We don?t leave our identities at the city limits: Aboriginal and Torres Strait Islander people living in urban localities Bronwyn Fredericks Aboriginal and Torres Strait Islander people who live in cities and towns are often thought of as ?less Indigenous? than those who live ?in the bush?, as though they are ?fake? Aboriginal people ? while ?real? Aboriginal people live ?on communities? and ?real? Torres Strait Islander people live ?on islands?. Yet more than 70 percent of Australia?s Indigenous peoples live in urban locations (ABS 2007), and urban living is just as much part of a reality for Aboriginal and Torres Strait Islander people as living in remote discrete communities. This paper examines the contradictions and struggles that Aboriginal and Torres Strait Islander people experience when living in urban environments. It looks at the symbols of place and space on display in the Australian cities of Melbourne and Brisbane to demonstrate how prevailing social, political and economic values are displayed. Symbols of place and space are never neutral, and this paper argues that they can either marginalise and oppress urban Aboriginal and Torres Strait Islander people, or demonstrate that they are included and engaged. Juggling with pronouns: Racist discourse in spoken interaction on the radio Di Roy While the discourse of deficit with regard to Australian Indigenous health and wellbeing has been well documented in print media and through images on film and on television, radio talk concerning this discourse remains underresearched. This paper interrogates the power of an interactive news interview, aired on the Radio National Breakfast program on ABC Radio in 2011, to maintain and reproduce the discourse of deficit, despite the best intentions of the interview participants. Using a conversation-analytical approach, and membership categorisation analysis in particular, this paper interrogates the spoken interaction between a well-known radio interviewer and a respected medical researcher into Indigenous eye health. It demonstrates the recreation of a discourse emanating from longstanding hegemonies between mainstream and Indigenous Australians. Analysis of firstperson pronoun use shows the ongoing negotiation of social category boundaries and construction of moral identities through ascriptions to category members, upon which the intelligibility of the interview for the listening audience depended. The findings from analysis support claims in a considerable body of whiteness studies literature, the main themes of which include the pervasiveness of a racist discourse in Australian media and society, the power of invisible assumptions, and the importance of naming and exposing them. Changes in Pitjantjatjara mourning and burial practices Bill Edwards, University of South Australia This paper is based on observations over a period of more than five decades of changes in Pitjantjatjara burial practices from traditional practices to the introduction of Christian services and cemeteries. Missions have been criticised for enforcing such changes. However, in this instance, the changes were implemented by the Aboriginal people themselves. Following brief outlines of Pitjantjatjara traditional life, including burial practices, and of the establishment of Ernabella Mission in 1937 and its policy of respect for Pitjantjatjara cultural practices and language, the history of these changes which commenced in 1973 are recorded. Previously, deceased bodies were interred according to traditional rites. However, as these practices were increasingly at odds with some of the features of contemporary social, economic and political life, two men who had lost close family members initiated church funeral services and established a cemetery. These practices soon spread to most Pitjantjatjara communities in a manner which illustrates the model of change outlined by Everett Rogers (1962) in Diffusion of Innovations. Reference is made to four more recent funerals to show how these events have been elaborated and have become major social occasions. The world from Malarrak: Depictions of South-east Asian and European subjects in rock art from the Wellington Range, Australia Sally K May, Paul SC Ta�on, Alistair Paterson, Meg Travers This paper investigates contact histories in northern Australia through an analysis of recent rock paintings. Around Australia Aboriginal artists have produced a unique record of their experiences of contact since the earliest encounters with South-east Asian and, later, European visitors and settlers. This rock art archive provides irreplaceable contemporary accounts of Aboriginal attitudes towards, and engagement with, foreigners on their shores. Since 2008 our team has been working to document contact period rock art in north-western and western Arnhem Land. This paper focuses on findings from a site complex known as Malarrak. It includes the most thorough analysis of contact rock art yet undertaken in this area and questions previous interpretations of subject matter and the relationship of particular paintings to historic events. Contact period rock art from Malarrak presents us with an illustrated history of international relationships in this isolated part of the world. It not only reflects the material changes brought about by outside cultural groups but also highlights the active role Aboriginal communities took in responding to these circumstances. Addressing the Arrernte: FJ Gillen?s 1896 Engwura speech Jason Gibson, Australian National University This paper analyses a speech delivered by Francis James Gillen during the opening stages of what is now regarded as one of the most significant ethnographic recording events in Australian history. Gillen?s ?speech? at the 1896 Engwura festival provides a unique insight into the complex personal relationships that early anthropologists had with Aboriginal people. This recently unearthed text, recorded by Walter Baldwin Spencer in his field notebook, demonstrates how Gillen and Spencer sought to establish the parameters of their anthropological enquiry in ways that involved both Arrernte agency and kinship while at the same time invoking the hierarchies of colonial anthropology in Australia. By examining the content of the speech, as it was written down by Spencer, we are also able to reassesses the importance of Gillen to the ethnographic ambitions of the Spencer/Gillen collaboration. The incorporation of fundamental Arrernte concepts and the use of Arrernte words to convey the purpose of their 1896 fieldwork suggest a degree of Arrernte involvement and consent not revealed before. The paper concludes with a discussion of the outcomes of the Engwura festival and the subsequent publication of The Native Tribes of Central Australia within the context of a broader set of relationships that helped to define the emergent field of Australian anthropology at the close of the nineteenth century. One size doesn?t fit all: Experiences of family members of Indigenous gamblers Louise Holdsworth, Helen Breen, Nerilee Hing and Ashley Gordon Centre for Gambling Education and Research, Southern Cross University This study explores help-seeking and help-provision by family members of Indigenous people experiencing gambling problems, a topic that previously has been ignored. Data are analysed from face-to-face interviews with 11 family members of Indigenous Australians who gamble regularly. The results confirm that substantial barriers are faced by Indigenous Australians in accessing formal help services and programs, whether for themselves or a loved one. Informal help from family and friends appears more common. In this study, this informal help includes emotional care, practical support and various forms of ?tough love?. However, these measures are mostly in vain. Participants emphasise that ?one size doesn?t fit all? when it comes to avenues of gambling help for Indigenous peoples. Efforts are needed to identify how Indigenous families and extended families can best provide social and practical support to assist their loved ones to acknowledge and address gambling problems. Western Australia?s Aboriginal heritage regime: Critiques of culture, ethnography, procedure and political economy Nicholas Herriman, La Trobe University Western Australia?s Aboriginal Heritage Act 1972 (WA) and the de facto arrangements that have arisen from it constitute a large part of the Aboriginal ?heritage regime? in that state. Although designed ostensibly to protect Aboriginal heritage, the heritage regime has been subjected to various scholarly critiques. Indeed, there is a widespread perception of a need to reform the Act. But on what basis could this proceed? Here I offer an analysis of these critiques, grouped according to their focus on political economy, procedure, ethnography and culture. I outline problems surrounding the first three criticisms and then discuss two versions of the cultural critique. I argue that an extreme version of this criticism is weak and inconsistent with the other three critiques. I conclude that there is room for optimism by pointing to ways in which the heritage regime could provide more beneficial outcomes for Aboriginal people. Read With Me Everyday: Community engagement and English literacy outcomes at Erambie Mission (research report) Lawrence Bamblett Since 2009 Lawrie Bamblett has been working with his community at Erambie Mission on a literacy project called Read With Me. The programs - three have been carried out over the past four years - encourage parents to actively engage with their children?s learning through reading workshops, social media, and the writing and publication of their own stories. Lawrie attributes much of the project?s extraordinary success to the intrinsic character of the Erambie community, not least of which is their communal approach to living and sense of shared responsibility. The forgotten Yuendumu Men?s Museum murals: Shedding new light on the progenitors of the Western Desert Art Movement (research report) Bethune Carmichael and Apolline Kohen In the history of the Western Desert Art Movement, the Papunya School murals are widely acclaimed as the movement?s progenitors. However, in another community, Yuendumu, some 150 kilometres from Papunya, a seminal museum project took place prior to the completion of the Papunya School murals and the production of the first Papunya boards. The Warlpiri men at Yuendumu undertook a ground-breaking project between 1969 and 1971 to build a men?s museum that would not only house ceremonial and traditional artefacts but would also be adorned with murals depicting the Dreamings of each of the Warlpiri groups that had recently settled at Yuendumu. While the murals at Papunya are lost, those at Yuendumu have, against all odds, survived. Having been all but forgotten, this unprecedented cultural and artistic endeavour is only now being fully appreciated. Through the story of the genesis and construction of the Yuendumu Men?s Museum and its extensive murals, this paper demonstrates that the Yuendumu murals significantly contributed to the early development of the Western Desert Art Movement. It is time to acknowledge the role of Warlpiri artists in the history of the movement.b&w photographs, colour photographsracism, media, radio, pitjantjatjara, malarrak, wellington range, rock art, arrernte, fj gillen, engwura, indigenous gambling, ethnography, literacy, erambie mission, yuendumu mens museum, western desert art movement

Goonawarra Primary School was opened in the early 1980s to accommodate children who were living in the Goonawarra Housing Estate. Prior to development this area was known as Goonawarra Farm and John McMahon grazed his dairy cattle on the land.A coloured photograph of the Goonawarra Primary School and main gate with school children leaving the grounds. A girl dressed in a pink tracksuit is at the gate.state education, schools, goonawarra primary school, goonawarra housing estate, goonawarra farm, ministry of education, george evans collection

Goonawarra Primary School was opened in the early 1980s to accommodate children who were living in the Goonawarra Housing Estate. Prior to development this area was known as Goonawarra Farm and John McMahon grazed his dairy cattle on the land.A coloured photograph of the recently completed Goonawarra Primary School. A lady and little boy are walking along the footpath in front of the building. There is an expanse of lawn between the path and the building.state education, schools, goonawarra primary school, goonawarra housing estate, goonawarra farm, ministry of education, george evans collection

This object was made to commemorate Sunbury 150 years.A bell-shaped wine glass with a fluted stem that tapers to a round base. Made of clear glass with gold transfer of "SUNBURY 150" on the front.Abstract motto Gold Transfer. / SUNBURY 150 / Living Today 1836 - 1986shire of bulla, sunbury 150, souvenirs, commemoration, festivals and celebrations, george evans collection

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

stretched canvas, unframednil

Concerns of residents living near the Eastern Freeway of Vicroad failure to meet noise control limits.Noise control limits complaints.freeways, eastern freeway, vicroads, watson, barry, marshall day carr, world health organisation, balfe, peter, roads and streets, city of whitehorse, city of manningham

Nunawading Council are preserving the only remaining working orchard in Nunawading, Matheson's Orchard. The project's environmental living program will allow children to experience life on a working orchard.Nunawading Council are preserving the only remaining working orchard in Nunawading,orchards, matheson, charles, city of nunawading, matheson orchard

Article in Trust News. In 1988 Nunawading City Council purchased 2.5 hectares of an historic property which has been owned and occupied by the Matheson Family since 1914. It is one of the last working orchards in Nunawading. A Management Plan includes an environmental living program which aims at providing an overnight experience for children, giving both an experience how the property was operated as an orchard in the 1920s and 1930s. There will also be a public information display from oral histories taken from orchardists.orchards, matheson, charles, gilfedder, francine, mcconville, chris (dr), butler, graeme, bicentennial orchard, strathdon community

The Australian Historical Records Society existed in Ballarat between 1896 and 1906. They were one of Australia's first historical societies, and were in the position to still be able to talk to early pioneers. They invited such pioneers to either submit letters or memoirs, or to address the Society's meetings, where their reminiscences were taken down in shorthand and later typed up. The Society also attempted to preserve memorabilia from Ballarat's early days, but on the disbanding of the group in 1906, materials were stored at the Ballarat Town Hall and were later lost. It is not known how the papers made their way to the then Ballarat Municipal Library, but they have been part of the Library's collection for many years.Mr. J. Vallins - Reminiscences given before the AHRS, City Hall, Ballarat on Nov 26th, 1899 : Vallins, born in Berkshire in 1831, arrived in Australia at Geelong in 1854. He came to Ballarat for the gold and spent most of the rest of his life here, living in Ligar Street. He died in 1904 and is buried in the Ballarat Old Cemetery.

This flagon was produced to celebrate Sunbury's 150th anniversary 1836-1986. Similar ones were filled with wine and were for sale or given as presentations at the time of the anniversary. This one is unused and therefore is in mint condition.Cream and brown small ceramic wine flagon with Sunbury 150 and a logo printed on the front and on the back is a short printed history of Sunbury. It has a small handle near the top and a cork in the top opening of the flagon."SUNBURY 150/Living today 1836-1986/AUGUST 9TH TO 17TH"1980s, shire of bulla, souvenir, wineries, sunbury, george evans collection

Yields information through movie films of the 1960's of Ballarat trams operating in the streets of Ballarat and has a strong association with the maker - National Film and Sound Archives and Chris Long.Video cassette in a plastic case, titled "Living Ballarat - 1901 - 1941, National Film and Sound Archive (1990)". See Reg item 4519 for the DVD version. The DVD was made by Peter Winspur using this tape. Transferred to the Hard Drive 11/1/2010- AV Files - dB text/AV Files/Reg Item 4519/Video_TS (at 12/1/2010) Copyright provisions - National Film and Sound Archive - segments may not be used without their permission, viewing only. Synopsis: based on time - 0.00 - intro, 1901 film, Melbourne, first film in Ballarat, Royal visit to Ballarat, Boer War Monument, first feature length film in Ballarat. 2.50 - Bridge St and Sturt St scenes, filmed from a flat truck pushed by an electric tram, including No. 11 going to City Oval to Lydiard St. 5.00 - Sturt St Military parade, with trams in background and tram running alongside. 6.54 - scene of Alfred Hall and films. 7.32 - scene on Lake Wendouree and paddle steamer - Living Ballarat film - Pathe's Ballarat Gazette local film unit, football ground scene. a children's beauty competition, tree planting at Macarthur St state school, 1911 Ballarat Show, unveiling of the Boer War statue name plates, Lake Wendouree 1912. 13.22 - St Patricks David Pde with trams in the background. 14.24 - Ballarat Kennel club dog show. 15.50 - Royal visit in 1920, Arch of victory opening 17.48 - Day at Macarthur St state school and tree plantation 20.55 - Bakery Hill - Stones Corner with tram tracks, cars, little trams, Sturt St with a tram leaving Grenville St, ESCo 9 turning from Lydiard St to run down to Grenville St. 22.15 - Ballarat Show, Coliseum Hall, 1925, races, machinery shows, boxing troupe. 25.20 - Botanic Gardens Gates, Lake Wendouree area. 25.30 - Gem Picture travelling show - film 26.16 - Formal visit of English pressman to Ballarat, 1925, Botanic Gardens, Eureka Stockade, Avenue of Honor, Moorabool Reservoir. 29.15 - 1927 Fed Govt doco of Ballarat, Black Hill, 1927 Home to Ballarat Festival, Ballarat Commemorative song, Craigs Hotel, Ballarat Post Office, tram centre poles in Lydiard St, tram climbing Sturt St, Town Hall, tram at Lydiard St terminus coursing, 8, Sturt St, view of ESCo Sebastopol car leaving Grenville St, Selkirks Brickworks, the Welcome nugget, Peter Lalor statue, Eureka stockade, sewerage plant, modern housing, Sturt St west, water supply - golf club, the High School, the orphanage, fine homesteads around Ballarat, Lake Wendouree. 41.00 Opening of the Ballarat Aerodrome. 43.11 - Depression work and leading into radio broadcasting - 3BA open 1930, typewriters, radio transmission equipment, radio aerials, boys listening to crystal sets 47.50 - Bluebirds Children session tour to the Gardens, mentions the BTPS, trams 13, 3? and 14 carrying visitors arriving and getting off and picnic. 48.50 - expansion of 3BA transmitter capacity 51.30 - 1934 visit of the Duke of Gloucester - visit to the Lucas factory, views of the work floor and the factory history and then South St band competition at the Showgrounds. 55.10 - South St Music Festivals, Coliseum and fire. 56.25 - Ballarat Floral Festival March 1938 - Victorian Railways arch of welcome. 57.25 - segment in the shot of 12 and 19? in Sturt St 57.45 - colour segment of the festival, 58.39 - Grenville St tram shelter, Bridge St, Sturt St, arches, Main Road, Council Road Roller, Victoria St, Eureka Stockade Reserve, Botanic Gardens, setting up the flowers, wax papers. 1.01.48 - decorated tram, north side of Sturt St, details of the materials used, Crockers. 1.03.20 - Hospital Fund Raising Gala Day - March 1938, special trains arriving Ballarat Railway Station, fund raising procession, pageant at the Showgrounds, fly past. 1.07.35 - 1939 Summer, motor cycle races at Learmonth, City Oval fire brigade demonstrations, Ballarat (East) Fire Station decorated for the 1939 Floral Festival with tram in the background and No. 29, Floral Tram and others. 1.09.25 - July 1914 - Ballarat at War parade, troops. 1.10.10 - credits. Box has images of a tram and town hall on the front and details of the contents on the rear and who made it etc. See images for details. ballarat, 3ba, floral tram, royal visit, buildings, esco