Compact audio cassette Sony AD90 IEC I/Type I Cassette labelled "Hindsight Donald Thomson" Converted to MP3 file; 75.7MB, 0:54:37aboriginal people, audio cassette, audio recording, australian broadcasting commission, donald thomson, hindsight, radio national

Details the ?Koorie? exhibition presented by the Koorie Heritage Trust in association with the Museum of Victoria. Outlines the history of the Aboriginal people of south-eastern Australia.maps, b&w photographs, cartoons, illustrations, graphs

The story of the Pepper Family and their life on the Mission at Lake Tyers. This strong family have recounted their tales and the history of the area and the lives and control of Aboriginal people.b&w photographs, b&w illustrations, tables, word lists, document reproductionswotjobaluk, kurnai, ramahyuck, gippsland, lake tyers

A history of the section of Victorian coastline from Andersons Inlet to Cape Woolamai. Includes descriptions of the impacts and consequences of European occupation on the Aboriginal people of this region.maps, colour photographs, b&w photographs, b&w illustrationsbunurong, boon wurrung, andersons inlet, cape woolamai, colonisation

Collections from the Museum of Victoria which show their holdings of arts and crafts by Victorian Aboriginal people. Includes tools, weapons, baskets, paintings and photos.b&w photographs, b&w illustrationssocial life and customs, material culture, catalogues, victorian history

Transcription of correspondence between Sir George Gipps and C.J. La Trobe, giving a record of the early history of Victorian Aboriginal peoples in relation to white settlers.Maps, b&w illustrationssir george gipps, la trobe

This book is a useful research tool on the Aboriginal/European history of East Gippsland.A 31 pp book with a bright red/orange cover titled A Shared History a history of the Bidwell-Maap Aboriginal People and European contact history, Genoa district.genoa-history aboriginal-bidwell-maap

Contains a general history of the early Port Phillip district, including many references to Aboriginal peoples. Edited version of original 19th century notes by James Bonwick.Maps, b&w illustrationswilliam buckley, john batman, joseph gellibrand, john pascoe fawkner, victorian history, melbourne history, port phillip, religion, merri creek, james bonwick

A consolidated account of the Warrnambool language of the Western District of Victoria based on early sources. It is intended to serve as a convenient reference guide for the Aboriginal people of the Warrnambool area and for all researchers.Maps, tables, word listswarrnambool, bunganditj, buwandik, colac, dhudhuroa, djadjawurrung, eastern kulin, western kulin, kulin, gippsland language, woiwurrung, thagungwurrung, kurnkupanut, language revival, endangered languages

Stories from the Aboriginal people of South-East Australia. Includes Creation Stories, Myths and legends. Written in two sections, The myths and The Land Beyond the Sky. Includes location lists.Maps, b&w photographs, illustrationswotjobaluk, mara, kulin, kurnai, murray river, myths, legends, creation stories

Original text of comprehensive detail of Mathew?s observations and theories on Origin of Species of Aboriginal People, Traditional Lifestyles, Art and Social Customs. Includes maps and word lists and meanings.

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

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

Presence of Aboriginal people and their activities in Buffalo RiverAboriginal axes are relatively uncommon in North East Victoria and provide evidence of presence and exploitation of resourcesground edge stone axe with some edge damage and edge polish on working edge and flat opposite edge. axe, aboriginal artefact, buffalo river

Communication of Aboriginal people who speak English as their first main language. Includes overview of Aboriginal ways of speaking English and the implications for both education and the law. Discusses the term 'Aboriginal English'.Glossaryaboriginal english, sociolinguistics

368 pages, unnumbered and folded leaves of plates : illustrations (some colour), maps, portraits, plans ; 19 cmnon-fictionThe history of Warrnambool, capital of the western ports of Victoria, from 1847 (when the first government land sales took place) up to the end of 1886 / by Richard Osburne Other Authors, Fraser, Malcolm, 1930-2015, (author of introduction, etc.) Tylee Memorial Collectionvictoria. warrnambool, 1847-1886. facsimiles, government policy - initial period and protectionism., settlement and contacts - 19th century., mining industry - gold., race relations - violent - massacres, religions - christianity - missions., warrnambool (vic.) -- history., framlingham / purnim (w vic sj54-11), demography - census data, book

Biography of George Augustus Robinson, official protector of Aborgines in Tasmania and Port Phillip. A detailed study of Robinson?s involvement with the government and with Aboriginal people, with much information on his personal life and dealings.Maps, b&w illustrationsgeorge augustus robinson, victorian history

This unit is one of eleven making up the R-7 Aboriginal studies course, developed to meet the needs of students, teachers and Aboriginal people. It contains a course outline, cultural and historical information and activities.photographs, illustrations, mapsprimary school education, aboriginal studies, teaching aboriginal culture

Aboriginal people of early settlement days congregated and held their ceremonies under and in the vicinity of this treecolour photograph

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