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

The State Electricity Commission of Victoria constructed the Kiewa Hydro Electric Scheme (KHES) which included the construction of the towns of Mt Beauty and Bogong from the late 1940s to 1961. The Mt Beauty Fire Brigade was formed to protect the towns and the surrounding areas including the area of the KHES.The KHES changed the Kiewa Valley from a rural community to a construction community. The Mt Beauty fire brigade competed with neighbouring fire brigades to practice their skills and to meet other fire fighters.Small black and white photos of Kiewa Hydro Electric Scheme, including Mt Beauty Fire Brigade competing against other local brigades in the 1950s. Photos include: 1. Junction Dam 6 photos 2. Early Mt Beauty, Fire fighting, Kiewa River, Early Kiewa Scheme Plan, surveying, fire tower 6 photos 3. Lake Guy 2 photos, Clover Power station, Bogong Village, Rocky Vally Flying Fox 2 photos 6 photos altogether 4. Tunnelling 6 photos 5. Bogong, Clover etc 6 photos 6. Bogong Creek Raceline 4 photos 7. Concrete Plant 3 photos 8. High Plains 6 photos 9. Mt Beauty Fire Bridgade 1 & 2 . 8 photos altogether 10. Engineer Michael Walter 1 & 2. 4 photos altogetherNOTE: KVHS has photos for media on USB but won't load onto VIC Collectionskhes, mt beauty fire brigade, engineer michael walter

One of a collection of photos donated by Mr J. W. Gliddon and used in his book "Phillip Island in Picture & Story"Photograph of an Oil Painting of Charles Manton. Posed head and shoulder image."From an oil painting of Charles Manton in the hands of Mr Gerald Manton. mcHaffie Bros. wrote to C.M. in 1842 asking that he remove his pigs from P.I. This letter will be reproduced in our book. J.W.G." (Added to photo media)charles manton, j. w. gliddon, mchaffie bros, phillip island

Felt banner recording course attendance for Recruit Training Squadron (see media photo). Wooden dowel support.WRAAF WOMENS ROYAL AUSTRALIAN AIR FORCE RECRUIT TRAINING SQUADRON WRAAF PER ARDUA AD ASTRA COURSE 207 4TH APRIL - 10TH MAY 1972 1.RTU EDINBURGH S.A.wraaf, banner

See media photo 2 for details of backgroundOld stove / woode heater and tray base (tray may need repairs or replacement)mcnamara, wood heater, school, heating

Black and white photograph - Grade 3, 1923"Attached to photograph" Back Row - L to R: No names 2nd Row - L to R: Lola Belbik, No other names. Front Row - L to R: Eric Milner, ?, Jack Tann, No other names. Teacher: Added SC19 photo to "media" and deleted VC entry 2152 on 14th June 2022. Put SC19 photo with this entry.

Media photo of a Wireless Patrol car enacting an arrest. S/Constable Paul Delainis at rear left. First Const. Edward front left.Two police officers wearing suits and hats placing another man into the back of a Ford vehicle. He is wearing overalls and there is a third policeman standing on the other side of the car. Circa 1964police vehicles; wireless patrol; motor transport branch; motor transport section; ford car

Black and white photograph - Grade 1A, 1947."Attached to photograph" Back Row - L to R: Doug Hume, Ian Sharp, ?, ?, ?, ?, Ken Parnall, ?, ?. 2nd Row - L to R: Ann Whitehouse, Julie Sanders, Jill Pump, ?, Dianne Dewar, Kathy Lowe, ?, ?. Front Row - L to R: Brian Rothney, ?, John Willis, Frank Morris, Douglas Bangey, Neil O'Brien. Teacher: Added Sc0023 photo to "Media" and deleted VC entry 2156 on 14th June 2022. Sc0023 now with this Entry.

Used in the 19th CenturyA large handmade wooden barrel shaped headed maul with two steel bands at each end and a wooden handle. It was used to split logs or timber particularly hardwoods using a wedge as shown in the media photo. The rectangular steel wedge has a pointed end which is damaged. It was used in the late 19th Century. mauls, striking tools, steel, wood, tools, splitting wedges, wooden mallet, woodworking tools

Black and white photograph - Grade 4, 1951"Attached to photograph" Back Row- L to R: No names 2nd Row - L to R: No names 3rd Row - L to R: ?, Isabel Sykes, Joan Ingram, Jeanette Hansey, Margaret King, Carol Kennedy, Diane Dewer, Gillian Morris, Jill Pump, ?, ?, Julie Sanders, ?. 4th Row - L to R: ?, ?, ?, ?, ?, ?, ?, ?, ?, Moya Crane, ?, ?. Front Row- L to R: ?, ?, ?, ?, ?, ?, ?, ?, ?, John Willis. Teacher: Added Sc0026 photo to "Media" and deleted VC entry 2159 on 14th June 2022. Sc0026 now with this Entry.

Father Shimuye Mebratu is one of a growning number of Orthodox priests driven from their parish by drought in Wello Province.B & W waist length photograph of Father Shimuye Mebratu carrying a silver Orthodox cross."Father Shimuye Mebratu with his silver Orthodox cross Reproduction permission is granted for editorial purposes only. World Vision photo credit must be given at all times when reproducing this photo World Vision Media Department Phone (03) 699 8765 C&N 20/2/1985 page 7"mebratu, shimuye, father, orthodox cross

A legatee function in Legacy House with General Sir Peter Cosgrove, AK, MC as a guest speaker. It is assumed to be 2000 as it was with a bunch of other photos with the label, "Media Launch 2000", plus David Kelly appears to be President. Other names unknown.A record of function for Legatees. Colour photo x 4 of a function at Legacy House to launch Legacy Week.Printing on the back "legatee event, legacy promotion, speakers

A legatee function in Legacy House with General Sir Peter Cosgrove, AK, MC as a guest speaker. It is assumed to be 2000 as it was with a bunch of other photos with the label, "Media Launch 2000", plus David Kelly appears to be President. Legible names are: L/- Colin Bannister, Graham Thom and Sue Maher. Other names unknown.A record of function for Legatees. Colour photo x 4 of a function at Legacy House to launch Legacy Week.Printing on the back "legatee event, legacy promotion

Used on a farm in the late 19th or early 20th century.A pair of handmade wooden horse hames which are linked together by a leather strap at the top. It has leather traces and four metal rings. At the sides there are two long leather strips with chain links attached to each end.One long leather strap is shown in the second photo in Media - not to be confused with all the other tools in the photo. It would have been attached to a horse collar and used to to distribute the load around a horse's neck and shoulders when pulling a wagon or plough. The collar often supports and pads a pair of curved metal or wooden pieces, called hames, to which the traces, which attach to the wagon or plough, of the harness are attached. The collar allows the horse to use its full strength when pulling. It was used in the late 19th or early 20th century.horses, horse accessories, harness, animal accessories, farm equipment, hames

Black and white photograph - Grade 4, 1925"Attached to photograph" Back Row - L to R: F Somerville, ?, P Neilson, M Grant, J McPhee, ?, E Pratt, ?, L Bomford, D Somerville, E Roberts. 2nd Row - L to R: D Milne, V Tremblet, ?, M White, A Hann, K McArthur, V Allen, G Baker, ?, D Matlock. 3rd Row - L to R: B Pickettt, P Newell, Lola Belbin, ?, E Pickett, J Godbehear, D Reid, E Milner, J Peake, B Sampson, ?. Front Row - L to R: F Whiteway, ?, E Corbett, R Bareer, A Sleeman, V Nash, ?. Added Sc0020 photo to "Media" and deleted VC entry 2153 on 14th June 2022. Sc0020 now with this Entry.

Black and white photograph - Grade 4, 1946"Attached to photograph" Back Row - L to R: Brian Pump, John Chird, ?, Stan McDonald, Paul Divola, Andrew Rothney, Bill France. 2nd Row - L to R: Noel Deed, Ted Polkinghorne, Les Bomford, Cliff Mead, Russ Read, Peter Wigley, Vernon Lee, John Wigley. 3rd Row - L to R: ?, Alison Pellow, ?, ?, ?, ?, ?, Jennifer Parker, ?, ?. 4th Row- L to R: ?, ?, Dawn McAlpine, ?, Julie Martin, ?, Jennifer Parker, ?. Front Row - L to R: Norman Wright, Bill Wright, Jack Wakeham, Brian Mallet, Ray Hager, ?, Carl Martin, ?. Teacher: Fredrick Samual Jutson Added Sc0022 photo to "Media" and deleted VC entry 2155 on 14th June 2022. Sc0022 now with this Entry.

Black and white photograph - Grade 3,1945."Attached to photograph" Back Row - L to R: ?, Brian Pump, Paul Divola, Stan McDonald, John Caird, Noel Deed, Peter Wigley, John Mathews. 2nd Row - L to R: Dawn McAlpine, ?, Marion Medhurst, ?, Julie Martin, Jennifer Parker, ?. 3rd Row - L to R: ?, ?, ?, Lrris Hill, ?, ?, ?, ?, ?, ?. 4th Row _ L to R: Bill France, Desmond Stewart, Russell Read, John Wigley, Norman Wright, ?, Ted Polkinghorne, Andrew Rothney, Les Bomford. Front Row - L to R: Bill Wright,, ?, Brian Mallett, Cliff Mead, Ray Hager, Vernon Lee, Jack Wakeham, Karl Martin. Teacher: Added Sc0021 photo to "Media" and deleted VC entry 2154 on 14th June 2022. Sc0021 now with this Entry.

Black and white photograph - Grade 5, 1947."Attached to photograph" Back Row - L to R: Graeme Rattray, Paul Divola, Brian Simpson, John Caird. 2nd Row - L to R: Norman Wright, Brian Pump, Russell Read, Bill France, Phillip Collins, Peter Wigley. 3rd Row - L to R: Nola Scurry, Lorres Hill, Valerie Gordon, Yvonne Goodwin, Linley Clark, Lois Stevenson, ?, ?, Jennifer Parker, Chris Patterson, ?. 4th Row - L to R: (?) Georgie, Evelyn Willis, ?, Marion Medhurst, ?, ?, Elain Mathews, Valerie Everett, Dawn McAlpine, ?, ?. Front Row - L to R: Noel Deed, Ron Frazer, Brian Mallet, Vernon Lee, Ted Polkinghorne, John Wigley, Keith Thompson. Teacher: Added Sc0024 photo to "Media" and deleted VC entry 2157 on 14th June 2022. Sc0024 now with this Entry.

A legatee function in Legacy House with General Sir Peter Cosgrove, AK, MC as a guest speaker. It is assumed to be 2000 as it was with a bunch of other photos with the label, "Media Launch 2000", plus David Kelly appears to be President. Some names are: Captain Steve Pearson, David Cull, L/- Alan Fookes, Peter Hateley, L/- George Logan, Greg Mead(?) and David Kelly with Neil O'Loughlin. Other names unknown.A record of function for Legatees. Colour photo x 4 of a function at Legacy House to launch Legacy Week.Printing on the back "legatee event, legacy promotion

Black and white photograph - Grade 5A, 1952"Attached to photograph" Back Row- L to R: John Davidson, Max Beavis, Maurice Henry, Jim Patterson, David Godfrey, Brian Reynolds, Bernie Whitney, Peter Bangay, Robert Crutchfield, Eddie Neff. 2nd Row - L to R: ?, Barbara Mai, Gillian Morris, Norma Walsh, Pam Daniels, Joan Murnane, Jennifer Miller, Jill Pump, Juan Harris, Carol Price. 3rd Row - L to R: Barbara Tortice, Barbara Johnson, Lynette Johnston, Sandra Davenport, Diane De war, Kathleen Lowe, Jennifer Mason, Meryl Hearnes, Anne Whitehouse. Front Row- L to R: Ian Sharp, Peter Baxter, Douglas Hume, Robert Johns, ?, Gary Bentley, Keith Anderson, Terry Decini, Jim Armstrong. Teacher: Added Sc0027 photo to "Media" and deleted VC entry 2160 on 14th June 2022. Sc0027 now with this Entry.

Distributed to nurses during campaigning for improved wages and working conditions in the 1980s, possibly during the historic 1986 Victorian 50-day nurses strike. The Royal Australian Nursing Federation (RANF) became the Australian Nursing Federation in 1989, suggesting that this button is from the late 1980s. Similar to the badges worn in this photo [https://stories.anmfvic.asn.au/86strike/media/2560-1440-landscape-sec2-contentb-hr_logwf7a.jpg] from 1986 (see individual on the far right).Circular white and blue plastic button. Silver metal, plastic-coated, with safety pin fastener adhered to back. Button printed with 'KEEP NURSES NURSING - Improve Nurses' Conditions' and 'R.A.N.F. [Royal Australian Nursing Federation] Vic. [Victorian] Branch'.nursing, industrial action, strike action, unionism, badges, nurses, buttons, pins, campaigning, trade unions, labour history

Black and white photograph - Grade 6A, 1953"Attached to photograph" Back Row- L to R: ?, Maurice Henry, Wayne Mariner, Ken Reynolds, Rudolf Schwen, Arthur Doyle, Bernie Whitney, Peter Bangay, Alan Amos, Douglas Bangay. 2nd Row - L to R: Wendy Pike, Diana Sumpter, Jill Pump, Margaret Hocking, Janice white, Pam Daniels, Barbara Gotts, Jeanette Hancy, Valma McLean. 3rd Row - L to R: Sandra Davenport, Jennifer Mason, Julie Sanders, Jim Armstrong, Ken Baker, Edward Neff, Mr Davis, Glenys Lee, Lynette Johnston, Sandra Tindal, Annette Tampaline, Fay Clarris, Juan Harris. Front Row- L to R: Ian Sharp, Ronald Crutchfield, Bruce Fletcher, Alan Telfer, Gary Bentley, ?, John Willis, Peter Baxter, Keith Anderson. Teacher: Mr Davis. Added Sc0028 photo to "Media" and deleted VC Entry 2162 on 14th June 2022. Sc0028 now with this entry.

With other photos that had a Yellow Post-it note says: "Media Launch 2000". See also 00545, 00546 and 00547. But they were a different film number. The other photos were a legatee function in Legacy House with General Sir Peter Cosgrove, AK, MC as a guest speaker. It is assumed to be 2000 as it was with a bunch of other photos with the label, "Media Launch 2000". Legible name tags are: Air Vice Marshall Neil Smith AM. MBE. and Gary Rowe MLA. Other name is Peter Lawrence.A record of function for Legatees. Colour photo x 1 of a gathering at Legacy House to publicise Legacy Week.Printing on the back "legatee event, legacy promotion

Black and white photograph - Grade 3, 1950"Attached to photograph" Back Row- L to R: Alan Telfer, Doug Hume, Terry Decini, Brian Rothney, Jim Armstrong, ?, Ian Sharp, Brian Reynolds, John Munday, Tom Williams, Ken Seymour, Bruce Fletcher, Ken Baker, Robert Johns. 2nd Row - L to R: Jennifer Mason, Beverley McClean, ?, Isabel Sykes, Julie Sanders, Wendy Anderson, Margaret Dornam, ?, ?, Moya Crane, Sandra Tindall, ?, Anne Whitehouse, Lynette Johnston. 3rd Row - L to R: Nola Burns, Carol Price, Pat Rutherford, Diane Dewer, Margaret Hocking, Gillian Morris, Carol Kennedy, Shirley Spence, ?, Juan Harris, Joan Ingram, Jill Pump, ?, ?, Shirley Kerford, Barbara Johnson. ?. Front Row - L to R: ?, Gary Bentley, Doug Bangay, Ray Taylor, Douglas Mackie, Peter Fry, Frank Morris John Willis, Keith Anderson. Teacher: Mr Leach Added Sc0025 photo to "Media" and deleted VC entry 2158 on 14th June 2022. Sc0025 now with this Entry.

Distributed to nurses during campaigning for improved wages and working conditions in the 1980s, possibly during the historic 1986 Victorian 50-day nurses strike. The title for a 'Grade 1' nurse is now a 'Division 1' or (more commonly) 'Registered Nurse'. The Royal Australian Nursing Federation (RANF) became the Australian Nursing Federation in 1989, suggesting that this button is from the late 1980s. Similar to the badges worn in this photo [https://stories.anmfvic.asn.au/86strike/media/2560-1440-landscape-sec2-contentb-hr_logwf7a.jpg] from 1986 (see individual on the far right).Circular blue and white plastic button. Silver metal, plastic-coated, with safety pin fastener adhered to back. Button printed with 'Don't ask me, I'm a Grade 1 nurse' and 'R.A.N.F. [Royal Australian Nursing Federation] Vic. [Victorian] Branch'.nursing, industrial action, nurses, strike action, unionism, badges, buttons, pins, campaigning, 1986 victorian nurses strike, trade unions, labour history

Distributed to nurses during campaigning for improved wages and working conditions in the 1980s, possibly during the historic 1986 Victorian 50-day nurses strike. The title for a 'Grade 1' nurse is now a 'Division 1' or (more commonly) 'Registered Nurse'. The Royal Australian Nursing Federation (RANF) became the Australian Nursing Federation in 1989, suggesting that this button is from the late 1980s. Similar to the badges worn in this photo [https://stories.anmfvic.asn.au/86strike/media/2560-1440-landscape-sec2-contentb-hr_logwf7a.jpg] from 1986 (see individual on the far right).Circular white and blue plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'Don't ask me, I'm a Grade 1 nurse' and 'R.A.N.F. [Royal Australian Nursing Federation] Vic. [Victorian] Branch'.nursing, nurses, industrial action, strike action, unionism, badges, buttons, pins, campaigning, 1986 victorian nurses strike, trade unions, labour history, royal australian nursing federation

Distributed to nurses during campaigning for improved wages and working conditions in the 1980s, possibly during the historic 1986 Victorian 50-day nurses strike. The Royal Australian Nursing Federation (RANF) became the Australian Nursing Federation in 1989, suggesting that this button is from the late 1980s. Similar to the badges worn in this photo [https://stories.anmfvic.asn.au/86strike/media/2560-1440-landscape-sec2-contentb-hr_logwf7a.jpg] from 1986 (see individual on the far right). (Unknown) former owner of badge has written a 'DE' and 'd' with black permanent marker on the badge to spell 'Don't ask me, I'm a degraded nurse'.Circular white and blue plastic badge, customised with black permanent marker. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'Don't ask me, I'm a Grade 1 nurse' and 'R.A.N.F. [Royal Australian Nursing Federation] Vic. [Victorian] Branch'.Former owner of badge has written a 'DE' and 'd' with black permanent marker on the badge to spell 'Don't ask me, I'm a degraded nurse'.nursing, industrial action, nurses, strike action, unionism, badges, buttons, pins, campaigning, 1986 victorian nurses strike, trade unions, labour history

Distributed to nurses during campaigning for improved wages and working conditions in the 1980s, possibly during the historic 1986 Victorian 50-day nurses strike. 'Charge Nurse' refers to a Nurse Manager, and is less commonly used in Australia presently (it is still widely used in North America). The badge's message aims to inform the public that highly experienced and skilled nurses are leaving the profession due to inadequate wages and poor working conditions. The Royal Australian Nursing Federation (RANF) became the Australian Nursing Federation in 1989, suggesting that this button is from the late 1980s. Similar to the badges worn in this photo [https://stories.anmfvic.asn.au/86strike/media/2560-1440-landscape-sec2-contentb-hr_logwf7a.jpg] from 1986 (see individual on the far right).Circular white and blue plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'I used to be a Charge Nurse' and 'R.A.N.F. [Royal Australian Nursing Federation] Vic. [Victorian] Branch'.nursing, nurses, industrial action, strike action, unionism, trade unions, badges, buttons, pins, campaigning, 1986 victorian nurses strike, labour history, royal australian nursing federation, victoria, australia

Distributed to nurses during campaigning for improved wages and working conditions in the 1980s, possibly during the historic 1986 Victorian 50-day nurses strike. In October 1986, Victorian nurses began their longest strike after the failure of repeated talks with the health minister David White who was committed to reducing the classification and pay of almost half of Victoria’s nurses. Skeleton staff were left in the wards while picket lines, tents and caravans were set up outside hospitals in both metropolitan and regional Victoria. After 50 days of industrial action, Victorian nurses voted to return to work on 20 December 1986. The Royal Australian Nursing Federation (RANF) became the Australian Nursing Federation in 1989, suggesting that this button is from the late 1980s. Similar to the badges worn in this photo [https://stories.anmfvic.asn.au/86strike/media/2560-1440-landscape-sec2-contentb-hr_logwf7a.jpg] from 1986 (see individual on the far right).This badge is of historic significance as it represents nurses' struggle for industrial and professional status. This struggle was made particularly visible through the 1986 Victorian nurses' strike, which had great impact on the way Australian society viewed nurses and working women (Bessant, 1992).Circular white and red plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'Nurses DO dare to Struggle' and 'R.A.N.F. [Royal Australian Nursing Federation] Vic. [Victorian] Branch'.nursing, nurses, industrial action, strike action, unionism, trade unions, badges, buttons, pins, campaigning, 1986 victorian nurses strike, labour history, royal australian nursing federation, victoria, australia

This set of 30 photographs of the Army Survey Regiment’s Fortuna Villa and surrounding facilities was taken circa 1985. The photos feature much of Fortuna’s exterior and most of the out-buildings spread over the property’s fifteen acres of grounds. After Defence took possession of Fortuna in 1942, the Q-store and engineering workshops were added during the wartime period. Soldiers were accommodated in tents during WW2 for 20 years next to the parade ground before the construction of accommodation buildings in 1962. In 1990 most of the weatherboard buildings in the Q-store area were replaced. A climate-controlled building was also constructed to house a map library and digital data media. This photo set also includes the exterior of Air Survey Squadron’s Building 16 and two modular buildings -16A and 16B that were added in the early 1980s to accommodate map production and technical services. See item 6457.22P for photos of Fortuna Villa’s interior that were taken at the same time.This set of 30 photographs of the Army Survey Regiment’s Fortuna Villa and surrounding facilities was taken circa 1985. The colour photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour, c1985. Fortuna Villa – view from the lake. .2) to .4) - Photo, colour, c1985. Fortuna Villa – front view. .5) - Photo, colour, c1985. Fortuna Villa – balcony view of transport compound and Air Survey Squadron. .6) - Photo, colour, c1985. Fortuna Villa – balcony view of Q-store and transport compound. .7) - Photo, colour, c1985. Fortuna Villa – balcony view of transport compound and Bendigo. .8) - Photo, colour, c1985. Fortuna Villa – balcony view of Q-store buildings. .9) - Photo, colour, c1985. Fortuna Villa – Pompeii Fountain and Stables. .10) - Photo, colour, c1985. Fortuna Villa – coach house. .11) - Photo, colour, c1985. Lithographic Squadron delivery docks. .12) - Photo, colour, c1985. Fortuna Villa - Original Roman Bath entry. .13) - Photo, colour, c1985. RAEME and carpentry buildings. .14) - Photo, colour, c1985. Q-store buildings. .15) - Photo, colour, c1985. Q-store buildings. .16) - Photo, colour, c1985. Transport compound. .17) - Photo, colour, c1985. Fortuna Villa’s original laundry, gardeners’ building. .18) - Photo, colour, c1985. Duty Room. .19) - Photo, colour, c1985. L to R: Side of Duty Room, RAP building. .20) - Photo, colour, c1985. Transport compound, Q-store in background. .21) - Photo, colour, c1985. Air Survey Squadron’s Building 16 viewed from carpark. .22) - Photo, colour, c1985. Technical Services, Building 16B. .23) - Photo, colour, c1985. Air Survey Squadron’s Building 16 courtyard. .24) - Photo, colour, c1985. Technical Services, Building 16B viewed from Building 16 courtyard. .25) - Photo, colour, c1985. Air Survey Squadron’s Building 16A and fernery viewed from walkway. .26) - Photo, colour, c1985. Officers Accommodation. .27) - Photo, colour, c1985. Other Ranks (OR’s) ‘New’ Barracks. .28) - Photo, colour, c1985. OR’s Kitchen and Dining Room. .29) & .30) - Photo, colour, c1985. Army Survey Regiment - Front Entry GateThere are brief descriptions on a note behind each photograph.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr