This image shows six older Chinese men standing in a row with two younger non-Chinese men outside a small wooden business or official building in the Beechworth region, circa 1900. The two non-Chinese men are wearing clothes of the period that indicate relative prosperity (such as three piece suits, top hats, and a pocket handkerchief), whereas most of the Chinese men are wearing Western-style working clothes of the era. One Chinese man at the far right of the image is wearing similar garments to the non-Chinese men, including a bowler hat and longer, more tailored suit jacket. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details that there were approximately 60 Chinese people in the area in 1855, more than 1000 in 1856 and 4700 (a quarter of the population) in 1857, despite the introduction in 1855 of official policies such as additional taxes formulated by the Victorian Government to limit access by Chinese immigrants. Most Chinese miners in the region came from southern China and had formerly worked as merchants, mechanics, farmers and shop-keepers. Chinese people were subjected to a 'protectorate' system, ostensibly to minimise the potential for conflict with other groups; this system required Chinese people to live in designated 'hygienic' camps with paid Chinese headmen who supervised the village and enforced the protectorate's rules. Chinese people were required to purchase an annual protection ticket to fund this system. The protectorate system was abolished in 1861, before this image was taken in approximately 1900, but it may still provide insight into social stratification or relationships between and within cultural groups in Beechworth resulting from such practices. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese miners. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, protectorate system, protection licence, immigration, racism, classism, social groups, cultural groups, taxes, hygiene camps

This image of a man on horseback is thought to have been taken in Beechworth in approximately 1900. The man pictured may be Chinese. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details a rapid increase in the Chinese population beginning in 1856 that led to Government discrimination and hostility from other miners. Many Chinese people who came to the Victorian goldfields had formerly worked as merchants, mechanics, farmers and shop-keepers. The pictured individual is wearing Western-style clothes indicating prosperity, such as a top hat, so may have held an official position or provided services to the community rather than working as a miner. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese people. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, immigration, racism, classism, social groups, cultural groups, horse riding, horses, equestrian, horseback

Circa 1918: Various Photos of the Cheltenham Methodist Youth Group. Row 1 and 2: "At Flinders". Row 3: 1st Left, "Holidaying at Cockatoo". in 1852 Stephen Charman, who had arrived in Melbourne 1842 aged 21 years as one of Henry Dendy's emigrants, purchased 160 acres in Spring Grove ( now Cheltenham). Stephen and his family lived in a wattle and daub hut and worked hard to establish a market garden, poultry and pig farm. The first Methodist Church Services were held at their home. In 1855 Stephen gave 1 acre of his land on Balcombe Road to the Methodist Church for a School, Burial ground and a Chapel which was built in 1857.The Methodist Church, Balcombe Road was the 2nd religious building to be erected in Spring Grove now known as Cheltenham c 18577 small black and white photographs of the Cheltenham Methodist Youth Group at Flinders, Cockatoo and unkown locations, c 1918 . First 3 photos are of male cyclists on a trip to Flinders, Victoria. Photo 4 shows 6 ladies and a man on holiday at Cockatoo in the Dandenong Ranges ,Victoria . Photos 5 to 7 show men, women and children in bushland surroundings of unrecorded locations.Photo 1 - 3 on back : Flinders 1918 Photo 4 left on back : Holiday at Cockatoo right on back : Whitehead Photo 5-7 nilcheltenham, cheltenham methodist youth group, 1914, 1918, charman stephen, gettens mary, spring grove, methodist church, charman road, balcombe road, dendy henry, henry dendy's special survey 1841, youth groups, social groups, market gardners, early settlers, pioneers, dairy farmers, poultry farmers, pig farmers,moorabbin, brighton,

Formed in 1990 by a group of current and former social services and administrative staff at the then-Brighton Council, the Lovely Learned Luscious Ladies of Brighton were a group bound by friendship, humour, fun and a delightfully strange knitting project. Each member took turns to add ten rows ten rows of knitting to the piece, following a series of handwritten rules on an attached card. The wool used was not to be bought, but could be "begged, borrowed or stolen", and previous work was not to be altered. The ladies met bi-monthly over dinner at local restaurants and hotels to swap gossip, play games and share the progress of the knitting. The work of twelve women over eighteen years, the piece documents fond memories, personal passions, wedding celebrations, the birth of a grandchild, footy triumphs, holidays and major events. It is a testament to a close-knit friendship, as expressed on the rules card: "MAY THIS PIECE SERVE TO BIND US TOGETHER".Irregular-shaped knitting project consisting of multicoloured knitted stripes in a variety of yarns and stitches created by a group of women over a period of eighteen years. The piece includes numerous additions and embellishments by the various makers, including sequins, beads, shells, badges, ornaments and laminated images.Attached yellow laminated rectangular card with handwritten rules: "1) Nominated member is to knit (in any stitch of choice) 10 rows of your best by the next meeting. 2) The yarn to be used is not to be purchased for the job but can be begged, borrowed or stolen. 3) The colour of yarn is to be left to member's discretion, but judgement will be passed by others. 4) The nominated member will not tamper with, pull out or destroy a previous member's work. 5) On returning the work to the meeting the member shall declare to what genuine purpose the piece will be put on completion (as a guide for future knitters), e.g. rug for favourite chardy, cock sock for lover. 6) The next knitter can (and shall be encouraged to) change the purpose as stated by the previous knitter. 7) This tag must not, without the permission of a majority of members, be removed. MAY THIS PIECE SERVE TO BIND US TOGETHER."brighton, brighton council, social groups, knitting, 1990s

Slide. Bendigo Easter Parade. Members of the Bendigo branch of C.P.A. social group's entry in the parade.slide, bendigo, bendigo easter parade., bendigo easter parade.

Sepia image mounted on board. Image shows large group of men, women and children, seated outside undressed log building. Man are wearing three piece suits, hats. Women dressed in long dresses, hats. Appears to be a social group.person, group, social group, bendigo, sandhurst, social, group

5 x Various photos of the Cheltenham Methodist Youth Group.c 1914 - 1918 Location unknown. (Note soldier's uniform in some photos) 1 x photograph celebrating the Anniversary of Conductor Mr Huntly in 1947 6 x Black and White photographs 5 x . Various photos of the Cheltenham Methodist Youth Group.c1914-18 1x photo Anniversary Conductor Mr Huntly 19477 left : 1947 Anniversary / Conductor Mr Huntly cheltenham methodist youth group, 1914, 1918, world war 1 1914 - 1918, cheltenham, moorabbin, methodist church, social clubs, youth groups, australian infantry force, concerts, musical conductors, market gardeners, early settlers, moorabbin shire

On Saturday 17 May 1947, an article on page 25 of the Australian Women’s Weekly reported on the formation of a new women's club: the East Kew Women’s Community Club. The article reads: "Wives and mothers in a Melbourne suburb, East Kew, have formed the East Kew Women's Community Club. While babies and young children are under the supervision of a play leader, wives and mothers follow up their own interests. The club caters for varying tastes, has musical appreciation, drama, and "Keep Fit" classes. President Mrs. Grace Thake says that the club hopes soon to have tennis, debating, and discussion groups. The club originated from a debate, "Should women take an active part in social and civic affairs?" Two days later their interest in these matters was proved by the forming of the club, which took for its motto: "To help others, improve ourselves, and foster the community spirit." Membership is open to all women, regardless of age, politics, and religion, and aims to co-operate with all societies working for the improvement of health and cultural standards." The article relates particularly to the plaque in the collection of the Kew Historical Society.The East Kew Women's Community Club, also called the East Kew Women's Community Club functioned from c. 1947 to the end of the 1960s (to be verified). The records of the Club were placed with Kew Historical Society to preserve them for posterity. The records and objects belonging to the East Kew Women's Community Club have significance socially for their capacity to illuminate women's associations in the post war period in Australia.Framed red and gold enamelled plaque belonging to the East Kew Women's Community Club."TO HELP OTHERS / IMPROVE OURSELVES AND / FOSTER THE COMMUNITY SPIRIT"east kew women's social club, community groups -- kew east (vic.)

Paper ticket printed onto light orange paper for the BTM social group tour to Melbourne on 5 June 1999, to Southbank Depot, Hawthorn Depot and the Malvern Museum (the latter did not happen) Ticket No. 15 Prepared by Darren Hutchesson. See July 1999 for further details of trip.trams, tramways, tickets, southbank depot, hawthorn depot, btm social club

Paper ticket printed onto light yellow paper with decorative border for the Ballarat Tramway Museum social group tour to Bendigo and Bylands tramway museums on 6/12/1998. Has a sketch of No. 11, side on elevation. Gives date, fare, departure time. Has been punched or cancelled by the trolley pole.trams, tramways, ticket, ballarat, bylands, bendigo

Papers include: Basic Signed English Vocabulary, correspondence regarding various Social Groups for the Deaf Community, papers from the National Council for the HandicappedWhite A4 Binder containing education resources and other papers.signed english, auslan, education resources, deaf clubs, social clubs,national council for the handicapped

The building is the Bulla Community Centre, which replaced an older hall that was situated in the Bulla Sports Ground precinct in Greene Street. Over the years many community activities have been staged within the precinct such as district school sports, local dances and community social group functions.A black and white photograph of a brick building with large windows and a return verandah.bulla community centre, bulla township

Double-sided photocopy of 6-page newsletter including diary dates for the remainder of 1990, social news, group activities, and registration request for working bee assistance on major paint project at the school's Gooram Camp buildings.

The Cheltenham parish was created in 1865 by excising a portion of the parish of St Andrews Brighton. A small brick church was completed in 1867 to serve a rural community stretching from Brighton South (Moorabbin) to Mordialloc. 1867 St Matthew's Church of England was erected in Cheltenham beside the Nepean Highway near Charman Road. The early settlers established a tennis club, cricket team and social groups.St Matthew's Church of England Cheltenham was erected in 1867 and was integral to the spiritual well being and social life of the early settlers.Black & White photograph of the St Matthews Church of England Cricket team Cheltenham c 1940Front ; Church of England Cricket Team 1940 Back ; Written - Ladies / Hilda Biehl, Bertha Schneeberber, Mrs Wootton, / We made afternoon tea from / a kerosene tin for 30 players / each Saturday they played at home !!smith j l; smith mary ann, stanley helen, chaff cutter, horse drawn carts, toll gates brighton, motor cars 1900, steam engines, early settlers, bentleigh, parish of moorabbin, city of moorabbin, county of bourke, moorabbin roads board, shire of moorabbin, henry dendy's special survey 1841, were j.b.; bent thomas, o'shannassy john, king richard, charman s, highett william, ormond francis, maynard dennis, market gardeners, vineyards, orchards,

This group was formed approximately 1939 as a teenage and early 20s age group. A social and fundraising group active during World War II period and folded in the early 1950s.Sunshine Young Set The Beacon The Magazine of the Sunshine Younger St Msunshine young set

This is a paper back book of 128 pages with plastic binding. It has a red cover with black printing, ornate lettering and a sketch of a tent. The booklet includes printed material and photographs in colour.non-fictionA compilation of the first 11 years of the choral group, The Red Tent singers Warrnambool.red tent singers, warrnambool

The celebrated EMU CREEK BUSH BAND is a social group, which fosters junior members, has the promotion of authentic Australian Traditional Music as its aim. This is played on acoustic instruments featuring the 'squeezeboxes' i.e. the German system concertinas and button accordions along with fiddle, mandolin or banjo mandolin and whistles. Piano, banjos, guitars, double bass, washboard or lagerphone and drums play rhythm. Based in Central Vitoria. https://www.bendigobushdance.org.au/layout.php?p=1White polo shirt with the logo "The Celebrated Emu Creek Bush Band" printed centre front in blue and yellow. In the centre of the logo is d drawing of the head of an emu with one eye open and one eye closed. Clothing label identifies the manufacturer - Centavic Clothing, For Embroidery and Screen Printing. Includes Phone and Fax numbers. Size XXL.colonial dance, bush dance, old time dance, emu creek bush band, peter ellis collection

The celebrated EMU CREEK BUSH BAND is a social group, which fosters junior members, has the promotion of authentic Australian Traditional Music as its aim. This is played on acoustic instruments featuring the 'squeezeboxes' i.e. the German system concertinas and button accordions along with fiddle, mandolin or banjo mandolin and whistles. Piano, banjos, guitars, double bass, washboard or lagerphone and drums play rhythm. Based in Central Vitoria. https://www.bendigobushdance.org.au/layout.php?p=1Sky blue windcheater with the logo "The Celebrated Emu Creek Bush Band" printed centre front. The Band's symbol of the head of an emu is in a circle enclosed by the Band's name in blue and yellow lettering. Clothing label identifies the manufacturer - "L. Baker,". Includes Phone number. Reverse of label gives care instructions and "Made in Australia".colonial dance, bush dance, old time dance, emu creek bush band, peter ellis collection.

This badge, which was used in the mid to late 1900's (Scouts started in Australia in 1909) clearly demonstrates that the families in the Kiewa Valley although slightly remote were still able to participate in one of the prime "boy" only social groups. The Boy Scouting movement brought together boys from all the socio-economic areas in the Australian population. The scouting group applied the concept of self sufficiency and friendship to all its membership. It was an avenue to cross the boundaries of distance and regional mores. Many of the boys in the Kiewa Valley and its regions would have been more "in tune" with the core principles of the scouting movement because being in a rural environment and "living on the land" was a day to day part of their life. What was an important aspect to they was the "mateship" and the belonging to a very large, and international, group of "like minded" boys. This avenue of interacting with a larger group of boys cut through the "small population" mores of a rural and at times isolated environment. This Boy Scouting activity was both mentally and physically significant to growing boys within the Kiewa Valley as it opened up the world to them.This brass badge has a front formed in a half circle base supporting a "Fleur de Leis" in a spear shape with "cut outs" at the appropriate places to provide the emphasis needed to project the form. Attached to the badge is a crescent moon shaped pronged frame for attaching the badge to lapels or collars or button eyelets. On the bottom scroll "BOY SCOUTS" and on the back type fastener "STOKES & SONS" below this "Melb".societies, boy scouts, apparel badges, numismatics badges

The Anglican Cheltenham parish was created in 1865 by excising a portion of the parish of St Andrews Brighton. A small brick church was completed in 1867 to serve a rural community stretching from Brighton South (Moorabbin) to Mordialloc. 1867 St Matthew's Church of England was erected in Cheltenham beside the Nepean Highway near Charman Road. The early settlers established a tennis club, cricket team and social groups. A typical social event was the annual Sunday School Picnic held in 1907 at Dandenong Creek.Young members are mentioned Curly Owen,C,Burnett,A Manett St Matthew's Church of England Cheltenham was erected in 1867 and was integral to the spiritual well being and social life of the early settlers.Black & White photograph of the St Matthew's Church of England Sunday School Picnic 1907Handwritten Curly Owen, C, Burnett, A Manett st. matthew's church of england cheltenham, sunday school picnics, anglican church, st andrew's church brighton, owen curly, burnett c . manett a, horse drawn carts, toll gates brighton, motor cars 1900, steam engines, early settlers, bentleigh, parish of moorabbin, city of moorabbin, county of bourke, moorabbin roads board, shire of moorabbin, henry dendy's special survey 1841, were j.b., bent thomas, o'shannassy john, king richard, charman stephen, highett william, ormond francis, maynard dennis, market gardeners, vineyards, orchards

Badge issued to members of Sunshine Younger Set. This group was formed approximately 1939 as a teenage and early 20s age group. A social and fundraising group active during World War II period and folded in the early 1950s. Badge found by Samuel "Sam" Hasell while digging in his garden at 7 Compton Parade Sunshine North in 1998.Sunshine Younger Set SYSsunshine younger set, badge

Raquel Ormella is an artist working at the intersections of art and activism, with a diverse practice that includes textiles, video, installation, drawings, and zines. Ormella explores how contemporary art can prompt viewers to reflect on their own beliefs and values regarding political consciousness and social action. Her art practice is also grounded in exploring the nature of the relationship between humans and the natural environment. This artwork, Workers Blues #2, reimagines the Australian National Flag, constructing a rough-hewn approximation of it from blue workers shirts. Flags are one of the most powerful uses of fabric; Ormella is echoing the flag design to explore tensions between aspirational nationhood and the personal effect of this has on individuals, marginalised social groups and the environment. Ormella’s choice of material – blue cotton workers shirts - also references gendered associations with cloth, with masculine nationalism symbolised by the workers shirts, including in the mining industry. The work is an example of the symbolic power of cloth as a marker of identity, including gender and class.

Gunybi Ganambarr has built a reputation for his innovative techniques, incising and shaping barks and adding materials to traditional art forms. He attributes his confidence in using new materials to his twelve year stint as a part of a building team in remote homelands. Ganambarr primarily lives in his mother’s community at Gangan, which lies north-west of Blue Mud Bay in eastern Arnhem Land, Northern Territory. Ganambarr has absorbed the minutiae and spirituality of place; his paintings can be read as meditations on the specific tracts of land for which he is entitled to speak; in this case, a sacred expanse of water behind the Gangan outstation where this work was produced, referred to as Gulutji. Ganambarr’s designs recount the ancestral formation of the land, the beings that reside within its borders and
the seasonal events that nourish its ecosystem. His work exemplifies the confidence and cultural assertion of a new, experimental Yolngu art, while remaining firmly influenced by elders and senior artists. Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, gunybi ganambarr, natural environment, cultural heritage, cultural identity, cultural knowledge, landscape

Nawurapu Wunungmurra is the eldest son of the late Yaggarriny Wunungmurra, the first Aboriginal artist to have his copyright recognised in an Australian court. From an early age he was trained by his father and assisted him with this painting. Later, as his own spiritual authority increased, he painted in his own right. This pole depicts the sea at Garraparra, a coastal headland and bay area within Mungurru, or Blue Mud Bay. Garraparra has been rendered by the wavy design for Yirritja (deep saltwater) that has many states and connects with the sacred waters coming from the land estates by currents and tidal flow. Garraparra marks the spot of a sacred burial area for the Dhalwangu clan to which Wunungmurra belongs. Sacred songs and dance narrate the heroic adventures of two ancestral hunters who left the shores of Garraparra hunting for turtle. On their journey they passed sacred places and ancestral totems before they came to grief when their canoe capsized. The hunters’ bodies washed back to the shores of Garraparra with the currents and the tides, as the Wangupini, cloud rising from the north, followed with its rain and wind. In the songs, the terns (Gitkit) reel in the breeze around these statuesque clouds on the horizon, and this stylised rendition of clouds seen at the top of this work is the latest motif in Wunungmurra’s ouvre.Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, nawurapu wunungmurra, garraparra, coastal, yirritja, saltwater, sacred burial, cultural heritage, cultural identity