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Warrnambool and District Historical Society Inc.
Book, Exercise book Winnie Goodall, Early 20th century
This exercise book has been used by Winnifred (Winnie) Goodall in 1916 when she was a pupil at the Warrnambool Technical School. The material in the book mostly consists of letter-writing practice for business purposes. The Goodalls were pioneer settlers in the Warrnambool district with William and Ellen Goodall arriving in the area in the late 1840s. Eventually they had a property named Wanstead on the Allansford Road in East Warrnambool. One son, William, was an early manager of the Framlingham Aboriginal Settlement. Another son, Thomas, was a Warrnambool law clerk and Winnie, (born 1901 to mother Leah), was his granddaughter. The Warrnambool Technical School was established in 1913.This exercise book is of interest as an example of school work completed by a Warrnambool Technical School student in 1916. It is also of interest because it belonged to Winnie Goodall, a member of an important pioneering family in the Warrnambool district. This is a school exercise book with a cardboard cover and 17 double pages. The cover has a mottled pattern of brown and mauve and the pages have been attached by metal staples but the staples have been removed. The pages have blue ruled lines with handwritten material in blue and black ink. Some of the pages have red hand-drawn lines. The cover is slightly torn. On the first page two cartoon sketches from a newspaper have been pasted in. The front cover has a printed label in blue and white colouring pasted on, with handwritten information on the label. ‘Exercise Book Written by Winnie Goodall, Commenced 9th February 1916’. winnifred goodall goodall families, warrnambool warrnambool technical school. -
City of Ballarat
Artwork, other - Public Artwork, Leaf Design Studio, Coming Home to Nest by Katherine Masiulanis
At the crossover between placemaking and public art, this space designed and constructed by Katherine Masiulanis embeds local stories to enliven the local community centre. Masiulanis has designed the public artwork to reflect the lines of crops and ploughed fields and mountains in the surrounding landscape. The artwork also refers to the seasonal travel of Aboriginal people from Wendouree to Burrumbeet and migratory birds making a similar journey. The style of the refurbished courtyard will reflect the 1970s positivity style reflected in the Community Centre architectural design and the history of the first development of the ‘Village’. Cardigan Village is home to about 450 residents on the outskirts of Ballarat. It was established in the 70s, with all the positivity and optimism of the period.Painted walls, metal bird shapes, metal cut out wall shapes, stone bowl -
Bialik College
Booklet (item) - Shakespeare Grove History Book 1986-1987, 1986-1987
Scrapbook filled with annotated photographs and newspaper clippings, labelled 'Shakespeare Grove History Book Oct 1986-1987'. Topics include a dance evening at Shakespeare Grove; the Bialik Fete; annual Parents' Association Revue; an audience with Israeli President Chaim Herzog; the first combined Bar and Batmitzvah ceremony; new principal; Book Week; Speech Night play; Pesach play; Jewish education; visit of an Aboriginal cultural group; advertisement; fundraising; school librarian; family maths morning; and the story of IVF triplets starting school at Bialik in 1989. Please contact [email protected] to request access to this record.1980s, jeffrey mahemoff, michael pincus, year 7, barmitzvah, batmitzvah, ben ami shemer, visual and performing arts, event, judaism, kathleen o'donnell, meg rynderman -
Federation University Art Collection
Painting, Searle, Ken, 'Ballarat' by Ken Searle, 1998
Ken SEARLE (1951- ) Born Sydney, New South Wales Ken Searle worked on this commission through 1997 and 1998. Further works and sketches relating to this commission are held by the Art Gallery of Ballarat. Searle is a self-taught artist who first exhibited his paintings and drawings in the mid-1970s and is known for large, and often whimsical, paintings, of suburban and industrial areas in several Australian cities. From 1998 to 2001 Searle worked as a consultant at the school in the Aboriginal community of Papunya, Central Australia. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed painting highlighting the artist's favoured aspects of Ballarat. Interested with scenes of suburbia for over twenty years, Ballarat is his first portrayal of a whole city. Searle’s view of Ballarat presents a deliberately untidy city seen from a number of viewpoints. Local scenes are portrayed no matter how pretty or garish, the subject matter providing a snap shot in time. Funded through the Commissions Program of the Visual Arts/Craft Fund, 1998 art, artwork, ken searle, ballarat -
Federation University Art Collection
Work on paper - Printmaking, Tji Tji Kutjara [Two Children], c1996
Nyukana BAKER (1943-2016) Born Ernabella, South Australia Country: Kanypi Language: Pitjantjatjara A Pitjantjatjara artist from Ernabella who began painting, designing and weaving in 1963 and producing batik in 1971. Founded in 1949 Ernabella Arts is the longest running Aboriginal arts centre in Australia. It was established o create employment opportunities for young women from the local Pitjantjatjara people. Nyukana Baker died 17 April 2016 at Alice Springs, Northern Territory. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print. 6/20 Tjitji Kutjara Two Children Nyukana Baker Feb 1996art, artwork, printmaking, linoprint, nyukana baker, pitjantjatjara, kanypi, aboriginal, ernabella -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Aliment), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Nature Morte (Flora), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Colonisation), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Veiled Bird), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Blackbird), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wangaratta RSL Sub Branch
Newspaper - Newspaper Articles, 1940
Article One - Charge! - image of members of the aboriginal group carrying out a baton charge Article Two - Officer's Tribute - image of aborigines at Wangaratta carry out ceremony of changing of the guard Article Three - Two Australians - image of Shirley Anderson, 8, of Wangaratta frequently entertains Diggers, singing and dancing. She visits camp nearly every day to chat with guard on duty. Aboriginal soldiers formed a special all volunteer platoon at No 9 Camp Wangaratta in Victoria from late 1940 until February 1941. No 9 Camp was set up at the Wangaratta Showgrounds to allow the formation of the 2/24th Australian Infantry Battalion prior to leaving for Egypt. Major Joseph Albert Wright a WW1 Light Horse veteran was in charge of this platoon the only Aboriginal squad in the Australian Military Forces at that time. The soldiers from Lake Tyers enlisted at Caulfield between June and July 1940 include Harold Cornelius HAYES VX 48217 DOB 2/4/1916 Enlisted 25/7/40 Discharged 22/3/1941 Edward FOSTER VX48218 DOB 25/5/1921 Enlisted 25/7/1940 Discharged 22/3/1941 Noel Ernest HOOD VX48194 DOB 3/1/1919 Enlisted 25/7/1940 Discharged 22/3/1941 Edward Leslie MULLETT VX48199 DOB 30/6/1910 Enlisted 25/7/1940 Discharged 22/3/1941 Samuel Richard RANKIN VX48201 DOB 23/7/1910 Enlisted 25/7/1940 Discharged 22/3/1941 Stewart HOOD VX47351 DOB 23/1/1903 Enlisted 18/7/1940 Discharged 22/3/1941 William GORRIE VX48208 DOB 22/11/1921 Enlisted 25/7/1940 Discharged 22/3/1941 David John MULLETT VX48195 DOB 10/6/1919 Enlisted 25/7/1940 Discharged 22/3/1941 Arthur Alexander (Tom?) MULLETT VX48198 DOB 25/11/1914 Enlisted 25/7/1940 Discharged 22/3/1941 Images relates to the "special platoon" based at No 9 Camp Wangaratta as being the Australian Army's first all Aboriginal Unit formed in 1940. The soldiers were all volunteers mainly from Lake Tyers in Victoria. In addition to normal army training they performed guard duty at the Army Hospital and Camp. They formed the Gum Leaf Band and led the troops at community singing and assisted in Methodist Church services. Three black and white newspaper articles adhered to cream paperWarrior Tradition Written in blue ink 28/12/1940no 9 camp wangaratta, aboriginal platoon -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2007
1. The moral lexicon of the Warlpiri people of central Australia LR Hiatt This paper discusses words that match ?Good? and ?Bad?; examples of ?Good? and ?Bad? behaviour; morality and law; and egalitarianism and dominance. It also presents a comparison with Gidjingarli (Burarra). 2. Mobs and bosses: Structures of Aboriginal sociality Patrick Mullins (Mount Druitt, NSW) A commonality of Aboriginal social organisation exists across the continent in communities as different as those from the Western Desert across to Cape York, from the towns of New South Wales and Western Australia to cities like Adelaide. This is found in the colloquial expressions ?mob? and ?boss?, which are used in widely differing contexts. Mobbing is the activity where relatedness, in the sense of social alliances, is established and affirmed by virtue of a common affiliation with place, common experience and common descent, as well as by the exchange of cash and commodities. Bossing is the activity of commanding respect by virtue of one?s capacity to bestow items of value such as ritual knowledge, nurturance, care, cash and commodities. Mobbing and bossing are best understood as structures in Giddens? sense of sets of rules and resources involved in the production of social systems, in this case social alliances. Mobbing and bossing imply a concept of a person as a being in a relationship. Attention needs to be given to the way these structures interact with institutions in the wider Australian society. 3. Recognising victims without blaming them: A moral contest? About Peter Sutton?s ?The Politics of Suffering: Indigenous Policy in Australia since the 1970s? and Gillian Cowlishaw?s replies Ma�a Ponsonnet (Universit� Paris- 8-Saint-Denis) Peter Sutton?s texts on Aboriginal violence, health and their politicisation are replied to using his methodology, and acknowledging his convincing points. Sutton rightly denounces a lack of lucidity and scientific objectivity in anthropological debates. These inadequacies impede identification of what Aboriginal groups can do to improve their situations for fear that this identification would lead to blame the victims. At the other end of the ethical spectrum, those who advocate a broader use of what I will call a ?resistance interpretation? of violence fail to recognise victims as such, on the implicit grounds that seeing victims as victims would deprive them of any agency, on the one hand, and entail blame, on the other hand. I aim to define a middle road between those views: the idea that victims should be acknowledged as such without being denied their agency and without being blamed for their own condition. This middle road allows identification of the colonisers? responsibilities in the contemporary situation of Indigenous communities in Australia, and to determine who can do what. Secondly, I show that Sutton?s texts convey, through subtle but recurrent remarks, an ideology of blame rather than a mere will to identify practical solutions. As a consequence, some of his proposals do not stand on a solid and objective causal analysis. 4. 'You would have loved her for her lore?: The letters of Daisy Bates Bob Reece (Murdoch University) Daisy Bates was once an iconic figure in Australia but her popular and academic reputation became tarnished by her retrograde views. Her credibility was also put in doubt through the exposure of her fictionalised Irish background. In more recent times, however, her ethnographic data on the Aborigines of Western Australia has been an invaluable source for Native Title claims, while her views on Aboriginal extinction, cannibalism and ?castes? are being seen as typical of her time. This article briefly reviews what has been the orthodox academic opinion of her scientific achievement before summarising what is reliably known of her early history and indicating what kind of person is revealed in the 3000 or more letters that she left behind. 5. What potential might Narrative Therapy have to assist Indigenous Australians reduce substance misuse? Violet Bacon (Curtin University of Technology) Substance misuse is associated with adverse consequences for many Australians including Aboriginal and Torres Strait Islander peoples. Extensive research has been conducted into various intervention, treatment and prevention programs to ascertain their potential in reducing substance misuse within Aboriginal and non-Aboriginal communities. I explore the potential of Narrative Therapy as a counselling intervention for assisting Indigenous Australians reduce the harm associated with substance misuse. 6. Bone points from the Adelaide River, Northern Territory Sally Brockwell (University of Canberra) and Kim Akerman (Moonah) Large earth mounds located next to the vast floodplains of the lower Adelaide River, one of the major tropical rivers draining the flat coastal plains of northern Australia, contain cultural material, including bone points. The floodplains of the north underwent dynamic environmental change from extensive mangrove swamps in the mid-Holocene, through a transition phase of variable estuarine and freshwater mosaic environments, to the freshwater environment that exists today. This geomorphological framework provides a background for the interpretation of the archaeology, which spans some 4000 years. 7. A different look: Comparative rock-art recording from the Torres Strait using computer enhancement techniques Liam M Brady (Monash University) In 1888 and 1898, Cambridge University?s Alfred C Haddon made the first recording of rock-art from the Torres Strait islands using photography and sketches. Systematic recording of these same paintings and sites was carried out from 2000 to 2004 by archaeologists and Indigenous Torres Strait Islander and Aboriginal communities as part of community-based rock-art recording projects. Computer enhancement techniques were used to identify differences between both sets of recordings, to reveal design elements that Haddon missed in his recordings, and to recover images recorded by Haddon that are today no longer visible to the naked eye. Using this data, preliminary observations into the antiquity of Torres Strait rock-art are noted along with recommendations for future Torres Strait region rock-art research and baseline monitoring projects. 8. Sources of bias in the Murray Black Collection: Implications for palaeopathological analysis Sarah Robertson (National Museum of Australia) The Murray Black collection of Aboriginal skeletal remains has been a mainstay of bio-anthropological research in Australia, but relatively little thought has been given to how and why this collection may differ from archaeologically obtained collections. The context in which remains were located and recovered has created bias within the sample, which was further skewed within the component of the collection sent to the Australian Institute of Anatomy, resulting in limitations for the research potential of the collection. This does not render all research on the collection unviable, but it demonstrates the importance of understanding the context of a skeletal collection when assessing its suitability for addressing specific research questions.maps, b&w photographs, colour photographs, illustrations, graphs, chartswarlpiri, sociology, daisy bates, substance abuse, narrative therapy, rock art, technology and art, murray black collection, pleistocene sites, watarrka plateau -
Orbost & District Historical Society
black and white photograph, 1917
This photograph shows the Orbost Butter factory, which in 1917, installed a very successful electric light. the dark heap to the left of the road is Supposedly the grave of "Dan the Cook" who was speared by Aborigines in 1857. Dan Moylan, known as "Dan the Cook"was speared to death in 1851 at Orbost Station, Snowy River as punishment for kidnapping a young Aboriginal girl and holding her for three days, refusing to release her. The men of the tribe congregated at Dan's hut. When Dan came outside, a volley of spears was launched at him, killing him. In the tragic aftermath, the camp at Milly Creek was attacked in retribution and a number of Gunai/Kurnai people were killed. The Orbost Butter and Produce Co. Ltd was registered on June 1st 1893 and was an important source of income to the Orbost district. These photos are pictorial records of the Orbsot Butter Factory.A black / white photograph showing a large white building and factory beside it. on the verandah are about thirty milk churns. There are three men standing astride bicycles in front of the verandah. On the left hand side is a mound of dark soil?? -
Phillip Island and District Historical Society Inc.
Photograph - Post Card, Color Offset (Aust.) Pty. Ltd, c 1970
A collection of nine postcards donated by the Bass Coast Op Shop. Information on the back of No. 276-05. "Koala Bears were first seen by white explorers in the Blue Mountains, 1798. Early colonists from N.S.W. called it a "monkey bear". Koala means in Aboriginal "does not drink" or "no drink". They are slow-moving, tree-climbing, friendly marsupials with thick woolly fur coats, large ears and rubber nose. They live in gum trees and feed upon their leaves. Babies are born every two years, spending nine months in mother's pouch and then on her back for about six months, then leaving its parents and looking for a tree with comfortable branches."Nine coloured postcards of Phillip Island and wildlife. 276-01. Postcard showing four vintage vehicles displayed in the Len Lukey Memorial Museum & Gardens at the GP Race Track. 1. 1928 Austin Chummy. 2. 1926 Maxwell. 3. 1924 Model T Ford. 4. 1913 Model T Ford. 276-02. Postcard showing penguin in burrow possibly on egg/s 276-03. Postcard with two photographs of penguins coming up the beach at dusk. 276-04. Postcard with three photographs of penguins coming up the beach and people looking over the railing at them. 276-05. Postcard of a koala sitting on a branch. 276-06. Postcard of seals at Seal Rocks with man sitting on the rocks beside one. 276-07. Postcard with four photographs of koalas, penguins, Cowes Jetty and Cowes beach. 276-08. Postcard with three photographs of koalas, penguins and a seal. 276-09. Postcard with four photographs of penguins, koalas, seals and penguins.276-01. Len Lukey Memorial Museum & Gardens. Vehicle description as above in Physical Description. 276-02. Phillip Island, Victoria, Australia. On back: Australian Penguin Reserve, Phillip Island Victoria. 276-03. Australian Penguin Parade Phillip Island. 276-04. Penguins at Phillip Island, Victoria, Australia 276-05. On back: Full description of Koalas - see Historical Information below. 276-06. On back: Making friends at Seal Rocks, Phillip island, Vic. 276-07. Cowes Phillip Island. 276-08. Phillip Island Victoria 276-09. Greetings from Phillip Island. On back: Phillip Island, Victoria, Australia. Interesting aspects of this fascinating Island which gives shelter to some of Australia's unique fauna.wildlife - seals, wildlife - koala, wildlife - penguins, vintage cars, t model ford, len lukey musem, cowes beach, cowes pier, bass coast op shop -
Kiewa Valley Historical Society
Grinder / Pounding Stone, Dhudhuroa language Aboriginal tribe, pre British/European colonisation
This stone Grinder or pounder was used as part of an indigenous grinding food preparation method, by the original inhabitants of the Kiewa Valley and its region. In conjunction with its grinding stone was used not only to grind seeds and but also to dig up eatable roots and leaves and served with the regions Bogong moth. This method of food preparation has survived in its basic form for centuries and is still used by master chiefs in modern eateries. This item has been registered with Aboriginal Affairs in Wangaratta, Victoria. Dhudhuroa elder Alan Murray has examined this tool, in Feb 2015, and said it was also used for sharpening axe heads as well as pounding food items. This item has a very significant historical and social aspect to it. Firstly it demonstrates the division of labour within a indigenous tribe. It was an era when the female had a definitive role within the family and the broader social indigenous tribal group of, gathering and preparing non animal(hunted) food. Hunted food was the domain of the initiated males of the tribe.Secondly it demonstrates the ability to fashion implements from raw materials(rock) into effective tools for the purpose of preparing a meal for human consumption. This was in an era where inter family and intra family participation in an indigenous tribal social protective environment was at a very high level. The Kiewa Valley/Mount Bogong region was an area where annual "get together" indigenous tribes for feasting, bartering and settling of disputes highlighting the importance of a regional gathering. Grooved stone, carved to a cylindrical shape with a relative pointed end tip one side (grinding or pounding end) and a rough other end (holding end} Made from Rhyolite stoneThere is a worn grove in the top side due to this tool being used for axe sharpening. indigenous, aboriginal, stone grinding, meal preparation, natural environment, pounding stone -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter, City of Moorabbin Historical Society No. 2 Vol. 10 June 1970, City of Moorabbin Historical Society Newsletter No. 2 Vol. 10 June 1970, 1970
Topic ; Aboriginal Tree; SEHA publication; The Aims of the CMHS are ‘to record the history of the City, and register something of the Australian Atmosphere, which the necessary speed-up in post-world-war two (WW11) immigration has caused to be lost; to produce a magazine at regular intervals, featuring the work of pioneers and the changing Australian scene; to work constantly with a long range view towards building a hall where records and exhibits can be housed’ (1961) The Original Newsletters reflect the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. This is Newsletter No. 2 Vol. 10 of the CMHS June 1970 CMHS obtained a Kingston City Council Community Grant 2016 for the digitization and preservation of these Original CMHS Newsletters commenced in 1961 2 x L 26cm x W 21cm page 1 printed both sides CITY OF MOORABBIN HISTORICAL / SOCIETY / (Affiliated with the Royal Historical Society of Victoria ). /President Mrs C Whitehead Secretary Mrs P. Brodie / Newsletter June 1970 city of moorabbin historical society 1961, sheehy t.a., newsletters, -
Federation University Historical Collection
Book, University of Ballarat Annual Report, 2010, 2010
In 2010 the University of Ballarat celebrated 140 years of technical education on 26 October.Blue and white soft covered book featuring an image of three men and a woman. Contents include: David Battersby, Catherine King, Robert Hook, Jannine Bennett, Clare Gervasoni, Geoffrey Blainey, Robert H. T. Smith, charter, honorary doctorate Wai Man-Woo, David Suzuki, beer awards, Equine Centre, Science and Engineering Building, Aboriginal Education Centre, E. J. Barker Library refurbishment, Ashley Toth, Golden Key, Indigenous Education, William Harvey, Robyn Brandenburg, Diane Clinging, David Gao, Bronwyn Blaiklock, UB Technology Park, university of ballarat, ballarat school of mines, annual report, 2010, anniversary, 140th anniversary, david battersby, catherine king, robert h.t. smith, ted lovett, shirley morgan, tim stares, e.j. barker library refurbishment, geoffrey blainey research centre, geoffrey blainey research centre opening, geoffrey blaing, e.j. barker, ashley toth, tom gleeson, graeme hood, bronwyn blaiklock, robyn brandenberg, diane clingin -
Bendigo Historical Society Inc.
Photograph - BENDIGO CENTENARY COLLECTION: EIGHT PERSONS IN COSTUME IN FRONT OF TENT, c.1951
Black and white photograph Eight persons in costume. Four females in floor length dresses and bonnets. Four males: one boy dressed as Aboriginal, one as soldier, two men panning for gold. Tent in background. Inscriptions in image: '2nd Settlers' Camp'. On back, purple circular stamp 'Royal Historical Society at Victoria, Bendigo Branch', '1960', '218', '97', '264', '5', 'MP 187'. History of object Acc. No. 'MP 187' James Lerk? 'Centenary of Bendigo?'. On back: 'Copyright Bendigo Advertiser'. 'Bendigo Advertiser Photographic Service, for re-order quote CD 264'person, group, centenary ?, see also 2000.511.01, 2000.512.01, 2000 513.01, 2000.514.01, 2000.515.01, 2000.516.01, 2000.517.01, 2000.519.01, 2000.520.01, 2000.521.01, 2000.522.01, 2000.523.01, 2000.524.01 -
Bendigo Historical Society Inc.
Photograph - HARRIS COLLECTION: MALE PHOTO, Nineteenth Century
Black & White studio portrait photograph. Bearded moustached male aged approx mid fifty. Head & Shoulders. Jacket & Vest. Printed on front. 7 Collins St East, J W Lindts Melbourne. Extensive Reverse Printing include. From J W Lindt's Studio above lithograph view of Melbourne. Special Publications. 'Album of Australian Aboriginals', Characteristic Australian Forest Scenery, Genre, Pictures of Bush Characters, Men of Mark and distinguished Visitors to Victoria. Gold, Silver & Bronze Medals and Diplomas. Awarded at Philadelphia, Paris, Sydney, Brisbane, Sandhurst.J W Lindt's Studiophotograph, person, male -
The Adam Lindsay Gordon Commemorative Committee Inc.
Book, Adam Lindsay Gordon and Other Australian Writers- Inscribed by Charles R Long to Isaac Selby- Pioneers Day 1937
Age (Melbourne, Vic. : 1854 - 1954), Tuesday 26 October 1937, page 16 Pioneers' Day. Novemher 19 has been fixed as Pioneers' day The annual historical service organised by tho Pioneers' Association will be held in the Melbourne General Cemetery on Sunday. November 21. Addresses will be delivered by Messrs. W. A. Sanderson. J. Selby. E. Tozer. 13. W. Mylrea and C. R. Long. The memorial over the grave of William Pascoe Crook will be unveiled by Rev. W. Alblston. president of the Congregational Union. An aboriginal concert will be held in the Central Hall on November 10. -
Nillumbik Shire Council
Deborah Halpern (b.1957 Melb) with Malcolm Laurence (b.1974 Melb), Malcolm Laurence, The Spirit of Nillumbik (balustrade panels x11); Location: Eltham Town Square - Main St, Eltham, 2001
In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the first of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Five picture and six woven balustrades each made out of welded steel / organic wrought iron and coated with wax. Imagery (flora - plants, landscapes and fauna - animals, birds, reptiles, insects) are all based on the local environment. There is also a relevant aboriginal presence amongst each of the panels. Each panel represents the different areas that make up the Shire. 'Water' for Warrandyte, 'Kangaroos' for Christmas Hills, 'Cockatoos and 'Valley Creek Flats' for Hurstbridge, 'Wombats', 'Bluetongues' and 'Possums' for St. Andrews/Kinglake, 'Orchids' for Panton Hill, 'Cows' and 'Grapevines' for the Kangaroo Gound Hill landmark. N/Apublic art, nillumbik, fauna, flora, wrought iron, balustrade, halpern, laurence, kangaroo, eltham town square, spirit, warrandyte, christmas hills, kangaroo ground, hurstbridge, kinglake, panton hill, water, valley creek flats, cockatoos -
Orbost & District Historical Society
magazine, Back To Noorinbee School, 1974-1975
Noorinbee School, situated on the Bombala Rd approximately 6.5 km north of Cann River, was opened on 26th of July 1900, with Albert Le Page as head teacher until 30th of September 1904. The school still functions. A school bus runs daily to take the older children to the central classes at Cann River. "Noorinbee" is an Aboriginal word of unknown origin, The historical school is still at the front of the school yard. The Old Noorinbee School was been shifted twice. The first time they used a bullock team in 1924. The second time they used trucks and tractors in 1991. It was the first public building for the Cann Valleyand was first used as a hall and a church until it became the Noorinbee school in 1900. It was built in 1898. This item is a useful reference / research tool for the history of Noorinbee and its surrounds.A stapled paper back magazine with a red cover which has the title "BACK TO NOORINBEE SCHOOL" in black print. It contains a collection of articles relating to Orbost and Noorinbee and contains examples of children's work.noorinbee magazine-back-to-noorinbee-school -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Peter Pilven, "A Raided Form IV" by Peter Pilven, 2006, 2006
Peter PILVEN (1956- ) Born Ballarat Peter Pilven is acknowledged by his peers for his high level of tacit skills, including throwing, and for his sound technical knowledge of materials.Training with John Gilbert's Edinborough Pottery from 1972-1975, Pilven trained with Joan Campbell in Fremantle in 1976. In 1977 Peter Pilven obtained a Diploma of Fine Art (Ceramics) from Ballarat College of Advanced Education (now Federation University). The following year he worked with Ian Dowling at Geraldton, WA, and with the Western Australian Aboriginal Education Unit in 1979. He next trained with Alan Cagier-Smith in England between 1980 and 1981. Peter Pilven established his own studion in 1982.Hand built anagama [woodfired] stoneware. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.ceramics, artwork, artists, jan feder memorial ceramics collection, peter pilven, churchill, alumni -
Falls Creek Historical Society
Flyer - Attunga Ski Lodge, 1973
Attunga Ski Lodge was built by Bob and Noelene Lee in 1968. They had managed club and commercial lodges, including Ripparoo, throughout the early 60s before building their own premises. Three generations of the family have lived and worked in Falls Creek. As stated in this brochure, Attunga derives from the aboriginal word meaning High Place. Attunga was the first lodge in Falls Creek to have en suite rooms. It has continued to be a family-run and focused business, being purchased in 2016 by the Wruck family. Bob and Noelene Lee's son, Steven, became a three-time Olympian (in 1984, 1988 and 1992) and a World Cup winner. Noelene Lee is a Life Member of the Falls Creek Race Club.This flyer is significant because it documents the early origins of a highly regarded family business at Falls Creek.A flyer printed in blue text on light card. The front cover features an image of the Attunga Ski Lodge and two skiers in the foreground with text. Other sections explain the origin of the name "Attunga" meaning "high place" and features that are of high quality at Attunga, winter and summer activities, transport and the tariffs for 1973,On front: ATTUNGA SKI LODGE Bob & Noelene Lee .... invites you to have the fun of your life. Arlberg Street, Falls Creek, Victoria, 3699 Phone: Falls Creek - 583255 attunga ski lodge, accommodation falls creek, bob and noelene lee -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Book, Australian Defence Heritage, 1988 (exact)
The Department of Defence controls more than two million hectares of land used either as training areas or for operational and logistic bases. Approximately 200 Defence-occupied buildings have been classified by the Australian Heritage Commission and placed on the Register of the National Estate, and a further 100 buildings have been registered by the National Trust. Twenty properties also have been listed by the Australian Heritage Commission for significant environmental aspects and for the protection of Aboriginal sites. This book, produced as a contribution to Australia's bicentennial, is the first publication devoted entirely to Australia's priceless defence heritage. Text: Frank Doak Illustrations: Jeff IsaacsISBN 949 054 968heritage, books, defence estate, national estate, national trust, aboriginal sites, australian heritage commission, defence properties, frank doak, jeff isaacs, fairfax library, heritage, books, defence estate, national estate, national trust, aboriginal sites, australian heritage commission, defence properties, frank doak, jeff isaacs, fairfax library -
Federation University Historical Collection
Book, Land COnservation Victoria, Land Conservation Council Victoria Report of the North Eastern Area (district 1), 1972, 1972
Yellow and brown soft covered book with brown tapespine. Includes land use, recreation, agriculture, apiculture, vegetation, birds, water physiography, geology, climate, soils, fauna, land systems. Block descriptions include Bethanga, granya, Lawson, Walwa,Pine Mountain, Mittamatite, Elliot, Bunroy, Wabba, Mount Cadgewa, ucyvale, Koetan, Burrowa. Black and white images include Mitta Mitta arm, Corryong, Tallangatta, Lake Hume, Aboriginal rock shelter at Mount Porcupine, Koetong uplands, Mitta Mitta massif, bandicoot, wombat, skink, Flaggy Creek plateau, Walwa, Murray Cod, Thowgla, emu, grasstree, land conservation, north-eastern victoria, environment, landuse, recreation, timber, apiculture, water, upper murray, vegetation, birds -
Victorian Aboriginal Corporation for Languages
Book, Ann E Wells, This their dreaming : legends of the panels of Aboriginal art in the Yirrkala Church, 1971
Some time before the end of the year 1962, two great panels of Aboriginal art were begun. They were painted for part of a screen placed behind the Communion table in the Yirrkala church, and represented the two main, creative legends governing the lives, the behaviour and the ritual of the Aborigines belonging to a wide area of northeast Arnhem Land. Gives a brief outline of circumstances surrounding the panels. Lists the artists for each moiety. Maps show the territory of the people mentioned in the text. For each panel, there is a description of each section and an explanation of associated myths. Dua panel - the Djankawu journeys. Yiritja panel - legend of Banaitja. Glossary of terms.b&w art reproductionsyirrkala, yirrkala church, arnhem land -
Bendigo Historical Society Inc.
Photograph - The Procession April 1918
Black and white photograph glued to cardboard. The photograph captures a moment of a procession that took place on Monday April 1, 1918. There is a banner on the windscreen of the car that reads: Australia 1818-1918, a man in a suit is in the driving seat. An aboriginal man is standing on the back holding a boomerang and a sign: "Australia what it was 1818" another man is standing next in farmer's clothes holding wheat and a sign: "Australia has it is 1918". A child is standing near the car while two men on horseback can be seen in the background. Sticker on the back: John Gill in his car parade in 1918. Manager of Unity mine, Long Gully.W.H. Robinson photo Bendigoaustralia, 1918, photograph -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2008
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 -
Kiewa Valley Historical Society
Newspaper clipping 11/7/72 Canoe tree in Kiewa & Photo-Tawonga Homestead
1. Kiewa Valley Consolidated School was established in 1953 combining Dederang North, Kergunyah, Gundowring, Kiewa, Gundowring Upper, Red Bluff, Charleroi and Gundowing North schools on a 10 acre site with 11 rooms at Kiewa. The bark was cut from the canoe tree, by aboriginal craftsmen, to produce a canoe for fishing in the rivers running through the Kiewa Valley either before or just after the 1800's. The tree trunk, located at Kiewa, would have been used at the beginning of European settlement in the Kiewa Valley or just before contact was made. 2. Pictorial record of the graves of early pioneers C Ibbotson, Mrs Elizabeth Eyre and John Eyre who died between 1858 – 1904, all located at Tawonga Homestead 1. The above schools are in the Kiewa Valley. The date and number of combined schools give insight into the change in population and families in the Kiewa Valley before and after 1953. The tree was found along the Kiewa River and indicates that Aborigines lived by the river and used tree bark to craft canoes to cross rivers and to fish in the deeper sections of the river. 2. Pictorial record of the early history of Kiewa Valley pioneers whose descendants have lived and worked in the Kiewa Valley for many years 1. Newspaper article of local school children visiting a canoe tree in Kiewa July 11, 1972. mounted on buff card 2. Black and white photo of pioneer graves at old Tawonga Homestead. Mounted on buff card 1. Handwritten in black ink above newspaper clipping ‘Canoe Tree Kiewa Valley Consolidated School. 11 July, 1972’ Handwritten in pencil at bottom of article ’10 Nov. ‘72’ 2. Handwritten in black ink above photo ‘Tawonga Homestead graves’ Handwritten below photo ‘T Ibbotson D. 1858, Elizabeth Eyre D. 1879, John Eyre D 1879, John Eyre D. 1904 tawonga homestead, canoe tree at kiewa, tawonga graves