Maps, word listsbunuba, ndjebbana, kugu nganhcara, south kimberley region, western australia, central arnhem land, cape york peninsula, north queensland, language programs, bilingual education, language in media

Boomeramgs were necessary tools and equipment for hunting, fishing and warfare, and were one of the very few items that Aboriginals carried with them from place to place. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This item may be a more modern tourist souvenir.Single piece of wood with fluted upper concave surface, decorated with incised images of a kangaroo in the left quadrant, bullrushes in the central quadrant and two emus in the right quadrant.boomerang, hunting, aboriginal warfare, central australian, arnhem land

The Black Barn gallery at Christmas Hills was designed and built by Justus Jorgensen, founder of Montsalvat. The space has been a part of community and the arts for three generations. Bobby Bununngurr is a songman and multi art form creative from Ramingining (his outstation is Ngalayindi) in Central Arnhem Land. Fund raising event at Christmas Hills for the Black Barn gallery - being filmed for a video fay bridge collection, 2016-01, black barn gallery, bobby bununngurr, christmas hills, maurice hurry, rhiannon jorgensen, sebastian jorgensen

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

Nawurapu Wunungmurra is the eldest son of the late Yaggarriny Wunungmurra, the first Aboriginal artist to have his copyright recognised in an Australian court. From an early age he was trained by his father and assisted him with this painting. Later, as his own spiritual authority increased, he painted in his own right. This pole depicts the sea at Garraparra, a coastal headland and bay area within Mungurru, or Blue Mud Bay. Garraparra has been rendered by the wavy design for Yirritja (deep saltwater) that has many states and connects with the sacred waters coming from the land estates by currents and tidal flow. Garraparra marks the spot of a sacred burial area for the Dhalwangu clan to which Wunungmurra belongs. Sacred songs and dance narrate the heroic adventures of two ancestral hunters who left the shores of Garraparra hunting for turtle. On their journey they passed sacred places and ancestral totems before they came to grief when their canoe capsized. The hunters’ bodies washed back to the shores of Garraparra with the currents and the tides, as the Wangupini, cloud rising from the north, followed with its rain and wind. In the songs, the terns (Gitkit) reel in the breeze around these statuesque clouds on the horizon, and this stylised rendition of clouds seen at the top of this work is the latest motif in Wunungmurra’s ouvre.Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, nawurapu wunungmurra, garraparra, coastal, yirritja, saltwater, sacred burial, cultural heritage, cultural identity

Gunybi Ganambarr has built a reputation for his innovative techniques, incising and shaping barks and adding materials to traditional art forms. He attributes his confidence in using new materials to his twelve year stint as a part of a building team in remote homelands. Ganambarr primarily lives in his mother’s community at Gangan, which lies north-west of Blue Mud Bay in eastern Arnhem Land, Northern Territory. Ganambarr has absorbed the minutiae and spirituality of place; his paintings can be read as meditations on the specific tracts of land for which he is entitled to speak; in this case, a sacred expanse of water behind the Gangan outstation where this work was produced, referred to as Gulutji. Ganambarr’s designs recount the ancestral formation of the land, the beings that reside within its borders and
the seasonal events that nourish its ecosystem. His work exemplifies the confidence and cultural assertion of a new, experimental Yolngu art, while remaining firmly influenced by elders and senior artists. Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, gunybi ganambarr, natural environment, cultural heritage, cultural identity, cultural knowledge, landscape

Malaluba Gumana dedicates most of her artworks to portraying her mother Marratj Gurruwiwi’s Gälpu clan designs of dhatam (waterlilly), djari (rainbow), djaykun (filesnake) and wititj (olive python or rainbow serpent). Gumana demonstrates a very fine ‘marwat’, a cross hatching technique that utilises a fine brush of human hair, applied to bark and memorial poles. The title 'Garrimala' refers to a billabong close to Malaluba’s homeland of Gängan. Dominating this work are realistic representations of dhatam, the waterlily plant. The Gälpu clan miny’tji – the sacred clan design behind the lillies – represents djari (rainbows) and the power of the lightning within them. It also refers to the force of the storm created by the python Wititj, living amongst the waterlilies causing ripples and rainbows on the surface of the water. The dynamic diagonal lines symbolise trees that have been knocked down as Wititj moves from place to place. Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, malaluba gumana, waterlily, rainbow, filesnake, olive python, rainbow serpent, natural environment, cultural heritage

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

This is a set of 30 photographs of Royal Australian Survey Corps (RA Svy) personnel from Central Comd Fd Svy Unit (Adelaide) on Aerodist survey operation - Project C4 in Eastern Arnhem Land, Northern Territory in 1967. Photos of personnel were taken either at the operations base at Numbulwar or the main base at Gove (Nhulunbuy). RA Svy conducted nineteen Aerodist operations for 12 years from 1964 to 1975. Aerodist MRC2 was a tellurometer-based system adapted for aircraft to accurately measure distances between non-intervisible ground survey stations, using the aircraft as an intermediate station. Lower order geodetic results could be achieved by survey network trilateration. The measured distances between stations formed survey networks from which each station’s latitude and longitude was computed. Aerodist MRC2 was RA Svy’s major horizontal control survey tool for mainly medium scale topographic mapping (scale 1:100,000 Class A being spatially accurate to within 50 metres) in PNG, northern NT, north-west WA, Kalimantan Barat (West) Indonesia, Sumatra Indonesia, Gulf of Carpentaria and Cape York, QLD. In 1967, the Aerodist MRC2 Master equipment was installed in the aircraft featured in this set of photos, Executive Air Services’ (Essendon VIC) Grand Aero Commander VH-EXX. It was the same aircraft type and company contracted to Division of National Mapping for Aerodist MRC2 surveys. From July to October 1967 the aircraft was attached to Central Comd Fd Svy Unit (Adelaide - Major Don Ridge) on Project C4 eastern-Arnhem Land NT, where 317 Aerodist lines measuring 17,300 line miles were successfully completed. This was the most productive Aerodist project thus far. The most common helicopter used by RA Svy up to 1972 was the civilian Bell 47G-2 and the Sioux Light Observation Helicopters (LOH), the Australian Army’s equivalent featured in this photo set. These light observation helicopters had a limiting load carrying capacity of up to about 500 pounds. By comparison, one Aerodist team including two people weighed up to 1,500 pounds. Source: Royal Australian Survey Corps – Aerodist Years 1964-1975 by Peter Jensen. Refer to Item 9061.26P for more photos taken during this Aerodist survey operation.This is a set of 30 photographs of Royal Australian Survey Corps (RA Svy) personnel on Aerodist survey operations in Eastern Arnhem Land, Northern Territory in 1967. The photographs are on 35mm negative film and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .4) - black & white, 20th August 1967, Project C4 Aerodist Operations Base - Numbulwar, NT. .5) - Photo, black & white, 1967. Probable wrecked Indonesian fishing vessel. .6) to .8) - Photo, black & white, 1967. Unidentified survey operations base, L to R: unidentified personnel. .9) - Photo, black & white, 1967. Unidentified survey operations base, unidentified soldier driving a Haflinger 4x4 Light utility vehicle. .10) - Photo, black & white, 1967. Unidentified survey operations base, L to R: unidentified technician. .11) - Unidentified technician reading two survey altimeters to compute corrections to the measured distances for atmospheric refraction and to compute the sea level distances from the slope distances aircraft to the ground stations. .12) - Photo, black & white, 1967. Survey operations base, L to R: unidentified (x3), W01 Pat Wood BEM, unidentified. .13) to .16) - Photo, black & white, 1967. Unidentified personnel operating remote Aerodist MRC2 ground instruments. .17) to .18) - Photo, black & white, 1967. Unknown RA Svy office location. .19) to .20) - Photo, black & white, 1967. Aerodist MRC2 Master equipment. .21) to .22) - Photo, black & white, 1967. Aero Commander VH-EXX probably at Gove, NT, Central Comd Fd Svy Unit (Adelaide) – OC Major Don Ridge. .23) to .25) - Photo, black & white, 1967. Aero Commander VH-EXX probably at Gove, NT. Unidentified personnel. .26) - Photo, black & white, 1967. Aero Commander VH-EXX probably at Gove, NT. Aerodist antenna pods are visible on the aircraft. .27) to .29) - Photo, black & white, 1967. Australian Army Sioux Light Observation Helicopter (LOH) probably at Gove, NT. .30) - Photo, black & white, 1967. Panelled U337 survey station, visible as a white cross on aerial identification photo..1P to .2P – date and location on edge of film negative. .5P to .28P – no annotations .29P - annotated in white ‘RW-JEP Gove NT’ .30P - annotated in white ‘U337 Spool No1 Jun67’royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, aerodist, surveying, central comd fd svy unit

This is a set of 26 photographs of Royal Australian Survey Corps (RA Svy) personnel from Central Comd Fd Svy Unit (Adelaide) on Aerodist survey operation - Project C4 in Eastern Arnhem Land, Northern Territory in 1967 (photos .4P to .26P) and in Western Arnhem Land, Northern Territory in 1968 (photos .1P to .3P). Photos of personnel were taken either at the operations base at Numbulwar or the main base at Gove (Nhulunbuy). RA Svy conducted nineteen Aerodist operations for 12 years from 1964 to 1975. Aerodist MRC2 was a tellurometer-based system adapted for aircraft to accurately measure distances between non-intervisible ground survey stations, using the aircraft as an intermediate station. Lower order geodetic results could be achieved by survey network trilateration. The measured distances between stations formed survey networks from which each station’s latitude and longitude was computed. Aerodist MRC2 was RA Svy’s major horizontal control survey tool for mainly medium scale topographic mapping (scale 1:100,000 Class A being spatially accurate to within 50 metres) in PNG, northern NT, north-west WA, Kalimantan Barat (West) Indonesia, Sumatra Indonesia, Gulf of Carpentaria and Cape York, QLD. In 1967, the Aerodist MRC2 Master equipment was installed in the aircraft featured in this set of photos, Executive Air Services’ (Essendon VIC) Grand Aero Commander VH-EXX. It was the same aircraft type and company contracted to Division of National Mapping for Aerodist MRC2 surveys. From July to October 1967 the aircraft was attached to Central Comd Fd Svy Unit (Adelaide - Major Don Ridge) on Project C4 eastern-Arnhem Land NT, where 317 Aerodist lines measuring 17,300 line miles were successfully completed. This was the most productive Aerodist project thus far. The most common helicopter used by RA Svy up to 1972 was the civilian Bell 47G-2 and the Sioux Light Observation Helicopters (LOH), the Australian Army’s equivalent featured in this photo set. These light observation helicopters had a limiting load carrying capacity of up to about 500 pounds. By comparison, one Aerodist team including two people weighed up to 1,500 pounds. In 1968, after completion of the Kimberley Aerodist Operation project, the Aerodist system in VH-EXX was immediately deployed to western-Arnhem Land NT for Central Comd Fd Svy Unit (Adelaide - Major Don Ridge) to complete the mapping control across northern NT from mid-July to October. The Aerodist MRC2 Remote antenna seen in Photos .24P to .26P is mounted on a 20 foot pole tower. The antenna direction was controlled by wires/ropes to the two arms under the dish at right angles. The antenna elevation could be changed to the vertical for aircraft height checks as seen in photo .25P. Source: Royal Australian Survey Corps – Aerodist Years 1964-1975 by Peter Jensen. Refer to Item 6449.30P for more photos taken during these Aerodist survey operations.This is a set of 26 photographs of Royal Australian Survey Corps (RA Svy) personnel on Aerodist survey operations in Eastern Arnhem Land, Northern Territory in 1967 and Western Arnhem Land, Northern Territory in 1968. The photographs are on 35mm negative film and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .2) – Photo, black & white, 1968, unidentified soldier with an opened can of food, possibly bully beef. .3) – Photo, black & white, 15 Aug 1968, aerial view of terrain taken from a helicopter in vicinity of MILINGIMBI SIERRA. .4) – Photo, black & white, 1967, aerial view of an island taken from a helicopter. .5) & .6) – Photo, black & white, 1967, unidentified soldier driving a Haflinger 4x4 Light utility vehicle with trailer. .7) – Photo, black & white, 1967, unidentified surveyors taking vertical measurements with a leveling instrument and staff. .8) – Photo, black & white, 1967, Australian Army Sioux Light Observation Helicopter (LOH) with float removed. .9) to .11) – Photo, black & white, 1967, Australian Army Sioux Light Observation Helicopter (LOH) with floats. .12) – Photo, black & white, 1967, civilian Bell 47G-2 helicopter (Australian Army Sioux LOH equivalent) refuelled. .13) – Photo, black & white, 1967, survey station on coastline surrounded by white plastic aerial photographic identification panels lined with rocks. .14) & .15) – Photo, black & white, 1967, soldier (possibly a signaller from RA Sigs) operating a radio. .16) – Photo, black & white, 1967, Central Comd Fd Svy Unit Operations Section tent, Main Base Gove (Nhulunbuy) L to R: SPR Harry Dunn, WO1 Pat Wood BEM. .17) – Photo, black & white, 1967, Central Comd Fd Svy Unit Operations Section tent, Main Base Gove (Nhulunbuy) L to R: unidentified, WO1 Pat Wood BEM. .18) – Photo, black & white, 1967, Central Comd Fd Svy Unit Operations Section, Main Base Gove (Nhulunbuy), unidentified Australian Army Catering Corps cook preparing meals. .19) – Photo, black & white, 1967, Central Comd Fd Svy Unit Operations Section, Main Base Gove (Nhulunbuy) mess tent in readiness for meals. .20) – Photo, black & white, 1967, Bank of batteries in transit boxes undergoing recharging using generators. .21) – Photo, black & white, 1967, A topographic survey identification plaque set in a concrete block being weighed using a set of scales hanging from slaughtering gallows. .22) – Photo, black & white, 1967, CPL (Geoff or Gary) Larkin operating the remote Aerodist MRC2 ground instrument at Veronica Island, located north of Nhulunbuy. .23) – Photo, black & white, 1967, L to R: CPL (Geoff or Gary) Larkin with unidentified surveyor operate the remote Aerodist MRC2 ground instrument at Venica Island, located north of Nhulunbuy. .24) & .25 – Photo, black & white, 1967, The Aerodist MRC2 Remote antenna. .26) – Photo, black & white, 1967, The Aerodist MRC2 Remote antenna.The following photos are annotated in black ink on edge of film negative: .3P – ’15 Aug ’68, 2000’, 1-C18 ’68 MILINGIMBI SIERRA’ .4P – ’U462’ .8P – ‘1-C3/67 Float Removed’ .13P – ‘U477 10-C3/67 .20P - ‘2-C3/67 Bank of Chargers’ .21P - ‘3-C3/67 Gallows & Scales’ .22P - ‘0462 VERONICA ISLAND NT, CPL Larkin’ .23P - ‘0462 VERONICA ISLAND NT’ .24P - ‘4-C3/67 20’ Aerodist Tower’ .25P - ‘5-C3/67 20’ Aerodist Tower’ .26P - ‘6-C3/67 20’ Aerodist Tower’royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, aerodist, surveying, central comd fd svy unit

'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

Robert Mate Mate (Gapingaru), an initiated elder of the Woorabinda_Berigada tribe of Central Queensland has researched the stories on the CD Rom in conjunction with Gordon Patston, an experienced astronomer. The stories from Arnhem Land to Tasmania give a fascinating insight into this rich area of Aboriginal culture and shed new light on Australia?s skies.CDastronomy, dreamtime stories, folklore, stars

The Dibb Report into mainland defence of Australia,1986, among other things identified the requirement for protection of key assets in Northern Australia and the possibility of involving Army Reserve (Ares) units in this thus releasing regular forces for offensive operations. Dibb also pointed out that this defined role would result in a huge lift in Ares morale. In June 1988, the 3rd Division (3Div) conducted a Tactical Exercise without Troops (TEWT), Exercise ‘Distant Trumpet’ in the Katherine- Darwin area to study problems associated with defence against low level incursions against Tindal RAAF Base. Exercise ‘Northern Explorer’ followed in October of that year when units of the 3Div including A Squadron 8/13 Victorian Mounted Rifles sent patrol groups to get a first taste of environment and conditions. Post-Exercise reports had to include recommendations re: health, equipment and adaptation of Standing Operating Procedures (SOPs) in preparation for the new role deploying to Northern Australia. The first deployment by 8/13 Vistorian Mounted Rifles was in 1988. Deployments continued i following years. In September 1993, 3 Troop (Wangaratta) VMR Squadron 4/19 PWLH commanded by Captain Kelvin Robertson deployed to NT. The training began with airfield defence at Tindal followed by a 1000km recon into Arnhem Land in four Landrovers. The troop reported on the conditions of the roads, airfields, bridges (mainly causeways) resources such as fuel supplies in the towns and infrastructure. Each troop taking different route. 3 Troop had the Northern route through Kakadu National park across the East Alligator River to Oenpelli then to Maningrida and Ramangining and south to the Central Arnhem Road and back to Tindal Air force Base. Kelvin Robertson enlisted on 6 April 1981 at Cobram where Lieutenant Dan Wyborn was the troop leader at 2 Troop A Squadron 8th/13th Victorian Mounted Rifles (2TP A SQN 8/13 VMR). He completed the Initial Employment Training Course (IET) and then an M113A1 driver’s course in March 1982. Course Senior Instructor (SI) was Captain (CAPT) John McLean and wing instructor Warrant Officer Class 2 (WO2) Mick Baxter (ex-Driving & Servicing Wing instructor at the School of Armour). He served with 2TP at Cobram as a trooper Driver/Signaller until June 1982 when he was selected for officer training. He served two years as an Officer Cadet in Course 21 at Officer Cadet Training Unit (OCTU) graduating in June 1984. He returned to 8/13 VMR and completed the 1/85 Army Reserve (ARES) Regimental Officers Basic Course (ROBC Reconnaissance), then was posted immediately as 1 TP LDR for the Hay Booligal Annual Field Exercise (AFX). In 1985 he took command of 2TP at Cobram until Nov 1987 when he transferred to C Squadron First Armoured Regiment (CSQN 1AR). This began six months full time duty in which Lieutenant (LT) Robertson completed the regular army 1/88 (ROBC Tank), and then served as CSQN's first and only ARES Leopard Tank TP LDR until the next ARES LT was trained up as 2TP LDR. He later served as the CSQN Liaison Officer (LO) on the First Brigade (1 Bde) exercise ‘Predators Advance’ and as a staff officer on a Second Division (2Div) exercise. In Jan 1991 he studied at the Reserve Command and Staff College (RCSC). Upon completion of Grade 3 he was promoted to CAPT and transferred back to a reconnaissance troop, 3TP VMR SQN 4th/19th Prince of Wales’s Light Horse (4/19PWLH) at Wangaratta. CAPT Robertson transferred to the Inactive List in 1994, but in 2011 returned to the Active List serving as Operations Captain (OPS CAPT) at Regimental Headquarters (RHQ) 12th/16th Hunter River Lancers (12/16 HRL)and later Second-In-Command (2IC) Tamworth-based Operations Support Squadron (OPSPT SQN), and at 9 day exercises at Singleton range and an exercise at Townville High Range in Protective Mobility Vehicle (PMV) Bushmasters. In 2013 after completing the ARES Grade 3 Staff Officers course in Brisbane he returned home to Jerilderie and served as 2IC A SQN 4/19 PWLH based at Latchford Barracks Bonegilla. He was awarded the Defence Long Service Medal (DLSM) in 2014. Highlights of his career included being Parade Commander for the 75th anniversary Beersheba parade in Canberra on 31 October 1992. The guard, drawn from the VMR SQN 4/19 PWLH represented the 4th Light Horse Regiment, a participant of the Charge. Then twenty years later, 2012, he was invited to speak at the Quirindi Anzac Day ceremony. On this occasion he was serving with 12/16 HRL, so in two ceremonies, 20 years apart, he had represented both the 4th LHR and the 12th LHR, the two lead Regiments that charged Beersheba. CAPT Robertson was placed on the Inactive List again in 2015. Illustrates Reserve training in NT.Colour image of soldier with landscape in background being Captain Kelvin Robertson 3 Troop Leader (Wangaratta) VMR Squadron 4th/19th Prince of Wales’s Light Horse Regiment looking out over the Arafura swamp near the Maningrida to Ramingining road in Arnhem Land during exercise in the Northern Territory, September 1993.tindal, robertson

The Dibb Report into mainland defence of Australia,1986, among other things identified the requirement for protection of key assets in Northern Australia and the possibility of involving Army Reserve (Ares) units in this thus releasing regular forces for offensive operations. Dibb also pointed out that this defined role would result in a huge lift in Ares morale. In June 1988, the 3rd Division (3Div) conducted a Tactical Exercise without Troops (TEWT), Exercise ‘Distant Trumpet’ in the Katherine- Darwin area to study problems associated with defence against low level incursions against Tindal RAAF Base. Exercise ‘Northern Explorer’ followed in October of that year when units of the 3Div including A Squadron 8/13 Victorian Mounted Rifles sent patrol groups to get a first taste of environment and conditions. Post-Exercise reports had to include recommendations re: health, equipment and adaptation of Standing Operating Procedures (SOPs) in preparation for the new role deploying to Northern Australia. The first deployment by 8/13 Victorian Mounted Rifles was in 1988. Deployments continued in following years. In September 1993, 3 Troop (Wangaratta) VMR Squadron 4/19 PWLH commanded by Captain Kelvin Robertson deployed to NT. The training began with airfield defence at Tindal followed by a 1000km recon into Arnhem Land in four Landrovers. The troop reported on the conditions of the roads, airfields, bridges (mainly causeways) resources such as fuel supplies in the towns and infrastructure. Each troop taking different route. 3 Troop had the Northern route through Kakadu National park across the East Alligator River to Oenpelli then to Maningrida and Ramangining and south to the Central Arnhem Road and back to Tindal Air force Base Major Annett later commanded 4/19 Prince of Wales's Light Horse, and later again 4th Brigade 2nd Division.. Colour photograph of Major M. Annett, Officer Commanding VMR Squadron 4/19Prince of Wales's Light Horse during annual exercise Northern Territory 1994.

The Dibb Report into mainland defence of Australia,1986, among other things identified the requirement for protection of key assets in Northern Australia and the possibility of involving Army Reserve (Ares) units in this thus releasing regular forces for offensive operations. Dibb also pointed out that this defined role would result in a huge lift in Ares morale. In June 1988, the 3rd Division (3Div) conducted a Tactical Exercise without Troops (TEWT), Exercise ‘Distant Trumpet’ in the Katherine- Darwin area to study problems associated with defence against low level incursions against Tindal RAAF Base. Exercise ‘Northern Explorer’ followed in October of that year when units of the 3Div including A Squadron 8/13 Victorian Mounted Rifles sent patrol groups to get a first taste of environment and conditions. Post-Exercise reports had to include recommendations re: health, equipment and adaptation of Standing Operating Procedures (SOPs) in preparation for the new role deploying to Northern Australia. The first deployment by 8/13 Victorian Mounted Rifles was in 1988. Deployments continued in following years. In September 1993, 3 Troop (Wangaratta) VMR Squadron 4/19 PWLH commanded by Captain Kelvin Robertson deployed to NT. The training began with airfield defence at Tindal followed by a 1000km recon into Arnhem Land in four Landrovers. The troop reported on the conditions of the roads, airfields, bridges (mainly causeways) resources such as fuel supplies in the towns and infrastructure. Each troop taking different route. 3 Troop had the Northern route through Kakadu National park across the East Alligator River to Oenpelli then to Maningrida and Ramangining and south to the Central Arnhem Road and back to Tindal Air force Base. Colour photograph of five soldiers and three vehicles of VMR Squadron,4/19 Prince of Wales's Light Horse on roadside during annual exercise in Northern Territory 1994.military, vehicles, soldiers, northern territory, training, vmr

The Dibb Report into mainland defence of Australia,1986, among other things identified the requirement for protection of key assets in Northern Australia and the possibility of involving Army Reserve (Ares) units in this thus releasing regular forces for offensive operations. Dibb also pointed out that this defined role would result in a huge lift in Ares morale. In June 1988, the 3rd Division (3Div) conducted a Tactical Exercise without Troops (TEWT), Exercise ‘Distant Trumpet’ in the Katherine- Darwin area to study problems associated with defence against low level incursions against Tindal RAAF Base. Exercise ‘Northern Explorer’ followed in October of that year when units of the 3Div including A Squadron 8/13 Victorian Mounted Rifles sent patrol groups to get a first taste of environment and conditions. Post-Exercise reports had to include recommendations re: health, equipment and adaptation of Standing Operating Procedures (SOPs) in preparation for the new role deploying to Northern Australia. The first deployment by 8/13 Victorian Mounted Rifles was in 1988. Deployments continued in following years. In September 1993, 3 Troop (Wangaratta) VMR Squadron 4/19 PWLH commanded by Captain Kelvin Robertson deployed to NT. The training began with airfield defence at Tindal followed by a 1000km recon into Arnhem Land in four Landrovers. The troop reported on the conditions of the roads, airfields, bridges (mainly causeways) resources such as fuel supplies in the towns and infrastructure. Each troop taking different route. 3 Troop had the Northern route through Kakadu National park across the East Alligator River to Oenpelli then to Maningrida and Ramangining and south to the Central Arnhem Road and back to Tindal Air force Base. Colour photograph of group of soldiers of VMR Squadron 4/19Prince of Wales's Light Horse studying maps on bonnet of Land Rover during annual exercise in Northern Territory 1994.Major M. Annett wearing slouch hat, Sergeant Gary Wynn,without hat,,on his left.

The Dibb Report into mainland defence of Australia,1986, among other things identified the requirement for protection of key assets in Northern Australia and the possibility of involving Army Reserve (Ares) units in this thus releasing regular forces for offensive operations. Dibb also pointed out that this defined role would result in a huge lift in Ares morale. In June 1988, the 3rd Division (3Div) conducted a Tactical Exercise without Troops (TEWT), Exercise ‘Distant Trumpet’ in the Katherine- Darwin area to study problems associated with defence against low level incursions against Tindal RAAF Base. Exercise ‘Northern Explorer’ followed in October of that year when units of the 3Div including A Squadron 8/13 Victorian Mounted Rifles sent patrol groups to get a first taste of environment and conditions. Post-Exercise reports had to include recommendations re: health, equipment and adaptation of Standing Operating Procedures (SOPs) in preparation for the new role deploying to Northern Australia. The first deployment by 8/13 Victorian Mounted Rifles was in 1988. Deployments continued in following years. In September 1993, 3 Troop (Wangaratta) VMR Squadron 4/19 PWLH commanded by Captain Kelvin Robertson deployed to NT. The training began with airfield defence at Tindal followed by a 1000km recon into Arnhem Land in four Landrovers. The troop reported on the conditions of the roads, airfields, bridges (mainly causeways) resources such as fuel supplies in the towns and infrastructure. Each troop taking different route. 3 Troop had the Northern route through Kakadu National park across the East Alligator River to Oenpelli then to Maningrida and Ramangining and south to the Central Arnhem Road and back to Tindal Air force Base. Two colour photographs of vehicle mishap during VMR Squadron 4/19Prince of Wales's Light Horse annual exercise in Northern Territory 1994.Second photo shows driver receiving medical attention.

The Dibb Report into mainland defence of Australia,1986, among other things identified the requirement for protection of key assets in Northern Australia and the possibility of involving Army Reserve (Ares) units in this thus releasing regular forces for offensive operations. Dibb also pointed out that this defined role would result in a huge lift in Ares morale. In June 1988, the 3rd Division (3Div) conducted a Tactical Exercise without Troops (TEWT), Exercise ‘Distant Trumpet’ in the Katherine- Darwin area to study problems associated with defence against low level incursions against Tindal RAAF Base. Exercise ‘Northern Explorer’ followed in October of that year when units of the 3Div including A Squadron 8/13 Victorian Mounted Rifles sent patrol groups to get a first taste of environment and conditions. Post-Exercise reports had to include recommendations re: health, equipment and adaptation of Standing Operating Procedures (SOPs) in preparation for the new role deploying to Northern Australia. The first deployment by 8/13 Victorian Mounted Rifles was in 1988. Deployments continued in following years. In September 1993, 3 Troop (Wangaratta) VMR Squadron 4/19 PWLH commanded by Captain Kelvin Robertson deployed to NT. The training began with airfield defence at Tindal followed by a 1000km recon into Arnhem Land in four Landrovers. The troop reported on the conditions of the roads, airfields, bridges (mainly causeways) resources such as fuel supplies in the towns and infrastructure. Each troop taking different route. 3 Troop had the Northern route through Kakadu National park across the East Alligator River to Oenpelli then to Maningrida and Ramangining and south to the Central Arnhem Road and back to Tindal Air force Base. Two colour photographs of creek crossings, one more challenging than the other,during the annual exercise in Northern Territory, conducted by VMR Squadron 4/19 Prince of Wales's Light horse, 1994.