1 From Australia’s Tragic Past to its Multicultural Present: Displaying Thousand Years of Aboriginal History and Culture BANGERANG CULTURAL CENTRE One of the Oldest Continuing cultures in the World Indigenous people have the oldest and one of the most continuous cultures in the world. 1 Their interesting lifestyle consisted of living according to their customs, traditions and sacred resources. The British settlement to Australia in the eighteenth century had left the indigenous people devastated as they lost their land, culture, religion, and language and left them with inacceptable rights and disadvantaged laws that the government had introduced upon them. Aboriginals were spiritual, honest and respectful people, they lived in a society where facts, knowledge, religion and survival strategies were passed by the elders of the community to their children. 2 Thus this routine of oral education was never recognised by the westernized colonials and therefore Australia’s colonial history has been written by white perspective which does not reflect both sides of the story. This is why keeping places and Museums are important structures in our communities. These places visually display a time and culture in history, which shaped Australia forever. A Culture Abolished, Memories Destroyed: An Indigenous Nightmare Museums are a way of capturing a moment’s monument in time. As described by Boyce; “Museums are living institutions” 3 as they are today constantly evolving and revisiting their purposes. Museums not only possess internal collections, endowments and facilities, but also provide beneficial information to individuals or communities and are vital. They possess a power to shape collective values and social understandings, in a conclusively important manner. Museums and Keeping places especially play an important role in keeping Aboriginal ancestral remains. These remains have sentimental value for the Indigenous communities not to mention the scientific importance. Therefore, instead of reburying or cremation, it’s important to return the remains to the Aboriginal control ensuring continuous preservation. The Bangerang Cultural Centre, located at 1 Evergreen Way Shepparton, is a foundation of the history; we as a country town are honoured to be a part of. Places like the Bangaerang Cultural Centre highlight and display lifetimes of history that once were mortifying for these traditional landowners.
Transcript
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From Australia’s Tragic Past to its Multicultural Present: Displaying Thousand Years of Aboriginal
History and Culture
BANGERANG CULTURAL CENTRE
One of the Oldest Continuing cultures in the World Indigenous people have the oldest and one of the most continuous cultures in the world.1 Their interesting lifestyle consisted of living according to their customs, traditions and sacred resources. The British settlement to Australia in the eighteenth century had left the indigenous people devastated as they lost their land, culture, religion, and language and left them with inacceptable rights and disadvantaged laws that the government had introduced upon them. Aboriginals were spiritual, honest and respectful people, they lived in a society where facts, knowledge, religion and survival strategies were passed by the elders of the community to their children.2 Thus this routine of oral education was never recognised by the westernized colonials and therefore Australia’s colonial history has been written by white perspective which does not reflect both sides of the story. This is why keeping places and Museums are important structures in our communities. These places visually display a time and culture in history, which shaped Australia forever.
A Culture Abolished, Memories Destroyed: An Indigenous Nightmare Museums are a way of capturing a moment’s monument in time. As described by Boyce; “Museums are living institutions”3 as they are today constantly evolving and revisiting their purposes. Museums not only possess internal collections, endowments and facilities, but also provide beneficial information to individuals or communities and are vital. They possess a power to shape collective values and social understandings, in a conclusively important manner. Museums and Keeping places especially play an important role in keeping Aboriginal ancestral remains. These remains have sentimental value for the Indigenous communities not to mention the scientific importance. Therefore, instead of reburying or cremation, it’s important to return the remains to the Aboriginal control ensuring continuous preservation. The Bangerang Cultural Centre, located at 1 Evergreen Way Shepparton, is a foundation of the history; we as a country town are honoured to be a part of. Places like the Bangaerang Cultural Centre highlight and display lifetimes of history that once were mortifying for these traditional landowners.
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A Culture Comes to Life The Bangerang Cultural Centre in Shepparton is a place visited regularly by tourists and local community members of the Goulburn Valley area. Gaynor Kavanagh the author of the book ‘Making History in Museums’ best states an expression of relation to this sacred place. Kavanagh expresses the idea that; “Museums provide no neutrality, as each museum is targeted for a specific audience.”4 This is engaged at the Bangerang Cultural Centre, as it was originally known as the Aboriginal Keeping place, built as part of the International Village Project in 1974. The International Village Project was a tourist attraction designed by the city council to celebrate the contributions of different ethnic groups.5 A space was allocated to the local Aboriginal community to display their arts and crafts however the community, and in particular John Atkinson, a leading figure in Aboriginal organisations, had a more imaginative plan to set up their own museum or keeping place which would display artefacts and provide a resource centre for educating people about the cultural heritage of the Aboriginal people. Thus proving evidence of the relevance Kavanagh's historical theory, as the Bangerang Cultural Centre is essentially a sacred space of aboriginal culture purposely established for reflection and educational experiences for those especially interested in Aboriginal culture. One thing phenomenal when discussing the Bangerang cultures centre's targeted audience is the insight Aboriginal leaders have on the sacred space itself all easily accessible for the mind of the curious. Kavanagh perfectly expresses this reflection; “historians act as agents for society and produce history to service that society."6 John Atkinson's involvement within the Bangerang culture centre in sighted us into a reflection of his own as John Atkinson, spent many years convincing organisations and individuals to commit to their visionary plan. Convincing the Shepparton Council to set aside a grant of seventy thousand and provide the land on the site. After many years of planning the cultural centre was finally opened in 1982.7 Thus proving evident the importance of historians acting as agents for the focused group, as without a visit to the Bangerang cultural centre to be enlightened by John Atkinson we would have never been enlightened of in depth background knowledge for this sacred space.
Figure 1 above: Image Source: Shepparton news Former International village administrator with a map of the project
Figure 2 below: The Murray river resembled garden setting surrounding the Bangerang Cultural Centre, Photo taken by Courtney Jezewski in 2010.
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Heritage Listed Bangerang Cultural Centre is listed in Victorian Heritage database due to its historical, social and architectural significance, as it is an important landmark in the struggle of the Aboriginal people to maintain their own culture.
Architectural Significance Bangerang Cultural Centre is architecturally significant as a work of renowned architect Frederick Romberg. The Bangerang Cultural Centre Building itself consists of a pyramidal roof on an octagonal base, as evident from the photo beside. This picture depicts Bronwyn Davies would describe; “photographs, bear witness to what is not put into words, what is not considered important, or small details of everyday occurrence that are taken for granted.”9 The shape circle is architecturally significant to Aboriginal culture as Aboriginal ancestors when creating a stone structure as a house or shelter used it. It is believed that Aboriginal ancestors may have used the shape circle when building shelter, to allow foundation walls for timber-domed structures, windbreaks or daytime hunting hides. It’s understood the stone circles were more likely to be a foundation to hold the base of the sapling ends in place for the construction of a domed structure. As expressed by Davies when you look at the photo above it truly “bears witness to what is not put in words.”10 The shape of the building you see is round and quite circular, deliberately built as a historical reflection of previous Aboriginal ancestors building of sacred places. This small detail of shape used is taken for granted as Davie would express, as even though it is a part of historical Aboriginal architecture, most people would oversee it and be unaware unless John Atkinson educates them. However, the interior consists of a ground floor and mezzanine level. The museum displays are located along the outer wall and the dioramas and other display areas are opposite. The artefacts are contained in timber and glass cabinets. Along the outer wall of the museum area the ceramic artwork is displayed, other artworks and a memorial plaque. The building was deliberately sited in a prominent position near the entrance to the International Village and set in landscaped undulating grounds partly encircled with water. A grassed amphitheatre was established to stage cultural events. It was originally intended that a bush garden would surround the building with edible fruits and plants. The photographs and artefacts displayed within the building offer significant insights into society, without which Davies expresses; “the entire history of material culture and everyday life could not be investigated.”11 Thus enforcing the idea that; “a picture says a thousand words.”12 The photo above, along with the photos and artefacts within the building hold significant culture for Aboriginal people on their sacred space, truly emphasizing photographs bearing witness to what is not put in words, what is not considered important, or small details of everyday occurrences that are taken for granted.
Historical Significance The Bangerang Cultural Centre in Shepparton, is the first Aboriginal ‘keeping place or museum’ to be developed and managed by the Aboriginal community in Australia. It houses an important collection of artefacts and artworks from Aboriginal communities across Australia, whilst focusing on local communities of the Murray and Goulburn Valley regions. It represents a tangible symbol of the shift of attitude in society from the idea of assimilation to self-determination. The phenomenal museum is beneficial for everyone from children right through to the elderly, as it holds within it an experience of history through life sized dioramas and an insight into traditional Aboriginal cultural lifestyle. The dioramas focus on local stories, whilst the remainder of the displays represent Indigenous cultures from across the country. The displays within the Bangerang Cultural Centre include features of; ceramics, glass works, carvings, woven baskets, paintings and a range of tools and weapons.
Figure 3, Bangerang cultural centre, photo taken by Fulya Torun 2010
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Oral Interpretation of an Educational Foundation: Representing the Yorta Yorta People The Bangerang Cultural Centre is of social significance for the important role it has played for many Aboriginal people in preserving their identity and raising awareness of indigenous culture. The Bangerang Cultural Centre as a keeping place particularly represents the Yorta Yorta people. As a unique group of Indigenous Australians, the Yorta Yorta people’s original ancestors have occupied the land since time immemorial. However the Yorta Yorta nation now occupy a region of territory overlapping the New South Wales and Victoria border known today as the Goulburn/Murray region. The Yorta Yorta mob wears their distinct identity with pride and honour. This enriching pride can be seen in the Bangerang Cultural Centre, as the museum serves to display a lifetime cultural heritage of descendants from ten different clan groups, living in regions between the Murray and Goulburn Rivers. These ten distinct family clan groups include: Bangerang, Kailtheban, Wollithiga, Moira, Ulupna, Kwat Kwat, Yalaba Yalaba and Nguaria-iiliam-wurrung clans, each a family clan being a representation of their own mob.13 However the family clans are so closely related by kinship ties, that they identify themselves as one and are strongly attached to each other through blood line connections and respect.14 The Bangerang Cultural Centre today plays and educative, but important roles as they strive to provide a Cultural Centre, that will educate persons of all; ages, ethnics and physical abilities, as well as inspiring them to explore and discover Aboriginal culture in a creative environment. One key point about the Bangerang Culture Centre however, includes its commonly known attribute as being a "place to reflect.”15 The Bangerang Cultural Centre as a place to reflect can focus on a time in history where Indigenous Australians won't be pushed around any longer as the Cummergunja walk off and the Yorta Yorta native title claim, changes the history of Indigenous Australians forever.
Figure 5: An artwork from Bangerang Cultural Centre, representing the ancient Yorta Yorta tribes. Photo taken by Courtney Jezewski 2010
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The Walk of Hope, which changed history of Australia The area known as ‘The Flats’, on the Shepparton to Mooroopna Causeway, became home to many after the ‘Walk Off,’ from Cummeragunja at Barmah on 4 February 1939.16 The first ever mass strike of Aboriginal people, the Walk Off was due to the increasingly restrictive controls upon the movement and activities of the people, the poor rations and cruel treatment they received and the increasing removal of children. The plan came alive when Jack Patten, with the help of William Cooper, encouraged the people of the mission to leave in order to seek better living conditions, therefore resulting in the walk off to ‘The Flats’. Jack Patten received a gaol sentence for his part in enticing the Aboriginal families to leave the Cummeragunja reserve.17 Both Jack Patten and William Cooper was a spokesman for the dispersed Aboriginal communities of central Victoria and western New South Wales. Historian Tony Birch In his article 'History is never Bloodless,' argues the consequences of history wars conflict views of the past which do not form part of the white national narrative towards Aboriginal people being discredited by certain historians, which have in turn served political interests.18 The use of language in particular such as 'removal' instead of 'stolen' implies a policy that was indeed humane. Certain right wing media outlets and politicians have seized upon their distorted views and employed them in justifying their arguments and in doing so have denied Aboriginal peoples social justice. However as historians have a 'special obligation' because of their 'custodians of memory' prestige surely it is their responsibility to strive for integrity and convey the truth.19 A suggestion that would go a long way towards rectifying the sins of the past. It's moments like these that are captured as a moment’s monument in time, within the walls of the Bangerang Cultural Centre. As more than just a local museum, the Bangerang Culture Centre is a place to reflect or embrace our Australian culture, reconciliation for a time in Australia that once was in humane, and a place of knowledge to learn from mistakes, along with our heritage and pride us as multicultural Australia.
Figure 4: Cummeragunja school 1938. Photo taken from national archives of Australia
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Fighting For Fair Justice The Bangerang Cultural Centre shares a time in history that our local Yorta Yorta people will forever celebrate; ‘The Native Title Claim.’ In February 1994, the Yorta Yorta people were one of the first Indigenous groups in Australia to make a native title claim.20 The Native Title Claim involved local Yorta Yorta people making land claims to the Government in an attempt to regain the land that had been taken from them after European settlement. Yorta Yorta group coordinator; Monica Morgan cited; “Our mob knew we were taking a chance trusting the system of the white man...but this is like an annihilation of our culture.”21 Monica Morgan’s quote is a reflection of Ann Curthoy’s reading; ‘Crying in the Archives,’ particularly Curthoy’s quote; “Language like everything else used as historical evidence, is itself a historical artefact.”22 As Monica’s quote is used as historical evidence within the walls of our local Bangerang Cultural centre to express a necessary celebration or triumph for an accomplishment that should never have been stolen from the Yorta Yorta people. Monica’s use of words when cited engages the truth passion of history as Curthoy’s expression can be seen in Monica’s language as itself an historical artefact. The Yorta Yorta people were granted with the reclaiming to their land in December 2002. However the Yorta Yorta people were faced with many difficulties including; proving an uninterrupted connection to the land and a number of setbacks including a court ruling against their initial claim. This interesting moment in Aboriginal history can be found within the historically inspired doors of the Bangerang Cultural Centre, as we read of this phenomenal account that opened opportunity for other Indigenous mobs across Australia to join them in taking a stand to regaining their land. Thus truly emphasizing the importance of the Bangerang Cultural Centre in our community as it a sacred place to reflect on historical moments like the particular Native Land Titles moment.
Figure 6 : (Above) Yorta Yorta Native Title Case taking evidence at the Echuca Court House 1996 . National Archives of Autsralia Canberra 1996
Figure 7: Reflections on the Yorta Yorta Native Title Claim 1994, photo taken from slv.vic.gov.au native title claim
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Bangerang Cultural Centre also proudly reflects on the leading extraordinary Aboriginal elders by displays their photos in the keeping centre. Many of these leading activists from the Yorta Yorta area are known to have courageously fought throughout the hardship and survival of the European invasion and through the battles to claim indigenous rights. These elders are recognised nationwide for their contribution in campaigns, political activities and land right movements in the history of Australia. The walk off from Cummeragunja in 1939 is an example of a political activity which took place as a protest for bad living conditions.23 Many brave Aboriginal woman including Gladys Nicholls were involved in this walk off alongside their beloved families. Likewise Aboriginal woman such as Elizabeth Hoffman, Monica Morgan and Margaret Wirrapunda’s were also involvement in the Yorta Yorta native title claim that took place in 1994, to claim land that was traditionally theirs. Margaret Tucker however can be referred to as the most outstanding example of a woman fighting to make a difference. Margaret Tucker was a Yulupna woman who spent part of her childhood at Cummeragunja mission.24 Margaret was removed against her will at the age of thirteen and was taken to Cootamundra domestic training home, where she was treated both physically and psychologically horrifically. She then was sent out to work for a white family where she was again severely abused.25As a result, like many other Aboriginal kids and teenagers, Margaret too experienced traumatic years of teenage hood which resulted from the government policies. Margaret Tucker, began campaigning for Indigenous rights in 1930’s alongside other renowned Koori campaigners such as William Cooper 26 Margaret Tucker was one of the co-founders of the Australian Aborigines League and played a significant role in United Council of Aboriginal and Islander Women in the 1960s. She was recorded as the first Aboriginal woman appointed to the Aborigines Welfare Board and has contributed and remembered with many of her political work regarding people and woman in the Aboriginal society.27 Another well-known Aboriginal leader, William Cooper, had attended adult literacy classes and therefore had sound writing and communication skills.28 Through his works at the union and along with family connections he became a spokesman for the dispersed communities of Victoria and western Australia who were ineligible for any sort of assistance during 1920s drought up until the 1930s Depression period. As secretary of the Australian Aborigines' League, formed by the Melbourne Aboriginal community, he petitioned seeking representation in parliament, enfranchisement and land rights. Although Cooper was refused cooperation by the Commonwealth and state authorities, he had extraordinarily managed to collect over 1500 signatures from Aboriginal communities all over Australia by the end of 1937. His work and achievements are today remembered and recognised by the Aboriginal communities all over Australia.29
A League Of Extraordinary Men and Woman
Figure 10: Dawn Magazine, Margaret Tucker, May 1958
Figure 9, The Australian Newspaper, April 1938
Figure 8 Man Magazine, 1938, The Mourning Day. In the middle, William Cooper
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AIATSIS Many other cultural centres have emerged in Australia to seek and represent the cultures of the Indigenous tribes as well as acting as a gathering place for the Indigenous population. One positive example of a cultural centre is the Australian Institute of Aboriginal and Torres Strait Islander Studies Keeping place (AIATSIS), which prides itself as the great keeping place and refers to itself as a treasure trove. The keeping place located in the heart of the capital city holds some of the largest collections of Aboriginal and Torres Strait Islander materials in the world. Its library holds more than one hundred and seventy thousand items.29 These items consists of photographs, films, audio tapes and cover all aspects and time of Indigenous histories, languages, traditions, practices and peoples. Furthermore AIATSIS centre digitalises most of its oldest materials which date back to the earliest years to preserve these valuable information and items, for the future generations to come. The centre works very closely with honorly scholars and researches, native title rep bodies, local councils and lawmakers in order to develop programs to make a difference on the emerging issues and support the Indigenous communities.30
Is the Glass Half Full Or Is It Half Empty?
Fears of Facing Closures On the other hand Brewerrina Aboriginal culture museum which was opened in 1990, is one of the Indigenous keeping places which are today in danger of closing down. Like Bangerang cultural centre Brewerrina Aboriginal cultural centre too offers visitors and the community members a chance to lean and experience the Aboriginal culture where the local tribe of Ngemba people have gathered for thousands of years. However the keeping place has been known to be facing difficulties attracting enough visitors. Moreover, Galina Beek cultural centre that opened in 1995 had also struggled for viability in the recent years and therefore has already been closed down. McGaw and Pieris state “ the stress of such closures is demoralising for the Indigenous communities involved”.32 Both McCaw and Pieri affirm that “ Indigenous people have right to the city with economic opportunities and civic visibility it affords”.33
Armidale & Region Aboriginal Cultural Centre Likewise, Armidale and Region Aboriginal Cultural centre and keeping place is also another example of a keeping place still standing strong. Structured similarly to the Bangerang cultural Centre, Armidale and Region Cultural centre too displays a diverse aboriginal art and culture in the museum. The Armidale local council and the Australian government trade and investment agency fund the Centre. The Cultural Centre contains a café and a gift shop within the building, which offers a taste of Aboriginal culture and adds an excitement to the experience by offering a chance for the tourist to purchase souvenirs. Armidale and Region Aboriginal Cultural Centre can be argued as more active in term of engaging with tourists, then some of other keeping places in the country.31
Indigenous Cultural Centre’s, particularly our local Bangerang Cultural Centre, have become a crucial argument for making Indigenous histories and contemporary cultures public in urban settler-colonial societies over the past few decades. Whilst we’re inspired with brilliant heart warming success stories, we are equally enlightened in stories that cause concern, as some Indigenous cultural centres have been abandoned in the past recent years. These centres fail to nourish the cultural interests of Indigenous sponsors, once being places for vibrant community gatherings, unfortunately fail to garner the economic and politic and social support to remain viable and continuous.
Figure 11: AIATSIS building in Canberra, source from nirs.org.au
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Future Uncertainties for Bangerang Cultural Centre Although the Bangerang Cultural Centre has no significant economical issues as it is funded by the Australian Governments office of the Arts for its work in preserving Indigenous culture, yet today still face uncertain future, due to the difficulties attracting enough visitors for it to remain open. McCaw and Pieris, acknowledge that centralising Aboriginal culture in urban towns and cities requires specific compromises. Some of these compromises include flexible trading times, convenient locations, and modernising artefacts within the centre. All of the points made by McGaw and Pieris is directly relevant to the Bangerang cultural centre today.34 Firstly the keeping place needs to be open to public during its trading hours. Although the museums trading hours’ are Monday to Friday from nine till four, one cannot easily drop in while passing through the town due to inaccessibility. It seems the only way to have an access to the museum is by appointment, which is inconvenient for many tourists wanting to visit while driving through the town. Secondly, artefacts and historical materials can be upgraded and modernised to attract the interest of younger generations. Digitalising historical materials and artefacts not only would bring the museum to life, nevertheless it is an important process in preserving the significant pieces for the future generations to come. Moreover, another suggestion perhaps is arranging activities and programs within the cultural centre that would welcome the Aboriginal community to spend more time in the keeping place. This process could also have a positive uplifting effect on the cultural centre.
As a Result To conclude, the purpose of this article was to state the importance of the Aboriginal culture and the significance of educating the public about one of the most fascinating and earliest continuing cultures in the world. There is no doubt that Aboriginals are the original owners and are the pride of this land, therefore their stories, traditions and customs should continue to be taught and experienced. This is when the museums and keeping places play a significant role. As discussed throughout this article, museums not only are places that display items but also places that posses an invisible power to shape our social understanding. Particularly Indigenous keeping places are important due to the artefacts and materials they hold which have sentimental value to the Aboriginal communities. Continuation of these keeping places is crucial for the educational purpose and keeping the communities and their cultures alive. As proposed above, there are brilliant examples of Indigenous keeping places in our communities and the key word for continuity of most keeping places in Australia is ‘Change’ and ‘Availability’.
Figure 12, The Yorta Yorta Country Barmah- Millewa National Park Wetlands
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1. Broome, Richard, Aboriginal Victorians: A History since 1800 (NSW:
Allen & Unwin, 2005), P13
2. Jackomos and Fowell, Living Aboriginal History of Victoria, Stories in the
Oral Tradition (Cambridge: Cambridge University Press, 1991), P23.
3. James Boyce, 'Fantasy Island' in Robert Manne, Whitewash: On Keith
Windschuttle’s Fabrication of Aboriginal History, (Melbourne: Black Inc.,
2003) P17.
4. Gaynor, Kavanagh, ‘Making Histories, Making Memories’ in Kavanagh,
Gaynor (ed), Making Histories in Museums, London, Leicester University
Press, 1996, P11.
5.Ibid, P11.
6. Gaynor, Kavanagh, ‘Making Histories, Making Memories’ in Kavanagh,
Gaynor (ed), Making Histories in Museums, London, Leicester University
Press, 1996, P27.
7. John Atkinson, Bangerang Cultural Centre Founder & Manager, 5/10/2015.
8. McGaw, Janet, Pieris, Anoma, Assembling the Centre: Architecture for
Indigenous Cultures: Australia and Beyond (NSW: Routledge, 2014).
9. Davies, Bronwyn, ‘Chance Residues: Photographs and social
history’, (Ch. 7)in Tony Ballantyne and Brian Moloughney,
eds, Disputed Histories: Imagining New Zealand’s Pasts, Otago University
Press: Dunedin, 2006, P265.
10. Davies, Bronwyn, ‘Chance Residues: Photographs and social
history’, (Ch. 7)in Tony Ballantyne and Brian Moloughney,
eds, Disputed Histories: Imagining New Zealand’s Pasts, Otago University
Press: Dunedin, 2006, P265.
11. Davies, Bronwyn, ‘Chance Residues: Photographs and social
history’, (Ch. 7)in Tony Ballantyne and Brian Moloughney,
eds, Disputed Histories: Imagining New Zealand’s Pasts, Otago University
Press: Dunedin, 2006, P267.
12. Davies, Bronwyn, ‘Chance Residues: Photographs and social
history’, (Ch. 7)in Tony Ballantyne and Brian Moloughney,
eds, Disputed Histories: Imagining New Zealand’s Pasts, Otago University
Press: Dunedin, 2006, P267.
13. Chris Healy, “We Remember for You: the memory-work of
museums”, From the Ruins of Colonialism: history as social memory,
(Cambridge, Melbourne, New York: Cambridge University Press, 1997),
P105.
14. Chris Healy, “We Remember for You: the memory-work of
museums”, From the Ruins of Colonialism: history as social memory,
(Cambridge, Melbourne, New York: Cambridge University Press, 1997),
P105.
15. Bangerang Cultural Centre - Home. 2015. Bangerang Cultural Centre -
Home. [ONLINE] Available at: http://www.bangerang.org.au/home.html.
[Accessed 9 October 2015].
16. The Flats | RiverConnect. 2015. The Flats | RiverConnect. [ONLINE]
Available at: http://www.riverconnect.com.au/cultural/theflats. [Accessed 9
October 2015].
17. The Flats | RiverConnect. 2015. The Flats | RiverConnect. [ONLINE]
Available at: http://www.riverconnect.com.au/cultural/theflats. [Accessed 10
October 2015].
18. Tony Birch, ‘History is never bloodless’: getting it wrong after one hundred
years of federation”, Australian Historical Studies, 33:118 (2002), P53.
19. Tony Birch, “ ‘History is never bloodless’: getting it wrong after one
hundred years of federation”, Australian Historical Studies, 33:118 (2002): 42-
53.
20. Native title & the Yorta Yorta | Ergo. 2015. Native title & the Yorta Yorta |
Ergo. [ONLINE] Available at: http://ergo.slv.vic.gov.au/explore-history/fight-
rights/indigenous-rights/native-title-yorta-yorta. [Accessed 18 October 2015].
21. Morgan, Monica 2002. ‘The Yorta Yorta experience’. Paper presented at
The Native Title Conference 2002: Outcomes and Possibilities,
22. Ann Curthoys, “History Wars”, in Is History Fiction, (Ann Arbor:
University of Michigan Press, 2005), P220.
23. Jackomos and Fowell, Living Aboriginal History of Victoria, Stories in the
Oral Tradition (Cambridge: Cambridge University Press, 1991), p. 106 24.
Broome, Richard, Aboriginal Victorians: A History since 1800 (NSW:
Allen & Unwin, 2005)
25. Tucker, Margaret, If Everyone Cared: Autobiography of Margaret Tucker
(Sydney: Ure Smith, 1977), P34.
26. Dawn Magazine, ‘A magazine for the Aboriginal People of NSW, Margaret
Tucker, Volume 7, May 1958
27. Diane Barwick, 'Cooper, William (1861–1941)', Australian Dictionary of
Biography, National Centre of Biography,
http://adb.anu.edu.au/biography/cooper-william-5773, accessed online 8 Oct
2015.
28. Atwood B &Marcus A, Thinking Black: William Cooper and the Australian
Aborigines' League (Aboriginal Studies Press, Canberra, 2004, P117.
29. Atwood B &Marcus A, Thinking Black: William Cooper and the Australian
Aborigines' League (Aboriginal Studies Press, Canberra, 2004, P121.
30. Australian Institute of Aboriginal and Torres Islander Studies. 2015.
Australian Institute of Aboriginal and Torres Islander Studies. [ONLINE]
Available at: http://aiatsis.gov.au/. [Accessed 18 October 2015].
31. Home - Armidale Region. 2015. Home - Armidale Region. [ONLINE]
Available at: http://www.armidaleregion.com.au/. [Accessed 18 October 2015].
32. Watson, Sheila, Museums and their Communities (New York: Routledge,
2007)
33. Ibid.
34. McGaw, Janet, Pieris, Anoma, Assembling the Centre: Architecture for
Indigenous Cultures: Australia and Beyond (NSW: Routledge, 2014).
11
Primary Sources
Dawn Magazine, ‘A magazine for the Aboriginal People of NSW, Margaret Tucker, Volume 7, May 1958
Lumley, Bill & Lynn Bangerang Cultural Centre: Exodus from Cummeragunja, News Clippings from 1968 to 1961. Shepparton Newspapers.
John Atkinson’s speech over Bangerang Cultural Centre, Cofounder and Manager, 20.12.2014.
Morgan, Monica 2002. ‘The Yorta Yorta experience’. Paper presented at The Native Title Conference 2002: Outcomes and Possibilities,
Patten, T. J., Abo Call: The Voice of the Aborigines, Australian, April 1938, in Trove [online database], accessed 11 Oct 2015.
Tucker, Margaret, If Everyone Cared: Autobiography of Margaret Tucker (Sydney: Ure Smith, 1977), P34.
Tucker Margaret, ‘As I Saw the World Abroad’ Dawn Magazine, photos from Margaret Tucker section, 1952, 20, in AISISES [online database], accessed 10
Oct 2015.
Secondary Sources
Australian Institute of Aboriginal and Torres Islander Studies. 2015. Australian Institute of Aboriginal and Torres Islander Studies. [ONLINE] Available at:
http://aiatsis.gov.au/. [Accessed 18 October 2015].
Ann Curthoys, “History Wars”, in Is History Fiction, (Ann Arbor: University of Michigan Press, 2005), P220.
Armidale Region. [ONLINE] Available at: http://www.armidaleregion.com.au/. [Accessed 18 October 2015].
Atwood B &Marcus A, Thinking Black: William Cooper and the Australian Aborigines' League (Aboriginal Studies Press, Canberra, 2004, P117.
Bangerang Cultural Centre - Home. 2015. Bangerang Cultural Centre - Home. [ONLINE] Available at: http://www.bangerang.org.au/home.html. [Accessed 9
October 2015].
Broome, Richard, Aboriginal Victorians: A History since 1800 (NSW: Allen & Unwin, 2005).
Chris Healy, “We Remember for You: the memory-work of museums”, From the Ruins of Colonialism: history as social memory, (Cambridge, Melbourne,
New York: Cambridge University Press, 1997).
Davies, Bronwyn, ‘Chance Residues: Photographs and social history’, (Ch. 7)in Tony Ballantyne and Brian Moloughney, eds, Disputed Histories: Imagining
New Zealand’s Pasts, Otago University Press: Dunedin, 2006, P265.
Diane Barwick, 'Cooper, William (1861–1941)', Australian Dictionary of Biography, National Centre of Biography, <http://adb.anu.edu.au/biography/cooper-
william-5773>, accessed online 8 Oct 2015.
Gaynor, Kavanagh, ‘Making Histories, Making Memories’ in Kavanagh, Gaynor (ed), Making Histories in Museums, London, Leicester University Press,
1996.
Jackomos and Fowell, Living Aboriginal History of Victoria, Stories in the Oral Tradition (Cambridge: Cambridge University Press, 1991).
James Boyce, 'Fantasy Island' in Robert Manne, Whitewash: On Keith Windschuttle’s Fabrication of Aboriginal History, (Melbourne: Black Inc., 2003).
McGaw, Janet, Pieris, Anoma, Assembling the Centre: Architecture for Indigenous Cultures: Australia and Beyond (NSW: Routledge, 2014).
Native title & the Yorta Yorta | Ergo. 2015. Native title & the Yorta Yorta Ergo. [ONLINE] Available at: http://ergo.slv.vic.gov.au/explore-history/fight-
rights/indigenous-rights/native-title-yorta-yorta. [Accessed 18 October 2015].
The Flats RiverConnect. 2015. The Flats RiverConnect. [ONLINE] Available at: http://www.riverconnect.com.au/cultural/theflats. [Accessed 9 October
2015].
Birch, Tony ‘History is never bloodless’: getting it wrong after one hundred years of federation”, Australian Historical Studies, 33:118 (2002), P53.
Watson, Sheila, Museums and their Communities (New York: Routledge, 2007)
