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Bendigo Military Museum
Booklet - POCKET BOOK SOUTH VIETNAM, AUSTRALIAN ARMY, C 1962-1972
Aust soldiers going to South Vietnam were issued with this booklet Pocket size booklet. The cover is cardboards, jungle green colour. The printing is white. At the top of front cover is the Crest of Australia 72 pages- History of South Vietnam and culture. Enemy descriptions and drawings. Viet language. Ranks of US Army and SVN army. Maps Inside front cover.. Pte. P. J. PENNO 3790111 NUI DAT 67/68 Page 24 has a map of South Vietnam. A bird mark “x” has been placed on PHUOC TOY vietnam war, booklet -
Bendigo Historical Society Inc.
Map - HUNTLY ? (NO NAME ON PLAN), Circa 1876
Map: Huntly?. Hand Draughted parish plan. Originally in Map Cupboard. Relocated to Map Drawer 5 on 22.9.22. Too long for the map cupboard.map, bendigo, parish plan, huntly -
Whitehorse Historical Society Inc.
Map, Nunawading Planning Scheme, 7/06/1994 12:00:00 AM
... maps ...Local Section maps 1 - 4 with index. Geographical information system land Information Branch. Scale 1:10,000 Shows zoning under planning scheme.Local Section maps 1 - 4 with index. Geographical information system land Information Branch. Scale 1:10,000 Shows zoning under planning scheme.Local Section maps 1 - 4 with index. Geographical information system land Information Branch. Scale 1:10,000 Shows zoning under planning scheme.blackburn, blackburn north, blackburn south, forest hill, heatherdale, maps, nunawading, vermont, vermont south, town planning, burwood east, laburnum -
Ballarat Tramway Museum
Drawing - Wanganui NZ - Plan and Notes, Wal Jack, 12/1946
... maps ...Wal Jack had an extensive range of correspondents throughout Australia and the world who often provided him with detailed drawings and notes on various tramway systems. This set of notes on the Wanganui tram system and a list of the rolling stock dated Dec. 1946. The typed foolscap sheet listing the trams or rolling stock gives details on each tram. May have been used to prepare Wal's list. Map and the handwritten list of trams, based on the handwriting, prepared by Wal Jack himself. The typed list may have been prepared by others. Yields information about Wal Jack's extensive recording and research work.Drawing - black, red and blue ink or colour pencil, one hand written sheet and one double sided typed carbon copy foolscap sheet with ink notes over poor sections of type.tramways, wal jack, drawings, maps, tramcars, wanganui -
Bendigo Historical Society Inc.
Map - Bush Fire Control Map Bendigo District
A Bush Fire Control map is a valuable tool used by emergency services and communities to respond to respond to bushfires.Cream coloured parchment map showing roads, railway lines, telephone lines, rivers, creeks and water courses. Also marked are houses, Post Offices, Police stations, bush fire brigades, water channels, swamps, marshes, dense, medium and scattered timber, aqueducts and reservoirs. Villages, districts and Towns are clearly marked. Printed in red, green, black and blue. Very clear and easy to read. Undated.bush fires, bendigo area map -
Bendigo Military Museum
Photograph - Print Troop – Lithographic Squadron – Army Survey Regiment, Fortuna, Bendigo, 1986
This collection of twenty photos was most likely taken in Lithographic Squadron, Army Survey Regiment, Fortuna, Bendigo in 1986. Print Troop’s technicians were most likely operating the Komoni, Planeta or Ultra-MAN-III offset printing presses and working in the map despatch dock. Although these photos are not annotated most personnel are positively identified.This is a set of twenty photographs of Print Troop personnel and equipment from Lithographic Squadron at the Army Survey Regiment, Fortuna, Bendigo, 1986. The photographs were on 35mm negative film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1986, Original Heidelberg Printing Press. .2) - Photo, black & white, 1986, Original Heidelberg Printing Press, unidentified technician. .3) - Photo, black & white, 1986, Heavy-duty paper guillotine. .4) - Photo, black & white, 1986, Polygraph Heavy-duty paper guillotine. .5) - Photo, black & white, 1986, Newkoni Komori Printing Press .6) - Photo, black & white, 1986, Ultra-MAN-III Printing Press, Russ Mollenhauer. .7) - Photo, black & white, 1986, Print roller cleaning tank .8) - Photo, black & white, 1986, Planeta Polygraph Printing Press .9) - Photo, black & white, 1986, Planeta Polygraph Printing Press .10) - Photo, black & white, 1986, Roy Hicks, unidentified technician, Steve Egan, Dale Hudson. .11) and .12) - Photo, black & white, 1986, L to R: Paper drilling machine, wire stitcher. .13) - Photo, black & white, 1986, Map Despatch dock, Greg Rowe. .14) - Photo, black & white, 1986, Print area, Pear Andersen. .15) - Photo, black & white, 1986, Map Despatch dock, Pear Andersen. .16) - Photo, black & white, 1986, Map Despatch dock, .17) - Photo, black & white, 1986, Map Despatch dock, Russ Mollenhauer. .18) - Photo, black & white, 1986, Map Despatch dock, unidentified technician. .19) - Photo, black & white, 1986, Map Despatch dock. Peter Dillon, Mick Minchin. .20) - Photo, black & white, 1986, Map Despatch dock.No personnel are identifiedroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho, printing -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 01.05.1974
Sister Ellen Anderson is the Supervisor of the Royal District Nursing Service, (RDNS) Footscray Centre. She is wearing her RDNS uniform of a short sleeve white blouse under a royal blue V neck tunic style dress. Sr. Anderson is showing two Student nurses from Western General Hospital the map with the areas covered by Footscray Centre. The map had different colour pins to identify streets where patients lived who were currently receiving nursing care from RDNS Sisters working in these areas (districts).During their training, Student nurses from several hospitals either attended the Royal District Nursing Service (RDNS), Education Department, or, a RDNS Nurse Educator travelled to the appropriate hospital’s Education Department to educate the Trainees on District nursing through the RDNS Community Nursing Program. Following the lectures Students went to a RDNS Centre and each Student accompanied a Trained nurse (Sister) for a week observing and gaining knowledge of all facets of nursing care in the home. This gave them an insight into the home conditions and situations patients faced after discharge from hospital. During 1971 there were 584 Student nurses who received field experience with RDNS. From its inception as Melbourne District Nursing Society (MDNS), in 1885, their Trained nurses (Nurses) worked in specific areas, 'districts'. The first Nurse worked east and west, between Victoria Parade and Flinders Street and, north and south, between Spencer Street and Spring Street. When a second Nurse was employed they divided this area at Elizabeth Street so each Nurse could attend to patients in the same area giving continuity of care. As the Society expanded, becoming Melbourne District Nursing Service, then, with Royal patronage, Royal District Nursing Service (RDNS) many Centres were opened throughout the Melbourne Metropolitan area and outer suburbs. The District nurse's areas (districts) grew and were divided within Shire boundaries for e.g. Knox 1, Knox 2, Knox 3, Knox 4, within the area of the Shire of Knox. A map covering the Centre’s Districts was attached to a wall, and its different colour pins identified streets where patients lived who were currently receiving nursing care from the RDNS Trained nurses (Sisters) working in these areas (districts).On the left of this black and white photograph is Royal District Nursing Service (RDNS), Sister Ellen Anderson, who has short dark curly hair and is wearing her RDNS uniform of a short sleeve white blouse under a dark V neck tunic style frock. She is standing side-on, towards the right of the photograph, and with her left hand is pointing to an area on a large map attached to the wall in the background. To her right, is a Student nurse who is facing Sr. Anderson, and looking at the area on the map. Under her white nurses cap, she has her long dark hair drawn back, and is wearing her hospital uniform of a short sleeve checked dress with white collar and cuffs; a nursing watch is attached to its upper left; her hands are clasped in front of her. To her right, is a male Student nurse who has collar length straight dark hair, and is wearing white trousers and a short sleeve white top with pens in the left upper pocket. He is looking at the areas on the map.. Barry Sutton MA 77 informationroyal district nursing service, rdns, rdns education, rdns centre, rdns district map, sister ellen anderson -
Port Melbourne Historical & Preservation Society
Document, Hotels in Port Melbourne
The letter on the outside of the sheet is from Jim (?) to Les (Turner). It gives some of his childhood recollections of Port Melbourne Hotels These include the Shamrock which he understood that it was "... a weatherboard Building - very Badly Conducted and when it was burned down it was not rebuilt... I did know that there was a murder there."Inside is hand drawn map of Port Melbourne with the hotels marked in position as well as a Key down the left hand side. The accompanying typed sheet lists the 50 original hotels on the left hand side and the 20 remaining on the right.A large ruled sheet of paper with a letter on the outside & inside a hand drawn map of Port Melbourne with the location of hotels marked. A typed sheet lists the hotels.Hotels of Port Melbourne. Originally there were 50. today there are 20.business and traders - hotels, shamrock hotel, leslie stanley turner -
Phillip Island and District Historical Society Inc.
Book, LOVE, Don, Shipwrecks on the South Gippsland Coast, 2005
Maps on endpapers. Includes bibliographical references and indexes.shipwrecks, victoria, south gippsland, history -
Ringwood and District Historical Society
Photograph, Land sale brochure map of Ringwood's early main central area around Mount Dandenong Road - c.1880s
Catalogue card reads, 'Map of Ringwood East'. -
Victorian Aboriginal Corporation for Languages
Book, Various Artists, Deadly expressions : profiling contemporary and traditional Aboriginal art from South Eastern Australia, 2004
Curator: Esmai Manahan. Third exhibition in a series titled "Tribal expressions", held in Melbourne, 2004. Includes bibliographical references. colour photographs, b&w photographs, mapsart, arts, victoria, koori, koorie, gallery, exhibition, arts victoria, melbourne, artists -
Victorian Aboriginal Corporation for Languages
Book, RMW Dixon et al, Australian Aboriginal words in English : their origin and meaning, 1990
A detailed study and dictionary of English words that have been borrowed from Australian languages. Entries organised by category and include quotes from relevant sources. Etymologies and source languages given wherever possible.B&w illustrations, maps, word listswords and phrases, linguistics, sociolinguistics -
Victorian Aboriginal Corporation for Languages
Book, L A Hercus, Victorian languages : a late survey, 1997
Outlines and notes on a variety of Victorian languages. Chapters on the Wemba Wemba language; the Wergaia Language (Djadjala dialect); the Madimadi language; and the Narinari language; phonetic notes on Gundidj, Woiwuru, Yodayoda, Ganai (Gippsland) and Southern Ngarigu; Aboriginal - English Vocabularies; and an English - Aboriginal vocabulary.maps, word lists, b&w photographswemba wemba, wembawemba, madimadi, madhi madhiu, woiwuru, woiwurrung, wergaia, djadjala, narinari, wadi wadi, gundidj, buandidj, buandig, yodayoda, yorta yorta, gippsland, southern narigu, glossaries, vocabularies, luise hercus -
Victorian Aboriginal Corporation for Languages
Book, Luise Hercus, Wembawemba dictionary, 1992
An account of the Wembawemba language, including background information about the relationships between the western Kulin district dialect groups, a review of previous work in this area, and notes on orthography, pronunciation, grammar and dialect variation.maps, word lists, b&w photographswembawemba, wemba wemba, moonacullah, echuca, western district -
Victorian Aboriginal Corporation for Languages
Book, John Tully, Djadja Wurrung language of Central Victoria : including place names, 1997
A dictionary of the Djadja Wurrung language including a short introduction with pronunciation and grammatical information. Includes Djadja Wurrung-English and English-Djadja Wurrung sections, and a section on Djadja Wurrung placenames.Maps, b&w illustrations, word listsdjadja wurrung, central victoria, mount franklin, mount tarrengower, mount kooyoora, mount moliagul, loddon river, dunolly, yuinhup, king tommy, place names, grammar -
Victorian Aboriginal Corporation for Languages
Book, Bruce Pascoe et al, Dictionary of Wathawoorroong, 2008
Dictionary with text in English and Wathawoorroong dialect.maps, b&w photographs, word listswathawoorroong, wathaurong, wathawurrung, wathaurong aboriginal co operative, kulin nation, aireys inlet, colac, ballarat, werribee, geelong, dictionaries, language map, victorian aboriginal corporation for languages, language reclamation, endangered languages, william buckley, francis tuckfield, william thomas, george augustus robinson, frances sievwright, barry blake, stephen morey -
Victorian Aboriginal Corporation for Languages
Book, Department of Aboriginal Affairs, Aboriginal social indicators 1984, 1984
maps, b&w photographs, tables, graphsstatistics, population, land, health, housing, education, employment, income, legal, finance, sport and recreation -
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 -
Victorian Aboriginal Corporation for Languages
Book, Ngiyampaa wordworld 1 : thipingku yuwi, maka ngiya, names of birds &? other words, 1997
Language to English dictionary, with English - Language finder list, plus stories, songs and sentence examplesB&w photographs, word lists, mapsngiyampaa, pilaarrkiyalu, wongaibon, wangaaypuwan, grammar -
Victorian Aboriginal Corporation for Languages
Book, Wangkanyi Ngurra Tjurta Aboriginal Corporation Language Centre, Wangkatha dictionary, 2002
Wangkatha-English dictionary with English-Wangkatha finder list; pronunciation guide and some thematic-based wordlists, e.g. body parts.B&w illustrations, maps, word listsngadju, tjuparn, ngalia, kuwarra, mirning, gubrun, ngaanyatjarra, wangkatha, martu, pitjatjatjarra, wangkatha, western australia, goldfields region -
Victorian Aboriginal Corporation for Languages
Book, Aboriginal Community Elders Service et al, Aboriginal elders' voices : stories of the "tide of history" : Victorian Indigenous elders' life stories &? oral histories, 2003
This book is a collection of Victorian Indigenous Elders' life stories and oral histories. The Elders share their stories in an attempt to ensure that both sides of Australia's history are finally heard. These stories tell of cultural resistance on missions, of defying assimilation laws, of forever moving around to save children from the welfare. They document the development of both fringe and urban communities and work in the Aboriginal rights movement. They clarify the ways in which these experiences have affected the individual authors along with the indigenous population in general. Also included in the book is a brief history and analysis of the legislation, policies, attitudes and strategies that have affected the lives of the authors and their families since colonisation. This aspect provides an historical perspective, encouraging a deeper understanding of the Elders' stories. Reconciliation can only eventuate with an understanding gained from hearing and including the voices of Indigenous Australians. Contents: The writing team Indigenous elders: keepers of knowledge; custodians of land and culture Aboriginal lands Missions and reserves Growing up running from the welfare /? Aunty Olive Jackson Respecting our Elders /? Aunty Lola James If your mother didn't tell you, then your grandmother did! /? Uncles Les Stewart Don't dwell on trouble /? Aunty Audrey Critch There are my people /? Aunty Gwen Nelson We were all cousins, more or less /? Aunty Iris Lovett-Gardiner Aboriginality is about culture, not colour /? Aunty Dianne Phillips Take up the opportunities we struggled to make /? Aunty Frances Gallagher Home /? Aunty Eileen Alberts We were supposed to forget our Aboriginality /? Aunty Gwen Garoni Not enough heart to say sorry? /? Uncle Brian Kennewell-Taylor Learning from indigenous elders: Keeping the traditions, keeping the culture strong; Since time immemorial; Invasion: the tide ran red; The flood of legislation; Stolen children; Cultural resistance: holding on to children traditions and land; Organised resistance: a movement is born; The 1950s: community resistance to race laws; The price of assimilation; The Aboriginal rights movement; After the flood: self-determination; Turning the tide Bibliography Appendix. Cultural custodianship: developing an indigenous methodology.maps, colour illustrations, b&w photographswiradjuri, victorian indigenous elders, oral histories, yorta yorta, dja dja wurrung, language maps, victorian missions and reserves, lake condah, framlingham, coranderrk, ramahyuck, lake tyers, wahgunyah, cummeragunja, moonahcullah, balranald, ebenezer, maloga, acheron -
Victorian Aboriginal Corporation for Languages
Book, Val Attenbrow, Aboriginal people of New South Wales, 2004
Looks at the culture and history of the some of the NSW Aboriginal people.maps, colour photographs, b&w photographs -
Victorian Aboriginal Corporation for Languages
Book, Val Attenbrow, Aboriginal people of New South Wales, 1992
Looks at the culture and history of the some of the NSW Aboriginal people.maps, colour photographs, b&w photographs -
Victorian Aboriginal Corporation for Languages
Book, Cameron Raynes et al, A little flour and a few blankets : an administrative history of Aboriginal affairs in South Australia, 1834-2000, 2001
b&w photographs, letters, maps, tablessouth australian history, colebrook home, gerard mission, race relations, indigenous legislation -
Victorian Aboriginal Corporation for Languages
Book, Ian Clark, Scars in the landscape : a register of massacre sites in Western Victoria 1803-1859, 1995
Register and documentation of massacre sites in ten language groups of Western Victoria; each language group includes details of clans, history of European occupation and government policy.maps, colour photographs, b&w photographsdhauwurd wurrung, djab wurrung, djadja wurrung, djargurd wurrung, gadubanud, girai wurrung, keerray-woorroong, gulidjan, jardwadjali, watha wurrung, wathaurong, wergaia, colonisation, race relations, racism, european occupation, government policy -
Victorian Aboriginal Corporation for Languages
Book, Riverina Aboriginals : 1874-1945, 1996
Lists of residents of the Warangesda 1880-1925, Maloga 1874-1888, Cummeragunja 1889-1953 (Stn) 1883 - present (Res) Moonah Cullah 1910-1952(Stn) 1896-1962(Res) Aboriginal Stations and other Rivereina Aboriginals 1874-1954maps, b&w photographs, registry listingsyorta yorta, wemba wemba, wiradjuri, warangesda, maloga, cummeragunja, moonah cullah -
Victorian Aboriginal Corporation for Languages
Book, Michael Cannon, Historical records of Victoria : foundation series : volume 6 : the crown, the land and the squatter 1835-1840, 1991
Reproductions of various transactions and reports dealing with squatting, land tenure and agricultural production in Port Phillip in the years 1835-1840. A history of land grants, surveying, squatters? life and land use during this period.maps, b&w illustrations, colour illustrationsvictorian history -
Victorian Aboriginal Corporation for Languages
Book, Somesh Kumar, Methods for community participation : a complete guide for practitioners, 2002
A manual for participatory development.maps, b&w illustrations, tables, chartscommunity development, rural development -
Victorian Aboriginal Corporation for Languages
Book, Bruce Pascoe, The little red yellow black book : an introduction to Indigenous Australia, 2008
The Little Red Yellow Black Book is an accessible and highly illustrated pocket-sized guide. It's an invaluable introduction to Australia's rich Aboriginal and Torres Strait Islander histories and culture. It takes a non-chronological approach and is written from an Indigenous viewpoint. The themes that emerge are the importance of identity, and adaptation and continuity. If you want to read stories the media don't tell you, mini-essays on famous as well as everyday individuals and organisations will provide insights into a range of Australian Indigenous experiences.maps, b&w photographs, colour photographsindigenous history, culture, art, sport, health, education, employment, reconciliation, resistance, governance -
Victorian Aboriginal Corporation for Languages
Book, Edgar Morrison, A successful failure, a trilogy : the Aborigines and early settlers, 2002
Tells of the Aboriginal Protectorate System in Colonial Victoria during the period 1838 to 1852. The system was designed to be a buffer between the original inhabitants and the influx of white squatters. That the system failed is of little wonder. This story traces the times of Edward Stone Parker, Assistant Aboriginal Protector in the Loddon region of Victoria.maps, b&w photograph, colour photographs