Gunditjmara Country is an integrated unit which looks at the lives, traditions and culture of the Gunditjmara People of Western Victoria. Developed as part of the Kormilda Science Project and targeted at all Australian students, this work recognises the need for Western and Indigenous cultures to contribute to the comprehensive education of Australia's youth. The introduction provides a guide to implementing this program of study in schools and includes feedback from teachers involved in trialling the material.gunditjmara, western victoria, education, curriculum development, geography, science, history, secondary school education

Dictionary with text in English and Keerray Wooroong and related dialects.maps, word lists, b&w illustrations, b&w photographs, colour photographswestern district, keerray woorroong, gunditjmara, warrnambool, peek wooroong, koornkopanoot, wooloowoorroong, keewoorroong, tyagootwoorroong, thawoortwoorong

Diana NIKKELSON (c1943-30 December 2022) Diana Nikkelson is a Ballarat-based Gunditjmara elder. Her grandfather was Watchobaluk. A part of the stolen generation, Diana Nikkelson was one of 10 children, and she had nine children of her own. A founding member of the Ballarat and District Aboriginal Co-operative in the late-70s, Diana Nikkelson was a board director for 16 years and chair for six years. She worked on the Bunjil the Eagle installation at the Koorie Playground at Lake Wendouree, and designed the goanna which was etched into the paving along Police Lane in 2006, and has painted murals across Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 000 works and was listed as a 'Ballarat Treasure' in 2007.AboriginalThis work by Ballarat-based Gunditjmara elder Diana Nikkelson was commissioned by the University of Ballarat (later Federation University) for use on the Aboriginal Employment Strategy brochure. The central figures in this painting represent the artist and the fathers of her children. The outer groups are Diana Nikkelson’s children and their families. art, artwork, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara, aboriginal employment strategy

Aunty Frances Gallager is a respected Elder who was born in Bendigo in 1926 and is proudly from the Gunditjmara people of Western Victoria. Aunty Frances studied at RMIT and received her Diploma at the age of 87. She has her work represented in numerous public collections.aboriginal, gunditjmara

The Lake Condah Mission site includes bluestone ruins and a reconstructed timber building, as well as the cemetery which were part of the original settlement. With European settlement in the 1830s came conflict. Gunditjmara people fought for their land during the Eumerella wars, which lasted more than 20 years. As this conflict drew to an end in the 1860s, many Aboriginal people were displaced and the Victorian government began to develop reserves to house them. Many Aboriginal people refused to move from their ancestral land and eventually the government agreed to build a mission at Lake Condah, close to some of the eel traps and within sight of Budj Bim (Mt Eccles). The mission opened in 1867. The Mission was formally closed in 1918, and Aboriginal people were forced off the Mission, some moving to Lake Tyers. The Gunditjmara protested against the Mission’s closure and many continued to reside in the buildings until the majority of the reserve land was handed over to the Soldier Settlement Scheme in the 1940s. The mission was destroyed by the government in the 1950s in an effort to force the integration of Gunditjmara people with the general community but the Gunditjmara people continued to live in the area and protect their heritage. The mission lands were returned to the Gunditjmara in 1987. Lake Condah Mission is a place with special meaning to the Gunditjmara community - as a community meeting place, an administrative centre, a symbol of political struggle and a link to family histories. As a result the Gunditjmara community do not want open public access to this site. Key Features of Interest Ruins of stone cottages and plot remains of buildings such as the church Reconstructed dormitory building (https://www.budjbim.com.au/visit/cultural-sites/lake-condah-mission/?gclid=EAIaIQobChMIz6j36ZvF-QIV8ZhmAh2tmA3qEAAYASAAEgLxrvD_BwE, accessed 2022)Colour photographs of the former Lake Condah Aboriginal Missionlake condah, lake condah aboriginal mission, aborigines, aboriginal, gunditjmara, eumerella wars

The biography of a Victorian Koori woman who traced her family lineage back to the first contact between Indigenous Victorians and the founder of Melbourne. Daughter of Two Worlds by Dawn Lee begins with a tragic affair between Eliza Batman, the wife of Melbourne pioneer John Batman, and William Willoughby, Batman's right-hand man and a pillar of Melbourne's early Wesleyan church. The book also unearths the remarkable truth behind a family legend that Dawn Lee's great grandfather was a mysterious white English lord who met her great grandmother, Susannah, a full tribal Gunditjmara woman.maps, b&w photographsgunditjmara, dawn a lee, aboriginal victorians, victorian history

The Budj Bim National Heritage Landscape - Tyrendarra Area on the Australian National Heritage List lies on the Tyrendarra lava flow between the Fitzroy River and Darlot Creek close to the township. These photographs were taken during a guided tour with Gunditjmara guide Dennis Rose. Remains of stone shelters built and used by the Gunditj Mirring people.rock shelter, aboriginal, aborigines, tyrendarra, winda mara, dennis rose, budj bim national heritage landscape, gunditjmara

The Budj Bim National Heritage Landscape - Tyrendarra Area on the Australian National Heritage List lies on the Tyrendarra lava flow between the Fitzroy River and Darlot Creek close to the township. The Budj Bim Cultural Landscape was ascribed on the UNESCO World Heritage List on 06 July 2019 (AEST). These photographs were taken during a guided tour with Gunditjmara guide Dennis Rose.Remains of stone shelters built and used by the Gunditj Mirring people.rock shelter, aboriginal, aborigines, tyrendarra, winda mara, rock hut, gunditjmara, unesco world heritage

Stanley Couzens, a Gunditjmara man and long-time Geelong resident, painted this story upon commission from the Geelong Wool Combing Company. It depicts hunting in the You Yangs, the distinctive granite peaks that overlook the region. In 1993, Couzens’ painting was translated into a pattern by textile designer Jenifer McMahon. It was then turned into a jumper using wool sourced entirely from the region. It was fully processed, from fleece to fabric, in Geelong. The jumper was given to attendees at the opening of the Geelong Wool Combing company on 10 December 1993. Among the many guests, was the Prime Minister Paul Keating. The painting was acquired with the permission of the Couzens family.Framed acrylic painting on board, showcasing the You Yangs mountain range, people, and local flora and fauna in warm earth tones. The painting is signed 'S. Couzens 93' in the bottom right hand corner. The painting is framed in a dark wooden frame.Bottom right corner - 'S. Couzens 93'you yangs, gunditjmara, aboriginal art, jenifer mcmahon, design, geelong wool combing company, jumper

"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

This is an Aboriginal artwork that depicts a Goanna Totem. Designed by Ballarat-based, Gunditjmara artist Aunty Diana Nikkelson, the design is inspired by the artist’s totem and is a tribute to the first artists of the region, the Wadawurrung people. It acknowledges Aboriginal survival and the dynamic regeneration of the Aboriginal art and culture in the region. The artwork is in-set to the basalt paving along Police Lane by a series of etched footsteps, which evolve from human footprints to goanna prints as viewers approach the rear of the Art Gallery of Ballarat. The artwork was originally located only outdoors and half of it was brought into the Art Gallery of Ballarat in 2011, when the former Federation Plaza was enclosed to form the Art Gallery of Ballarat's McCain Annexe. The artwork was created in 2006 as part of the cultural festival of the Commonwealth Games. The artwork is of cultural and aesthetic significance to the people of BallaratSand blasted petroglyph forms into bluestone on laneway surface. The carved inlay of the Goanna Totem design into the bluestone of Police Lane (beside Art Gallery of Ballarat) continues inside the building.goanna totem ballarat, goanna totem, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara

Ochre and yellow covered book of 87 pages with quality photgraphs of public records.non-fictionaboriginal mission stations, plan, aboringal, aborigine, aboriginal records, public record office victoria, national archives of australia, jim berg, port phillip, assimilation, chief protector of aborigines, aboriginal protectorates, board for the protection of aborigines, native police corp, edward stone parker, goulbourn river protectoratewesternport district, gunai-kurnai, coranderrk aboriginal station, lake tyers aboriginal station, antwerp primary school, wimmera river, framlingham aboriginal station, william thomas, map, charles tyers, f.p. strickland, ebernezer

noombapee is an etching and lithograph by Gunditjmara and Keerray Woorroong artist Vicki Couzens. Couzens is a multi-disciplinary artist focused on strengthening her language and culture through research and creative projects. noombapee was created during a 2018 Collie Print Trust Printmaking Fellowship at the Australian Print Workshop. The work is an example of Couzens’ reclamation and celebration of Indigenous languages. The title is a Gunditjmara term which approximately translates to ‘have mercy’ or ‘forgiveness’. The word ‘noombapee’ appears multiple times in the lower right corner of the composition. The left side of the work includes a letter to the editor of the Warnambool Standard, dated 3 April 1940 and authored by Vicki’s ngapoon (paternal grandfather), Nicholas Couzens. Couzens explains that ‘he was an activist and advocate for our rights living on the Framlingham mission.’

Original notes taken by Fison and Howitt into marriage rites and customs in the Kurnai, Kamilaroi and JAMILARAAY people. It looks at kinship terms. Includes maps.tableskurnai, kamilaroi, gournditch mara, gunditjmara, lake condah

Green tinted paperback with photograph of farming men with children and horses on front cover. Title and other text is dark brown edged in white. A number of Irish surnames are written in darker green on the paler part of front cover. This effect is also on back cover in tan lettering. The back cover description is written in brown text with image in oval above text.non-fictionHistory of St Brigid's Catholic Church and the Irish-Australian community warrnambool, crossley, st brigid's church, crossley catholic church, helen doyle

The Framlingham Aboriginal Trust is a shareholder- owned organization established under Victorian law in 1971. The Trust owns and manages part of what was the old Aboriginal Reserve established in 1861 under the auspices of the Church of England. In 1865 the Reserve was officially established as a Government-managed aboriginal station. By 1970 the original area of 3,500 acres was whittled down to 585 acres and handed over to the Framlingham Aboriginal Trust. Framlingham is today one of only two discrete aboriginal communities in Victoria where aborigines live on aboriginal land and is an important part of the district cultural life. The celebration of the 150th anniversary of Framlingham’s establishment in 2014 was therefore a significant event in the district’s history and the booklet is a permanent reminder of this.This is a small booklet of 8 pages containing information on the 150th celebrations of Framlingham Aboriginal Reserve in 2014. The cover has a cream background with illustrations and printed material in yellow, black and brown. The pages are stapled. The booklet includes photographs, maps, illustrations and printed material. Front cover: ‘Framlingham Aboriginal Reserve 150th Anniversary Celebration, April 12, 2014, Ngatanwarr’ etc Back cover: Acknowledgements of sponsors and written material framlingham aboriginal trust, western district aborigines, peek whurrong, kirrae whurrong, gunditjmara, tjap whurrong

Explores the history of the unusual site and the lifestyle of the people. then and now.maps, b&w photographsgunditjmara, gournditch-jmara, manmeet, lake condah, portland, heywood, hamilton

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.A computer generated artwork on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Digital print on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- 2022) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. Computer generated image on canvas.josh muir, aboriginal, artwork, artist, hutchinson indigenous fellowship

Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’

Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths, and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’