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. 

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.

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.

'Introduction to Melbourne Trams: Step aboard!'

Written by Carla Pascoe, May 2012

Trams are what make Melbourne distinctive as a city. For interstate and overseas visitors, one of the experiences considered compulsory is to ride a tram. When Melbourne is presented to the rest of the world, the tram is often the icon used. The flying tram was one of the most unforgettable moments of the Opening Ceremony of the 2006 Commonwealth Games. When Queen Elizabeth II visited Australia in 2011, she was trundled with regal dignity along St Kilda Road in her very own ‘royal tram’.

The history of trams is closely bound up with the history of this southerly metropolis. Melbourne’s tram system originated during the 1880s economic boom when the Melbourne Tramway and Omnibus Company opened the first cable line. Cable tram routes soon criss-crossed much of the growing city and cable engine houses can still be seen in some inner suburbs, such as the grand building on the south-east corner of Gertrude and Nicholson streets, Fitzroy. Some older passengers like Daphne Rooms still remember riding cable cars.

In the late 19th century, cable and electric tram technologies were vying for supremacy. Australia’s first electric tram line opened in 1889, running through what was then farmland from Box Hill station to Doncaster. The only surviving clue that a tram line once traversed this eastern suburb is the eponymous Tram Road, which follows the former tram route in Doncaster.

Gradually, various local councils joined together to create municipal Tramways Trusts, constructing electric lines that extended the reach of the cable system. In 1920 the tram system came under centralised control when the Melbourne and Metropolitan Tramways Board (MMTB) consolidated the routes and began electrifying all cable lines.

Manpower shortages during World War II meant that Australian women stepped into many roles previously reserved for men. The tramways were no exception, with women being recruited as tram conductors for the first time. After the war, tram systems were slowly shut down in cities around both Australia and the world, as transport policies favoured the motor vehicle. But thanks to the stubborn resistance of MMTB Chairman, Sir Robert Risson, as well as the wide, flat streets that characterise the city’s geography, Melbourne retained its trams.

Melbourne’s tram industry has always possessed a unique workplace culture, characterised by fierce camaraderie and pride in the role of the ‘trammie’ (the nickname for a tram worker). Many Trammies, like Bruce MacKenzie, recall that they joined the tramways because a government job was seen as a job for life. But the reason they often remain for decades in the job is because of the strong bonds within the trammie ‘family’. This is partly due to the many social events and sporting clubs that have been attended by Trammies, as Bruce MacKenzie remembers. It is also because the demands of shift work bond people together, explains Roberto D’Andrea.

The tram industry once employed mainly working-class, Anglo-Australian men. After World War II, many returned servicemen joined the ranks, bringing a military-style discipline with them. With waves of post-war migration the industry became more ethnically diverse, as Lou Di Gregorio recalls. Initially receiving Italian and Greek workers from the 1950s and 1960s, from the 1970s the tramways welcomed an even broader range of Trammies, from Vietnamese, South American, Turkish and other backgrounds.

Trammies perform a wide range of tasks critical to keeping the system running, including driving, track maintenance, tram maintenance, time tabling, customer service and more. But just as designs of ‘rolling stock’ have changed - from the beloved veteran W class trams to the modern trams with their low floors, climate control and greater capacity - so too have the jobs of Trammies changed over time. Bruce MacKenzie remembers joining the Preston Workshops in the 1950s when all of Melbourne’s fleet was constructed by hand in this giant tram factory. Roberto D’Andrea fondly recalls the way that flamboyant conductors of the 1980s and 1990s would perform to a tram-load of passengers and get them talking together. As a passenger, Daphne Rooms remembers gratefully the helping role that the connies would play by offering a steadying arm or a piece of travel advice.

Trams have moved Melburnians around their metropolis for decades. As Daphne maintains, ‘If you can’t get there by tram, it’s not worth going’. Everyone has memories of their experiences travelling on trams: some funny, some heart-warming and some frustrating. Tram driver, Lenny Bates, tells the poignant story of the blind boy who would sometimes board his tram on Collins Street and unhesitatingly call out the names of the streets they passed. As the films in this collection demonstrate, every passenger has their routes that they customarily ride and these routes take on a personal meaning to their regulars. You could say that every tram line has its own distinct personality. Whilst the way the tram system is run inevitably changes across time, one thing has been constant: trams have always played a central role in the theatre of everyday life in Melbourne.