Showing 22 items
matching heritage, themes: 'creative life','gold rush','kelly country','service and sacrifice','sporting life'
Diverse state (46)
Aboriginal culture (12)
Built environment (17)
Creative life (12)
Family histories (3)
Gold rush (3)
Immigrants and emigrants (9)
Kelly country (2)
Land and ecology (9)
Local stories (14)
Service and sacrifice (3)
Sporting life (2)
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Koorie Heritage Trust
Indigenous Stories about Sport
Less well known is the fact that the first Australian cricket team to tour Britain was an all-Aboriginal team in 1868.
Against the express wishes of the Board of Protection of Aborigines, the Aboriginal 11 was smuggled aboard a ship bound for Sydney and then Britain. Between May and October 1868 they played 47 matches in Britain - they won 14, lost 14 and drew 19, a creditable outcome. A non-Aboriginal Australian team did not tour Britain until ten years later.
CULTURAL WARNING: Aboriginal and Torres Strait Islander users are warned that this material may contain images and voices of deceased persons, and images of places that could cause sorrow.
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State Library Victoria / Public Records Office Victoria
Ned Kelly
... in the Melbourne Goal by order of Sir Redmond Barry. Barry was instrumental in the foundation of the State Library of Victoria where, perhaps ironically, Kelly's "manifesto", the Jerilderie letter and the armour are held. Kelly's Irish heritage, his contempt ...Ned Kelly, the most famous of our 'Wild Colonial Boys', was born in 1855.
He was raised in harsh poverty in Northern Victoria, and became an expert bushman; by his teens he had developed a reputation as a bushranger. Kelly and his 'gang' were proclaimed outlaws when they killed three policemen, accounts of which differ.
So began the prolonged hunt, which ended with Kelly's capture in Glenrowan, in iconic home-made armour made from plough parts. Ned Kelly was executed in 1880, hanged in the Melbourne Goal by order of Sir Redmond Barry. Barry was instrumental in the foundation of the State Library of Victoria where, perhaps ironically, Kelly's "manifesto", the Jerilderie letter and the armour are held.
Kelly's Irish heritage, his contempt for and success in humilating the authorities, his harsh and some say unfair treatment, his bad luck and his daring and notoriety have ensured Kelly's place as folk hero.
View videos and other Kelly artefacts from the State Library of Victoria Ergo site:
Capture of the Kelly Gang
Ned Kelly's Armour
The Life of Ellen Kelly, Ned Kelly's mother
The Jerilderie Letter
Ned Kelly's death mask
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Megan Cardamone
Tennis in Pictures
... , the venues, the people, the social context - changed over time? Tennis Australia collects and preserves items of tennis heritage as a way of safekeeping the history of Australian tennis. Among its holdings are a large number of historical images. It also ...Today, for many Australians, especially Melburnians, watching and attending the tennis, and supporting favourite players is a popular aspect of summer.
What was it like to be a top player in times past and how has every aspect of tennis - the travel, the venues, the people, the social context - changed over time?
Tennis Australia collects and preserves items of tennis heritage as a way of safekeeping the history of Australian tennis. Among its holdings are a large number of historical images. It also fosters relationships with champions of the past so that emerging players can learn from their experience.
In 2015, two of these champions - Thelma Coyne Long and Neale Fraser - shared their memories of significant images in the Tennis Australia collection.
The result is this story: Tennis In Pictures, in which two tennis greats reminisce and share in a very personal way their memories about fascinating moments in our sporting history.
Thelma Coyne Long recalls the overseas trip in 1938 with three other female team-mates, the long ship journey, the excitement and novelty of travel and the confining attitudes towards women and female athletes in 1930s Australia.
As he examines historic Davis Cup images, Neale Fraser is reminded of some of his greatest team and individual triumphs and fondest memories from a lifelong tennis career.
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The Palais Theatre
... their first date there. Ask them about the Palais and watch them smile. The theatre is underwent restoration in 2016-17, which preserved the heritage value of the site and ensured the Palais remains a live performance venue and cultural icon in St Kilda ...It’s impossible for Melburnians to think about the St Kilda Esplanade without visualising the Palais Theatre standing majestically against Port Phillip Bay. Its grand Art Deco façade is as iconic to St Kilda as the Pavilion on the nearby pier, Acland Street or the theatre’s "just for fun" neighbour, Luna Park.
It’s surprising to discover, then, that the Palais wasn’t always regarded with such affection. When the original building – a dance hall called the Palais de Danse – was being constructed in 1913, over 800 locals attended a public meeting to protest it being given a license. They voiced fears that it would lower the tone of St Kilda, “have a demoralising effect on young people", and be "common with a big C”. The battle was won by the building owners, the three Phillips brothers (American immigrants who also built Luna Park), and an entertainment venue has stood on the site ever since.
The Palais Theatre is a magical place for Melburnians. It’s where generations of us have danced cheek to cheek, watched movies in the darkness, screamed lustily at the Rolling Stones, thrown roses at the feet of Margot Fonteyn and Rudolph Nureyev, and given standing ovations to Dame Joan Hammond’s awe-inspiring soprano. Your grandparents probably had their first date there. Ask them about the Palais and watch them smile.
The theatre is underwent restoration in 2016-17, which preserved the heritage value of the site and ensured the Palais remains a live performance venue and cultural icon in St Kilda for many generations to come. The restoration was funded by the State Government of Victoria and the City of Port Phillip.
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Vicki Couzens
Meerreeng-an Here Is My Country
... Is Our Strength' and 'My Spirit Belongs Here', complete the cycle, reconnecting and returning the reader to the entry point by focusing on culture, identity, Country and kin.Visit the Koorie Heritage Trust website for more information on Meerreeng-an Here ...The following story presents a selection of works from the book Meerreeng-an Here is My Country: The Story of Aboriginal Victoria Told Through Art
Meerreeng-an Here is My Country: The Story of Aboriginal Victoria Told Through Art tells the story of the Aboriginal people of Victoria through our artworks and our voices.
Our story has no beginning and no end. Meerreeng-an Here is My Country follows a cultural, circular story cycle with themes flowing from one to the other, reflecting our belief in all things being connected and related.
Our voices tell our story. Artists describe their own artworks, and stories and quotes from Elders and other community members provide cultural and historical context. In these ways Meerreeng-an Here Is My Country is cultural both in its content and in the way our story is told.
The past policies and practices of European colonisers created an historic veil of invisibility for Aboriginal communities and culture in Victoria, yet our culture and our spirit live on. Meerreeng-an Here Is My Country lifts this veil, revealing our living cultural knowledge and practices and strengthening our identity.
The story cycle of Meerreeng-an Here Is My Country is presented in nine themes.
We enter the story cycle by focusing on the core cultural concepts of Creation, Country, culture, knowledge and family in the themes 'Here Is My Country' and 'Laws for Living'.
The cycle continues through ceremony, music, dance, cloaks, clothing and jewellery in 'Remember Those Ceremonies' and 'Wrap Culture Around You'. Land management, foods, fishing, hunting, weapons and tools follow in 'The Earth is Kind' and 'A Strong Arm and A Good Eye'.
Invasion, conflict and resilience are explored in 'Our Hearts Are Breaking'. The last two themes, 'Our Past Is Our Strength' and 'My Spirit Belongs Here', complete the cycle, reconnecting and returning the reader to the entry point by focusing on culture, identity, Country and kin.
Visit the Koorie Heritage Trust website for more information on Meerreeng-an Here Is My Country
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Wind & Sky Productions
Many Roads: Stories of the Chinese on the goldfields
In the 1850s tens of thousands of Chinese people flocked to Victoria, joining people from nations around the world who came here chasing the lure of gold.
Fleeing violence, famine and poverty in their homeland Chinese goldseekers sought fortune for their families in the place they called ‘New Gold Mountain’. Chinese gold miners were discriminated against and often shunned by Europeans. Despite this they carved out lives in this strange new land.
The Chinese took many roads to the goldfields. They left markers, gardens, wells and place names, some which still remain in the landscape today. After a punitive tax was laid on ships to Victoria carrying Chinese passengers, ship captains dropped their passengers off in far away ports, leaving Chinese voyagers to walk the long way hundreds of kilometres overland to the goldfields. After 1857 the sea port of Robe in South Australia became the most popular landing point. It’s estimated 17,000 Chinese, mostly men, predominantly from Southern China, walked to Victoria from Robe following over 400kms of tracks.
At the peak migration point of the late 1850s the Chinese made up one in five of the male population in fabled gold mining towns of Victoria such as Ballarat, Bendigo, Castlemaine, Beechworth and Ararat. It was not just miners who took the perilous journey. Doctors, gardeners, artisans and business people voyaged here and contributed to Victoria’s economy, health and cultural life. As the nineteenth century wore on and successful miners and entrepreneurs returned home, the Chinese Victorian population dwindled. However some chose to settle here and Chinese culture, family life, ceremony and work ethic became a distinctive feature of many regional Victorian towns well into the twentieth century.
By the later twentieth century many of the Chinese relics, landscapes and legacy of the goldrush era were hidden or forgotten. Today we are beginning to unearth and celebrate the extent of the Chinese influence in the making of Victoria, which reaches farther back than many have realised.