This commemorative medal celebrates a colonisation of two towns, now cities, in Victoria; Melbourne and Portland. The medal shows the significance placed on the colonisation of Victoria and the growth of the hundred year period. Medal, silver. with hole and ring at the top. Obverse: Sailing Ship, Coast, Boat on shore, 3 men. Reverse Colonial man on grass, river, city buildings on other river bank Medal commemorates the centenary of Victoria and Portland 1834 and Melbourne 1835. "CENTENARY OF VICTORIA 1934" & "PORTLAND 1834", "CENTENARY OF MELBOURNE 1935" & "1835" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, medal, centenary medal, centenary of victoria, centenary of melbourne, 1834-1934, 1835-1935, colonial, centenary of portland, colonisation of victoria

Print of an original oil painting created in 1874 (these numbers are in the top left corner) by artist Gabriel Max ("Gab Max" is in the top right corner) and reproduced by Kodak. The reproduction was likely made for the Mission to Seamen from the early 1906 to the 1960s to hang in its chapel. The publisher Reinthal & Newman, New York, was in business between 1906 and 1928. The company originally published postcards, but from 1920, it published prints of art from original works of famous and not-so-well-known artists. The published items were distributed by the House of Art, NY, which continued into the 1950s. The print was donated by the Williamstown Lightkeepers' Auxiliary to become part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Mission to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity in Great Britain that has served the world's seafarers since 1856. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seamen Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, and the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and resembles the Williamstown chapel. The print is significant because of its association with the Mission to Seamen in Williamstown, Victoria, and the Williamstown Lightkeepers' Auxiliary. This organisation had strong connections to the colonisation of Victoria by people travelling and arriving by sea. The picture is also significant as a representation of 19th-century religious art by Gabriel Cornelius von Max.Print of an oil painting representing Jesus Christ, closed eyes, tear on cheek, with a crown of thorns, titled “Jesus Christus”, produced in 1874 by 19th-century artist Gabriel Cornelius von Max (GAB MAX). Print on paper; black and grey drawing on beige canvas-look background with image of fixing pins in each corner, edges look like torn fabric. Published by Reinthal & Newman, New York. Print is behind glass, mounted in a heavy wooden frame that is painted dark brown. The reverse has numbers on a small white label. The base of the reverse has two small holes, each with indentations from something round. The backing board has indentations from nails no longer there. There are remnants of the original hanging wire, but this has been replaced. Part of the St Nicholas Seamen's Church Collection.FRONT: Top left :1874” Top right “GAB MAX” [Gabriel Cornelius von Max] Handwritten script under the picture “Jesus Christus”. Printed bottom left on front “A33 © REINTHAL & NEWMAN PUBS. N.Y.” REVERSE: “162” written in black felt pen on white label. Pencilled on reverse "11 3/8 x 9 1/4" and "Kodak" and other indecipherable markings.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, christian art, picture of jesus christ, jesus christus, photographic print of jesus christ, missions to seamen victoria, mission to seafarers, flying angel’s club, religious worship, reinthal & newman new york, jesus christ with crown of thorns, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, print, religious print, jesus christ, 1874, 19th century artist, gabriel cornelius von max, gab max, gabriel max, reinthal & newman, oil painting, st nicholas seamen's church, a33 © reinthal & newman pubs. n.y., kodak, house of art, williamstown lighthouse keepers' auxiliary, flagstaff hill maritime museum and village, maritime museum, maritime village, shipwreck coast, great ocean road, worship service, st nicholas seamen’s church, williamstown, st nicholas missions to seamen’s church williamstown, missions to seamen, st nicholas missions to seamen’s church flagstaff hill, anglican church, church furnishings, religious furnishings

This framed print was part of the original furnishings of the St Nicholas Seamen's Church in Williamstown, Victoria, likely to be displayed in the Missions to Seamen.. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity in Great Britain that has served the world's seafarers since 1856. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seamen Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, and the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and resembles the Williamstown chapel. The portrait of Queen Victoria is significant as part of Australia's History, as she was the reigning monarch during the time of the colonisation of Australia by the British. This portrait is historically significant for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for seafarers’ physical, social, and spiritual needs. The organisation originated in Bristol, England, when a Seamen's Mission was formed in 1837. The portrait is also significant for its use in the St Nicholas Missions to Seamen's chapel, Williamstown, as the original building is now listed on the Victorian Heritage Register.Print: Coloured print behind glass in a timber frame. Portrait of Queen Victoria wearing a blue dress and sash. Printed by Alf Cooke, Queens Printer, Leeds, UK. This print is part of the St. Nicholas Seamen's Church Collection. Lower left corner: "Printed in Leeds, UK by Alf Cooke, Queen's Printer" Lower right corner: "[facsimile of Victoria's signature]"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, print, portrait, queen victoria, religious worship, worship service, mission to seafarers, st nicholas missions to seamen’s church williamstown, missions to seamen, st nicholas missions to seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church, church furnishings, religious furnishings, religious print

Referencing works and removal of fittings and furnishings. Further on the book appears to have been used as a note book on further pages. WARRNAMBOOL'S LADY BAY LIGHTHOUSE COMPLEX; – The original Lady Bay Lighthouse Complex was built on Middle Island in 1858-1859 and comprised the Upper Light, Store (Chartroom), Cottage and Privy. The Lower Light was on a wooden tower on the beach of Lady Bay. In 1871 the Complex was transferred stone-by-stone to Flagstaff Hill, where the flagstaff had been installed since 1853. The Lower Light was erected on top of a bluestone obelisk that was built in 1854 as a navigational marker. The bluestone Lighthouse Keeper’s Quarters was a cottage divided into two compartments, one for the Senior Keeper and his family, the other for the Assistant Keeper and his family. The bluestone Store was divided into three; a store, a workshop, and an oil store (or office). The Privy was a small building divided into two separate, back-to-back toilet rooms, one for the Senior Keeper and his family and one for the Assistant Keeper and family. The record book from the Warrnambool Lighthouse is significant because of its connection with the Lady Bay Lighthouse Complex. The Lady Bay Lighthouse Complex is significant for its important role in the safe navigation of sailing and steam ships into and out of Lady Bay and the Port of Warrnambool. during the colonisation of Victoria and the settlement of southwest Victoria. The lighthouse also helped the passing ships to check the accuracy of their navigation along the southwest coast of Victoria and facilitated the call for help when vessels were in trouble.Warrnambool Lighthouse Book. Green hard covered book with red spine and reinforced corners. Inside are pages with printed horizontal linesBook detailing the cost of removal of the Lighthouse Station from Middle Island to its present location. Also other details. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, warrnambool lighthouse book, record of lighthouse relocation warrnambool, warrnambool historic record book, financial record, middle island

This is an Invitation to attend the Inaugural Celebrations of the Commonwealth of Australia, to celebrate the Federation of Australia's united Colonies. It was created on behalf of the Government of New South Wales. January 1st, 1901, is the official date of Australia's Federation. There is no recipient's name on the invitation. The illustrations on the invitation represent the Federation of Australian States, with their historic symbols carried on the sailing ship, representing the colonisation of Australia. The 'rising sun' possibly represents the rising of the young Australia. The Sough Australian symbol appears to be the historic seal of South Australia, depicting Britania meeting an Australian Aboriginal seated on the beach. The symbol was replaced in 1904. The Victorian symbol of a crown above the Southern Cross appears on the flag at the back of the ship, with a crown and the Southern Cross beside each other. The invitation was originally framed by G.U. Petterd, a picture framer and plush worker in Warrnambool, Victoria.The invitation holds great significance, representing a point in Australia's history when the British Colony became an independent nation, with the states uniting under a Federal government. The symbols on the invitation represent those used by each state at the time, many of which have evolved and changed since that time. The decorative and careful creation of the certificate represents the importance placed on the celebrations.Invitation; rectangular page printed in colour with text and illustrations, and attached to cardboard. The document has a floral border with a symbol in each corner. The illustration includes a wooden sailing ship with six figures with long fair hair wearing white robes, and holding six flags or symbols. The mast holds a swallow-tailed banner showing a flag and text. The invitation is from the Government of New South Wales, for the recipient to attend the inaugural celebrations in Sydney on 1st January 1901, for the official date of the Federation of Australia. There is a purple oval stamp on the revers with inscriptions. The picture was originally framed by G.U. Petterd, WarrnamboolSTAMP: "G.U. PETTERD, WARRNAMBOOL / PICTURE FRAMER & PLUSH / WORKER" TEST: - "Commonwealth of Australia. / INAUGURAL CELEBRATIONS / AT SYDNEY / COMMENCING on the 1st JANUARY 1901" "The GOVERNMENT of NEW SOUTH WALES / requests the honour of / (blank line) / presence at the Celebrations to take place / in connection with the inauguration of the Commonwealth of Australia" Symbols: - [white flag, blue cross, Union Jack] (Australian Federation Flag) [blue Maltese cross with crown in centre] (Queensland symbol) [red St George cross with a lion in the centre] (New South Wales symbol) [white with a symbol on one side (crown?) with a blue flag with Southern Cross on the other] (Victoria's symbols of Crown above Southern Cross) [red lion on white] (Tasmanian symbol) [black swan on yellow] (Western Australia badge) [two figures, one standing and one seated] (South Australian seal) and image of (rising sun on the horizon)flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, invitation, commonwealth of australia, inaugural celebrations, sydney, 1st january 1901, 01-01-1901, federation of australia, australian states, government of new south wales, symbols, flags, australian colony, certificate, g.u. petturd, picture framer and plush worker, picture framer, plush worker, 1901

Laterite refers to both a rock and a soil type that is rich in clay, as well as Iron and Aluminium. It is created during a process that is called laterization, where high heat and seasonal heavy rainfall cause there to be wet and dry periods, which over time hardens the soil into rock. Because of this, most laterite is formed between tropics of Cancer and Capricorn. The iron oxide in laterite is what gives it it’s orange-red colouring. The largest religious complex in the world, Angkor Wat in Cambodia, is partially constructed of laterite, particularly its foundations, as laterite is porous and allows rainwater to drain. This specimen of laterite was collected from the Democratic Republic of Congo while it was colonised by Belgium in the 19th century. Laterite forms in many parts of the world, particularly between the tropics. It is used both for ore and as a building material, and comparing specimens from different parts of the world allows us to document the different compositions that this mineral can have when formed at different locations. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.a palm-sized solid iron-aluminium oxide mineral specimen in shades of brown, orange and greyburke museum, beechworth, geological, geological specimen, laterite, laterite specimen, geology

Hardback. Dark brown cover with the title in gold lettering. There is also a border in gold decorating the outer edge of the front cover. The spine is also decorated in gold along with the title and the volume number.non-fictionA history of Victoria from the time of the discovery of Australia through until 1888.melbourne, victoria, exploration, settlement, john batman, john pascoe fawkner, pioneers, colonisation, immegration, aboriginals, discovery of gold, democracy, burke and wills, agriculture, manufacturing, literature, art, music, drama, education, science, churches, history

Hardback. Dark brown cover with the title in gold lettering. There is also a border in gold decorating the outer edge of the front cover. The spine is also decorated in gold along with the title and the volume number.non-fictionA history of the various colonies and districts of Victoria from the time of the discovery of Australia through until 1888.melbourne, victoria, pioneers, colonisation, history, fauna, flora, banking, finance, medicine, western district, south-western district, wimmera district, geelong district, ballarat district, avoca district, coliban district, campase district, loddon district, lower goulburn district, upper goulburn district, ovens district, north-east district, gippsland district, mornington district, westernport district, upper yarra district, evelyn district, bourke district

The papers in this work are focused on Thomas Brassey (1836-1918) who was born and educated in England. They include the period from 1880 to 1894, just before he accepted the position of Governor of Victori, Australia, in 1895. During that time, he'd won a seat in parliament, which he held for 18 years, and for periods was a civil lord and parliamentary secretary for the Admiralty. He was passionate about the sea and addressed his naval and maritime concerns in public lectures, letters, pamphlets and books. He was also for a time lord-in-waiting to Queen Victoria and president of the Institute of Naval Architects. This book is from Flagstaff Hill's ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. It was edited by Arthur H Loring and published by Longmans, Green and Co. of London, The firm was originally founded in 1724 in London by Thomas Longman under the name Longman. In August of that year, he bought the two shops and goods of William Taylor and set up his publishing house there at 39 Paternoster Row. The shops were called Black Swan and Ship, and it is said that the 'ship' sign was the inspiration for Longman's Logo. After many changes of name and management, the firm was incorporated in 1926 as Longmans, Green & Co. Pty Ltd. The firm was acquired by Pearson in 1968 and was known as Pearson Longman or Pearson PLC. Interestingly, the logo in some books, such as “Steam Turbines 2nd edition, published in 1922” has the year “1724” but the logo in books such as “Advanced Agriculture, published in 1894” has the year “1726” in the logoThe book is significant for publishing historical papers and addresses by Lord Thomas Brassey, former Governor of Victoria before Australia’s Federation. Brassey was passionate about naval and maritime matters in public and government capacities. The work is important for its connection with the publisher Longmans, Green and Co., of London, a firm that has been established for over two centuries, renowned for publishing encyclopedias, dictionaries, books on English grammar, textbooks, poetry, reference books, novels, magazines and more. The book has additional importance for its connection to the Pattison Collection, which, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institutes’ Collection. The Warrnambool Mechanics’ Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and its important role in people's intellectual, cultural and social development throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance.Papers and Addresses: Imperial Federation and Colonisation from 1880 to 1894 Author: Lord Brassey Arranged and Edited: Arthur H Loring and R.J. Beadon Publisher: Longmans Green and Co. Date: 1895 One of a set of six books. Part of the Pattison Collection. Green hardcover book with gold embossing. Inscriptions on a label, stickers, a stamp and handwriting on the Fly. Label "PAT 331.2942 BRA" Sticker "Warrnambool Mechanics Institute and Free Library" Sticker "Corangamite Regional Library Service" Sstamp "Warrnambool Free Library" Handwriting: "(crossed out) G 570 230" and "M" "2387"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, pattison collection, ralph eric pattison, warrnambool mechanics’ institute, mechanics’ institute library, warrnambool library, free library, corangamite regional library service, longmans green and co., thomas longman, paternoster row london, thomas brassey (1836-1918), lord brassey, earl brassey, politician, civil lord of the admiralty, publicist, naval affairs, maritime affairs, public lectures, parliamentary addresses, lord-in-waiting to queen victoria, president of the institute of naval architects, papers and addresses, governor of victoria, arthur h lonring, r.j. beadon

Contains documents relating to patterns of migration, impact of European colonisation, social and political institutions and historical interpretation of the Port Phillip District128 p., black and white print and illustrationsvictoria history, melbourne

History of Australia Vol 1 Author: George William Rusden Publisher: Chapman & Hall Ltd Date: 1883non-fictionVolume 1 covers Australia's history from prehistoric times through early European exploration to the founding of New South Wales in 1788. It details early rumours of a great southern land. Also voyages by explorers like Dirk Hartog, Tasman, Dampier, and Cook, along with the establishment of the first colony under Governor Arthur Phillip, including challenges like famine and initial settlements. warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, history of australia vol 1, g w rusden

Hard cover book History of Australia in three Volumes Author: George William Rusden Publisher: Chapman & Hall Ltd London, Melbourne and Sydney Date: 1883 Dark blue hardcover with a blue matching spine, the spine has a label with an inscription. (These volumes are first editions)non-fictionVolume 2 of G.W. Rusden's History of Australia continues the narrative from early colonial governance, examining governors after Arthur Phillip up through the mid 19th century. It covers expansions in New South Wales, the establishment of Van Diemen's Land (Tasmania), and Moreton Bay (Queensland), including key events like the Macarthur wool industry rise, convict management under governors like Lachlan Macquarie, and inter colonial tensions.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, history of australia vol 2, g w rusden

Hard cover book History of Australia in three Volumes Author: George William Rusden Publisher: Chapman & Hall Ltd London, Melbourne and Sydney Date: 1883 Dark blue hardcover with a blue matching spine, the spine has a label with an inscription. (These volumes are first editions)non-fictionVolume 3 shifts to political developments, focusing on the 1856 Constitution Act and Victoria's road to self-government. It details federation debates, relationships with Britain, sketches later governors, and addresses gold rush impacts, land reforms, and emerging parliamentary systems across colonies. Together, the volumes form Rusden's comprehensive, if biased, chronicle to the 1850s.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, history of australia vol 3, g w rusden

Contents: God's lot : Moravians and missions "The most wretched and bleakest" : Moravian desire to work amongst the Australian Aborigines "Ein fauler Fleck" : Lake Boga, a putrid stain "I is done no more" : the first converts "Alles geht seinen schleppenden Gang" expansion, movement and sluggish progress "Every triumphant death" closure in a British colony.Maps, b&w illustrationsdjadja wurrung, dja dja wurrung, gunai, wati wati, wemba wemba, woi wurrung, wurundjeri, wotjobaluk, wergaia, wotjubalak, wotjibolik, wudjubalug, kulin nation, victorian history, moravian missions, colonisation, port phillip protectorate

Register and documentation of massacre sites in ten language groups of Western Victoria; each language group includes details of clans, history of European occupation and government policy.maps, colour photographs, b&w photographsdhauwurd wurrung, djab wurrung, djadja wurrung, djargurd wurrung, gadubanud, girai wurrung, keerray-woorroong, gulidjan, jardwadjali, watha wurrung, wathaurong, wergaia, colonisation, race relations, racism, european occupation, government policy

My name is Tammy Gilson and I am a descendant of Wadawurrung people on Mums side, Marlene Gilson and my dear Nan, Rita Fagan from the Dalton line of our apical ancestor, John Robinson. For that I pay my respects and acknowledge my ancestors and all Elders. In Wadawurrung wurru, meaning language, the wurru name of a cloak walert walert signifies the reclaiming of language that hasn’t been spoken fluently since colonisation. Wadawurrung kinkinbil people relied on possum fur to create cloaks to wear for warmth, ceremony, adornments and medicine. Possum fur was used widely amongst neighbouring First Peoples particularly from colder parts of Victoria given the harshness of climate and particularly in Gordon where the elevation is 650m above sea level. The walert walert denotes a continuum of cultural practice and identity, can be viewed as secret and sacred and today viewed as contemporised practice of history acknowledging transfer of knowledge, practice and kinship. My experience of possum skin cloak revival was in 2014 through Traditional Ceremony, Tanderrum, where I was chosen to make several cloaks to be worn by the Elders including my Mum. This is where I learnt technique and design elements that remain present and relevant to lived experience. My work is an example of how culture and connection gives purpose and embeds a beautiful sense of belonging. Each design panel holds a visual voice, a narrative that speaks to identity and kinship. Symbols and line work are found on old artefacts that indicate belonging to Wadawurrung people. The water marks and mountain patterns were passed on to me from Mum and her grandma. Continuing this practice is for future generations as the walert walert holds significant healing properties. Making them and sharing knowledge aims to strengthen our Culture and bring family together. There is nothing like a good yarn while sewing or weaving and this is what the Elders do, and my ancestors always did together, sitting around sharing their way and teaching. Possum skin cloak consisting of twenty four pelts, stitched together with thread. Cloak features Wadawurrung designs in red, orange, white and black ochre.possum skin cloak, wadawurrung, first peoples, culture, tammy gilson, identity, tradition, design, walert walert

My name is Tammy Gilson and I am a descendant of Wadawurrung people on Mums side, Marlene Gilson and my dear Nan, Rita Fagan from the Dalton line of our apical ancestor, John Robinson. For that I pay my respects and acknowledge my ancestors and all Elders. In Wadawurrung wurru, meaning language, the wurru name of a cloak walert walert signifies the reclaiming of language that hasn’t been spoken fluently since colonisation. Wadawurrung kinkinbil people relied on possum fur to create cloaks to wear for warmth, ceremony, adornments and medicine. Possum fur was used widely amongst neighbouring First Peoples particularly from colder parts of Victoria given the harshness of climate and particularly in Gordon where the elevation is 650m above sea level. The walert walert denotes a continuum of cultural practice and identity, can be viewed as secret and sacred and today viewed as contemporised practice of history acknowledging transfer of knowledge, practice and kinship. My experience of possum skin cloak revival was in 2014 through Traditional Ceremony, Tanderrum, where I was chosen to make several cloaks to be worn by the Elders including my Mum. This is where I learnt technique and design elements that remain present and relevant to lived experience. My work is an example of how culture and connection gives purpose and embeds a beautiful sense of belonging. Each design panel holds a visual voice, a narrative that speaks to identity and kinship. Symbols and line work are found on old artefacts that indicate belonging to Wadawurrung people. The water marks and mountain patterns were passed on to me from Mum and her grandma. Continuing this practice is for future generations as the walert walert holds significant healing properties. Making them and sharing knowledge aims to strengthen our Culture and bring family together. There is nothing like a good yarn while sewing or weaving and this is what the Elders do, and my ancestors always did together, sitting around sharing their way and teaching. 9144.1 - Digital colour film featuring Wadawurrung woman Tammy Gilson speaking about the walert walert (possum skins cloak) she made for the National Wool Museum Collection, and the cultural practice of making cloaks. Film is 7 minutes and 3 seconds in length. 9144.2 - Digital colour film featuring Wadawurrung woman Tammy Gilson speaking about the designs which feature on the walert walert she made for the National Wool Museum Collection. Film is 14 minutes in length.possum skin cloak, wadawurrung, first peoples, culture, tammy gilson, identity, tradition, design, walert walert

Soft covered book with portrait of Boon Wurrung man Ginnen (also known as Jack Weatherly) and text on front covernon-fictionA history of Victorian Aboriginals who've experienced and battled with colonisation since 1800.aborigine, aborginal, first nation