Description:
Since the earliest colonial days in Australia there have been a large number of reports of what have variously been described as stone carving, rock sculptures, earthen sculptures and rock engravings by Aboriginal people. The most prominent of these has been on the wooden sculptures emanating from northern Australia. Few anthropologists have minutely reported on what McCarthy described as examples of Aboriginal 'plastic art'. Aboriginal sculptures 'crudely fashioned' from beeswax, some of them 'made to represent human figures' but more generally 'modelled' to represent 'kangaroos, turtles, goannas, crocodiles and birds'. One of the most widely reported earthen carvings in what is now known as Victoria was described as the Challicum Bunyip. This was reputed to be an outline of a creature known as a bunyip, which was gouged into the ground. Other accounts of life-sized Aboriginal sculpture in Victoria are not numerous but certainly extant.
Description:
The history of gold has traditionally excluded a whole quadrant from its landscape. This chapter aims to reconstruct the close association between Aboriginal people and Victoria's gold mining that undoubtedly existed during the nineteenth century. It is especially appropriate to do so in a book that reconsiders the Eureka story from unexpected angles in order to reflect generally upon the historical inheritance of the goldrushes upon Australian society.
Description:
The history of gold has traditionally excluded a whole quadrant from its landscape. This chapter aims to reconstruct the close association between Aboriginal people and Victoria's gold mining that undoubtedly existed during the nineteenth century. It is especially appropriate to do so in a book that reconsiders the Eureka story from unexpected angles in order to reflect generally upon the historical inheritance of the goldrushes upon Australian society.