Showing 5 items
matching dreaming, themes: 'aboriginal culture','built environment','gold rush','immigrants and emigrants'
Diverse state (9)
Aboriginal culture (3)
Built environment (1)
Creative life (2)
Family histories (3)
Gold rush (1)
Immigrants and emigrants (1)
Land and ecology (4)
Local stories (4)
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Possum Skin Cloaks
... Kooramook yakeen: Possum dreaming...Kooramook yakeen: possum dreaming Culture is the framework through which we connect to our Country, our Belonging. It defines and makes us who we are. Our language, stories, songs, dance, artefacts, cultural knowledge and practices demonstrate our... to be part of making this, and all the ones that we've made so far.First row (left to right)Panel 1: Ancestors / spirits and the Southern Cross. This design represents Mount Warrnambool and some of the sacred dreaming sites. This design on the edge represents ...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.
Continuing the practice of making and wearing possum skin cloaks has strengthened cultural identity and spiritual healing in Aboriginal communities across Victoria.Embodying 5,000 years of tradition, cultural knowledge and ritual, wearing a possum skin cloak can be an emotional experience. Standing on the barren escarpment of Thunder Point with a Djargurd Wurrong cloak around his shoulders, Elder Ivan Couzens felt an enormous sense of pride in what it means to be Aboriginal.
In this story, eight Victorian Elders are pictured on Country and at home in cloaks that they either made or wore at the 2006 Melbourne Commonwealth Games Opening Ceremony.
In a series of videos, the Elders talk about the significance of the cloaks in their lives, explain the meanings of some of the designs and motifs, and reflect on how the cloaks reinforce cultural identity and empower upcoming generations.
Uncle Ivan’s daughter, Vicki Couzens, worked with Lee Darroch, Treahna Hamm and Maree Clarke on the cloak project for the Games. In the essay, Vicki describes the importance of cloaks for spiritual healing in Aboriginal communities and in ceremony in mainstream society.
Traditionally, cloaks were made in South-eastern Australia (from northern NSW down to Tasmania and across to the southern areas of South Australia and West Australia), where there was a cool climate and abundance of possums. From the 1820s, when Indigenous people started living on missions, they were no longer able to hunt and were given blankets for warmth. The blankets, however, did not provide the same level of waterproof protection as the cloaks.
Due to the fragility of the cloaks, and because Aboriginal people were often buried with them, there are few original cloaks remaining. A Gunditjmara cloak from Lake Condah and a Yorta Yorta cloak from Maiden's Punt, Echuca, are held in Museum Victoria's collection. Reproductions of these cloaks are held at the National Museum of Australia.
A number of international institutions also hold original cloaks, including: the Smithsonian Institute (Washington DC), the Museum of Ethnology (Berlin), the British Museum (London) and the Luigi Pigorini National Museum of Prehistory and Ethnography (Rome).
Cloak-making workshops are held across Victoria, NSW and South Australia to facilitate spiritual healing and the continuation of this traditional practice.
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Chinese Australian Families
... From the 1840s onwards, Chinese people have come to Australia inspired by dreams of happiness, longevity and prosperity -of 'jade and gold' in a new and strange land. For most of that time, Chinese people in Australia have been male. Most of them...Dreams of Jade and Gold: Chinese families in Australia's history From the 1840s onwards, Chinese people have come to Australia inspired by dreams of happiness, longevity and prosperity - of 'jade and gold' in a new and strange land. For most ...Dreams of Jade and Gold: Chinese families in Australia's history
From the 1840s onwards, Chinese people have come to Australia inspired by dreams of happiness, longevity and prosperity - of 'jade and gold' in a new and strange land. For most of that time, Chinese people in Australia have been predominantly male. Most of them were temporary sojourners who came to earn money for their families back in the village - most did not intend to settle in Australia.
Despite the predominance of male sojourning, a small proportion of Chinese men in nineteenth-century Australia brought their wives and children to live with them, or married here. As Australian-born children of these families grew to adulthood, their parents would seek brides and grooms on their behalf amongst other Chinese families in Australia.
The majority of post-1905 Chinese brides of Chinese-Australian sons were never able to settle here. Some children were born in China or Hong Kong. Some were born in Australia. Families like this were split for decades, until immigration laws were relaxed.
In the nineteenth century, many of the Chinese men who wanted wives in Australia married or lived de facto with non-Chinese women. At least 500 European-Chinese partnerships are estimated to have occurred before 1900.
Despite repeated waves of racism and official discrimination from the 1840s to the 1970s, a sizeable number of families of Chinese background have put down roots in this country.
In 1973 the Whitlam government abolished racist provisions in immigration laws. Since then, the number of ethnic Chinese migrants has increased dramatically. They have come primarily as family groups - not as sojourners, but as permanent immigrants. They come not only from China and Hong Kong, but also from Malaysia, Singapore, Vietnam, Cambodia and Indonesia, as well as from further afield. The Chinese are now a highly visible and generally accepted part of the Australian community of cultures.
The text above has been abstracted from an essay 'Dreams of Jade and Gold: Chinese families in Australia's history' written by Paul Macgregor for the publication The Australian Family: Images and Essays. The full text of the essay is available as part of this story.
This story is part of The Australian Family project, which involved 20 Victorian museums and galleries. The full series of essays and images are available in The Australian Family: Images and Essays published by Scribe Publications, Melbourne 1998, edited by Anna Epstein. The book comprises specially commissioned and carefully researched essays with accompanying artworks and illustrations from each participating institution.
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Isaac Douglas Hermann & Heather Arnold
Carlo Catani: An engineering star over Victoria
... After years of fundraising for a memorial to Victoria’s beloved engineer artist, St Kilda raised the clocktower of Carlo’s dream in pride of place, positioned to encompass a view of his most celebrated works. ...After more than forty-one years of public service that never ended with his retirement, through surveying and direct design, contracting, supervision, and collaborative approaches, perhaps more than any other single figure, Carlo Catani re-scaped not only parts of Melbourne, but extensive swathes of Victoria ‘from Portland to Mallacoota’, opening up swamplands to farming, bringing access to beauty spots, establishing new townships, and the roads to get us there.
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Nyernila - Listen Continuously: Aboriginal Creation Stories of Victoria
... as speak it. Through this reclamation and revival process we gather our knowledge through our Elders and community. We re-dream and re-interpret the historical records; those messages left for us by our Old People.To revive our language we need to make... me that story when they looked after me when I was a little kid. I still come up here to Mount Goongerah to see these buyal, these eggs. Goongerah country. I still dream about that snake.By Clayton Harrison – Bidwal As told to Bruce Pascoe and Lyn ...This story is based on the unique publication Nyernila – Listen Continuously: Aboriginal Creation Stories of Victoria.
The uniqueness is differentiated by two significant and distinguishing features. It is the first contemporary compilation of Victorian Aboriginal Creation Stories told by Victorian Aboriginal People, and it is the first to extensively use languages of origin to tell the stories.
‘Nyernila’ to listen continuously – a Wergaia/Wotjobaluk word recorded in the 20th century. To listen continuously. What is meant by this term. What meaning is being attempted to be communicated by the speaker to the recorder? What is implied in this term? What is the recorder trying to translate and communicate to the reader?
‘Nyernila’ means something along the lines of what is described in Miriam Rose Ungemerrs ‘dadirri’ – deep and respectful listening in quiet contemplation of Country and Old People. This is how our Old People, Elders and the Ancestors teach us and we invite the reader to take this with them as they journey into the spirit of Aboriginal Victoria through the reading of these stories.
Our stories are our Law. They are important learning and teaching for our People. They do not sit in isolation in a single telling. They are accompanied by song, dance and visual communications; in sand drawings, ceremonial objects and body adornment, rituals and performance. Our stories have come from ‘wanggatung waliyt’ – long, long ago – and remain ever-present through into the future.
You can browse the book online by clicking the items below, or you can download a PDF of the publication here.
nyernila
nye
ny like the ‘n’ in new
e like the ‘e’ in bed
rn
a special kind of ‘n’
i
i like the ‘i’ in pig
la
la
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Koorie Heritage Trust / NGV Australia / State Library Victoria
Koorie Art and Artefacts
... you are. Beautiful black woman that's what I see/A beautiful black woman in you and me/together we'll continue, this Spiritual Dreaming. Let me see you grin/For sister you are wonderful- Be proud at the colour of your skin. I announce ...Koorie makers of art and artefacts draw upon rich and ancient cultural traditions. There are 38 Aboriginal Language Groups in Victoria, each with unique traditions and stories. These unique traditions include the use of geometric line or free flowing curving lines in designs.
This selection of artworks and objects has been chosen from artworks made across the range of pre-contact, mission era and contemporary times and reflects the richness and diverse voices of Koorie Communities. It showcases prehistoric stone tools, works by 19th century artists William Barak and Tommy McRae right through to artworks made in the last few years by leading and emerging Aboriginal artists in Victoria.
The majority of the items here have been selected from the extensive and significant collections at the Koorie Heritage Trust in Melbourne. The Trust’s collections are unique as they concentrate solely on the Aboriginal culture of south-eastern Australia (primarily Victoria). Over 100,000 items are held in trust for current and future generations of Koorie people and provide a tangible link, connecting Community to the past.
Within the vibrant Koorie Community, artists choose their own ways of expressing identity, cultural knowledge and inspiration. In a number of short films Uncle Wally Cooper, Aunty Linda Turner and Aunty Connie Hart practice a range of traditional techniques and skills. These short documentaries show the strength of Koorie culture today and the connection with past traditions experienced by contemporary Koorie artists.
Taungurung artist Mick Harding draws upon knowledge from his Country about deberer, the bogong moth: "The long zigzag lines represent the wind currents that deberer fly on and the gentle wavy lines inside deberer demonstrate their ability to use those winds to fly hundreds of kilometres to our country every year."
Koorie artists today also draw inspiration from the complex and changing society we are all part of. Commenting on his artwork End of Innocence, Wiradjuri/Ngarigo artist Peter Waples-Crowe explains: "I went on a trip to Asia early in the year and as I wandered around Thailand and Hong Kong I started to think about Aboriginality in a global perspective. This series of works are a response to feeling overwhelmed by globalisation, consumerism and celebrity."
Koorie culture is strong, alive and continues to grow.
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.