Showing 136 items matching south australian languages
-
Victorian Aboriginal Corporation for Languages
Book, Robert Foster et al, Early forms of Aboriginal English in South Australia, 1840s-1920s, 2003
... South Australian languages... in South Australia, 1840s-1920s A dictionary of South Australian ...A dictionary of South Australian Pidgin English, spoken primarily between Aboriginals and Europeans in South Australia in the 19th and 20th centuries. It is a valuable resource for those engaged with historical and literary texts that in the past have often proved difficult to those not trained in pidgin linguistics.Word listssouth australian languages, nunga, kaurna, pidgin english -
Victorian Aboriginal Corporation for Languages
Book, H M Cooper, Australian Aboriginal words and their meanings, 1966
... Australian languages. No specific indication of source languages... Australian languages. No specific indication of source languages ...Short book of approximately 3,000 words from South Australian languages. No specific indication of source languages given.word listssouth australia, glossaries -
Victorian Aboriginal Corporation for Languages
Book, Donald Laycock, Linguistic trends in Australia : papers presented to the A.I.A.S. Linguistics Group May 1968, 1970
... language-specific notes on South Australian languages.... language-specific notes on South Australian languages. Maps, word ...Various authors: technical linguistic studies of genetic classification of Australian languages, Daly family languages, and some language-specific notes on South Australian languages.Maps, word listsdaly, gugada, wirangu, dieri, tyemeri, mulluk, linguistics, grammatical theory, phonology, -
Victorian Aboriginal Corporation for Languages
Book, Aldo Massola, Aboriginal place names of south-east Australia and their meanings, 1968
... south east Australian languages... vocabulary word lists south east Australian languages Aldo Massola ...A first attempt to make a complete collection of all recorded Aboriginal names of towns, shores, homesteads, rivers, swamps, mountains and other natural features of south-east Australia. Gives meanings.word listsvocabulary, word lists, south east australian languages -
Federation University Art Collection
Sculpture - Artwork, 'The More Bones the Better' by Yhonnie Scarce, 2016
... Yhonnie SCARCE (1973- ) Born Woomera, South Australia...Yhonnie SCARCE (1973- ) Born Woomera, South Australia ...Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal -
Federation University Art Collection
Work on paper - Printmaking, Tji Tji Kutjara [Two Children], c1996
... Nyukana BAKER (1943-2016) Born Ernabella, South Australia... 1996 Nyukana BAKER (1943-2016) Born Ernabella, South Australia ...Nyukana BAKER (1943-2016) Born Ernabella, South Australia Country: Kanypi Language: Pitjantjatjara A Pitjantjatjara artist from Ernabella who began painting, designing and weaving in 1963 and producing batik in 1971. Founded in 1949 Ernabella Arts is the longest running Aboriginal arts centre in Australia. It was established o create employment opportunities for young women from the local Pitjantjatjara people. Nyukana Baker died 17 April 2016 at Alice Springs, Northern Territory. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print. 6/20 Tjitji Kutjara Two Children Nyukana Baker Feb 1996art, artwork, printmaking, linoprint, nyukana baker, pitjantjatjara, kanypi, aboriginal, ernabella -
The Beechworth Burke Museum
Animal specimen - Goanna, Trustees of the Australian Museum, 1860-1880
Sand goannas are the second largest species of carnivorous lizards found across mainland Australia. They can grow up to 160cm in length and can weigh as much as 6kg. Their common name is derived from "iguana", since early European bush settlers in Australia likened goannas to the South American lizards. Goannas retain special cultural and historic significance within Australian folklore and Indigenous culture. They were an important traditional native food source and are commonly represented in Aboriginal Dreamtime stories. In some Aboriginal languages, the sand goanna is called "bungarra"; a term also commonly used by non-Aboriginal people in Western Australia. In Pitjantjatjara and other central Australian languages, goannas are called "tingka". This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Small goanna with a streamlined body and textured scaly skin in different shades of olive and brown. It has a long neck and a long tail which narrows towards the tip. The goanna has four short, stocky legs which meet with large, curled claws. Its mouth is slightly slightly open, and it has two black glass eyes.On tag: BMM / 5892 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, lizard, goanna, sand goanna, monitor lizard, various gouldii -
The Beechworth Burke Museum
Animal specimen - Wombat, Trustees of the Australian Museum, 1860-1880
Wombats are short-legged, muscular, nocturnal marsupials that live in a wide variety of habitats throughout Australia. A common wombat can grow up to 1.2 metres in length and weigh up to 35 kilograms. The name “wombat” comes from the Darug language spoken by the Aboriginal Darug people, who originally inhabited the Sydney area. The wombat was first recorded in 1798 by explorer John Price on a visit to Bargo in New South Wales, however, wombats are depicted on Aboriginal rock-art that date back as far as 4,000 years ago. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. Medium sized stocky wombat with a broad head and two muscular forelegs and two weaker hind legs that are met with long sharp black claws. The hair is long, thick and coarse in brown/yellow shades. The head features two small black eyes that have been made from glass, two short pointed ears and a bare nose pad. On wooden mount: BMM 5901 /taxidermy mount, taxidermy, wombat, animalia, vombatidae, burke museum, beechworth, australian museum, skin, reynell eveleigh johns -
Federation University Historical Collection
Image - black and white, Barwon River Man (New South Wales)
Digitised directly from 'The Native Races of the British Empire: Victoria' The Barwon River in New South Wales is formed through the confluence of the Macintyre River and Weir River (part of the Border Rivers system), north of Mungindi, in the Southern Downs region of Queensland. The Barwon River generally flows south and west, joined by 36 tributaries, including major inflows from the Boomi, Moonie, Gwydir, Mehi, Namoi, Macquarie, Bokhara and Bogan rivers. During major flooding, overflow from the Narran Lakes and the Narran River also flows into the Barwon. The confluence of the Barwon and Culgoa rivers, between Brewarrina and Bourke, marks the start of the Darling River.Black and white Image of an Aboriginal man from Barwon River, New South Wales. Aboriginal people from six language groups originally occupied the area of the Barwon River wetlands. These were the Ngemba, the Baranbinja, the Murrawari, the Ualayai, the Weilwan, and the Kamilaroi peoples. The Aboriginal people generally used the wetlands for hunting, fishing, and gathering uses, and for cultural association.(Wikipedia) The name "barwon" is derived from the Australian Aboriginal words of barwum or bawon, meaning great, wide, awful river of muddy water; and also baawan, a Ngiyambaa name for both the Barwon and Darling rivers. The history, culture and livelihoods of the local Aboriginal people are closely intertwined with the Barwon River and its associated tributaries and downstream flows. (Wikipedia)aborigine, aboriginal, barwon river -
Bendigo Military Museum
Book - POCKET BOOK, June 1967
Item issued to Wayne William Forbes No 3176337 RAE. Refer Cat No 754 for service history also 2586. Part of an extensive collection including his fathers.Pocket book, green cover, Australian Military Forces South Vietnam. This book contains the history, the War, Government, language, the people re South Vietnam, 74 pages with drawings & sketches.“7610-66-023-3281”pocket book, south vietnam -
Orbost & District Historical Society
black / white photograph, 1897
Link with item 1178. This is a surveyors' camp in the McCulloch Ranges, Murrangowar, April, 1897. Included in the photograph are: L. Thorn; Pearson; L. Coburn, Clem Bates; Sam Blacklock with a packhorse. They were surveying for a road or railway. Surveyors were among the first European settlers to arrive in Australia. A Surveyor-General was present on the First Fleet, as well as the first two ships which landed in South Australia. These men were issued with instructions to record observations in a journal that included the country’s general appearance, its soil, flora and fauna and the customs and language of local inhabitants. The conditions they worked in were harsh and they embarked on journeys with drays carrying cumbersome surveying and camping equipment, spending months camping out in the bush and mapping the land. It was not until well into the second half of the nineteenth century that the professional training of surveyors became mandatory in Australia.This is a pictorial record of a surveyors' camp in the late 19th century.A black / white photograph of a group of men standing in front of a tent / camp in a dense bush setting.surveyor's-camp-mccullochs-ranges-murrangowar land-settlement -
Orbost & District Historical Society
black and white photograph, 1897
This is a surveyors' camp in the McCulloch Ranges April, 1897. Surveyors were among the first European settlers to arrive in Australia. A Surveyor-General was present on the First Fleet, as well as the first two ships which landed in South Australia. These men were issued with instructions to record observations in a journal that included the country’s general appearance, its soil, flora and fauna and the customs and language of local inhabitants. The conditions they worked in were harsh and they embarked on journeys with drays carrying cumbersome surveying and camping equipment, spending months camping out in the bush and mapping the land. It was not until well into the second half of the nineteenth century that the professional training of surveyors became mandatory in Australia. This is a pictorial record of a surveyors' camp in the late 19th century.A black / white photograph of a group of men standing at a campsite in the bush. Two tents are in the background.on the front - "Surveyors Camp, McCulloch Ranges" Some names have been added for identification - Bates, Thorn and others which cannot be read.surveyors-camp-mcculloch-ranges land-settlement -
The Beechworth Burke Museum
Animal specimen - Gang Gang Cockatoo (male), Trustees of the Australian Museum, 1860-1880
The Gang-gang Cockatoo can be found throughout much of south-eastern Australia. They reside in mountainous forests and open woodlands, often in small groups or larger flocks at sources of food and water. They eat mainly seeds from native trees and shrubs along with wattles, eucalypts and hawthorns. The Gang-gang Cockatoo is also known to incorporate berries, nuts, fruits and insects to their diet. The sound made by this type of Cockatoo is often described as a rasping screech which resembles the sound of a rusty hinge being moved.This type of call is made when the bird is in flight. These birds also fond of attention and can pick their own feathers if they are bored. The name "gang gang" derives from a New South Wales Aboriginal language, either the Ngunnawal or Wiradjuri. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The male Gang Gang Cockatoo is standing stylised on a wooden perch. The Cockatoo has a dark slate-grey coloured body with a scarlet red/orange coloured head with a wispy crest. This specimen stands with its wings positioned to its sides and has round glass bead eyes. The bill has a hooked shape and is horn-coloured. The legs and feet of this specimen are dark grey.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, cockatoo, gang-gang cockatoo, cockie -
The Beechworth Burke Museum
Animal specimen - Gang Gang Cockatoo (female), Trustees of the Australian Museum, 1860-1880
The Gang-gang Cockatoo can be found throughout much of south-eastern Australia. They reside in mountainous forests and open woodlands, often in small groups or larger flocks at sources of food and water. They eat mainly seeds from native trees and shrubs along with wattles, eucalypts and hawthorns. The Gang-gang Cockatoo is also known to incorporate berries, nuts, fruits and insects to their diet. The sound made by this type of Cockatoo is often described as a rasping screech which resembles the sound of a rusty hinge being moved.This type of call is made when the bird is in flight. These birds also fond of attention and can pick their own feathers if they are bored. The name "gang gang" derives from a New South Wales Aboriginal language, either the Ngunnawal or Wiradjuri. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female Gang-gang Cockatoo has a grey head and crest with brown glass eyes. The beak is hooked and a pale bone colour. The neck and torso of the cockatoo is patterned with orange and black stripes. The feathers of the underparts and back are slate-grey with an edging of pink and yellow. The female cockatoo has more yellow in their feathers than the males which gives them a further barred appearance. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, australaisian shovelor, shovelor, cockatoo, gang-gang cockatoo, cockie -
The Beechworth Burke Museum
Ceremonial object - Message Sticks, Dja Dja Wurrung
These Message Sticks acknowledge the return of Dja Dja Wurrung Cultural material held by the Burke Museum. The Burke Museum is the current custodian of a significant collection of First Peoples’ cultural material from across South-Eastern Australia. These objects were sold to the Museum by Reynold Everly Johns in 1868. We recognise the harm caused by dispossession of cultural material, and by any inappropriate display and interpretation of this collection over the past 150 years. The Burke Museum is continuing to build relationships and collaborate with traditional owners, Aboriginal communities and the museum sector to ensure culturally appropriate outcomes for the collection, including repatriation of objects to communities of origin. Message sticks are a form of communication between Aboriginal nations, clans and language groups even within clans. Traditional message sticks were made and crafted from wood and were generally small and easy to carry (between 10 and 20 cm). They were carved, incised and painted with symbols and decorative designs conveying messages and information. Some were prepared hastily, like you might create a note left on a friend’s desk or a quick text message; others were prepared with more time to make the markings neat and ornate. There were always marks that were distinctive to the particular group or nation sending the message and often marks identifying the relationship of the carrier to their group. This way it could be identified and authenticated by neighboring groups and by translators when the message stick was taken long distances. Two solid cylindrical shaped pieces of wood bound together with black, red and yellow string. Each stick has etchings with angular lines and dots. dja dja wurrung, message sticks, burke museum, beechworth, beechworth museum, repatriation, reynold everly johns -
Warrnambool and District Historical Society Inc.
Book - Book of Early Western District Aboriginal Languages and Culture, Griffin Press Limited. South Australia, Australian Aborigines, 1981
... and a dictionary of three of their languages Griffin Press Limited. South ...Description of Western District Aborigines and a dictionary of three of their languagesThis is a book of 112 pages of text plus 104 pages of aboriginal words and their meanings. The green cover has a gold image of an aboriginal hunter on the front cover and gold printing and a floral image on the spine. The pages contain printed text and some sepia-coloured photographs. non-fictionDescription of Western District Aborigines and a dictionary of three of their languagesjames dawson's book 'australian aborigines', western district aborigines 19th century -
Expression Australia
Newsletter, The Gesture - The Voice of the Deaf and Dumb of Australasia January-February 1909
"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australian Deaf.No. 1 New Series; Pink Cover; Size 29cmHx14cmW; 24 pagesdeaf cyclists, asylum, burnside, beale, blackburn, flower farm, lake park, xmas rally, new south wales, queensland, james lovett, nellie favison, athur renwick, thomas simpson, western australia, south australia, ostock, barrett townsend, iddleby -
Expression Australia
Newsletter, The Gesture - The Voice of the Deaf and Dumb of Australasia March 1903
"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australian Deaf.Printed Cover, Size 28Hx22W, 16 pagesernest abraham, rev h. r. haweis, dean parkyn, samuel johnson, south australian institute for the deaf and dumbw. h. bostock, william townsend, sir john colton, sir e. t. smith, a.c. w. cox, parafield, miss clifford, mr gregory, c. h. goode, d. nock, w. herbert phillips, mr angas, james a. gibson, ballarat, maffra, sale, bairnsdale, warragul, -
Robin Boyd Foundation
Document - Manuscript, Robin Boyd, The State of Australian Architecture, 1967
In this article, requested by Architecture in Australia, Boyd condemns the lack of development in the shaping the identity of Australian architecture, similar to the contents of Texas Quarterly 'Architecture in Australia' Vol.5 (see D092), Boyd writes about the need for designers and architects to create a new design language rather than recycling and reminiscing on old British aesthetics despite wanting to gain international recognition.Original manuscript of an article published in Architecture in Australia, Vol.56, No.3, June 1967 pp.454-465.Typewritten (c copy), pencil edits, quarto, 26 pagesPencil corrections and edits in textaustralian architecture, sydney school, architecture in australia, robin boyd, manuscript -
Robin Boyd Foundation
Book, Sidney J. Baker, The Australian Language, 1970
Softcoverwalsh st library -
Surrey Hills Historical Society Collection
Photograph, 3 Beatty Street, Mont Albert
Location is now 3 Beatty Street, Mont Albert although electoral entries for the Lodewyckx family in the 1930s give the address as 1 Beatty Street. This address is a more contemporary house and part of the original garden was subdivided off at some stage. The property's original address was 1 Victoria Street, renamed in 1917. The house was built c 1891 and from then until 1905 it was home to Leopold A Carter (dentist of Collins Street); followed by James J Hempill (broker) from 1905 -1907. he called it 'Manchling'. There were several other owners or tenants before the Lodewyckx family moved into it in 1920. They named the property 'Huize Eikenbosch' (Dutch meaning House of Oaks). It was set in 1/3 hectare with a formal garden, vegetable garden, orchard and chicken run. Augustin had a life-long interest in growing vegetables and planted many European trees, especially oaks. Augustin Lodewyckx was born and educated in Belgium, was appointed Professor of Modern Languages at Stellenbosch, South Africa and later joined the Belgium Colonial Service. In 1915 he commenced as lecturer in German at Melbourne, becoming Associate Professor in 1923. He had married Anna Sophia Hansen* in South Africa in 1910. They had 2 children Karel Axel, librarian of the University of Melbourne, and daughter Hilma Dymphna, translator, editor and wife of Manning Clark, historian. In 1942 Augustin introduced a university course in Dutch and also undertook research into German immigration to Australia. He retired in 1946 and died in 1964. (*Thought to be nick-named Mina.) A black and white photograph of a corner of a house with a large palm tree in front. There is decorative wooden balustrading on the verandah.beatty street, mont albert, mina lodewyckx (mrs), augustin lodewyckx (mr), karel axel lodewyckx (mr), axel lodewyckx (mr), anna sophia lodewyckx (mrs), hilma dymphna lodewyckx (miss), dymphna lodewyckx (miss), hilma dymphna clark (mrs), dymphna clark (mrs), architectural features -
Federation University Art Collection
Painting - Natural pigment on bark, Mawurndjul, John, 'Female Wayarra Spirit' by John Mawurndjul, 1995
Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan -
Koorie Heritage Trust
Book, Department of Pacific and Southeast Asian History, Australian National University, Aboriginal History - Volume 08. 1-2 1984, 1984
This volume of 'Australian History' is devoted to studies of the south-eastern corner of the Australian continent. The papers arose from a series of meetings convened with Professer R. W. Dixon in 1981. They involved scholars from the disciplines listed, all concerned with the south-east. A series of articles by leading writers on Aboriginal History.237 P.; ill,; figs.; tables; notes; reviews; 24 cm.This volume of 'Australian History' is devoted to studies of the south-eastern corner of the Australian continent. The papers arose from a series of meetings convened with Professer R. W. Dixon in 1981. They involved scholars from the disciplines listed, all concerned with the south-east. A series of articles by leading writers on Aboriginal History.aboriginal australians -- periodicals. | ethnology -- australia -- periodicals. | settlement and contacts - colonisation - 1788-1850 | race relations - violent - massacres, murders, poisonings etc. - to 1900 | sex relations | indigenous knowledge - world view | language - personal names | language - semantics | social identity | language - sociolinguistics | government policy - state and territory - new south wales | socioeconomic conditions - living conditions | language - linguistics - language classification | language - vocabulary - word lists | language - linguistics | geography - territories and boundaries | art - rock art - painting | art - production - materials / techniques | art - art motifs | -
Koorie Heritage Trust
Book, Blake, Barry J, Wathawurrung and the Colac language of southern Victoria, 1998
... , on various Australian languages, particularly languages of south ...The papers in this volume represent an activity that is becoming increasingly common: putting together scattered sources, mainly from the nineteenth century, on various Australian languages, particularly languages of south-eastern Australia. These languages are no longer spoken in anything like their full, original form and in many communities only a few words are remembered.v-x; 177P.; maps; tables; 25 cm.The papers in this volume represent an activity that is becoming increasingly common: putting together scattered sources, mainly from the nineteenth century, on various Australian languages, particularly languages of south-eastern Australia. These languages are no longer spoken in anything like their full, original form and in many communities only a few words are remembered. aboriginal australians -- victoria -- geelong region -- languages. | aboriginal australians -- victoria -- ballarat region -- languages. | aboriginal australians -- victoria -- colac region -- languages. | aboriginal australians -- victoria -- languages. | wathawurrung dialect. | gulidjan language. | -
Koorie Heritage Trust
Book, Barwick, Diane et. al, Handbook for Aboriginal and Islander history, 1979
Contents: Archaeology Isabel McBryde; Archives H.J. Gibbney; Artefacts and museums Carol Cooper, Isabel McBryde; Australian Institute of Aboriginal Studies Diane Barwick, Jane Forge, James Urry; Biography: writing a life story Diane Barwick, Nan Phillips, Tom Stannage; Censuses and other population records L.R. Smith; Court and police records: evidence for Aboriginal history Tom Stannage; Genealogy: tracing family history Diane Barwick, Diane Bell, Francesca Merlan; Government - Government publications on Aborigines Brownlee Kirkpatrick; Government committees and Royal Commissions David H. Bennett. Guardians of history - Aboriginal heritage and the Australian Heritage Commission Josephine Flood; Historical Societies Nan Phillips, Tom Stannage. Land rights - Land rights: recent events and legislation Anita Campbell, Diane Bell, Diane Barwick; Land rights: an introductory bibliography Nicolas Peterson. Language: resources for research Luise Hercus, Francesca Merlan; Libraries James Urry; Maps and mapping John von Sturmer; Missions: settlements, sponsors, sources of information James Urry; Music Alice Moyle; Newspapers Andrew Markus; Oral history interviewing Peter Read; Photographic records - Koorie studies: records of the South Coast Yuin walkabout Guboo Ted Thomas; Photographs old and new Colin Roach; Films and film-making David McDougall; Publishing your work Shirley Andrew, Diane Barwick; Sport: resources for research Michael Mace, Bill Rosser; Tape recording Bryan Butler; Torres Strait Islands: information available in Papua New Guinea Peter Bolger; War and Aborigines Hank Nelson; Women in Aboriginal society: resources for research Diane Barwick, Diane Bell.xv, 187 p. ; 25 cm.Contents: Archaeology Isabel McBryde; Archives H.J. Gibbney; Artefacts and museums Carol Cooper, Isabel McBryde; Australian Institute of Aboriginal Studies Diane Barwick, Jane Forge, James Urry; Biography: writing a life story Diane Barwick, Nan Phillips, Tom Stannage; Censuses and other population records L.R. Smith; Court and police records: evidence for Aboriginal history Tom Stannage; Genealogy: tracing family history Diane Barwick, Diane Bell, Francesca Merlan; Government - Government publications on Aborigines Brownlee Kirkpatrick; Government committees and Royal Commissions David H. Bennett. Guardians of history - Aboriginal heritage and the Australian Heritage Commission Josephine Flood; Historical Societies Nan Phillips, Tom Stannage. Land rights - Land rights: recent events and legislation Anita Campbell, Diane Bell, Diane Barwick; Land rights: an introductory bibliography Nicolas Peterson. Language: resources for research Luise Hercus, Francesca Merlan; Libraries James Urry; Maps and mapping John von Sturmer; Missions: settlements, sponsors, sources of information James Urry; Music Alice Moyle; Newspapers Andrew Markus; Oral history interviewing Peter Read; Photographic records - Koorie studies: records of the South Coast Yuin walkabout Guboo Ted Thomas; Photographs old and new Colin Roach; Films and film-making David McDougall; Publishing your work Shirley Andrew, Diane Barwick; Sport: resources for research Michael Mace, Bill Rosser; Tape recording Bryan Butler; Torres Strait Islands: information available in Papua New Guinea Peter Bolger; War and Aborigines Hank Nelson; Women in Aboriginal society: resources for research Diane Barwick, Diane Bell.australian aborigines, to 1979. historical sources. | aborigines, australian -- history. | genealogy. | torres strait islanders -- history -- sources. | aboriginal australians -- genealogy. | aboriginal australians -- history -- sources. | aboriginal australians -- history. | aboriginal australians -- history -- archival resources. | aboriginal australians -- history -- library resources. | aboriginal australians -- history -- bibliography. -
Koorie Heritage Trust
Journal - Serials, Department of Pacific and Southeast Asian History, Australian National University, Aboriginal History - Volume 03. 1-2 1979, 1979
A series of articles on Aboriginal History by well-known historians.166p.; footnotes; bib.; ports.; facsimiles; 25 cm.A series of articles on Aboriginal History by well-known historians.aboriginal australians -- periodicals. | ethnology -- australia -- periodicals. | aboriginal australians -- missions -- new south wales | religions - christianity - missions | religions - christianity - missionaries | music - vocal | literature and stories - story telling and story tellers | language - texts and translations - aboriginal to non-aboriginal language | art - rock art - painting | photography - ethnographic | ceremonies | literature and stories - story telling and story tellers | world war, 1939-1945 -- participation, aboriginal australian. | aboriginal australian soldiers. | aboriginal australians -- northern territory -- arnhem land. | defence - world war ii | religions - christianity - lutheran church | religions - christianity - missions | settlement and contacts - colonisation - 1851- | settlement and contacts - colonisation - 1851- | government policy - initial period and protectionism - 1851-1900 | government policy - state and territory - queensland | animals - invertebrates - crustacea and molluscs - beche-de-mer / trepang | -
Koorie Heritage Trust
Journal - Serials, Department of Pacific and Southeast Asian History, Australian National University, Aboriginal History - Volume 05. 1-2 1981, 1981
Articles on various aspects of Australian History articles.178 p.; ill.; tables; footnotes; bibs.; maps; 25 cm.Articles on various aspects of Australian History articles.aboriginal australians -- periodicals. | ethnology -- australia -- periodicals. | settlement and contacts - chinese | language - change | mining industry - gold | settlement and contacts - afghans | animals - mammals - camels | race relations - racism - stereotyping | language - texts and translations - aboriginal to non-aboriginal language | art - drawing | art - artists | settlement and contacts - macassans and indonesians | language - kriol | language - linguistics - language classification | language - semantics | settlement and contacts - explorers | -
Koorie Heritage Trust
Book, Beveridge, Peter, The Aborigines of Victoria and Riverina, 1889
The author arrived in Victoria at the age of 10 years in 1839. His family gave their name to the Victorian town. He and his brother settled at 'Tyntynder' outside Swan Hill in 1845. His brother was killed by Aborigines. Brought into daily contact with the Aborigines of the area he gradually acquired their language and was permitted to learn much denied to other whites. By 1883 he had amassed a large amount of information which he put into the form of a Paper, read before the Royal Society of New South Wales. This paper may be regarded as the skeleton of the volume now publishjed. Victoria -- RiverinaAboriginals, Victoria -Swan Hill region. Lifestyle; customs and beliefs. Tyntynder(Vic)Aboriginals - Murray River tribes; language; magic; religion and practices.191p.; vocab. list; The author arrived in Victoria at the age of 10 years in 1839. His family gave their name to the Victorian town. He and his brother settled at 'Tyntynder' outside Swan Hill in 1845. His brother was killed by Aborigines. Brought into daily contact with the Aborigines of the area he gradually acquired their language and was permitted to learn much denied to other whites. By 1883 he had amassed a large amount of information which he put into the form of a Paper, read before the Royal Society of New South Wales. This paper may be regarded as the skeleton of the volume now publishjed. Victoria -- RiverinaAboriginals, Victoria -Swan Hill region. Lifestyle; customs and beliefs. Tyntynder(Vic)Aboriginals - Murray River tribes; language; magic; religion and practices.aboriginal australians -- victoria. | aboriginal australians -- murray river valley (n.s.w.-s.a.) -
Koorie Heritage Trust
Journal - Serials, Department of Pacific and Southeast Asian History, Australian National University, Aboriginal History - Volume 07. 1-2 1983, 1983
A series of articles by leading writers on Aboriginal History.228 P.; refs. bibs. tables; maps; ports.; 25 cm.A series of articles by leading writers on Aboriginal History.aboriginal australians -- periodicals. | ethnology -- australia -- periodicals. | child welfare - child / parent separation - stolen generations | social welfare - wards of state | social welfare | social welfare - government | government policy - assimilation | family | child welfare | child welfare - adoption and fostering | government policy - commonwealth | government policy - self determination - 1993-2004 | occupations - pastoral industry workers | race relations - violent - massacres, murders, poisonings etc. - to 1900 | politics and government - political action - petitions | cooper, william (1861ð1941) | victoria. aborigines welfare board | victoria. board for the protection of aborigines | victoria. ministry of aboriginal affairs | mclean report | music - vocal - origins | language - kriol - pidgins and creoles - torres strait creole | -
Koorie Heritage Trust
Journal - Serials, Department of Pacific and Southeast Asian History, Australian National University, Aboriginal History - Volume 09. 1-2 1985, 1985
A series of articles by leading writers on Aboriginal History.240 P.; footnotes; appendices; maps; ports.; bibs.; 24 cm.A series of articles by leading writers on Aboriginal History.aboriginal australians -- periodicals. | ethnology -- australia -- periodicals. | animals - birds - brolgas | stories and motifs - emu | indigenous knowledge - botany | indigenous knowledge - zoology | language - change | language - linguistics - language classification | language - linguistics - phonology and phonetics | language - semantics | language - texts and translations - aboriginal to non-aboriginal language | crime - bushrangers and outlaws | law enforcement - police - native police | law enforcement - police trackers | indigenous peoples - pacific | language - kriol - pidgins and creoles - torres strait creole |