The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.Photographing the Officers. 2nd WA Contingent. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.Have Some Dinner with Us. 2nd WA Contingent at Karrakatta. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.2nd WA Contingent Embarking on SS Surrey at Fremantle. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.A Last Farewell From Troopship Surrey Steaming Away From Fremantle Heads. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.Return of the Troops to SS Surrey from Perth. 2nd Australian Contingent. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.Untitled [Mounted Exercises in Karrakatta Camp]. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.Horse Lines Karrakatta Camp. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.Taking Photos at Karrakatta. 2nd WA Contingent. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.Untitled [Issue of Harness at Karrakatta Camp]. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

The 1st Contingent departed Fremantle on 7 November 1899 and returned on 29 December 1900. The 2nd Contingent departed 3 February 1900 and returned 8 December 1900. Due to the shortage of khaki material, the 1st Contingent uniforms wore their blue militia tunics, blue puttees and a dark blue puggaree on departure. An Anglo Boer War Service of Reconciliation is held annually on the first Sunday in June at the "Fallen Soldiers" (Boer War) Memorial in Kings Park attended by descendants and representative of all combatant nations. The date selected is the closest Sunday to the date of signing of the Treaty or Peace of Vereeniging (31 May 1902). The culmination of the service is the laying of the Emily Hobhouse wreath.Unique series of stereoscopic images showing both the 1st and 2nd West Australian Mounted Infantry Contingents to the Anglo Boer War. Images contain details of uniforms, accoutrements, camp life, civic honours and departure.Decorations High Street Fremantle. Departure 2nd WA Contingent. Published in Australian Stereoscopic Views, WA Series, Photographed and published by Craig and Solin, Fremantle and KalgoorliePhotographed and published by Craig and Solin, Fremantle and Kalgoorliestereoscope, boer war, south africa, capetown

Six people pose for a photo at the Mount Helen Campus of University of Ballarat (now Federation University Australia). From left to right they are Wayne Muir (University Aboriginal Officer), John Morris (Ballarat Aboriginal Co-operative), Professor David James (University of Ballarat Vice-Chancellor), Mandawuy Yunipingu (Yothu Yindi Foundation), Professor Stephen Kemmis, Mary Hickey (Director, Academic Services. wayne muir, aboriginal education centre, john morris, ballarat aboriginal co-operative, david james, mandawuy yunipingu, yothu yindi foundation, stephen kemmis, mary hickey, aborigine, aboriginal, reconciliation

Vol. 6, No. 3, Jul-Aug 2001 CONTENTS Vale Robert Klippel 1920 – 2001 2 John Young Making sense of the spirit of our times 3 Bud Tingwell's magnificent obsession 18 Winter Dreaming A concert for reconciliation 6 Short Story A mop of gardens by Gillion Mears 8 The Celts invade Brunswick Folk music at the East 12 Book Review John Jenkins on Les Murray 14 Abdullah Ibrahim and the Dollar Brand Trio 21 Heidelberg to Heide Streeton and Nolan: the common ground 22 Australian classical music Elizabeth Scarlet 23 Art Therapy Possibilities for change 24 Artin' about 26 Wining & Dining 30 Artists' Services and Teaching 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, winter in banyule, john young, aboriginal reconciliation, the great darebin music feast, gilian mears, montsalvat, st andrews hotel, kinglake hotel, folk song & dance society of victoria, bulleen art & garden centre, plenty views golf park, dynamic vegies, bud tingwell, eltham wiregrass gallery, abdullah ibrahim, willy wonka's ice cream gourmet food, heide museum of modern art, heidelberg artists' trail, heidelberg school artists' trail, heidelberg school, art therapy, jody kernutt, thompson's pharmacy

Two bronze commemorative plaques on rocks, unveiled by Wurundjeri Tribe Council Elders, mark two eastern boundaries of the former Warrandyte Aboriginal Reserve on the north and south sides of the Yarra. This project was initiated by Nillumbik Reconciliation Group in close association with Reconciliation Manningham and the Wurundjeri Tribe Council, as a means of commemorating the last great corroboree of the Kulin Nation which was held at Pound Bend in March 1852. This plaque is on the Nillumbuk side of the Yarra, accessed via The Boulevard, North Warrandyte. The plaque is set on a rock approximately 50 metres before the turning circle at the end of The Boulevard. Plaque : Warrandyte Aboriginal Reserve This commemorative rock marks an eastern boundary of the former Warrandyte Aboriginal Reserve established in 1852. Centred on Pound Bend, it covered 1,908 acres on both sides of the Yarra River (Birrarung). That same year saw the last great gathering of the Kulin nation here in Wurundjeri country which was celebrated over two weeks with traditional performance and games. For a few years longer the reserve intermittently served as a ration station.With gold having been discovered at Warrandyte, the Wurundjeri were moved on again but ultimately secured a permanent home at Coranderrk, Healesville. A second commemorative plaque and rock is located on the opposite bank of the Yarra and its confluence with Stony Creek. Melway ref : 23 C 9 Unveiled by Wurundjeri Elder, Uncle Bill Nicholson on 23rd March 2013 Funded by the Robert Bridgford Indigenous Trust (Nillumbik Community Fund) with assistance from Manningham City Council Small Grants Program Ref: Monument Autralia https://monumentaustralia.org.au/themes/culture/indigenous/display/99680-warrandyte-aboriginal-reserve-fay bridge collection, 2016-11-07, aboriginal reserve, north warrandyte, plaques, warrandyte aboriginal reserve

Vol. 7, No. 3, Jul-Aug 2002 CONTENTS Comment 2 Home Country: The Art of John Waller 3 by Dr Christopher Heathcote Short Story: Meeting People Andrew Hutchinson 7 Strange Memories Barbara Blackman on the art of Anna Glynn 10 Walking the Talk 12 Reconciliation in Eltham World Environment Day 13 Poetry news and reviews 14 John Jenkins Australian Classical Music 15 Elizabeth Scarlett Short Story: The Thinkers Library 16 Trevor Hay CD Reviews Kerri Simpson, Brian Brown 22 Book Review Ecological Pioneers 24 Coffee 25 Australian Landscape Conference 26 How many birds is that? 28 Artin' About 29 Wining & Dining 30 Artin' About 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, winter in banyule, john waller, bundoora homestead, willy wonka's ice cream gourmet food, bibby's bahnhof cafe, eltham fullife pharmacy, andrew hutchinson, bulleen art & garden centre, dynamic vegies, montsalvat, anna glynn, aboriginal reconciliation, marg woiwod, mick woiwod, andrew ross museum, trevor hay, st andrews hotel, chris pittard, mary-lou pittard, eltham wiregrass gallery, thompson's pharmacy, heide museum of modern art

The dual-naming of the Wimmera Library took place in November 2019, and includes a name in local Wergaia language. The Horsham Campus is now known as “Werrunangity larr Wimmerata” (pronounced: Wherroon narn kitch – larr – wimmerartar) meaning “a quiet place in the Wimmera.” The official naming took place in the presence of Professor Helen Bartlett (Vice Chancellor who was joined by Aunty Jennifer Beer, Uncle Rob Fry, Geoff Lord (Horsham Campus Director) , Sue Owen (Library Director), Jasmine Graham (Manager of the Aboriginal Education Centre), Keith Caldwell (Facilities), Katrina Beer and artist Tanisha Lovett. This naming was the result of extensive teamwork and community consultation between local Aboriginal Elders, land councils, our Aboriginal Education Centre, as well as library and campus leadership. It is just one of the ways in which we are progressing our University’s Reconciliation Action Plan. Federation University librarians stand new artwork and signs for Werrunangita larr Wimmeratawerrunangita larr wimmerata, horsham campus, library, librarians, ann jardine, women

A time for reconciliation / Bob Hawke -- Treaty is a recipe for separatism / John Howard -- A treaty for land justice and self-determination / Janine Haines -- Why a treaty? / Galarrwuy Yunupingu -- Aborigines are Australian, too / Bob Liddle -- Fallacies weaken the case for a treaty / Geoffrey Blainey -- Why whites also need an Aboriginal treaty / Roberta Sykes -- The quest for Aboriginal sovereignty / Hugh Morgan -- Legal and constitutional considerations / Mark Cooray -- Australia as terra nullius / Peter van Hattem -- Canada: towards Aboriginal self-government? / Jean Chretien -- American Indian treaties: historic relics / Peter Samuel -- The long aftermath of Waitangi / Antomy C. Turner -- Appendix 1: The Barunga statement -- Appendix 2: Preamble to the ATSIC Bill -- Appendix 3: Press attitudes to a treaty -- Appendix 4: Aboriginal population and landmaps, b&w photographsrace relations, racism, government relations, treaties

Ten miscellaneous handwritten Cohn documents with contemporary descriptive headings. 1. Rebates 30th April 1911. 2. Note of earnings from leases at 30th April 22 & 23. 3. Various Memos re Balance 30 th April 1914. 4. Copy of Documents provided to Commonwealth of Australia War Census 30.4.1915. 5. Particular percentage profits of various branches. 30th April 21. 6. Percentages to Turnover Bendigo 30/4/21. 7. Summaries 31/10/ 22. 8. Rough estimates of Income Tax Provisions. 30th April 22. 9. Reconciliation Statement re Wages for 12 months to 30/4/21. 10. Envelope addressed to The Secretary Cohn Bros Victoria Brewery Co Ltd containing List of documents held at 30/4/1928, also various Bank Certificates.bendigo, industry, cohn bros brewery

October 2000 articles include: Safer roads for the Shire Eltham Festival program announced Commercial Place design released 2000-2003 Council Plan Released National Reconciliation Framework Living and Learning Centres More Playgrounds Susan St Pavilion completed Study to plan for BMX/skate track Wattle Glen Township Strategy Community Weed Control Program Count Koala Day Environment Centre proposed for Edendale Farm Open Space Strategy findings Neighbourhood Character Study and Residential Design Guidelines Friends groups Clean Drains – Living Creeks, National Water Week Nillumbik Shire Council Cultural Plan 2000-2005 adopted 2001 Alan Marshall Short Story Award Artists’ Open Studios program Kangaroo Ground Tower Advisory Committee Environment leaders at Eltham North primary Dollars saved by regular road maintenance Regional Road upgrades Rural roads grading program Stormwater Management Plan Locality boundary update council newsletters, nillumbik news, nillumbik shire council

Federation University Australia’s Student Commons Area at the Mt Helen Campus was the first FedUni building to be officially given an Aboriginal name, Gnarrwirring Karung. Meaning Learning Place in the local Wadawurrung language, the re-named centre (pronounced Narrowing Ker Ung) will provide recognition of the area’s cultural heritage and increase the vibrancy, diversity and rich culture throughout the campus. The re-naming ceremony was held at the Gnarrwirring Karung Student Commons Area, S Building, Mt Helen Campus. “The choice of name follows an extensive process of seeking suggestions from the student body, the University’s Aboriginal Education Centre and local Aboriginal custodians,” Geoff Lord, Chairman of the University’s Reconciliation Action Plan (RAP) Committee, said. “The official naming meets many elements recognised within the FedUni RAP such as enhancing community, embedding culture, providing opportunity and, most importantly, respect. “The ceremony is a fine example of putting Aboriginal culture at the centre of our daily lives.” Jasmine Graham, Manager of the Aboriginal Education Centre, said the re-naming was a milestone for the local Aboriginal community. “The University is committed to greater recognition of Aboriginal heritage and culture throughout all of its campuses,” Ms Graham said. “Gnarrwirring Karung will be an impressive landmark throughout the Mt Helen Campus and a welcoming learning place.” A number of photographs taken at the naming of a Federation University space in the Mt Helen Campus 'S' Building. The space has been named Gnarrwirring Karung, Waddawurrung for Learning Place. waddawurrung, gnarrwirring karung, aboriginal, mt helen campus, jasmine graham, helen bartlett, reconciliation action plan, university women

Federation University Australia’s Student Commons Area at the Mt Helen Campus was the first FedUni building to be officially given an Aboriginal name, Gnarrwirring Karung. Meaning Learning Place in the local Wadawurrung language, the re-named centre (pronounced Narrowing Ker Ung) will provide recognition of the area’s cultural heritage and increase the vibrancy, diversity and rich culture throughout the campus. The re-naming ceremony was held at the Gnarrwirring Karung Student Commons Area, S Building, Mt Helen Campus. “The choice of name follows an extensive process of seeking suggestions from the student body, the University’s Aboriginal Education Centre and local Aboriginal custodians,” Geoff Lord, Chairman of the University’s Reconciliation Action Plan (RAP) Committee, said. “The official naming meets many elements recognised within the FedUni RAP such as enhancing community, embedding culture, providing opportunity and, most importantly, respect. “The ceremony is a fine example of putting Aboriginal culture at the centre of our daily lives.” Jasmine Graham, Manager of the Aboriginal Education Centre, said the re-naming was a milestone for the local Aboriginal community. “The University is committed to greater recognition of Aboriginal heritage and culture throughout all of its campuses,” Ms Graham said. “Gnarrwirring Karung will be an impressive landmark throughout the Mt Helen Campus and a welcoming learning place.” A number of photographs taken at the naming of a Federation University space in the Mt Helen Campus 'S' Building. The space has been named Gnarrwirring Karung, Waddawurrung for Learning Place. waddawurrung, gnarrwirring karung, aboriginal, mt helen campus, reconciliation action plan, s building, waddawurrung language, place names

Laughing Waters Road , the book was launched at Montsalvat in Eltham. On Saturday, January 30, 2016, Nillumbik Council launched this book. The weather was cool; just as well, considering over 500 people attended this very pleasant event where food and drink were plentiful. The Australian Government and Nillumbik Shire Council funded the book and it was designed by Wayne Rankin of North Warrandyte. The dedication page is to our very own Ranger Campbell Beardsell OAM of Parks Vic who taught Jane to be “passionate about the environment of this special place” (p260). FOWSP members Val Polley, Linda Rogan and Ken Crook contributed to the content and photos. David Wandin, Wurundjeri Elder, gave a Welcome to Country and officially launched the book after the Mayor of Nillumbik, Cr Hattam, made introductions. Jane Woollard followed with a brief outline of how she came to write the book (her very first) and read out loud the last paragraph which focuses on reconciliation and shared culture. Jane declared in her preface that the book “has been formed by attending to the connection between rivulets of memories, creeks of hearsay, rivers of tales, the meanders of local legend and the deep, still pools of the archive.” Very poetic! - Lynda Gilbert Newsletter; Friends of Warrandyte State Park March 2016, Volume 34 Number 2 Laughing Waters Road , the book was launched at Montsalvat in Eltham ON SATURDAY 30 JANUARY Nillumbik Council launched this book. The weather was cool; just as well, considering over 500 people attended this very pleasant event where food and drink were plentiful. The Australian Government and Nillumbik Shire Council funded the book and it was designed by Wayne Rankin of North Warrandyte. The dedication page is to our very own Ranger Campbell Beardsell OAM of Parks Vic who taught Jane to be “passionate about the environment of this special place” (p260). FOWSP members Val Polley, Linda Rogan and Ken Crook contributed to the content and photos. David Wandin, Wurundjeri Elder, gave a Welcome to Country and officially launched the book after the Mayor of Nillumbik, Cr Hattam, made introductions. Jane Woollard followed with a brief outline of how she came to write the book (her very first) and read out loud the last paragraph which focuses on reconciliation and shared culture. Jane declared in her preface that the book “has been formed by attending to the connection between rivulets of memories, creeks of hearsay, rivers of tales, the meanders of local legend and the deep, still pools of the archive.” Very poetic! - Lynda Gilbert Newsletter; Friends of Warrandyte State Park March 2016, Volume 34 Number 2 https://fowsp.org.au/docs/News_2016/34_02_March.pdffay bridge collection, 2016-01-30, book launch, bronnie hattam, jane woollard, laughing waters road, montsalvat, sigmund jorgensen, harry gilham, maurice hurry

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

A community-led project to contribute to a vision for the Shire of Nillumbik. Between October 2011 and June 2012, Nillumbik Shire Council undertook a community information gathering project to ask residents "what is your vision for your local community?” Picture Nillumbik represents a collection of responses from community groups, schools and households via online submissions, photos, interviews and workshop contributions. The resulting document provides a snapshot of the values, ambitions and resilience of Nillumbik communities. The project aimed to inform community planning and identify how Council can work better with residents. The resulting document provides a snapshot of the values, ambitions and resilience of Nillumbik communities. Aimed to inform community planning and identify how Council can work better with residents. Further that the document be inspiring, stimulating and a reminder that the future is worth planning for. Includes a number of case studies of local organisations and projects including: Christmas Hills - Butterfly Studios, Strathewen Tree Project, St Andrews mosaic seat, Eltham & District Woodworkers Inc., Edendale Farm - Home harvest, Hurstbridge, Bend of Islands, Bendigo bank, Dunmoochin - Cottles Bridge, Artists Open Studios Program, World Matters and Past Matters, Nillumbik Reconciliation Group, Boots for all. Chapters include: Deep connection and resilient community, local village life, Balance with nature, a sustaining and evolving economy, creative expression, art and cultural exchange, experience discovery and fulfilment and stewarding the Nillumbik way. Each chapter includes further questions for discussion.Spiral bound document printed in landscape format. Includes text and colour photographs. 196 pagesSmall piece of paper headed "DRAFT" included at the front of the document when bound.shire of nillumbik, planning, future, christmas hills, strathewen tree project, st andrews, eltham & district woodworkers inc., edendale farm, bend of islands, dunmoochin, artists open studios program, nillumbik reconciliation group, community groups, vision, strategy

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.A computer generated artwork on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Digital print on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- 2022) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. Computer generated image on canvas.josh muir, aboriginal, artwork, artist, hutchinson indigenous fellowship

Vietnam Veterans parade 1987. Australia gives the Vietnam Veterans:soldiers, navy and airman finally receive the "welcome home" they deserved. Vietnam Veterans parade 1987. Australia gives the Vietnam Veterans:soldiers, navy and airman finally receive the "welcome home" they deserved. Stained pine board with three Vietnam plaques mounted on - plaques - 1. Australian force Vietnam, 2.National memorial to Vietnam forces 3 Vietnam vetrans parade sydney 1987. 1. Australian Vietnam Forces National Memorial and 2. National Memorial to Vietnam forces The Australian Vietnam Forces National Memorial is dedicated to all those Australians who served, suffered and died in that conflict. It was built largely through contributions from the Australian people, raised by the Australian Vietnam Forces National Memorial Committee. 3. Vietnam Vetrans Parade Sydney 1987 On October 3, 1987, around 22, 000 Vietnam veterans marched in a ‘Welcome Home’ parade through the streets of Sydney It was estimated that the parade was watched by a crowd of up to 100,000, including Prime Minister Hawke, and that it stood up to ten deep along the parade route in some places. he marchers carried more than 500 Australian flags, each flag representing a serviceman who had lost their life during the Vietnam War. These simple acts represented the reconciliatory nature of the event – the flags, standing for the nation-state, were accepted as a proper symbol for the fallen by the veterans and symbolised their reconciliation with the body politic that they felt had rejected their rightful place in the Anzac narrative after the end of the Vietnam conflict. Plaques:- 1. Australian Vietnam Forces National Memorial, Wooden Shield with metal shield with black outer ringed by service corps insignia, inner with a white band of the shield shape. the interior of the metal shield is light blue circle, with a white vertical sword, the top of the sword is a banner of red and orange strips. Below the metal shield is a Australian Army rising sun badge. Followed by a banner inscribed with " Australian Force Vietnam" 2. National Memorial to the Australian Vietnam Forces :- Small wooden shield, with a metal rectangle inscribed - vietnam veterans, welcome home parade 1987, plaques

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

Transcription of plaque: Not Just a Pretty Place acknowledges the cultural significance of this site for residnets of the Nillumbik Shire and for the Wurundjeri community. Historically the confluence of rivers have particular importance as these were sites where rituals and ceremonies took place. The carved bluestone form presents an oversize river pebble that echoes the spirit of the water and draws attention to this location as a meeting place and landmark. The oval shape of a coolamun (Wurundjeri dish or basket) is referenced in the sculpture as a reminder of the indigenous heritage and as a gesture to reconciliation Danko describes the work as a contemporary message stick or sign, that can be read as a merker of time, nature and human existance. 2000 Nillumbik Art in Public Places Award. Heritage Excursion - Saturday 1st July - Eltham Lower Park - Walk and Talk Eltham Lower Park has played an important part in the history of our area since the early days of European settlement when it was used by local residents as an informal racecourse. Prior to that its location at the junction of the Diamond Creek and the Yarra River made it an important meeting place for the Wurundjeri people. The park combines formal elements and sporting facilities with remnant bushland that is of environmental significance. It is home to sporting and horse riding clubs, popular play spaces and the Diamond Valley Miniature Railway, which attracts large numbers of visitors. The park will be the venue for our July excursion which will comprise a walk of about 3.5 km around the park and adjacent areas. Along the way we will discuss the history and natural history of the area. The path along the creek and the river provides a pleasant and scenic walk. This walk on Saturday 1st July is about 3.5 km in length and will take 2 to 2.5 hours. It will start at 2pm at the Main Road car park at the front of the park. (Melway ref 21 H 10). From Newsletter No., 234, June 2017 Born Digitalelection day, heritage excursion, activities, eltham district historical society, eltham lower park, not just a pretty place, public art, plaque