This folder is a record of Ronald McKelvie's initial initiation into the Royal Antediluvian Order of Buffaloes in 1962 and his subsequent affiliations with different Lodges. The most recent affiliation is with the Emerald Lodge on 13 May 1988. The Royal Antediluvian Order of Buffaloes was originally founded in 1822 in England and in Sydney, Australia in the 1860s and in Victoria in 1913, providing social support and friendship for members and donations to registered Australian charities and the needy. An examination of the rule book shows quite prescribed formalities required of members. In the late 1950s there were more than 12,000 members in Victoria at 340 lodges but by the 2000s the membership numbers were rapidly decreasing. The Emerald Lodge no longer exists.This rule book and associated records provides an insight into an organisation for men which focused on member and community support and which had members throughout Victoria including at Emerald. Small dark blue ring binder book owned by Ronald McKelvie containing the rules and penalties of the Royal Antediluvian Order of Buffaloes 1987; his initial initiation into the Order in 1962; and records of his membership of various Lodges over time.. No markings on the folder.royal antediluvian order of buffaloes, emerald lodge, ronald mckelvie

Watsonia Neighbourhood House, 47 Lambourn Road Watsonia. Provides adult education classes and workshops, as well as social and mutual-support activities. This photogrsph was taken at the Sustainable Watsonia Open Day 2019.Digital copy of colour photographwatsonia neighbourhood house, lambourn road watsonia, neighbourhood houses

The Banyule Banner is published bi-monthly by Banyule City Council to advertise upcoming events in the City of Banyule and to report on past events. This edition contains reports on supporting social enterprise, building a better Banyule and recycling and waste management.A record of events within the City of Banyule.28 pages, colour illustrations. banyule banner, banyule council

This shows the typical building structures of the time period. As the population grows in the area the need for a community meeting place becomes a requirement for the community. Local community rely on each other for company, support and social engagements.This building demonstrats the needs of the local community and the population in and around Streatham in 1888.Square picture in black and white showing the Streatham Hall. The picture is a shot of the front of a single storey weatherboard building with two doorways and one window in view. There is a picket fence running across the front of the building,Back: Stamped in green ink "317"building, rural, streatham, structures, areas, materials

Jacana Primary School was established in 1959 during a period of rapid suburban expansion in Melbourne’s northern corridor. Located in the suburb of Jacana, the school was part of a broader post-war effort to provide accessible public education to growing communities shaped by migration, industrial development, and housing initiatives. Throughout its operation, Jacana Primary reflected the evolving social fabric of the area. By the 1990s, the school had become a microcosm of Melbourne’s increasing cultural diversity, welcoming students from a wide range of ethnic and socio-economic backgrounds. This diversity was not only embraced but actively celebrated through inclusive teaching practices, multicultural events, and student leadership programs such as the junior student council. The 1997 photograph captures a moment in this dynamic environment, showcasing both staff and students engaged in a shared educational mission. It represents a time when schools were not only places of learning but also key sites of community building, civic engagement, and social support. Jacana Primary closed in the early 2000s as part of broader changes in educational policy and demographic shifts. However, its legacy lives on through archival materials like this photograph, which offer valuable insights into the role of public schools in shaping community identity and fostering social cohesion during a transformative period in Melbourne’s suburban history. This 1997 photograph of staff and students at Jacana Primary School marks a poignant moment in the history of a community-centred educational institution that served Melbourne’s northern suburbs from 1959 until its closure in the early 2000s. More than a conventional group portrait, the image stands as a historical artifact that encapsulates the spirit and values of a school deeply embedded in its local community. Jacana Primary School was distinguished by its commitment to educational equity, inclusivity, and a strong sense of belonging—principles that were actively lived and practiced within its classrooms and broader school culture. The photograph offers insight into the educational ethos and staff dynamics of the time, while also reflecting the broader social and cultural shifts occurring in suburban Melbourne at the close of the 20th century. As part of the school’s visual archive, this image contributes to a richer understanding of how public education shaped community identity, supported diverse student populations, and left a lasting legacy in the lives of generations of children and families.A colour photograph mounted on white card with a black border, is laminated. Back: (Blue Label Top) (Right Corner): PH -2157, Front: (Bottom Left Corner): Fotek School Portraitsjacana primary school, education, photograph, group photograph, 1997

Edward Thomas Warren arrived in Victoria in 1852 and joined the police force in 1856. He served in Geelong 1856-1864 before coming to Bendigo, where he remained until his death in 1892. He had retired from the police force in 1886. He had been a member of the Ancient Order of Foresters for 25 years. This fraternity aimed to provide social and financial support to members during sickness, death, old age, unemployment and disability.A 44 page document detailing the history of the local Warren family. Most notably the Senior Constable Edward Thomas Warren whom worked at the Sandhurst Police Barracks where it is currently leased by Bendigo Senior Secondary college.

This 1992 group photograph of Grade 1 students and their teacher at Jacana Primary School offers a valuable snapshot of everyday school life during a time of social and demographic change in Melbourne’s northern suburbs. Founded in 1959, Jacana Primary was a key institution in the local community, providing public education to families in a rapidly developing suburban landscape until its closure in the early 2000s. The image reflects the school’s dedication to creating an inclusive and nurturing learning environment. It also illustrates the broader cultural shifts occurring in Jacana at the time, as families from diverse backgrounds came together, shaping a unique and resilient community identity. As part of the school’s visual archive, this photograph contributes to a deeper understanding of how public education fostered social cohesion, supported personal development, and left a lasting legacy for generations of students and families.This 1992 group photograph of Grade 1 students and their teacher at Jacana Primary School is a significant visual record of public education in Melbourne’s northern suburbs during a period of social and demographic transformation. Established in 1959, Jacana Primary played a vital role in the local community, serving families from diverse cultural backgrounds until its closure in the early 2000s. The photograph reflects the school’s commitment to fostering an inclusive and supportive learning environment. It captures the everyday experiences of students and educators, highlighting the values of connection, diversity, and belonging that defined Jacana Primary’s ethos. As part of the school’s visual archive, this image contributes to a broader understanding of how public education shaped community identity, promoted social cohesion, and supported the development of generations of children in a rapidly changing suburban landscape.Colour Photograph on textured matte Paper.Back; (Blue Label): PH-5353 jacana primary school, education, photograph, group photograph, grade 1, david kaleta, joshua koistinen, akram arabi, william finn, robert jones, samantha macdonald, molly warke, karli o'keeffe, gavin chapman, padraig oakley, achtar younan, richard paco, jacob martyr, tara wright, melissa hutchinson, david welsh, burak saman, jason sedgwick, brett tomlin, mr. brian o'dea, miss patricia sherlock, 1992, jacana

This photograph from 1998 captures the public housing at Banksia Gardens Housing Estate in Broadmeadows. The image provides a valuable historical record of the estate's development and the living conditions during that period. Banksia Gardens was designed to offer accessible and inclusive housing, reflecting the broader social and economic context of the time. The estate served as a vital community hub, fostering social connections and providing support to its residents.This photograph of the public housing at Banksia Gardens Housing Estate in Broadmeadows, taken in 1998, holds significant historical value. It captures the essence of the estate's development and the living conditions of the time. Banksia Gardens was designed to provide accessible and inclusive housing, reflecting the social and economic priorities of the late 1990s. The estate served as a crucial community hub, fostering social connections and offering essential support to its residents. This image stands as a testament to the efforts made to create a supportive and cohesive community environment, highlighting the importance of public housing in enhancing the quality of life for its inhabitants.Black and white photograph on glossy paper.Banksia Gardens Housing Estate/Broadmeadows 1998banksia gardens, broadmeadows, 1998

List depicts a wide variety of prospective guest speakers that spoke at Tuesday luncheons between 1977 and 1981. Their subjects were noted down and the remarks column included comments such as "Excellent / Good / Fair ". Subjects included: Gallipoli; The Shrine of Remembrance; The Swiss Alps -with slides; Tattooing the history and social significance of; supporting the army in the 80s; people of India. Legatees met regularly and had guest speakers to entertain and inform on different subjects at their Tuesday Luncheons. This document was from a file of information about guest speakers (see also 00812-00822 and 00829-00837). The Programme Committee was responsible for organising the speakers. A record that the speakers at Legacy functions were from very different walks of life and the subjects spoken on varied. Much time and effort would go into contacing and organising guest speakers and the topics that they would speak on.White note paper x 9 pages, handwritten tables of dates and speakers and remarks in blue and red pen.Handwritten list of speakers for Tuesday luncheons.speakers, legatee event, programme committee

This 1979 group photograph of Grade Prep students and their teacher at Jacana Primary School provides a meaningful glimpse into the rhythms of early school life in Melbourne’s northern suburbs during a period of significant social and urban change. Founded in 1959, Jacana Primary served as a foundational institution for the local community until its closure in the early 2000s, offering more than education—it fostered a sense of place, belonging, and shared experience. The image reflects the school’s commitment to nurturing inclusive and supportive environments for young learners. It also highlights the cultural diversity emerging in Jacana during the late 20th century, a time when suburban expansion brought together families from varied backgrounds. As part of the school’s visual archive, this photograph contributes to a broader understanding of how public schools shaped community identity, supported social cohesion, and played a vital role in the lives of generations of children and families. This 1979 group photograph of Grade Prep students and their teacher at Jacana Primary School is a historically significant record of early childhood education in Melbourne’s northern suburbs during a period of suburban expansion and social change. Established in 1959, Jacana Primary played a central role in the community for over four decades, providing not only foundational learning but also a space for connection, inclusion, and shared identity. The image captures the essence of the school’s values—belonging, diversity, and friendship—while offering insight into the demographic and cultural landscape of Jacana in the late 20th century. As part of the school’s visual archive, it contributes to a broader understanding of how public education shaped local identity and fostered enduring community bonds across generations. The photograph stands as a testament to the legacy of Jacana Primary and its impact on the lives of students, families, and educators.Colour Photograph on Matte Paper, with white borderBack; Top Left Corner: (White label): PH-5007/ (Blue Label): PH-5594, Centre (in pencil) J.P.S., Manufacturers Mark; this paper/Manufactured/ by kodakjacana primary school, education, photograph, group photograph, grade prep, 1979, class photograph

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. Ladies’ Edwardian mourning outfit; three-piece tailored suit comprising of a black silk long sleeve, short-waist fitted and lined Jacket, a long sunray pleated skirt and long, lined petticoat. Items have been machine-sown and hand-sewn by a dressmaker. The skirt has handmade buttons of the same fabric.Handwritten in ballpoint pen “Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria

This Edwardian era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death occurred often to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were a part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The black silk tailor-made jacket is one of three pieces of a ladies’ Edwardian mourning outfit. It has long sleeves, a stand-up collar trimmed with appliqued black crochet lace, and pleated sashes on the left and right sides from front to back fastened at the shoulder and waist. The jacket has a peplum or flounce below the waistline. The front of the jacket has brass hooks and fabric eye fastenings. The back of the jacket has two tails. The jacket is lined and the shoulders are padded. It has been machine sewn and finished with hand stitching. A white card is tied with a ribbon inside and has an inscription. The poplin skirt on the jacket has been cut up to the waist at the side seams. There is an attached card with an inscription, handwritten in ballpoint pen.“Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, sunburst pleats, western district victoria, mourning jacket

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s, but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made skirt is one of three pieces of a ladies’ Edwardian mourning outfit. The skirt is made from black silky fabric. The garment has only two seams; at the side closure and the centre back. The whole skirt has sunray pleats; narrow pleats at the waist that fan outwards towards the hem. The top of the skirt is finished with a waistband that is shaped as an upward V shape in the centre. The side seam is closed with four self-fabric buttons with silver metal backing. The shirt has been machine sewn.flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, mourning dress, death mourning, sunray pleats, western district victoria, full-length skirt

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made petticoat is one of three pieces of a ladies’ Edwardian mourning outfit. The petticoat is made from black silk lined with lightweight cotton. The petticoat and lining are constructed from eight panels each, brought together at the waist and gently gathered into the band. The back seam opening is fastened with brass hooks and fabric eyes. The lining has been reinforced with a heavier-weight hem. The hemline is finished with black velvet ribbon than encloses both the petticoat and lining. flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria, petticoat, undergarment, slip

This photograph captures a festive moment from the 1990 Jacana Primary School Christmas picnic, likely held at Greenvale Reservoir Park—a popular recreational destination north of Melbourne known for its open spaces and family-friendly amenities. The image features students enjoying an end-of-year celebration, reflecting the school’s tradition of fostering community spirit and marking milestones with shared outdoor events. Jacana Primary School, established in 1959, served as a vital educational and social hub for the suburb of Jacana until its closure in the early 2000s. Events like the annual Christmas picnic were integral to the school’s culture, offering students opportunities to build friendships, celebrate achievements, and connect with their peers and teachers outside the classroom. The choice of Greenvale Reservoir Park underscores the school’s connection to local landscapes and its emphasis on accessible, communal experiences. This photograph stands as a visual testament to the values of inclusiveness, joy, and community that defined Jacana Primary School during a formative period in the suburb’s development. It also contributes to the broader narrative of how public education in Melbourne’s outer suburbs supported social cohesion and identity across generations.This 1990 photograph of Jacana Primary School’s Christmas picnic, likely held at Greenvale Reservoir Park, offers a compelling visual record of community celebration and student life in Melbourne’s northern suburbs. Featuring Grade 5 and 6 students, the image captures a moment of joy, social connection, and tradition at the end of the school year. Events like this picnic were central to the school’s culture, fostering a sense of belonging and reinforcing relationships among students, staff, and families. Jacana Primary School, established in 1959 and closed in the early 2000s, played a vital role in shaping the identity of the Jacana community. This photograph reflects the school’s commitment to inclusiveness, wellbeing, and shared experience, while also illustrating broader patterns of public education and suburban development in late 20th-century Victoria. As part of the school’s visual legacy, the image contributes to our understanding of how educational institutions supported social cohesion and community life across generations.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

This photograph captures a joyful moment from the 1990 Jacana Primary School Christmas picnic, likely held at Greenvale Reservoir Park—a well-loved recreational area north of Melbourne known for its open spaces and family-friendly atmosphere. The image features younger students participating in an end-of-year celebration, highlighting the school’s tradition of fostering community spirit through shared outdoor events. Jacana Primary School, established in 1959, was a cornerstone of the Jacana community until its closure in the early 2000s. Annual events such as the Christmas picnic played a vital role in the school’s culture, offering students—particularly those in the early years—a chance to build friendships, celebrate the school year, and engage with their peers and teachers in a relaxed, natural setting. The use of Greenvale Reservoir Park reflects the school’s connection to local landscapes and its emphasis on accessible, inclusive experiences. This photograph serves as a visual record of the values that defined Jacana Primary School: joy, inclusiveness, and community. It also contributes to a broader understanding of how public education in Melbourne’s outer suburbs supported social cohesion, identity, and intergenerational connection during a formative period in the region’s development.The archive documenting the 1990 Jacana Primary School Christmas Party, likely held at Greenvale Reservoir Park, holds cultural and historical value as a record of community life and educational practice in Melbourne’s northern suburbs. Featuring younger students in a festive outdoor setting, the collection reflects the school’s commitment to fostering joy, inclusion, and social connection through shared experiences beyond the classroom. Jacana Primary School, established in 1959 and closed in the early 2000s, played a vital role in shaping the identity of the Jacana community. Events such as the annual Christmas picnic were central to the school’s ethos, offering students opportunities to celebrate milestones, build friendships, and engage with their environment in meaningful ways. The use of Greenvale Reservoir Park highlights the school’s connection to local landscapes and its emphasis on accessible, family-oriented activities. This archive contributes to a broader understanding of how public education supported social cohesion, community identity, and intergenerational connection during a formative period in suburban development. It stands as a testament to the enduring impact of school traditions in shaping collective memory and local heritage.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

We don?t leave our identities at the city limits: Aboriginal and Torres Strait Islander people living in urban localities Bronwyn Fredericks Aboriginal and Torres Strait Islander people who live in cities and towns are often thought of as ?less Indigenous? than those who live ?in the bush?, as though they are ?fake? Aboriginal people ? while ?real? Aboriginal people live ?on communities? and ?real? Torres Strait Islander people live ?on islands?. Yet more than 70 percent of Australia?s Indigenous peoples live in urban locations (ABS 2007), and urban living is just as much part of a reality for Aboriginal and Torres Strait Islander people as living in remote discrete communities. This paper examines the contradictions and struggles that Aboriginal and Torres Strait Islander people experience when living in urban environments. It looks at the symbols of place and space on display in the Australian cities of Melbourne and Brisbane to demonstrate how prevailing social, political and economic values are displayed. Symbols of place and space are never neutral, and this paper argues that they can either marginalise and oppress urban Aboriginal and Torres Strait Islander people, or demonstrate that they are included and engaged. Juggling with pronouns: Racist discourse in spoken interaction on the radio Di Roy While the discourse of deficit with regard to Australian Indigenous health and wellbeing has been well documented in print media and through images on film and on television, radio talk concerning this discourse remains underresearched. This paper interrogates the power of an interactive news interview, aired on the Radio National Breakfast program on ABC Radio in 2011, to maintain and reproduce the discourse of deficit, despite the best intentions of the interview participants. Using a conversation-analytical approach, and membership categorisation analysis in particular, this paper interrogates the spoken interaction between a well-known radio interviewer and a respected medical researcher into Indigenous eye health. It demonstrates the recreation of a discourse emanating from longstanding hegemonies between mainstream and Indigenous Australians. Analysis of firstperson pronoun use shows the ongoing negotiation of social category boundaries and construction of moral identities through ascriptions to category members, upon which the intelligibility of the interview for the listening audience depended. The findings from analysis support claims in a considerable body of whiteness studies literature, the main themes of which include the pervasiveness of a racist discourse in Australian media and society, the power of invisible assumptions, and the importance of naming and exposing them. Changes in Pitjantjatjara mourning and burial practices Bill Edwards, University of South Australia This paper is based on observations over a period of more than five decades of changes in Pitjantjatjara burial practices from traditional practices to the introduction of Christian services and cemeteries. Missions have been criticised for enforcing such changes. However, in this instance, the changes were implemented by the Aboriginal people themselves. Following brief outlines of Pitjantjatjara traditional life, including burial practices, and of the establishment of Ernabella Mission in 1937 and its policy of respect for Pitjantjatjara cultural practices and language, the history of these changes which commenced in 1973 are recorded. Previously, deceased bodies were interred according to traditional rites. However, as these practices were increasingly at odds with some of the features of contemporary social, economic and political life, two men who had lost close family members initiated church funeral services and established a cemetery. These practices soon spread to most Pitjantjatjara communities in a manner which illustrates the model of change outlined by Everett Rogers (1962) in Diffusion of Innovations. Reference is made to four more recent funerals to show how these events have been elaborated and have become major social occasions. The world from Malarrak: Depictions of South-east Asian and European subjects in rock art from the Wellington Range, Australia Sally K May, Paul SC Ta�on, Alistair Paterson, Meg Travers This paper investigates contact histories in northern Australia through an analysis of recent rock paintings. Around Australia Aboriginal artists have produced a unique record of their experiences of contact since the earliest encounters with South-east Asian and, later, European visitors and settlers. This rock art archive provides irreplaceable contemporary accounts of Aboriginal attitudes towards, and engagement with, foreigners on their shores. Since 2008 our team has been working to document contact period rock art in north-western and western Arnhem Land. This paper focuses on findings from a site complex known as Malarrak. It includes the most thorough analysis of contact rock art yet undertaken in this area and questions previous interpretations of subject matter and the relationship of particular paintings to historic events. Contact period rock art from Malarrak presents us with an illustrated history of international relationships in this isolated part of the world. It not only reflects the material changes brought about by outside cultural groups but also highlights the active role Aboriginal communities took in responding to these circumstances. Addressing the Arrernte: FJ Gillen?s 1896 Engwura speech Jason Gibson, Australian National University This paper analyses a speech delivered by Francis James Gillen during the opening stages of what is now regarded as one of the most significant ethnographic recording events in Australian history. Gillen?s ?speech? at the 1896 Engwura festival provides a unique insight into the complex personal relationships that early anthropologists had with Aboriginal people. This recently unearthed text, recorded by Walter Baldwin Spencer in his field notebook, demonstrates how Gillen and Spencer sought to establish the parameters of their anthropological enquiry in ways that involved both Arrernte agency and kinship while at the same time invoking the hierarchies of colonial anthropology in Australia. By examining the content of the speech, as it was written down by Spencer, we are also able to reassesses the importance of Gillen to the ethnographic ambitions of the Spencer/Gillen collaboration. The incorporation of fundamental Arrernte concepts and the use of Arrernte words to convey the purpose of their 1896 fieldwork suggest a degree of Arrernte involvement and consent not revealed before. The paper concludes with a discussion of the outcomes of the Engwura festival and the subsequent publication of The Native Tribes of Central Australia within the context of a broader set of relationships that helped to define the emergent field of Australian anthropology at the close of the nineteenth century. One size doesn?t fit all: Experiences of family members of Indigenous gamblers Louise Holdsworth, Helen Breen, Nerilee Hing and Ashley Gordon Centre for Gambling Education and Research, Southern Cross University This study explores help-seeking and help-provision by family members of Indigenous people experiencing gambling problems, a topic that previously has been ignored. Data are analysed from face-to-face interviews with 11 family members of Indigenous Australians who gamble regularly. The results confirm that substantial barriers are faced by Indigenous Australians in accessing formal help services and programs, whether for themselves or a loved one. Informal help from family and friends appears more common. In this study, this informal help includes emotional care, practical support and various forms of ?tough love?. However, these measures are mostly in vain. Participants emphasise that ?one size doesn?t fit all? when it comes to avenues of gambling help for Indigenous peoples. Efforts are needed to identify how Indigenous families and extended families can best provide social and practical support to assist their loved ones to acknowledge and address gambling problems. Western Australia?s Aboriginal heritage regime: Critiques of culture, ethnography, procedure and political economy Nicholas Herriman, La Trobe University Western Australia?s Aboriginal Heritage Act 1972 (WA) and the de facto arrangements that have arisen from it constitute a large part of the Aboriginal ?heritage regime? in that state. Although designed ostensibly to protect Aboriginal heritage, the heritage regime has been subjected to various scholarly critiques. Indeed, there is a widespread perception of a need to reform the Act. But on what basis could this proceed? Here I offer an analysis of these critiques, grouped according to their focus on political economy, procedure, ethnography and culture. I outline problems surrounding the first three criticisms and then discuss two versions of the cultural critique. I argue that an extreme version of this criticism is weak and inconsistent with the other three critiques. I conclude that there is room for optimism by pointing to ways in which the heritage regime could provide more beneficial outcomes for Aboriginal people. Read With Me Everyday: Community engagement and English literacy outcomes at Erambie Mission (research report) Lawrence Bamblett Since 2009 Lawrie Bamblett has been working with his community at Erambie Mission on a literacy project called Read With Me. The programs - three have been carried out over the past four years - encourage parents to actively engage with their children?s learning through reading workshops, social media, and the writing and publication of their own stories. Lawrie attributes much of the project?s extraordinary success to the intrinsic character of the Erambie community, not least of which is their communal approach to living and sense of shared responsibility. The forgotten Yuendumu Men?s Museum murals: Shedding new light on the progenitors of the Western Desert Art Movement (research report) Bethune Carmichael and Apolline Kohen In the history of the Western Desert Art Movement, the Papunya School murals are widely acclaimed as the movement?s progenitors. However, in another community, Yuendumu, some 150 kilometres from Papunya, a seminal museum project took place prior to the completion of the Papunya School murals and the production of the first Papunya boards. The Warlpiri men at Yuendumu undertook a ground-breaking project between 1969 and 1971 to build a men?s museum that would not only house ceremonial and traditional artefacts but would also be adorned with murals depicting the Dreamings of each of the Warlpiri groups that had recently settled at Yuendumu. While the murals at Papunya are lost, those at Yuendumu have, against all odds, survived. Having been all but forgotten, this unprecedented cultural and artistic endeavour is only now being fully appreciated. Through the story of the genesis and construction of the Yuendumu Men?s Museum and its extensive murals, this paper demonstrates that the Yuendumu murals significantly contributed to the early development of the Western Desert Art Movement. It is time to acknowledge the role of Warlpiri artists in the history of the movement.b&w photographs, colour photographsracism, media, radio, pitjantjatjara, malarrak, wellington range, rock art, arrernte, fj gillen, engwura, indigenous gambling, ethnography, literacy, erambie mission, yuendumu mens museum, western desert art movement

This photograph was captured at an undisclosed location and at an unidentified time but likely dates to approximately 1870. The photographer's details are not recorded and the identities of the men in the image are also not known. This image depicts a group of 10 men in typical miners fashion. Four of them are sat on a large log with one holding a small dog. Six miners stand behind those sitting. All these men are wearing a white button-up shirt and tan coloured work trousers. They wear heavy boots and seven have included a dark vest over their shirt. The man holding the dog has a pipe in his mouth. Two of these men are clean shaven with the remainder sporting a moustache and two with a beard. The ages of these men vary from late 20s to middle age. This group of men are located in a mining location with what appears to be an open cut mine in the background of the image. The ground is muddy and has elements which can help identify it as a mining location based on the condition of the landscape. The bottom of the men's trousers are muddy which provides the assurance that these men were working in this location when their photograph was captured. In the background there is one structure, possibly a dwelling, and bush which identifies the location as Australia. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper mounted on board.Reverse: 1997.2518mining, goldfields, beechworth, 1870, australia, australian goldfields, diggers, victoria, sluicing, gold mining, miners, diggers victoria

This photograph was taken in approximately 1870 and depicts four male miners standing in mining sluice at the Three Mile Goldfields. These men are wearing typical attire for 1870s gold miners. They wear white shirts, tan coloured pants with water proof shoes and most of the men are wearing an apron to prevent their clothing from becoming too dirty from the mud. Each man is wearing a wide brim hat and hold large wooden tools used for sorting through the sluice. Three of the four men have full beards. The photograph was donated to the Burke Museum by R. Ziegenbein before 2001 but the photographer and the individuals captured in the photo are unknown. The image depicts the landscape of the Three Mile Goldfields during a period when open cut sluicing was undertaken to reach gold. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5 km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund was later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. Sluice box workers were a vital part of gold mining regardless of how inefficient they were in the recovery of gold. After using hydraulic sluicing to cut away the earth, miners would use the big wooden boxes depicted in the image to catch the earth which would then be sifted for gold. However, accidents would occur often which would result in the gold washing away and unable to be recovered. It was not a very efficient system because the gold, which was alluvial and thus very fine, would often pass through the sluice box undetected.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.[illegible] about 1870 / 97 2514.1 / 2594 30three mile goldfields, goldfields, 1870, 1870 gold, australia, australian landscape, miners, gold miners, diggers, gold diggers, beechworth, victoria, sluice box workers, sluicing, sluice, mining