Booknon-fictionAnthology of articles on the history and theory of community arts in Australia written by artists and artsworkers involved. community arts, collaborative practice, art history, political art, community arts network, aboriginal land rights

The article was the cover story of a discussion between Morgan and the Rev. Dr D'Arcy Wood regarding Aboriginal land rights in C&N for July 25, 1984.Photograph of Hugh Morgan as part of an article on land rights.Identification of Hugh Morgan.land rights, morgan, hugh, wood, d'arcy

The article was the cover story of a discussion between Morgan and the Rev. Dr D'Arcy Wood regarding Aboriginal land rights in C&N for July 25, 1984.Photograph of Hugh Morgan as part of an article on land rights.Identification of Hugh Morgan.land rights, morgan, hugh, wood, d'arcy

The article was the cover story of a discussion between Morgan and the Rev. Dr D'Arcy Wood regarding Aboriginal land rights in C&N for July 25, 1984.Photograph of Hugh Morgan as part of an article on land rights.Identification of Hugh Morganland rights, morgan, hugh, wood, d'arcy

'Worlingworth', Eltham, home of noted anthropologist the late Professor Donald Thomson and his wife Dorita Thomson. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p127 Dubbed as ‘Australia’s Lawrence of Arabia’ anthropologist Donald Thomson lived much of his life in Eltham, at Banoon Road. On his retirement as Professor of Anthropology in 1968, The University of Melbourne professorial board compared Thomson to Lawrence of Arabia because of his work for Aborigines and his controversial personality. Although Thomson is now recognised for his huge contribution, during his lifetime he suffered opposition and his life has been described as ‘tragic’.1 Thomson failed to gain the recognition as a scientist that he felt he deserved and he failed to alter government policy towards Aboriginal people. But towards the end of his life in 1970, anthropologists were moving towards the type of research he had done and the movement to grant land rights to Aborigines was strengthening. Thomson is best known for his anthropological fieldwork in Cape York, Arnhem Land and Central Australia, but he is also known for his scholarly contributions to ornithology and ecology. Thomson documented every aspect of the daily and ritual life of the Aboriginal world of Cape York and Arnhem Land in the 1930s and 1940s. The huge collection in Museum Victoria includes 11,000 photographs, 7500 items of material culture, 1000 botanical and zoological specimens and 4500 pages of field-notes.2 The film Ten Canoes used Thomson’s photographs as a source. Thomson bought the Eltham property known as Worlingworth in 1934. The single-storey 60-square house standing by the Yarra River was built in 1922-23. It is one of the last in Eltham to survive with its farm setting intact. It is also one of the few substantial residences built in the Eltham Shire from the late 19th century to the early 20th century, which signalled a major change in the area towards the residential municipality it is today.3 The original section, built in the mid 1860s, of rose pink hand-made bricks and stone quarried on the property, was incorporated in the new red-brick house built in 1922. An immense oak tree by the house grew from an acorn brought by Patrick Armstrong who first bought the land in March 14, 1862. Armstrong named Worlingworth after his forbears’ village in Suffolk, England. Worlingworth saw grand days when Commander Alan A Barlee (R.N.) bought it in 1922 after winning the Calcutta Sweep. The property then included a nine-hole golf course, a tennis court, a bowling green, a boathouse and a boat-ramp.4 For most of his career Thomson, who was born in 1901, was attached to The University of Melbourne. In 1935 he represented the Commonwealth Government at Caledon Bay in east Arnhem Land to investigate and mediate for four Aborigines accused of killing five Japanese and three Europeans. In 1938 Thomson was awarded a PhD in Anthropology at Cambridge University, and during his career, he received several medals from British Societies, who perhaps appreciated his work better than their Australian counterparts. From World War Two, Thomson suffered a string of hardships, beginning with severe wounding in Dutch New Guinea (for his military service in New Guinea he was awarded an OBE) and he was invalided from service in 1944. That year he was diagnosed with diabetes. A fire in 1946 destroyed what Thomson regarded as perhaps the best record he had made of Aboriginal life – the 20,000 feet, (6096m) of film he had shot in Arnhem Land. In 1954 he and wife, Gladys, divorced. The next year he married his technical assistant, Dorita McColl. Several times during his career Thomson had major disagreements. For instance Professor P Elkin constantly opposed his work. He also opposed Thomson when he campaigned vigorously in 1947 against the establishment of a rocket range at Woomera, South Australia, because of the threat it posed Aborigines. Thomson resigned in frustration from the Victorian Aborigines Welfare Board in 1967, after serving for ten years, because he found that his advice was disregarded. His ashes were scattered over Caledon Bay from the air.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, banoon road, donald thomson, dorita thomson, eltham, worlingworth

Comprises twenty-three extracts from the Minutes of Evidence of the Coranderrk Inquiry, accompanied by an analysis of the historical text and context. The book relies strongly on primary-source materials and accurately references historical analysis from scholarly and Aboriginal perspectives. This book is derived from a verbatim-theatre performance in which professional actors portrayed the witnesses who gave evidence before the 1881 Coranderrk Inquiry.; Inscriptions and Markings: illustrations, photographs, facsimiles, maps, portraits About the book One of the first sustained campaigns for justice, land rights and self-determination in colonial Australia was undertaken by the Aboriginal people of Coranderrk reserve in central Victoria. Despite having created an award-winning farm they were targeted for removal to make way for white settlement. As skilled communicators and negotiators, they lobbied the government, in alliance with their white supporters, and succeeded in triggering a Parliamentary Inquiry in 1881. Coranderrk – We Will Show The Country derives from a unique verbatim-theatre performance where professional actors brought to life the witnesses who gave evidence before the 1881 Parliamentary Coranderrk Inquiry. Rescued from dusty archives, and including renowned Wurundjeri leader, William Barak, those witnesses continue to speak to contemporary audiences. Here, their powerful petitioning can be read alongside that of their non-Aboriginal allies, and those who would move them off their land. The book features a concise and accessible history of the Coranderrk Aboriginal Station and of the events that led to the appointment of the 1881 Parliamentary Coranderrk Inquiry. The book also contains a special edition of the verbatim script which has been annotated and referenced so as to provide a blueprint of how the original minutes of evidence from the 1881 Parliamentary Coranderrk Inquiry were adapted into a theatre script. Each scene of the play has also been introduced with a short biography of each character and a discussion of the key themes raised in their testimony. Supplementing the verbatim script of the performance, the book includes a range of historical images and stills from the ILBIJERRI Theatre Company’s production. Coranderrk – We Will Show The Country celebrates the spirit of collaboration between black and white in pursuit of justice, and offers an engaging way to learn about our past – and to think about our future. Coranderrk - We Will Show The Country. (2023, October 19). Retrieved from http://www.minutesofevidence.com.au/education/coranderrk-we-will-show-the-country-book/Ex Yarra Plenty Regional Library copyaboriginal australians, coranderrk, first nations people, healesville, indigenous history, performance, play

A short guide to the history, lives and culture of the First Australians, the Aboriginal and Torres Strait Islander peoples.b&w photographs, colour photographsmoieties, reconciliation, land rights, mabo

Introduction - Jim Fingleton - Outlines history and problem aspects to do with the formulation of the Native Title Act 1993 and subsidiary /? consultative bodies (eg National Native Title Tribunal and Regulations; Native Title Implementation Task Force); Note: Talks &? discussion papers annotated separately by author/?title/?workshop title; SESSION GROUP DISCUSSIONS ONLY annotated here; First Session: Claims - Matters raised in discussion - timing; restraining orders; requirement for claim acceptance; researching claims; disputes; representative bodies; native title /? compensation claims; Second Session: Hearings - "Main matters raised in discussion" - 1.gender issue in hearings; 2.subjective /? objective tests of native title; 3.use of maps; 4.practice directions; 5. mediation; 6. what precision is needed to prove ownership; Third Session: Determinations - "Matters raised in discussion" - 1.what is a community; 2.the legal process for proof of communal title(i-iv); Fourth Session: New Management Regimes - Main matters raised in discussion - 1. need for new development models; 2. need for new administrative models; 3. is self-sufficiency a realistic goal; 4. actve/?passive income; 5. direct funding of Indigenous bodies; 6. towards self-government; Fifth Session: New Management Decisions - Main matters raised in discussion - 1. different models for money management; 2. local government laws and native title; 3. restrictions on the enjoyment of native title rights; 4. need for flexibility in investigating native title; Sixth Session: Conclusions and Recommendations - Papers as requested; discussion; Main New Matters raised by panel in discussion - 1. recommendations from the Aboriginal caucus; 2. requirements for an application; 3. issues for funding; 4. role of representative bodies; 5. double dipping; 6. role of AIATSIS; 7. trustees or agents; 8. land management issues; Annexes: annotated separately under author /? title.tablesnative title, land tenure

Sir Douglas Ralph Nicholls (1906-1988), footballer, pastor, activist and governor, was born on 9 December 1906 at Cummeragunja Aboriginal mission, New South Wales, fifth child of Herbert Nicholls, seasonal worker, and his wife Florence, née Atkinson. Doug grew up at Cummeragunja, on the Murray River near Barmah, in its golden years of Aboriginal autonomy. Thomas Shadrach James gave him and other Yorta Yorta children a sound primary education, reinforcing the pride and self-assurance gained from their parents. As Doug grew, so too did the powers of the State’s Aboriginal Protection Board. Doug’s elder sister Hilda was removed about 1915. When Doug reached 14, he was moved off under the Aborigines Protection Act (1909) to find work. He took a job with dredging teams constructing levees on the Murray. Like other youths in the region Nicholls played Australian rules football, emulating kinsmen who had won local premierships since the 1890s. Doug and his brother Herbert (‘Dowie’) played with Tongala in the mid-1920s. Melbourne football beckoned, Doug trying out unsuccessfully for Carlton in 1927. He signed with the Northcote Victorian Football Association team, despite his nervousness about his Aboriginality, and was given a job with Northcote City Council. ‘Dowie’ joined him for a season. Doug was short at 5 ft 2 ins (158 cm), but muscular and lightning fast. He competed regularly during a boom in professional running, winning many heat and place prizes. In 1929 he won the Nyah and Warracknabeal gifts, earning a sash and £100 in each, together with a case of cutlery in the latter. Using his speed on the wing for Northcote, he produced great spring and agility from his compact body. The Sporting Globe reported in 1929 that ‘he flashes through packs of big men, whisks around small men . . . and attempts marks at the back of any six-footer’. In front-on clashes he was flattened only to rise again. The sole Aborigine in the VFA, he was known affectionately as the ‘flying Abo’ but called worse by his opponents’ barrackers. He competed for five seasons, being named ‘best and fairest’ twice, appearing in three association grand finals and winning in 1929. Keen to earn more than a seasonal wage, in 1931 Nicholls accepted a three-year contract with Jimmy Sharman’s travelling boxing show. The bouts matched opposites, local against tent boxer, white against black, and sometimes men of different sizes. He faced stiff competition from those who wanted to best the noted Melbourne black footballer, the crowd adding racial abuse. A far better footballer than boxer, he copped some punishment. Fighting in the Melbourne Stadium in December 1931, he was described by Truth as ‘slow and awkward’, but packing a ‘good wallop’. In 1932 Sharman, who treated his boxers fairly, released Nicholls to join the Fitzroy Victorian Football League team, which agreed to employ him as its groundsman. He played fifty-four games for Fitzroy over six seasons until knee trouble forced him out in 1937. Winning cups in 1934 and 1935, he played alongside Haydn Bunton and Wilfred (‘Chicken’) Smallhorn. Grand finals eluded him but he represented Victoria twice. Following his mother’s death, Nicholls revisited the Church of Christ chapel in Northcote, where they had worshipped together. On 17 July 1932 he experienced a conversion. He was soon baptised and witnessed openly, leading his fellow footballers to occasional church parades. Nicholls exhibited leadership qualities. William Cooper, founder of the Australian Aborigines’ League and Nicholls’ Yorta Yorta kinsman and fellow Christian, encouraged the young footballer. In February 1935 Cooper, Nicholls and others lobbied Thomas Paterson, the Commonwealth minister for the interior, over the need for Federal control of Aboriginal affairs. Nicholls attended the Day of Mourning protest for Aborigines held in Sydney on 26 January 1938, declaring: ‘after 150 years our people are still influenced and bossed by white people. I know we can proudly hold our own with others if given the chance’. When Cooper retired in November 1940 Nicholls became secretary of the AAL. On 2 June 1941 Nicholls enlisted in the Citizen Military Forces. He trained at Seymour and Bonegilla before being posted to the 29th Battalion. As Major Frank Corr’s batman, he was popular with other soldiers who tolerated his preaching and Bible reading. His army service was brief, however, and he was discharged in Melbourne on compassionate grounds on 22 January 1942. His biographer claimed that the Fitzroy police requested his return to mediate in the racial tensions developing between servicemen and the mostly respectable Aboriginal families living in crowded and dilapidated Fitzroy housing; Aboriginal people maintain that they requested his release. Nicholls began welfare work and religious services from an Aboriginal home in Gertrude Street, Fitzroy. In April 1942, ‘Dowie’ died of road accident trauma, leaving his wife, Gladys, née Bux, and three children. On 26 December 1942 at Moama Methodist Church, New South Wales, Nicholls married her, a caring gesture which developed into a loving partnership. In January 1943 he initiated ‘Aboriginal Sunday’, featuring a gum leaf orchestra and choir. By 1955 this service had moved to July and later evolved into National Aborigines and Islanders Day Observance Committee (NAIDOC) week. Ordained a Churches of Christ pastor in 1945, Nicholls conducted a vigorous ministry from a chapel in Gore Street, Fitzroy. His work survived on donations, a small honorarium, and his employment as team coach (1947) and curator at the Northcote Football Ground. In the 1950s Gladys established grocery and opportunity shops to earn income and provide services. Their house soon overflowed with people in need or visitors to Melbourne. Nicholls also hosted inspiring African American visitors such as the pianist Winifred Attwell and the singer Harry Belafonte. His ministry extended to Aboriginal country communities. Gladys taught Sunday school, undertook endless fund-raising and welfare work beside her husband, and became his greatest supporter and financial manager. They formed an Aboriginal Girls’ Hostel in 1956, for which they acted as house parents, and bought holiday units for Aborigines at Queenscliff. Persistently advocating Aboriginal rights, Nicholls protested about the impact of the Woomera rocket range on the people of the Warburton Ranges, co-ordinated the production of a concert, Out of the Dark, scripted by Jean Campbell, to rectify the omission of Aborigines from Victoria’s Commonwealth jubilee celebrations, and criticised the Victorian Aboriginal Protection Board. In 1957 when the board was transformed into the Aborigines’ Welfare Board, he and Harold Blair were appointed as Aboriginal representatives. Maintaining the stance of a political moderate, he did not bear grudges and sought to build bridges between black and white. He co-operated with any group that aided the cause, including the Council of Aboriginal Rights, whose executive were members of the Communist Party of Australia. This association attracted the attention of the Australian Security Intelligence Organization, which in 1957 began to keep a file on Nicholls. In May 1957 Nicholls formed the Victorian Aborigines Advancement League with Doris Blackburn and Gordon Bryant, a Federal parliamentarian. As its paid field officer and spokesman, Nicholls contested assimilation policies and used film to raise awareness of issues. When the Welfare Board attempted to close Lake Tyers reserve, Gippsland, he resigned in disgust and led a protest march on parliament in May 1963. The AAL also petitioned the United Nations on land rights in June, perhaps the first indigenous body to do so. He argued for new premises at 58 Cunningham Street, Northcote, opened in 1966 as the ‘Doug Nicholls Centre’. In 1958 Nicholls was a foundation member of the Federal Council for Aboriginal Advancement (Federal Council for the Advancement of Aboriginal and Torres Strait Islanders after 1964), which he served as national field officer (1961) and Victorian secretary (1962-63). While an innovator in tactics, he was alarmed by the influence of confrontational ‘black power’ politics in the AAL and resigned as a director amid turmoil on this issue in 1969, claiming the concept was a ‘bitter word’, not needed in Australia. Similar tensions in FCAATSI led him to join with Kath Walker (Oodgeroo Noonuccal) in establishing the short-lived National Tribal Council as an alternative forum. As the AAL leadership moderated their stance, he returned as president (1969-74) of the new all-Aboriginal organisation. He was also a keen patron of the National Aboriginal Sports Foundation, founded in 1969. Many honours were conferred on Nicholls: he was appointed MBE (1957) and OBE (1968) and knighted (1972). In 1962 he was named Victorian ‘Father of the Year’ and the State’s second Aboriginal justice of the peace. Crowned Melbourne’s 1973 King of Moomba, he was declared Bapu Mamus (a Torres Strait term for ‘headman’) by the NTC. On 1 December 1976 Sir Douglas was appointed Governor of South Australia, but his health deteriorated within weeks, making it difficult for him to perform his official duties. In March 1977 he hosted Queen Elizabeth during her royal tour and was appointed KCVO. He relinquished his governorship on 30 April 1977 following a stroke. Ill health continued to dog him during retirement, but he played his Nelson Eddy records, enjoyed his expanding family, and when able, ministered to the Aboriginal Church at the League’s premises. Sir Douglas Nicholls died on 4 June 1988 at Mooroopna, predeceased (1981) by his wife and survived by his five children. He was given a state funeral and buried in tribal ground at Cummeragunja cemetery. Among the many tributes to him are an oval at Northcote, handed to the AAL in 1982, a Canberra suburb gazetted in 1991, and a fellowship for Indigenous leadership established in 2003, all in his name, and a statue of Sir Doug and Lady Nicholls by Louis Laumen, unveiled in 2007 in Parliament Gardens, Melbourne. Sir Douglas Nicholls is shown speaking at a microphone; head and shoulders; dressed in a suit.Pastor Douglas Nicholls

This book is a collection of Victorian Indigenous Elders' life stories and oral histories. The Elders share their stories in an attempt to ensure that both sides of Australia's history are finally heard. These stories tell of cultural resistance on missions, of defying assimilation laws, of forever moving around to save children from the welfare. They document the development of both fringe and urban communities and work in the Aboriginal rights movement. They clarify the ways in which these experiences have affected the individual authors along with the indigenous population in general. Also included in the book is a brief history and analysis of the legislation, policies, attitudes and strategies that have affected the lives of the authors and their families since colonisation. This aspect provides an historical perspective, encouraging a deeper understanding of the Elders' stories. Reconciliation can only eventuate with an understanding gained from hearing and including the voices of Indigenous Australians. Contents: The writing team Indigenous elders: keepers of knowledge; custodians of land and culture Aboriginal lands Missions and reserves Growing up running from the welfare /? Aunty Olive Jackson Respecting our Elders /? Aunty Lola James If your mother didn't tell you, then your grandmother did! /? Uncles Les Stewart Don't dwell on trouble /? Aunty Audrey Critch There are my people /? Aunty Gwen Nelson We were all cousins, more or less /? Aunty Iris Lovett-Gardiner Aboriginality is about culture, not colour /? Aunty Dianne Phillips Take up the opportunities we struggled to make /? Aunty Frances Gallagher Home /? Aunty Eileen Alberts We were supposed to forget our Aboriginality /? Aunty Gwen Garoni Not enough heart to say sorry? /? Uncle Brian Kennewell-Taylor Learning from indigenous elders: Keeping the traditions, keeping the culture strong; Since time immemorial; Invasion: the tide ran red; The flood of legislation; Stolen children; Cultural resistance: holding on to children traditions and land; Organised resistance: a movement is born; The 1950s: community resistance to race laws; The price of assimilation; The Aboriginal rights movement; After the flood: self-determination; Turning the tide Bibliography Appendix. Cultural custodianship: developing an indigenous methodology.maps, colour illustrations, b&w photographswiradjuri, victorian indigenous elders, oral histories, yorta yorta, dja dja wurrung, language maps, victorian missions and reserves, lake condah, framlingham, coranderrk, ramahyuck, lake tyers, wahgunyah, cummeragunja, moonahcullah, balranald, ebenezer, maloga, acheron

The Australian Aboriginal Flag symbolises the identity, unity, and survival of Aboriginal peoples, their unbroken connection to the country, and the enduring strength of the world’s oldest living cultures. Its three core colours are black, yellow and red. Black represents the Aboriginal people, the yellow circle represents the sun, the giver of life and protector and red represents the earth, the red ochre used in ceremonies, and the spiritual relationship to the land. The flag was officially recognised as a Flag of Australia in 1995 under the Flags Act. It is widely used at rallies, community events, cultural centres, and public institutions to acknowledge Aboriginal sovereignty and presence. The flag holds official status alongside the Australian National Flag and the Torres Strait Islander Flag.The Australian Aboriginal Flag is one of the most powerful symbols of identity, unity, and survival of Aboriginal peoples. The flag was first flown in 1971 at a land rights rally in Adelaide and was created specifically for the land rights movement, and quickly became a unifying symbol of resistance, pride, and cultural identity.Australian Aboriginal Flag. This flag is suitable to be flown on a flagpole.Manufacturer's Tag: Manufactured in Australia by Carroll & Richardsonaustralian aboriginal flag, aboginal, first nations

Paddy Fordham Wainburranga (1932-2006) Area: Arnhem Land Country: Bamdibu (Bumdubu) near Bulman Station As a child, Paddy grew up in Maningrida an Aboriginal community on the top end of the Northern Territory. He started working as a boy around cattle yards, which finally led him to working as a stockman for 20 years. Before this, he spent much of his time hunting and learning culture and customs from his father and uncles. He could remember being taken to a sacred location where he was told many Dreamtime stories of how customs came to be and why Aboriginal people practice them. Paddy was part of the movement for equal rights for all Aborigines, actively involved in claiming Bumdibu as his traditional land for his clan. He resided over this land as Jungai (caretaker, policeman). Paddy was taught to paint by his father but did not begin to paint seriously until the early 1970s. He was also recognized as a story teller, bark painter, sculpture, dancer, singer and musician. He was familiar with Central Arnhem Land rock and bark painting traditions; however he developed an idiosyncratic style which fused the figurative schema of western Arnhem Land with the narrative capacities of the north-east producing dense pictorial paintings divided into sequential segments. A suite of seven limited edition prints using the sugar lift aquatint technique. .1) Yalk Yalk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .2) Walga Walga Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .3) Nammooroddoo Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .4) Mun Gruk Gruk Woman Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .5 Mun Gruk Gruk Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .6) Mun Gruk Gruk Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 .7) Lightning Man Sugar Lift Aquatint Plate 75.0cm (H) x 49.0cm (W) Paper 1110cm (H) x 76.0cm (W) 2003 Edition: 73/100 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, paddy fordham wainburranga, paddy fordham, wainburranga, printmaking, aboriginal, indigenous, churchill, dreaming