This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.photographic postcardme, front row 4th from left Olive Smithsuburbia; west sydney; australia; 1930's; school photo

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Photographic postcardwest sydney; australia; suburbia; primary school; children; school photo; grade 2

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.PhotographU350B Smithportrait; west sydney; australia; women; 1940's

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Photographme, 1934children; 1930's; australia; west sydney; portrait

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.me1940s; west sydney; australia; women

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.photographic postcardme 1943 Boomerang photo service 27 piccadilly arcade 220 Pitt stportrait; woman; australia; west sydney

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.photographjim, jeya? For further copies of this photo quote this number. Speciality Studio Piccadilly arcade 220 Pitt Street Sydneysecond world war; west sydney; australia 1940's

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Smith 3 Dad, Mum, Jim HB732 36second world war; mcgrath photography; west sydney: australia

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Jim Central Station Photos 49 Little Strand Arcade Sydneysecond world war; me; wesy sydney; australia

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.me middle row, third from left 1931kindergarten; west sydney; australia; suburbia; 1930's; children

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Olive Smith 33 Willis street Kingsford Phone: FX2115 Front row, third from rightolive smith; west sydney; 1930's australia; children; grade 5;suburbia; school photo

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.1934 Don Hunt Don 3rd from left, front rowchildren; west sydney; australia; school photo

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.school photos; west sydney; australia; grade 4

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Dick, Dad, Jim,Mum,Harold, 1926family portrait; west portrait; australia; 1920's

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.me, don Colray-Manly Photoraphic Specialist Phone XU4747beach; holiday; love; couple; west sydney; 1940's; australia; suburbia

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Mum with Ollie as a kid Sth Kensington Kodak Printgarden; mum; children; west sydney; australia; suburbia

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.me, mum Milo Studio Newsagent 12c Her Majesty's Archade 690520mum; daughter; 1940's; west sydney; australia; hats

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Auntie Bettie and Dad No 1 mipson ? rd Cremorne McGrath p15 her Majesty's Arcade Sydneymum; dad; suburbia; hats; 1940's

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.1930 Me, Uncle Sam, Cousin Francis Kodak Printcousins; uncle; family; garden; back yard; west sydney; australia; suburbia

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Mary, Mum, me 1936 Valerie Studios C12 Hr Majesty's Arcade Sydneyhats, 1930's; west sydney; australia;

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.Charles Zukkenhour Grandfathergrandfather; west sydney; australia; family; portrait; 1890's -1910's

Captain Robert Ure Bain was Adjutant to Lt. Col. Bush, POW Group Commandant from 1942 - 1947. He was chosen to be one of the Australian Army officers who escorted the German POW's back to Germany in January 1947. A German POW and former member of the Afrika Korps made the item and donated it to Robert.Afrika Korps banners, embroidered, one piece of material. Large hemmed square of white/ cream cotton material embroidered with two unfinished Afrika Korps banners. Line drawn around both, to indicate edge/cutting point/unfinished embroidery point. The photograph show banner 1 which has a palm tree & swastika (emblem of the Afrika Korps). Swastika has been left outlined in pencil but not embroidered, probably so as not to create trouble by displaying the now banned swastika: Banner 2 has red stylised German eagle over the number 8. Also in picture is a model of an aeroplane and a framed coat of arms with Braunschweig (a place in north west Germany otherwise known as Brunswick).Banner 1: Afrika Korps (pink lettering); 1941 (light blue lettering). Banner 2: Zullighau (brown/gold lettering); 4. KOMP / M. G. BATL. (green lettering). (Number 4 company of the Machine Gun Battalion); framed coat of arms "Braunschweig"afrika korps, internment camps, camp 13, garrison, military, handcrafts, embroidery, captain robert bain, german pow's

mapshorsham, wimmera, west wimmera, hindmarsh, yarramback, grampians, fire protection, emergency services, victorian regional maps

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

The Wathaurong people of South Western Victoria said no to European invasion. Learn about this heroic resistance to the occupation of their lands. Can white and black live together or must we be always at war? The answer can only be given by young Australians. Includes a comprehensive historical timeline.maps, colour illustrations, b&w illustrations, colour photographs, word listswathaurong, wadtharung, port philllip bay, western port bay, lorne, south west victoria, battle creek, aire river, werribee, ballarat, wathaurong aboriginal cooperative, coast action, koori studies, john batman, william buckley, aboriginal studies policy, secondary school education, hissing swan, victorian history

This is a collection of Official Reports from the Chief Protector of Aborigines. It includes expedition reports to the Western Interior, 1841, a journey of 1,100 miles to the tribes of the North West and Western Interior, 1845 and Annual Reports.document reproductionsport phillip protectorate, george augustus robinson, western district, noorat, lake boloke, lake bolac, lake corangemite, portland, koroit, koonong wootong, burrumbeep, tarecurrumbeet, wimmera, lake hindmarsh, rivoli bay, mount gambier, murray river, swan hill, goulburn, loddon, mount rouse

Unpublished wordlist of body parts in Djab wurrung-English translation.word listsdjab wurrung, tjapwurong, wergaia, wemba wemba, djadjala, chaap wuurong, dawson

word lists, tablesdjab wurrung, djabwurrung, wembawemba, wemba wemba, wergaia, luise hercus, robert brough smyth

word lists, tablesdjab wurrung, wembawemba, wemba wemba, wergaia, djadja wurrung, chaap wurrong, wimmera, dawson, grammar

An account of the origins and histories of local names from Robin Hood to Kilmany, and from Mirboo North to Mt. Howitt.Maps, b&w illustrations, b&w photographsgunnai, kurnai, braiakaulung, bunerong, wurundjeri, kulin, coranderrk, warragul, morwell, rosedale, governor la trobe, drouin, noojee, darnum, walhalla, strzelecki, heyfield, gormandale