Dark Blue cap seal Yellow Bordered label with puppets in a puppet standTrace (five 4 C's surrounding one C in Centre) Mark Contents 26 FL. 025. Nett Manufactured by Crystal Loraial co Sale Punch Cordial Preservatised this Food contains not more then 7 grains benzoic acid to the pint

Large jug with a brown Bordered label with a heart in the centreImitation American Creamy Soda Essence Perfectly Soluble Trade Mark Registered Heart Brand Old Trafford Essence Distillery Chester road, Manchester. England Duck Worth F Co. (essences) Limited

8720.1 - Thick glass cube with a hole in the centre for ink.

Owned by Mervin Buckram (of Rochester), used for private use on the farm at Mewburn Park. Used approx 1940s.An important survivor from the early dairy industry. Maffra has always held a leading role in Herd testing, so it has considerable community significance. An earlier example is held at Stratford, with another, between the two, and less intact, at Old Gippstown.A round, black herd-testing centrifuge with a flat top and bottom. It has a hinged flap that opens and stands on three legs. There is a smaller round piece on top of the centrifuge which has a thick cylindrical shaped piece of metal in the centre. An apparatus at the top allows water to be driven through an impeller and there is an internal carrier to hold bottles for centrifuging."Grand prize St. Louise 1904" on side,"Wizard Tester" on top."The creamery package MFG. company Chicago. U.S.A. No. 3785" on brass plaque.herd testing

These wooden batons were used by a local girls gymnastic group in the Korumburra area in the early 1900's. Used in a similar fashion to a band leaders baton, they were twirled in each hand and in unison usually to music.3062.2 - Two turned wooden batons, teardrop shape with long handles finished with a balled end. Two grooved patterns in the centre of the teardrop.gymnastic equipment, wooden batons, 1900's

Accordion; wooden frame with black leather bellows, maker's name Regal Melodeon, Made in Germany. Has pressed metal corners with pictures of a bugle with the word sport in the centre.

This carriage forms part of a matching set of the W classification which were built to match each other around 1914Second class railway carriage red in colour with a white clerestory roof. It has 7 compartments each with two green vinyl bench seats. Pressed metal ceilings with a light in the centre and racks above the seats. There is a men's toilet at one end of the carriage and a ladies toilet at the other end, with a double seat outside both toilets as a waiting area. In these areas there are several Art Nouveau pressed metal panels. The outside of the carriage has the numbers 2 BW painted on the side.

In 1976, the Shire of Pakenham recognising that Cockatoo was the second largest township within the shire, acknowledged requests for the provision of recreation facilities. Council purchased four hectares of land strategically located in the Town Centre and in conjunction with the local community, embarked upon a programme of staged development of the site. The first stage saw the construction of the kindergarten building which was opened in 1977, followed by the bowling green, tennis courts, netball courts and public toilets. The Community Complex Building was the final development of the site.The Cockatoo Community Complex building, was the final stage of the development and was opened on the 20th November 1982. It was a replacement for the old Cockatoo Hall, which had not been renovated since 1936. The old Cockatoo Hall was lost in the Ash Wednesday fires on the 16th February 1983. The community complex played an integral part in the recovery stages after Ash Wednesday.Four page document, including Acknowledgements, Order of Ceremony, Menu and Site Plan of the Cockatoo community ComplexTwo punctured holes for folder storagecockatoo community complex, cockatoo hall, hall opening, cockatoo

Book titled Confronting Ageism - Towards a Society for all Ages. By Delys Sargeant, Chair, National Coordinating Committee (United Nations International Year of Older Persons) Australian Coalition 1999. La Trobe University, Bendigo. The Sixth Sir John Quick Bendigo Lecture 14 October 1999. Book has a purple tone front cover with an older lady and a young man with a skateboard walking along a path. The book mentions the attitudes to aging from various members of the community including health care workers, nurses and nursing teachers and doctors.bendigo, history, long gully history group, the long gully history group - confronting ageism - towards a society for all ages, delys sargeant, united nations international year of older persons, la trobe university, the sixth sir john quick bendigo lecture, kofi annan, institute of family studies, ageism & nursing practice in australia, john stevens, jan herbert, valerie braithwaite, robert lynd-stevenson, derek pigrak, paul coulthard, d g le couteur, a s bansal, d a price, university of queensland, victor minichiello, colette browning, rosalie aroni, loris alexander, deidre ones, prentice hall, beissner, luscz, palmore, chris phillipson, alan walker, john stevens, jan herbert, royal college of nursing, bradley fisher, constance peterson, lindsay gething, university of melbourne, social biology resources centre now the centre for social health, allen & unwin, john sargeant

"Les Miserables" is a musical in two acts with music by Claude Michel Schonberg and lyrics by Alain Boublil and Jean-Marc Natel based on the story by Victor Hugo. Music Programme for "Les Miserables" a musical in two acts performed by the Bendigo Community Theatre and Arts Inc from April 27 to May 13, 2001 at the Bendigo Regional Arts Centre (Capital Theatre)- a 28 page booklet with acknowledgements, advertisements, details of Acts, cast,and story synopsis. programme, concert

A4 size bound books consisting of student writings produced in the Certificate of Occupational Studies: Social & Community Services Course run by Northern Metropolitan College of TAFE at the Migrant Women's Learning Centre based at the Collingwood campus. Copies held 1991 (100 pages0, 1992 (176 pages), 1994 (160 pages) which has the added title 'Turning Point', 1996X 2 copies.northern metropolitan college of tafe, social & community services course, migrant women's learning centre, students, nmit

On the weekend of Saturday 5 and Sunday 6 June the community of Smeaton organised celebratons to commemorate 175 years since the arrival of Captain John Hepburn, Elizabeth Hepburn, and their two children.Fourteen colour photographs of two horse drawn waggons operating during the 175th anniversary of John Hepburn Settling at Smeaton. The Waggons were moving from the Smeaton town centre towards Anderson's Mill.smeaton, 175th anniversary, anniversary, john hepburm, elizabeth hepburn, waggon, horse drawn, hors, waggon wheel, wagon

"The fist references the Black Lives Matter movement and also represents the strength of Indigenous peoples all over the world and symbolises solidarity and justice for everyone affected by systematic racism. Bunjil (wedge-tailed eagle) is flying high on the building. He is the creator spirit for Wurundjeri people who looks over us and protects us. Bunjil represents healing and power to our people. The blue circles and lines represent revival and waterways; in particular, they depict the Birrarung (Yarra River), which is very significant for the Wurundjeri people. Our people are known as the Manna Gum people. The leaves in the artwork highlight Wurundjeri people and their Country. These leaves also represent the cleansing of negative spirits. The Manna Gum leaf is also an important symbolic offering in our traditional Welcome to Country ceremony. Leaves are offered to visitors as they are granted safe passage through our land. They are made welcome to everything from the tops of the trees to the roots of the earth. We ask that they take care of the land, plants and animals and to respect the protocols and rules of the Traditional Owners whilst on our Country."In 2020 Council declared its support for the global Black Lives Matter (BLM) movement. In consultation with Yarra City Council's Yana Ngargna advisory group a motion was prepared and passed unanimously by all Councillors. A number of actions were generated from this decision; one of which was for Council to commission a large-scale mural that aligned with the movement. Emerging artist Ky-ya Nicholson-Ward, a proud Wurundjeri, Dja Dja Wurrung, Nguarai Illam-Wurrung, German and Irish woman, created the mural installed on a building in Peel Street Park, Collingwood. Selected by Council's Yana Ngargna, Black Lives Matter Working Group the artwork identifies the cultural importance of the local area to the Wurundjeri Woi Wurrung people as the Traditional Owners. With a strong focus on Aboriginal identity the mural outlines the local context of the Black Lives Matter movement, which is connected to racism, policing of Aboriginal and Torres Strait Islander peoples and associated deaths in custody. The artwork acknowledges the ongoing challenges faced by Aboriginal community members and their struggle to survive white systems, policies and institutions. Ky-ya's mural tells the story of Aboriginal resilience, strength and self-determination; and will support the process of healing. It is a celebration of the local Aboriginal and Torres Strait Islander community; the significant Aboriginal history of Fitzroy, Collingwood and surrounds; and community's continuing cultural connection to the area. Importantly, this artwork provides a platform to educate a broader audience about the local context of the Black Lives Matter movement and Aboriginal deaths in custody. The mural will activate this site, enliven the area, promote inclusion, incite conversation and contribute to the creative capital of this locale. A welcoming environment for Aboriginal and non-Aboriginal communities.Aboriginal Lives Matter Ky-ya Nicholson WardOn a black background a hand fist (strength, solidarity and justice) is placed at the centre of the building; Bunjil (wedge-tailed eagle) is depicted flying high on the building; blue circles and lines represent revival and waterways (Birrarung-Yarra River) and the leaves in the artwork highlight Wurundjeri people (cleansing of spirit and welcome to Country)The artist name 'Ky-ya Nicholson Ward' painted in white, low right of the wall facing into Peel Street Park. black lives matter (blm) movement, wurundjeri woi wurrung, bunjil, identity, birrarung, country

Report of curriculum of school and its intended participation in Healesville Sanctuary's programs. Story on lack of support by State and Federal governments for cultural programs at Worawa College in Healesville. This article represents a continued connection between Aborigal communities and Healesville Sanctuary.Newspaper article

Invitation to the unveiling of Edward O'Donnell fountain in the O'Donnell Gardens, St Kilda, at 3pm on 18 August 1935. The gardens and the fountain are named after Edward O'Donnell, a St Kilda Councillor and businessman who was elected to the St Kilda Council in 1888 and served continuously for 44 years. During that time he was mayor on six separate occasions, including the war years. Following his death in 1933, a fountain was commissioned to perpetuate his memory in the centre of the gardens that had, by then, already started to be known by his name. The fountain was unveiled in 1935. It was designed and built at a cost of £750 by Modern Art Co. Pty. Ltd. Of the art deco style, it is 4.5 metres high and 5 metres in diameter. The fountain’s plaque says his ‘record of municipal and community service will always be an example of true manhood and ideal citizenship’.Cream coloured card printed on one side in dark blueedward o'donnell, edward o'donnell fountain, edward o'donnell gardens, o'donnell gardens

Notice of the unveiling of the Edward O'Donnell Memorial Fountain on 18 August 1935 at Edward O'Donnell Gardens. Invitation to the unveiling of Edward O'Donnell fountain in the O'Donnell Gardens, St Kilda, at 3pm on 18 August 1935. Edward O'Donnell was a St Kilda Councillor and businessman who was elected to the St Kilda Council in 1888 and served continuously for 44 years. During that time he was mayor on six separate occasions, including the war years. Following his death in 1933, a fountain was commissioned to perpetuate his memory in the centre of the gardens that had, by then, already started to be known by his name. The fountain was designed and built at a cost of £750 by Modern Art Co. Pty. Ltd. Of the art deco style, it is 4.5 metres high and 5 metres in diameter. The fountain’s plaque says his ‘record of municipal and community service will always be an example of true manhood and ideal citizenship’White paper, discoloured with age, printed in blue on one side.edward o'donnell, edward o'donnell fountain, edward o'donnell gardens, o'donnell gardens

Water is key to a thriving community and it is through the representation of water Flow enlivens the space at Bakery Hill. Historically ‘water races’ ran through the valleys of the Greater Ballarat area unearthing the minerals that forged prosperity and wealth. This water still flows today unearthing new possibilities for the community. Possibilities focusing on sustainability, ecology, health and prosperity. Flowing over the site a series of kinetic turbines flutter in the wind creating a contemporary water race. The interactive elements offer visual stimulation enticing people to connect with the artwork and in turn the surrounding spaces. Bakery Hill has great historical significance. It’s connection to the Eureka Stockade and the series of events that were to unfold during the 1850’s was to become the turning point in Australian political history. The placement of each turbine is to mirror a point of history in the timeline of events that occurred during the Eureka Stockade. The Water Race is a symbol of possibilities, the ones created by history and those of modern society. It is a visual timeline that can be read by traversing the site. The connecting turbines that flow and turn in sync are a representation of time passing and the interconnectedness of history with the community that surrounds it. The gateway to Bridge Mall is framed through the placement of each turbine allowing the sense of prosperity and wealth to flow through to the surrounding community. This gateway also references the significance of Bakery Hill reinvigorating the historical site by reconnecting it back to its town centre. The artwork is of aesthetic and historical significance to the people of BallaratTwelve steel turbines set on poles with dates attached and a large bronze 'timeline' plaqueFLOW/ Plotting the motion of Wind, Water, History and Time/ by Holly Grace and Aaron Robinson/ This site has great historical significance. It’s connection to the Eureka Stockade and the series of events that unfolded in the 1850’s was to become the turning point in Australian history. The placement of each turbine within this artwork mirrors a point of history in the events that led up to the Eureka Stockade. It is a visual timeline that can be read by traversing the site. The connecting turbines that flow and turn in sync are a representation of time passing. They are a symbol of the community’s connection to their history. 1851 June James Esmond makes the first discovery of gold in Victoria at Clunes./ 1st July The Port Phillip District separates from New South Wales and becomes the Colony of Victoria. It is still subject to British rule./ August Gold is discovered at Buninyong and at Golden Point, Ballarat. Lt-Governor La Trobe introduces the Gold Licence system in an attempt to reduce the colony’s debt./ 20th September First gold licences issued in Ballarat. / 1852 August/ Eureka Lead discovered on the Ballarat goldfields. December Charles La Trobe resigns as Lt-Governor but he is not relieved until 1854/ July – December/ Unrest builds on the various goldfields with protest meetings held in Bendigo and Castlemaine. Bendigo’s Red Ribbon Movement is active on the goldfields and the Bendigo Petition is presented to Lt-Governor./ December/ Charles Hotham is appointed Lt-Governor/ 1854 March/ A bill to extend the Elective Franchise is passed by the Legislative Council and sent to London for the assent of the British Parliament. 22nd June/ Lt-Governor Sir Charles Hotham arrives in Victoria. The colony faces mounting debt and Hotham orders weekly licence hunts in an attempt to increase income./ August/ Hotham is acclaimed during his visit to the Ballarat goldfield./ 13th September? Hotham orders twice-weekly licence hunts to further increase revenue./ September – October/ Miners are experiencing problems – no shafts bottomed on the Eureka Lead for five weeks./ 7th October/ James Scobie is murdered outside the Eureka Hotel. Many diggers believe that publican James Bentley is responsible./ 9th October/ At Scobie’s inquest, Bentley is acquitted, despite strong evidence of his guilt./ 10th October/ Father Smythe’s servant is beaten up by authorities and falsely arrested for not holding a licence./ 15th October/ Mass meeting of miners on Bakery Hill. Catholic miners meet after Mass. // 17th October/ A meeting of up to 10,000 Diggers is held near the Eureka Hotel to protest against Bentley’s acquittal. The meeting results in the burning of the hotel. Three diggers, Westerby, Fletcher and McIntyre, are arrested. Hotham dispatches 400 soldiers to Ballarat. 22nd October/ Another large meeting is held to address grievances. The Catholics send their leaders, Hayes, Kennedy and Manning to meet Rede. The Government Camp is under siege 11th November/ A public meeting on Bakery Hill results in the formal establishment of the Ballarat Reform League and adoption of the League’s proposals./ 21st November/ The enquiry into the Bentley affair is published. It recommends the dismissal of the judge and the establishment of a Royal Commission. 23rd November/ Westerby, Fletcher and McIntyre are convicted of burning the hotel. The Ballarat Reform League demands their release. 27th November/ A deputation from The Ballarat Reform League, including Humffray, Black and Kennedy, meet with Hotham to demand the release of the three prisoners. Hotham does not believe the diggers have the right to “demand anything”, Rede requests reinforcements in Ballarat. 28th November/ Miners attack the troop reinforcements and wagons passing near the Eureka diggings. A drummer boy is seriously wounded. 29th November/ A “Monster Meeting” attended by more than 10,000 diggers is held on Bakery Hill. The Southern Cross flag is flown for the first time. Peter Lalor addresses the miners and a number of diggers burn their licences. 30th November/ A licence hunt occurs in the morning at the order of Commissioner Rede. Another meeting of radical miners is held on Bakery Hill. Peter Lalor becomes leader of the diggers and calls for volunteers. Many diggers wear an oath to defend their rights and liberties under the Southern Cross flag. A number of diggers move to the Eureka Lead and start to erect a stockade. 3rd December In the early hours of Sunday morning 296 soldiers and police led by Captain Thomas proceed from the Government Camp to the Eureka Lead and attack the Stockade. 22 diggers and 7 military are officially listed as being killed. Many others are wounded. Approximately 120 diggers are arrested and marched to the Government Camp. 4th December/ Funeral of some of the fallen diggers and soldiers. Martial Law is proclaimed in Ballarat. Henry Seekamp, editor of the Ballarat Times is charged with seditious libel. 6th December/ Major General Sir Robert Nickle, commander-in-chief of the military forces in the Australian colonies, arrives in Ballarat. 9th December/ General Nickle repeals martial law. 14th December/ The Gold Fields Commission sits for the first time. 18th December/ The first Ballarat sitting of the Gold Fields Commission is held at Bath’s Hotel. 1855 23rd January/ Henry Seekamp is found guilt of sedition and sentenced to three months in prison. 22nd February/ The Eureka trials starts in Melbourne. February to March/ 13 prisoners are tried and acquitted amid great public rejoicing. 27th March Report of the Royal Commission recommends miners’ rights and significant reforms. 10th November/ Peter Lalor and John Basson Humffray are nominated for seats in the legislative Council. 31st December Sir Charles Hotham dies before his resignation takes effect. flow, aaron robinson, holly grace, public art, eureka stockade, bakery hill

Point to Sky is one of Akio Makigawa’s final works, the commission was completed posthumously. It is the only public artwork by the celebrated Australian-Japanese sculptor of this scale located in regional Victoria. You will see two stainless steel forms, a smaller more rectangle form and the towering geometric form, with seed pod shapes at the peak. These forms represent the house, the artist is expressing that home is a shelter and also a place for gathering. The house form grows into a tower to symbolise the achievements of mankind and the action taken to protect the rights of the community during the Eureka Stockade. The top seed pod is gold, referencing Ballarat as the centre of the gold rush in Victoria, as well as representing the sun as the source of life. The paving of the forecourt was designed in bluestone, typical of the work of Makigawa. Stainless steel panelling and shaping on armature. Set into raised platform of bluestone pavers.Point to Sky, 1999 / Akio Makigawa (1948-1999)/ stainless steel/ Born in Japan, Akio Makigawa arrived in Australia in 1974. He worked as a sail maker in Perth before studying sculpture at the Claremont School of Art and WAIT (now known as Curtin University). He moved to Melbourne in 1981 to do post graduate studies in sculpture at the Victorian College of the Arts and set up his studio. From 1984 he was involved in many public commissions in Victoria and interstate and Japan. / Commissioned by the Victorian Government and the City of Ballarat in 1999. point to sky, akio makigawa, modern, australian sculpture

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

Mediating conflict in the age of Native Title Peter Sutton (The University of Adelaide and South Australian Museum) Mediators have played roles in managing conflict in Aboriginal societies for a long time. This paper discusses some of the similarities and differences between older customary mediator roles and those of the modern Native Title process. Determinants of tribunal outcomes for Indigenous footballers Neil Brewer, Carla Welsh and Jenny Williams (School of Psychology, Flinders University) This paper reports on a study that examined whether football tribunal members? judgments concerning players? alleged misdemeanours on the sporting field are likely to be shaped by extra-evidential factors that disadvantage players from Indigenous backgrounds. Indigenous and non-Indigenous Australian Football League (AFL) players, matched in terms of their typical levels of confidence and demeanour in public situations, were interrogated in a mock tribunal hearing about a hypothetical incident on the football field. The specific aim was to determine if the pressures of such questioning elicited behavioural differences likely to be interpreted as indicative of testimonial unreliability. Mock tribunal members (number = 103) then made judgments about the degree to which a number of behavioural characteristics were evident in the players? testimonies. Under intense interrogation, Indigenous players were judged as presenting less confidently and displaying a greater degree of gaze aversion than non-Indigenous players. These behavioural characteristics are commonly ? and inappropriately ? used as cues or heuristics to infer testimonial accuracy. The paper discusses the implications for Indigenous players appearing at tribunal hearings ? and for the justice system more broadly. Timothy Korkanoon: A child artist at the Merri Creek Baptist Aboriginal School, Melbourne, Victoria, 1846?47 ? a new interpretation of his life and work Ian D Clark (School of Business, University of Ballarat) This paper is concerned with the Coranderrk Aboriginal artist Timothy Korkanoon. Research has uncovered more about his life before he settled at the Coranderrk station in 1863. Evidence is provided that five sketches acquired by George Augustus Robinson, the former Chief Protector of Aborigines, in November 1851 in Melbourne, and found in his papers in the State Library of New South Wales, may also be attributed to the work of the young Korkanoon when he was a student at the Merri Creek Baptist Aboriginal School from 1846 to 1847. Developing a database for Australian Indigenous kinship terminology: The AustKin project Laurent Dousset (CREDO, and CNRS, Ecole des Hautes Etudes en Sciences Sociales), Rachel Hendery (The Australian National University), Claire Bowern (Yale University), Harold Koch (The Australian National University) and Patrick McConvell (The Australian National University) In order to make Australian Indigenous kinship vocabulary from hundreds of sources comparable, searchable and accessible for research and community purposes, we have developed a database that collates these resources. The creation of such a database brings with it technical, theoretical and practical challenges, some of which also apply to other research projects that collect and compare large amounts of Australian language data, and some of which apply to any database project in the humanities or social sciences. Our project has sought to overcome these challenges by adopting a modular, object-oriented, incremental programming approach, by keeping metadata, data and analysis sharply distinguished, and through ongoing consultation between programmers, linguists and communities. In this paper we report on the challenges and solutions we have come across and the lessons that can be drawn from our experience for other social science database projects, particularly in Australia. A time for change? Indigenous heritage values and management practice in the Coorong and Lower Murray Lakes region, South Australia Lynley A Wallis (Aboriginal Environments Research Centre, The University of Queensland) and Alice C Gorman (Department of Archaeology, Flinders University) The Coorong and Lower Murray Lakes in South Australia have long been recognised under the Ramsar Convention for their natural heritage values. Less well known is the fact that this area also has high social and cultural values, encompassing the traditional lands and waters (ruwe) of the Ngarrindjeri Nation. This unique ecosystem is currently teetering on the verge of collapse, a situation arguably brought about by prolonged drought after decades of unsustainable management practices. While at the federal level there have been moves to better integrate typically disparate ?cultural? and ?natural? heritage management regimes ? thereby supporting Indigenous groups in their attempts to gain a greater voice in how their traditional country is managed ? the distance has not yet been bridged in the Coorong. Here, current management planning continues to emphasise natural heritage values, with limited practical integration of cultural values or Ngarrindjeri viewpoints. As the future of the Coorong and Lower Murray Lakes is being debated, we suggest decision makers would do well to look to the Ngarrindjeri for guidance on the integration of natural and cultural values in management regimes as a vital step towards securing the long-term ecological viability of this iconic part of Australia. Hearts and minds: Evolving understandings of chronic cardiovascular disease in Aboriginal and Torres Strait Islander populations Ernest Hunter (Queensland Health and James Cook University) Using the experience and reflections of a non-Indigenous clinician and researcher, Randolph Spargo, who has worked in remote Aboriginal Australia for more than 40 years, this paper tracks how those at the clinical coal-face thought and responded as cardiovascular and other chronic diseases emerged as new health concerns in the 1970s to become major contributors to the burden of excess ill health across Indigenous Australia. The paper cites research evidence that informed prevailing paradigms drawing primarily on work in which the clinician participated, which was undertaken in the remote Kimberley region in the north of Western Australia. Two reports, one relating to the Narcoonie quarry in the Strzelecki Desert and the other concerning problematic alcohol use in urban settings.maps, b&w photographs, colour photographs, tablesstrzelecki desert, native title, timothy korkanoon, merri creek baptist aboriginal school, austkin project, coorong, lower murray lakes district, south australia, indigenous health