letter shows appreciatiation for the values that RWS stand for - "...compassion, cooperation and service to family and community".White A4-sized letter in a rectangular frameTitle: "Message: St John of Kronstadt Russian Welfare Society Golden Jubilee Celebrations". Signed by then Prime Minister John Howard.john howard, prime minister, russian community, victoria.

Proclamation card presented to I. C. McLean and signed by all other crew members on board the RMS Remuera. The crew left Australia to join HMAS Perth and formed part of Australia's first war contingent for active service in WWII. The document is dated 15th October 1939.This document is significant as a tangible link to a former crew aboard the RMS Remuera. The card also notes that this crew formed part of Australia's first war contingent for active service for WWII. A number of servicemen who signed this card did not return from service. It represents the vital role of these men had in defending Australia. It also represents a tradition of Crossing the Line in RAN culture and has social value.Proclamation card presented to I. C. McLean and signed by all other crew members on board the RMS Remuera. The crew left Australia to join HMAS Perth and formed part of Australia's first war contingent for active service in WWII. The document is dated 15th October 1939.Hereunder are names of men who left Australia to join HMAS Perth on West Indies Station, forming Australia's first war contingent for active service. Mason, F. ... Henry (Printer), M. M. S.... (Printer's Devil), A.G.H. Foley A.B., L. H. Hughes E.R.A, M.G. Packer E.R.A, G.J. McKenzie, W.R. Birbich, R.A.A Shaw, R.de M. Baker O.D; J.N Taylor Ord Serv; R.W. Wilkinson ....; G.E Jones O.D; G.F. Bli... Ord Sea; E.E. Bird Ord Sea; V.L. Watson A.B; A.W. Newman; A.W. Graham O.D; L.P. Woolbrough; G.G. Kummins; H.W. Durham Sto II; R. McBryde Sto II; M. Gordon A.B.; F. Milner O.D; N.D. Coleman O.D; F. Norris ERA; M.J. O'Brien; E.R. Phillps Stok II; D.J. McPherson S.A; ....Liddell; L.E. Head A.B.; V.B. McGovern ERA; N. Leitch L/Sea; K.G. Stockbridge A.B.; F.W. Robinson (Master); C.H.G. John "Speed" Sto II; C.E. Ingram A.B. 64; E.V.W. Pockley Surg Lt RANR; George Christie A.B.; I.C. McLean.rms remuera, i.c. mclean, hmas perth, geelong naval and maritime museum, wwii, crossing the line wwii

On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

The conduct of the LA games changed many factors in a short space of time. The Americans made their Games a huge financial success, whereas other countries, e.g. Canada, was left with a huge debt. The key to this was SPONSORSHIP which soon replaced the old Australian way of fundraising with pub raffles. It also began to change the atmosphere where the AWC had previously been valued for their generous donation. There was a move by commercial specialist uniform marketing organisations paying sponsorship money to publicise the fact that they were clothing high profile athletes. Old loyalties remained but became tested more and more as time progressed. For example, each uniform was expected to include an Akubra hat, why? Because it always had. For the same reason the uniforms also had Driza-Bone Coats. The day before the Seoul Opening Ceremony it rained in Seoul, so at the Opening Ceremony the Australian Team emerged in their Driza-Bones, made from cotton, not a wool fibre in sight, and the wool growers were footing the bill for over a million dollars. Thoroughly embarrassed, I resolved to avoid this situation next time by having all uniform fabrics pre-treated with Scotchguard prior to garment making.The scarf is brightly coloured in blue, green, yellow, purple and red on a plain cream base fabric. The lines of colour run on an angle across the fabric as jagged, irregular lines with small motifs of Australia, the Southern Cross stars, fish, triangles and a wave pattern, placed throughout. The centre of the scarf is dominated by a depiction of Australia presented in yellow. Within Australia are eucalyptus leaf shapes as well as mountainous shapes and the wave shape that is featured elsewhere on the scarf. The left hand short hem of the scarf has a differing pattern with larger lines running on the opposite angle to the rest of the scarf. Within the larger lines the same motifs are again printed.

Note from collector: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Double sized checked blanket , mint, peach and cream Pure Wool/Embassy/Made Expressly for the Myer Emporium Ltd./"For Value and Friendly Service"/by Invicta Mills/Made in Australiablanket, wool, blanket fever, invicta mills, myer emporium

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Magazine Advertisement 'For Glamour, For Value'For Glamour, For Value, Wool Blankets are the answerblankets, blanket fever, advertisements, australian wool bureau, australian women's weekly

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Pure wool, cuddly and warm (boy asleep with lamb) New fashion colours…Old fashioned values…./Pure Wool quality for a lifetime of healthy warmth/Onkaparinga 100% Pure Wool Blankets/Best in Australia, Best in the World!blanket, blanket fever, wool, onkaparinga, advertisement, australian women's weekly

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains knitting patterns for womens garments. The coupon value for each garment is given, indicating that the book was published during WWII after the rationing of clothes was introduced in 1942.Patons Knitting Book / (Specialty) / No. 160 / "JOY" / See page 16 / 2 1/2 COUPONS / A Patons & Baldwins' Publication - 7D.knitting handicrafts - history world war ii - rationing, patons and baldwins (australia) ltd, knitting, handicrafts - history, world war ii - rationing