Comparison photo: SEPP_0610 - Main Road near Railway Station, c.1911 Shows Luther and Ada Haley’s General Store, Bakery and Tea Rooms opened September 1902 directly opposite present day Arthur Street. This was the first building in what is now Eltham’s present shopping town centre. Haley previously ran the General Store and Bakery on the corner of Main Road and York Street until his lease expired and the premises were bought by Mrs Sarah Burgoyne in 1902. Haley sold the store to Hannah Lloyd in 1917 who operated it until 1920. It then went through a succession of owners until Eric Staff purchased it in 1939. Ray Staff succeeded his father in 1954 and eventually demolished the store in 1965 opening up a new supermarket, the Eltham Big Star Food Centre. That building still stands at 929 Main Road and is the Nongkhai Thai Restaurant. On the eastern (right) side of Main Street is Haley’s Paddock, which was used on occasions for community picnics. Capable of holding 10,000 people, with ample shade and hilly surroundings it was an ideal place for any community gathering such as the State Schools’ Picnic in 1904. It was not until the early 1920s that stores started to appear between Luck and Dudley Streets. Part of a presentation by Peter Pidgeon to the Society, 13 August 2022 showcasing a series of photographs taken by John Henry Clark over the period 1895 to 1930. John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century.Comparative photo taken 2022 with one taken from same location over 100 years earlier by noted local photographer J.H. ClarkBorn Digitaleltham, j.h. clark photo (2022), main road

The St. Albans High School opened in 1956 and changed its name to St. Albans Secondary College in 19905531.01 - St. Albans Secondary College 1992 Year 7-1.jpg Row 3: Andrew Sciberras, Kirsten Mazis, Depina Sarandoglou, Stella Bervanakis, Julia Stan, Frank Azzopardi, Dafina Kojdovska Row 2: Ante Bospic, Thai Tao, Andrew McKellar, Hatice Mulla, Enina Bec, Bevetlana Micevski, Maria Denetriou Row 1: Alicia Cassar, Danny Vella, Leigh Borg, Michael Toppin, Jasmin Winzar, Vanessa Catania, Sevgi Fajzulovska Teacher: Mr. Tarr 5531.02 - St. Albans Secondary College 1992 Year 7-2.jpg Row 3: Nick Gligorovski, Julie Velevski, Vural Ranadan, Simone Naan, Scott Mansfield, Angie Barun, Violeta Bogojov, Jasmin Nikolovska Row 2: Rebecca Campbell, Thao Phuong, Razvan Moldovan, Lena Meulenbrock, Ben Buyuknisan, Malcolm Dijs, Menka Cvetanovska, Luke Perria Row 1: Maria Vella, Josip Krpan, Snezena Latamanska, Zlatko Hovancek, Tanja Zdravkovska Teacher: Vicki Francis 5531.03 - St. Albans Secondary College 1992 Year 7-3.jpg Row 4: Rafael Momo, Tracey Singh, Alison Gauci, Avnije Bala, David Care Row 3: Peter Demetriou, Sally Petreski, Jane West, Paul Beska, Sam Loutas Row 2: Karolina Jovanski, Percival Jose, Darren Zammit-Vella, Angelo Barbara, Taliya Cikoja, Phi Tran Row 1: Robert Nehvatal, Ozmen Gunceler, Joanne Mac, Zihnije Hassan, Phuong Lu, Minushe Deniri, Katrina Gatt Teacher: Mr. Joe Degabrielle 5531.04 - St. Albans Secondary College 1992 Year 7-4.jpg Row 3: Michael Taslanan, Helen Sailba, Bradley Jakavicius, Louise Vella, svetlana Andric, Sandra De Sousa, Robert Fernandes Row 2: Okesene Sepusione, Alvaro Romero, Vu Truong, Kimberley Hindmarsh, Angela Atanasovska, Biljana Markovska, Karina Locke, Ricky Pisani Row 1: Julie Kiriacoudis, Alen Mallia, Kristina Popovacki, Anthony Pirotta, Lae Phong Thai, Annaliese Comelab, Ronna Ranos 5531.05 - St. Albans Secondary College 1992 Year 7-5.jpg Row 4: Maryana Tomasic, John Pavlicic, Daniel Sanarzija, Robert Sarna, Nicole Said Row 3: Phuong Le, Robert Gazovski, Mariusz Sierpinski, Daniel Love, Mustafa Mustafa, Ranses Diana Row 2: Sneza Nikolovski, Aide Lam, Anda Barisic, Natali Musulin, Skye Williams, Thanh tran Row 1: Yung Tran, Veeraj Lal, Hang Nguyen, Linh Luu, Lily Rustenovski, Joanne Darvell, Sean Sutton Teacher: Mrs. Veronica Sorace 5531.06 - St. Albans Secondary College 1992 Year 7-6.jpg Row 3: Sonia Dimitrievska, Laura Obeid, Bratislav Stamenkovic, Vladinir Ristevski, Jodie Galea, Chris Palewandrem, Huong Nguyen, Nada Mitrovic Row 2: Michelle Mercieca, Marie lachut, Ngugen Nguyen, Suzi Agenovski, Shafa Bahriyeli, Trang Huyng, Nahida Garibovic, Liza Bamford Row 1: Van Bui, Phu Quang, Bao Nguyen, Michelle Gatt, Duoc Nguyen, Thanh Nguyem, Eric Santo Teacher: A. Theodorou 5531.07 - St. Albans Secondary College 1992 Year 11.jpg Row 7: Pablo Matus, John Freisinger, Vlado Kotulae, Peter Cepiviroski, Henry Cenandez, Elia Kotsuglou, Jimmy Jacow, Michael Wallis, Jason Mifsud, Goran Domazetnvska, Szlko Cavkic, Darryn Blum, Justin Chrystie, Michael Zdravkovski, Errol Yourdenm Bensca Mali, Ricky Li, Ben tran Row 6: Jason Love, Mark Kusznir, Radaslaw Dimtitrov, Thomas Strinavic, Laurent Sawan, Daslumir Emina, Vesna Dimecvska, Laura Vasjuiz, Susie Petakovic, Diana Szmarzija, Tijana Milankovic, Ateca Hawea, Nichole Koliba, Marina Musulin, Trien Dang, Craig Casvalho, Peter Tasevski, Tan Bo, Hao Tran Row 5: Thoi Le, Van Tran, Toan Tran, Diana Raleska, Vesna ?, Jimmy Danni Giekas, Tinx ?, Danni?, Vesna Mitrevska, Kylie Axiak, Rachel Nicholson, Vesna Ketevska, Luli ?, Vesna Georgievski, Carol Davis, Early Henderson, Yoon Foo, Lisa ?, Julie ?, Jeff Beck, Jim Acevski Row 4: Hoa Tran, Nam Dean, Paul ?, John Gzcovski, Nicky ?, Vera Kimovska, Rosemary ?, Maria Bervanakis, ? Adikli, ? Gindze, Vera Markovska, Bilge Adem, Duska Gajinov, Manh Tran, William Thai, Josie Mellia, Sash Petreski, Ersin Belik Row 3: Betty Balla, Anila ?, Mamuel Nepromusceno, Robert Turos, Angela Walker, Rick Ballaglia, Thuong Le, Kartini Da cruz, derya Kemal, Ergy Guncelar, bernard Farrugia, Ivan Mu, Danny ?, ? Phunng, Jerey Lni Part of Row 3 and all of Rows 1 & 2 have been cropped out 5531.08 - St. Albans Secondary College 1992 Year 12.jpg Row 7: Menda Najdovski, Tony Koeankovski, Paul Brodej, John ?, David Emini, Charles Mercieca, Steve Danicevski, Tony ?, Sam Lymmidis, Peter Pliaskin, Michael McKenzie, Tony Markovski, Kaxim Eminovski Row 6: Anh Vu Dang, Vu Nguyen, Sait Demiri, Jins Polydoros, John Melifronixles, Ricardo Lay, Robert Causovski, Rita Bruoxis, Amanda Love, Georgina Kirkopoulois, George Burg, Atilla Suylurk, Sashz Acevski, Doug ?, Danny Ovuka Row 5: Huy Tran, Rachpal Saini, Connie Kha, Georgina Brand, Dal Dinh, Simone Debevo, Joanne Kruk, Penny Kartalis, Josipa Mickovn, Viera Kotulac, Suzie Petkovska, Adrinna Skek, ? Galea, Candice Thomas, Natzlie Spis, Skez Sejdijaj Row 4: Thanh Lang, Teddy Baluyot, Peanh Tran, Dawn ?, Irene Ng. Anna Smolen, Kathy Simevska, Tina Ognenovska, Duy Any Hoang, Marilena Andrendakis, Ewa Ostrowski, Vanesaa Vo, Anh Ngo, Vong Nguyen, Phi Huynh, Sonja Cansovski, Bilyana Kuxmznoska, Vicky Saranlavas Row 3: Anh Nguy, Hong Vo, John Attard, Melissa Hamer, Leanne Perry, Naretta Laraton, Georgorie Olivem Dimcevska, Steve ?, Sau Tran, Tuan Lu, Dianne Sawzn, Daniella Kupina, Rosemary Jerhie, Maryann Stellini, Jasna ?, Sara Pinevski, Paula Gordon, Mandy Webb, Mary Psaila Row 2: Charisima Magallanes, Annie Vo, Skenika Smgunam, Snezana Andrie, Susan ?, Blaga Cyelansoka, Manduy Walmsley, Mark ?, Paul Nehvaral, Adrian Scheber, Trudie Williams, Karen Borg, Eva Cyno, Frances Frappa, Necta ?, Uyen Nguyen, Chau Thai, Samantha Grech Row 1 has been cropped out st. albans high school, main road east, st. albans, st. albans secondary college

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

Open Monument is a contemporary artwork acknowledging the history of Chinese people in Ballarat. The Chinese diaspora was global and many Chinese people came to Ballarat and the Victorian Goldfields. The work details some of the personal Chinese family memories of Ballarat from the goldrush forward. The 33 marble laser-etched panels include found images and texts mounted on a modernist metal architectural feature holding back a grassed hill landscape. Within the side walkway of gravel and composite stone is an etched of local activities relating to the Chinese community achievements that can be added to by the community.Open Monument is of aesthetic and historical significance to the people of BallaratArchitectural artwork consisting of large marble panels on a corten steel frame imbedded into a grassed mount.Inscription on plaque: Open Monument 無極紀念碑 ​/ Artist: John Young ​/ Officially Launched by Mr Yumin Song / Chinese Consul-General to Victoria​ / 6th September 2015​ / Open Monument unearths stories of the Chinese diaspora in Ballarat, a name which means/ “resting place” to the traditional custodians - the Wadawurrung and Dja Dja Wurrung people.​/ The monument comprises of two artworks: Transculture, a granite-panelled work, evoking stories of alternative worldviews, / modernity, leisure and toil. Whilst Timeline traces the major contributions of the Chinese community in Ballarat, every decade / from the 1850s until the present. The timeline then folds out to 2170, anticipating imaginary future contributions.​ / The monument is open to future interpretations of this history. ​/ I thank you for visiting and acknowledging the contributions and memories that meant so much to / those who have gone before us./ - John Young Zerunge​ / Patron: Mr Henry Thai OAM JP​ / President of Ballarat Chinese ​/ Community Association Inc​ / The following generous donors to this project are acknowledged with gratitude​/ City of Ballarat​ Sovereign Hill Museum Association Inc.​ Ballarat Chinese Community Association Inc.​ Mr Henry Thai OAM JP & Mrs Sandra Thai ​ Mrs Shirley Doon & Family in memory of Harry Doon​ Chinese Masonic Association Inc.​ Mr Mean Te and Mrs Meng Khun​ Mr Jack Nguyen MA JP & Mrs My Tang​ Mr Tony and Mrs Elise Yu​ Mr Chang Zhen Zhen & Family​ Australian Lian Jiang Association​ The Federation of Chinese Associations Vic​ The Leesoon Family​ Mr Stephen K.F Ng OAM JP​ Dr Che Sam Lo MD phD JP OAM​ Elderly Chinese Home Inc.​ The Federation of Chinese Org from VN Cambodian and Lao Association of Vic. Inc.​ Bright Moon Buddhist Society​ Nam Pon Soon Club House​ See-Yup Society​ Mr Peter Chong Wai Lo​ Mr Qing Song Lin​ Mr Binh Quoc Mao & Mrs Thuy Cam Thai​ Mr Alexander Mao​ Mr Yuet Lung Kwok JP​ Mr Tai The Tran​ Mr Phillip K. L. Tran​ Mr William K. L. Tran​ Mr Quang Khon Tran JP​ Mr Kouy Taing​ Mrs Kieng Hor Lou​ Mr Bill Chang Piu Au​ Mr Maurice Kwok Leong ​ Mrs Eunice J. Leong​ Mr Vi Minh Tran JP​ Mr Frank Cheng​ Mr David Cheng​ Mr William Thai​ Mr Lizhen Lin​ Mr Phillip Richard Thai​ Mr Hoan Ping Kow​ Mrs Xao Nhu Kow​ Mr Huy Thai​ Mr Yun Kuen Lo​ Mr Chiu Yip & Mrs Yuan Han Cho​ Mrs Jacqueline Louise Thai Greenwood​ Mr Joe Hap Chi Chao & Mrs Rosana Wei Ning Chao​ Charity & Multi Art Association of Victoria Inc.​ Mr Billy Cai​ Miss Nikki Cai​ Miss Su-Ling & Miss Lily Mays-Doon​ Mr Anthony Doon​ Mr H J Moy & Family​ Chinese Australian Cultural Society Ballarat Inc​ open monument chinese, chinese history ballarat goldfields, china, ballarat, goldfields, john young, chinese, mining, multicultural, immigration, tong way, goon, joss house, embroidery, billy butterfly, chinese market gardens, red lion hotel, ah soon, mayor of main road, chinese herbalist, yee lee, james hong, cheok cheong hong, john ah loo, wathawurrung, robe, lowe kong meng, louis ah mouy, tongway, gallipoli, william lung

Elaine Mann was married to David Mann, a successful Wodonga businessman and community leader who passed away in Wodonga in June 2012. David was a member of the Mann family who began their business in Wodonga in 1920. Elaine was a teacher in Wodonga for many years and an active member of the community.This photo collection is of significance as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the late 20th century.These businesses were located just north of the railway crossing between Melbourne Road and Bond Street. The railway signals can be seen in the background above Peter’s Fish Café. These buildings have all been demolished and the area is now part of Junction place. Jim Matthews was selling Radiola car radios. He also sold used furniture and had a bike repair business at this location, before later expanding his bike business on the south of the railway crossing, Peters Cafe was at 103 High Street. It was operated by the Bouteris family in the early 1970s. It later became the Chao Thai Restaurant. Vee Jay Radio was operated by Mr. Albert Eddie Branwhite. He moved to Wodonga in 1946 and started selling radio repairs door to door. He then set up his store in 105 High Street. This site had previously been a barber’s shop. The business involved electrical repairs and appliance sales. In the late 1950s Mr. Branwhite established the Wodonga Express. He set the type and printed from the back of this shop until relocating to the Lincoln Causeway. He was actively involved in the community, including many years on the Wodonga Hospital Board of Management which was recognised with a life governorship. Mr. Branwhite passed away in 2001, wodonga businesses, high st wodonga, vee jay radio, jim matthews, peter’s fish café, mr. albert eddie branwhite

David Mann operated the family business in Wodonga begun by his father in 1921. David joined the business in 1945 and became the Managing Director of Mann Wodonga from 1965. As well as being a leading businessman, David was a leader in many other fields in the community including Scouting, Apex and Rotary and was a prime mover in advocating for further education in Wodonga. David married Elaine Margaret Milnes of Tallangatta on 30th March 1957. He obtained a pilot’s licence and owned a single engine Cessna 210. In 1978 he fulfilled a lifelong dream by flying the plane from Albury Airport to England with his wife Elaine and their friends Ian and Roma Richards. Their aim was to visit Elaine’s sister who lived in West Byfleet, England. They took off on 24th May 1978 and their flight took them across Malaysia, India, Kathmandu, Saudi Arabia, Rhodes, Venice and France. It included 36 take-offs and used 1,200 gallons of fuel. They encountered a violent thunderstorm over Burma, accidentally landed on a military airfield in Thailand, lost radio signals over the Arabian desert and had to deal with pages of red tape. They reached their destination on 23rd June 1978. While David and Elaine visited her sister, the Cessna was given a thorough service in preparation for their return to Wodonga. David Mann died in Albury in June 2012. Elaine now (2025) lives in Melbourne, Victoria.This article is significant because it records an important activity undertaken by David Mann, a prominent member of the Wodonga community.A newspaper article from the Woking News & Mail in the England reporting on David Mann's flight from Albury to England in his Cessna in 1978 as well as two coloured photographsdavid mann, elaine mann, manns of wodonga

Miss Bell (1900 – 1984) The ‘Miss Bell Playground’ was named after Miss Rebecca Adelaide Bell, a retired teacher who regularly helped out at Mt Dandenong Primary school for 8 years. Born in NSW, Miss Bell had taught in several states and had fond memories of holidays spent at ‘Mountjoy’ in the Dandenong Ranges. When she retired Miss Bell built a home in Jeeves Avenue where she lived out the rest of her life with her Siamese cats. Miss Bell helped the children with reading, grammar spelling and history. She really cared about the children and her school visits brought her a lot of happiness. Student standing on section of play equipment in Miss Bell Playground 1997.mount dandenong, mt dandenong school, miss bell, rebecca adelaide bell, school, playground

Vanda Joyce Stiles (nee Johnstone) was born in Mount Gambier, South Australia, in 1916. A woman of remarkable resilience and capability, she was widowed during the Second World War when her husband, Leo Stiles, died as a prisoner of war on the Thai-Burma Railway. Joyce devoted herself to raising their two sons in Mount Gambier, meeting life's challenges with strength, hard work, and determination. Joyce latter settled in Kangaroo Flat, where she continued her association as a valued member of the Country Woman's Association (CWA), the Returned Services League (RSL), and the Senior Citizens. Her service badges represent her long-standing commitment to these organisations and the community she supported so generously. A skilled and creative craftswoman, Joyce was known for her talents in cooking, gardening, knitting, crochet, sewing, and preserving the produce she grew. Vanda Joyce Stiles passed away in 1996 in Kangaroo Flat. She is remembered for her resilience, her creativity, and her lifelong dedication to family, community, and service. Biography supplied by granddaughter. Four badges. Three metal and one plastic. Two CWA badges, one Kangaroo Flat RSL, and one Kangaroo Flat Senior Citizens badge. None dated. Two badges inscribed with Joyce Stilescwa, rsl, senior citizens, service clubs

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in progress in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.