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

Introduction: The significance of international law /? Sarah Pritchard.-- Linking international standards with contemporary concerns of Aboriginal and Torres Strait Islander peoples /? Mick Dodson.-- The UN Charter-based human rights system: The UN Charter-based human rights system: an overview /? Garth Nettheim.-- Working Group on Indigenous Populations: mandate, standard-setting activities and future perspectives /? Sarah Pritchard.-- The UN treaty-based human rights system and individual complaints: The UN treaty-based human rights system: an overview /? Hilary Charlesworth.-- Individual complaints: an overview and admissibility requirements /? Hilary Charlesworth.-- Individual complaints: historical perspectives and the International Covenant on Economic, Social and Cultural Rights /? Philip Alston.-- Individual communications under the Optional Protocol to the International Covenant on Civil and Political Rights Elizabeth Evatt.-- Individual communications: the Convention against Torture and the Convention on the Elimination of All Forms of Racial Discrimination /? Michael O'Flaherty.-- The UN treaty-based human rights system and periodic reporting: Periodic reporting: the International Covenant on Economic, Social and Cultural Rights and the Convention on the Rights of the Child /? Philip Alston.-- Periodic reporting: the International Covenant on Civil and Political Rights and the Convention on the Elimination of All Forms of Discrimination against Women /? Elizabeth Evatt .-- The Committee on the Elimination of Racial Discrimination: non-governmental input and the early warning and urgent procedure /? Michael O'Flaherty.-- Indigenous peoples and some relevant human rights standards: Substantive provisions of the International Convention on the Elimination of All Forms of Racial Discrimination /? Michael O'Flaherty.-- The International Covenant on Civil and Political Rights and Indigenous peoples /? Sarah Pritchard.united nations -- history. indigenous peoples -- legal status, laws, etc. aboriginal australians -- civil rights. aboriginal australians -- legal status, laws, etc. human rights.

Bob Cardell is a layman.B & W photograph of four individuals holding a certificate of title and a boomerang. Bob Cardell stands on the right."Group including Bob Cardell (right)"cardell, bob, cardell, helen, share appeal

Note by T.H. Kneen 18 December 1991, "The students are engaged in weighing produce from individual student plots. The dark haired female student is Lauris (or Loris) Inglis a 1966 graduate. Plots were a feature of the second year therefore the photo is probably 1965."Black and white photograph. Group of students working in the vegetable plots and bringing their produce to be weighed. One student spraying his crops. Yarra Boulevard in the background. On reverse stamp, "Photograph by Publicity Branch Victorian Department Of Agriculture Ref. No. D521F".students, female students, lauris inglis, loris inglis, weighing produce, orchard, students working outside, vegetable plots, spraying, yarra boulevard, publicity

Hard Copiesbhs, pts, 1982, 82b, individual, photos, class, group

Hard Copiesbhs, pts, 1983, 83a, individual, photos, class, group

Hard Copiesbhs, pts, 1983, class, 83b, individual, photos, group, graduation

Hard Copiesbhs, pts, 1984, 84a, individual, photos, class. group, graduation

Hard Copiesbhs, pts, 1985, 85a, individual, photos, class, group

Photobhs, pts, 1985, 85b, individual, photos, names

Jane Annois had a long involvement with Potters Cottage in Warrandyte, where she taught for many years. Potters Cottage was established in the late 1950s in Warrandyte as an artist co-operative. Founding members included Reg Preston, Phyl Dunn, Gus McLaren, Artur Halpern, Sylvia Halpern and Elsa Ardern. These talented artists had the ingenuity and foresight to create a teaching studio, gallery shop and restaurant to experiment, make, promote and sell predominantly domestic wares of the time. These activities helped financially sustain each member’s individual creative practice. Potters Cottage was influential in the development of contemporary ceramics, building and developing practices that experimented with traditional ceramic processes, raw materials and locally sourced clay. The group mentored and nurtured many interested in the art of ceramics, producing alumni and teachers such as Peter Laycock, John Dermer, Greg Daly and Jane Annois. Jane Annois is a ceramic artist who has lived and worked locally in Warrandyte for many years. She focuses primarily on exploring the art of Japanese raku, adapting the technique to develop the typical characteristics of crackle glazes and lustres, with contrasting areas of black. Jane also applies a fine slip called terrasigillata which gives soft, warm ochre colours. This technique was once used by the Greeks over 2000 years ago to seal and decorate their pots. She is also strongly onfluenced by the French potters, particularly in the style of terre vernissee, a decorative form of terracotta tableware. Three piece stoneware and raku fired ceramic sculpture. The first piece is a hollow, dome shaped object. It is orange (terracotta slip) in colour with a copper metallic band and a black edge on one side with a small yellow glazed rounded triangle and metallic strip of colour on the otherside. The second piece is shaped like a traditional vase. It is orange (terracotta slip) in colour with white crackle on the inside. It has a yellow slip edge with a dark glazed square on one side and on the other side a black thick edge that mirrors the contour of this shape. The third piece is shaped loosley in the form of the letter 'z'. It compliments the second piece with a yellow slip edge and black glazed square to its lower left side and top right as well as on its' other side a black thick edge that mirrors the contour of this shape. This piece has a very small skewed square opening at its' top. All three pieces have elements of crazing and variations of colour and lustre, caused by the raku process. 2006.52.1VA has the artist name/signature 'J. Annois' inscriped small (with fine point ceramic tool?) on the front of the piece, bottom right; 2006.52.2VA has the artist name 'Jane'? inscribed (unlegible - with fine point ceramic tool?) underneath; 2006.52.3VA has the artist name/signature 'Jane Annois' inscriped (with fine point ceramic tool?) inside its hollow form. evolution, raku, stoneware, terrasigillata, terracotta, glazes, slip, terre vernissee

Map of the area, when Peterborough was part of Warrnambool ShireHistoric map of the area when Peterborough was in the Warrnambool ShireA3 size map, larger view of the whole shire of Warrnambool, and includes adjoining Shire Boundaries. Shows individual land allotments.peterborough, warrnambool shire, old maps

Helen Ludeman, resident of Nullawarre, loved her golf and died far too young. her family donated the trophy and established the tournament in her memory. The tournament was first held in 1998.Significant as the plaque lists the date, name and club for the winners of each year. Irregularly shaped timber board with individual nameplates engraved with the winners names, and a faded photo of Helen Ludeman in the middle.Main plaque engraved with W.G.P. Helen Ludeman Memorial (Invitation) Stableford Pairs.stableford golf, peterborough, peterborough golf club, helen ludeman

A co-curricular activity offered by the school while Eileen Price was Principal was the Junior Red Cross Home Nursing course. Despite troubled finances and low enrolments, Eileen Price focused on modernising the curriculum, introducing for example, an Individual Maths Program (IMP) laboratory and expanding co-curricular activities to include excursions. The number of students pictured in this photograph amount to almost half the number of enrolled students in 1968. Black and white photograph of a group of students in two rows. Some students wear the cape, badge and a head scarf of the Junior Red Cross.

I have lived in Box Hill now City of Whitehorse since 1970 I have belonged to Box Hill Spinners and Weavers Inc. since 1990.During the 90s' Box Hill Spinners and Weavers participated in the Annual Sheep and Woolcraft Show, at that time held in the Melbourne Showground. As well as submitting individual entries we always entered the Group Competition, known as the '5 articles' the entry had to have 5 separate articles made by a group and displaying different woolcraft techniques . In 1997 our Box Hill entry focused on 'The Planets' featuring five capes. The red one representing Mars the red planet. It was woven. The dark cape represented Jupiter. It was also woven. the Neptune cape was felted in blue and greens. The Earth cape featured knitting and crochet. My contribution was the Venus cape featuring spinning from raw merino fleece and silk. Once completed this wool/silk yarn was fashioned using hairpin lace. I was adept at spinning by this time but knew nothing about the old technique of hairpin lace. Box Hill Spinners and Weavers won First Prize. Margaret Dimelow.Cream coloured cape spun from raw merino fleece and silk, technique is hairpin lacecostume, female

The Northern District School of Nursing opened in 1950 in to address the issues around nurse recruitment, training and education that had previously been hospital based. The residential school was to provide theoretical and in-house education and practical training over three years. The students would also receive practical hands-on training in the wards of associated hospitals. The Northern District School of Nursing operated from Lister House, Rowan Street, Bendigo. It was the first independent school of nursing in Victoria and continued until it closed in 1989.Eleven individual black and white photographs of female nurses in uniform school 11, 13/FEB/1952 Group 2 ndsn, pts 11

Group photograph taken on the occasion of the opening of Lilliput Bridge in July 1911. Two individuals are identified on the back of the photograph: Olive Hiskins and her father John Hiskins.Group photograph, mounted on brown cardboard, Photographic studio identified at bottom of cardboard frame on front. Details of event and names of two individuals written on back.On back "Lilliput Bridge, opened July 1911". "Lady in lampshade like hat - Olive Hiskins, man to her right standing out front, her father - John Hiskins" On front "Thalma. Ilsley Opp. P.O. Rutherglen"olive hiskins, john hiskins, lillput bridge

Group photograph taken on the occasion of the opening of Lilliput Bridge in July 1911. Two individuals in the photograph have been identified as Olive Hiskins and her father John Hiskins.Group photograph, mounted on brown cardboard, Photographic studio identified at bottom of cardboard frame on front. Details of event written on back.On back "Opening Lilliput Bridge in 1911". "This photo given to W.H. Pleming on 7th July '75 by Mrs Tom Franki - nee Violet Withers (Ulina)" "The Bridge was replaced by a concrete Bridge in May 1940" On front "Thalma. Ilsley Opp. P.O. Rutherglen"olive hiskins, john hiskins, lillput bridge

Individual portraits are captioned with names - Left to Right from top: R. Roberts, J.B. Collins, W.R. Harry, A. Martin, H. Gilmour, J. Pitcher, J. Ashton, N. Evans, G. Evans, L. Jackson, T. Wilkinson, F.H. Greenwade - Secretary, W.H. Houston - N.G., W.Rees - P.E. Secretary, F. Garnham, F. Hiskins, A. Trevellian, A. Deas, G. Ashton, D. McAliece, O. Devers, H. Devers - Captain, E. Evans. Black and white photograph, mounted on cardboard, of Friendly Society Football Trophy, showing a central oval portrait of a man in Friendly Society regalia, with a rectangular photograph of a football team, above and below. The three central photographs are surrounded by 22 individual oval portraits of the players.Photographs of football teams are captioned: "M.U.I.O.O.F." and "St Patrick's Branch H.A.C.B.S." At bottom of the group of photos is: "Donated by the Residents of Rutherglen" and "Won by Loyal Pomona Lodge M.U.I.O.O.F." At bottom right corner of photo: "Hugen & Bennett, Photo, Rutherglen" Embossed at bottom right of mount: "Chiltern and Rutherglen" Written on back of mount: "My Father, William Richard Harry. Member of M.U.I.O.O.F. for over 50 years"football teams, australian rules football, afl, loyal pomona lodge, muioof, st patricks branch, hacbs, hibernian australian catholic benefit society, r. roberts, j.b. collins, w.r. harry, a. martin, h. gilmour, j. pitcher, j. ashton, n. evans, g. evans, l. jackson, t. wilkinson, f.h. greenwade - secretary, w.h. houston - n.g., w.rees - p.e. secretary, f. garnham, f. hiskins, a. trevellian, a. deas, g. ashton, d. mcaliece, o. devers, h. devers - captain, e. evans., william richard harry, r roberts, j b collins, a martin, h gilmour, j pitcher, j ashton, n evans, g evans, l jackson, t wilkinson, f h greenwade, w h houston, w rees, f garnham, f hiskins, a trevellian, a deas, g ashton, d mcaliece, o devers, h devers, e evans

Children on the truck appear to be dressed in costumes representing individual nations of the Commonwealth.Black and white photograph, mounted on cardboard, of a group of children in costume on the back of a decorated truck.Printed at bottom of mount: "Coronation Day Rutherglen, 1937" Printed on truck door: "E. Hendy, Rutherglen, Phone 42"parade floats, commonwealth, coronation, children, e hendy

Black and white photograph of a family group, believed to be the Wilcott Family, taken in 1909. Individuals are not identified on the photo. Written on back of photo: "Wilcott Family | Rutherglen"wilcott family

Black and white photograph of D Hamilton (Mayor), copied from one of the individual photos on the group photo of Rutherglen Pioneers which is catalogued on record no. 2325.hamilton, mayor, rutherglen pioneers

Black and white photograph of W H Warren, copied from one of the individual photos on the group photo of Rutherglen Pioneers which is catalogued on record no. 2325. After the name at the bottom of the photo is the date 186[last digit cropped]warren, rutherglen pioneers

Black and white photograph of D G Hamilton, copied from one of the individual photos on the group photo of Rutherglen Pioneers which is catalogued on record no. 2325. After the name at the bottom of the photo is the date 1860.d g hamilton, rutherglen pioneers

Labour Day originates from the eight-hour day movement - eight hours for work, eight hours for recreation, and eight hours for rest. On 21 April 1856 Stonemasons and building workers on building sites around Melbourne, Australia, stopped work and marched from the University of Melbourne to Parliament House to achieve an eight-hour day. Their direct action protest was a success, and they are noted as the first organised workers in the world to achieve an eight-hour day with no loss of pay, which subsequently inspired the celebration of Labour Day and May Day. (Wikipedia, 12 March 2019: https://en.wikipedia.org/wiki/Public_holidays_in_Australia#Labour_Day) The eight-hours campaign ran contemporaneously in Ballarat. -------- The Labour day parade is an annual event in Ballarat. All unions and individuals are welcome to attend. Ballarat Labour Day march is held at the same date as the Begonia Festival parade; inception of the Begonia Festival was several decades later in 1953. -------- Photo 1 Labour Day march: We are Union banner and AMIWU banner with people. Photo 2 Labour Day march: We are Union, Trades Hall, Free West Papua banners, Trades Hall ute, various individuals including Don Henderson, Jenny Beacham, Tracey Brown, Simon Hammersley, Moses, Ben Davison, Angela McCarthy, Eddie Beacham, Gary Carton, Bob Bassett, Colin Muir, et al. Photo 3 Labour Day march: We are Union, ANMF, Trades Hall banners, various individuals including Don Henderson, Jenny Beacham, Tracey Brown, Simon Hammersley, Moses, Ben Davison, Angela McCarthy, Eddie Beacham, Gary Carton, Bob Bassett, Colin Muir, Ron Woods et al. Photo 4 Labour Day march: Change the Rules and AMIWU banners, various persons including Chris Kelly, Angela McCarthy, Ross Kenna, et al. Photo 5 Labour Day barbeque: Various persons including Allen Townsend, Fred Ladiges, Cameron McIntyre, Judy Henderson, Don Henderson, Cameron Bannam, Janine Brownlee, Dave Brownlee, Bernie Constable, Ian Fullerton, Ben Davison, et al. Photo 6 Labour Day barbeque group photograph: Various persons including Moses, Emma Pritchard, Kamuda, Allen Townsend, Tess Marshall, Chris Kelly, Fred Ladiges, Ross Kenna, Ben Davison, Don Henderson, Judy Henderson, Gabriel Waldron, Cameron McIntyre, Orry Pilven, Lana Cormie, Bob Bassett, Clinton Bannam, Angela McCarthy, Tracey Brown, Ron Woods, Ian Fullerton, Colin Muir, et al. Photo 7 Labour Day barbeque group photograph: Various persons including Moses, Emma Pritchard, Kamuda, Allen Townsend, Tess Marshall, Chris Kelly, Fred Ladiges, Ross Kenna, Ben Davison, Don Henderson, Judy Henderson, Gabriel Waldron, Cameron McIntyre, Orry Pilven, Lana Cormie, Bob Bassett, Clinton Bannam, Angela McCarthy, Tracey Brown, Ron Woods, Ian Fullerton, Colin Muir, et al. Photo 8 Labour Day March: We are Union banner, various persons including Chris Kelly, Angela McCarthy, Clinton Bannam, Orrie and Gem Pilven, Janine Brownlee, et al.Significant to the inception of the eight hour day, history of unions and campaigns in Australia and the current Change the Rules campaign.8 colour photographs; soft copy.btlc, ballarat trades hall, ballarat trades and labour council, labour day - 2019, unions - delegates, change the rules, amiwu, anmf, we are union, unions - campaigns, early closing association, begonia festival - ballarat