Showing 181 items
matching cultural structures
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Queen Victoria Women's Centre
Pamphlet, Queen Victoria Women's Centre, c. 1997
... cultural structures and establishments... twice to create three column flyer. historical building cultural ...A4 page folded twice to create three column flyer. historical building, cultural structures and establishments, women social services -
Queen Victoria Women's Centre
Pamphlet, Centre Tours: this is your centre, come and enjoy it!, c. 1997
... cultural structures and establishments.... historic buildings cultural structures and establishments ...Tour bookings. Events and seminars. Cafe menu.Pink A4 paper with black ink. folded twice to create a three column flyer.historic buildings, cultural structures and establishments -
Queen Victoria Women's Centre
Certificate, c. 2001
... cultural structures and establishments... cardboard certificate. award cultural structures and establishments ..."The Melbourne City Council expresses its appreciation and gratitude to the Queen Victoria Womens' Centre for the contribution made to the community through volunteer work." A4 coloured cardboard certificate.award, cultural structures and establishments -
Canterbury History Group
Document - Thematic Environmental History, draft, Built Heritage, 1/07/2011 12:00:00 AM
... Cultural Structures and Establishments... Historic Sites Medical Services and Health Law and Order Cultural ...Draft copy of Thematic Environmental History prepared for City of Boroondara by Built Heritage for community consultation. Includes a timeline of key dates from 1803-1994boroondara, canterbury, transport, migrants, agriculture, mines and mining, communication, industry, historic sites, medical services and health, law and order, cultural structures and establishments, building structures and establishments -
Glen Eira Historical Society
Book - GLEN EIRA GUIDE
... Cultural Structures and Establishments... Groups Cultural Structures and Establishments Law and Order ...This file contains one item: 1/A copy of the 1999 edition of the Glen Eira guide. This magazine aims to provide readers with useful information for living and working within the City of Glen Eira. It is divided into five principal sections. The first section, titled Glen Eira City Council Information, provides information pertaining to the local government. It includes information about Council meetings, the names and contact details of the six members of the Council, information about services offered by the Glen Eira Service Centre, the contact details for particular services offered by the Glen Eira City Council, information about rates and valuations, information about the building permit application process, information about waste management, and federal and state electoral maps. The second section, titled Council and Community Resource Guide, consists of a list of the various local community facilities and organizations. The third section, titled City of Glen Eira Safe Food Guide, consists of a list of food venues nominated by the Glen Eira City Council Environmental Health Services Department for their commendable level of hygiene. The fourth section, titled City of Glen Eira Business Development Unit, provides information about the eponymous local government department, which is aimed at providing aid to local businesses. The fifth and final section, titled ‘Think Local, BUY LOCAL’ Guide, consists of a list of local businesses, grouped according to industry, to try and encourage the support thereof.glen eira, city of glen eira, glen eira city council, local government, local officials and employees, kennedy norman cr, mayors, public utilities, community services, local government departments, rates, local government, building permits, waste disposal, community groups, cultural structures and establishments, law and order, libraries, education, educational and research establishments, religious groups, clubs and associations, community centres, food, restaurants, businesses -
Glen Eira Historical Society
Letter - Heritage Watch Caulfield
... Cultural Structures and Establishments... Jordan P. Ritchie Jack Architecture Development Cultural ...This file contains 5 items: 1/Documents related to the establishment of Heritage Watch in Caulfield. This includes a typed letter to Mrs. And Mr. Campbell from Graham Walsh inviting them to attend a meeting concerning the potential establishment of Heritage Watch – dated 08/11/1989. A nomination form to elect a committee –dated 27/06/1991, and documents outlining goals, maps of proposed area designated by the council, and black-and-white photographs of Miners Cottage Elsternwick and a mansion in Ripponlea, Elsternwick. 2/Minutes of Caulfield Heritage Watch Committee meetings on 04/12/1999, 22./01/1990, 08/10/1990 and 26/11/1990. It includes aims, general business, publicity and discussion on ‘Rosecraddock’. 3/Caulfield Heritage Watch Newsletter issue number three dated June 1991. It includes a paragraph on Rosecraddock, The Grand Union Tram Junction, Caulfield Heritage Study and an invitation to the annual general meeting on 27/06/1991. 4/Financial statement for Caulfield Heritage Watch for November 1989 to May 1991. 5/A handwritten submission to save Rosecraddock from demolition, date and author unknown.caulfield train station, margaret street 28, walsh graham a., caulfield manor grove 1, shellard mr., labassa, derby road, inkerman road, kerr paul, glen huntly road, victorian houses, gladstone parade, hawthorn road, o’neill college, miners cottage regent street elsternwick, buildings, heritage, preservation, urban conservation policy, caulfield city council, campbell mr. + mrs., caulfield heritage watch committee, snowball b., kay w., spencer d., dustan don, dustan david, campbell f., hill tess, jordan p., ritchie jack, architecture, development, cultural structures and establishments, residential development, murray, wells, hopkins sherry, caulfield town hall, rodder a., caulfield contact, spiker mr., elsternwick railway, elsternwick club, committees and inquiries, meetings, rosecraddock, construction sites, property, hill l., mayoress’ room caulfield, city hall, morris e., feehan j., molony v., moore mrs., elsternwick sandham street 19, elsternwick bowling club, ward andrew, shellard mr., construction and demolition, balaclava road, tramways, tram junction, kerr paul, gardens, save rosecraddock neighbourhood group -
Glen Eira Historical Society
Ephemera - CAULFIELD YOUTH COUNCIL
... Cultural Structures and Establishments... Caulfield Youth Council Theatre Restaurants Young Adults Cultural ...This file contains two items: 1/A poster for the Caulfield Youth Council’s Caulfield Youth Cabaret at the Caulfield Town Hall 2/A program for Caulfield Youth Council’s presentation of the Caulfield Youth Cabaret on 27/11/1988 at the Caulfield Council Auditorium. It lists the acts for the evening.caulfield youth cabaret, caulfield council auditorium, caulfield secondary college, sefra bursten school of dance, hosking david, teenagers, elitzer, youth, fusion, caulfield festival, caulfield arts centre, caulfield town hall, hawthorn road, glen eira road, gelberg vicki, caulfield, caulfield youth council, theatre restaurants, young adults, cultural structures and establishments, festivals and celebrations, dance studios, schools, entertainers, theatrical productions, drama, colleges, singers, secondary schools, poetry -
Glen Eira Historical Society
Article - Caulfield South Bowling Club
... Cultural Structures... Establishments Cultural Structures Sports Grounds Playing Fields Parks ...This file contains eleven items. Caulfield Bowling Club cashbook 1993-1998. Caulfield South Bowling Club Foundation Opening day programme dated 11/09/1948 in Princes Park, Caulfield South. Caulfield South Bowling Club Opening day programme dated 27/08/1949. Caulfield South Bowling Club Sixth Opening day programme dated 05/09/1953. Caulfield South Bowling Club Seventh Opening day programme dated 04/09/1954. Caulfield South Bowling Club Eighth Opening day programme dated 10/09/1955. Caulfield South Bowling Club Annual Report dated 1950-1951. An article from the Caulfield Port Phillip Leader detailing the Battle of the Bowls event that was held to raise money for the Bowls Disaster Relief Fund dated 12/04/2011. An article from the Melbourne Weekly Bayside on the use of Caulfield Racecourse dated 04/05/2011. Esternwick District Bowling Club and Elsternwick District Ladies Bowlng Club invitation for the combined official opening of the Green Ceremony for the 75th Anniversary of the clubs’ opening, dated 31/08/1984. An article from the Caulfield Leader on the demolition of two Melbourne Racing Club buildings in Glen Eira, dated 05/07/2011.miller elizabeth, southwick david, dodds d.a., norris c.e., gainey j., parton e.m., morris t.w., caulfield, victorian bowling association, sims howard, caulfield south ladies bowls, caulfield south bowling club, joske p.e., caulfield park, caulfield junior citizens band, bowls disaster relief fund, mckinnon, glen eira, elsternwick, murrumbeena park, penhalluriack frank, caulfield racecourse, carnegie, supporters of caulfield reserve, caulfield village, battle of the bowls, pennant competition, house committee, station street, caulfield north, caulfield north tabaret, booran road, caulfield south, glen eira road, dover street, don john, crown land, clubs, associations, societies, sports, recreations, leisure, cultural events, bowling clubs, sports establishments, recreations establishments, cultural structures, sports grounds, playing fields, parks, reserves, sports people, r.b.v.a., caulfield port phillip leader, nation robert, nation bob, caldwell j.s., mccormack garnet, thompson jenny, berriman ann, hird s.j. mrs., fuller robert, knott l.j. mrs., squire george, paton george, dalmon glad, nimon kath, grimwood n., haysey jean, schwartzman mary, bond kay, robinson kath, morris t.w. mrs., williams w., roberts klem, aarons joe, gold roslyn, mcloghlin j., govett y., discombe brian, esakoff margaret, osborne roy, brentwood harry, vickers stan, hogben les, maxwell billy, mccauley j., johannesen a., grieves k., hird s.j., currie w., osborne w.r., ankerson h., herbert c., knott j.l., mclaren j., thornton c., shugg l., williams c., ritchie h., tinkler howard v., bunny d.h., parton e.m. mrs., don j. mrs., sims h.e. mrs., osborne margaret, tinkler pam, tucker joy, bland roy, reynolds alex, simmons harry -
Glen Eira Historical Society
Article - Glen Eira Parks and Gardens
... Cultural Structures... Recycling Water disposal Cultural Structures Cultural Establishments ...This file contains four items. An article in the Glen Eira News reporting on a new park with indigenous planting and an interpretive walk being developed to link Duncan Mckinnon Reserve and Packer Park in Murrumbeena, dated September 2000. An article from the Glen Eira Leader on the converting of sports grounds from cool season to warm season grasses, as well as the installation of subsurface drip irrigation at Princes Park, Caulfield South, dated March 2012. An article from the Caulfield/Port Phillip leader reporting Caulfield RSL military historian Carl Johnson’s appeal to have a “lone pine” in Caulfield Park designated as a war memorial, dated 11/9/2012 An article from the Glen Eira/Port Phillip leader reporting on the Friends of Caulfield Park organising the first band stand concert in over twenty years with the city of Glen Eira Band, dated 6/11/2012glen eira council, hawthorn rd caulfield, glen eira rd caulfield, glen eira, caulfield, parks, reserves, leila rd caulfield, glen eira city council, landscaping, memorial park, kooyong rd caulfield north, caulfield recreation tennis club, murrumbeena rd caulfield, churchill green housing estate, north rd caulfield, boake street caulfield, exservices organisation, rsl clubs, sporting clubs, recreations, sportsgrounds, clubs, tennis clubs, associations, leisure, cultural events, cultural activities, sports establishments, recreations establishments, irrigation, water conservation, conservation of natural resources, water supply, ovals, playing fields, tennis courts, murrumbeena park, school concerts, musical activities, musical events, glen eira artists society, dimarco lisa, st. aloysius college, band rotundas, entertainment structures, musical ensembles, city of glen eira band, bands, the friends of caulfield park, gallipoli lone pine, princes park, packer park, duncan mckinnon reserve, king george reserve, caulfield park, glenhuntly park, glen huntly park, bentleigh reserve, victory park, schools, education establishments, recycling, water disposal, cultural structures, cultural establishments, caulfield rsl, johnson carl, war memorials, monuments, memorials, avenue of honour, “lone pine”, glen eira leader, glen eira news, caulfield/port phillip leader, glen eira leader -
Phillip Island and District Historical Society Inc.
Book, Heritage Victoria, Gippsland Heritage Project. Prospectus, 1996
316003/96historic buildings, victoria, conservation, restoration, historic sites, cultural property, protection, gippsland, buildings, structures -
The Beechworth Burke Museum
Photograph, J. Collins, c.1940-1950s
This photograph was captured sometime between an estimated 1940s-1950s. It depicts the Beechworth Benevolent Asylum (later the Ovens and Murray Hospital for the Aged) which was built in 1862. It is located on an elevated site in Beechworth, Victoria because it was believed the height was beneficial to the health of the patients at the Benevolent. Later wings were added to the original building between 1867 and 1890. The building was constructed in an unusual Flemish Gothic Revival style which contrasts with the classical style of the Mayday Hills Hospital in close proximity to the Benevolent. The Hospital was designed in Italianate Revival architecture. The appearance of buildings like the Mayday Hills Hospital and the Ovens Benevolent Asylum are representative of the importance of Beechworth as a town shortly after the goldrush. During the 1850s and 1860s, administration buildings were erected alongside churches, shops and structures of justice. This marks a movement away from the "chaotic" structure of life on the goldfields and towards a more civilised and cultural lifestyle. This social phenomenon is also witnessed in Melbourne with the creation of buildings like the State Library and the University of Melbourne. The Beechworth Benevolent Asylum was renamed the Ovens Benevolent Home in 1935. The Asylum had been set up to provide accommodation and care for permanently injured gold miners, and for women and children who were penniless, homeless, or whose parents were guests of the state. In 1954 it was renamed as The Ovens and Murray Home (as pictured in this photograph). The purpose of this building was to provide a refuge for the poor and destitute, homeless older men, deserted women and children along with providing care for the mentally ill. These buildings were built at the government's expense and are of great historical and architectural significance.This photograph depicts the Ovens and Murray Home (previously the Ovens Benevolent Home) during the 1940s or 1950s. Since this building is of great historic and architectural significance, photographs like this are especially valuable in reconstructing the use history and any changes/additions to the building over a period of time. This building is important for what it can reveal about society in Beechworth and also architectural styles. This building is made in the Flemish Gothic Revival style which is quite unusual for the 1860s. It is important as an early example of a building constructed for a specific purpose, in the case of this particular building: caring for the aged/destitute. This building is important for research into the civic development of Beechworth as an early Gold Rush town located in Victoria's North-East. During this period, Beechworth was developing as the main center of administration in this region which made it a very influential and quickly developed town. Photographs like this one which depict a building during one period in history can reveal important information for the use and alterations of a building and for preferences in architectural style. It can also be studied for what it reveals about society in Beechworth and compared and contrasted to similar institutions across Australia and with additional photographs in the Burke Museum collection.Black and white rectangular photograph printed on gloss photographic paperObverse: OVENS & MURRAY HOME / Reverse: KODAK PAPER / 727 / J. Collins BMM 8689.1 /mayday hills, beechworth benevolent asylum, ovens benevolent home, asylum, refuge, poor and destitute, goldrush, flemish gothic revival, architecture -
The Beechworth Burke Museum
Photograph, J. Collins
This photograph was captured sometime between an estimated 1940s-1950s. It depicts the Beechworth Benevolent Asylum (later the Ovens and Murray Hospital for the Aged) which was built in 1862. It is located on an elevated site in Beechworth, Victoria because it was believed the height was beneficial to the health of the patients at the Benevolent. Later wings were added to the original building between 1867 and 1890. The building was constructed in an unusual Flemish Gothic Revival style which contrasts with the classical style of the Mayday Hills Hospital in close proximity to the Benevolent. The Hospital was designed in Italianate Revival architecture. The appearance of buildings like the Mayday Hills Hospital and the Ovens Benevolent Asylum are representative of the importance of Beechworth as a town shortly after the goldrush. During the 1850s and 1860s, administration buildings were erected alongside churches, shops and structures of justice. This marks a movement away from the "chaotic" structure of life on the goldfields and towards a more civilised and cultural lifestyle. This social phenomenon is also witnessed in Melbourne with the creation of buildings like the State Library and the University of Melbourne. The Beechworth Benevolent Asylum was renamed the Ovens Benevolent Home in 1935. The Asylum had been set up to provide accommodation and care for permanently injured gold miners, and for women and children who were penniless, homeless, or whose parents were guests of the state. In 1954 it was renamed as The Ovens and Murray Home (as pictured in this photograph). The purpose of this building was to provide a refuge for the poor and destitute, homeless older men, deserted women and children along with providing care for the mentally ill. These buildings were built at the government's expense and are of great historical and architectural significance.This photograph depicts the Ovens and Murray Home (previously the Ovens Benevolent Home) during the 1940s or 1950s. Since this building is of great historic and architectural significance, photographs like this are especially valuable in reconstructing the use history and any changes/additions to the building over a period of time. This building is important for what it can reveal about society in Beechworth and also architectural styles. This building is made in the Flemish Gothic Revival style which is quite unusual for the 1860s. It is important as an early example of a building constructed for a specific purpose, in the case of this particular building: caring for the aged/destitute. This building is important for research into the civic development of Beechworth as an early Gold Rush town located in Victoria's North-East. During this period, Beechworth was developing as the main center of administration in this region which made it a very influential and quickly developed town. Photographs like this one which depict a building during one period in history can reveal important information for the use and alterations of a building and for preferences in architectural style. It can also be studied for what it reveals about society in Beechworth and compared and contrasted to similar institutions across Australia and with additional photographs in the Burke Museum collection.Black and white rectangular photograph printed on gloss photographic paperBack of photograph. Handwriting: "For John Beckingsale"mayday hills, beechworth benevolent asylum, ovens benevolent home, destitute, gold town, beechworth, victoria, north-east vic -
RMIT Design Archives
Work on paper - Architectural drawings, Aboriginal Keeping Place, Shepparton International Village
Site plan drawing of the Shepparton Aboriginal Arts Council building, now known as the Bangerang Cultural Centre. The building is located in the Parkside Gardens, formerly the Shepparton International Village, and is the first Aboriginal cultural museum developed and managed by the Aboriginal community. The building is part of the Victorian Heritage Register. Romberg designed the building in conjunction with project instigator and Bangerang Elder, John Sandy Atkinson, OAM. At the request of Romberg, Atkinson created some concept sketches for the building from which Romberg designed the finished structure.Site PlanInitialed in grey pencil, bottom right: 'F.R'architecture, museum -
Nillumbik Shire Council
Painting: Kevin CHIN, Kevin Chin, Castle Under the Sky, 2018
... , cultural and social structures that shape the world in which we ...This painting was sparked by a US studio residency at Yellowstone National Park, shortly after Trump’s election. In America, Chin witnessed conservative nationalism and divisiveness, but also an equal reaction promoting diversity and challenging structural inequality. Developing this work in Australia, Chin examined how a sense of place forms fluidly in the consciousness, to surpass geographic borderlines.Kevin Chin is a local artist. He has been a finalist in the Nillumbik Prize for Contemporary Art (2015, 2019). In this painting Chin explores economic, cultural and social structures that shape the world in which we live, questioning who has built what, who takes ownership, and who has the right to the land. Landscape painting depicting a house (upside down) and a half finished urban structure sitting amongst mountain peaks and land that has been cleared and immersed in fog/smoke.N/Alandscape, kevin, chin, structural, inequality, castle, trump, painting, nillumbik, residency, yellowstone, realism, oils -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2007
1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture -
Victorian Aboriginal Corporation for Languages
Book, Nicolas Peterson, Tribes and boundaries in Australia, 1976
Some ecological bases for Australian tribal boundaries /? Norman B. Tindale Man and ecology in the highlands of southeastern Australia : a case study /? Josephine Flood The natural and cultural areas of Aboriginal Australia : a preliminary analysis of population groupings with adaptive significance /? Nicolas Peterson 'The chain of connection' : the material evidence /? D.J. Mulvaney Realities and transformations : the tribes of the Western Desert of Australia /? Joseph B. Birdsell Structure, event and ecology in Aboriginal Australia : a comparative viewpoint /? Aram A. Yengoyan Territoriality and the problem of demarcating sociocultural space /? Ronald M. Berndt Communication and change in mythology /? Kenneth Maddock Levels of organisation and communication in Aboriginal Australia /? D.H. Turner Boundaries and kinship systems in Aboriginal Australia /? F.G.G. Rose Tribes, languages and other boundaries in northeast Queensland /? R.M.W. Dixon Aboriginal language distribution in the Northern Territory /? E.P. Milliken.maps, b&w photographs, diagramsecology, environment, sociology, kinship systems, language distribution -
Brighton Historical Society
Headwear - Hat, Headdress, Late 1800s
A lace head dress belonging to the women of the family of George Ward Cole’s in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn cream lace cap from late 1800s. A silk satin ribbon that encircles the back of the crown of the head, creates the structure of this cap. Towards the front it also has a net and wire-reinforced peak. Over the top of this support is a central diamond shaped lace piece of seven and a half centimeters diameter to which is attached a fine lace net that is gathered and stitched around the edge of the central lace. Two decorative bows of the same silk satin fabric are positioned on the support over the top of the lace at either temple of the wearer. "W-COLE" hand stitched on inside of band. It is unknown when and by whom this inscription was made.st ninians, george ward cole, headwear, late 1800s, brighton, margaret morrison ward cole, agnes bruce ward cole, thomas anne ward cole -
Brighton Historical Society
Dress and shoes, 1958
Brighton local Margaret Cooke (nee Parish) had this dress made for the Miss Summer Festival competition fundraiser. The idea for the dress came from a photograph in the Womens' Weekly. A professional dressmaker cut and made the dress. It has an 18" waist. There is a black and white photocopy on file of the dress being worn at the time.Floral cotton dress with matching belt and shoes. Sleeveless polished cotton cream dress with large red, pink and brown rose print. Heavily ruched front. The skirt has an in-built crinoline structure made with thick Vielene lining and corded hoops. Separate belt with bow at centre front. Shoes made to match by 'Suzette' in their original box. .1- dress .2 - belt .3 a-b - pair of shoes .4 a-b - shoe box and lidShoes - Label, printed in gold on white leather in sock: Suzette / Styled in / NEW YORK-PARIS-ST. LOUISprinted fabric, miss summer festival, 1950s, margaret cooke -
Brighton Historical Society
Cape, Manton's, Fur capelet
Plush fur collar with structured shoulders, featuring variegated colouring ranging from reddish brown to cream to white. Cream lining. Concealed hook and eye clasp at front.Label in centre back interior, white text on black: "Manton's / MELBOURNE"fur, fur collar, fur capelet, manton's department store -
Uniting Church Archives - Synod of Victoria
Photograph, Rev. Djiniyini Gondarra, 1986
Rev Dr Djiniyini Gondarra OAM, was born in Milingimbi, eastern Arnhemland in 1945. He was educated at Milingimbi Mission School and pursued his theological education as a youth leader and Sunday School teacher through the Methodist Church, before attending college in Brisbane. In 1969 he trained as a Minister in Papua New Guinea and the Solomon Islands under the Uniting Church, before returning to Arnhemland to minister his own people at the Galiwin’ku parish, firstly as a lay pastor (1971-1972) and then as a Minister from 1976-1982. In 1983-84, Rev Djiniyini worked as a Lecturer in Theology at Nungalinya College, Darwin. He was honoured with a Diploma of Theology (Honorary) from there in 1984, and in 1991 received a Cultural Doctorate in Literature (Honorary) from the World University, Roundtable, Arizona USA. Rev Djiniyini was awarded the Order of Australia Medal (OAM) in 1995. As well as being the Chairman of ALPA since 1993, Rev Djiniyini is currently the Director of Duduy’ngu Pty Ltd, which provides consultancy and cross-cultural services. He is also Director of Yirrkala Business Enterprises. Over the years, Rev Djiniyini has served on many committees and councils including: Member of the Steering Committee of the Australian Indigenous Cultural Network (1998-2001), CEO of Aboriginal Resource and Development Services Inc (1998-2001), CEO of the Northern Regional Council of the Uniting Aboriginal and Islander Christian Congress (1998-2001), Director of Reconciliation Australia Limited (2000-2001), Member of Council for Aboriginal Reconciliation (1998-2000), Chairman of Uniting Aboriginal and Islander Christian Congress (1995-2000 & 1990-1993), Member of Central Committee of the World Council of Churches (1991-1994), Moderator of Northern Synod, Uniting Church in Australia (1985-1987), Secretary of newly formed Aboriginal Presbytery, Northern Synod, Uniting Church in Australia (1985), and Vice-President of Uniting Aboriginal and Islander Christian Congress Uniting Church in Australia (1983-1987). Rev Dr Djiniyini Gondarra OAM has also been extensively published, and his works include: • Information Papers (co authored), Aboriginal Resource and Development Services: • Confusion Between Cultures (1998) • MHead & Shoulders of Djiniyini Gondarra facing right of picture."Rev. Djiniyini Gondarra 1986. Moderator Northern Synod and Vice President of Uniting Aboriginal and Islander Christian Conference."gondarra, djiniyini, uaicc, northern synod uca -
Federation University Art Collection
La Perruque, 2018
Laresa KOSLOFF Laresa Kosloff makes performative videos, Super-8 films, hand-drawn animations, sculpture, installations and live performance works, all linked by an interest in the body and its agency within the everyday. Recurrent themes include humour and tension between received cultural values, individual agency and free will. La Perruque won the 2018 Guirguis New Art Prize. ‘Laresa is a worthy winner having been dedicated to her practice over many years and creating a work that is intelligently structured and steeped in satire, epitomising what we all either know or experience at work or in office life. By her clever collaging of characters, editing and story adaptation, Laresa has created an impressive fictional and insightful work that by way of its very construction cleverly illustrates and articulates aspects of Australian culture,’ (Shelley Hinton, Curator Federation University’s Post Office Gallery)A USB and a portable hard drive in a black archival box with a signed certificate. Her short film La Perruque is made entirely out of commercial stock footage, generic material produced for corporate advertising, which is strangely artificial, simplistic and loaded with images of success and productivity. Kosloff uses this footage to tell the tale of an office worker who is secretly trying to write a novel during work hours. The silent footage has been dubbed using voice actors and assembled into a story that subverts commercial representations of office life. The title refers to a French term that translates into 'wearing the wig', used to describe a situation of secretly working on personal projects during work time.guirguis new art prize, video -
Wangaratta Historical Society
Glass Plate Negatives, 1860 - 1960
WHS Inc were presented with 10,000 glass plate negatives from Thelma & Vine Photographic Studios, Murphy Street Wangaratta from the 1860's - 1950's. The glass plate negatives depict mostly portrait studies of families, weddings and special occasions; there are a few outdoor studies.These studies are invaluable as they provide a record of fashion, family structures, significant people and events, buildings, streetscapes, transportation and landscape of Wangaratta & district from the 1860's - 1950's. These glass plate negatives provide the historical, fashion, cultural anthropological context of society from the time frame they depict.WHS Inc were presented with 10,000 glass plate negatives from Thelma & Vine Photographic Studios, Murphy Street Wangaratta from the 1860's - 1950's. The glass plate negatives depict mostly portrait studies of families, weddings and special occasions; there are a few outdoor studies. An example of a glass plate negative is featured above, this is a goat race from the early 1900's. Goat races were common in rural towns as entertainment at agricultural shows, sporting events and other celebrations. This local jockey is Bob Sloan, who had a Men's Wear business in Wangaratta.glass plate negatives -
Ballarat Heritage Services
Digital photograph, Dorothy Wickham, Tower of London, 2016
The Tower of London, officially Her Majesty's Royal Palace and Fortress of the Tower of London, is a historic castle located on the north bank of the River Thames in central London. It lies within the London Borough of Tower Hamlets, separated from the eastern edge of the square mile of the City of London by the open space known as Tower Hill. It was founded towards the end of 1066 as part of the Norman Conquest of England. The White Tower, which gives the entire castle its name, was built by William the Conqueror in 1078, and was a resented symbol of oppression, inflicted upon London by the new ruling elite. The castle was used as a prison from 1100 (Ranulf Flambard) until 1952 (Kray twins),[3] although that was not its primary purpose. A grand palace early in its history, it served as a royal residence. As a whole, the Tower is a complex of several buildings set within two concentric rings of defensive walls and a moat. There were several phases of expansion, mainly under Kings Richard the Lionheart, Henry III, and Edward I in the 12th and 13th centuries. The general layout established by the late 13th century remains despite later activity on the site. The Tower of London has played a prominent role in English history. It was besieged several times, and controlling it has been important to controlling the country. The Tower has served variously as an armoury, a treasury, a menagerie, the home of the Royal Mint, a public record office, and the home of the Crown Jewels of England. From the early 14th century until the reign of Charles II, a procession would be led from the Tower to Westminster Abbey on the coronation of a monarch. In the absence of the monarch, the Constable of the Tower is in charge of the castle. This was a powerful and trusted position in the medieval period. In the late 15th century the castle was the prison of the Princes in the Tower. Under the Tudors, the Tower became used less as a royal residence, and despite attempts to refortify and repair the castle its defences lagged behind developments to deal with artillery. The peak period of the castle's use as a prison was the 16th and 17th centuries, when many figures who had fallen into disgrace, such as Elizabeth I before she became queen, Sir Walter Raleigh, and Elizabeth Throckmorton were held within its walls. This use has led to the phrase "sent to the Tower". Despite its enduring reputation as a place of torture and death, popularised by 16th-century religious propagandists and 19th-century writers, only seven people were executed within the Tower before the World Wars of the 20th century. Executions were more commonly held on the notorious Tower Hill to the north of the castle, with 112 occurring there over a 400-year period. In the latter half of the 19th century, institutions such as the Royal Mint moved out of the castle to other locations, leaving many buildings empty. Anthony Salvin and John Taylor took the opportunity to restore the Tower to what was felt to be its medieval appearance, clearing out many of the vacant post-medieval structures. In the First and Second World Wars, the Tower was again used as a prison, and witnessed the executions of 12 men for espionage. After the Second World War, damage caused during the Blitz was repaired, and the castle reopened to the public. Today the Tower of London is one of the country's most popular tourist attractions. Under the ceremonial charge of the Constable of the Tower, it is cared for by the charity Historic Royal Palaces and is protected as a World Heritage Site.(Wikipedia) A World Heritage Site is a landmark which has been officially recognized by the United Nations, specifically by UNESCO. Sites are selected on the basis of having cultural, historical, scientific or some other form of significance, and they are legally protected by international treaties. UNESCO regards these sites as being important to the collective interests of humanity. More specifically, a World Heritage Site is an already classified landmark on the earth, which by way of being unique in some respect as a geographically and historically identifiable piece is of special cultural or physical significance (such as either due to hosting an ancient ruins or some historical structure, building, city, complex, desert, forest, island, lake, monument, or mountain) and symbolizes a remarkable footprint of extreme human endeavour often coupled with some act of indisputable accomplishment of humanity which then serves as a surviving evidence of its intellectual existence on the planet. And with an ignoble intent of its practical conservation for posterity, but which otherwise could be subject to inherent risk of endangerment from human or animal trespassing, owing to unmonitored/uncontrolled/unrestricted nature of access or threat by natural or accelerated extinction owing to local administrative negligence, hence it would have been listed and demarcated by the United Nations Educational, Scientific and Cultural Organization (UNESCO) to have been identified or recognised and officially christened and internationally elevated through multilateral declaration by UNESCO as a universally protected zone. [1] The list is maintained by the international World Heritage Programme administered by the UNESCO World Heritage Committee, composed of 21 UNESCO member states which are elected by the General Assembly. (Wikipedia)The Tower of London is a UNESCO world heritage site.tower of london -
Glenelg Shire Council Cultural Collection
Slide - Slide - Construction Portland/Cashmore Airport, c. 1980
Coloured slide. Deep squirish hole, muddy water in bottom. Rough wooden steps down to water, left hand side of hole. Large concrete pipe on right attached to metal structure which is embedded in bottom of hole. -
Glenelg Shire Council Cultural Collection
Artwork, other - Model Ship, MacKenzie and Co, Clan MacDougal Model Cargo Ship, n.d
Port of Portland CollectionModel of a ship. Hull is painted in black (above water line) and burgundy (below water line). Ship has three masts, a smoke stack (black with red stripes) and a white super structure with portholes. Supported on brass stands. Housed in a timber and glass case. Label in case.Front: T.S.M.V. Clan MacDougall Length BP 475', Breadth 64'-6", Depth 41½. Built by the Greenock Dockyard Co. Ltd. for Clanline Steamers Ltd., London.port of portland collection -
Glenelg Shire Council Cultural Collection
Photograph, A show stand intended for promotional purposes, n.d
Port of Portland Authority archives.Front: (no inscriptions) 6473 (lower right ) (pencil) Back: A show stand intended for promotional purposes. (upper left) (pencil). Photography by The Arthur Studion. Further copies always obtainable at 27 Commercial St, east. Mt Gambier (blue stamp) (lower right).port of portland -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - wooden boxing and scaffolding, n.d
Port of Portland Authority ArchivesBack: September 3 in pencil top left hand cornerport of portland archives -
Glenelg Shire Council Cultural Collection
Photograph, Silo construction, n.d
Port of Portland Authority ArchivesBack: September 3 in pencilport of portland -
Glenelg Shire Council Cultural Collection
Photograph, Silo Construction, 1964
Port of Portland Authority ArchivesBack: Blue Portland Harbour Trust Stamp 135. 28-10-64 in black ink.port of portland -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Silo Construction, n.d
Port of Portland Authority ArchivesBack: June 9th - pencilport of portland archives, grain silos