The Warrnambool Family History Group, founded in 1980, conducts walks in the Warrnambool Cemetery each year. In 2014 the graves visited were those of people who were early directors and share holders of the Warrnambool Cheese and Butter Factory Company Limited. This company was established in 1888 and today is the oldest operating dairy factory in Australia. This item is of minor interest as a memento of an annual activity of the Warrnambool Family History Group.A yellow sheet of paper with black text and an image of an old photograph at the bottom of the sheet.WARRNAMBOOL FAMILY HISTORY GROUP INC. CEMETERY WALKS warrnambool family history group, warrnambool cemetery

Chinese Cemeteries in Australia Volume 4 Chinese Graves in Cemeteries in New South Wales: Albury Pioneer Cemetery, Wagga Wagga Monumental Cemetery, Braidwood Cemetery, Tumut Pioneer Cemetery, St Johns Anglican Cemetery, Bolong, Jerilderie Cemetery. Publisher: Golden Dragon Museum, Bendigo. ISBN: 09578013 7 8. 106 pages. Black and white illustrations & map.Dr Kok Hu Jinhistory, australian, chinese cemeteries, cemeteries nsw, chinese graves, genealogy

Pompapiel is a small settlement between Dingee and Serpentine. Edward Martin (b. 1858)arrived in South Australia from Ireland in 1879. In 1882 they settled at Salisury West in Victoria. In 1909 he purchased the property "Lorraine" in Pompapiel. This property was sold and the family moved a mile away. 1911 they repurchased "Lorraine". and continued to farm. Edward died in 1940 and is buried at Inglewood cemetery.A document detailing the long history of the Martin family.martin family, family history

From the collection of Frank Wright. Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Six similar black and white photographs of a headstone. The headstone marks the graves of three people; Hilda, her mother Sarah and father William. It is the Wright family headstone and the place is Smeaton Cemetery.hilda wright, sarah wright, willaim wright, frank wright, headstone, smeaton cemetery, family history

non-fictionThis book is about the Sydney Burial Ground 1819 - 1901 and the history of the early cemeteries from 1788new south wales, lorraine taylor collection, central railway station, licenses to bury & butts, interment register, monumental inscriptions at bunnerong

"Dear Alice" Is a collection of 142 Postcards from Australia and around world, almost all of which are addressed to Miss Alice Evans, No. 2 Cox Gardens, Williamstown, dated between 1905 - 1909. These postcards form part of a collection found in the ceiling of No. 2 Cox Gardens by a local builder and carpenter Gordon Peterson. Peterson was contracted to demolish the house in the mid 1970's. The cards were held in the Estate of Gordon Peterson, along with a photo of the cottage, before demolition until donation to the historical society by his descendants in 2024. Alice Edith Evans was born in Williamstown in 1885 to parents Benjamin Samuel Evans (1833-1900), a bootmaker from Ruabon, Denbighshire, Wales and Catherine (nee Jones) (1850-1915) from Eaglehawk, near Castlemaine. Alice had three older step sisters, and two younger brothers, Benjamin and Samuel, who sadly died in infancy. Alice’s father, Benjamin, had been married previously, his wife dying during childbirth, leaving him with three daughters to care for. After leaving school, Alice was employed as a clerk with Trevor Jones & Co. (real estate agents), until her declining health prevented her from working. She was an active and well known member of the Welsh Church and Sunday School on Ferguson Street and enjoyed singing and playing in local concerts. Well known in the community, a Grand Benefit Concert was organised in her honour on 9th April, 1910, at the Mechanics Institute, Williamstown. Hosted by Mayor Cr. Wymark, the event featured a delightful program of musical performances, showcasing both individual talents and the Carlton Club Choir. Tragically, Alice passed away due to the effects of her illness on 3rd December 1910, at the age of just 25. She is buried in Williamstown Cemetery. The postcards, written between 1905 to 1909, illustrate the social history of residents and everyday life at the turn of the century, using postcards as a means of communication.Part of a collection of 142 Postcards. This image is of the interior of St Peters Anglican Cathedral, Adelaide, South AustraliaSt Peters Anglican Cathedral, Adelaide, South Australiast peters anglican cathedral, adelaide, south australia, alice evans postcards, church

"Dear Alice" Is a collection of 142 Postcards from Australia and around world, almost all of which are addressed to Miss Alice Evans, No. 2 Cox Gardens, Williamstown, dated between 1905 - 1909. These postcards form part of a collection found in the ceiling of No. 2 Cox Gardens by a local builder and carpenter Gordon Peterson. Peterson was contracted to demolish the house in the mid 1970's. The cards were held in the Estate of Gordon Peterson, along with a photo of the cottage, before demolition until donation to the historical society by his descendants in 2024. Alice Edith Evans was born in Williamstown in 1885 to parents Benjamin Samuel Evans (1833-1900), a bootmaker from Ruabon, Denbighshire, Wales and Catherine (nee Jones) (1850-1915) from Eaglehawk, near Castlemaine. Alice had three older step sisters, and two younger brothers, Benjamin and Samuel, who sadly died in infancy. Alice’s father, Benjamin, had been married previously, his wife dying during childbirth, leaving him with three daughters to care for. After leaving school, Alice was employed as a clerk with Trevor Jones & Co. (real estate agents), until her declining health prevented her from working. She was an active and well known member of the Welsh Church and Sunday School on Ferguson Street and enjoyed singing and playing in local concerts. Well known in the community, a Grand Benefit Concert was organised in her honour on 9th April, 1910, at the Mechanics Institute, Williamstown. Hosted by Mayor Cr. Wymark, the event featured a delightful program of musical performances, showcasing both individual talents and the Carlton Club Choir. Tragically, Alice passed away due to the effects of her illness on 3rd December 1910, at the age of just 25. She is buried in Williamstown Cemetery. The postcards, written between 1905 to 1909, illustrate the social history of residents and everyday life at the turn of the century, using postcards as a means of communication.Part of a collection of 142 Postcards. This coloured image is of Adelaide, Rundle Street, decorated for a celebration/eventAdelaide, Rundle Street, decoratedadelaide, rundle street, south australia, alice evans postcards

"Dear Alice" Is a collection of 142 Postcards from Australia and around world, almost all of which are addressed to Miss Alice Evans, No. 2 Cox Gardens, Williamstown, dated between 1905 - 1909. These postcards form part of a collection found in the ceiling of No. 2 Cox Gardens by a local builder and carpenter Gordon Peterson. Peterson was contracted to demolish the house in the mid 1970's. The cards were held in the Estate of Gordon Peterson, along with a photo of the cottage, before demolition until donation to the historical society by his descendants in 2024. Alice Edith Evans was born in Williamstown in 1885 to parents Benjamin Samuel Evans (1833-1900), a bootmaker from Ruabon, Denbighshire, Wales and Catherine (nee Jones) (1850-1915) from Eaglehawk, near Castlemaine. Alice had three older step sisters, and two younger brothers, Benjamin and Samuel, who sadly died in infancy. Alice’s father, Benjamin, had been married previously, his wife dying during childbirth, leaving him with three daughters to care for. After leaving school, Alice was employed as a clerk with Trevor Jones & Co. (real estate agents), until her declining health prevented her from working. She was an active and well known member of the Welsh Church and Sunday School on Ferguson Street and enjoyed singing and playing in local concerts. Well known in the community, a Grand Benefit Concert was organised in her honour on 9th April, 1910, at the Mechanics Institute, Williamstown. Hosted by Mayor Cr. Wymark, the event featured a delightful program of musical performances, showcasing both individual talents and the Carlton Club Choir. Tragically, Alice passed away due to the effects of her illness on 3rd December 1910, at the age of just 25. She is buried in Williamstown Cemetery. The postcards, written between 1905 to 1909, illustrate the social history of residents and everyday life at the turn of the century, using postcards as a means of communication.Part of a collection of 142 Postcards.This coloured image is From the bluff, Port Victor, South Aust.From the bluff, Port Victor, South Aust.port victor, south australia, the bluff, victor harbour, alice evans postcards

"Dear Alice" Is a collection of 142 Postcards from Australia and around world, almost all of which are addressed to Miss Alice Evans, No. 2 Cox Gardens, Williamstown, dated between 1905 - 1909. These postcards form part of a collection found in the ceiling of No. 2 Cox Gardens by a local builder and carpenter Gordon Peterson. Peterson was contracted to demolish the house in the mid 1970's. The cards were held in the Estate of Gordon Peterson, along with a photo of the cottage, before demolition until donation to the historical society by his descendants in 2024. Alice Edith Evans was born in Williamstown in 1885 to parents Benjamin Samuel Evans (1833-1900), a bootmaker from Ruabon, Denbighshire, Wales and Catherine (nee Jones) (1850-1915) from Eaglehawk, near Castlemaine. Alice had three older step sisters, and two younger brothers, Benjamin and Samuel, who sadly died in infancy. Alice’s father, Benjamin, had been married previously, his wife dying during childbirth, leaving him with three daughters to care for. After leaving school, Alice was employed as a clerk with Trevor Jones & Co. (real estate agents), until her declining health prevented her from working. She was an active and well known member of the Welsh Church and Sunday School on Ferguson Street and enjoyed singing and playing in local concerts. Well known in the community, a Grand Benefit Concert was organised in her honour on 9th April, 1910, at the Mechanics Institute, Williamstown. Hosted by Mayor Cr. Wymark, the event featured a delightful program of musical performances, showcasing both individual talents and the Carlton Club Choir. Tragically, Alice passed away due to the effects of her illness on 3rd December 1910, at the age of just 25. She is buried in Williamstown Cemetery. The postcards, written between 1905 to 1909, illustrate the social history of residents and everyday life at the turn of the century, using postcards as a means of communication.Part of a collection of 142 Postcards.This coloured image depicts the Adelaide Hills, after a snowstormIn the Adelaide Hills, after a snowstormadelaide hills, snowstorm, south australia, alice evans postcards

"Dear Alice" Is a collection of 142 Postcards from Australia and around world, almost all of which are addressed to Miss Alice Evans, No. 2 Cox Gardens, Williamstown, dated between 1905 - 1909. These postcards form part of a collection found in the ceiling of No. 2 Cox Gardens by a local builder and carpenter Gordon Peterson. Peterson was contracted to demolish the house in the mid 1970's. The cards were held in the Estate of Gordon Peterson, along with a photo of the cottage, before demolition until donation to the historical society by his descendants in 2024. Alice Edith Evans was born in Williamstown in 1885 to parents Benjamin Samuel Evans (1833-1900), a bootmaker from Ruabon, Denbighshire, Wales and Catherine (nee Jones) (1850-1915) from Eaglehawk, near Castlemaine. Alice had three older step sisters, and two younger brothers, Benjamin and Samuel, who sadly died in infancy. Alice’s father, Benjamin, had been married previously, his wife dying during childbirth, leaving him with three daughters to care for. After leaving school, Alice was employed as a clerk with Trevor Jones & Co. (real estate agents), until her declining health prevented her from working. She was an active and well known member of the Welsh Church and Sunday School on Ferguson Street and enjoyed singing and playing in local concerts. Well known in the community, a Grand Benefit Concert was organised in her honour on 9th April, 1910, at the Mechanics Institute, Williamstown. Hosted by Mayor Cr. Wymark, the event featured a delightful program of musical performances, showcasing both individual talents and the Carlton Club Choir. Tragically, Alice passed away due to the effects of her illness on 3rd December 1910, at the age of just 25. She is buried in Williamstown Cemetery. The postcards, written between 1905 to 1909, illustrate the social history of residents and everyday life at the turn of the century, using postcards as a means of communication.part of a collection of 142 Postcards. This image depicts Rundle Street, Adelaide, South AustraliaRundle Street, Adelaide, South Australiaadelaide, rundle street, south australia, alice evans postcards

"Dear Alice" Is a collection of 142 Postcards from Australia and around world, almost all of which are addressed to Miss Alice Evans, No. 2 Cox Gardens, Williamstown, dated between 1905 - 1909. These postcards form part of a collection found in the ceiling of No. 2 Cox Gardens by a local builder and carpenter Gordon Peterson. Peterson was contracted to demolish the house in the mid 1970's. The cards were held in the Estate of Gordon Peterson, along with a photo of the cottage, before demolition until donation to the historical society by his descendants in 2024. Alice Edith Evans was born in Williamstown in 1885 to parents Benjamin Samuel Evans (1833-1900), a bootmaker from Ruabon, Denbighshire, Wales and Catherine (nee Jones) (1850-1915) from Eaglehawk, near Castlemaine. Alice had three older step sisters, and two younger brothers, Benjamin and Samuel, who sadly died in infancy. Alice’s father, Benjamin, had been married previously, his wife dying during childbirth, leaving him with three daughters to care for. After leaving school, Alice was employed as a clerk with Trevor Jones & Co. (real estate agents), until her declining health prevented her from working. She was an active and well known member of the Welsh Church and Sunday School on Ferguson Street and enjoyed singing and playing in local concerts. Well known in the community, a Grand Benefit Concert was organised in her honour on 9th April, 1910, at the Mechanics Institute, Williamstown. Hosted by Mayor Cr. Wymark, the event featured a delightful program of musical performances, showcasing both individual talents and the Carlton Club Choir. Tragically, Alice passed away due to the effects of her illness on 3rd December 1910, at the age of just 25. She is buried in Williamstown Cemetery. The postcards, written between 1905 to 1909, illustrate the social history of residents and everyday life at the turn of the century, using postcards as a means of communication.Part of a collection of 142 Postcards. This image is of Wallaroo, looking WestWallaroo looking westwallaroo, south australia, alice evans postcards

Hand drawn Coat of Arms for the soldiers known as the Rats of Tobruk with signatures of those involved in the engagement between 5th April to the 22nd of October 1941 The drawing is signed by artist John DOWIE AM, SX6087 who served with the 2/43rd Battalion Signatories are: VX42389 Eric Hamilton, 2/32 Battalion; VX30189 F.Baldwin, 2/23 Battalion; VX34544, F.J.Mc.Intosh 2/24 Battalion; VX34554 W.Harrison, 2/24 Battalion; WX7281 P.Bone 2/25 Battalion; VX33719 Duke Goldsmith, 2/24 Battalion; VX41179 Harry Frazer, 2/24 Battalion; VX29652 A.R.Stribley, 2/24 Battalion; SX6367 Arthur “Jack” Foley, 2/43 Battalion ( died in 1980 buried at Wangaratta); VX48340 Harry Jones, 2/23 Battalion; VX42317 Aub Jarrott, 2/24Battalion; VX28869 Rod Deering 2/24Battalion; VX15719 Ian F. Joss 7th Division AASC; VX19723 Len Dauria, 2/12 Field Regiment; NX35852 R.E (Snowy) Cornelius 2/13 Battalion; VX32559 Jim Gray, 2/24Battalion - James Cyril GRAY Born 6/1/1916 in Orroroo South Australia. Enlisted 28/5/1940 at Mildura. Awarded Military Medal for remarkable coolness, bravery and leadership at Tobruk on 24/4 and 1/5/1941. He was promoted to Sergeant on 14/8/1941, Lieutenant in November 1942 then Captain on 9/4/1945. He was wounded in action on 11/9/1943 and discharged on 20/12/1945. He married and had three children. He died on 10/4/1992 aged 76 and buried at Wangaratta Cemetery.This original drawing is by John DOWIE SX6087 who served with the 2/43rd Battalion during the second world war and is signed by the artist and soldiers from the 2/24th Battalion known as "Wangaratta's Own". John Stuart Dowie AM (15 January 1915 – 19 March 2008) was an Australian painter, sculptor and teacher. He was born in the suburb of Prospect in Adelaide, South Australia, and studied architecture at the University of Adelaide. During World War II, Dowie worked in the Military History Unit of the Australian Imperial Force, and as an assistant to Australia's official war sculptor, Lyndon Dadswell. As a soldier, he was one of the Rats of Tobruk. After studying art in London and Florence, Dowie returned to Australia. His work includes over 50 public sculpture commissions, including the "Three Rivers" fountain in Victoria Square, "Alice" in Rymill Park, the "Victor Richardson Gates" at Adelaide Oval and the "Sir Ross & Sir Keith Smith Memorial" at Adelaide Airport. He was made a Member of the Order of Australia in 1981 in recognition of service to the arts as a sculptor and painter. Dowie died on 19 March 2008, aged 93. There is a similiar version of the drawing on page 32 of the book Desert Sand and Jungle Green by Geoffrey Boss-Walker which is an illustrated history of the 2/43rd Battalion.Timber frame containing hand drawn Coat of Arms consisting of "rats" as shield supporters, crest with a swastika in the centre and motto surrounded by signatures.Signatures of artist John Dowie and soldiers engaged at Tobruk. The crest depicts a latrine and the motto reads NON FASCES SED FAECES (Latin translation - "Do not move but the dregs") rats of tobruk, coat of arms, 1941, john dowie, ww2, middle east, 2/24 battalion, 2/43 battalion

A chance viewing of a headstone just south of Anzac Cove in a well-kept lawned cemetery of Australian digger's headstones prompted the research into Stephen James Sweetland of Box Hill and other local diggers and resulted in this book.A chance viewing of a headstone just south of Anzac Cove in a well-kept lawned cemetery of Australian digger's headstones prompted the research into Stephen James Sweetland of Box Hill and other local diggers and resulted in this book.Front page: stamped: DONATION FROM/ BLACKBURN RSL SUB BRANCH/ 2 DIGGERS WAY/ BLACKBURN VIC 3130(mr) stephen james sweetland, world war, 1914-1918, gallipoli, anzac cove, military history, army

We don?t leave our identities at the city limits: Aboriginal and Torres Strait Islander people living in urban localities Bronwyn Fredericks Aboriginal and Torres Strait Islander people who live in cities and towns are often thought of as ?less Indigenous? than those who live ?in the bush?, as though they are ?fake? Aboriginal people ? while ?real? Aboriginal people live ?on communities? and ?real? Torres Strait Islander people live ?on islands?. Yet more than 70 percent of Australia?s Indigenous peoples live in urban locations (ABS 2007), and urban living is just as much part of a reality for Aboriginal and Torres Strait Islander people as living in remote discrete communities. This paper examines the contradictions and struggles that Aboriginal and Torres Strait Islander people experience when living in urban environments. It looks at the symbols of place and space on display in the Australian cities of Melbourne and Brisbane to demonstrate how prevailing social, political and economic values are displayed. Symbols of place and space are never neutral, and this paper argues that they can either marginalise and oppress urban Aboriginal and Torres Strait Islander people, or demonstrate that they are included and engaged. Juggling with pronouns: Racist discourse in spoken interaction on the radio Di Roy While the discourse of deficit with regard to Australian Indigenous health and wellbeing has been well documented in print media and through images on film and on television, radio talk concerning this discourse remains underresearched. This paper interrogates the power of an interactive news interview, aired on the Radio National Breakfast program on ABC Radio in 2011, to maintain and reproduce the discourse of deficit, despite the best intentions of the interview participants. Using a conversation-analytical approach, and membership categorisation analysis in particular, this paper interrogates the spoken interaction between a well-known radio interviewer and a respected medical researcher into Indigenous eye health. It demonstrates the recreation of a discourse emanating from longstanding hegemonies between mainstream and Indigenous Australians. Analysis of firstperson pronoun use shows the ongoing negotiation of social category boundaries and construction of moral identities through ascriptions to category members, upon which the intelligibility of the interview for the listening audience depended. The findings from analysis support claims in a considerable body of whiteness studies literature, the main themes of which include the pervasiveness of a racist discourse in Australian media and society, the power of invisible assumptions, and the importance of naming and exposing them. Changes in Pitjantjatjara mourning and burial practices Bill Edwards, University of South Australia This paper is based on observations over a period of more than five decades of changes in Pitjantjatjara burial practices from traditional practices to the introduction of Christian services and cemeteries. Missions have been criticised for enforcing such changes. However, in this instance, the changes were implemented by the Aboriginal people themselves. Following brief outlines of Pitjantjatjara traditional life, including burial practices, and of the establishment of Ernabella Mission in 1937 and its policy of respect for Pitjantjatjara cultural practices and language, the history of these changes which commenced in 1973 are recorded. Previously, deceased bodies were interred according to traditional rites. However, as these practices were increasingly at odds with some of the features of contemporary social, economic and political life, two men who had lost close family members initiated church funeral services and established a cemetery. These practices soon spread to most Pitjantjatjara communities in a manner which illustrates the model of change outlined by Everett Rogers (1962) in Diffusion of Innovations. Reference is made to four more recent funerals to show how these events have been elaborated and have become major social occasions. The world from Malarrak: Depictions of South-east Asian and European subjects in rock art from the Wellington Range, Australia Sally K May, Paul SC Ta�on, Alistair Paterson, Meg Travers This paper investigates contact histories in northern Australia through an analysis of recent rock paintings. Around Australia Aboriginal artists have produced a unique record of their experiences of contact since the earliest encounters with South-east Asian and, later, European visitors and settlers. This rock art archive provides irreplaceable contemporary accounts of Aboriginal attitudes towards, and engagement with, foreigners on their shores. Since 2008 our team has been working to document contact period rock art in north-western and western Arnhem Land. This paper focuses on findings from a site complex known as Malarrak. It includes the most thorough analysis of contact rock art yet undertaken in this area and questions previous interpretations of subject matter and the relationship of particular paintings to historic events. Contact period rock art from Malarrak presents us with an illustrated history of international relationships in this isolated part of the world. It not only reflects the material changes brought about by outside cultural groups but also highlights the active role Aboriginal communities took in responding to these circumstances. Addressing the Arrernte: FJ Gillen?s 1896 Engwura speech Jason Gibson, Australian National University This paper analyses a speech delivered by Francis James Gillen during the opening stages of what is now regarded as one of the most significant ethnographic recording events in Australian history. Gillen?s ?speech? at the 1896 Engwura festival provides a unique insight into the complex personal relationships that early anthropologists had with Aboriginal people. This recently unearthed text, recorded by Walter Baldwin Spencer in his field notebook, demonstrates how Gillen and Spencer sought to establish the parameters of their anthropological enquiry in ways that involved both Arrernte agency and kinship while at the same time invoking the hierarchies of colonial anthropology in Australia. By examining the content of the speech, as it was written down by Spencer, we are also able to reassesses the importance of Gillen to the ethnographic ambitions of the Spencer/Gillen collaboration. The incorporation of fundamental Arrernte concepts and the use of Arrernte words to convey the purpose of their 1896 fieldwork suggest a degree of Arrernte involvement and consent not revealed before. The paper concludes with a discussion of the outcomes of the Engwura festival and the subsequent publication of The Native Tribes of Central Australia within the context of a broader set of relationships that helped to define the emergent field of Australian anthropology at the close of the nineteenth century. One size doesn?t fit all: Experiences of family members of Indigenous gamblers Louise Holdsworth, Helen Breen, Nerilee Hing and Ashley Gordon Centre for Gambling Education and Research, Southern Cross University This study explores help-seeking and help-provision by family members of Indigenous people experiencing gambling problems, a topic that previously has been ignored. Data are analysed from face-to-face interviews with 11 family members of Indigenous Australians who gamble regularly. The results confirm that substantial barriers are faced by Indigenous Australians in accessing formal help services and programs, whether for themselves or a loved one. Informal help from family and friends appears more common. In this study, this informal help includes emotional care, practical support and various forms of ?tough love?. However, these measures are mostly in vain. Participants emphasise that ?one size doesn?t fit all? when it comes to avenues of gambling help for Indigenous peoples. Efforts are needed to identify how Indigenous families and extended families can best provide social and practical support to assist their loved ones to acknowledge and address gambling problems. Western Australia?s Aboriginal heritage regime: Critiques of culture, ethnography, procedure and political economy Nicholas Herriman, La Trobe University Western Australia?s Aboriginal Heritage Act 1972 (WA) and the de facto arrangements that have arisen from it constitute a large part of the Aboriginal ?heritage regime? in that state. Although designed ostensibly to protect Aboriginal heritage, the heritage regime has been subjected to various scholarly critiques. Indeed, there is a widespread perception of a need to reform the Act. But on what basis could this proceed? Here I offer an analysis of these critiques, grouped according to their focus on political economy, procedure, ethnography and culture. I outline problems surrounding the first three criticisms and then discuss two versions of the cultural critique. I argue that an extreme version of this criticism is weak and inconsistent with the other three critiques. I conclude that there is room for optimism by pointing to ways in which the heritage regime could provide more beneficial outcomes for Aboriginal people. Read With Me Everyday: Community engagement and English literacy outcomes at Erambie Mission (research report) Lawrence Bamblett Since 2009 Lawrie Bamblett has been working with his community at Erambie Mission on a literacy project called Read With Me. The programs - three have been carried out over the past four years - encourage parents to actively engage with their children?s learning through reading workshops, social media, and the writing and publication of their own stories. Lawrie attributes much of the project?s extraordinary success to the intrinsic character of the Erambie community, not least of which is their communal approach to living and sense of shared responsibility. The forgotten Yuendumu Men?s Museum murals: Shedding new light on the progenitors of the Western Desert Art Movement (research report) Bethune Carmichael and Apolline Kohen In the history of the Western Desert Art Movement, the Papunya School murals are widely acclaimed as the movement?s progenitors. However, in another community, Yuendumu, some 150 kilometres from Papunya, a seminal museum project took place prior to the completion of the Papunya School murals and the production of the first Papunya boards. The Warlpiri men at Yuendumu undertook a ground-breaking project between 1969 and 1971 to build a men?s museum that would not only house ceremonial and traditional artefacts but would also be adorned with murals depicting the Dreamings of each of the Warlpiri groups that had recently settled at Yuendumu. While the murals at Papunya are lost, those at Yuendumu have, against all odds, survived. Having been all but forgotten, this unprecedented cultural and artistic endeavour is only now being fully appreciated. Through the story of the genesis and construction of the Yuendumu Men?s Museum and its extensive murals, this paper demonstrates that the Yuendumu murals significantly contributed to the early development of the Western Desert Art Movement. It is time to acknowledge the role of Warlpiri artists in the history of the movement.b&w photographs, colour photographsracism, media, radio, pitjantjatjara, malarrak, wellington range, rock art, arrernte, fj gillen, engwura, indigenous gambling, ethnography, literacy, erambie mission, yuendumu mens museum, western desert art movement