Showing 38 items matching cultural traditions
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The Beechworth Burke Museum
Photograph, c1999/2000
... cultural traditions... passtimes colonial entertainments cultural traditions gold rush ...This photograph depicts female singers accompanied by members of the Beechworth Band at a 'Liedertafel' concert in the main hall at the Burke Museum in 1999. The concert related to an exhibition titled, 'From the Liedertafel to the Skating Rink: Entertainment in Beechworth 1852 - early 1900s', which celebrated the rich and diverse entertainments that were part of Beechworth life in the nineteenth and early twentieth centuries. 'Liedertafel' is a German tradition that accompanied European settlers to Australia. It refers to a friendly society of men united by an enthusiasm for singing. The Beechworth Liedertafel was established 14 March 1894 at the London Tavern, Camp Street, Beechworth, by president, Mr. A.A. Billson, and a visiting conductor, Mr. H. Fielder. The Beechworth Brass Band was formed by Mr. H. Vandenberg in 1887. Marching bands, choirs, circus acts, theatrical performances, races, and seasonal activities, such as Mr. Spiller's roller skating rink, which was founded in the late 1860s, were among the entertainments on offer in Beechworth.This photograph of the Beechworth Band playing at the Burke Museum is historically significant for the information it conveys about an exhibition at the Burke Museum between September and November 1999. The use of the contemporary Beechworth Band in a 'Liedertafel' performance provides insight into curatorial approaches at the turn of the twenty-first century and improves our understanding of how exhibitions use objects in the Burke Museum's Collection to tell stories about the past in the present. The image is historically and socially significant for attesting to the enduring appeal of local musical associations, which were a popular means of entertainment that fostered social connections among settlers from diverse ethnic backgrounds. Liedertafel choirs were originally male-only, therefore, the presence of female singers at the 1999 exhibition reflects progressive social and community values with regard to gender and inclusion.Rectangular colour photograph printed on matte photographic paper.Reverse: 7030 / Label: Burke Museum / Liedertafel Exh / Emily Messen, Luetta / Schier, Hannah / Routledge, Sarah / McKinley 2000 (?) / 2000 (?) / liedertafel, beechworth band, burke museum, exhibition 1999, from the liedertafel to the skating rink, entertainment in beechworth 1852 - early 1900s, past exhibitions, performances at the burke museum, european settlers, german community, german choral societies, brass bands, male choir, colonial passtimes, colonial entertainments, cultural traditions, gold rush, immigration, beechworth's german heritage, london tavern beechworth, camp st beechworth, beechworth historic district, beechworth's first brick tavern, spiller's skating rink, vandenberg's beechworth brass band, benevolent societies, intellectual societies, protestantism, billson brewery beechworth, teetotallism, fancy dress carnivals, skating carnivals, fundraising societies, german musicians, crimean war, beechworth german association, freemasonry, yma's, beechworth athenaeum, beechworth skating rink -
Federation University Art Collection
Artwork, other, 'Eel Trap with Emu Feathers' by Bronwyn Razem, 2013
... of cultural traditions. She has a Bachelor of Arts with Honours... of cultural traditions. She has a Bachelor of Arts with Honours ..."The breeze going through the eel trap gives a feeling of water flowing through the vessel with the feathers softly waiving as the water flows. My grandfather Nicholas Couzens and my uncles made eel traps to fish the Hopkins River - this is how my mother learnt the techniques which she passed on to me."Bronwyn RAZEM Gunditjmara/Kirrae Whurrong Bronwyn Razem is an Indigenous Australian basket weaver and painter. She is a Gunditjmara woman of the Kirrae Whurrong clan of western Warrnambool on the Victorian coastline. Bronwyn’s practice involves an exploration of her Indigenous heritage and identity, and she creates symbolic representations of places and events that are meaningful to her family. She integrates ochres, sand and other materials into her paintings, and her works also draw on the possum skin cloak traditions of her ancestors. In 2008, Bronwyn was chosen by the Australia Council for the Arts to be part of a delegation of Indigenous artists to attend the 10th Pacific Arts Festival in Western Samoa. Bronwyn’s mother, Aunty Zelda Couzens, was a well-respected basket weaver and elder who taught Bronwyn basket-making techniques. Bronwyn now regularly conducts basket weaving workshops with Victorian Indigenous communities in order to facilitate the revival of cultural traditions. She has a Bachelor of Arts with Honours at Deakin University, and in 2008 she was enrolled in a Master by Research degree at Deakin Institute of Koorie Education, Geelong, and was living in Ballarat. (https://www.daao.org.au/bio/bronwyn-razem/biography/, accessed 18 April 2016) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Bronwyn RAZEM (1953- ) Gunditjmara/Kirraw Wurrong A woven New Zealand flax eel trap with emu feathers. This work won the University of Ballarat Acquisitive Award for work reflecting Victoria's Western District. The judges were impressed by Bronwyn Razem's translation of the traditional eel trap into a sculptural form evocative of the flow of water and possible the passage of time. The design and technical knowhow which Razem inherited from her mother, uncles, and grandfather connects this work to the family;s life and traditions. She then enhances the simplicity of this very functional object by the addition of delicate emu feathers, creating a work that creatively and symbolically transcends its original form. art, artwork, bronwyn razem, razem, eel trap, aboriginal, indigenous, available -
The Beechworth Burke Museum
Textile - Banner, c1872
... with distinctive Chinese cultural traditions, forming their own 'camps... community with distinctive Chinese cultural traditions, forming ...This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide. The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. Back panel is painted design of two men. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads. Silk macrame fringe and tassels to central panel and padded lotus and bowl motif hanging tassel from side panels. Velvet lettering applied to front "CHINA" CHINA /beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes -
The Beechworth Burke Museum
Textile - Banner, c1872
... with distinctive Chinese cultural traditions, forming their own 'camps... community with distinctive Chinese cultural traditions, forming ...This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide.The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads.beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes -
The Beechworth Burke Museum
Textile - Banner, c1872
... with distinctive Chinese cultural traditions, forming their own 'camps... community with distinctive Chinese cultural traditions, forming ...This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide. The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads.beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes -
The Beechworth Burke Museum
Textile - Banner, c1872
... with distinctive Chinese cultural traditions, forming their own 'camps... with distinctive Chinese cultural traditions, forming their own 'camps ...This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide.The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.The banner has a narrow fuchsia embroidered top border, a wider embroidered panel depicting 2 dogs with embroidered Chinese text and a larger lower panel with the embroidered text “PRESENTED TO THE CHINESE OF BEECHWORTH BY THE COMMITEES OF THE PUBLIC INSTITUTIONS (missing) THAT TOWN IN COMMEMOR (missing) OF THE CARNIVAL 1873” The 2 lower panels have narrow decorative borders decorated with mirrors and extensive embroidery. There is an additional embroidered tab running along the right hand edge. The bottom edge has a wide knotted fringe. The back is lined with fabric decorated with a painted scene. Refer Attachment 1 quote ARTLAB AustPRESENTED TO THE CHINESE / OF BEECHWORTH BY THE / COMMITEES OF THE PUBLIC / INSTITUTIONS THAT / TOWN IN COMMEMOR / OF THE CARNIVAL 1873beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes -
The Beechworth Burke Museum
Textile - Banner, c1872
... with distinctive Chinese cultural traditions, forming their own 'camps... community with distinctive Chinese cultural traditions, forming ...This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide. The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads. beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2008
... their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings... their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings ...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 -
Slovenian Association Melbourne
Photo, Happy audience at the Slovenian cultural performance, 1955
... melbourne Photo Happy audience at the Slovenian cultural performance ...Slovenians of the Slovenian Club Melbourne loved to organise cultural evening with songs, poetry, dances and drama. The audience enjoyed every performance.Preservation of the Slovenian culture, language and traditionsBlack and white photograph Some members in the audience include: Fr Bazili Valentin, Leopold Jalikslovenian cultural evening, slovenian poetry, slovenian songs, slovenian drama, slovenian music -
Federation University Art Collection
Sculpture, Thomas, Kylie, 'Cultural Dedication' by Kylie Thomas, 1993
Kylie THOMAS (14 May 1973 - ) Born Creswick, Victoria A graduate of the Bachelor of Arts (Visual Arts) (1993) and Diploma of Visual Arts (1995) from Federation University (then University of Ballarat) Kylie Thomas continued her art practice after studying under distinguished sculptors Peter Blizzard and Adrian Mauriks. This work was acquired from her graduate folio. Soon after completing her studies Kylie Thomas became an artist in residence at Ballarat Grammar School building a public sculpture for the grounds conceived by one of her selected students as part of the program. She became the youngest exhibiting applicant to be awarded the City of Port Phillip, Rupert Bunny Foundation artist in residence program. After moving to Mallacoota she was absorbed into the community as a visual artist, actor, playwright and assistant publicist. Her commissioned public artwork and sculptures as part of residences collections were all lost in the 2019 bushfires that decimated Mallacoota. Moving back to her hometown of Creswick Kylie Thomas completed a Diploma in Education qualifying as a secondary teacher, always continuing her art practice while teaching. Needing to work again, but with no desire to teach, Kylie Thomas studied Building Design and Architectural Drafting, homing in on other areas which could link back to her artistic practice. Working in this field for a short time she moved to Melbourne where she exhibited paintings and sculpture installations as part of The Melbourne Fringe Festival. She also worked in set design, and as a stage manager and theatre actor. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This work is a spiritual totem created in the tradition of the bricoleur, dedicated to bygone cultures, lost technology and mystery referencing nature, humanity and technology. Humanity to use technology with and for nature. The materials are symbolic, the use of bone, Perspex, computer parts, found and crafted objects constructed in a resulting harmony creating a symbiotic relationship. Tapping the 4th dimension that could lift off into space and come back again, with a feeling of weightlessness, awe and suspension captured. A sculpture which stands on a white pedestal with perspex cover. 'Cultural Dedication' is the final work in a series of sculptures influenced by the ancient cultures of Egypt. art, artwork, kylie thomas, sculpture, alumni -
Federation University Art Collection
Sculpture - Mace, 'University Mace' by Trefor Prest, 1995
The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat -
Chin Community Victoria Cultural Collection
Necklace (Thi sep)
Thi sep necklaces are worn by Chin women in Burma, they represent the wealth of the person who wears them. This necklace was bought by Hrang Tin Sung in India from Burma. It was sent to Sang Men Hniang in Melbourne, Australia. This necklace is one of Chin tradition necklaces. It is important for Chin women because it shows your status in the society and women wear them to look good. This is the only Thi Sep that Sang Men Hniang have owned. It is a handmade necklace, made of a collection of 17 small red necklace, the beads are plastic, they are very small and are in red colour. necklace, thi sep, burma, chin, lai thi, lai thil, lai thuam -
Cultural Historical Association of Rodriguans and Mauritians in Victoria (C.H.A.R.M Vic)
Publication, Immigration Museum, Sweets Tastes and traditions from many cultures, 2012
Publication produced as part of the Sweets Exhibition held at the Immigration Museum from March 2012 to April 2013 BookletImmigration Museum publication sweets, tastes, traditions, culture, exhibition, immigration museum -
Victorian Aboriginal Corporation for Languages
Book, Aboriginal Community Elders Service et al, Aboriginal elders' voices : stories of the "tide of history" : Victorian Indigenous elders' life stories &? oral histories, 2003
This book is a collection of Victorian Indigenous Elders' life stories and oral histories. The Elders share their stories in an attempt to ensure that both sides of Australia's history are finally heard. These stories tell of cultural resistance on missions, of defying assimilation laws, of forever moving around to save children from the welfare. They document the development of both fringe and urban communities and work in the Aboriginal rights movement. They clarify the ways in which these experiences have affected the individual authors along with the indigenous population in general. Also included in the book is a brief history and analysis of the legislation, policies, attitudes and strategies that have affected the lives of the authors and their families since colonisation. This aspect provides an historical perspective, encouraging a deeper understanding of the Elders' stories. Reconciliation can only eventuate with an understanding gained from hearing and including the voices of Indigenous Australians. Contents: The writing team Indigenous elders: keepers of knowledge; custodians of land and culture Aboriginal lands Missions and reserves Growing up running from the welfare /? Aunty Olive Jackson Respecting our Elders /? Aunty Lola James If your mother didn't tell you, then your grandmother did! /? Uncles Les Stewart Don't dwell on trouble /? Aunty Audrey Critch There are my people /? Aunty Gwen Nelson We were all cousins, more or less /? Aunty Iris Lovett-Gardiner Aboriginality is about culture, not colour /? Aunty Dianne Phillips Take up the opportunities we struggled to make /? Aunty Frances Gallagher Home /? Aunty Eileen Alberts We were supposed to forget our Aboriginality /? Aunty Gwen Garoni Not enough heart to say sorry? /? Uncle Brian Kennewell-Taylor Learning from indigenous elders: Keeping the traditions, keeping the culture strong; Since time immemorial; Invasion: the tide ran red; The flood of legislation; Stolen children; Cultural resistance: holding on to children traditions and land; Organised resistance: a movement is born; The 1950s: community resistance to race laws; The price of assimilation; The Aboriginal rights movement; After the flood: self-determination; Turning the tide Bibliography Appendix. Cultural custodianship: developing an indigenous methodology.maps, colour illustrations, b&w photographswiradjuri, victorian indigenous elders, oral histories, yorta yorta, dja dja wurrung, language maps, victorian missions and reserves, lake condah, framlingham, coranderrk, ramahyuck, lake tyers, wahgunyah, cummeragunja, moonahcullah, balranald, ebenezer, maloga, acheron -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: News in arts and cultural heritage; Vol. 2, No. 3, Jun-Jul 1997, 1997
Vol. 2, No. 3, Jun-Jul 1997 CONTENTS WEAVING ON A ROLL Author Jon Weaving talks about the pitfalls of success 3 DON’T PASS THE GUINNESS Poet Patrick McCauley turns over a new leaf 6 AIMING FOR THE TOP Prue Acton chases a dream 9 CULTURAL TOURISM Selling a way of life 12 CONVERSATION WITH BOB SMITH An artist shares some thoughts on the why and how of painting 14 REPRIEVE FOR A GATE Some traditions refuse to die 16 STALKING THE STRANGER Short story by Chris Stonehouse 18 THEATRE IN AUTUMN Melbourne theatre is alive and well 21 TO A WOLF THE KILL Anne Delaney reviews Jon Weaving's first novel 23 EXHIBITION REVIEWS Richard Besley, Neophytes, The Eye of the Storm, Soft But True 24, 26, 27, & 30 CD REVIEWS 28 NEW SOURCE OF POWER Tony Trembath lights up a town hall 29 WHO’S DOING WHAT 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, food for all seasons, prue acton, jon weaving, michelle lonsdale, sandon mcleod, patrickk mccauley, malcolm riddle, cultural tourism, valley of the arts tourism association inc., robert peter smith, danny chable, farm gate, spirit of eltham, chris stonehouse, eltham bookshop, carolyn pickett, anne delaney, richard besley, mike parr, anita furey, aboriginal art, indigenous art, julie le bon, jackie stojanova, ranee lee, daniel chabble, tony trembath, john kauffman, westerfolds park envirofest, were street cafe, helen o'grady children's drama academy, nillumbik art collection -
Dutch Australian Heritage Centre Victoria
Carnival Hat (Karnavalsmuts)
Carnival is an important annual event in the Southern Provinces of The Netherlands with each village often having its own Carnival Club and traditions. The Dutch People from the Southern Provinces continued in many cases this tradition and formed their regional Carnavals Clubs in Australia. Each Carnaval Club has a Council of Eleven with its own colourful uniform, including a hat. There is a variety of hats for the various roles within the committee and club.For people from the Southern Provinces of the Netherlands Carnival is an important cultural event.Decorative hat made of a silky material in green, orange, purple and cream, finished off with wavelike band and brown koala at front of hat (see picture - also see items 6351 and 6353).Has the name "Tony" on the inside -
Dutch Australian Heritage Centre Victoria
Prince Hat of Carnavals Club
Carnaval is an important annual event in the Southern Provinces of The Netherlands, with each village often having its own Carnavals Club and traditions. The Dutch People coming from the Southern Provinces continued in many cases this tradition and formed their regional Carnavals Clubs in Australia. Each Carnalvals Club has its own colourful uniforms, including a hat. There are potentially three types of hats: A Formal Hat for official events, a Work Hat for use during normal club nights and for those members lucky enough to be for a year chosen as the "Prince" of the club, a Prince Hat.For people from the Southern Provinces of the Netherlands, Carnavall is an important cultural event.Decorative hat from silky type silver, gold, blue and aqua material, finished of with bells at front of hat (see picture - also see items 6351 and 6352).has a 6 on the insideprince carnaval limburg brabant dutch migration -
Headquarters 3rd Division, A.I.F. Historical Society
Digital Photograph, Emily Grant, 25 April 2017
... and shows a tradition and an important cultural event. anzac anzac ...Photograph of the ANZAC DAY March in Melbourne, Swanston Street, 25 April 2017. Taken before the step off of the Headquarters 3rd Division corner of Flinders Street and Swanston Street outside Young and Jackson pub. Includes Tim McClure holding banner (son of William McClure, WWII), and World War II veterans visible in wheelchairs Ray Scales (left) and Alec McClure (right). Veterans are surrounded by family members.A photograph of the 2017 ANZAC Day March, including World War II veterans marching. It represents and shows a tradition and an important cultural event.Colour digital photograph of 2017 ANZAC Day March, Melbourne. 3.5 MB JPEG file, unknown DPIanzac, anzac day, ww2, wwii, world war 2, world war ii, headquarters third division, march -
Dutch Australian Heritage Centre Victoria
Carnival Hat (carnavalshoed), 1970s - 1980s
Carnival (Dutch: Carnaval) is an important annual event heralding Lent in the southern provinces of The Netherlands, with each village often having its own "Carnavalsclub" and traditions. Many Dutch immigrantsg from the southern provinces have continued this tradition and formed their regional Carnavals Clubs in Australia. Each club has its own colourful uniforms, including specific hats. There are potentially three types of hats: A formal hat for official events, a work hat for use during normal club nights and for those members lucky enough to be chosen for a year as the "Prince" of the club, a Prince's Hat. Dutch Carnival is primarily a festival celebrating human folly which is why the hats are like jesters' caps. "Carnaval" comes with a rich tradition of ridiculing people and institutions of authority, and so, for instance, the "Prince" is saluted with military salutes which are performed the wrong way round, to the great merriment of onlookers. Special songs celebrating the foolishness of people in high places, such as politicians, are composed each year for "Carnaval". For people from the southern provinces of the Netherlands, the annual "Carnaval" is an important cultural event.Decorative hat from silk-like material, coloured orange, green and cream and finished off with silvery gold band and other decorative items (see picture - also see items 6352 and 6353).Has the name "L. Havel" on the inside.carnival hat; brabant; limburg; dutch migration -
Mission to Seafarers Victoria
Flyer, Illusionaire, Expect the unexpected, c. 2017
... a tradition of hosting cultural events: shows, concerts, exhibitions ...For several years Sam Angelico and his partner, Rosanna used the Norla Dome for their show, Illusionaire. In 2019, due to the renovations works, the show ended at the Mission.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Colour flyer (postcard format) for a magic showcultural events, magic show, illusionaire, sam angelico, norla dome, flinders street -
Mission to Seafarers Victoria
Flyer, Queens of the Damned, the Pirate Experience, 2022
... has always been open to the community and has a tradition ...The Pirate Experience by The Queens of the Damned is a cabaret show that was held at the Mission to Seafarers every week ends for several months in 2022.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Double sided colour flyer for a cabaret show with actors in pirate costumes on a black background.cultural events, norla dome, flinders street, cabaret, shows, pirate experience, queens of the damned, 2022 -
Mission to Seafarers Victoria
Flyer, Clare McCracken, The Place Between, 2018
... to the community and has a tradition of hosting cultural events: shows ...On the 21st of July 2018, Clare McCracken boarded the ANL Wahroonga container ship to travel to China mirroring her great-great-grandmother's journey from Australia to Asia in 1874. Artist statement from the back of the flyer: "In 1874, my great-great-grandmother, Elizabeth Amy Cathcart Payne, sailed unaccompanied from Australia to Asia, writing a detailed journal of her experiences. This exhibition weaves together sections of her diary with my own voyage from Australia to the world's busiest port, Shanghai. In doing so, The Place Between, is a meditation upon the social and political nature of international trade, the mobility and the place between Australia and the rest of the world in the 19th and 21st century." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Postcard size flyer advertising for an exhibitionthe place between, clare mccracken, cultural events, sea voyage, andrew ferris, arun munoz, video installation -
Mission to Seafarers Victoria
Flyer, Shantily Clad, 2021
... and has a tradition of hosting cultural events: shows, concerts ...On the 6th of March 2021, the Melbourne-based band Shantily Clad launched their album in the Mission to Seafarers. There was a wave of popularity of the sea shanty during the Covid pandemic especially on the social media application TikTok.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Postcard size flyer advertising for an the launch of the band Shantily Cladcultural events, concerts, band, sea shanty, shantily clad, norla dome, songs -
Mission to Seafarers Victoria
Photograph - Digital photograph, Mission to Seafarers Victoria, 2021
... to the community and has a tradition of hosting cultural events: shows ...On the 6th of March 2021, the Melbourne-based band Shantily Clad launched their album in the Mission to Seafarers. There was a wave of popularity of the sea shanty during the Covid pandemic especially on the social media application TikTok.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Photograph of the band Shantily Clad during the launch of their album in the Norla Dome.cultural events, concerts, band, sea shanty, shantily clad, norla dome, songs -
Mission to Seafarers Victoria
Flyer, Melbourne Symphony Orchestra, Secret Symphony, 2018
... always been open to the community and has a tradition of hosting ...Showcasing classical music in unexpected location across Melbourne, Secret Symphony presents free pop-up performances promoted exclusively through social media. The Melbourne Symphony Orchestra chose the Mission to Seafarers for one of their concerts held up to four times a year, on the 29th of June 2018.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer printed on blue paper advertising for an concert by the MSO at the Mission to Seafarerscultural events, concerts, norla dome, classical music, mso, melbourne symphony orchestra, secret symphony, 2018 -
Mission to Seafarers Victoria
Booklet - Catalogue, Margaret Woodward, The Sea is All Around us, 2015
... has always been open to the community and has a tradition ...Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward -
Mission to Seafarers Victoria
Document, The Screen Guide, Cruel Youth, 1989
... and has a tradition of hosting cultural events: shows, concerts ...Document listing the film production details: CREW: Director:Tony Ayres Writers: Tony Ayres Producer: Salli Engelander Dir. of Photography: Michael Williams Editor: Jill Holt CAST Guy Hudson ( Roger ) Caitlin Jones Karina Loscher Fiona Ruttelle Cruel Youth was a short film by director, Tony Ayres, filmed in the Mission to Seafarers in 1988.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals. And with its heritage feature is also a sought after filming location.Movie production details printed in black ink on a A4 paper (double sided).cultural events, filming location, cruel youth, tony ayres, big and little films, screen guide, salli engelander, michael williams, jill holt, guy hudson, caitlin jones, karina loscher, fiona rutelle -
Mission to Seafarers Victoria
Letter, Big and Little Films, Cruel Youth, 30 March 1988
... The Mission has always been open to the community and has a tradition ...Cruel Youth was a short film by director, Tony Ayres, filmed in the Mission to Seafarers in 1988. CREW: Director:Tony Ayres Writers: Tony Ayres Producers: Salli Engelander, Michael Mcmahon Dir. of Photography: Michael Williams Editor: Jill Holt CAST Guy Hudson ( Roger ) Caitlin Jones Karina Loscher Fiona Ruttelle The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals. And with its heritage feature is also a sought after filming location.A4 typed letter in black ink with logo from production company Big and Little FIlms in top right corner.Signature in black ink of Tony Ayres, Salli Engelander and Michael Mcmahon, date 30 -03-1988 written bottom of logo.cultural events, filming location, cruel youth, tony ayres, big and little films, screen guide, salli engelander, michael williams, jill holt, guy hudson, caitlin jones, karina loscher, fiona rutelle, michael mcmahon, lorraine -
Mission to Seafarers Victoria
Archive, Emerging Artists Project - Maritime Exhibition, 2012
... to the community and has a tradition of hosting cultural events: shows ...Emerging Artists Project was a exhibition organised with the Mission to Seafarers in the World Trade Centre in 2012The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals. And with its heritage feature is also a sought after filming location.Poster, postcards and catalogue of exhibitioncultural events, emerging artists project, eap, maritime exhibition, wtc, world trade centre -
Mission to Seafarers Victoria
Archive, Emerging Artists Project - Spirituality, an Exhibition: Come Sail Your Ships Around Me, 2012
... has always been open to the community and has a tradition ...Emerging Artists Project was a exhibition organised with the Mission to Seafarers in the World Trade Centre in 2012The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals. And with its heritage feature is also a sought after filming location.Poster, postcards of exhibitioncultural events, emerging artists project, eap, wtc, world trade centre, spirituality