Showing 2161 items
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Tatura Irrigation & Wartime Camps Museum
Book, We Came with Nothing, 2002
... synan a migrant camp west sale Australian migrants Blue soft ...Just prior to Xmas 1949 500 women and children reached Sale Railway Station after a 2 day journey from Cowra. NSW and were taken to a new Migrant holding centre at West Sale for the first day of their "new" lives in GippslandBlue soft cover book with copies of photos and an envelope on the front and back coverswe came with nothing, synan a, migrant camp, west sale, australian migrants -
City of Ballarat
Sculpture - Public Artwork, John Undy, Robert Burns Memorial Statue by John Udny, 22 April 1887
This is Australia’s first monument to the famous Scottish poet Robert Burns and his dog. It was carved from marble in Italy by sculptor John Udny and is inscribed with quotes from the writer himself and features beautiful patterned tiles at its base. This sculpture tells us much of Ballarat’s Scottish history by placing their most revered poet and ballardier of Auld Lang Syne at the corner of Lydiard and Sturt Streets. The local design was carried out by artist John Undy in Carrara marble and placed with this scene. The proud figure of Burns faces west and is accompanied by his collie dog with a book purposely hanging in his hand and a pencil in the other as his constant companions. Burns is mounted on a plinth engraved with some beautiful Burn’s poetry and surrounded by art deco styled tiling and a cast iron palisade. The statue is of aesthetic and historical significance to the people of BallaratCarved marble statue of Scottish poet Robert Burns and his dogIncludes panels with poems and writings by Robert Burns. Plaque reads - Designed by Thomas Thompson Ballarat Sculptured by John Undy, Carrara, Italy.robert burns, scottish poet -
City of Ballarat
Artwork, other - Public Artwork, Col Henry, Spirit of the Forest by Col Henry, 2018
... Spirit of the forest Wendouree West col henry australian ...The artwork sought inspiration by the local history of Wendouree West and is a feature at the Wendouree West Recreation Reserve commissioned as part of a redevelopment of the park in 2017-2018. The artwork is located within close proximity to new playground facilities and promotes positive stories about Wendouree West to locals and the wider community.The artwork is of aesthetic significance to the people of BallaratThree stainless steel sculptures of Kurrajong tree leaves Col Henry 2018spirit of the forest, wendouree west, col henry, australian sculpture -
Wangaratta RSL Sub Branch
Framed Document, Catalina Flying Boat
Document relates to item 199 - Watercolour painting of a Catalina Flying Boat by an unknown artist -tells the history of the Catalina Flying Boat as well as the service histories of Flight Lieutenant Owen Mortimer and his younger brother Flight Sergeant Air Gunner Reginald Roy Mortimer from West Wyalong, New South Wales who served from 1941 to 1945 - relatives of the Donor Dr Owen Campbell Mortimer. Flight Lieutenant Owen Mortimer completed 85 missions in the wartime South West Pacific area. Reginald Mortimer served as a Transport Driver with the Australian Army later remustering to the RAAF to train and qualify as Flight Sergeant Air Gunner.Black frame with gold painted inner edge containing cream coloured paper with black text.Catalina Flying Boat Royal Australian Air Force catalina flying boat, flight lieutenant owen mortimer, flight sergeant air gunner reginald mortimer, ww2, raaf -
Wangaratta RSL Sub Branch
Photograph, c1944
RAVENSHOE, QLD. 1944-06-19. THE COMMANDER-IN-CHIEF, ALLIED LAND FORCES, SOUTH WEST PACIFIC AREA, VX1 GENERAL SIR THOMAS BLAMEY, GBE., KCB., CMG., DSO., ED., AND HIS STAFF WATCHING PERSONNEL OF HEADQUARTERS COMPANY, 2/24TH INFANTRY BATTALION ENGAGED IN THEIR 3" MORTAR DRILL DURING HIS TOUR OF INSPECTION OF ARMY UNITS IN THE ATHERTON AREA. IDENTIFIED PERSONNEL ARE:- QX6408 LIEUTENANT COLONEL A.B. GILLESPIE, COMMANDING 2/24TH INFANTRY BATTALION (2) VX48762 CAPTAIN A.W. OAKLEY (3); PRIVATE C.C. DAWES (4); PRIVATE TUCKER (5); PRIVATE COONEY (6); NX376 BRIGADIER D.A. WHITEHEAD, DSO., MC., ED., COMMANDING, 26TH INFANTRY BRIGADE (7); VX20308 LIEUTENANT-GENERAL F.H. BERRYMAN, CBE., DSO., GENERAL OFFICER COMMANDING, 1ST AUSTRALIAN CORPS (8); NX35000 LIEUTENANT-GENERAL V.A.H. STURDEE, CB., CBE., DSO., GENERAL OFFICER COMMANDING, FIRST AUSTRALIAN ARMY (9); NX7 MAJOR-GENERAL G.F. WOOTTEN, CBE., DSO., GENERAL OFFICER COMMANDING, 9TH DIVISION (10); PRIVATE R.S. O'BRIEN (11); PRIVATE S. ROSMAN (12); NX12371 MAJOR N.B. TREBECK (13).The 2/24th Battalion was an infantry battalion of the Australian Army, which served during World War II .A unit of all-volunteers, it was formed in July 1940 from primarily Victorian volunteers and was known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. It served in North Africa in 1941–1942 as part of the 26th Brigade, which was assigned to the 7th Division, before being reassigned to the 9th Division. In early 1943, the battalion returned to Australia and later took part in campaigns against the Japanese in New Guinea in 1943–1944 and Borneo in 1945, before being disbanded in 1946. The 2/24th suffered the highest number of casualties of any 2nd AIF infantry battalion. The Unit was granted the Freedom of the City by the Rural City of Wangaratta in 1990 and one of the first, if not the first, to receive this type of honourReproduced black and white photograph of three soldiers in foreground demonstrate use of equipment whilst soldiers and Officers in the background watch on.2/24th battalion, ravenshoe, general blamey -
Wangaratta RSL Sub Branch
Photograph, c1944
RAVENSHOE, QLD. 1944-06-19. THE COMMANDER-IN-CHIEF, ALLIED LAND FORCES, SOUTH WEST PACIFIC AREA, VX1 GENERAL SIR THOMAS BLAMEY, GBE., KCB., CMG., DSO., ED., AND HIS STAFF WATCHING PERSONNEL OF HEADQUARTERS COMPANY, 2/24TH INFANTRY BATTALION ENGAGED IN THEIR 3" MORTAR DRILL DURING HIS TOUR OF INSPECTION OF ARMY UNITS IN THE ATHERTON AREAThe 2/24th Battalion was an infantry battalion of the Australian Army, which served during World War II .A unit of all-volunteers, it was formed in July 1940 from primarily Victorian volunteers and was known as "Wangaratta's Own" because of the time the battalion spent in the town during its formative period prior to deployment overseas. It served in North Africa in 1941–1942 as part of the 26th Brigade, which was assigned to the 7th Division, before being reassigned to the 9th Division. In early 1943, the battalion returned to Australia and later took part in campaigns against the Japanese in New Guinea in 1943–1944 and Borneo in 1945, before being disbanded in 1946. The 2/24th suffered the highest number of casualties of any 2nd AIF infantry battalion. The Unit was granted the Freedom of the City by the Rural City of Wangaratta in 1990 and one of the first, if not the first, to receive this type of honourReproduced black and white photograph of soldiers and Army Officer watching on as two soldiers in foreground demonstrate equipment2/24th battalion, ww2, ravenshoe, blamey -
Wangaratta RSL Sub Branch
Photograph, 8/9/1945
Instrument of Surrender marking the surrender of Japanese Forces by Vice Admiral Kamada to Australian Major General Edward James Milford on 8 September 1945. After the surrender of Japan, a Dutch military court convicted Kamada of war crimes for the executions of 1,500 west Borneo natives in 1944 and the ill treatment of 2,000 Dutch POWs held on Flores Island. Kamada was sentenced to death and was executed on 18 October 1947.Black and white photograph of documentinstrument of surrender, ww2 -
Wangaratta RSL Sub Branch
Framed print
Colonel Sir Ernest Edward "Weary" Dunlop, AC, CMG, OBE (12 July 1907 – 2 July 1993) was an Australian surgeon who was renowned for his leadership while being held prisoner by the Japanese during World War II. Born 12 July 1907 Major Plains, Victoria Died 2 July 1993 (aged 85) Service/branch Australian Army Years of service 1935–1946 Rank Colonel Unit Royal Australian Army Medical Corps 2/2nd Casualty Clearing Station Commands held No.1 Allied General Hospital Battles/wars World War II Battle of Greece North African Campaign Syria-Lebanon campaign South West Pacific New Guinea Campaign South East Asia Campaign Awards Companion of the Order of Australia Knight Bachelor Companion of the Order of St Michael and St George Officer of the Order of the British Empire Knight of the Venerable Order of Saint John Mentioned in Despatches Black timber frame containing coloured caricature of saluting Army Officer with flag in background.Sir Edward "Weary" Dunlop - Anzac Day 1993 Print No 455 of 500colonel sir ernest edward dunlop, "weary" dunlop, surgeon -
Wangaratta RSL Sub Branch
Photographs, K.W. Truscott
Keith William "Bluey" TRUSCOTT 400213 Awarded DFC & Bar - Born 17/5/1916 Prahran Victoria WW2 RAAF Squadron Leader and Ace fighter pilot who served in Europe, South West Pacific and Milne Bay. Played for Melbourne Football Club. Died at sea and buried at Karrakatta Cemetery in Perth Western Australia. Three coloured photographs depicting head stones in cemetery400213 Squadron Leader K.W. Truscott DFC & Bar Royal Australian Air Force 28th March 1943 Aged 26 In Loving Memory of our Darling Son His duty nobly done. truscott, raaf, ww2, dfc -
Wangaratta RSL Sub Branch
Embroidered Postcard, c. 1917
Postcard from WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion while posted in France to his family at home, 1917. Mentioned in postcard George Buse 2208 born Yarraville who enlisted on 10/9/1914 aged 21 years 3 months. He embarked on 20/10/1914 and returned to Australia in 1919. He was a Driver with the 10th ASC,Embroidered silk postcards were first made in 1900 for the Paris Exposition. The popularity of silk postcards peaked during the First World War 1914 - 1918.They were mostly embroidered by French women in their homes and then sent to the factories for cutting and mounting on cards. Many of the cards were illustrated with patriotic symbols, flags, slogans, or sentimental texts. During the First World War, many Allied officers and soldiers based in France sent silk embroidered postcards to their loved ones back homeWhite rectangular postcard with embroidered pink flowers, green foliate and blue winged butterfly decoration on front. Handwritten message on the back.Front: "To my dear Wife" (embroidered) Back: "To Enid from dad xx / xxxxxx / France / Feb 26/2/1917 / My Dear Alice / Just a PC to let you I'm still well and hope are all the same I have not see Joe lately I may see him sometime or the other I hope you enjoyed yourself on your holidays they will do you good. I'm in a rest station I have not been too well I think I will be back with the battalion in a few days you can tell ??[ma]?? I met Pugger Loney he is in the 15 ambulance he looks well and it just as fat as ever I'm goin gover to see youn George Buse tomorrow well I have not much new to tell only all is well so I will now close with best love from loving husband Will xxxxxxxx"wwi, postcard, embroidered postcard, william west 1268, george buse 2208 -
Wangaratta RSL Sub Branch
Assorted cards and photographs
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. These postcards, photographs and clippings were sent to William's family and loved ones during the years he was on active service. See also 207 and 220. Assorted cards and photographs nested within a larger card. 1. Bi-fold Christmas card with blue flowers and horseshoe 2. Black and white photograph of a man wearing a suit and hat in a green / grey cardboard oval window mount 3. Sepia photograph of a man in a suit in a dark grey oval window mount 4. Small rectangular card with round edges and handwritten message from Mrs William West 5. Plastic and paper card with yellow cover and rose detail, pink ribbon binding 6. Small black and white landscape photograph of Ypres with "magpie cigarette" branding on back 7. Small slip of paper with inscription: "Pohoto" 8. Small rectangular card with white string binding and oval black and white photograph of a horse and carriage and printed detail of a kangaroo and wattle. Inscription reads: "Greeting from Wattle Land"album, photo album, newspaper clippings, postcard, wwi, christmas wishes, photograph, moustache, sepia, ypres, wattle land, australia, magpie cigarettes -
Wangaratta RSL Sub Branch
Postcard, 1917
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. This collection of postcards, photographs and clippings were sent between William and his family and loved ones during the years he was on active service. See also 207 and 220. Colour postcard with a kangaroo and Australian flag next to a poem. Handwritten message on back.Front: "To an Australian Patriot / fond hearts thy memory doth enshrine ....."album, photo album, newspaper clippings, postcard, wwi, creswick, australian flag, australia, kangaroo -
Wangaratta RSL Sub Branch
Postcard, 1916
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. This collection of postcards, photographs and clippings were sent between William and his family and loved ones during the years he was on active service. See also 207 and 220. Postcard with a sepia coloured photograph of Government House, Perth Western Australia. Handwritten message on back.album, photo album, newspaper clippings, postcard, wwi, 1916, perth, government house, western australia -
Wangaratta RSL Sub Branch
Postcard, 1917
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. This collection of postcards, photographs and clippings were sent between William and his family and loved ones during the years he was on active service. See also 207 and 220. Colour postcard with drawing of the Great Britain, Russian, Belgian and French flags - the flags of the allies. Handwritten message on back.Front: "Australia for / ever" (handwritten) "The flags that fight in freedom's cause" (printed)album, photo album, newspaper clippings, postcard, wwi, 1917, the flags of the allies, belgium, russia, great britain, france, flag -
Wangaratta RSL Sub Branch
Postcard, 1917
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. This collection of postcards, photographs and clippings were sent between William and his family and loved ones during the years he was on active service. See also 207 and 220. Colour postcard with an Australian flag, floral wreath and printed message. Handwritten message on back.Front: "A safe return"album, photo album, newspaper clippings, postcard, wwi, australian flag, a safe return -
Wangaratta RSL Sub Branch
Postcard, 1917
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. This collection of postcards, photographs and clippings were sent between William and his family and loved ones during the years he was on active service. See also 207 and 220. Colour postcard featuring a poem, a map of Australia, a currawong or magpie, a swastika, an aboriginal man holding a boomerang or throwing stick. Handwritten message on back.Front: "A message to the absent one"album, photo album, newspaper clippings, postcard, wwi, australian flag, boomerang, throwing stick, magpie, currawong, swastika -
Wangaratta RSL Sub Branch
Postcard, 1917
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. This collection of postcards, photographs and clippings were sent between William and his family and loved ones during the years he was on active service. See also 207 and 220. Colour postcard, blue / green colour scheme. Map of Australia in central frame surrounded by native Australian animals in a bush setting: kangaroo, emu, currawong / magpie, kookaburra. Above them is a rising sun. The central frame is actually a flap but whatever it may have concealed beneath is now lost. Handwritten message on back.album, photo album, newspaper clippings, postcard, wwi, magpie, currawong, kookaburra, emu, kangaroo, australia -
Wangaratta RSL Sub Branch
Postcard, 1917
From the album of WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion. This collection of postcards, photographs and clippings were sent between William and his family and loved ones during the years he was on active service. See also 207 and 220. Sepia coloured postcard with a drawing of a man on horseback - probably a stockman or drover - with a dog and cattle. A group of soldiers are drawn in the top left corner. Handwritten message on back.Front: "A Cooee from Australia / Cooee! Cooee! / Can you hear it you have heard it oft before / It carries with it, best of love / and comes from Australs' shore."album, photo album, newspaper clippings, postcard, wwi, cooee, australia, drover, stockman -
Tatura Irrigation & Wartime Camps Museum
Book, Jungle Warfare, 1944
... . aif jungle warfare australian army in south west pacific ...Forwarded by Wally to Miss B. Higgins in 1944.Brown hard covered book, of 208 pages.Jungle Warfare - with the Australian Army in the South West Pacificaif, jungle warfare, australian army in south west pacific -
Uniting Church Archives - Synod of Victoria
Document - Application form, Presbyterian Church of Victoria : Presbytery of Melbourne West
... Street Malvern East melbourne Presbyterian Church of Australia ...Single sheet of paper with dark blue border and text. presbyterian church of australia, melbourne west presbytery -
Robin Boyd Foundation
Document - Manuscript, Robin Boyd, The Best Houses in the World, 1965
Robin Boyd was on the judging panel for the American Institute of Architects, in conjunction with Sunset magazine, "Best houses" in the West Coast USA in 1965. Interesting commententary is given about the 364 houses entered and the award-winning houses. Some conclusions about what is new in planning are drawn. Comparisons are made with the best Australian houses and landscape architecture of 1965. This manuscript of Boyd's weekly newspaper column in 'The Australian' was published with the same title on 31/07/1965.Original manuscript of an article published in The Australian, 16/10/1965.Two copies. One typewritten (c copy), pencil edits and additions. Second typewritten (p/copy). Both quarto, 7 pages.american institute of architects, california, sunset magazine, house design, 1965, landscape design., robin boyd, manuscript, ohm2022, ohm2022_16 -
Robin Boyd Foundation
Document - Manuscript, Robin Boyd, How to End Our Isolation
Boyd argues that the Australian Cultural Cringe is due to our geographical isolation from the 'Atlantic bloc'. He encourages cultural, intellectual, and artistic exchanges with the Pacific region and the West Coast of the U.S. and provides recent successful examples.Typewritten (c copy) + 1 handwritten, quarto, 6 (+1 handwritten) pagescultural cringe, japan, san francisco, overseas exposure, robin boyd, manuscript -
Robin Boyd Foundation
Functional object - Blinds
These blinds are along the whole of the west facing wall of the Children's Pavilion. The Strizic images in 'Living in Australia' (p 82 of the 2013 edition) show them. Holland blinds on 7 windows and 2 on doorswalsh st furnishings, robin boyd -
Robin Boyd Foundation
Newspaper - Clipping, David Brewtnall, The Modest Island, 19.09.1972
... Brewtnall The West Australian ...Article by David Brewtnall, about the charms of Tasmania for tourists. It states that Robin Boyd wrote that the island's settler Georgian homes were the most interesting and best kept in Australia.Handwritten at top left in pencil "Boyd" underlined. Robin Boyd is underlined in third column of text.tasmania, settler homes, robin boyd, walsh st library -
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
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, 2009
Social Engineering and Indigenous Settlement: Policy and demography in remote Australia John Taylor In recent years neo-liberals have argued that government support for remote Aboriginal communities contributes to social pathology and that unhindered market engagement involving labour mobility provides the only solution. This has raised questions about the viability of remote Aboriginal settlements. While the extreme view is to withdraw services altogether, at the very least selective migration should be encouraged. Since the analytical tools are available, one test of the integrity of such ideas is to consider their likely demographic consequences. Accordingly, this paper provides empirically based speculation about the possible implications for Aboriginal population distribution and demographic composition in remote areas had the advice of neo-liberal commentators and initial labour market reforms of the Northern Territory Emergency Response been fully implemented. The scenarios presented are heuristic only but they reveal a potential for substantial demographic and social upheaval. Aspects of the semantics of intellectual subjectivity in Dalabon (south-western Arnhem Land) Ma�a Ponsonnet This paper explores the semantics of subjectivity (views, intentions, the self as a social construct etc.) in Dalabon, a severely endangered language of northern Australia, and in Kriol, the local creole. Considering the status of Dalabon and the importance of Kriol in the region, Dalabon cannot be observed in its original context, as the traditional methods of linguistic anthropology tend to recommend. This paper seeks to rely on this very parameter, reclaiming linguistic work and research as a legitimate conversational context. Analyses are thus based on metalinguistic statements - among which are translations in Kriol. Far from seeking to separate Dalabon from Kriol, I use interactions between them as an analytical tool. The paper concentrates on three Dalabon words: men-no (intentions, views, thoughts), kodj-no (head) and kodj-kulu-no (brain). None of these words strictly matches the concept expressed by the English word mind. On the one hand, men-no is akin to consciousness but is not treated as a container nor as a processor; on the other, kodj-no and kodj-kulu-no are treated respectively as container and processor, but they are clearly physical body parts, while what English speakers usually call the mind is essentially distinct from the body. Interestingly, the body part kodj-no (head) also represents the individual as a social construct - while the Western self does not match physical attributes. Besides, men-no can also translate as idea, but it can never be abstracted from subjectivity - while in English, potential objectivity is a crucial feature of ideas. Hence the semantics of subjectivity in Dalabon does not reproduce classic Western conceptual articulations. I show that these specificities persist in the local creole. Health, death and Indigenous Australians in the coronial system Belinda Carpenter and Gordon Tait This paper details research conducted in Queensland during the first year of operation of the new Coroners Act 2003. Information was gathered from all completed investigations between December 2003 and December 2004 across five categories of death: accidental, suicide, natural, medical and homicide. It was found that 25 percent of the total number of Indigenous deaths recorded in 2004 were reported to, and investigated by, the Coroner, in comparison to 9.4 percent of non-Indigenous deaths. Moreover, Indigenous people were found to be over-represented in each category of death, except in death in a medical setting, where they were absent. This paper discusses these findings in detail, following the insights gained from the work of Tatz (1999, 2001, 2005) and Morrissey (2003). It also discusses a further outcome of this situation - the over-representation of Indigenous people in figures for full internal autopsy. Finding your voice: Placing and sourcing an Aboriginal health organisation?s published and grey literature Clive Rosewarne It is widely recognised that Aboriginal perspectives need to be represented in historical narratives. Sourcing this material may be difficult if Aboriginal people and their organisations do not publish in formats that are widely distributed and readily accessible to library collections and research studies. Based on a search for material about a 30-year-old Aboriginal health organisation, this paper aims to (1) identify factors that influenced the distribution of written material authored by the organisation; (2) consider the implications for Aboriginal people who wish to have their viewpoints widely available to researchers; and (3) assess the implications for research practice. As part of researching an organisational history for the Central Australian Aboriginal Congress, seven national and regional collections were searched for Congress?s published and unpublished written material. It was found that, in common with other Aboriginal organisations, most written material was produced as grey literature. The study indicates that for Aboriginal people and their organisations? voices to be heard, and their views to be accessible in library collections, they need to have an active program to distribute their written material. It also highlights the need for researchers to be exhaustive in their searches, and to be aware of the limitations within collections when sourcing Aboriginal perspectives. Radiocarbon dates from the Top End: A cultural chronology for the Northern Territory coastal plains Sally Brockwell , Patrick Faulkner, Patricia Bourke, Anne Clarke, Christine Crassweller, Daryl Guse, Betty Meehan, and Robin Sim The coastal plains of northern Australia are relatively recent formations that have undergone dynamic evolution through the mid to late Holocene. The development and use of these landscapes across the Northern Territory have been widely investigated by both archaeologists and geomorphologists. Over the past 15 years, a number of research and consultancy projects have focused on the archaeology of these coastal plains, from the Reynolds River in the west to the southern coast of the Gulf of Carpentaria in the east. More than 300 radiocarbon dates are now available and these have enabled us to provide a more detailed interpretation of the pattern of human settlement. In addition to this growing body of evidence, new palaeoclimatic data that is relevant to these northern Australian contexts is becoming available. This paper provides a synthesis of the archaeological evidence, integrates it within the available palaeo-environmental frameworks and characterises the cultural chronology of human settlement of the Northern Territory coastal plains over the past 10 000 years. Ladjiladji language area: A reconstruction Ian Clark and Edward Ryan In this reconsideration of the Ladjiladji language area in northwest Victoria, we contend that while Tindale?s classical reconstruction of this language identified a fundamental error in Smyth?s earlier cartographic representation, he incorrectly corrected that error. We review what is known about Ladjiladji and through a careful analysis demonstrate not only the errors in both Smyth and Tindale but also proffer a fundamental reconstruction grounded in the primary sources.ladjiladji, social engineering, dalabon, indigenous health, coronial system, radiocarbon dating -
Victorian Aboriginal Corporation for Languages
Book, Bruce Pascoe et al, Wathaurong : the people who said no, 2003
The Wathaurong people of South Western Victoria said no to European invasion. Learn about this heroic resistance to the occupation of their lands. Can white and black live together or must we be always at war? The answer can only be given by young Australians. Includes a comprehensive historical timeline.maps, colour illustrations, b&w illustrations, colour photographs, word listswathaurong, wadtharung, port philllip bay, western port bay, lorne, south west victoria, battle creek, aire river, werribee, ballarat, wathaurong aboriginal cooperative, coast action, koori studies, john batman, william buckley, aboriginal studies policy, secondary school education, hissing swan, victorian history -
Villa Alba Museum
Decorative object - Nursery wallpaper sample, Nursery Rhymes, c.1900–c.1920
A wallpaper sample donated to the collection by Frances Alexandra (Frankie) Derham (1894–1987). Derham was an Australian artist and educator. A lecturer in art at the Melbourne Kindergarten Training College (1928-64) , she later taught at the Associated Teacher Training Institution (1949-61). Her commitment to `child art’ developed after 1935 when she accepted an invitation from Margaret Lyttle to teach at Preshil school. Frances Derham's collection of nearly ten thousand children’s drawings and paintings was acquired by the Australian National Gallery in 1976. Her interest in art for and by children is reflected in her donation to the Villa Alba Museum of an important and rare collection of early wallpapers designed for children's rooms. Nursery rhyme wallpaper pattern. Green wallpaper square with various nursery rhyme motifs. "Mrs Rebe Rigg 10 West St New York" written on back. Originally donated by Frances Derham to Villa Alba Museum via Terry Lane..Verso: "Mrs Rebe Rigg 10 West St New York"decorative arts & design, wall coverings – history, wallpapers – history, interior decoration – history, wallpapers -- children's, frances derham -
Robin Boyd Foundation
Slide, Robin Boyd, 1967
Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. West German Pavilion, Expo '67, Montreal, Canada. (Architects: Frei Otto and Rolf Gutbrod). Made in Australia / 2 / APR 67M4expo 67, montreal, robin boyd, slide -
Robin Boyd Foundation
Slide, Robin Boyd, 1964
In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. West tower of McCormick Hall (1963) Massachusetts Insitute of Technology (MIT), Cambridge, Massachusetts, USA. Kresge Auditorium is on the left background and dome of the MIT main building is just visible on the right. (Architect: Herbert Beckwith.)Made in Australia / 13 / AUG 64Mslide, robin boyd