Stories of the mind and body are a tribute to the resilience of the human mind and spirit in dealing with the challenges of the body.

The Australia Centre for the Moving Image (ACMI) has developed its digital storytelling program in partnership with many health and community advocacy organisations to serve people with special needs or life issues.

Participants associated with these organisations have taken part in the ACMI digital storytelling workshop to tell their unique stories of courage and survival. These personal narratives have provided an opportunity for the participants to use their creativity and voice as a centrepiece for health promotion and social justice efforts.

From the nuclear to the extended family, from groups of close friends, communities and neighbourhoods, to one on one relationships: family means many different things to different people.

Family describes our most cherished, and sometimes most difficult, relationships. In this collection of digital stories and videos, Victorians share their family stories.

Family stories include stories of immigration; disadvantage and survival, indigenous life, stories of sickness and health; life and death; childhood and old age.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users are warned that some of the videos in this story may contain images of deceased persons and images of places that could cause sorrow.

Joseph Jenkins was a Welsh itinerant labourer in late 1800s Victoria.

Exceptional for a labourer at the time, Jenkins had a high level of literacy and kept detailed daily diaries for over 25 years, resulting in one of the most comprehensive accounts of early Victorian working life.

Itinerant labourers of the 1800s, or 'swagmen', have become mythologised in Australian cultural memory, and so these diaries provide a wonderful source of information about the life of a 'swagman'. They also provide a record of the properties and districts Jenkins travelled to, particularly around the Castlemaine and Maldon area.

The diaries were only discovered 70 years after Jenkins' death, in an attic, and were in the possession of Jenkins’s descendants in Wales until recently, when they were acquired by the State Library of Victoria in 1997.

In October 1916 and December 1917 two contentious referendums were held in Australia, asking whether the Commonwealth government should be given the power to conscript young men into military service and send them to war overseas.

These campaigns were momentous and their legacy long-lasting. This is the only time in history that citizens of a country have been asked their opinion about such a question, and the decisive 'No' vote that was returned remains the greatest success of the peace movement in Australia to date. Yet the campaigns split families, workplaces and organisations, and left an imprint on Australian politics that lasted for decades.

Many of the actors and events that were central to these campaigns were based in the northern Melbourne suburbs of Brunswick and Coburg. In many ways, these localities were a microcosm of the entire campaign. Against the Odds: The Victory Over Conscription in World War One tells the story of the anti-conscription movement in Australia during World War 1 through this lens. 

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. 

Country Football. On one hand it's just a game. On the other, it's life or death...

Films in this collection are a record of living memory: how the game has changed; how it continues to evolve; and how football is inextricably linked with our communities.

These 21 films include stories of legendary games, long time campaigners, rivalries, reluctant mergers, and of things lost and lamented. Collected from all corners of Victoria.

Stories of a time in history when holidaying was a grand pastime, and when special and unique places in Victoria began to be appreciated, celebrated and shared in that iconic mode of communication: the picture postcard.

Inspired by postcards in their collections, eight historical societies developed themes to explore the history of the Mornington Peninsula. 

This story is based on a touring exhibition which was initiated by the Mornington Peninsula Local History Network and the Mornington Peninsula Shire.

Being a teenage mother, expressing the power of music and defining identity and sexuality are just some of the stories shared by the young people who have taken part in the Australian Centre for the Moving Image (ACMI) Digital Storytelling program.

Inside each story is a profusion of ideas and emotions that are edited together as an illuminating way for the young storytellers to evoke memories, places and events that inspire them. Digital Storytelling provides a powerful multimodal learning tool that allows young people to tap into their creativity and critical awareness while allowing for a fluid manipulation and construction of technical and storytelling knowledge.

For more information visit the Australian Centre for the Moving Image website

Family is central to our lives: from our immediate families to our neighbourhoods and communities.

Explore the present and our history, from a celebration of culture to a reflection on hard times, such as the stolen generations, share our stories about family and what family means to us.

There are stories about indigenous families in different Victorian communities, the memories of Gunditjmara Elder Aunty Iris Lovett-Gardiner and her life at Lake Condah Mission. Stories of football, dance and culture and life in the Yorta Yorta community of Echuca as well as much, much more.

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.

Between January and April 2019, the Ballaarat Mechanics' Institute hosted the exhibition Talking Shop, exploring a world of Peters ice cream cones, milk bars, vintage advertising, historic photographs and ephemera.

This nostalgia was complemented by contemporary photographs and creative responses exploring Ballarat’s shops and businesses. Community events throughout the exhibition invited the people of Ballarat to contribute their images and memories to the BMI collection, and are shared here in this story.

This exhibition was curated by Amy Tsilemanis at the BMI who worked with artists Pauline O'Shannessy-Dowling and Margie Balazic, collector John Kerr and Ballarat businesses, council, and schools to create a 'generative' exhibition where material and collaborations could grow.

Wanting to know more about Ballarat’s booming business history? Take a digital tour of the exhibition here: https://invictoria.com.au/talking-shop-exhibition

Digital Storytelling is a powerful form of media expression that enables individuals and communities to reclaim their personal cultures and stories while exploring their artistic creativity.

The Australian Centre for the Moving Image (ACMI) is Australia’s premier engine for screen and digital culture industries and assists in the creation and recording of hundreds of stories by individuals, community groups and organisations through its respected Digital Storytelling program, and ensures public access to the stories through exhibition.

Recording these stories has ensured many vital individual and community memories are preserved. The digital stories provide a personal voice that gives 'life' to issues that are often hard to personalise.

The ACMI Digital Storytelling program reflects its philosophy of drawing people closer to the moving image in all its forms and to foster interaction, understanding and a personal connection.

For more information on ACMI’s Digital Storytelling program, visit: Collections digital storytelling

In its heyday of the 1920s - 1950s, North Shore (a small northern suburb of Geelong) was the hub of industrial development in Victoria’s second city.

Situated against the backdrop of Corio Bay, North Shore and its immediate surrounds was home to major industries including Ford, International Harvester, Shell, the Corio Distillery and the Phosphate Cooperative Company of Australia (the 'Phossie').

Residents grew up with these companies literally over the back fence and many of their stories depict childhood memories of mischievous exploration. Many residents were employed by the industries, some hopping from job to job, whilst others spent the majority of their working lives at the likes of Ford or the Phossie.

At the commencement of World War II in September 1939, much of the local industry was placed on war footing. Two thirds of the newly opened International Harvester was commandeered by the R.A.A.F. and an ad hoc airfield was established. The U.S. Air Force arrived shortly thereafter.

The presence of American servicemen has left an enduring impression on the North Shore community. Their arrival was the cause of much local excitement, particularly among the children who made a pretty penny running errands for them. They were also a hit with the ladies, who enjoyed a social dance at the local community hall. The story of the American presence in North Shore remains largely untold, and the reflections of local residents provide a fantastically rare insight into a unique period in Victorian history.

A special thanks to local historians Ferg Hamilton and Bryan Power for their assistance during the making of this story. Also thanks to Gwlad McLachlan for sharing her treasure trove of Geelong stories.

In 1881 an itinerant blind missionary, Thomas James, was traveling the country teaching Braille. In Carisbrook he came across eight-year-old Tilly Aston. Through learning Braille, Aston would go on to alter the destiny of Australians who are blind and vision impaired.

Matilda Ann Aston (1873-1947), the youngest of 8 children, was born vision impaired losing her sight completely by the age of 7. When Thomas James arrived in Carisbrook, Aston's father Edward, a boot maker, had been dead 6 months, leaving his wife Ann to support the impoverished family on a midwife’s wages.

Following a visit to Carisbrook by the Victorian Asylum and School for the Blind choir, Aston enrolled as a boarder at the school. At 16 she became the first blind person to matriculate.

In 1894 she founded the Victorian Association of Braille Writers (later the Victorian Braille Library). In 1895 she co-founded the Association for the Advancement of the Blind, which in 2004 became Vision Australia.

During Aston's time at the Association it obtained improved rights and services of international significance, including the world’s first voting rights for people who are blind and vision impaired and free postage of Braille.

Tilly Aston’s achievements are formidable. As well as being Australia's first blind teacher, she was a distinguished and critically acclaimed writer, producing 7 books of verse.

Tilly received a Commonwealth grant for her writing in 1935, and the King’s Medal for Distinguished Citizenry twice, in 1935 and 1937.

Aston’s legacy survives in the lives of people who are vision impaired throughout Australia, but her memory is particularly cherished in her home district, where the Maryborough-Midlands Historical Society holds several objects relating to Tilly, including her childhood doll.

This innovative collaboration between community museums and local artists captures the unique living memories and rich cultural heritage of communities along the Murray River between Wodonga and Corryong.

Seven short films were created as part of the project:

Nox-All Rabbits: How do you deal with a plague of rabbits? With Nox-All. Rabbiting was a way of life in Victoria, especially during the plague of 1932. Rabbits were a source of food and income (the felt from their pelts used in Akubra hats), and thought by some to be "better than chickens".

Jim Simpson's knitted war trophy: During World War II Jim Simpson's aircraft was shot down over Germany and he became a prisoner of war at Stalag IVB. Jim's ingenuity helped to keep prisoners warm, and ultimately resulted in an extraordinary memorial.

Old time music in the blood: Nariel Creek residents have music in the blood, so much so that they've been told their accordion style is special, using all four fingers at once. The Nariel old time style of Australian traditional music and dance continues with the Nariel Creek Folk Festival.

A history of engine power: Watch out... refurbishing engines can become an addiction. The gem of this collection of over 150 engines is an 1866 Ransom Sims engine, one of only 5 in the world, which has been lovingly restored.

The Saleyards Made Wodonga: Cattle were one of the biggest industries in Wodonga, and the saleyards a focal point town, not least because plum pudding was served in the luncheon room all year round.

The Icon of Wodonga: You need more than a trickle of water to fight a fire. The Wodonga water tower was welcomed as it brought the 'luxury' of water to town, and when it was decommissioned the community rallied to prevent its demolition.

The Saw Doctor's Wagon: The 'Sharpening King' and his family travelled throughout eastern Australia sharpening knives in their 'road urchin'. A circus-like wagon, the urchin was first pulled by horses, then a Chevron truck, and finally, by a David Brown tractor.

Participating museums: Granya Pioneer Museum, Man From Snowy River Museum, Tallangatta & District Heritage Group, Wodonga Historical Society.

Supported by: the Commonwealth Government’s Regional Arts Fund, Regional Arts Victoria, National Museum of Australia, City of Wodonga, Shire of Towong, Museums Australia (Vic) and Arts Victoria. Auspice organisation: Murray Arts

TarraWarra Museum of Art is located in the picturesque Yarra Valley in Victoria, Australia.Visitors to the Museum are afforded a spectacular, resonant and panoramic experience of ‘nature’ through the north facing windows. The view stretches towards the distant Toolangi rainforest across planted vines, native bushland and farmland.

The region is surrounded by a spectacular mountain range that includes Mt Baw Baw, Mt Donna Buang, Mt Juliet, Mt Riddell and Mt Toolebewong. As these names attest, we are situated in an area of significant Indigenous history and colonisation. Tarrawarra is a Wurundjeri word that translates approximately as ‘slow moving water’ and is the name given to the area in which the Museum is located.

The Yarra Valley sunsets, soundscapes, seasonal changes, Indigenous histories, ecological vulnerabilities and environmental challenges are in a complex and ever changing entanglement. Since 2012, the Museum has explored this context through special exhibitions and commissions, forums and performances, screenings and lectures. As such, the Museum has sought to understand the complexity of our site, and with that, the broader intersections between art and landscape. Artists provide us the opportunity to ‘see’ the landscape in a different way. They imagine it, call it into being, reflect upon it, animate it, unravel its hidden histories, and expose its ecological sensitivities.

Panorama, the exhibition, was an integral part of this ongoing conversation and imaginative exploration. Our intention was not so much to write a narrative history of Australian landscape painting. Rather, it was to be attuned to the intermingling of voices, points of view, perspectives - colonial and modern, contemporary and Indigenous – that comprise the uniquely Australian persistence to unravel the ‘patter’ of nature.

As a phenomenon to which we are all very accustomed, it is easy to overlook the simple fact that for a landscape to come into being it requires a ‘point of view’, a subjective consciousness to frame a particular expanse of the natural world. As the art historian Simon Schama remarks in his landmark survey on the genre, Landscape and Memory, ‘it is our shaping perception that makes the difference between raw matter and landscape’. [i] The centrality of the viewer’s position in constructing a vista is clearly evident in terms such as ‘perspective’, ‘prospect’, and ‘view point’ which are synonymous with ‘position’, ‘expectation’, and ‘stance’. This highlights that there is always an ineluctable ideological dimension to the landscape, one that is intimately entwined with a wide range of social, economic, cultural and spiritual outlooks. Turning to the notion of the panorama, a brief survey of its conception and infiltration into everyday speech, reveals how our way of seeing the landscape is often tantamount to the formation and delineation of our personal, communal, and national identities.

The term panorama was first coined to describe the eponymous device invented by the British painter Robert Barker which became a popular diversion for scores of Londoners in the late 18th century. Consisting of a purpose built rotunda-like structure on whose cylindrical surface landscape paintings or historical scenes were displayed, ‘The Panorama’ contained a central platform upon which viewers observed the illusionistic spectacle of a sweeping 360 degree vista. With its ambitious, encyclopaedic impulse to capture and concentrate an entire panoply of elements into a singular view, it is telling that this construction would soon give rise to an adjective to describe, not only an expansive view extending in all directions, but also a complete and comprehensive survey of a subject. As the curators Jean-Roch Bouiller and Laurence Madeline argue, these different meanings convey ‘the very essence of the panoramic phenomenon: the central role of perspective, a certain appropriation of the world that follows, the feeling of dominating a situation simply due to having a wide and complete view’.[ii] Indeed, as art historian Michael Newman reveals, the whole notion of the panorama originated in military conceptions of the landscape as a battlefield, whereby strategic vantage points are key to tactical planning.[iii] Underlying its transformation into a form of popular entertainment, the panorama is rooted in a particular form of political authority based on surveying, mapping and commanding the subject of the view. 

In this exhibition, the term panorama was invoked to acknowledge that ways of perceiving the landscape have their own histories which have arisen out of particular social, political and cultural contexts. As the landscape architect Anne Whiston Spirn contends: ‘In every landscape are ongoing dialogues; there is “no blank slate”; the task is to join the conversation’.[iv]However, far from claiming to present an unbroken view or a complete survey, Panorama challenged the very notion of a single, comprehensive monologue by presenting a series of works which engaged with the discourse of landscape in a diverse range of voices. Taking advantage of the tremendous depth and strength of the TarraWarra Museum of Art collection gifted by its founders Eva Besen AO and Marc Besen AC, the exhibition was staged in two parts, with a different selection of paintings exhibited in each half. Displayed in distinct groupings which explored alternative themes and concerns, Panorama highlighted the works of key artists who have redefined, expanded and interrogated the idea of the landscape in ways which suggest that it is far from settled.

Further Information

[i] Simon Schama, Landscape and Memory, New York: Vintage Books, 1996, p. 10.

[ii] Jean-Roch Bouiller and Laurence Madeline, Introductory text for the exhibition I Love Panoramas, MuCEM and the Musées d’Art et d’Histoire, Geneva, 4 November 2015 - 29 February 2016, URL: http://www.mucem.org/en/node/4022

[iii] See ‘The Art Seminar’ in Landscape Theory, (eds. Rachael Ziady DeLue and James Elkins), New York and London: Routledge, 2008, p. 130.

[iv] Anne Whiston Spirn, ‘“One with Nature”: Landscape, Language, Empathy and Imagination’ in Landscape Theory, 2008, p. 45.

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.