The Wurundjeri Woi Wurrung People were the original owners of the land on which the City of Boroondara is now located. They made active use of the Yarra for food and transport [an original canoe is held in the collection of the Melbourne Museum]. From 1863, members of the Wurundjeri Woi Wurrung were resettled at the Corranderrk Aboriginal reserve at Healesville. The [now] best known member of the Wurundjeri People was William Barak, who may be pictured here.If the attribution in the annotation is correct, then this may be the earliest photograph of members of the Wurundjeri People at Kew. The photo may be unique.Hand tinted photograph on mounting card of members of the Wurundjeri Woi Wurrung on the banks of the River Yarra, allegedly at Studley Park before 1855 [according to the annotation on the reverse] The photograph of the river and its near and far banks includes two boats on the river, a row boat and a canoe, and people standing on the near bank or seated on the branch of a tree. In addition to men and women of the Wurundjeri People, there appears to be two Europeans pictured, one wearing a hat and the other standing at right. Annotations on the reverse identify a [possible] location and date. [Size: Mount 140 x 215mm | Photograph 125 x 190mm]Various hands and dates: "Original lead pencil lettering Studley Yarra Yarra / Yarra Yarra Studley / Studley (Park?) / Note aboriginals in a bark canoe / Prior 1855 / Very early photo Yarra River originally known as the Yarra Yarra / [illegible part word in ink]".wurundjeri woi wurrung, yarra river, aboriginal and torres straight islander

Prince Charlie was the second last member of the Liwira Gundidj clan, of the Djargurd Wurrung, still living on Country. He died in 1882 at Framlingham Mission just months before his companion Wombeetch Puyuun (Camperdown George).Black and white photograph of Prince Charlie, an Aboriginal manFront top: J. JORDAN, Liebig Street, WARRNAMBOOL; front bottom: Prince Charlie, Camperdowncdhs, djargurd wurrung, djargurdwurrung, prince charley, cdhsfirstnations

Line black and white image of an Aboriginal shell necklace.shell necklace, aboriginal, aborigine

Digitised directly from 'Blackfellows of Australia' by Charles Barrett and A.S. Kenyon (Sun Books)Black and white depiction of an Aboriginal man in a bark canoe. aborigine, aboriginal, bark canoe

Red, yellow and red brochure for the Aboriginal Education Centre. aboriginal education centre, reconciliation

A history of Aboriginal experiences in 'South Australia' since 1836.maps, b&w photographs, document reproductionssouth australia, nunga, goonya, colonisation

Language notes, in German P.W.Schmidt, on the development of the Aboriginal Languages.german text, australian languages, pronouns

Looks at the culture and history of the some of the NSW Aboriginal people.maps, colour photographs, b&w photographs

Looks at the culture and history of the some of the NSW Aboriginal people.maps, colour photographs, b&w photographs

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

This book is about the directions being taken in Australia to develop an Aboriginal curriculum in schools. Kevin Keeffe describes, analyses and criticises the meaning and place of Aboriginal culture in the Australian curriculum.b&w photographs, b&w illustrations, colour illustrationseducation, study and teaching, curriculum development

Postcard of aboriginal man and boy with traditional implements. Made in Western Germany in perfect colour for John Englander and Co Pty Ltd, Melbourne. Aboriginal artist at work, Australia.basil miller, aborigines, postcards.

This resource has been developed to assist teachers in bringing the topic of bushfoods and biodiversity into the curriculum. It is aimed at providing non-Aboriginal students (but does not preclude Aboriginal students from taking part in these activities) curriculum linked hands-on activities designed to introduce them to the world of Aboriginal bush foods.B&w illustrations, tablesenvironmental education, sustainable agriculture, natural resource management, sustainability, koori plants, curriculum development, classroom activities

Aboriginal myths, legends and fables create a rich wealth of stories from Aboriginal Cultural heritage. The stories tell of the mystical bonds that exist between Aboriginal people, their environment and the spirit life of the Dreamtime. Each story provides the reader with an insight into the fascinating beliefs of one of the oldest living cultures on earth.murray river, myths, legends, fables, baiame, bunjil, rainbow snake, astronomy, creation stories, dreamtime

A series of studies of aspects of language and culture in different parts of Aboriginal Australia. It includes ?language ownership?, historical aspects and how Aboriginal languages are now being used in media and education.Maps, word listssociolinguistics, linguistics, social history

Outlines the Aboriginal use of native plants as well as how early European settlers learned from Aboriginal people about their medicinal value. Chapters arranged according to ailments and their treatment.Colour illustrations, colour photographsmedicinal plants, plant identification

Inspected by Joonna Freslov, archaeologist 2.6.2008. Stone tools were used for a variety of purposes, in ways similar to those of steel knives, axes, hammers and chisels. Ground-edge tools are made from fracture-resistant stone, such as basalt which is able to withstand repeated impact, and is suitable for use in objects such as stone axes. The stone was quarried, and then roughly shaped into a tool blank with blows from a hammerstone. The edges were then sharpened and refined by grinding the tool against a coarse, gritty rock.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This axe head is an example of an early stone tool used by the Indigenous people of Eastern Australia.A handmade stone Aboriginal axe head. Finger grips are clear.axehead aboriginal tool stone-artefact

Digitised directly from 'The Native Races of the British Empire: Victoria' Black and white Image of an Aboriginal man about to throw a boomerang.aborigine, aboriginal, boomerang

Digitised directly from 'The Native Races of the British Empire: Victoria' Black and white Image of an Aboriginal man about to throw a boomerang.aborigine, aboriginal, boomerang

Digitised directly from 'The Native Races of the British Empire: Victoria' Black and white Image of Aboriginal club shields and spear sheildsaborigine, aboriginal, shields

Produced to encourage young Aboriginal people to consider a career in teaching.colour illustrations, b&w illustrations, colour photographsaboriginal education, graphic novels, career planning, comic books, vocational guidance, aboriginal teacher recruitment

Looks at the culture and history of some of the Northern Territory Aboriginal groups.colour photographs, b&w photographs, illustrations, maps, tables