This memorial commemorates the ideas of mateship through using the legend of the Pikeman’s Dog. According to the legend, the Pikeman's Dog 'Wee Jock' stayed by his masters side during the Eureka rebellion and stood guard over his body and grave. The dog was awarded a Purple Cross by the RSPCA for service to humans in 1997 and a bronze life-size sculpture commemorating him was unveiled on December 3rd 1999 at the Anniversary of the Eureka Stockade Rebellion, in Ballarat, Victoria. The bronze Irish Terrier has an expression of his sadness with his his head turned towards the place where once his master stood. This statue was relocated from inside the Eureka Centre to a more prominent position within the Eureka Stockade Memorial Park when the Museum of Democracy at Eureka (M.A.D.E) was constructed. The new memorial was unveiled at a ceremony on December 3, 2014 - the 160th anniversary of the Eureka Stockade. The new memorial consists of 22 large golden stockade posts – representing the number of diggers killed in battle – erected in a triangle behind the statue of Wee Jock, the work could be viewed from the cafe area of the Museum of Australian Democracy at Eureka. The triangular shape of the monument is metaphorically symbolic. The V shape can be interpreted as symbolising victory, and the 22 golden posts represent the 22 diggers who were killed. At the time of awarding the building the new memorial in July, the sculpture artists Charles Smith and Joan Walsh-Smith were quoted: “This ‘new incarnation’ will be a much more significant memorial than the original, and much more accessible to the public,” they said. “We have set the golden stockade post/poles in a graphically precise angle to each other, which both leads the eye to the dog and the pike, while, at the same time, creating a sense of controlled visual ‘unease’. Essentially, the impression is one of ‘controlled collapse’ while suggestive of purpose and final victory.”The memorial is of historic and aesthetic significance to the people of BallaratA small bronze dog surrounded by gold-coloured metal polespikemans dog, eureka stockade

This is Australia’s first monument to the famous Scottish poet Robert Burns and his dog. It was carved from marble in Italy by sculptor John Udny and is inscribed with quotes from the writer himself and features beautiful patterned tiles at its base. This sculpture tells us much of Ballarat’s Scottish history by placing their most revered poet and ballardier of Auld Lang Syne at the corner of Lydiard and Sturt Streets. The local design was carried out by artist John Undy in Carrara marble and placed with this scene. The proud figure of Burns faces west and is accompanied by his collie dog with a book purposely hanging in his hand and a pencil in the other as his constant companions. Burns is mounted on a plinth engraved with some beautiful Burn’s poetry and surrounded by art deco styled tiling and a cast iron palisade. The statue is of aesthetic and historical significance to the people of BallaratCarved marble statue of Scottish poet Robert Burns and his dogIncludes panels with poems and writings by Robert Burns. Plaque reads - Designed by Thomas Thompson Ballarat Sculptured by John Undy, Carrara, Italy.robert burns, scottish poet

The bronze statue of a horse commemorates poet and horseman Adam Lindsay Gordon and the horses and mules killed during WWI. The statue depicts a horse going into battle known as a 'charger' mounted on a base of Warrenheip granite. During World War II the artist, Raymond Ewers was made an official war artist with the rank of lieutenant. Funds were raised from visitors to the Adam Lindsay Gordon cottage for the artwork which was unveiled on the centenary of the poet's arrival in Ballarat. Adam Lindsay Gordon the English born Australian poet spent some time in Ballarat, at one stage owning and running Craig's Stables in the city. He was not a very good businessman and his ventures left him in financial ruin. However his ballads and poems were recognized around the world as strong lines that told the story of the Australian bush. He is the only Australian Poet to be memorialized in Westminster Abbey, UK. The Queen quoted his work in 1992 Queens message..."Kindness in another's trouble, courage in one's own.."The artwork is of historic and aesthetic significance to the people of BallaratBronze horse on granite plinthERECTED BY/ THE ADAM LINDSAY GORDON SOCIETY/ TO MARK THE CENTENARY OF/ THE POET'S LIVING IN BALLAARAT,/ ALSO AS A MEMORIAL TO THE 958,600 HORSES AND MULES/ KILLED IN THE FIRST WORLD WAR/ INCLUDING 196,000/ THAT LEFT THESE SHORES NEVR TO RETURN./ "THE LAY OF THE LAST CHARGER"/ FORWARD, THE TRUMPETS WERE SOUNDING THE CHARGE./ THE ROLL OF THE KETTLEDRUM RAPIDLY RAN/ THAT MUSIC, LIKE WILDFIRE SPREADING AT LARGE/ MADDEN'D THE WAR HORSE AS WELL AS THE MAN./ WHERE ARE THEY? THE WAR-STEEDS WHO SHARED IN OUR GLORY/ THE "LANERCOST" COLT AND THE "ACROBAT" MARE,/ AND THE IRISH DIVISION "KATE KEARNEY" AND "RORY" AND RUSHING "ROSCOMMON" AND EAGER "KILDARE"./ WE TOO, SPRUNG FROM THE LOINS OF ISHMAELITE STALLIONS,/ THE RENDERING OF BLACKTHORNS AND RATTLE OF RAILS./ AND WHAT THEN? THE COLOURS REVERSED, THE DRUMS, MUFFLED/ THE BACK NODDING PLUMES, THE DEAD MARCH AND THE PALL/ THE STERN FACES, SOLDIER-LIKE SILENT UNRUFFLED,/ THE SLOW SACRED MUSIC THAT FLOATS OVER ALL/ BY A.L. GORDON/ UNVEILED BY/ HIS WORSHIP THE MAYOR OF BALLAARAT,/ CR. M.J.BROWN/ 1969/ PRESIDENT CR.W.E.ROOF C.B.E. SECRETARY P. ABSOY. ESQ.horse statue, adam lindsay gordon horse statue

Point to Sky is one of Akio Makigawa’s final works, the commission was completed posthumously. It is the only public artwork by the celebrated Australian-Japanese sculptor of this scale located in regional Victoria. You will see two stainless steel forms, a smaller more rectangle form and the towering geometric form, with seed pod shapes at the peak. These forms represent the house, the artist is expressing that home is a shelter and also a place for gathering. The house form grows into a tower to symbolise the achievements of mankind and the action taken to protect the rights of the community during the Eureka Stockade. The top seed pod is gold, referencing Ballarat as the centre of the gold rush in Victoria, as well as representing the sun as the source of life. The paving of the forecourt was designed in bluestone, typical of the work of Makigawa. Stainless steel panelling and shaping on armature. Set into raised platform of bluestone pavers.Point to Sky, 1999 / Akio Makigawa (1948-1999)/ stainless steel/ Born in Japan, Akio Makigawa arrived in Australia in 1974. He worked as a sail maker in Perth before studying sculpture at the Claremont School of Art and WAIT (now known as Curtin University). He moved to Melbourne in 1981 to do post graduate studies in sculpture at the Victorian College of the Arts and set up his studio. From 1984 he was involved in many public commissions in Victoria and interstate and Japan. / Commissioned by the Victorian Government and the City of Ballarat in 1999. point to sky, akio makigawa, modern, australian sculpture

Capture of Hamel Village July 4th 1918 - card size colour copy from the original painting specially executed for the Australian Comfort Fund by A Pearse War Artist. Other side depicts a colour sketch of a German tank captured by the Australians near Villers-Bretonneux Card with coloured war scene with caption beneathFront - Capture of Hamel Village July 4th 1918 by Australians assisted by a detachment of Americans. From original painting specially executed for the Australian Comfort Fund by A Pease, War Artist. Rear - narrative and sketch of a German tank captured by the Australian near Villers-Bretonneux.ww1, hamel village, a pearse, acf

Document relates to item 199 - Watercolour painting of a Catalina Flying Boat by an unknown artist -tells the history of the Catalina Flying Boat as well as the service histories of Flight Lieutenant Owen Mortimer and his younger brother Flight Sergeant Air Gunner Reginald Roy Mortimer from West Wyalong, New South Wales who served from 1941 to 1945 - relatives of the Donor Dr Owen Campbell Mortimer. Flight Lieutenant Owen Mortimer completed 85 missions in the wartime South West Pacific area. Reginald Mortimer served as a Transport Driver with the Australian Army later remustering to the RAAF to train and qualify as Flight Sergeant Air Gunner.Black frame with gold painted inner edge containing cream coloured paper with black text.Catalina Flying Boat Royal Australian Air Force catalina flying boat, flight lieutenant owen mortimer, flight sergeant air gunner reginald mortimer, ww2, raaf

Australian First World War recruitment poster. This poster was part of the First World War Australian Government Recruiting Kit. Recruitment posters were prolific in Australia throughout the First World War. Australia relied solely on voluntary recruits to serve in the AIF. Compulsory military service, or conscription, for eligible men was in force in Australia from 1911, however, these forces were for home defence and could not be used to serve in a war overseas. Following the initial rush of men to recruit in 1914, enrolments dropped, leaving federal and state governments to devise sophisticated campaigns to boost numbers.Norman Lindsay (1879-1969) was a painter, draughtsman, illustrator, cartoonist, printmaker, writer and sculptor. He joined the Sydney 'Bulletin' magazine as a staff artist, 1901-09, 1910-23 and 1932-58. During the First World War he produced jingoistic cartoons and pro-conscription posters. The is one of the series of six posters by Lindsay constituting the last nation-wide Australian recruiting campaign. A soldier sounds his bugle for assistance on the front line while civilians listen in the background.recruitment poster, norman lindsay, ww1

Hand drawn Coat of Arms for the soldiers known as the Rats of Tobruk with signatures of those involved in the engagement between 5th April to the 22nd of October 1941 The drawing is signed by artist John DOWIE AM, SX6087 who served with the 2/43rd Battalion Signatories are: VX42389 Eric Hamilton, 2/32 Battalion; VX30189 F.Baldwin, 2/23 Battalion; VX34544, F.J.Mc.Intosh 2/24 Battalion; VX34554 W.Harrison, 2/24 Battalion; WX7281 P.Bone 2/25 Battalion; VX33719 Duke Goldsmith, 2/24 Battalion; VX41179 Harry Frazer, 2/24 Battalion; VX29652 A.R.Stribley, 2/24 Battalion; SX6367 Jack Foley, 2/43 Battalion; VX48340 Harry Jones, 2/23 Battalion; VX42317 Aub Jarrott, 2/24Battalion; VX28869 Rod Deering 2/24Battalion; VX15719 Ian F. Joss 7th Division AASC; VX19723 Len Dauria, 2/12 Field Regiment; NX35852 R.E (Snowy) Cornelius 2/13 Battalion; VX32559 Jim Gray, 2/24Battalion - James Cyril GRAY Born 6/1/1916 in Orroroo South Australia. Enlisted 28/5/1940 at Mildura. Awarded Military Medal for remarkable coolness, bravery and leadership at Tobruk on 24/4 and 1/5/1941. He was promoted to Sergeant on 14/8/1941, Lieutenant in November 1942 then Captain on 9/4/1945. He was wounded in action on 11/9/1943 and discharged on 20/12/1945. He married and had three children. He died on 10/4/1992 aged 76 and buried at Wangaratta Cemetery.This original drawing is by John DOWIE SX6087 who served with the 2/43rd Battalion during the second world war and is signed by the artist and soldiers from the 2/24th Battalion known as "Wangaratta's Own". John Stuart Dowie AM (15 January 1915 – 19 March 2008) was an Australian painter, sculptor and teacher. He was born in the suburb of Prospect in Adelaide, South Australia, and studied architecture at the University of Adelaide. During World War II, Dowie worked in the Military History Unit of the Australian Imperial Force, and as an assistant to Australia's official war sculptor, Lyndon Dadswell. As a soldier, he was one of the Rats of Tobruk. After studying art in London and Florence, Dowie returned to Australia. His work includes over 50 public sculpture commissions, including the "Three Rivers" fountain in Victoria Square, "Alice" in Rymill Park, the "Victor Richardson Gates" at Adelaide Oval and the "Sir Ross & Sir Keith Smith Memorial" at Adelaide Airport. He was made a Member of the Order of Australia in 1981 in recognition of service to the arts as a sculptor and painter. Dowie died on 19 March 2008, aged 93. There is a similiar version of the drawing on page 32 of the book Desert Sand and Jungle Green by Geoffrey Boss-Walker which is an illustrated history of the 2/43rd Battalion.Timber frame containing hand drawn Coat of Arms consisting of "rats" as shield supporters, crest with a swastika in the centre and motto surrounded by signatures.Signatures of artist John Dowie and soldiers engaged at Tobruk. The crest depicts a latrine and the motto reads NON FASCES SED FAECES (Latin translation - "Do not move but the dregs") rats of tobruk, coat of arms, 1941, john dowie

Material collected and donated Material relating to Camp 3 and the Internees from Palestine. Sketch map of Camp 3 Memorium to Dieter Ruff, former Head of the Temple Society. Photo of steam passenger train at Rushworth Station. Various group photos. Copy of sketch of hut by Winkler. "in the Internment Camp Tatura" by K.M. Pfander Copy of talk given to her former pupils by Gudrun Gollong, in 1978. Poem written in Camp by Annie Lorenz. Poem by unknown writer "Life's Daily Routine" Interview with Babette Kirsch. Copy of children's learning book in German. Photos of toys and craft made for Kaltenbach family. Copy of Kaltenbach barracks by Cesare Vagarini. Story of Wilhelm Kuebler. Photos of wooden boxes made for Sgt. Cubbin. Copy of letter in German confirming the death in Camp of the two Stuerzenhofecker children. Copy of records Theo Stoll. School records Waltraud Doster Copy of Marriage Certificate Vollmer/Zollinger, August 1946. Recollections of Private Ashworth, guard at Camp 3. Photo taken 2001 by John Wepner of pump which supplied water to Camps 3 & 4 from No. 9 channel. Sketch of canoe made in camp from a sheep drinking trough by the Haering family. "From the Holy Land to the Home of the Kangaroo", by Hedwig Schnerring, translated by Peter Hornung, donor- Guenther Schnerring. "The Long Arm of the Third Reich" by Christine Winter. Photocopied extract of Walter Odorich Stenner's diary account of the transportation from Haifa to Australia. Research - Tatura WW2 Internment Camp 3, Annie Leschen Copy of map showing pump sites for water for Camps 3 and 4 Copy (laser) of a painting donated by Frieder Vollmer, artist "D 1943"? Adalbert Stern, Sir Nicholas - Son of Dunera boy "Adalbert Stern Copies of photos (4) of 2 cakes of Lux soap with pictures of "Roll Call, Tatura 1941" on one side and "Lux Toilet Soap" on the other Newspaper Article from "The Age" 14/04/1999 re Vagarini Exhibition Camp 3TaturaBlack 3 ring folder with printed matter and photos in plastic sleeves.documents, reports

Medal commemorating the Centenary of Government of Victoria and the Discovery of Gold, commissioned by the Victorian Government and gifted to the Shire of Glenlyon. Designed by Andor Mészáros and minted by K.G. Luke, Melbourne, 1951. 1951 marked the centenary of Victoria's separation from the colony of New South Wales. As part of the celebrations, the Victorian Government commissioned this medal from Andor Meszaros. Drawing on his classical background, Mészáros developed the imagery for 'Equality and Justice through Freedom'. The man holding the torch represents equality; the blindfolded woman holding a sword is the symbol of justice, and both are mounted on a horse that has broken its shackles. Features on the reverse a design of a banksia and bottlebrush. There was another version of this medal which depicted a pair of gold prospectors on the reverse.This medal was presented to the Shire of Glenlyon in 1951. For over half a century, sculptors Andor (1900-1973) and Michael (1945- ) Meszaros have created medals that reflect the high points of life in Australia. From major awards and portraits of eminent Australians to artwork celebrating popular culture and the natural world, these objects illuminate our culture and history. Grounded in a centuries-old European art tradition, the medals create connections across disciplines and link such diverse subjects as scientific advances, religious themes, sport, the performing arts and motherhood. Through their public and private commissions and their personal artworks, the Meszaros sculptors have defined the modern Australian medal.Bronze medal with images and text insetObverse Description: Horse bounding left, broken shackles on foreleg, carrying woman holding sword and man holding torch; around, EQUALITY AND JUSTICE THROUGH FREEDOM Artist's name behind horse's tail: A MESZAROS Reverse Description: Stake supporting plant; above, CENTENARY OF GOVERNMENT OF VICTORIA 1851 - 1951; inscribed, Presented to / the Shire of / Glenlyon / 1951 Artist's initials to left of stakeglenlyon, hepburn shire, centenary of government, centenary of gold discovery, history of victoria, victorian governement, meszaros, kg luke, commemorative, commemorative plaque, centenary 1951

'Black Saturday' Bushfire Memorial Sculpture.Commissioned by the Hepburn Shire with funds provided by the Commonwealth and State Governments through the Bushfire Community Recovery Fund. Large scale tree-inspired steel and bronze sculpture incorporating two drinking fountains. Artist's name is laser cut onto the base of the 'trunk' of the tree.hepburn shire, hepburn shire public art collection, public art, bushfire memorial, sculpture, memorial, public art commissions, anton hassell, australian bell pty ltd, daylesford, art

The work was installed at the cnr of Bridgport St and the Midland Hwy, adjacent to the Daylesford Library, in 1999. The work was commissioned by the Friends of the Library, Daylesford and funded by Arts Victoria and the Australia Council. Poemscape: a physical anthology is a much loved site specific installation work commissioned by the Friends of the Library, funded by Arts Victoria and the Australia Council, made by Daylesford resident Patrick Jones in response to his interests in the provision of public food, the development of locavore sensibilities and the rethinking of economies of material accountability and regard. Patrick Jones is a poet and non-fiction writer, a visual artist and ecological thinker. In 2013 Patrick Jones was awarded the degree of Doctor in Creative Arts from the University of Western Sydney for his thesis, 'Walking for food. Regaining permapoesis.'Public Art Environmental installation work installed near the Daylesford Library. Poemscape: a physical anthology comprises of 19 apple trees (18 Fuji apple trees and 1 Granny Smith apple tree) planted on the corner of Bridgport St and the Midland Hwy, adjacent to the library. Adjacent to each tree is a hardwood plinth at topped with a laser engraved brass plate that has been screwed in place. The text of each plate is by 19 poets including the artist and Daylesford resident Patrick Jones, local poets Peter O'Mara, Toby Sime and Robert Campbell, Australian poets Geoff Page, Kath Walker, D T Sime, Judith Wright, Ramona Barry, Jack Davis, Robert Campbell, Christopher Brennan and International Poets Dylan Thomas - Welsh, Sylvia Plath - American, Choku Kanai - Japanese, William Blake - English, Duo Duo - Chinese (translated from the Chinese by John Rosenwald), Yannis Ritsos- Greek (translated from the Greek by Kimon Friar & Kostas Myrsiades), Michel Deguy - French (translated from the French by Clayton Eshleman), Seamus Heaney - Irish and Rainer Maria Rilke - German. The title plate adjacent to the Granny Smith apple tree is by the artist/poet - Patrick Jones. See photographs with images of each of the laser engraved brass plates. permapoesis, artist as family, patrick jones, william blake, kath walker, chaku kanai, peter o'mara, sylvia plath, dylan thomas, geoff page, duo duo, d.t. sime, judith wright, yannis ritsos, michel deguy, ramona barry, seamus heaney, jack davis, rainer maria rilke, robert campbell, christopher brennan, hepburn shire, daylesford library, public art, installation art, environmental art, hepburn shire public art collection

Commissioned by the Friends of Wombat Hill Botanical Gardens and gifted to the Hepburn Shire in 2012. Historical Significance - In 1848, Irish immigrant John Egan took up land on the future town site then known as Wombat Flat. He and a party of searchers found alluvial gold in 1851 on ground now covered by Lake Daylesford initiating the local gold rush. Other finds quickly followed. With the finding of alluvial gold a town site was surveyed and founded in 1852. Initially called Wombat, it was renamed Daylesford. Cultural and Artistic Significance - Miriam Porter's 'Wombat' is a symbol of the Wombat Hill Botanical Gardens where visitors and locals alike love being photographed. Large scale solid redgum wombat sculpture.Artist intends to sign the work with 'M' on one leg.daylesford, hepburn shire, public art, miriam porter, wombat, art, sculpture, red gum, australian wood, australia, tourist attraction

Discusses what does it feel like to be an Australian in 1959? A critique on our advanced national adolescence, limitations of our artist's creativity. We are not English or America - how do we compare? Australians want to be told they are better, the country anxious to hear well of itself. (This perhaps is related to item D015.)Typewritten, pencil edits, quarto, 4 pages, pages 6-9they're a weird mob, nino culotta, 1959 australia, cyril pearl, on the beach, so you want to be an australian, sidney nolan, john ely burchard, robin boyd, manuscript

This painting was purchased at an exhibition at Australian Galleries in 1968. It originally hung in Robin Boyd's office in East Melbourne, and was only brought to Walsh St after he died in 1971. The Australian Galleries was established by Tam and Anne Purves in June 1956. Robin Boyd designed the Purves family home in Kew in 1967. Two figures (one seemingly with three hands) partially hidden by an artist's easel.Woods '68 in lower right cornertony woods, purves, australian galleries, robin boyd, walsh st artwork, ohm2022, ohm2022_7

Australia Post new stamp release featuring artist Arthur Boyd, Robin Boyd's first cousin.Australia Post stamps promotional posterarthur boyd, walsh st miscellaneous

Contents in a Binder Book. Arthur Boyd's Artist Revenue is featured in the catalogue.christies, art, walsh st library

Reports of three awards - one to Arthur Boyd (arts), Prof Douglas Pike (humanities) and Prof Robert Brown (sciences) made by Britannica Australia.A and date handwrittenarthur boyd, walsh st library

Hardcover w/ Dust JacketLimited edition stamp signed by Rachel Bivenwomen artists, australian art, walsh st library

SoftcoverHandwritten note from the artist to Patricia and Johnaustralian art, national gallery of victoria, clifford last, geoffrey edwards, noel hutchison, walsh st library

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

Mediating conflict in the age of Native Title Peter Sutton (The University of Adelaide and South Australian Museum) Mediators have played roles in managing conflict in Aboriginal societies for a long time. This paper discusses some of the similarities and differences between older customary mediator roles and those of the modern Native Title process. Determinants of tribunal outcomes for Indigenous footballers Neil Brewer, Carla Welsh and Jenny Williams (School of Psychology, Flinders University) This paper reports on a study that examined whether football tribunal members? judgments concerning players? alleged misdemeanours on the sporting field are likely to be shaped by extra-evidential factors that disadvantage players from Indigenous backgrounds. Indigenous and non-Indigenous Australian Football League (AFL) players, matched in terms of their typical levels of confidence and demeanour in public situations, were interrogated in a mock tribunal hearing about a hypothetical incident on the football field. The specific aim was to determine if the pressures of such questioning elicited behavioural differences likely to be interpreted as indicative of testimonial unreliability. Mock tribunal members (number = 103) then made judgments about the degree to which a number of behavioural characteristics were evident in the players? testimonies. Under intense interrogation, Indigenous players were judged as presenting less confidently and displaying a greater degree of gaze aversion than non-Indigenous players. These behavioural characteristics are commonly ? and inappropriately ? used as cues or heuristics to infer testimonial accuracy. The paper discusses the implications for Indigenous players appearing at tribunal hearings ? and for the justice system more broadly. Timothy Korkanoon: A child artist at the Merri Creek Baptist Aboriginal School, Melbourne, Victoria, 1846?47 ? a new interpretation of his life and work Ian D Clark (School of Business, University of Ballarat) This paper is concerned with the Coranderrk Aboriginal artist Timothy Korkanoon. Research has uncovered more about his life before he settled at the Coranderrk station in 1863. Evidence is provided that five sketches acquired by George Augustus Robinson, the former Chief Protector of Aborigines, in November 1851 in Melbourne, and found in his papers in the State Library of New South Wales, may also be attributed to the work of the young Korkanoon when he was a student at the Merri Creek Baptist Aboriginal School from 1846 to 1847. Developing a database for Australian Indigenous kinship terminology: The AustKin project Laurent Dousset (CREDO, and CNRS, Ecole des Hautes Etudes en Sciences Sociales), Rachel Hendery (The Australian National University), Claire Bowern (Yale University), Harold Koch (The Australian National University) and Patrick McConvell (The Australian National University) In order to make Australian Indigenous kinship vocabulary from hundreds of sources comparable, searchable and accessible for research and community purposes, we have developed a database that collates these resources. The creation of such a database brings with it technical, theoretical and practical challenges, some of which also apply to other research projects that collect and compare large amounts of Australian language data, and some of which apply to any database project in the humanities or social sciences. Our project has sought to overcome these challenges by adopting a modular, object-oriented, incremental programming approach, by keeping metadata, data and analysis sharply distinguished, and through ongoing consultation between programmers, linguists and communities. In this paper we report on the challenges and solutions we have come across and the lessons that can be drawn from our experience for other social science database projects, particularly in Australia. A time for change? Indigenous heritage values and management practice in the Coorong and Lower Murray Lakes region, South Australia Lynley A Wallis (Aboriginal Environments Research Centre, The University of Queensland) and Alice C Gorman (Department of Archaeology, Flinders University) The Coorong and Lower Murray Lakes in South Australia have long been recognised under the Ramsar Convention for their natural heritage values. Less well known is the fact that this area also has high social and cultural values, encompassing the traditional lands and waters (ruwe) of the Ngarrindjeri Nation. This unique ecosystem is currently teetering on the verge of collapse, a situation arguably brought about by prolonged drought after decades of unsustainable management practices. While at the federal level there have been moves to better integrate typically disparate ?cultural? and ?natural? heritage management regimes ? thereby supporting Indigenous groups in their attempts to gain a greater voice in how their traditional country is managed ? the distance has not yet been bridged in the Coorong. Here, current management planning continues to emphasise natural heritage values, with limited practical integration of cultural values or Ngarrindjeri viewpoints. As the future of the Coorong and Lower Murray Lakes is being debated, we suggest decision makers would do well to look to the Ngarrindjeri for guidance on the integration of natural and cultural values in management regimes as a vital step towards securing the long-term ecological viability of this iconic part of Australia. Hearts and minds: Evolving understandings of chronic cardiovascular disease in Aboriginal and Torres Strait Islander populations Ernest Hunter (Queensland Health and James Cook University) Using the experience and reflections of a non-Indigenous clinician and researcher, Randolph Spargo, who has worked in remote Aboriginal Australia for more than 40 years, this paper tracks how those at the clinical coal-face thought and responded as cardiovascular and other chronic diseases emerged as new health concerns in the 1970s to become major contributors to the burden of excess ill health across Indigenous Australia. The paper cites research evidence that informed prevailing paradigms drawing primarily on work in which the clinician participated, which was undertaken in the remote Kimberley region in the north of Western Australia. Two reports, one relating to the Narcoonie quarry in the Strzelecki Desert and the other concerning problematic alcohol use in urban settings.maps, b&w photographs, colour photographs, tablesstrzelecki desert, native title, timothy korkanoon, merri creek baptist aboriginal school, austkin project, coorong, lower murray lakes district, south australia, indigenous health

William Blandowski was an explorer, natural scientist and artist who led a Victorian government expedition to the junction of the Murray and Darling Rivers from 1856 to 1857. This is the first publication in English of his nineteenth century illustrated encyclopaedia of Aboriginal life.Maps, b&w illustrationsaboriginal australian history, pictorial histories, william blandowski

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka and travelled to Osaka several times in 1969-1970. Boyd designed the innovative Space Tube, which had over 25 exhibition boxes, projecting from it. Amongst the topics covered were Australian scientific innovation (including brain research, immunology, Antarctic research, Snowy Mountains Hydro-Electric Power Scheme, rainmaking, and the night sky), Australian sport, house interiors, car manufacturing, Australian music and art, and Japanese-Australian relations.Colour slide in a mount. Festival Plaza, space frame (Architects: Tomoo Fukuda and Koji Komiya) with sculpture ‘Tower of the Sun’ (Artist: Taro Okamoto), Expo 70, Osaka, 1970Made in Australia / 1 / MAY 70M3expo 70, osaka, robin boyd, slide