August 30, 2015

"The Crossing" Premiere




The film will be shown on a giant outdoor screen on dusk.
Come along to relive history, learn a little and you won’t see the ending coming! It will be great night to see the film on a huge screen.
Ref: Scott Richadson  scott@visiontv.com.au

August 26, 2015

Australiam Charities and Not-for-profits Commission



Charities have a duty to notify the ACNC of changes to their details, including responsible people and governing documents. Once you are aware of the change, you must notify the ACNC of changes as soon as you reasonably can.
Ref: Australiam Charities and Not-for-profits Commission

If this applies, a good place to start is here.

Eskbank House

Eskbank House


Dear friends of Eskbank,

What an exciting month we have ahead of us.

Our next exhibition is Primary By Design – Cullen Bullen Public School where Eskbank and the school have partnered up to bring you an exhibition of the student’s photographs and their reinterpretation in a variety of mediums. The opening is 11am Friday 4 September 2015 and you are all invited to come and meet the artists and celebrate this exhibition with them. The exhibition will run from 3 – 20 September 2015.

Following this we will have our first “We All Stand on Sacred Ground” NAIDOC Art Exhibition organised by Mingaan Wiradjuri Aboriginal Corporation.  Mingaan is currently inviting the community to enter a work of art on the theme of “We All Stand On Sacred Ground”. This exhibition aims to promote learning and sharing of Aboriginal and Torres Strait Islander culture within the community. Your art work may be 2D or 3D, traditional or contemporary so long as it relates to the theme. Please include a story for your art work to help share culture. Entry forms are on the website at http://eskbank.lithgow.com/events/we-all-stand-on-sacred-ground-naidoc-art-exhbition/  The exhibition will run from 24 September - 11 October 2015. With an official opening on Sunday 27 September2015 to which you are all invited.

And our 2015 LITHGOW HALLOWEEN FESTIVAL PROGRAM kicks of this month.

Vampire Scarecrow Workshop: 10am Thursday, 24 September, 2015. Primary school children are invited to join Ludwina Roebuck in the gardens at Eskbank House to create sizzling vampire scarecrows for the 2015 Lithgow Halloween Festival.  With fangs, decorations and flowing capes, the scarecrows will feature in the decorations on Main Street on 31 October 2015.  This is a free workshop, but places are limited. Booking forms on the website at http://eskbank.lithgow.com/events/vampire-scarecrow-workshops/

Create a Vampire Workshop: 9am – 4pm Thursday, 1 October, 2015. For ages 12 – 25, at this workshop you will create a cape and learn vampire make up, cat walk and drama skills. You will then model in our Halloween Fashion Show on Friday 23 October and perform at the Lithgow Halloween Festival on Saturday 31 October 2015. This is a free project but we only have ten places so get in quickly.  Booking forms are on the website at http://eskbank.lithgow.com/events/create-a-vampire-workshop

Never dull here at Eskbank House! If you need any more information please visit our website at http://eskbank.lithgow.com/ 

Cheers

from the Eskbank Team and Wendy
 

Wendy Hawkes | Cultural Development Officer
Community & Culture | LITHGOW CITY COUNCIL
PH (02) 6354 9999 | FAX (02) 6351 4259

August 11, 2015

Virtual reality

See the New Post on British Museum blog below.

Could you do something like this at your Museum?
 
Much simpler would  be a Virtual Tour of your Museum with a series of slides plus text and/or voice description of what can be seen.

A Virtual Excursion to the Capertee Valley can be taken at any time by clicking here. 


It's  the Monday after the Samsung Digital Discovery Centre’s (SDDC) virtual reality weekend and we’re reflecting on the process of developing a virtual reality experience, which puts 3D scans of British Museum objects from our Bronze Age collection into the context of a virtual Bronze Age roundhouse. It’s been a really exciting project to work on, and lots of people have contributed – so we want to share the process behind making it happen.


The SDDC at the British Museum was created in 2009 in partnership with Samsung to provide a state-of-the-art technological hub for children and young people to learn about and interact with the Museum’s collection through school and family sessions. The Museum’s work with Samsung ensures that it remains at the forefront of digital learning, and when Samsung launched its Gear VR headsets we were eager to explore how virtual reality technologies could be used to engage a new generation with British Museum objects. When you put on a Samsung Gear VR headset you feel like you are in a virtual world. When you look up with the headset on, within the virtual world you also look up. You can also ‘walk’ forward and backwards, using a touch pad on the side of the headset. It is a mesmerising experience.

To explore the potential of virtual reality we decided to develop a bespoke experience of a Bronze Age roundhouse, which could be included across the SDDC’s programme for families and schools. We identified the Bronze Age for our virtual reality experience, because it presented a number of opportunities. Firstly, the Museum already has 3D scans available of some of our Bronze Age collection, created by the MicroPasts project. MicroPasts is a groundbreaking project that creates open data sources of scanned objects, and crowd sources ‘photo-masking’ to create 3D versions of them. Second, prehistory is a statutory requirement as part of the National Curriculum for primary schools, but we know that teachers sometimes find this subject difficult to teach. The difficultly experienced by teachers is mirrored by families too. We spoke with Dr Neil Wilkin, Curator of the Bronze Age Collection at the Museum, and together defined the potential values of virtual environments for exploring this period with our schools and families audience.
Virtual environments present an opportunity to address misconceptions about prehistory head on, and this period is particularly difficult to grasp for our younger visitors. For example, a virtual Bronze Age experience allows you to convey in a visual way that at this time people had developed complex settlement practices, that they advanced technologies for their purposes, like developing methods to manufacture bronze, and that they had talented craftspeople who created beautiful jewellery. Virtual environments also allow you to present the mysteries and multiple interpretations of objects in a visual way. Questions around the function, purpose and possible ritual practices associated with Bronze Age objects can be presented to the visitor in context, close up and in 3D. Across our SDDC learning programme we try to convey that interpretations of objects are never fixed – they develop and change as new research is undertaken. We often show that multiple interpretations and varied significances for one object can exist at the same time, but 3D virtual environments make conveying this much easier.

To create our virtual reality roundhouse, we recruited Soluis Group Limited, who are experts in creating virtual environments. We chose three fascinating objects from those that had been scanned in the MicroPasts project to be interpreted in our virtual Bronze Age roundhouse – the Woolaston gold (possibly a child's bracelet), a Sussex loop bracelet and a large dirk (a short dagger). The three objects are linked by the mystery that they share – there is no certain interpretation of how each was used, or if it had ritual significance.

Developing the experience was a collaborative process. The Museum worked closely with the virtual reality developers to ensure that the Bronze Age roundhouse depicted in our virtual reality experience was based on the latest curatorial research in this area. For this process, two students, Lydia Woolway and Emily Glynn-Farrell, assisted Neil in compiling a research document about Bronze Age settlements and roundhouses. This document included the fact that many roundhouses across Britain have been found with doorways facing in the same direction, seemingly in line with the sun’s path through the sky. Archaeologist Mike Parker-Pearson in particular has suggested that light and dark, and the alignment of roundhouses, had ritual significance to Bronze Age Britons. We were keen to incorporate this into our virtual reality roundhouse. The experience also contains audio content, which Neil recorded in the SDDC – turning it into a sound recording studio for an afternoon and using our green screen as a backdrop to get the best sound quality possible. We were delighted with the experience that was created, and the virtual reality weekend was testament to its success.
Today, we’re looking at visitor feedback from the event and considering how we can integrate their comments into our digital learning programme. But having been in the Great Court all weekend, talking to visitors and seeing their excitement at engaging with this experience, we’re delighted with what we’ve created, and how much our visitors have enjoyed it!

Thanks are due to everyone who has been involved in this project, and our amazing team of SDDC facilitators and volunteers who helped out over the weekend.



July 8, 2015

Welcome to Country and Acknowledgement of Country




Welcome to Country and Acknowledgement of Country

By Museums & Galleries of NSW


Introduction

A protocol is defined as a behavioural code that people use to show respect to each other. Each culture has different sets of procedures and gestures that are understood to be polite. In working respectfully with Indigenous communities there are several important protocols worth knowing and understanding.
The first is the Welcome to Country and while there is no prescriptive Welcome to Country protocol appropriate for all communities, contexts or geographical locations, there are easy to understand guidelines. The Welcome to Country is usually conducted by an Elder of the Aboriginal language group who originate in the location of where your event is held. In some situations there may be more than one language group and this requires following a specific set of procedures to show proper respect to all.
The second and related protocol is the Acknowledgement of Country. This is used when no Indigenous leader or elder is present at a meeting, presentation or public event and is conducted by a non-indigenous person.

Background

While these protocols should be followed out of general politeness it’s important to understand they have other roles which help to facilitate reconciliation and strengthen Aboriginal identity. This includes acknowledgment that:
  • Aboriginal Australia is recognised as the oldest living culture in the world. Originally consisting of diverse nations and languages, the Aboriginal people within NSW experienced massive change to their way of life as a result of European colonisation.
  • Indigenous cultural expression plays a major role in the revitalisation of cultural practices and continued strengthening of Aboriginal identity.
  • Indigenous culture is informed by the past, and that Indigenous cultural expression is a vital part of contemporary society.
  • Self-determination for Aboriginal communities is supported by setting cultural priorities and the adoption of appropriate cultural protocols in the public sector.
  • The public sector plays an important role in supporting, maintaining and nurturing Indigenous cultural heritage and expression.
  • Respect and visibility in public events especially in the arts and cultural community fosters goodwill and strengthens cultural identity.
  • Acknowledging the diversity within Indigenous communities and their different cultural bases of histories, geography, languages, political and social contexts is important.

Tips for success

Welcome to Country can be used in several ways - as an Indigenous formality to complement other formalities of an event or as a traditional welcome by the Indigenous community through dance and music.
The Welcome to Country is most effective when the host organisation consults with the local Indigenous community for these events.
Involving an Indigenous representative from the local area is highly recommended. This can be established by seeking the advice of the local Aboriginal Land Council, the Local Council or the Council’s Aboriginal Liaison Officer if one is available. If the Local Council has an Aboriginal Consultative Committee or group they will also be a useful resource.
Welcome to Country formats can be quite formal or complex–if there are several Indigenous Elders or groups in the area they may each want to present a Welcome to Country. They may also have their individual way in which they want to present it. This can be in the form of their own story about their life as an Indigenous person in Australia and their relationship to their family and the local area. It could be in the form of a symbolic gesture of reconciliation eg: an Elder offers a large branch of a tree with leaves to guests and asks guests to take a leaf from the branch away with them.
After an Indigenous representative gives an official Welcome to Country for an event, other speakers (both Indigenous and Non-indigenous) are encouraged to acknowledge the original custodians of the land before they commence their speech.
When there is more than one Indigenous language group in the area and you are not sure which group should be approached consult your Local Aboriginal Land Council or Local Council first.
If an Indigenous representative or an Elder of the original custodians is not available for the Welcome to Country, ensure the other Indigenous language group representative acknowledges the original custodians before introducing their own community.

Payment

In many cases Welcome to Country is performed free of charge as an act of generosity by the indigenous community. It is important to acknowledge this.
It is not customary for an Indigenous Elder or representative to request payment for a Welcome to Country though it is courteous to make an offer of an honorary payment.
Payment may be necessary in certain circumstances. If an indigenous person’s participation is needed for a relatively short period of time but requires significant travel for that person, their travel and meal costs should be covered.
If you need indigenous participation for more than half a day payment is necessary. This also applies for any formal consultation you may require regarding cultural protocols or Indigenous policy issues. Any travel, meal or accommodation costs should be covered.

You might also like ...

Museums & Galleries of NSW, Fact sheet: Prepare an Acknowledgement of Country Statement
City of Sydey, Welcome to Country
Australian Land Councils, Local Land Council lists




July 4, 2015

"Mount Canobolas – The mountain, the farms, the people"

Orange & District Historical Society

“Mount Canobolas – The mountain,the farms,the people”

Speakers: - Professor Warren Somerville and Morrie Dally


 A large group celebrates the first Cherry Blossom Festival in 1939 at the Dally family orchard, ‘Bryn Gobaith’, Nashdale. Photo courtesy Morrie and Joan Dally.

The next meeting of the Orange and District Historical Society’s History Alive series will focus on Orange’s very own mountain, Mount Canobolas.
Most people would not be aware that Mount Canobolas was one of the largest volcanos in NSW millions of years ago.
At that time, the ancient landscape was covered with a layer of basalt from the volcano and the mountain is one of the few remnant volcanos still in existence (Bathurst’s Mount Panorama is another).
Orange owes much of its horticultural and agricultural success to the legacy of the mountain, including rich basalt soils, a cool climate and relatively high rainfall.
This resulted in intensive settlement, and until recent decades there were hundreds of small orchards, dairies and mixed farms in the area.
Guest speakers will be geologist Professor Warren Somerville and orchardist Morrie Dally.
Professor Somerville, who grew up on a local orchard, will bring a wealth of knowledge about the geology of the mountain. He has had a life-long interest in geology, during which he built up a huge collection of fossils and minerals from throughout the world.
Much of his collection can be seen at the Australian Fossil and Mineral Museum in Bathurst.
He will give an illustrated talk on the geology of the mountain and will bring along rare specimens of rocks from the mountain.
Morrie Dally comes from a Nashdale orcharding family. His grandfather James Dally jumped ship in 1861 and headed to the goldfields at Bendigo. He eventually moved to the Orange district and bought ‘Tregeagle’, in the Canobolas area, in 1912. Morrie was born at Tregeagle, later moving to ‘Bryn Gobaith’, and has been an orchardist all his adult life. Morrie has a wealth of knowledge about the orchardists of the Canobolas area.
Everyone is welcome to attend the meeting, and a particularly warm welcome will be given to orchardists from the Canobolas area.
The meeting will take place at Orange Senior Citizens Centre (entry from Woolworth’s car park) on Wednesday, July 8 at 7 for 7.30pm.
There is a small charge of $3 for members of Orange and District Historical Society and $5 for non-members, to cover costs. Light refreshments will be served.
If you have any inquiries or would like to attend the meeting, please RSVP Phil Stevenson on 0402 412 188, email: ibiswines@bigpond.com  

June 17, 2015

BATHURST 2015 EXHIBITION & Bathurst BICENTENARY - e-newsletter - Issue 10-May 2015



FROM THE NEWSLETTER EDITOR

May has certainly been another busy month as Bathurst celebrates the continuing activities of the 200th year since Governor Macquarie journeyed to the area to see for himself that the region was “truly grand, beautiful and interesting, forming one of the finest landscapes I ever saw in any Country I have yet visited. The soil is uncommonly good and fertile, fit for every purpose of Cultivation and Pasture.”

With his entourage Macquarie proceeded to explore the local landscape so he could report back to England on his return.

Bathurstians have supported the 2015 events in large numbers in attending the opening of the Flag Staff, two Colonial Fairs, Bicentenary Illumination and Street Festival, the Peoplescape, Reflections - 200 Years of Women’s Fashions, Snapshots in Time and the Wall of Valour, A Moment in Time, Mrs. Macquarie’s Cello, The Crossing, “Anzacs At Gallipoli” tribute and display and much more.

With these events over we will now concentrate on the BATHEX 2015 Bicentenary Collectables, Gem and Mineral Exhibition - Bathurst Remembers 200 Years of History being held at the Bathurst Showgrounds on Saturday and Sunday 26th and 27th September, 2015. It will be held in the three jammed packed pavilions and the surrounding showground on Sydney Road. This is the tenth such event with the first commencing in 1988.

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WHAT HAS HAPPENED SO FAR!

The Bathurst District Historical Society has had a number of events under its umbrella with the first being the official opening of the Old Government Cottage Bicentennial Heritage Garden on Sunday 29th March. The opening was part of Bathurst’s Bicentennial celebrations. The impressive new garden is located at 16 Stanley Street down by the Macquarie River and is open every Sunday afternoon from 12 noon until 4pm.

The Bathurst Garden Club is responsible for the success of the garden which attracts an increasing number of visitors every Sunday. Members of the garden club professionally designed, set out and established the Bicentennial Heritage Garden. Their concept was to educate and show visitors who come to see the historic brick cottage the types of plants that would have been in a typical Bathurst household garden some 150 years and more ago. Our garden from the Georgian-Victorian era has herbs, vegetables, berries and fruit such as apricot, apples and pears as well as fragrant fresh flowers. 
View & download Full Newsletter 

May 29, 2015

Quarterly Newsletter of the Millthorpe & District Historical Society - Winter 2015

Download another good read.

Museums Australia conference - May 2015


Here are a few highlights from staff of Museuns & Galleries of NSW:

Tamara Lavrencic, Museum Programs and Collections Manager

A definite highlight for me was Lindsay Farrell’s presentation on social inclusion through art and museums. His paper reported on a research project with homeless and marginalised groups in Brisbane. One program run over 12 weeks involved homeless people visiting The Australian Catholic University art collection and the Queensland Art Gallery/GOMA. At the end of the program each participant gives a presentation about a particular artwork. Farrell showed an image of a homeless man standing in front of a 17th Century Dutch painting. The contrast between his poverty and the almost gluttonous display of food was marked.

Samantha Hamilton, a conservator with Museum Victoria gave an illuminating paper on a collaboration initiated with Gupapuyngu clan Elders from Arnhem Land in 2011. The project aimed to involve traditional owners in the decision making process about conservation treatment options for bark paintings in the Donald Thomas collection. Initial discussions with Jo, a Gupapuyna Elder indicated that Western concepts of preservation were foreign to them; deteriorated barks were normally buried and replaced by new ones.

Samantha made a film for the community explaining each treatment option for the bark, which was translated into their own language by Jo. This helped broker trust between Samantha and the Gupapuyna clan, who had initially expressed reluctance for a female conservator to work with the bark, along with their preference for a Gupapuyna man to repaint it with white pigments.  Through this process the community decided that Samantha had the appropriate skills to clean the barks, consolidate the flaking paint and support the bark by applying an aluminium splint.

Madeleine Brady, Gallery Programs and Touring Exhibitions Coordinator

Xerxes Mazda, Deputy Director, Engagement at Royal Ontario Museum, was a clear highlight for me with his keynote presentation addressing the need for museums to construct powerful narratives.

By utilising the basic principles of the dramatic arc, Mazda proposes that museums can create a full sensory experience, allowing viewers to connect with exhibitions and ultimately lose themselves in the narrative. 

The dramatic arc is a simple device behind all successful Hollywood films and consists of five parts: the exposition, rising action, climax, falling action and finally, the denouement, or 'resolution' for those of us with unconvincing French accents. Mazda argues that we need to actively address each of these stages during exhibition development.

When considering the flow of an exhibition, the interpretive materials, object placement and audience interaction, museums should be constantly assessing an exhibition against the criteria of the dramatic arc.

Mazda also stresses the need to interlink each stage of an exhibition with a cause-and-effect relationship. Museums need to ensure that viewers are being drawn from one object to the next, and consequently through the entire exhibition. Mazda quoted the British novelist, E.M Forster, stating, “The king died and then the queen died is a story. The king died, and then queen died of grief is a plot.”

The beauty of Mazda's keynote presentation was the pure simplicity of the concepts presented. And while it was ultimately aimed at museum exhibitions, I found it particularly interesting to consider how the power of the narrative could be applied to contemporary gallery exhibitions. Mazda challenged the audience to harness the universal concepts of storytelling in exhibition development and I will most certainly be taking him up on the challenge.

Steve Miller, Aboriginal Sector Programs Manager
The Indigenous Reconciliation session began with a reminder of a recommendation from the previous conference: that Indigenous people should be considered as foundational rather than a special interest group of Museums Australia.

It ended with a recommendation for an audit and evaluation of the level of engagement of Australian Indigenous people in museums and galleries. This followed earlier discussion around the uncertainty of the true impact of MA’s long standing policy Continuous Cultures, Ongoing Responsibilities, now a decade old.

Peter White, Senior Manager Indigenous Connections & Programs of the National Sound & Film Archive, did a great job chairing the session which was dense and diverse in its discussions.

Nancia Guivarra, Head of Communications with the National Centre for Indigenous Excellence opened the session by linking notions of excellence to Reconciliation. Genevieve Grieves reiterated the points from her earlier presentations about deep listening, cultural diplomacy, inter cultural work and generational vision. She also said that museums as institutions often don’t follow cultural protocols which causes tension when working with communities. The burden of this often fell on Indigenous staff.

Frank Howarth, speaking from the floor, said smaller museums were still afraid of making mistakes when presenting Australian Indigenous cultures and needed to stop ‘walking on eggshells’.  The audience reflected that a similar situation exists with Indigenous staff in major institutions who are equally afraid of making mistakes; that the building of trust took considerable time; and that one Indigenous worker per institution was not enough. Indigenous staff often wanted to work with remote communities in their state which did not necessarily translate into the desired exhibition outcomes for institutions.

Dr Robin Hirst, Melbourne Museum’s Director of Collections, Research and Exhibitions, suggested imagining what we’d like to see in ten years’ time. I replied that 10 years was a worthy objective but in a history of 40,000 plus years, it was not very long. I was concerned about the ‘thought bubble’ discussion when the industry is retracting – regional Aboriginal cultural centres in NSW are closing – which raises questions about how the sector can develop greater depth of Indigenous engagement. It would be good to think beyond conventional exhibitions and public programs, to create a long term legacy reaching into communities and involving them in development including technical skills, as our own Travelling Places program seeks to do.
The suggestion to audit the entire museums and galleries industry arose early in the discussion but it was Margo Neale, Principle Indigenous Advisor to the Director at the National Museum, who moved it as a recommendation. With this adopted, the session drew to a close. It was encouraging to see that the audience of more than 50 people felt the discussion significant enough that nearly all stayed until well past the 5pm listed finish

May 25, 2015


Dear Colleagues,
The Museum of Applied Arts and Sciences (MAAS) 2015 Regional Program targeting the regional museum and gallery sector is now on the MAAS (formerly Powerhouse Museum) website at
http://maas.museum/about/regional-program/

Applications for programs are due by 5.00pm, 9 September 2015.

The Regional Stakeholder Forum 2015 will be held on Friday 13 November between 9am – 4 pm in the theatrette at MAAS: Powerhouse Museum. The Forum is held in partnership with Museums & Galleries NSW, Regional Arts NSW and MAAS.

Yours sincerely,

Deborah Vaughan
Regional Program Producer.
MAAS

May 22, 2015

RAHS Webinar: Beyond the Blue Mountains: Following the Road from Bathurst



May 27 @ 7:00 pm - 8:00 pm | RAHS Members $10/Non-Members $12

Take a tour ‘Beyond the Blue Mountains’ and follow the road from Bathurst with Suzanne Holohan, RAHS General Manager and Graham Sciberras, RAHS Digital Media. Explore photographs, manuscripts and audio/visual content, plus some of the recently uncovered gems that make up this newly launched grant-funded project. Find out what is still to come, our plans for its future and how you can become involved.
Click here to register.

 This email is being sent to all listed member Historical Societies, Museums and Individuals of the Central Tablelands Chapter of Museums Australia (NSW Branch) and other interested persons.
 If you know of other Societies, Museums or Individuals who would like to be added to the list, please email Wal Pilz with name, address, phone no. and email address.

April 23, 2015

Succession Planning - Article by Patsey Moppett - 2015


Succession Planning 

The Succession Planning Workshop held by BMACHO in February at the Lithgow Mining Museum provided an opportunity for organisations and committees to find out the many ways to make their tasks easier and more effective and ensure their volunteers get the most out of their roles. (See Heritage January-February p.14). The day commenced with a tour of the museum site.

Lithgow Mining Museum workshops

BMACHO Vice President Ian Jack opened the proceedings. Those few who were able to attend were treated to very worthwhile presentations by the speakers, Emeritus Professor David Carment, Ray Christison, Lynn Collins and Tamara Lavrencic.

Both David and Ray spoke about their experiences in being on committees and their approaches to the success of their various organisations.


David Carment: David reviewed the principles set down by Museums and Galleries of NSW to assist organisations in their operations. He emphasized the importance of valuing the work of volunteers and encouraging their involvement, dealing with aging membership and finding people to fit the committee positions. Inclusion of fixed terms for positions and seeking people who have something to offer, may be key solutions.

Utilization of social media and sharing the load, are also ways to relieve the pressure. People have less and less time to be involved and to carry out the myriad of tasks required in a committee these days.

Ray Christison: Ray cover the topic under five headings, as follows:

  •   What is succession planning finding people to fill key positions on a committee to sustain the required functions of the group. In particular, finding a leader who will identify the problems and work to solve them. Ray quoted from Ben Chifley, “Rookwood is full of people who were indispensable”.
  •  
  •   Roles the roles in a committee range from a leader, administration, program management, tour guides, site/building management, museum development. The task is finding suitable people who can do each of these jobs.

BMACHO Vice President Ian Jack addresses the group
  •   Plan for the future the problem is broken down, deciding who does what. Divide the position and delegate tasks. The tasks can be carried out by volunteers, casual staff or contractors.
  •  
  •   Attracting volunteers the vision should be articulated. Sensible business planning should be undertaken, obtaining recognition for the organisation, creating a positive and creative environment for volunteers. Sometimes the facilities can be difficult for volunteers eg. heat/cold. Anticipate the benefits of participation. Network within the community. Keep exhibitions fresh, undertake projects that renew/maintain interest, for both volunteers and visitors.
  •  
  •   Alternatives use contractors for some tasks if possible. Identify roles and cash flow, sponsors and compliances with legislation. Expand the capabilities of the group and possible use a business model. Make use of existing assets such as publications, local businesses, social media. Decide how to access different sectors of the community and have a clear vision. Have a vision statement, and communicate effectively.
Lyn Collins: Lyn summarised their comments and went on to highlight the salient points relating to continuity, role sharing, rotation of positions, reviewing the provisions of the relevant constitution, employing outside expertise, the importance of having a strategy and undertaking social events, and redefining the tasks and roles required. He emphasised the social benefits and the sustainability of committees..

Tamara Lavrencic: Tamara was visiting from the Museums and Galleries of NSW, and explained the Standards Program. It operates for some 10 months of the year and has a regional bias. It is an opportunity to seek assistance for surveying collections, management, engaging visitors, caring for the collection. An independent reviewer is sent out to each museum. They act as mentor to the museum management. Many resources are available, including risk management, grants, setting up a website, and an advisory service.

It provides an opportunity for self review against the national standard.

Editor’s comment: It would appear that we need to take time out of our busy schedules to find the time to help ourselves. It is strongly recommended that all organisations seek out the Principles for the Recognition of Volunteers for a review. Organisations that adopt the principles would be sending out a clear signal to current and potential volunteers that their contributions are valued. (www.volunteering.nsw.gov.au ).

Ref: HERITAGE - Newsletter of the Blue Mountains Association of Cultural Heritage Organisations Inc - May-June 2015 by Patsey Moppett

For further reading see earlier post here

April 8, 2015

April 2, 2015

Bathurst District Historical Society - Member's Newsletter, April-June 2015


FROM THE PRESIDENT
 
This newsletter covers the period of Bathurst’s major celebrations during May. It is an important time to reflect on the pioneers of Bathurst and district and their struggles, frustrations, achievements and aspirations since 1815. How tough was it in those founding years of the township of Bathurst from its resurveying in 1833 and the commencement of selling blocks of land in the town.

Plans for ‘The Bathurst 200 Theo Barker Memorial Lecture’ to take place on Friday evening on 14th August, are well underway with Associate Professor Grace Karskens, University of New South Wales, Sydney, being the guest speaker. The lecture is to be held on the Bathurst campus of the University commencing at 6pm. CSU have graciously agreed to include the lecture in their Exploration Series of public lectures for 2015. The title of her talk is – ‘Life on Australia’s first frontier’.

What was it like to make a life in the early farming districts of Australia's first frontier? How did people learn about the new country, how did they make new families and communities, how did they remake old cultures? And what happened to them? In this talk Associate Professor Grace Karskens will present some of the findings from her current research on the people and environments of Castlereagh and the Nepean River in the early colonial period.

Grace is the author of a number of histories on early colonial NSW, especially dealing with early Sydney and The Rocks. Her best known book is probably “The Colony A History of Early Sydney” (2009), which won the Prime Minister’s Literary Award in 2010 for non-fiction. She is also the author of the first detailed study of Cox's Road (1988).

Last month a group from Bathurst and I attended the Australian Pioneers Proclamation Lunch at Sydney's Union University & Schools Club. The Reverend Andrew Sempell, Rector, St James Church, King Street, and former Dean of Bathurst said grace.

The Club’s President Robert Bishop and the Pioneer’s John Lanser gave us a fine welcome. Australasian Pioneers’ Club President Christopher White and the Convenor John Lanser organised the event. 

Dr Robin McLachlan was introduced by John Lanser, Convenor, who then delivered his talk – “A DELIGHTFUL SPOT” - THE PROCLAMATION OF BATHURST IN 1815 – AND BEYOND. The vote of thanks was given by Professor Emeritus David Carment, A.M., 

Read Newsletter 


March 19, 2015

New collections in Trove - March 2015

New collections in Trove

Man sorting through the card catalogue for exhibitions at the museum, Sydney, 28 May 1930

A look back at the last six months

The Trove team is always hard at work bringing in new records to Trove and the past six months have been no different, with a wide range of new collections coming in. We post in the Trove forum and tweet about new collections, but in case you missed it here is a quick look at what’s new in Trove. 

Museum collections

The items that museums collect are always so different and varied; it is always interesting seeing what new things we’ve harvested into Trove. In October last year we started work with Victorian Collections, a collection of museum items from organisations all over Victoria, to bring in some of the items their members had to offer.

So far from Victorian Collection we have the following organisations:
Cyril Kett Optometry Museum
Murumbeena Cricket Club
Federation University of Australia (both their art collection and history collection)
Ballarat Base Hospital Trained Nurses League
RSL Victoria - Anzac House Reference Library & Memorabilia Collection
HMAS Cerberus Museum
Glen Eira Historical Society
Tatura Irrigation and Wartime Camps Museum
Deaf Children Australia
Albury Library Museum
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
 

Photograph collections

We’ve also added some great photograph collections such as the Kurrajong-Comleroy Historical Society, who have more than 5,300 images from the 1840s onwards, and other collections.

Read more . . .

March 17, 2015

Historic Governor Macquarie Event

Historic Governor Macquarie Event - All Welcome Butler’s Paddock, Liddleton Station, Jenolan Caves Road, Hartley, Sunday 26th April 2015. entry off the Jenolan Caves Road, 4 klms from the Great Western Highway Junction main proceedings commence 2pm sharp

On 26th April 2015, the Hartley District Progress Association, in conjunction with the Macquarie Society, will commemorate Governor Macquarie’s visit and his holding of the first Christian service performed west of the Blue Mountains. The event will be held in Butler’s paddock, overlooking Cox’s Road on which Governor and Mrs Macquarie made their way to Bathurst, the valley campsite where this first service was held and Mt Blaxland, the end point of Blaxland, Lawson and Wentworth’s 1813 crossing.

Bathurst District Historical Society's Museum Open Day


REMINDER  -  come along to Bathurst District Historical Society's Museum
Open Day on Saturday 28th March 2015 - so please come along, bring a friend,
and its FREE - Alan McRae, President Bathurst District Historical
Society. 


March 14, 2015

Commemorate the Centenary of Anzac in Lithgow


Media release

 
An urgent call is issued to local people to knit and crochet red poppies for Anzac Day on 25 April for display in the Lithgow Library and Lithgow Gallery Lane.
“Anzac 100”, the new Gallery Lane exhibition, was inspired by the Commemoration of the Centenary of Anzac and the Lithgow & District Family History Society’s new book ‘A Long March from Lithgow’.

The Lithgow Tidy Towns is combining with the Family History Society to honour the 1307 local men and women who enlisted and who served ‘God, King and country’ in World War I, and whose names and stories are recorded in the book.

But there were many more unnamed local people who enlisted but whose names and stories were not known when the book was published and go well beyond 1307.

“Many poppies will mean a bigger and better display”, said Mrs Helen Taylor author of ‘A Long March from Lithgow’.
The exhibition will be mounted in the gardens in Gallery Lane which runs between Main Street and Woolworth’s, between 18th April and 27 April although there will room left for more poppies.

The Flanders Poppy has become the traditional emblem of remembrance for World War I. Lithgow Tidy Towns and the Lithgow & District Family History Society, Beehive Recreation Centre and their friends are knitting or crocheting red poppies which will be the focus of the display. The plan is to have at least 1307 poppies on display.

We are seeking assistance from people who can knit or crochet poppies and donate them for the display. The patterns are available from the LDFHS Resource Centre on corner of Tank & Donald Streets, on the Society’s Facebook page, the City Library, the Beehive Recreative Centre or from Alena at 80 Main Street which also has stocks of red wool at $2.75 skein and a free pattern.

Finished poppies can be left at the Society, Alena, Lithgow Library & Learning Centre or at the Beehive Recreative Centre before 18th April.

Further details can be obtained by contacting Lithgow & District Family History Society Inc in person at the Resource Centre on Fridays between 10am and 4 pm or on Tuesday nights between 6 and 9 pm or by phone on 02 6353 1089 during these hours, by email ldfhs@lisp.com.au or through their facebook page. Lithgow Tidy Towns contact is Kathleen Compton, phone 0418416017

February 28, 2015

The ENCOUNTERS PROJECT - Historic indigenous objects return to Australia





Historic indigenous objects return to Australia

A collection of rare objects, including a shield thought to have been picked up by Captain Cook in 1770, are set to return to Australia for the first time.
The exhibition is part of a new deal signed between the National Museum of Australia and the British Museum.
It will feature 151 indigenous objects, most of which have not been seen in Australia since they were collected.
National Museum director Mathew Trinca said the exhibition will "encourage Australians to consider their history".
'Remarkable treasures' "This is an important exhibition for our nation. It includes objects from the very earliest contacts between indigenous and non-indigenous people in this country right to the present day," Mr Trinca told the Canberra Times.
He said displaying the "remarkable treasures" was the culmination of "an extraordinary process of consultation with 25 Aboriginal and Torres Strait Islander communities across Australia over several years".
Peter Yu, chair of the National Museum Indigenous Advisory Committee, said: "Addressing these sometimes confronting issues and exploring the complex history of early encounters... is a crucial component of reconciliation."
The Encounters exhibition will open in November. It will be followed in 2016 by the British Museum's acclaimed A History of the World in 100 Objects and the third exhibition of the series will come to Canberra in 2018.
Arts Minister George Brandis welcomed the "significant" partnership, saying it will give Australians "a remarkable opportunity to view objects from the world's oldest national public museum".
"It will also encourage cultural exchange and provide a platform to showcase our rich Australian heritage to audiences overseas," he added.
The iconic Yumari canvas by renowned Papunya artist Uta Uta Tjangala is one of the National Museum objects being sent to the British Museum to be part of a sister exhibition.
Indigenous Australia: enduring civilisation, which opens in London in April, is the first in the UK devoted to the history and culture of both Aboriginal peoples and Torres Strait Islanders

Click on Encounters exhibition to explore this Project.

Details of Workshop and Exhibition below.   

Canberra

Workshop: 16–17 March 2015
Workshop with Aboriginal and Torres Strait Islander representatives to discuss the Encounters exhibition and the Museum’s broader engagement with Indigenous communities.
Exhibition opens: 26 November 2015
Encounters opens at the National Museum of Australia, Canberra.
Conference: February 2016
Encounters conference at the National Museum of Australia, Canberra.
Exhibition closes: 28 March 2016
Encounters exhibition closes at the National Museum of Australia, Canberra.

February 26, 2015

Workshop - Museum security



Ref: Elaine Kaldy, President, Central Tablelands Chapter of Museums Australia

January 29, 2015

Lithgow's Roaring 20’s weekend


Lithgow is having a Roaring 20’s weekend in February with a Gowns and Glamour Ball on Saturday 14 Feb and a Garden Party at Eskbank House on Sunday 15 Feb 2015

I would really appreciate it if you could pop up the poster on your notice boards and perhaps send on to your contacts who might be interested in either event.


Cheers

Wendy Hawkes | Cultural Development Officer
Community & Culture | LITHGOW CITY COUNCIL