Author Archives: Dr Jo Wills
Bama mara-nyiwul ngurral-na maying Queensland Museum MDO malim.(Six people from the Djabugay region have attended Queensland Museum MDO training in Kuranda to learn more about caring for cultural heritage collections).
Djabugay Aboriginal Corporations have a small collection of cultural objects. In 2019 they contacted the MDO program to find out how to catalogue and store them professionally. After successfully applying for a RADF grant from Mareeba Shire Council, the Corporation engaged Jo to run training sessions and purchase conservation materials.
Workshops were originally planned for March, but COVID 19 put everything on hold. In the interim, Jo undertook research into other collections to locate Djabugay cultural items. Thanks to Kate Wanchap from JCU and Sophie Price from MTQ for providing me with details. Cairns Museum holds a number of items, and Jo arranged for Djabugay Corporation CEO, Nicolas Mills, and Cultural Officer, Dennis Hunter, to meet Cairns Museum’s Collection Manager, Melanie Sorenson, and Manager, Suzanne Gibson. Melanie pulled out a range of artefacts and explained the process of caring for them in the museum, while Suzanne provided a brief overview of the museum displays.
As restrictions eased, workshop planning began. Two separate days of cataloguing and storage training were delivered at Nywarri Estate, just outside of Kuranda. For the first session, Jo created a cataloguing form, cataloguing kit and register to get started. Training involved object analysis and object identification, and ensuring that language names for objects were integrated into the work. The group also took digital images of objects and ensured items were numbered.
The second session continued with hands on cataloguing but also introduced preventative conservation and storage. The funding allowed us to purchase industry standard conservation materials and begin the process of housing the items appropriately. The group worked together to ensure they understood each of the steps required in cataloguing, including taking measurements and photographing the objects. Djabugay’s language dictionary has been included in the cataloguing kit as an essential reference for the cataloguing work. As they worked on objects, participants taught Jo the specific names and words for certain materials and items.
Cataloguing work will now continue for the rest of the collection. Plans to create a database for the information will also ensure it is accessible and preserved.
Thanks to Dennis Hunter for the Djabugay translation, and Nicolas Mills for the additional images.
“The Regional Arts Development Fund is a partnership between the Queensland Government and Mareeba Shire Council to support local arts and culture in regional Queensland.”
After four months of closure due to COVID 19, the National Trust of Queensland (NTQ) have been preparing to reopen the Hou Wang Temple and museum displays in the Tableland Regional Council’s Old Post Office Gallery in Atherton. Like other cultural venues across the state, reopening is not as simple as just unlocking the doors and welcoming visitors. Facilities need to be prepared in line with strict regulations and COVID plans, and thoroughly cleaned. An opening date is planned for early August.
For Atherton Chinatown, this has meant addressing the effects of an extended period of rain which had caused mould issues in the gallery and the collection area. To help out, MDOs Ewen McPhee and Dr Jo Wills spent four days helping NTQ workers and volunteers undertake a ‘deep clean’ and refresh of the site. In the process we learnt more about the collection, the temple and Chinese history. We also got to know some of the amazing volunteers who proudly share Atherton Chinatown’s history with visitors throughout the year.
Preparing the Gallery
NTQ representative and archaeologist, Gordon Grimwade, photographed each display section as a reference point for re installation. We then dismantled each display, making sure to link the case, perspex cover and contents by a temporary number. Objects were placed on calico lined trestle tables in their display groupings to avoid any confusion. They were checked for mould or other problems and cleaned with either a dry cloth, a solution of vinegar and water, or lightly vacuumed using a micro attachment. Volunteers removed and cleaned all of the large timber backed images that were mounted on the display (back and front) and the free standing interpretation panels. Ewen and I removed some multimedia items that were no longer working, and cleaned and relined drawers in the display that contained collection items. The empty gallery was then cleaned by professional cleaners.
The installation process involved Ewen rehanging all of the agricultural instruments making sure they were at once secure and accessible. Jo reset each of the display cases and, because of the poor condition of the labels, created new foam core labels for all items (thanks to Tablelands Regional Gallery and Council staff for their help with materials). We also sought opportunities to make the extraordinary portraits in the gallery more accessible for visitors by removing obstacles and creating a clear line of sight. The result is a gallery that looks refreshed and reinvigorated, and that is easy to manage for the volunteers into the future.
Refreshing the Temple
Atherton’s Hou Wang Temple is an extraordinary and beautiful building made from black bean, red cedar and tin. It is listed on the Queensland Heritage Register and is the only surviving timber and iron temple in Queensland One of the volunteers, Graham, has been taking visitors through it for the past 17 years, and it was a pleasure to listen to him share his knowledge of the history and of Chinese symbolism.
Despite its charms, the temple does present ongoing maintenance challenges, particularly regarding mould and pest control. Gordon, along with volunteers Neil and Graham, spent considerable time cleaning mould and residue from the fence. Ewen worked to bring the interior of the temple back to life – mostly with vacuuming and cleaning the floors. In an attempt to reduce vermin access, he and Graham placed steel wool in gaps that were identified – this will hopefully reduce the damage and mess within the temple this while pest control solutions are explored.
A new collection room
The project also gave Gordon and the volunteers a chance to plan how their collection room, located in one of the back rooms of the post office, would operate. Lucy and Terry spent two days painting boards for the new shelving system. The room will be a dedicated collection space for storage, cataloguing and other collection management activities. Items that had to be moved temporarily into the temple meeting room can now be stored more appropriately.
Our thanks and appreciation for the help and good humour to all the volunteers, and to Gordon and Christine Grimwade who coordinated the weeks work.
Last week, after almost three months working from home, MDOs Jo Wills and Ewen McPhee traveled to Croydon in western Queensland. While it was great to be back on the road, the journey also gave us the chance to see how small towns have been impacted by the COVID 19 upheaval. Lots of hand-washing stations at shops and service stations, and closed businesses and roads. Empty caravan parks really struck a cord – it is unheard of at this time of year in FNQ.
This was the first field trip for MDOs following the COVID 19 travel restrictions. It was organised in accordance with both Council and Queensland Museum risk assessment protocols. Each morning, Ewen and I would meet at the council offices and have our temperatures monitored before we could start work. Social distancing was a given, and we self catered to avoid unnecessary community interaction. Although the caravan sites were empty, the onsite accommodation was full – Croydon relies on contractors coming through to keep things going.
We were in Croydon to continue some of the work I’ve been doing in ‘lockdown’ to help Tourism Officer, Sandrine Gloton. Council is developing new interpretation panels for three goldfields displays in their heritage precinct buildings and while Sandrine has been writing and researching, I have been helping her with the interpretation techniques. As well as improving my knowledge of Croydon’s history, the project gave me a chance to re-engage with images created by one of the town’s (and Queensland’s) notable late 19th century photographers: Alphonse Chargois.
Although I have seen many Chargois photographs from the Gulf region (sample above), I enjoyed discovering a bit more about his life in Croydon. His obituary stated “he resided at Croydon when mining operations were booming and he interested himself in all matters concerning the progress of the district.” (Cairns Post 24 November 1936). This is clearly evident in his images of mines that appeared in many of the Northern Register stories about Croydon’s goldfield.
In addition to running a studio, and undertaking photographic trips around the region, Chargois was also a director of a mining lease, and a prominent member of Croydon’s Salvation Army. The Morning Post from August 1901 listed him as one of four directors of the Golden Gate No.9 South Block Gold Mining Company – I haven’t found out much more about that yet. Tragically, his son Henry, drowned in the Gilbert River in 1906. However Chargois appears to have stayed in Croydon for sometime before moving on to other towns and eventually Cairns.
There are numerous Chargois photographs held at the State Library of Queensland, National Museum of Australia and Cairns Historical Society – no doubt there are many other repositories that hold some of his images.
“Rarely if ever before has so deep and so general a gloom been cast over the community of this colony as that which has been occasioned by the sad catastrophe which occurred in Torres Straits on the night of the 24th February. The wreck of the R.M.S. Quetta in the vicinity of Adolphus Island with a loss of 173 lives is one of those shocking disasters of the sea which strike nations with sorrow and distress, and leave their painful mark upon the annals of the world’s shipping.”
I first saw the R.M.S. Quetta tea towel while I was visiting Andy and Joan Csorba, owners of a former Cairns souvenir company in Cairns during the 1980s-1990s called Reef Productions. It was in among a host of other tea towels, napery and linen that I have been assessing for Cairns Museum. Having visited the Quetta Memorial Church on Thursday Island numerous times during my MDO travels, I am familiar with its story and was intrigued by the teatowel and the design.
Initially, I thought my ‘who drew it’ query would be easy to solve. Made from Polish linen, the object has ‘Handprinted by Reef Productions’ printed underneath the image. All I had to do, I reasoned, was ask Andy and Joan. But having had so many designs produced they couldn’t recall who had created the original drawing.
Reef Productions was a souvenir company which started in Cairns in 1970s and ran, under multiple owners, until the late 1990s. Initially, the company produced drawings of local industries, heritage buildings and tourism spots. But when Andy and Joan took over, they diversified and started to work with Indigenous artists and produced cultural designs for screen printing by artists like Thancoupie, Jenuarrie, Heather Walker, Roslyn Kemp and Enoch Tramby.
Given the subject of the tea towel, I wondered whether or not one of these artists had created the piece, or perhaps a Torres Strait Islander living in Cairns. Wrong on all counts. So I continued to research the history of the company, and liaise with other former owners and artists who produced artwork for the prints. Another artist, Jim Arena, shared pictures of all his designs with me so I have a catalogue of his creations. But there was no Quetta on his list.
Discussions with previous owners uncovered the stories behind some of the different commissions that Reef Productions asked the artists to produce. One of these was a line drawing of the new parliament house in Canberra by Dutch-born Ludij Peden. I was thrilled when I found her website and a small video which featured a photo of Ludij with Jenuarrie, Thancoupie, Roslyn and Joan Bouissevain (all of who created work with the Csorbas). It’s the only photograph I’ve ever seen of artists from Reef Productions together. There was also one of Ludij and Andy with the parliament tea towel. Naturally, I made contact. Like Jim, Ludij generously gave me a list of all of her work for Reef Productions. Bingo!
In a follow up email she wrote:
I was commissioned, via Andy, to do the tea towel design of the Quetta sinking for the ladies’ guild of the Anglican Church – for a fundraiser … They wanted the tea towel to look like the stained glass window in the church – depicting the ship sinking in the storm.
With this mystery solved, I’m now working with staff at Cairns Museum to develop an exhibition of Reef Productions objects and about the people who were involved. Stay tuned for more information. There are examples of Reef Productions items held in both Queensland Museum and the State Library of Queensland. No doubt the information uncovered in this project will contribute additional knowledge to these collections into the future.
Community collaboration has always been central to my work as a MDO. And, in our current climate, with the restrictions that COVID-19 is placing upon travel and gatherings, I thought I’d tell you about a recent training series I ran at Herberton Mining Museum,
Creating workshops for collection policies and collection management procedures aren’t the easiest topics to be creative with. Just how much fun can you have with a Deed of Gift or a Loans form? And how do you convince volunteers wary of change that a bit more paperwork and process is a good thing? My challenge was to develop comprehensive AND accessible workshops that made sense to the participants.
Funded through a Community Heritage Grant from the National Library of Australia, the workshops bought together a total of 12 people from six different museum groups: Herberton Mining Museum, Loudoun House Museum, Tolga Museum, Millaa Millaa Museum, Malanda Dairy Centre and Ravenshoe Visitor Information Centre.
Participants congregated (yes, face to face) at Herberton Mining Museum for three weeks of two day training sessions. The first day of each week involved an overview of the principles and examples from the industry. The second day was dedicated to practical reinforcement, and the challenge of adapting perfect museology principles into day to day reality.
The value of people being able to articulate their experience of managing the museum, and outline their successes and frustrations regarding donations, acquisitions and procedures in a collaborative environment is immeasurable. We heard stories about wayward items appearing on museum doorsteps, anonymous donations, lost databases, misplaced loans and cataloguing triumphs. These helped create a sense of inclusion and camaraderie, and injected a bit of humour into the discussion. Some of the comments on the workshop evaluation forms highlighted the ‘priceless’ nature of shared learning experiences, and the opportunity of hearing from groups struggling with similar issues.
Some said the chance to come together helped them ‘regain their mojo’ as they felt cataloguing and some of the processes had been overwhelming them until they heard from others. Benefits were also gleaned from spending time with people they don’t normally work with.
One of the most salient lessons from the training was the need for organisations to have clear volunteer induction procedures. It is reasonable, we decided as a group, that new volunteers understand that volunteering in a museum means you engage with objects and that this has certain responsibilities and requirements.
Groups are now working on developing up policies and procedures, adapting some of the templates I provided as part of the workshops, and reflecting on their induction processes. They are also enjoying the archival and collection management materials that were made possible as part of the grant.
Thanks to Herberton Mining Museum for hosting the training and making everyone feel welcome.
“Everybody… it’s going to get LOUD!”
So warned Cairns Museum Manager, Susan Gibson, as CADCAI’s lion dancers and musicians geared up to begin their performance. Celebrating the Chinese New Year of the Metal Rat, and the opening of the latest temporary exhibition, dancers made their way through the museum and the crowd, bringing blessings, energy and great joy to this event.
“Two Worlds” is a collaborative exhibition developed by Cairns Museum and CADCAI. It tells the story of Chinese Australians in Cairns from World War II to the 1960s. Drawing on oral histories conducted with five of Cairns’ Chinese elders, the exhibition showcases candid family photographs from the Chinese community and uses quotes to bring them to life. The interviews explored the challenges these elders faced as they navigated through worlds of tradition and modernity, of how they challenged and embraced these contradictions, and of how they overcame discrimination with strength, humour and determination.
As MDO, I also value this exhibition as an exemplar of great community engagement. This is the second exhibition they have co created for Chinese New Year, and illustrates the benefits of shared knowledge, resources and facilities, and a commitment to explore and present new ideas and local stories.
And, yes, it was loud. Kids zoomed around the displays. Adults hastily prepared red envelopes as offerings to the lions. The balcony was full of people catching up on local news and sweating in the afternoon heat. People were everywhere, and the museum hummed with life.
To be honest I thought I was ‘done’ with First World War projects. But when I was asked to speak about the Anzac Treasures Program at the Heritage Leaders Workshop at State Library Queensland I felt it was recognition for the communities involved and the variety of other projects that happened along the way.
With only ten minutes to talk, there was no time to be expansive. So I chose to focus on the benefits of collaboration and the types of outcomes that emerged or which were connected to the project in some way:
- collection items that were uncovered or discovered
- projects that groups undertook either simultaneously or afterwards
- follow up Anzac Trails projects by Cairns, Tablelands and Mareeba Shire Councils that utilised the graphic identity we created for the exhibition
- the delivery of the Railways 1914-1918 temporary travelling and production of the Railway Ready: War Ready exhibition that went on display in the Atherton Post Office Gallery a few years later.
It is always good to speak, but sometimes it is even better to listen. And in doing so, I found that I wasn’t quite ‘done’ with the topic after all. I heard representatives from Cherbourg discuss their app and how students are using it, the story of researching nurses in Central Queensland and the importance of remembering and honoring Indigenous soldiers who fought in the war.
I was fascinated, too, to hear about some of the work undertaken internationally. The key note presentation by Jennifer Waldman, Director at the 14-18 Now program in the UK, highlighted innovation, creativity and participation. This program was driven by artist interpretation, clever marketing and, most critically, a very strong sense of identity and audience definition. While the scale of this sort of project is much bigger than some of the things we do in FNQ, there are still some critical take home messages. Planning for, understanding and identifying audiences is such an important part of what we do when we create programs. A great refresher for us all, I think, as we go about our work in the industry after this commemorative odyssey.
Below are some links to a couple of the 14-18 Now projects – I recommend you have a quick look as they were thought provoking and bold. Behind the works there is of course was a plethora of research and details that come from organisations like many of our museums and collecting groups who continue to preserve these stories:
Earlier this week, I was contacted by Don Lawie, one of the volunteers at Gordonvale’s Mulgrave Settlers Museum. His email contained a link to a newsletter he had recently prepared for the Society for Growing Australian Plants. Don drew my attention to the piece called “Beautiful Plants of the Tropics”, one that he had written following his visit to Cairns Museum for the opening of the latest temporary exhibition.
I first met Don in my capacity as MDO for FNQ and have always been aware of his knowledge and love of local history and the region, despite his struggles with Parkinson’s Disease. But I didn’t know about Don’s interest in Australian plants, and his article’s closing sentence stopped me in my tracks:
“I will never see D. fleckeri alive, but thanks to Cairns Museum I have seen a lasting specimen collected and mounted by one of my heroes.”Don Lawie, 2019
Here in a single sentence, Don captures the value of museums: the joy that a single artefact can bring to a visitor, the wonder of ‘the real thing’, the importance of preserving collections, the significance of local collections and the value of sharing knowledge across the community. As a museum worker, this shows me the different ways people access and read the items on display, and it validates my interest in interpreting our environment as part of a region’s social history, and the importance of national history collections and herbariums.
Don’s email inspired me to go back into the museum and seek out the display, and to see what it is that captured his imagination. I also got online to find out more about the specimen, dendrobium fleckeri and found that its common name is the apricot cane orchid. I hope to work with Don and use his memories of Babinda’s orchidologist, and former Babinda Mill worker, Jack Wilkie as part of a larger story as we develop Babinda’s new museum. For now, however, I’m just going to share Don’s article (with permission), and the delight of his discovery.
Beautiful plants of the tropics: Dendrobium fleckeri
Don Lawie, 2019
The refurbished Cairns Museum is filled with treasures that recall the past of our part of the world. On a recent visit I was excited to find a treasure that made my heart beat faster and my tremors go into overdrive. There, on the first floor, in an unremarkable corner, was a dried and mounted specimen of a Dendrobium orchid. I found this fascinating since the expertly mounted specimen comprised the entire plant – leaves, rooted stem and inflorescences. I have long understood that such a mounted specimen is impractical due to the general features of a Dendrobium orchid. This specimen was collected on Mount Bartle Frere in 1947 and is still in good condition – good enough for an I.D.
Why does this specimen excite me? The collector was Babinda’s Jack Wilkie. Jack was an indefatigable explorer of the mountains and rivers in the vicinity of Babinda; he found and named a number of orchid species previously unknown to Australia , and several were named in his honour (unfortunately, they had been previously described overseas and so the original name had to supercede the wilkiei name).
I knew Mr Wilkie when I was a boy and he was a loco driver for Babinda Mill. He used to give my brother and me a ride in the steam loco cab when he went down the spur line to our farm at Fig Tree Creek, letting us toss coal into the roaring maw of the fire box. Many years later Pauline and I had the honour of being present when Orchidologist Bill Lavarack presented the Australian Orchid Foundation’s Award of Honour to Jack Wilkie in acknowledgement of his immense contribution to the orchid world. And not many years later I was proud to be able to scatter some home-grown orchid flowers on his grave.
Dendrobium fleckeri occurs mostly on the higher mountains such as Bartle Frere, Bellenden Ker and Mount Lewis at altitudes above 900 metres. It prefers to grow on exposed rocks and can flower at any time of the year. The plant is small – the stems about 30 centimetres long – and the flowers are also small. Common name is Apricot Orchid and it is not found in cultivation since it will only grow in the weather conditions of our highest mountains. So, I will never see D. fleckeri alive, but thanks to Cairns Museum I have seen a lasting specimen collected and mounted by one of my heroes.
What do you get when you bring together a wedding gown, a ‘fashions on the field’ racing dress, a kaftan, a Chinese silk skirt panel, a debutante gown and a fancy dress costume on International Women’s Day? A window into the lives and creativity of local women from the far north, and a chance to explore their stories!
Following on from the textile training run by Dr Michael Marendy in Cairns last year, museums in the Cairns region have recently celebrated the opening of ‘Dressed to Impress’ at Cairns Museum, a collaborative exhibition that explored the wearers and makers of some of the region’s textile treasures. This is the first time the groups have worked in this way and, if the level of participation and the attendance at the opening are anything to go by, it won’t be the last!
Each organisation was asked to choose one garment for inclusion in the show, to undertake research into the history and provenance, and to consider how they want it to be displayed. Volunteers have contributed considerable time and work to prepare the displays. By combining their own sewing skills with the training from the workshops, they have adapted petticoats to fit the fuller dresses, made textile mounts, designed a full length slip to go under the wedding dress, padded mannequins and created supports for hats.
Mulgrave Settler’s Museum shortlisted two pieces – and each was so strong we ended up including both. Volunteers contacted both dress donors and arranged for me to meet with them in Gordonvale so that we could find out more. Owner of the wedding dress, Marlene Moss reminisced about her mother-in-law, renowned local seamstress, Kath Moss. We perused the photographic album that was part of the collection and looked at Kath’s notebooks that held the measurements of women from across the region.
Carol Lavelle, former owner and wearer of the Cairns Post costume, took the dress to the nursing home to show her mother who had made it in 1956. Although her mother’s memory is fading, seeing the dress briefly stirred some recognition, a treasured moment for Carol and her family. For me, this illustrates the power of objects and the important role museums can play in reminiscence programs and community well being.
Babinda contributed a dress worn by Joan Dickson, winner of the inaugural harvest queen competition in 1963. Behind this fairy tale dress, lies the story of a woman who grew up on a cane farm, trained to be a school teacher in Brisbane, made her own clothes and whose knowledge of the sugar industry was critical to her being selected the winner of the competition. Joan was part of a contingent of 14 from Babinda who traveled up to the opening by bus, turning heads when she entered with 2018 Harvest Queen, Demi Bettini.
The contribution from CADCAI, via member, Jenni Campbell, showcased a different era of clothing, and a vastly different style. Jenni’s family had kept a chest of garments belonging to her grandmother who moved to Cairns in 1906. The clothing inside is made from exquisite and ornate textiles, most likely imported from China and sewn here. The fragility of the items caused us to be cautious about which pieces to display. Jenni worked meticulously to craft her story and then attach the fabric to the textile support, a technique that Michael Marendy had demonstrated during the workshop.
The kaftan that Celeste Augur donated to Cairns Museum added a pop of colour and vibrancy to the display. She bought it off the rack from a local retailer and wore it to a Fun in the Sun party during the 1970s. Free flowing and light, it is an example of the changing fashion ‘loosening up’ – rather essential during Cairns’ warmer months!
Cairns designer, Grace Lillian Lee, also loaned a piece for the show, providing a contemporary example of tropical inspired textile ingenuity. Her Great Barrier Reef dress mixed hand printed textiles with metal spikes suggestive of the crown of thorns, and was paired with a woven coral hat that drew on traditional Torres Strait weaving techniques. Grace’s work is now recognised nationally, and she is now working on projects that seek to create opportunities to develop indigenous voices in the textile and fashion industries.
Last week, Jo Wills and Melanie Piddocke traveled to Townsville to assist groups affected by the recent severe flooding. Although most collections have emerged unscathed from days of torrential rain, the Family History Association of North Queensland and the Townsville RSL were both inundated, sustaining damage to their collections, assets and infrastructure.
Our first port of call was the RSL premises. Ewen McPhee met us on site with RSL Library Officer, Brenda Connolly, and we made our way through the damp, unlit ground floor to assess the damage. The collection is housed in three main locations but a collection storage room was particularly compromised – the door was so swollen that we had to get workmen to remove it from its hinges.
The salvage process involved removing all items and sorting them by type, condition and treatment required. We set up a bagging station for items that required freezing, a washing station for items that needed mud and debris washed from them, an area for drying textiles and leather, and an area for assessing all of the framed images that were damaged. We tried to focus on significant materials, particularly some of the First and Second World War items, and welcomed hands on advice from a Queensland Museum conservator for fragile items.
While Melanie, Ewen and Brenda continued to work on the RSL, Jo visited the Family History Association of North Queensland at their Hermit Park premises. Volunteers had been working on the mammoth task of cleaning since the previous weekend. They had been working with Annette Burns and Katie Pittock from Townsville City Libraries, who had been liaising with Jo and with Lydia Egunnike via phone for advice on how to manage items. After checking with MTQ staff, we managed to identify space in the MTQ freezer, which was a great relief to the organisation. In addition to the damage to the collection, the group also sustained damage to computers and equipment and had to start working through the process of insurance claims.
Jo also headed to Townsville CityLibraries local history collection where roof leaks from the unprecedented downpour, the excessively damp conditions and fluctuating climate had caused an outbreak of mould. Staff were involved in packing the collection items and finding temporary storage so that the space can be repaired.
Another MDO trip to Townsville will be organised later this year to work through the process of taking items out of the freezer with all groups. Material can stay in the freezers indefinitely so the trip can be made when volunteers and staff have had a chance to recover from the stressful salvage phase and get their own lives back to normal.
Preparing a response is always a hectic time for the MDOs, and a stressful time for the communities involved. This time it was rather hot as well! But it is always worth it. There is also a lot of behind the scenes work by staff and we are appreciative of Lydia Egunnike for her media performances, to Andrea Hughes for arranging them, and for the Queensland Museum conservator for working on site with us to support the RSL and find space in MTQ’s freezer.