She was like the lizard that fell into the water and became a crocodile works with land through photographs that are cut, reassembled, and sutured into collaged forms. The seams have been left open; the ruptures are central to each work. Observing the sutured landscapes becomes a meditation on responsibility and on the uneasy coexistence of care, complicity, and inherited harm. The collages return the act of looking back onto the viewer, presenting their scars. To engage with them is to confront one’s position within ongoing colonial systems and to acknowledge the violences that remain embedded in the land and in the systems that have fractured its sovereignty. To look to the land is to feel the weight of what has been done to it and to those who belong to it, while recognising how it continues to nourish, restore, and strengthen. Looking demands attentiveness and accountability, insisting on the ethical and relational dimensions of vision itself. The images collaged throughout She was like the lizard that fell into the water and became a crocodile combine photographs taken by the artist on unceded Country in south-western Victoria over the past decade —across the lands of the Wauthaurong, Bunurong, Wadawurrung, and Gunditjmara —with archival material sourced from the State Library of Victoria of the same areas. The archival images, produced exclusively by white colonial settler photographers, documented and mapped the land, creating visual records that both precede and actively participate in the colonial inscription of place. By bringing these materials into dialogue, the work creates a confrontation between lived Indigenous presence and the extractive logic of the colonial archive.A series of ten photographic collages 2O.5 X 15CM EACHfirst nations art, aboriginal australian art, gunditjmara culture, djabwurrung culture, indigenous knowledge systems, indigenous sovereignty, cultural reclamation, cultural memory, storytelling, contemporary indigenous identity, aboriginal women, womanhood, motherhood, indigenous feminism, spirituality, first nations, photography

Christian Thompson’s work reflects on issues of identity, cultural hybridity, kinship, memory and history. In 2010 he became the Inaugural Charlie Perkins Scholar and the first Aboriginal Australian artist to be admitted to Oxford University where he completed a Doctorate of Philosophy (Fine Art) at Trinity College. Thompson uses humour and playful subterfuge to subvert and critique throughout his multidisciplinary practice including sculpture, photography, video, performance and sound. These arresting and carefully orchestrated images are of the artist dressed in stylised clothing and handmade headdresses of Australian flora. While resonating with poetic and timeless beauty, the series Australian Graffiti contrasts Australia’s fascination with native flora with ideologies that correlate Aboriginal people with flora and fauna, not humanity.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, cultural identity, photography, memory, history, kinship, christian thompson

stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, cultural identity, photography, memory, history, kinship, christian thompson

Christian Thompson’s work reflects on issues of identity, cultural hybridity, kinship, memory and history. In 2010 he became the Inaugural Charlie Perkins Scholar and the first Aboriginal Australian artist to be admitted to Oxford University where he completed a Doctorate of Philosophy (Fine Art) at Trinity College. Thompson uses humour and playful subterfuge to subvert and critique throughout his multidisciplinary practice including sculpture, photography, video, performance and sound. These arresting and carefully orchestrated images are of the artist dressed in stylised clothing and handmade headdresses of Australian flora. While resonating with poetic and timeless beauty, the series Australian Graffiti contrasts Australia’s fascination with native flora with ideologies that correlate Aboriginal people with flora and fauna, not humanity. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, cultural identity, photography, memory, history, kinship, christian thompson

Artist and choreographer Amrita Hepi uses visual and verbal homophones to explore identity, memory, and structural spaces. The title of this work Aisle, Isle (I'll) plays on three words that sound identical but carry different meanings: a walkway (aisle), an island (isle), and a contraction of intent (I'll). Framed through this linguistic play, Aisle Isle (I'll) depicts the artist and her younger sister as a conceptual doppelgänger. Operating as a ‘human homophone,’ her sister’s presence is simultaneously familiar yet distinctly independent. Together they inhabit a stylised, fictionalised vignette captured against the tropical backdrop of their shared birthplace, Townsville. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, photography, amrita hepi, sisters, homophone, doppelgänger, fictional, townsville, memory, cultural identity

Born in Tehran before moving to Australia in 1985, Nostograph 1 is part of Hootan Heydari’s enquiry into ideas of displacement, memory and disruption. Nostograph 1 is a key work from Hootan Heydari’s solo exhibition Yeki Bood, Yeki Nabood, which was held at the Counihan Gallery in 2022. ‘Yeki bood, yeki nabood’ means ‘one was there, one was absent’ in Farsi. It’s a phrase used to begin a story, similar to ‘once upon a time’. Yeki Bood, Yeki Nabood explored the compulsion to return to the past; to process trauma, but also to resist historical and cultural erasure. Yet memory is slippery; repeated exposure to images of the past blur and conflate with the artist’s memory. In Nostograph 1, Heydari attempts to remember and outline rooms and spaces from his childhood, as described by delicate strips of gold leaf. The gold leaf overlays an archival photograph of a crowd gathered during a mass demonstration during the 1979 Islamic revolution. In Nostograph 1, personal and public histories intersect.

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.Orange enamel and teal mug created for the art installation by artist Margaret Woodward at the Mission to Seafarers. On one side it is decorated with a compass and a latitude and longitude; on the opposite side, a leaf, a QR code on the bottom takes you to the website.Written at the bottom of the mug: Please scan to map the journey of this souvenir * www.sensingtheremote.net *2015cultural events, norla dome, mso, 2015, art installation, margaret woodward

Charles Kingsley: His Letters and Memories of His Life Vol 1 Author: Charles Kingsley Edited by his wife ( Frances "Fanny" Grenfell) Publisher: C Kegan Paul & Co Date: 1879 Further Information: Sixth Abridged Editionnon-fictionThe focus of this book is not a standard biography written by an outside observer; it is a life story told through letters and personal journals. The volume is seamlessly woven together with editorial commentary by Kingsley’s widow, Frances "Fanny" Grenfell. Because this is Volume 1, it covers the first half of Charles Kingsley's life. It documents his childhood, his time at Cambridge University, and his intense courtship of Fanny. His early career as an Anglican clergyman in the rural parish of Eversley is covered, alongside his rise to national prominence in the late 1840s and 1850s as a social reformer. The text highlights his role in the Christian Socialist movement and his writing under the pen name "Parson Lot" to advocate for the working class. It also explores the writing and reception of his famous early novels, such as Alton Locke and Yeast, which tackled themes of poverty and systemic inequality.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, charles kingsley: his letters and memories of his life vol 1, frances "fanny" grenfell, mrs kingsley

Charles Kingsley: His Letters and Memories of His Life Vol 2 Author: Charles Kingsley Edited by his wife ( Frances "Fanny" Grenfell) Publisher: C Kegan Paul & Co Date: 1879 Further Information: Sixth Abridged Editionnon-fictionWhile Volume 1 introduces Charles Kingsley’s early development and his explosive rise as a radical social reformer, Volume 2 pivots to his mature years as an established public figure. It focuses on his high-profile intellectual battles and his global travels. The transition from Volume 1 to Volume 2 charts a shift from a young, controversial outsider to a celebrated, busy member of the Victorian elite. Volume 1 covers his early life from 1819 to 1856, while Volume 2 spans the years between 1857 and 1875. It documents his mature family life, his appointment as Royal Chaplain to Queen Victoria, his tenure as a professor of Modern History at Cambridge, and his time as Canon of Westminster. It was during these later years that his children's classic, The Water-Babies (1863), and his late historical fiction were published.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, charles kingsley: his letters and memories of his life vol 1, frances "fanny" grenfell, mrs kingsley

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

The Thylacine or Tasmanian Tiger, was a large nocturnal carnivorous marsupial now believed to be extinct that was native to both Australia and New Guinea. The Thylacine is believed to have first appeared over two million years ago with documentation of the species appearing on rock-art that have been dated as far back as 1,000BC. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. The Burke Museum Thylacine is of great historic, scientific and cultural significance as Australia's most notable example of a species made extinct within living memory. Poignant images of the last known thylacine linger in national consciousness and remain an evocative symbol of the impact of humankind on the natural environment. The Burke Museum thylacine has immense social significance not only for its ability to tell a story to present and future generations, but also for embodying the mythic tiger that lives on elusively, we hope, in the Tasmanian wilderness. Attempts to clone the thylacine from material held in museums attest to the passion that this iconic animal evokes in the scientific as well as mainstream community. Medium sized lean female thylacine with four stocky legs and a stiff tail. The fur is short and coarse and in a light brown-yellow colour with 15 dark brown stripes across the width of the body. The head is long and narrow with two small pointy ears and a large jaw with up to 30 visible teeth.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, thylacine, tasmanian tiger, rare

This folder includes Information researched and collected by Karen Wykes to create the information panels used in the "First People of the Kiewa Valley and Bogong High Plains" interpretive display in the KVHS Inc. Museum Added to the front of this folder is 7 A4 pages stapled together and titled "Memory Joggers on Aboriginal Cultural Issues" by Russell BellinghamSource material for Indigenous display in the KVHS museumLarge green plastic arch-lever folder with two rings. On the front cover written in black texta - KVHS Inc / Karen Wykes / Research Data / Aboriginal Display / KVHS Museum Also: Stapled together 7 A4 pages titled "Memory Joggers on Aboriginal Cultural Issues" by Russell BellinghamRussell's name in ink at top of the first pageindigenous, bogong moths, aboriginal, bellingham, dhudhuroa, yaithmathang

Abstract artwork on a concrete staircase. victoria park, cultural heritage, first nations

246 p. : ill. (some col.)Agony down under: Australian artists addressing AIDS /​ Ted Gott Allan from Sadness: a monologue with slides /​ William Yang Art from the Pit: some reflections on monuments, memory and AIDS /​ Simon Watney America: where angels don't fear to tread /​ Thomas Sokolowski The war on culture /​ Carole S. Vance Read my lips /​ Jimmy Somerville For a friend /​ Jimmy Somerville, Richard Coles Self-documentation, self-imaging,: Australian people living with HIV/​AIDS /​ Kathy Triffitt, co-ordinator Aesthetics and loss /​ Edmund White Psycho-cultural responses to AIDS /​ Dennis Altman Faces of AIDS /​ Lynn Sloan Lovers and friends /​ Richard Coles Where the streets have new aims: the poster in the age of AIDS /​ Ted Gott OI: opportunistic identification, open identification in PWA portraiture /​ Jan Zita Grover Don't leave me this way: art in the age of AIDS : catalogue of works.

A searing chronicle of wartime experiences. Even the Women Must Fight probes the cultural legacy of North Vietnam's American War. Unflinching in its portrayal of hardship, valor, and personal sacrifice, this wrenching account is nothing short of a revelation, banishing in one bold strole the familiar image of Vietnamese women as passive onlookers, war brides, prostitutes, or helpless refugees.vietnamese conflict , 1961-1975 - women - interviews, 1961-1975 - personal narratives, north vietnamese, vietnamese women

Folder containing a table of contents and various newspaper clippings and other information pertaining to the Berwick area Volume 2. The date the articles were published, and title of articles are listed below. 25 Sep 2000 History Dying for Lack of Museum 22 Oct 1992 Berwick’s Churches Took Pride of Place 13 May 2009 Lex Loves the Groundwork - Wilson Botanic Park 28 Mar 2012 To Hell and Back - Julie Cini 12 Oct 2016 Church Pillar Jim - Jim Allan 27 May 2015 Pillar of College - John Waterhouse 2 Dec 2015 Dressed for Success - Rosalie Ham & Sue Maslin 9 Nov 2016 A Man Who Remembered - Cyril Molyneux 21 Sep 2011 Honour for History Sisters - Sonia Beaumont & Louise Reeve 11 Oct 2017 Berwick’s Back to its Roots UNKNOWN City’s Volunteers Entertained 16 Apr 2008 Cooking up Memories - Olive Foy 16 Sep 2013 Historic Site Faces Carve-up - Kilkirean 16 Sep 2021 Appropriate Residence for Such Prominent Residents - Wilsons 27 May 1993 Edrington, Home of Lord and Lady Casey UNKNOWN Burnbank UNKNOWN Beaumont Road Property UNKNOWN Edrington Park - pamphlet UNKNOWN Edrington Park - plan, trees & past owners 12 Oct 2016 Final Course at Clover - Clover Cottage UNKNOWN Burr Hill - sale 27 Oct 2003 People Power Acts for Posterity - Old Berwick Primary School 11 Oct 2000 School is Historic Site - Old Berwick Primary School 6 Nov 2003 Community Icon Will be Missed - George Wilson 1 Nov 2000 Plea on School Site - Old Berwick Primary School 8 Nov 2000 College to Push for Site - Old Berwick Primary School 27 Sep 2000 Stand up for Berwick - Old Berwick Primary School 27 Sep 2000 Village People - Old Berwick Primary School 11 Nov 2003 Park Feedback Quest - Old Berwick Primary School 5 Nov 2003 Berwick Village Town Park Concept UNKNOWN Berwick Mechanics Institute and Free Library - pamphlet 23 Jul 1993 Where to Build the New City’s Civic Centre? UNKNOWN Berwick map 12 Mar 2008 The Other Millers’ Tale - John & Brenda Miller 11 Jun 2008 Breeding a Class of Their Own - Allan & Jill Furborough 13 Jan 2010 Dawn’s Work Will Go On - Dawn Dorning 5 Aug 2009 Members Remember - Red Cross 17 Jun 2009 Diamond Couple are the Best of Friends - Hugh & Dorothy Hodson 25 Nov 2009 Century of Community Care - St John of God Hospital 7 Sep 2016 Farewell to a Dynamic Lady - Jan Bateman 13 May 2009 Diamond Couple - Bill & Joyce Minns 11 Jul 2013 Short Memory - Proposed site for Cultural Centre 21 Apr 2021 Memories of Afghanistan - Chris May 16 Jun 2021 Survivor is a Guiding Light - Kay Rankin 25 Aug 2021 Mixing with the Famous - Lord & Lady Casey 21 May 2015 Happy Couple’s Life of “Bliss and Hiss” - Val & John Evans 15 Jun 2016 Last Orders? Not for Carl - Carl Strachan 20 Oct 2021 Settling the Soldiers - Soldiers Road 28 Jan 2009 Secrets Behind the Show - Berwick Show 24 Jan 2018 Club in a Gesture for Jim - Jim Allan 21 Feb 2018 Shipwreck Lovers Settle in Berwick, Despite Cannibals 14 Aug 2013 Association Members Celebrate Their 80th - Red Cross 24 Feb 2021 Cheese Factory’s Rich Past 10 Jun 2020 Kempson Left His Mark - Henry Kempson 10 Mar 2021 School Began on Holidays - St Margarets 25 Aug 2021 The Sweet Side of Savory - Gil Savory 25 Jul 2018 Firing up the Old Brigade - 11 Jul 2018 Tribute to the Good Doctor - Percy Langmore 25 Apr 2018 A Brush with History 25 Apr 2018 Looking Back 9 Feb 2009 A Place in History - Living Memories DVD 25 Oct 2017 Founding Family Continues Show’s Style - Dandenong Show 19 Mar 2015 United by News - Bill Rogers 1 Feb 2017 Ruth in Heritage Honour - Ruth Crofts 23 Aug 2017 Athlete was a Gentleman - Edwin Flack 23 Aug 2017 Historic News in Brief UNKNOWN Playing the Part - World Wars Re-enactment 9 Jul 2014 Building on Some Historic Foundations - National Trust 26 Apr 2018 Big Crowd for First Dawn 16 Apr 2007 Life and Legacy Remembered - Peter Canobio 25 Jun 2008 Walking Tour Unearths “Jewels” - Hands on History Tour CD 12 Dec 2007 Old Cheese Factory was Built by Sir William Clarke in 1875 31 Mar 2021 Cemetery Extension Open - Berwick Cemetery 31 Mar 2021 End of an Era: Don Retiring from Trust After 40 Years - Don Moyes 7 Feb 2018 A Healthy History in Berwick - St John of God Hospital 18 Apr 2018 Hollywood in Berwick - On the Beach 30 Apr 2014 More Than a Token Effort - Cyril Molyneux 25 Apr 2018 Dedicated to Their Valour - Victoria Cross 13 Apr 2016 After 49 Years, the Final Snip - Les Jones 12 Nov 2007 A Proud History Building a Strong Future - St John of God 8 Nov 2017 Army Medic Takes the Highest Road - Samantha Bradbury 8 Nov 2017 War Memorial Set in Stone 27 Jun 2016 Farewell and Thanks - Berwick Leader May 2008 Attracting Some Flack - National Sports Museum 21 Sep 2016 150 Years of Worship - Berwick Church of Christ 27 Apr 2016 Major is Guest Speaker 17 Nov 2021 Iconic Berwick Sale - Burr Hill 17 Nov 2021 A Legendary Contributor to Local Sport - Arch Brown 15 Dec 2021 Fascinating Family History - Kirkham family 16 Feb 2011 50 Years of Love - Vincent & Carmel Taranto 16 Feb 2011 Life Members on Show UNKNOWN Good Doctor Laid a Medical Foundation 27 Sep 2000 Citizen of the Century 25 Nov 2015 It’s the End of a CWA Era 21 Jan 2015 Rotunda Opens Up 23 Feb 2022 Avard and Sunnyside 9 Mar 2022 Dedicated Farming Family 16 Feb 2022 Heritage Protector Passes 10 Nov 2021 VC Hero’s Story Revealed 2 Nov 2022 Captain Chose the Name 7 Dec 2022 Battin for the People 21 Mar 2018 Marking Scanlan Street 7 Mar 2018 Funston a Fine Figure 22 Dec 2020 The Park Jack Helped Build 25 Nov 2020 Park Honours Pioneers 14 Oct 2020 Colourful Characters - McKay Family 2 Sep 2020 Mayor’s Prussian Heritage - Kirsty Lottkowitz 19 Aug 2020 A Generous Patriot 22 Jul 2020 The Grice Family Legacy 13 May 2020 Tea Baron’s Life on Clover 1 Apr 2020 Well Played Warnes 4 Mar 2020 Right Royal Name Change - Gloucester Avenue 22 Jan 2020 Four Generations Strong - Ward family 8 Aug 2018 Buchanans Make A Mark 27 Jun 2018 Integral to Berwick Life 2 May 2018 Storekeeper’s New Digs 13 Jul 2022 A Walk in the Park in 1992 19 Oct 2022 From Ireland to Berwick 7 Sep 2022 One for the History Books 12 Jul 2018 Berwick Set For Big 150th 13 Jul 2022 Lex’s Fascinating Legacy - Wilson Botanic Gardens 13 Jul 2022 From a Quarry to Gardens - Wilson Botanic Gardens 20 July 2022 WGCA Mourning the Loss of Wallace - Jeff Wallace 27 Apr 2022 First Female in 104 Years - Berwick RSL 29 Apr 2020 Fritzlaffs Strike Gold 27 Apr 2022 Marching for the Anzacsnon-fictionberwick (vic.)

The Black Powder Mill is the last remaining building from the Albion Explosives Factory and is located in the suburb of Cairnlea. It was used to grind gunpowder for bombs and shells in WW2. In 2001 the Black Powder Mill was included in the National Trust's Heritage Register due to its cultural heritage significance. Friends Of The Black Powder Mill A Blast From The Past Memories of Albion Explosives Factoryblack powder mill, albion explosive factory

This 1995 photograph of the Jacana Primary School Junior Council serves as a meaningful historical and emotional record of student leadership within a now-closed educational institution. It captures the school’s dynamic spirit, cultural diversity, and nurturing values that once defined its community. More than a simple group portrait, the image preserves the legacy of a school that played a vital role in shaping young lives and fostering a strong sense of belonging and local identity. As a visual snapshot of the mid-1990s, it also offers a charming reflection of the fashion and hairstyles of the time, making it a treasured keepsake for former students, staff, and the wider Jacana community.The 1995 Jacana Primary School Junior Council photograph is a historically and emotionally significant artefact that highlights student leadership and community values within a now-closed educational institution. It reflects the school’s commitment to fostering responsibility, inclusion, and active participation among its students. More than a group portrait, the image captures the vibrant spirit and cultural diversity that defined Jacana Primary School during the mid-1990s. It also offers a visual record of the fashion and social atmosphere of the time, making it a cherished piece of local history for former students, staff, and the broader community. As part of the school’s legacy, this photograph preserves the memory of a place that played a formative role in shaping young lives and strengthening community identity.Colour photograph on matte photographic paper, mounted on white cardBack: Upper right corner: Blue Label: PH - 2106 jacana primary school, students, staff, education, 1995, jacana, junior council

This 1981 photograph of Grade 2 and 3 students from Room 12 at Jacana Primary School offers a valuable glimpse into the everyday life of primary education in Melbourne’s northern suburbs during a period of suburban growth and demographic transformation. Founded in 1959, Jacana Primary School served the local community for over four decades, providing not only academic instruction but also a vital space for social development and community connection. The image reflects the school’s dedication to creating a nurturing and inclusive environment for young learners in their early years of schooling. It also illustrates the cultural diversity and changing social landscape of Jacana in the late 20th century. As part of the school’s visual archive, this photograph contributes to a broader understanding of how public education supported community cohesion, shaped local identity, and played a formative role in the lives of children and families across generations.The 1981 photograph of Grade 2 and 3 students in Room 12 at Jacana Primary School is a historically significant artefact that captures the everyday realities of early primary education during a period of growth and change in Melbourne’s northern suburbs. It reflects the school’s commitment to providing a nurturing and inclusive learning environment for young children, many of whom came from diverse cultural backgrounds. This image offers insight into the social and educational atmosphere of the early 1980s, including classroom dynamics, fashion, and the evolving demographic character of the Jacana community. As part of the visual legacy of a now-closed institution, the photograph preserves the memory of a school that played a vital role in shaping childhood experiences and fostering community identity across generations.Colour Photograph on Matte Paper, with white borderBack, Top Left Corner: (White label): PH-5009/ (Blue Label): PH-5596 Centre (in pencil) J.P.S., Manufacturers Mark; this paper/Manufactured/ by Kodakjacana primary school, education, photograph, group photograph, class photograph, grade 2 and 3, room 12, 1981

Jacana Primary School, founded in 1959 and closed in 2009, was a cornerstone of public education in Melbourne’s northern suburbs for over five decades. During this time, the school evolved alongside the community it served, adapting to waves of suburban development and increasing cultural diversity. The 1993 Junior School Council photograph captures a moment of student leadership and engagement, reflecting the school’s commitment to fostering responsibility, inclusion, and active participation from an early age. Junior School Council initiatives encouraged students to contribute to decision-making and community-building within the school, helping to develop confidence and civic awareness. Set against the backdrop of significant urban and demographic change, this image also offers insight into the social dynamics and educational values of the early 1990s. It stands as a testament to Jacana Primary’s nurturing ethos and its role in shaping not only academic outcomes but also the personal growth and community identity of its students. The 1993 Junior School Council photograph from Jacana Primary School is a significant historical record that highlights the school’s emphasis on student voice, leadership, and community participation. Captured during a time of urban growth and increasing cultural diversity in Melbourne’s northern suburbs, the image reflects the inclusive and democratic values that shaped the school’s educational approach. This photograph not only documents the students who took on leadership roles but also symbolises the broader ethos of empowerment and engagement that Jacana Primary fostered among its young learners. As part of the visual legacy of a school that served its community for 50 years, the image preserves the memory of a place where children were encouraged to contribute, lead, and grow—making it a meaningful artefact for former students, staff, and the wider community.Colour Photograph on Satin Finish Paper, mounted on card backingBack; (Blue Label): PH-5396 (Front) (Bottom Right Corner): Fotek ©jacana primary school, education, photograph, group photograph, 1993, jacana, junior school council

Jacana Primary School, established in 1959 and closed in 2009, was a key educational institution in Melbourne’s northern suburbs, serving generations of families during a time of significant suburban development and demographic change. By the mid-1990s, the school had become a reflection of the area’s growing cultural diversity and community spirit. Music education played an important role in the school’s curriculum and extracurricular life, with programs like the Recorder Group offering students opportunities to explore creativity, develop discipline, and participate in shared performances. The 1995 Recorder Group photograph captures this aspect of school life, highlighting the value placed on artistic expression and student involvement beyond the classroom. Set against the backdrop of a changing urban landscape, the image also provides insight into the social atmosphere of the time, including fashion, hairstyles, and the informal culture of primary education. As part of Jacana Primary’s visual archive, it contributes to a broader understanding of how public schools supported holistic development and community cohesion during the late 20th century.The 1995 photograph of the Jacana Primary School Recorder Group is a valuable historical and emotional record that reflects the school’s dedication to fostering creativity and student engagement through music education. Captured within a now-closed institution, the image showcases the vibrant spirit, cultural diversity, and nurturing environment that defined Jacana Primary School during the mid-1990s. More than a group portrait, this photograph highlights the importance of extracurricular activities in shaping well-rounded educational experiences and building community among students. It also offers a charming glimpse into the fashion, hairstyles, and social atmosphere of the time, making it a treasured keepsake for former students, staff, and the wider Jacana community. As part of the school’s visual legacy, it preserves the memory of a place that played a formative role in the lives of generations of children.2 x Colour photographs on satin finish paper, 1 x mounted on white card backing, 1 x Laminated.(Front; Bottom right corner): Fotek © (Back Blue Label): Ph-5397 jacana primary school, students, staff, education, 1995, recorder

The 1982 photograph of Prep 1, Room 13 at Jacana Primary School offers a vivid glimpse into the everyday life of early primary education during a time of rapid suburban development in Melbourne’s north. Established in 1959, Jacana Primary served as both an educational institution and a community anchor, supporting generations of families through periods of social and demographic change. By the early 1980s, the school was welcoming children from increasingly diverse backgrounds, reflecting the evolving cultural landscape of the Jacana area. This image captures the warmth and inclusiveness of the school’s learning environment, where young students began their educational journeys in a setting that valued connection, care, and community. As part of the school’s visual archive, the photograph contributes to a broader understanding of how public education shaped local identity and fostered social cohesion during a transformative era in Melbourne’s suburban history.The 1982 Prep 1, Room 13 photograph from Jacana Primary School is a historically significant artefact that captures the early stages of formal education during a transformative period in Melbourne’s northern suburbs. It reflects the school’s commitment to creating a welcoming and supportive environment for young learners, many of whom were experiencing their first year of schooling. Taken during a time of growing cultural diversity and suburban expansion, the image offers insight into the social and educational values of the early 1980s. It also provides a visual record of classroom life, fashion, and the evolving identity of the Jacana community. As part of the school’s visual archive, this photograph preserves the memory of a place that played a foundational role in shaping the lives of children and fostering a strong sense of belonging and community. Colour Photograph on Matte Paper(White Label); PH- 4479 (Blue Label); PH 5561 Pencil inscription; J.P.Sjacana primary school, education, photograph, group photograph, 1982, prep 1, room 13

This photograph documents a moment from the 1990 Jacana Primary School Christmas picnic, likely held at Greenvale Reservoir Park, a popular recreational area in Melbourne’s northern suburbs. The image shows students, families, and staff gathered under a wooden pavilion, engaging in festive activities that marked the end of the school year. Jacana Primary School was established in 1959 to serve the growing suburban community of Jacana, part of Melbourne’s post-war urban expansion. The school became a central institution in the area, not only for education but also for fostering social bonds among families from diverse backgrounds. Annual events like the Christmas picnic were key to the school’s ethos, promoting inclusivity, celebration, and connection to nature. Greenvale Reservoir Park, where the picnic was likely held, offered a scenic and accessible venue for such gatherings. Its open spaces and family-friendly amenities made it an ideal location for school events, reinforcing the school’s commitment to outdoor learning and community engagement. The photograph is historically significant as it reflects broader trends in public education during the late 20th century in Melbourne’s outer suburbs—particularly the role of schools in building community identity and supporting intergenerational relationships. It also captures the spirit of Jacana Primary School before its closure in the early 2000s, preserving a visual memory of its contribution to local life.This photograph, taken during the 1990 Jacana Primary School Christmas picnic at Greenvale Reservoir Park, holds cultural and historical significance as a visual record of community life and educational values in Melbourne’s northern suburbs during the late 20th century. It captures a moment of joyful gathering under a wooden pavilion, where students, families, and staff came together to celebrate the end of the school year. Jacana Primary School, established in 1959, served as a cornerstone of the Jacana community until its closure in the early 2000s. Events such as the annual Christmas picnic were central to the school’s identity, fostering inclusiveness, friendship, and a strong sense of belonging. The choice of Greenvale Reservoir Park reflects the school’s connection to local landscapes and its commitment to accessible, outdoor learning experiences. The image is significant not only for its depiction of school traditions but also for its broader representation of how public education in Melbourne’s outer suburbs supported social cohesion, local identity, and intergenerational connection. It stands as a testament to the enduring values of joy, community, and inclusivity that defined Jacana Primary School and its legacy within the region.Photograph on glossy paper of a group children in the park.PH18289 (crossed out) PH-4209 (crossed out) PH-4868jacana primary school, christmas picnic, 1990, jacana, christmas party