Printed foolscap size book. Softcover. 112 pages. Colour and black and white photos. Maps, figures, tables. Index. Publication details. Graham Simpson (Publisher, Bacchus Marsh, Victoria, 2021. Lead authors Graham Simpson, Jeanette McGonegal and Alan Morton.This book contains a collection of articles written by landholders, local residents and members of corporate and volunteer organisations describing their roles in the restoration of Rowsley Valley. The historical scope of this book encompasses the geological and environmental history of the area prior to human habitation, occupation by the Wadawurrung people prior to European colonisation, and the colonial and post colonial eras. This introductory contextual background is complemented by the rest of the book which describes the various aspects of the environmental restoration of the Rowsley Valley from the latter part of the 20th century continuing to the present day.environmental restoration projects, rowsley valley victoria environmental history, conservation of natural resources, aboriginal australians bacchus marsh region history, wadawurrung people history

306 p., illus.non-fictionThe story of William Buckley.william buckley, john batman, victoria history, kulin nation

Buninyong Bivium (2016) by Cliff Burtt engages with the geography and history of the Buninyong region in both pre and post settlement. The town of Buninyong is dominated by the profiles of Mt Helen and the extinct volcano Mt. Buninyong. Traditional land of the Wadawurrung people, today the area remains a significant site for the culture of indigenous people and their connection to the land. The profile of this sculpture is based on topographical mapping of the area, depicting sections of the landscape. The gaps between the elements of the work can be viewed as representations of the shafts sunk into the earth by the early gold miners and compound curves on the upper surfaces are mirroring the topography of the area, while cut-aways in the sides are suggestive of rock strata.The artwork is of aesthetic and social significance to the people of BallaratCorten steel sculpture made of five unique sculptural pieces secured to at concreate base at pavement levelbuninyong, cliff burtt, sculpture, public art, mining, ballarat

Open Monument is a contemporary artwork acknowledging the history of Chinese people in Ballarat. The Chinese diaspora was global and many Chinese people came to Ballarat and the Victorian Goldfields. The work details some of the personal Chinese family memories of Ballarat from the goldrush forward. The 33 marble laser-etched panels include found images and texts mounted on a modernist metal architectural feature holding back a grassed hill landscape. Within the side walkway of gravel and composite stone is an etched of local activities relating to the Chinese community achievements that can be added to by the community.Open Monument is of aesthetic and historical significance to the people of BallaratArchitectural artwork consisting of large marble panels on a corten steel frame imbedded into a grassed mount.Inscription on plaque: Open Monument 無極紀念碑 ​/ Artist: John Young ​/ Officially Launched by Mr Yumin Song / Chinese Consul-General to Victoria​ / 6th September 2015​ / Open Monument unearths stories of the Chinese diaspora in Ballarat, a name which means/ “resting place” to the traditional custodians - the Wadawurrung and Dja Dja Wurrung people.​/ The monument comprises of two artworks: Transculture, a granite-panelled work, evoking stories of alternative worldviews, / modernity, leisure and toil. Whilst Timeline traces the major contributions of the Chinese community in Ballarat, every decade / from the 1850s until the present. The timeline then folds out to 2170, anticipating imaginary future contributions.​ / The monument is open to future interpretations of this history. ​/ I thank you for visiting and acknowledging the contributions and memories that meant so much to / those who have gone before us./ - John Young Zerunge​ / Patron: Mr Henry Thai OAM JP​ / President of Ballarat Chinese ​/ Community Association Inc​ / The following generous donors to this project are acknowledged with gratitude​/ City of Ballarat​ Sovereign Hill Museum Association Inc.​ Ballarat Chinese Community Association Inc.​ Mr Henry Thai OAM JP & Mrs Sandra Thai ​ Mrs Shirley Doon & Family in memory of Harry Doon​ Chinese Masonic Association Inc.​ Mr Mean Te and Mrs Meng Khun​ Mr Jack Nguyen MA JP & Mrs My Tang​ Mr Tony and Mrs Elise Yu​ Mr Chang Zhen Zhen & Family​ Australian Lian Jiang Association​ The Federation of Chinese Associations Vic​ The Leesoon Family​ Mr Stephen K.F Ng OAM JP​ Dr Che Sam Lo MD phD JP OAM​ Elderly Chinese Home Inc.​ The Federation of Chinese Org from VN Cambodian and Lao Association of Vic. Inc.​ Bright Moon Buddhist Society​ Nam Pon Soon Club House​ See-Yup Society​ Mr Peter Chong Wai Lo​ Mr Qing Song Lin​ Mr Binh Quoc Mao & Mrs Thuy Cam Thai​ Mr Alexander Mao​ Mr Yuet Lung Kwok JP​ Mr Tai The Tran​ Mr Phillip K. L. Tran​ Mr William K. L. Tran​ Mr Quang Khon Tran JP​ Mr Kouy Taing​ Mrs Kieng Hor Lou​ Mr Bill Chang Piu Au​ Mr Maurice Kwok Leong ​ Mrs Eunice J. Leong​ Mr Vi Minh Tran JP​ Mr Frank Cheng​ Mr David Cheng​ Mr William Thai​ Mr Lizhen Lin​ Mr Phillip Richard Thai​ Mr Hoan Ping Kow​ Mrs Xao Nhu Kow​ Mr Huy Thai​ Mr Yun Kuen Lo​ Mr Chiu Yip & Mrs Yuan Han Cho​ Mrs Jacqueline Louise Thai Greenwood​ Mr Joe Hap Chi Chao & Mrs Rosana Wei Ning Chao​ Charity & Multi Art Association of Victoria Inc.​ Mr Billy Cai​ Miss Nikki Cai​ Miss Su-Ling & Miss Lily Mays-Doon​ Mr Anthony Doon​ Mr H J Moy & Family​ Chinese Australian Cultural Society Ballarat Inc​ open monument chinese, chinese history ballarat goldfields, china, ballarat, goldfields, john young, chinese, mining, multicultural, immigration, tong way, goon, joss house, embroidery, billy butterfly, chinese market gardens, red lion hotel, ah soon, mayor of main road, chinese herbalist, yee lee, james hong, cheok cheong hong, john ah loo, wathawurrung, robe, lowe kong meng, louis ah mouy, tongway, gallipoli, william lung

Whilst my main focus for the artwork design was on the Hotels on Main Road, I felt there was an opportunity to tell a broader story of Main Rd and combine/include some interesting pieces of information from many stages of the history of Main Road. Considering that at one point in time there would have been at more than six hotels in this very short section of street….there’s no doubt Main Rd was an epicentre of communication and festivities for the Goldfields of Ballarat. “No matter what luck he had, every miner needed supplies, food and something to entertain him when he was not searching for gold.” Described as being an overcrowded jumble of muddy streets loosely arranged around mining camps...and loud, muddy, colourful and sometimes illicit. I wanted the artwork composition to consist of overlapping images and text to reflect this sense of hustle and bustle. Main Road Mural tells the broader story of the history of Main Road in Ballarat. In 2018, the City of Ballarat commissioned local Ballarat artist Travis Price to create an artwork to align with the Main Road Revitalisation Project and deliver a key component of the storytelling (heritage interpretation) project that spans the length of the shopping precinct. The artwork is featured on a prominent site in the shopping precinct of main road and tells the story of Main Road through depicting key timeline events. Main Road, as its name suggests, was one of the main entries to the mining areas of East Ballarat. It had several names: Main Street before 1858, Plank Road between 1858 and 1868 and Main Road from 1868 onwards. The centre of mining life, it was crowded, prosperous, raucous and dirty. Painted mural on shop wall in Main Road, BallaratBallaarat, Gold Fever, The Royal Standard Hotel, Flood, Boxing Saloon, Plank Road, Kulin Nation, 3350, Election, East, Grog House, The Scandinavian Hotel. Images; Chinese lantern, Pick & Shovel, Miners Licence burning.main road history, ballarat hotels, gold fever, wadawurrung, kulin nation

The Campsite mural features Bunjil (wedge-tailed eagle) the creator and spiritual leader for Aboriginal people of this land. The Baarlijan (platypus) is a representation of the local Aboriginal community who have come from different Aboriginal nations and have made Ballaarat their home. The circular motifs represent campsites of different sizes located across Ballaarat, indicating that Ballaarat was and continues to be an important meeting place. Campsite (2020) is a re-commissioned artwork based on the original Campsite Mural installed in Alfred Deakin Place for the Commonwealth Games in 2006. The Campsite mural features Bunjil (wedge-tailed eagle) the creator and spiritual leader for Aboriginal people of this land. The Baarlijan (platypus) is a representation of the local Aboriginal community who have come from different Aboriginal nations and have made Ballaarat their home. The circular motifs represent campsites of different sizes located across Ballaarat, indicating that Ballaarat was and continues to be an important meeting place. Commissioned by the City of Ballarat. Painted mural on six weatherproof sheetsbunjil, baarlijan, aboriginal history, ballarat history, wadawurrung

The blue section of the paining represents our amazing ocean, bays, rivers, creeks and wetlands. The white creamy section represents our coastline with the footprints imbedded into the sand tells the story of our old people who have been so connected to this coastline for many thousands of years, the mountain represents the You Yangs which holds a special part of our history here on Wadawurrung country, the 7 gathering circles in the mountain represents the 7 family groups within Wadawurrung, WAA the crow he is our protector here on country and Bundjil is our creator which is why I have implemented these 2 birds into my painting, the u shape people symbols represents my family of 5 generations still living on Wadawurrung country, my great grandmother Joye Eccles my pop norm Eccles my mum Corrina Eccles myself and my beautiful daughter Alira, the eucalyptus leaves up the top is a part of cleansing I have incorporated therese leaves because this country is cleansed everyday by he family when conducting a smoking ceremony.Painting of Eagle and Crow with water and footprints below. Brown, orange, blue, green, black used.bundjil, you yangs, wadawurrung

118 pages, 23 cm.non-fictionWilliam Bacchus was one of the first European colonists to live in the township which was later named after him. He arrived in land occupied by the Wurundjeri and Wadawurrung peoples in 1838 and established a large sheep farm. He died in 1849 and his son Henry Bacchus continued his farming interests in the district until his death in 1887. This work is a biographical portrait of William and Henry Bacchus and of the early European occupation in the Bacchus Marsh district. PUBLICATION DETAILS: Bacchus Marsh, Vic., Bacchus Marsh and District Historical Society Inc., 1973: william bacchus, bacchus family, henry bacchus, bacchus marsh, bmdhs publication

This ring belonged to Captain William Henry Bacchus who was one of the first British colonists to establish a farming property on Wurundjeri and Wadawurrung First Nations people lands 55 kilometers west of Melbourne. The land occupied by Bacchus in 1838 came to be known by the early colonists as Bacchus’s Marsh before later changing officially to Bacchus Marsh. The ring is believed to have been made to commemorate the death of Captain Bacchus’s father Wm (William) Bacchus in Somerset, England in 1788.This ring has significance because it is an object associated with a significant historical person in the history of the region of Bacchus Marsh. It is a rare, probably unique example of an 18th century mourning ring connected to the local community. It also has aesthetic value as an object and is in excellent condition.Gold ring with blue and black coloured inlay. Contains writing on the outsideWM Bacchus Esq OB: 10th JUNE 1788 Æ: 38 bacchus family, rings, william henry bacchus 1782-1849

Small pamphlet. Stapled softcover. 23 unnumbered pages. 11cm x 16cm. Contains photographs and cover illustration. BMDHS Location: AR/SU5 Pamphlets Box 4.non-fictionThis pamphlet outlines the early history of the house constructed for William Bacchus in 1846-1847 and briefly describes its condition as it was in 1957. William Bacchus was one of the first European colonists to live in the area in which a township (Bacchus Marsh) was later named after him. He arrived on land occupied by the Wurundjeri and Wadawurrung peoples in 1838 and established a large sheep farm. Between 1846 and 1847 he contracted builders and other skilled workers to construct a large brick and stone two storey house. William Bacchus died in 1849. His son Henry Bacchus sold the house in 1851. For many years it was owned by the Crook family. When this pamphlet was published in 1957 the house was owned by the Lifeguard Milk Company of Bacchus Marsh. By this time the property had become derelict and was almost demolished. Around this time the Young Mens Christian Association Club in Bacchus Marsh became involved in efforts to help preserve this historic property. This pamphlet was part of those efforts. PUBLICATION DETAILS: Y's Mens Club Bacchus Marsh, Bacchus Marsh, Vic., 1957. Text written by Ronald G. Westood. william bacchus, bacchus family, henry bacchus, bacchus marsh, manor house bacchus marsh, houses bacchus marsh, historic buildings bacchus marsh

Charles Griffith was born in Kildare, Ireland in 1808. He studied at Trinity College, Dublin acquiring a B.A. in 1829 and an M.A. in 1832 before being admitted to practice as barister. In 1840 he emigrated to Australia arriving in the Port Phillip District in November 1840. Soon after arriving he and his friend James Moore formed a business partnership and acquired land in the Parwan Valley near Bacchus Marsh. This land had been in the possession of a Mr. McKenzie who agreed to sell his land and sheep to Griffith and Moore. The property they acquired came to be known as Glenmore. The partnership with James Moore lasted until 1848. In 1846, whilst in Ireland, Griffith married Miss Jane Catherine Magee, then returned to Glenmore and later took his nephew, Molesworth Richard Greene, into partnership, which arrangement proved to be long and prosperous. In 1857, they bought runs at Mount Hope and Mount Pyramid, which they kept until the days of free selection. Griffith led an active and successful public life. He was a member of the new Victorian Legislative Council in 1851, and was later an elected representative of the Legislative Assembly 1853-1859. He occupied many important public positions, including that of magistrate for Bacchus Marsh. Griffith was a devout Anglican and hosted Bishop Charles Perry at his station near Bacchus Marsh in 1849. He died in 1863 at his home in South Yarra. The diary is a detailed account of Griffith's voyage from Ireland to Australia and of his early months in Melbourne. After this it covers his early months establishing himself on his property, Glenmore, near Bacchus Marsh. The timeline of the diary stretches across 1840 and 1841. Griffith was an educated gentleman who made detailed observations about the environment he found himself in. The diary is particularly notable for Griffith's commentary about his interactions with people from first nations, and reveals some of his thinking about Colonial policies directed at first nations people. The diary also includes some sketches of individual first nations people along with some sketches of flora and fauna. The final part of the diary includes a glossary of Aboriginal words Griffith was familiar with. Digital file. PDF format. Digitised by State Library Victoria from photocopied pages of a hand-written transcription of the original diaries written by Charles J. (James) Griffith in 1840 and 1841.charles james griffith 1808-1863, diaries bacchus marsh, glenmore station, wadawurrung people, aboriginal australians bacchus marsh region history

My name is Tammy Gilson and I am a descendant of Wadawurrung people on Mums side, Marlene Gilson and my dear Nan, Rita Fagan from the Dalton line of our apical ancestor, John Robinson. For that I pay my respects and acknowledge my ancestors and all Elders. In Wadawurrung wurru, meaning language, the wurru name of a cloak walert walert signifies the reclaiming of language that hasn’t been spoken fluently since colonisation. Wadawurrung kinkinbil people relied on possum fur to create cloaks to wear for warmth, ceremony, adornments and medicine. Possum fur was used widely amongst neighbouring First Peoples particularly from colder parts of Victoria given the harshness of climate and particularly in Gordon where the elevation is 650m above sea level. The walert walert denotes a continuum of cultural practice and identity, can be viewed as secret and sacred and today viewed as contemporised practice of history acknowledging transfer of knowledge, practice and kinship. My experience of possum skin cloak revival was in 2014 through Traditional Ceremony, Tanderrum, where I was chosen to make several cloaks to be worn by the Elders including my Mum. This is where I learnt technique and design elements that remain present and relevant to lived experience. My work is an example of how culture and connection gives purpose and embeds a beautiful sense of belonging. Each design panel holds a visual voice, a narrative that speaks to identity and kinship. Symbols and line work are found on old artefacts that indicate belonging to Wadawurrung people. The water marks and mountain patterns were passed on to me from Mum and her grandma. Continuing this practice is for future generations as the walert walert holds significant healing properties. Making them and sharing knowledge aims to strengthen our Culture and bring family together. There is nothing like a good yarn while sewing or weaving and this is what the Elders do, and my ancestors always did together, sitting around sharing their way and teaching. Possum skin cloak consisting of twenty four pelts, stitched together with thread. Cloak features Wadawurrung designs in red, orange, white and black ochre.possum skin cloak, wadawurrung, first peoples, culture, tammy gilson, identity, tradition, design, walert walert

My name is Tammy Gilson and I am a descendant of Wadawurrung people on Mums side, Marlene Gilson and my dear Nan, Rita Fagan from the Dalton line of our apical ancestor, John Robinson. For that I pay my respects and acknowledge my ancestors and all Elders. In Wadawurrung wurru, meaning language, the wurru name of a cloak walert walert signifies the reclaiming of language that hasn’t been spoken fluently since colonisation. Wadawurrung kinkinbil people relied on possum fur to create cloaks to wear for warmth, ceremony, adornments and medicine. Possum fur was used widely amongst neighbouring First Peoples particularly from colder parts of Victoria given the harshness of climate and particularly in Gordon where the elevation is 650m above sea level. The walert walert denotes a continuum of cultural practice and identity, can be viewed as secret and sacred and today viewed as contemporised practice of history acknowledging transfer of knowledge, practice and kinship. My experience of possum skin cloak revival was in 2014 through Traditional Ceremony, Tanderrum, where I was chosen to make several cloaks to be worn by the Elders including my Mum. This is where I learnt technique and design elements that remain present and relevant to lived experience. My work is an example of how culture and connection gives purpose and embeds a beautiful sense of belonging. Each design panel holds a visual voice, a narrative that speaks to identity and kinship. Symbols and line work are found on old artefacts that indicate belonging to Wadawurrung people. The water marks and mountain patterns were passed on to me from Mum and her grandma. Continuing this practice is for future generations as the walert walert holds significant healing properties. Making them and sharing knowledge aims to strengthen our Culture and bring family together. There is nothing like a good yarn while sewing or weaving and this is what the Elders do, and my ancestors always did together, sitting around sharing their way and teaching. 9144.1 - Digital colour film featuring Wadawurrung woman Tammy Gilson speaking about the walert walert (possum skins cloak) she made for the National Wool Museum Collection, and the cultural practice of making cloaks. Film is 7 minutes and 3 seconds in length. 9144.2 - Digital colour film featuring Wadawurrung woman Tammy Gilson speaking about the designs which feature on the walert walert she made for the National Wool Museum Collection. Film is 14 minutes in length.possum skin cloak, wadawurrung, first peoples, culture, tammy gilson, identity, tradition, design, walert walert