National Library of Australia

The ‘Eugene Goossens Collection’ (EGC), consisting of approximately 220 music scores, was acquired by the National Library of Australia (NLA) in 2009 from the ‘Symphony Australia Collection.’ The ‘Goossens Collection’ (GC) was purchased from Eugene Goossens III (1893–1962) in 1956 and consists of around 100 items that were housed in the ABC Federal Music Library. This GC forms a part of the larger EGC, and its position within the larger collection is the subject of this paper. The GC appears to have been amalgamated with other material prior to its acquisition by the NLA, with the larger collection (EGC) nevertheless retaining the conductor’s name as an overall descriptor. As well as investigating issues of provenance that have emerged in relation to the EGC, this paper explores wider questions pertaining to the fate of Goossens’ papers, composition manuscripts, and print scores. Potential points of entry for further exploring and clarifying the Collection (EGC) will be proposed, the catalogue of which can be found on the NLA website.

Abstract As web archives’ holdings grow, archivists subdivide them into collections so they are easier to understand and manage. In this work, we review the collection structures of eight web archive platforms. We note a plethora of different approaches to web archive collection structures. Some web archive collections support sub-collections and some permit embargoes. Curatorial decisions may be attributed to a single organization or many. Archived web pages are known by many names: mementos, copies, captures, or snapshots. Some platforms restrict a memento to a single collection and others allow mementos to cross collections. Knowledge of collection structures has implications for many different applications and users. Visitors will need to understand how to navigate collections. Future archivists will need to understand what options are available for designing collections. Platform designers need it to know what possibilities exist. The developers of tools that consume collections need to understand collection structures so they can meet the needs of their users.KeywordsWeb archivesCollectionsInformation organizationMemento

This biographical study concerns a Kaurareg man named Gida (c.1849–1899), who resided on Muralag (Prince of Wales Island), in Torres Strait in the late nineteenth century. It is part of a larger research project on the so-called ‘Meston’s Wild Australia’ or ‘Wild Australia Show’ of 1892–93 which was conceived by Queensland entrepreneur Archibald Meston. Meston conscripted a travelling troupe of Aboriginal people from the Queensland frontier whom he presented to the public as ‘wild’ but ‘magnificent’ both physically and in relation to particular skilled customs, yet doomed to extinction, being in the ‘dying days of their race’. The tour climax was planned to be their appearance at the Chicago World Fair in late 1893, but the troupe were left stranded by Meston in Melbourne. The aim here is to provide a longitudinal and culturally informed account of Gida’s life, with understanding of a range of critical life events, in addition to those that projected him into the Wild Australia Show and allowed him to return triumphant from the tour. Gida became renowned as a leader being referred to as both a ‘King’ and by the ignominious name of ‘Tarbucket’, titles reflecting the ethnocentric colonial construction of the ‘other’ as both a romanticised primitive, partly of the ‘wild’, yet simultaneously a faithful servant of the state, shaped as such by the emerging Aboriginal policies. Gida and his co-performers were conscripted from Kiwain village on Muralag. Gida had fled here as a young man after another village had been attacked and ‘razed’ in c.1870 by a punitive expedition led by Frank Jardine of Somerset settlement on Cape York, in which a significant number of his tribespeople were slaughtered for allegedly head-hunting the crew of a wrecked ship. An analysis of this phase of history more readily explains the personal and socio-economic impacts on Gida and the Kaurareg people, before tracing the later fate of Gida and the ongoing inter-generational trauma of his descendants as acknowledgement by their contemporary leader.

This publication has been prepared as a result of research carried out in Queensland Museum throughout the centenary of the First World War (2014–2018). The introduction explores the range of topics and artefacts identified in this research and makes connections across the histories revealed. The volume shows that there is a continuing desire by audiences to patriciate in remembering the multiple and interconnecting realities of war.

The Ipswich Railway Workshops War Memorial stands as a tribute to the men from the workshops who enlisted to serve in the First World War. Research into the efforts to raise funds, construct and dedicate the memorial provides insight into the culture and internal workings of the workshops, its workforce and its role within Queensland Railways. The cost of producing the memorial it was met through contributions from the workshops workforce, as well as in kind donations and provision of materials and equipment from the Railways. It was designed by the Queensland Railways architect Vincent Price. As it was located on Queensland Railway property it was the railway department’s responsibility to ensure it was maintained and cared for just like any other asset in the Railway’s portfolio. Despite these unique qualities the story of this memorial also runs parallel to the efforts of cities, towns and communities across Queensland and Australia to raise funds and build tributes to the members of their communities who served and died in the First World War. Communities across Queensland commissioned 61 similar memorials in response to the significant loss of community members as a result of the war. The Ipswich Workshops Memorial therefore reflects a broader aesthetic and commemorative trend. The legacy of this trend continues to influence aspects of community remembrance today. The Ipswich Workshops Memorial and many like it continue to serve as the focal point for commemorative activities on ANZAC and Remembrance Day.

When the First World War commenced in 1914, Queensland Museum was 52 years old. A recognised cultural and scientific leader within the Queensland community, the Museum was supported by the State Government with a mandate to exhibit and research the State’s cultural and natural heritage. At the conclusion of the Great War, Queensland Museum records demonstrate that it was the recipient of four First World War trophies collected under the auspices of the Australian War Records Section. These trophies were initially displayed prominently at the Queensland Museum, however, they fell from favour and were later relocated. With the advent of the centenary of the First World War, these trophies are once again attracting attention through display and research. This paper explores cultural biographies of these weapons and aligns the treatment of these trophies with changing public attitudes to war commemoration thereby considering the role of the Museum in reflecting those attitudes.