In 1990, a group of rural and farming women met in Warragul for what was to be the inaugural Women on Farms Gathering.

A group of local women had developed the idea while involved in a Women on Farms Skill Course. It was to prove inspirational, and the gatherings have been held annually ever since, throughout regional Victoria.

The Women on Farms Gathering provides a unique opportunity for women to network, increase their skills base in farming and business practices, share their stories and experience a wonderful sense of support, particularly crucial due to the shocking rural crises of the last decade. Importantly, the gatherings help promote and establish the notion of rural women as farmers, business women and community leaders.

The relationship between Museums Victoria and the Women on Farms Gathering is a model of museums working with living history.

The story of Victoria’s Police Women begins in 1917 when Madge Connor and Elizabeth Beers were appointed as police agents. They had no uniform and were unarmed. Their work was to be similar to that of a social worker; looking after neglected children and protecting vulnerable women.

By 12 November 1924 the number of agents had increased to four; they were sworn into the force as police members. Police women now had powers of arrest and equal pay. However, there were still many challenges ahead for them, including battles for equal opportunities and training.

The onset of World War II saw the role of women change in the work force in Australia. Record numbers of women filled jobs traditionally held by men. Victoria Police faced a shortage of staff due to men enlisting in the war. As a result the Women’s Auxiliary Force was formed in 1942.

Since then, Victorian police women have gone on to many great achievements including: Anne Wregg (nee Cursio) being the first police woman in Australia to be awarded the Queen’s Gallantry Medal for bravery; and Christine Nixon being appointed the first female Chief Commissioner.

In 2017 Victoria Police celebrates 100 years of women in policing. Today women make up a quarter of Victoria’s Police employees. Their struggles and achievements over the last century are acknowledged and celebrated through a new exhibition ‘Agents of Change’ and by the objects and photographs collected and shared by the Victoria Police Museum.

From the first woman to graduate from any Australian university to leading artists, those who gazed towards the heavens, and others who broke through male dominated barriers, women are not only present but deserve to be celebrated. 

This exhibition, originally held at the School of Mines Ballarat (SMB) E. J. T Tippett library, showcases these significant contributions and untold stories through items from the Federation University Historical Collection. 

Do you know of other Trailblazing women associated with the university through time who deserve recognition? Let us know so that we can help to capture and share their stories!  

In the lead up to International Women’s Day held on the 8^th of March 2018, Melbourne Water celebrates and shines a spotlight on the past and continuing achievements of women within the organisation. Please join us in exploring the major milestones and social change within the MMBW, Melbourne Water and the Victorian Public Service.

Melbourne Water’s predecessor, The Melbourne and Metropolitan Board of Works (MMBW), was formed in 1891 to take responsibility for the city’s water supply and treatment. Initially, female employees were appointed to administrative and clerical positions. It wasn’t until 1939 that women stepped into more official, technical and specialist roles. These included positions such as chemistry assistants, machine operators and assistant drafts women.

Not only were women’s roles at MMBW based on their contribution to the operations of the organisation, many women were involved in social, recreational and cultural activities. Perhaps the greatest legacy of women at the MMBW was their efforts in building communities, enriching and empowering the lives of those around them.

From the grinding stones of Australia’s first farmers, Wagga quilts, butter pats and recipe books to family photographs, garden tools and agricultural equipment – women’s farm work is frequently found in museums. The contribution of women to Australian agriculture has a rich and very deep history. Yet these stories have been unacknowledged and continue to be undervalued.

The nature of women’s farm work is often rendered invisible because much of it is intangible and ephemeral, is characterised by relationships and oral tradition, and dismissed as just ‘domestic’ work when in fact this work is what has often sustained families, farms and communities. The layers of invisibility are even deeper for migrant and Indigenous women.

There has also been a long history of official barriers to recognising women’s work on the land. Farm women were deliberately omitted from the 1891 Victorian Census. Women were excluded from agriculture courses up into the early 1970s. It wasn’t until 1994 that women were legally recognised as farmers, prior to this they were defined as ‘non-productive "sleeping" partners’. And, It is only in recent years that scholars have finally acknowledged the 40-50,000 years of Indigenous knowledge and practice in complex systems of agriculture and aquaculture.

Victorian museums are a treasure trove of untold stories about the extraordinary lives of farm women and how they have shaped our land and rural communities.

The exhibition, School Days, developed by Public Record Office Victoria and launched at Old Treasury Building in March 2015, is a history of more than 150 years of schooling in Victoria.

It is a history of the 1872 Education Act - the most significant education reform in Victoria, and a world first! It is a history of early schooling, migrant schooling, Aboriginal schools, women in education, rural education and, of course, education during war time (1914-1918).

This online exhibition is based on the physical exhibition School  Days originally displayed at Old Treasury Building, 20 Spring Street, Melbourne, www.oldtreasurybuilding.org.au  and curated by Kate Luciano in collaboration with Public Record Office Victoria.

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. 

This selection of early photographs were taken by Antoine Fauchery and Richard Daintree between late 1857 and early 1859 for inclusion in their photographic series Sun Pictures of Victoria. The album consists of fifty albumen silver prints, twelve of which are photographs of Indigenous Victorians and were the first photographic series of Australian scenes presented for sale to the public.

Featuring Victorian scenes such as landscapes and gold mining activities, the series included 12 images of various Indigenous Victorians. Taking a very 19th Century approach to their subjects, the portraits show people in both traditional and western wear, documenting the effects of colonisation.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users of this website are warned that this story contains images of deceased persons and places that could cause sorrow.

Modern Melbourne is a series of filmed interviews and rich archival material that documents the extraordinary lives and careers of some of our most important architects and designers including Peter McIntyre, Mary Featherston, Daryl Jackson, Graeme Gunn, Phyllis Murphy, Allan Powell and Peter Elliott.

Melbourne’s modernist architects and designers are moving into the later stages of their careers. Their influence on the city is strong and the public appreciation of their early work is growing – they have made an indelible mark on Melbourne. Much of their mid-century modernist work and latter projects are now represented on the Victorian Heritage Register.

Many of the Modern Melbourne subjects enjoyed a working relationship and a friendship with Robin Boyd, the influential architect who championed the international modernist movement in Melbourne.

From the tranquillity and purity of Japanese Tea Ceremony (Sado) to the hospitality and friendship represented in Moroccan tea traditions, enjoying tea is a much loved and revered ritual practiced around the globe.

Tea Mania traces the history of tea and reflects on the distinctive Australian flavour of tea consumption as it intertwines with global politics, economics and the rise of consumerism.

The Italian community of Myrtleford, in the picturesque Ovens Valley in alpine North Eastern Victoria, arrived mainly to work in the tobacco industry which once thrived in the area. The region now has a distinctive Italian-Australian culture with settled second, third and fourth generation Italian families.

Tobacco farming was a lonely experience for many of the Italian women who migrated to Myrtleford. Unlike their husbands, the women stayed largely on the farms and lacked social contact outside of their immediate circle. Once their children grew up and mechanisation changed the labour requirements on the farms, women were frequently on their own.

The Myrtleford Savoy Ladies Group was founded in 1983 by nuns concerned about the social isolation of women in the area. It has been a great success, forming a network of companionship amongst women of Italian heritage to this day.

Cultural Warning: Aboriginal and Torres Strait Islander users of this website are warned that this story contains images of deceased persons and places that could cause sorrow.

The Armytage family owned Como House in South Yarra for nearly 95 years. The property was managed by the women of the family for more than seventy years from 1876 to 1959. The history of the Armytage family, and the families who worked for them, provides an insight into almost a century of life on a large estate.

Como was purchased in 1864 by Charles Henry Armytage and it became the home of Charles, his wife Caroline, and their ten children. Charles died in 1876 and Caroline in 1909. Their daughters Leila, Constance, and Laura lived on at Como and left an indelible impression there.

The last surviving children of Charles and Caroline - Constance and Leila - sold Como to The National Trust of (Vic) in 1959. Como was the first house acquired by the Trust. One of the most significant aspects of this purchase was the acquisition of the complete contents of the house. The Armytage sisters realized that if Como was to survive as an expression of their family and its lifestyle, it must remain intact as a home. They also left an extensive archive of diaries, letters, journals and photographs.

Boasting one of Melbourne’s finest gardens, an inspiring historic mansion, and an impressive collection of antique furniture, the property provides a glimpse into the privileged lifestyle of its former owners; one of Australia’s wealthiest pioneer families.

Life can be seen to contain two major elements: the animate and the inanimate. While the inanimate bricks and mortar, objects and pathways, help in our understanding of this family, it is the animate, the social history, which makes Como come alive.

The text above has been abstracted from an essay The Armytage Family of Como written by Adrea Fox for the publication The Australian Family: Images and Essays. The entire 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.

A collection of photographs of the dairying town of Drouin in West Gippsland Victoria taken during the Second World War.

In 1981, two packets of old photographs were returned to Australia by the New York office of the Australian Information Service. Inside these packets were images from the dairying town of Drouin, in West Gippsland, taken during the Second World War.

Presenting the ideal picture of a prosperous and hard-working Victorian town dealing with rationing and manpower shortages caused by the war, these photographs were part of the Department of Information's war effort publicity campaign.

Photographer Jim Fitzpatrick was commissioned to take the photos in 1944 and 1945, and he concentrated on images of healthy and industrious women and children, as well as soldiers on leave and men working in the town. The photographs appeared in the bimonthly South West Pacific which was distributed free to overseas press, and was designed to promote Australia to her allies, particularly the United States.

The images that make up this story now form part of the Drouin Town and Rural Life During World War II collection at the National Library of Australia.

The world is changing. Change is a natural part of the Earth’s cycle and of the things that live on it, but what we are seeing now is both like and unlike the shifts we have seen before.

Anthropogenic change, meaning change created by humans, is having an impact on a global scale. In particular, human activity has altered the composition of the Earth’s atmosphere, causing the world’s climate to change.

Already in the state of Victoria we are seeing evidence of this change around us. In the natural world, coastal waters are warming and bringing tropical marine species to our bays. Desert animals are migrating to Victoria. Alpine winters are changing, potentially putting plants and animals at risk of starvation and pushing species closer to the margins. In the world of humans, island and coastal dwellers deal with the tangible and intangible impacts of loss as sea levels rise, bush dwellers live with an increased risk of life-threatening fires, farmers cope with the new normal of longer droughts, and we all face extreme weather events and the impacts of social and economic change.

This Collections and Climate Change digital story explores how Victoria’s scientific and cultural collections help us understand climate change. It focuses on three Victorian institutions - Museums Victoria, the Royal Botanic Gardens Victoria and Parks Victoria. It looks at how the information gathered and maintained by a dedicated community of researchers, curators, scientists, specialists and volunteers can help us understand and prepare for a hotter, drier, more inundated world.

The story is made up of a short documentary film and twenty-one examples highlighting how botanical records, geological and biological specimens and living flora and fauna provide a crucial resource for scientists striving to map continuity, variability and change in the natural world. And it helps us rethink the significance of some of Victoria’s cultural collections in the face of a changing climate.

MacRobertson Steam Confectionery Works was a confectionery company founded in 1880 by Macpherson Robertson and operated by his family in Fitzroy, Melbourne until 1967 when it was sold to Cadbury.

This story accompanies the 'Nail Can to Knighthood: the life of Sir Macpherson Robertson KBE' exhibition which took place at the Royal Historical Society of Victoria in 2015.

Every now and then, when the Hume Dam is at a low ebb, the ghostly remains of old Tallangatta, in northern Victoria, can be seen above the water. Now located 39 kilometres east of Wodonga, Tallangatta is known as 'the town that moved'.

In 1956, 2 hotels, 4 petrol stations, numerous shops and businesses, 4 churches, more than 900 residents and all the usual public amenities of a country town were relocated 8 kilometres west of the old site. The original location was then flooded under 6 feet of water after the Hume Dam was expanded.

During 1954 the State Rivers and Water Supply Commission took more than 180 photos in and around the town, documenting houses, businesses and facilities before they were moved. Other images capture the remarkable feat of transporting the buildings to the new site, such as a weatherboard house being carefully towed toward a narrow bridge. Many photos give a vivid picture of the commercial centre of a small country town in the mid-1950s. Advertising signs promote Sennitts Icecream and The Argus newspaper, cluttered shops are packed to the gunnels with equipment and staples for small town life before large chain stores, supermarkets and cars changed country towns forever.

The shops and houses are distributed along straight Towong Street. Cars were scarce and bicycles were an important form of transport in the wide and mostly empty streets. Men and women in the 2 hotels were still segregated in the ladies lounge and main bar; and the hotel’s kitchen equipment was basic. The town offered butchers, barbers, and hairdressers, while the garages, plumbers, and hardware stores served both town and farming needs.

The Tallangatta photographs are part of The Rural Water Corporation Collection of more than 50,000 photographs held at The State Library of Victoria. This collection covers a range of water management projects and activities during the first half of the 20th century.