Showing 210 items
matching indigenous history
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Kew Historical Society Inc
Archive (Sub-series) - Subject File, BUCHAN Family, 1958
Various partiesReference, Research, InformationSecondary Values (KHS Imposed Order)Subject file containing articles on an Indigenous canoe, now in the Melbourne Museum, which was collected by John Buchan of Finhaven, Stevenson Street, Kew in the 1850s. The Museum printout describes the canoe and provides information on its provenance. The KHS newsletter article by Judith Vimpani contains genealogical research on the family.canoe tree - kew (vic), stevenson street -- kew (vic.), buchan family, finhavencanoe tree - kew (vic), stevenson street -- kew (vic.), buchan family, finhaven -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, Flora & Fauna (Kew), 1982
Various partiesReference, Research, InformationSecondary Values (KHS Imposed Order)Subject file containing some information about fauna and flora in Kew. In addition to sundry newspaper articles, the file includes a City of Kew ‘Street Tree Masterplan file’ and a copy of L.G.C. Pearson’s ‘The Indigenous Plants of the Melbourne Region’ (1986).kew (vic) - history, flora - kew (vic), fauna - kew (vic)kew (vic) - history, flora - kew (vic), fauna - kew (vic) -
Kew Historical Society Inc
Award - Kew High School trophy, 1880
F.G.Barnard, writing in 1910, recorded that Ernest Ingle opened a boys' school in a private house in Cotham Road, Kew, in 1872. The school was later moved to larger premises in Charles Street, where suitable school rooms were added. Ingle's career was cut short by a fatal attack of typhoid fever in 1875. The school then passed into the hands of Mr. J. Henning Thompson. Under Thompson's management the school speedily became a strong rival to the neighbouring Hawthorn Grammar School. Barnard also lists in his Jubilee History of Kew, that Dr N.C. Vance [winner of the trophy for the 440 yards running event] was a notable alumnus of Kew High School. It is assumed that N.C. Vance was the son of Rev G.O. Vance who was appointed vicar of Holy Trinity Church, Kew, in 1870. This is a tangible memento of the first Kew High School, awarded to a pupil eight years after the school's establishment. The trophy is historically interesting as it was presented to N.C. Vance by Ann Bon, a notable Kew resident and a supporter of Indigenous People in Victoria, particularly William Barak and his family.Silver plated trophy in the form of a cup on a pedestal with two arms, each surmounted with pine cones. The trophy has a range of design features including convex and concave decorated surfaces created by repoussé (i.e.hammering). Specific decorative aspects include scrolling at the top of the cup and floral sprays at front and the rear of the trophy. There is a single inscription identifying the school, the event, the winner and the identity of the person presenting the trophy. The metal used in the cup section of the trophy is heavier and thicker than that used in the rest of the trophy.There are no compositional or maker marks on the trophy.Inscribed: "Kew High School / Old Boys Cup / Presented by / Mrs John Bon / Won by / N Vance 1880"dr n vance, kew high school -- kew (vic.), private schools -- kew (vic.), sports trophies -- kew (vic.), n.c. vance -
Kew Historical Society Inc
Photograph, 'Canoe Tree', Bowyer Avenue, Kew, 1950-1960
This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.On the Miller Estate, Myrtle Hill, an immense red gum became known as the 'Canoe Tree' because of the scar in its trunk which was believed to have been caused by the local Indigenous inhabitants of Kew in creating a canoe. Dorothy Rogers (A History of Kew, 1973) records that "the tree, with increasing age became a safety risk, and was at first lopped, but when the land was subdivided some years ago it was removed all together. In Bowyer Avenue, which bears a family name of the Millers, a memorial has been erected which commemorates the tree." There is no date given for its removal.canoe tree, myrtle hill, dorothy rogers, bowyer avenue (kew), first peoples -
Kew Historical Society Inc
Booklet, Australian Broadcasting Commission, Melbourne before history began : five ABC Radio programmes on the area around Melbourne many years ago, 1967
This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Melbourne before history began. The text of five radio programmes presented by Edmund Gill on the prehistory of the Melbourne regionindigenous australians (vic), australian broadcasting commission, first peoples -
Sunbury Family History and Heritage Society Inc.
Photograph, Bulla Primary School, Gundiwindi School camp, 14th - 18th August 1989
The photograph was taken in 1989 when the children in grades 4 an 5 attended a school camp at Gundiwindi, which is in the Yarra Valley on the border of Wandin and Nth. Silvan. At the camp the children were acquainted with the skills used by the local indigenous people. The children the photograph attempted to construct a bark shelter along the lines of those build by the local indigenous people. While the children from Bulla Primary School attended the camp at Gundiwindi they were introduced to skills used by local indigenous people.A coloured non- digital photograph of three children sitting at the entrance of a primitive bark shelter. The immediate surrounding area has been cleared but native woodland is growing beyond the fence line. school camps, gundiwindi, bulla primary school, indigenous culture -
Sunbury Family History and Heritage Society Inc.
Photograph, Gundiwindi School camp, 14th - 18th August 1989
The photograph was taken in 1989 when students in Grades 4 and 5 from Bulla Primary School attended a school camp at Gundiwindi Camp. The camp is in the Yarra Valley area on the border of North Wandin and Silvan. At the camp the children were learning bush survival skills, which were practised by the local indigenous people.The emphasis on the camp at Gundiwindi was bush survival and skills used by indigenous people.A non-digital coloured photograph of four children in a bushland setting attempting to build a camp fire in the cleared area. the forested area is behind the group.school camps, gundiwindi, bulla primary school, indigenous culture -
Beechworth Honey Archive
Publication, e-book, British bees: an introduction to the study of the natural history and economy of the bees indigenous to the British Isles (Shuckard, W. E.), London, 1866, 1866
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Federation University Art Collection
Work on paper, Patrice Mahoney, 'Jobs, Policy and LOST' (tryptich) by Patrice Mahoney, 2014
These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni -
Port Fairy Historical Society Museum and Archives
Book, Macmillan Publishers Group Australia Pty Ltd, Triumph of the nomads : a History of Ancient Australia, 1982
Argues that Australia's Indigenous people discovered the land, adapted it and mastered its climates, seasons & reserves.23.0 x 14.0cms, 938 pp. b/w illust dust jacketnon-fictionArgues that Australia's Indigenous people discovered the land, adapted it and mastered its climates, seasons & reserves.habitation - nomadism., demography - palaeodemography - aboriginal settlement of australia., reproduction - infanticide., feuds and warfare., hunting, gathering and fishing., food - plants., trade and exchange - trade routes., australiens (aborign̈es), aborigines, australian -- social life and customs., aboriginal australians -- social life and customs -- northern territory., aboriginal australians -- history., aboriginal australians -- culture -- history., aboriginal australians -- civilization -- history., aboriginal australians -- economic conditions -- history., aboriginal australians -- social life and customs., human ecology -- australia., aboriginal australians., aborigines., australiens (aborigènes), australien., australia -- history., lake mungo / walls of china (willandra sw nsw si54-08), tasmania (tas), australia - aborigines, book -
Port Fairy Historical Society Museum and Archives
Book, Melbourne University Press, Untold stories : memories and lives of Victorian Kooris, 1998
... history - biographies - indigenous.... generations. history - biographies - indigenous. Book 'I'm your half ...'I'm your half-brother and I'm here to stay. This is my home.' With these words Wilmot Abraham sought refuge with his white relations. 'Did you ever read your history?': Mrs. Mary Clarke remembers p. 1 'An old hand': Jim Cain p. 12 'I'm your half-brother, and I'm here to stay': Wilmot Abraham p. 36 The Three Pompeys The Written Record p. 48 Banjo Clarke's Stories p. 62 'Why did they take them away?': Lizzie and Henry McCrae p. 74 In Defence of Framlingham: Collin Hood p. 79 Double Dispossession: King David p. 107 James Dawson's Informants p. 137 'Why are we kept prisoners here?': Ernest and Maggie Mobourne p. 148 'The old ones, they wouldn't tell us nothing': Mrs. Connie Hart's memories p. 181 'Breaking the cycle is the hard thing to do': Geoff Rose, a stolen child p. 200 Epilogue: James Dawson, Camperdown George and the Obelisk p. 220 The Hood Family p. 238 The Mobourne Letters p. 241 Abbreviations p. 252 Notes p. 252 Bibliography p. 264 Index p. 274xxi, 283 p. : ill., facsims., map, ports. ; 23 cm. Includes index and bibliographical references: p. 264-273.non-fiction'I'm your half-brother and I'm here to stay. This is my home.' With these words Wilmot Abraham sought refuge with his white relations. 'Did you ever read your history?': Mrs. Mary Clarke remembers p. 1 'An old hand': Jim Cain p. 12 'I'm your half-brother, and I'm here to stay': Wilmot Abraham p. 36 The Three Pompeys The Written Record p. 48 Banjo Clarke's Stories p. 62 'Why did they take them away?': Lizzie and Henry McCrae p. 74 In Defence of Framlingham: Collin Hood p. 79 Double Dispossession: King David p. 107 James Dawson's Informants p. 137 'Why are we kept prisoners here?': Ernest and Maggie Mobourne p. 148 'The old ones, they wouldn't tell us nothing': Mrs. Connie Hart's memories p. 181 'Breaking the cycle is the hard thing to do': Geoff Rose, a stolen child p. 200 Epilogue: James Dawson, Camperdown George and the Obelisk p. 220 The Hood Family p. 238 The Mobourne Letters p. 241 Abbreviations p. 252 Notes p. 252 Bibliography p. 264 Index p. 274 western district (vic.) -- colonization., aboriginal australians -- victoria -- western district -- history., aboriginal australians -- victoria -- western district -- interviews, race relations - racial discrimination., child welfare - child / parent separation - stolen generations., history - biographies - indigenous., book -
Federation University Art Collection
Sculpture - Artwork, 'The More Bones the Better' by Yhonnie Scarce, 2016
Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal -
The Mrs Aeneas Gunn Memorial Library
Book, Edgar Wallace, Sanders of the river, 1945
Charged with the task of engaging with the indigenous peoples of Nigeria during the colonial period, Sanders takes a no-nonsense approach that, though it may offend the sensibilities of current-day readers, is unquestionably effective. Offering readers an action-packed glimpse into a period of history that is often overlooked. Sanders of the River should be on the must-read list of every action-adventure junkie.p.190.fictionCharged with the task of engaging with the indigenous peoples of Nigeria during the colonial period, Sanders takes a no-nonsense approach that, though it may offend the sensibilities of current-day readers, is unquestionably effective. Offering readers an action-packed glimpse into a period of history that is often overlooked. Sanders of the River should be on the must-read list of every action-adventure junkie. england - fiction, african fiction -
Friends of Ballarat Botanical Gardens History Group
Work on paper - North Gardens Wetlands Information Notes, Friends of Ballarat Botanical Gardens (Guiding Friends Group), C 2001
Important information about the North Gardens Wetlands and the primary objective of improving storm water quality.This project was completed in March 2001 and besides its ecological importance, it provides a destination at the northern end of the Gardens, creates social linkages between various environmental groups as well as improving the aesthetic standards of the site.1 page set out with subheadings.Nonenorth gardens, north gardens wetlands, north gardens wetlands project, ballarat botanical gardens, friends of ballarat botanical gardens, john garner, regional indigenous plants, aquatic and terrestrial plants, storm water, john garner collection, gardens, ballarat, garner -
Tarnagulla History Archive
Register of Licenses for Sandy Creek (and later Tarnagulla), 1860-1885
Very important historical record for this town and region. Record of the earliest hotels and businesses operating in the district and names of earliest non-Indigenous settlers.Large ledger containing handwritten records of licenses awarded in Sandy Creek/Tarnagulla area between June 1860 and December 1885.hotels, licenses -
Tarnagulla History Archive
Postage stamp with Tarnagulla postmark
David Gordon Collection. Red stamp with Indigenous Australian man and 'Centenary of Victoria'. -
Truganina Explosives Reserve Preservation Society Inc (TERPS)
Digitised Oral History – Truganina Explosives Reserve - Tape 10 Hugh Basset, 2018
The interviews were recorded in 2000 by Bronwen Gray and Alan Young for the production of Unreserved, Stories from Truganina Explosives Reserve, animated stories from past residents, workers and interested people of the Reserve (subject to copyright 2004). As the then President of the Inner West Branch of the National Trust, Hugh was unaware of the Truganina Explosives Reserve until contacted by Nessie Hardy about the proposed sale of the site by the State Government. He was struck by the industrial, environment and indigenous significance of the site A primary source of information on memories of the Truganina Explosives Reserve and Altona,VictoriaDigital copy of original cassette recorded in 2000 and digitised in 2018nessie hardy, cheetham salt works, migratory birds, explosives reserve, explosives, point gellibrand, national trust, tin fence, sand ridges, altona skipper butterfly, middens, aboriginal occupation, judy hindle -
Melbourne Legacy
Document, Brief History of the Assyrian Levies, 2006
In 1918 Stanley Savige had a role in saving about 50,000 Assyrian refugees in Persia (modern day Iraq). Some of those saved enlisted in the British Army and became the RAF Levies, the only indigenous RAF force so honoured. This document outlines some of their history. It was collected by Legatee Rogers when he was researching Stan Savige after unveiling a bronze bust of Savige in Morwell. Source of the document is unknown. Document was from a folder of documents donated to the archive by Legatee Bill Rogers that related to his time as President (March 2006 - March 2008).A record of Legacy founder Stanley Savige being revered by the Australian Assyrian community.Print out x 5 pages about the Assyrian Levies.stan savige, assyrians, levies -
Wodonga & District Historical Society Inc
Book - Albury Heritage, Howard C Jones, 1991
This book relates the history of Albury to what readers can see around them and also focuses on special areas. It was the first history of Albury to explain in detail about the indigenous occupants of the area. It also examines sport, military history, the role of German, Lebanese and other non-English people and the National Growth Centre project up to 1991. The book also seeks to present Albury to the wider world by looking at a range of topics including its role in Federation, its vital wartime role and aviation history. and key figures who have played a role in making Albury what it is today.non-fictionThis book relates the history of Albury to what readers can see around them and also focuses on special areas. It was the first history of Albury to explain in detail about the indigenous occupants of the area. It also examines sport, military history, the role of German, Lebanese and other non-English people and the National Growth Centre project up to 1991. The book also seeks to present Albury to the wider world by looking at a range of topics including its role in Federation, its vital wartime role and aviation history. and key figures who have played a role in making Albury what it is today.albury heritage, albury history -
Wodonga & District Historical Society Inc
Booklet - Mining the Collection: Discover Albury's Hidden Treasures, Damian Kelly et al, May 2011
Mining the Collection was an Arts NSW funded project in which nine community members and four artists were invited to discover and select works from Albury City's seven cultural collections. The collections were Indigenous Collection, Textile Collection, Social History Objects Collection, Social History Collection (paper based), Photography Collection, Works on paper Collection (Drysdale, drawings) and the Painting Collection. The community members selected individual pieces for the artists to respond to in their chosen medium. All four artists – Arthur Wicks, Ponch Hawkes, Treahna Hamm and Frank Burgers – have a connection with the region and a national profile. The artists' responses to the individual works chosen for them and the range of works selected became an exhibition that introduced visitors to the collection and to the contemporary artworks it inspired. This is a publication to accompany that exhibition.non-fictionMining the Collection was an Arts NSW funded project in which nine community members and four artists were invited to discover and select works from Albury City's seven cultural collections. The collections were Indigenous Collection, Textile Collection, Social History Objects Collection, Social History Collection (paper based), Photography Collection, Works on paper Collection (Drysdale, drawings) and the Painting Collection. The community members selected individual pieces for the artists to respond to in their chosen medium. All four artists – Arthur Wicks, Ponch Hawkes, Treahna Hamm and Frank Burgers – have a connection with the region and a national profile. The artists' responses to the individual works chosen for them and the range of works selected became an exhibition that introduced visitors to the collection and to the contemporary artworks it inspired. This is a publication to accompany that exhibition. albury art gallery and museum, museum collection albury, exhibitions albury -
Wodonga & District Historical Society Inc
Book - A History of the Kiewa Valley, Esther Temple et al, 1989
This book briefly covers the period from the indigenous tribes who lived in the valley well before English settlers arrived. It documents the transformation of the area from a pristine valley environment to one that has been gradually over 200 years to a more commercial rural/industrial landscaped valley. The book details the first pioneers and their descendants, along with the changes to their environment.This book briefly covers the period from the indigenous tribes who lived in the valley well before English settlers arrived. It documents the transformation of the area from a pristine valley environment to one that has been gradually over 200 years to a more commercial rural/industrial landscaped valley. The book details the first pioneers and their descendants, along with the changes to their environment.kiewa river valley, pioneers victoria, kiewa valley social life and cusstoms -
Wodonga & District Historical Society Inc
Book - The Shire of Tallangatta - A History, Keith Swan, 1987
A history of the Shire of Tallangatta published by Keith Swan for the Tallangatta Shire Council. Traces the history of this area of northeast Victoria from its indigenous people to conflicts with European settlers and its development by pastoralists.non-fictionA history of the Shire of Tallangatta published by Keith Swan for the Tallangatta Shire Council. Traces the history of this area of northeast Victoria from its indigenous people to conflicts with European settlers and its development by pastoralists.dhuduroa / dhudhuruwa people, customs and traditions, history tallangatta -
Wodonga & District Historical Society Inc
Book - Wodonga Over River and Plain, Alan J. Dunlop, 1976
A great local history of the Wodonga area. Starts with discussion of the Aboriginal inhabitants of the region and early contacts with European explorers and settlers. Explains the establishing of a customs post with its twin city Albury on the other side of the Murray River. The town grew subsequent to the opening of the first bridge across the Murray in 1860. Originally named Wodonga, its name was changed to Belvoir then later back to Wodonga.non-fictionA great local history of the Wodonga area. Starts with discussion of the Aboriginal inhabitants of the region and early contacts with European explorers and settlers. Explains the establishing of a customs post with its twin city Albury on the other side of the Murray River. The town grew subsequent to the opening of the first bridge across the Murray in 1860. Originally named Wodonga, its name was changed to Belvoir then later back to Wodonga.victoria. wodonga, settlers wodonga, indigenous australians wodonga -
Wodonga & District Historical Society Inc
Book - The First Settlement of the Upper Murray 1835 to 1845, Dr. Arthur Andrews, 1920
A history of settlement on and around the Upper Murray River, covering the period of 1835 to 1845, including "A short account of over two hundred runs 1835 to 1880". An excellent source of information on the colonial settlement of the Murray River. Detailed information of the first white settlers and the challenges they faced. Interesting account of conflict between settlers and indigenous population. Many indigenous words and their meaning recorded.non-fictionA history of settlement on and around the Upper Murray River, covering the period of 1835 to 1845, including "A short account of over two hundred runs 1835 to 1880". An excellent source of information on the colonial settlement of the Murray River. Detailed information of the first white settlers and the challenges they faced. Interesting account of conflict between settlers and indigenous population. Many indigenous words and their meaning recorded.upper murray district, settlement victoria, colonial settlement, pastoral industry victoria -
Wodonga & District Historical Society Inc
Book - A Baranduda History, Howard C Jones, 1988
A history of Baranduda in Northeast Victoria. Baranduda is a rural area and, since the 1970s, a rural and residential locality formed under the authority of the Albury Wodonga Development Corporation. It is near the junction of Yackandandah Road and the Kiewa Valley Highway, 10 km south-east of Wodonga. This publication traces the history of the area from its earliest know indigenous inhabitants, through the days of the earlier establishment of pastoral runs to more recent developments.Spiral boundnon-fictionA history of Baranduda in Northeast Victoria. Baranduda is a rural area and, since the 1970s, a rural and residential locality formed under the authority of the Albury Wodonga Development Corporation. It is near the junction of Yackandandah Road and the Kiewa Valley Highway, 10 km south-east of Wodonga. This publication traces the history of the area from its earliest know indigenous inhabitants, through the days of the earlier establishment of pastoral runs to more recent developments.baranduda, pioneers victoria, huon family, wodonga pioneers -
Merri-bek City Council
Lithograph, John Wolseley, After the Fire - Leaf Surge, 2003
British born artist John Wolseley relocated to Australia in 1976, where he travelled extensively through the outback mainly recording the natural history of remote north Australia in large, minutely detailed paintings. Since 2009, he has travelled to Darwin annually to continue his exploration of the Top End, visiting Arnhem Land and Daly River to work with Indigenous artists to research and capture the detail and essence of particular landscapes. His works reflect how landscape can be thought of as fields of energy in which plant forms move or dance with rhythmic life. After The Fire - Leaf Surge represents the vibrant regrowth of new foliage emerging from a landscape recently ravaged by fire. -
Merri-bek City Council
Work on paper - Charcoal and pages from Aboriginal Words and Place Names, Jenna Lee, Without us, 2022
Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork -
Merri-bek City Council
Photograph - Digital print on Ilford Fibre Pearl paper, Kim Kruger, Within ten miles of Melbourne 2, 2022
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Merri-bek City Council
Photograph - Digital print on Ilford Fibre Pearl paper, Kim Kruger, Splitting logs for a “feed” 1, 2022
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Merri-bek City Council
Photograph - Digital print on Ilford Fibre Pearl paper, Kim Kruger, Within ten miles of Melbourne 1, 2022
merri-bek public art collection