#: locale=en
## Action
### PDF
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PopupPDFBehaviour_0610A7B3_29BC_38B9_41BD_087659029016.url = files/SOR_Room_Brochure_web_FINAL%20Page%205%20%E2%80%93%20Collaborative%20Work_en.pdf
PopupPDFBehaviour_006F0FD2_2844_E8FB_41C0_D49FFC85669A.url = files/Sean%20Burton_en.pdf
### URL
VideoUrl_5F7130C4_6E16_C27A_41B5_4BAE905681FC.url = //www.youtube.com/embed/eFVUNS3W6qU
VideoUrl_59DB02AE_6FF2_C606_41CB_CF08838266F3.url = //www.youtube.com/embed/tLiAh4N6hTI
PopupWebFrameBehaviour_FDD97E01_C2AA_4BA1_41D1_56432F8431F3.url = https://cite360.com.au
PopupWebFrameBehaviour_FC6F7893_C2D9_C8A1_41E7_E4550C9CE173.url = https://cite360.com.au
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WebFrame_DBE532F1_C2BE_B861_41D9_9AC667BE6DDB.url = https://my.matterport.com/show/?m=Hzd49uu9jgm&play=1
LinkBehaviour_B241F0F5_EFB2_CD85_41E0_15C23AFE1E30.source = https://www.facebook.com/shrineofremembrance
LinkBehaviour_DDBA43C7_E59D_7385_41DC_B200669C4098.source = https://www.facebook.com/shrineofremembrance
LinkBehaviour_B24DB0EB_EFB2_CD8D_41D1_B9AA748CEF56.source = https://www.facebook.com/shrineofremembrance
LinkBehaviour_FC752872_C2D9_C863_41D2_E3A68001940E.source = https://www.facebook.com/shrineofremembrance
LinkBehaviour_A3832738_E58F_748B_41D7_3B9A3410EE54.source = https://www.facebook.com/shrineofremembrance
LinkBehaviour_ED3EACA1_C27A_48E1_41E1_98500B376838.source = https://www.facebook.com/shrineofremembrance
PopupWebFrameBehaviour_2D0E09DF_3646_94A6_41A7_797F45D1473A.url = https://www.google.com/maps/embed?pb=!1m18!1m12!1m3!1d2650.1954702812436!2d145.18222070131216!3d-38.10044523503684!2m3!1f0!2f0!3f0!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x6ad60df88d230221%3A0x82cc58dd3aba6f4f!2sThe%20Sands%20by%20Nightcap%20Plus!5e1!3m2!1sen!2sau!4v1664433235355!5m2!1sen!2sau
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LinkBehaviour_DC961210_E58F_CC9B_41DD_BFB0A989EB08.source = https://www.instagram.com/shrineofremembrance/
LinkBehaviour_FC75F872_C2D9_C863_41E3_BD7AE6DD492F.source = https://www.instagram.com/shrineofremembrance/
LinkBehaviour_ED6BA86C_C27B_C867_41E2_92FFE0884C1D.source = https://www.instagram.com/shrineofremembrance/
LinkBehaviour_B24360EC_EFB2_CD8B_41D7_92D0A3C09A8B.source = https://www.instagram.com/shrineofremembrance/
LinkBehaviour_DDA94AAD_E592_DD85_41A7_AB738F70DB75.source = https://www.instagram.com/shrineofremembrance/
LinkBehaviour_B241A0F6_EFB2_CD87_41D8_ABC6171693AB.source = https://www.instagram.com/shrineofremembrance/
LinkBehaviour_9177D305_B9A8_7135_41D5_7BBB1793327B.source = https://www.shrine.org.au/driver-and-wipers
LinkBehaviour_907EAE5E_B9A8_73D7_41B6_F6EEBFBB0F5D.source = https://www.shrine.org.au/horse-trough
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LinkBehaviour_91125C91_B9A9_B72D_41C8_7EDA8D7A5B09.source = https://www.shrine.org.au/qr-legacy-garden-appreciation
LinkBehaviour_916C4027_B9A8_4F75_41D6_AC5953D1E0B8.source = https://www.shrine.org.au/qr-man-donkey
LinkBehaviour_DC990219_E58F_CC8D_41B3_6E85E08A3370.source = https://www.youtube.com/user/ShrineMelbourne
LinkBehaviour_EEE0EA91_C27A_48A1_41E5_0C0E4FFDF6B9.source = https://www.youtube.com/user/ShrineMelbourne
LinkBehaviour_B24D00EE_EFB2_CD87_41C7_094BBB5F2D63.source = https://www.youtube.com/user/ShrineMelbourne
LinkBehaviour_B24160F7_EFB2_CD85_41CF_C0E7278AF187.source = https://www.youtube.com/user/ShrineMelbourne
LinkBehaviour_DC2FF783_E593_B47D_41BD_9B2F4B464902.source = https://www.youtube.com/user/ShrineMelbourne
LinkBehaviour_FC74E873_C2D9_C861_41E0_A50ED4ACCBBC.source = https://www.youtube.com/user/ShrineMelbourne
## Hotspot
### Text
QuadHotspotPanoramaOverlayTextImage_35106E3F_28DC_2BA9_41A2_770F824BAB0E.text = Behind the scenes video – Between Two Worlds installation.
QuadHotspotPanoramaOverlayTextImage_37B84645_28C4_7BD9_4154_DF38DA77F0EC.text = Between Two Worlds exhibition preview video.
### Tooltip
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HotspotPanoramaOverlayArea_A7AFA3D9_B999_B0DD_41E4_C511D92D5824.toolTip = Cenotaph
HotspotPanoramaOverlayArea_9DC6E4E4_B978_50EB_41E3_D2FA26BA41A4.toolTip = Drivers And Wipers
HotspotPanoramaOverlayArea_9FFA1BEF_BA98_F0F5_41CE_C0F1882D468A.toolTip = Drivers And Wipers
HotspotPanoramaOverlayArea_9F3780DA_BA98_70DF_41DF_6CDEEC19E50B.toolTip = East Facade
HotspotPanoramaOverlayArea_988B6D58_B9B8_B1DB_41D0_C2B477567F0F.toolTip = East Facade
HotspotPanoramaOverlayArea_9F1CF64E_B968_5337_41E7_54A8A155C11F.toolTip = Forecourt
HotspotPanoramaOverlayArea_99A11F20_B9A8_F16B_41CF_52A4093BB04D.toolTip = Forecourt
HotspotPanoramaOverlayArea_915A3AB0_B9A8_B36B_41BC_AC4EC8207CC4.toolTip = Horse Trough
HotspotPanoramaOverlayArea_9FEDB0E2_B968_70EF_41C9_3428119F4A86.toolTip = Horse Trough
HotspotPanoramaOverlayArea_9855F6E1_B9A8_F0ED_41E0_A26AB7E96B9B.toolTip = Legacy Garden Of Appreciation
HotspotPanoramaOverlayArea_9F27A6FA_BA98_50DF_41A3_7C5A2EF08C02.toolTip = Man With The Donkey
HotspotPanoramaOverlayArea_98EBC3A4_B9A8_516B_41D1_D209DC04AD0E.toolTip = Man With The Donkey
HotspotPanoramaOverlayArea_9F2F0EED_BA98_B0F5_41D1_3FDBB39FD2B4.toolTip = North Facade
HotspotPanoramaOverlayArea_9889E4A2_B9B8_576F_41D9_1A1CCBB97CA4.toolTip = North Facade
HotspotPanoramaOverlayArea_98BB837E_B9B8_B1D7_41BE_9C7595CC3091.toolTip = Post 1945 Memorial
HotspotPanoramaOverlayArea_9FE1E71E_BA98_5157_41B0_805A3531D946.toolTip = Post 1945 Memorial
HotspotPanoramaOverlayArea_98D038A0_B9B8_DF6B_4178_5633A8FC2B38.toolTip = West Facade
HotspotPanoramaOverlayArea_9F2DB428_BA99_F77B_41B7_515FDABD09A5.toolTip = West Facade
### URL
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overlay_0FAFB1E8_285C_F8D7_41AA_05F7938323AA.url = //www.youtube-nocookie.com/embed/HibZEvzwo0s
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overlay_4D0C4DE0_6E12_423A_41D0_C4288C60B2B6.url = //www.youtube.com/embed/fEboORhJyvk
## Media
### Image
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### Title
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htmlText_463ADCC6_273B_4C17_41AC_BC5F80890EE3.html = Baby Sailor Suit
c 1939-1945
The influence of the sailor uniform is not limited to adult clothing, in fact it was adapted for children’s clothing from the 1800s. The design was also appealing for the design of school uniforms.
On loan courtesy of Ken Crook
Bonds White T-Shirt
c 2023
Worn by sailors, movie stars, on the catwalk, and on the street, the white t-shirt is the ultimate clothing chameleon.
Shrine of Remembrance Collection
Burberry trench coat
c 1980s
The design of the trench coat has remained unchanged for more than 100 years. Its original functional military aesthetic has maintained an appeal long after its use by officers on the battlefield. Today, Burberry continues the historical lineage of its First World War design with its Kensington Heritage trench coat.
Shrine of Remembrance Collection.
Corporal Helen Annie McDonald
1943
Melbourne. Victoria
photographer unknown
Corporal Helen Annie McDonald, a Gunditimara woman from colac. and her siblings were brought up in an orphanage in Geelong. Their widowed father Joe (George) McDonald, a disabled First world War veteran, was deemed incapable of looking after his children ov the
State Government. He was one of onlv two
Victorian First Peoples servicemen to hold a Soldier Settlement block. It was, like so many blocks, unproductive land, and he was force to give it up. Helen loved to cook, and was in charge of the orphanage kitchen for a time before taking outside emplovment.
McDonald was 21 vears of age when she enlisted with the Australian Women's Army Service (AWAS) during the Second World War. She served in the Catering Corp from 1943-46, putting her cooking skills to good use
Corporal Walter (Wally) McDonald
с 1941
Melbourne, Victoria
photographer unknown
Gunditimara man, Corporal Wally McDonald, was one ot Helen's younger brothers. During the Second World War he served with the Roya Australian Air Force (RAAF) from 1941-46. He worked as a wireless operator, signalling aircraft from airtields on New Guinea and islands in the Pacific.
Their older step-brother. Lance Corporal Mervun McDonald, served in the 2|29th Battalion. He was killed by the Japanese in the Parit Sulong massacre in Malava in 1942. Another older brother, Claude McDonald, served in with the 10th Australian Despatch Radar Section in New Guinea. Their younger brother Noel McDonald went on to serve in the Royal Australian Navy (RAN) after the war.
FOR KIN AND COUNTRY
FIRST PEOPLES IN THE AUSTRALIAN DEFENCE FORCE
The Shrine of Remembrance acknowledges the Bunurong people of the Kulin Nation as the Traditional Custodians of the land on which we honour Australian service men and women; and we pay our respects to Elders, past, present and emerging.
First Peoples should be aware that this exhibition contains images, voices and names of deceased persons.
FOR KIN AND COUNTRY
FIRST PEOPLES IN THE AUSTRALIAN DEFENCE FORCE
We don't just fight for now; we've always fought for this Country.
Aunty Glenda Humes, 2022
First Peoples have combined modern military and traditional skills to serve in the Australian Defence Force (ADF from the Boer War (1899-1902) to the present day. Their service seems remarkable given the history of conflict with, and dispossession by, European settlers and subsequent denial of equal rights.
However, many First Peoples regard it as continuing their family traditions; fighting to protect Country.
The ADF now champions First Peoples' service, but this was not always the case.
At the onset of both World Wars, First Peoples were rejected on the grounds of race, specifically, that they were 'not substantially of European descent'; only to then be actively encouraged to enlist, as casualties rose, and more manpower was needed. Despite these issues, Defence service provided most their first experience of equal treatment and racism was seldom experienced on active service.
Many First Peoples enlisted hoping their example of service would improve conditions for their families and communities. Veterans, however, returned to the same discrimination and poor education and living conditions they had previously known.
After the Second World War restrictions on First Peoples' service in the military were relaxed, and removed completely after 1967. It is impossible to know how many First Peoples have served, as, until recently, the AD did not record this data. Over one thousand First Peoples are currently serving in the ADF.
In recent decades, leading institutions, such as the Australian War Memorial, Australian National University, and the Australian Institute of Aboriginal and Torres Strait Islander Studies, and individual scholars have worked to provide much greater insight into the extent of First Peoples' service.
The veterans featured in this exhibition come from Countries that lie within the modern state of Victoria, as well as individuals from Countries in other states who have made Victoria their home. This curation places individuals within Country, so they always have family - kin - around them. Presented with permission of veterans, or their families, their stories provide insight into the challenges faced in service and on the home front.
Flared Jeans with Stud Detail
Pinstripe Corduroy Smock Shirt
c 1970s
The 1970s is the decade most associated with the rise of flares and bell-bottoms in everyday fashion. Popularised by music stars, from Sonny and Cher to Jimi Hendrix, flares became the uniform of youth culture at the time.
Flared jeans were particularly common. Interestingly, the use of denim (a type of twill weave cotton fabric, dyed indigo) also has links to the naval uniform. Blue flared jeans were worn by sailors as a work uniform.
On loan courtesy of the Australian Broadcasting Corporation, ABC TV
Shrine of Remembrance Collection
Flares
Flares and bell-bottoms, synonymous with subcultural fashions of the 1960s and ‘70s, have a surprising origin… the naval uniform. Dating back to the 1880s, the trousers of the naval uniform were designed to have a wide leg to allow for them to be hastily taken off over shoes to improve chances of survival, if a sailor went overboard.
In Europe and America in the 1920s and ‘30s, the flared trousers of the sailor uniform inspired the design of women’s beach wear or leisure fashion. Known as beach pyjamas, these wide-legged pants were designed as summer attire for women to wear at the beach or seaside holiday. However, it was not widely acceptable for women to wear trousers outside of these contexts, so flared trousers did not become a staple in women’s fashion for several more decades.
By the 1960s and ‘70s, social conventions regarding women’s dress had changed and both women and men were now sporting trousers. Flares and bell-bottoms became hugely popular, so much so, that they came to define the look of an entire generation. Flared trousers were uprooted from their nautical associations, taking on new meaning and expression. They became symbols of youth fashion and anti-establishment attitudes far removed from, and at odds with, their military roots.
Other aspects of naval uniform also found their way into everyday fashion. From the early 20th century, sailor dresses were promoted as the perfect outdoor leisure and sportswear for women. The middy blouse was also popularised in women’s clothing styles. These fashions borrowed directly from the classic features of the sailor uniform, including: the navy-blue and white colour scheme; the square neck of the shirt; the blue jean collar (large square collar); the neck scarf and the white tape stripes. Unlike flares, these design features have maintained more obvious links to their nautical origins and often appear in popular fashion as summer and leisure attire across men’s and women’s lines.
Fougasse Design Silk Handkerchief
c 1940 - 1943
This handkerchief was used as propaganda during the Second World War to discourage people from discussing the war in public. It features two women talking on a train, with Adolf Hitler and Hermann Goering listening from the seat behind them. Its design was based on the ‘Careless Talk Costs Lives’ series of propaganda posters, which were published by the British Ministry of Information in February 1940. The images were drawn by Fougasse, a pseudonym of Cyril Kenneth
Bird (1887-1965), a cartoonist for the satirical magazine Punch.
Shrine of Remembrance collection
Gunner Wally and Connie Alberts
1940-41
photographer unknown
Gunner Wally Alberts (right) a Gunditimara man from Lake Condah, Western Victoria, is pictured with his siblings Connie and Angus Alberts.
Wally served with the 4th Anti-Tank Regiment, The Royal Australian Artillery during the Second World War. He was captured by the Japanese at Singapore and transferred to Sandakan prisoner of war camp in North Borneo in July 1942. Wally died of malaria at Sandakan in March 1945.
Connie worked in the Maribyrnong munitions factory during the war manufacturing bullets. She learnt new skills and how to operate machinery in a highly dangerous environment.
You had to dry your hair if your hair was wet...
Cordite explodes when it's wet, if you go in there when you're wet you might just blow it all up. In the cordite room you see these boxes, big slabs with the bullets in. We had to put the powder in with little weeny scoops,
Connie Hart (nee Alberts), interview, 1992
She enjoyed the camaraderie with other women and was sad to leave the job when the war ended and men returned to the workforce.
REPRODUCED COURTESY THE KOORIE HERITAGE TRUST R67A.80(3)
Gunner Wally and Connie Alberts
1940-41
photographer unknown
Gunner Wally Alberts (right) a Gunditimara man from Lake Condah, Western Victoria, is pictured with his siblings Connie and Angus Alberts.
Wally served with the 4th Anti-Tank Regiment, The Royal Australian Artillery during the Second World War. He was captured by the Japanese at Singapore and transferred to Sandakan prisoner of war camp in North Borneo in July 1942. Wally died of malaria at Sandakan in March 1945.
Connie worked in the Maribyrnong munitions factory during the war manufacturing bullets. She learnt new skills and how to operate machinery in a highly dangerous environment.
You had to dry your hair if your hair was wet...
Cordite explodes when it's wet, if you go in there when you're wet you might just blow it all up. In the cordite room you see these boxes, big slabs with the bullets in. We had to put the powder in with little weeny scoops,
Connie Hart (nee Alberts), interview, 1992
She enjoyed the camaraderie with other women and was sad to leave the job when the war ended and men returned to the workforce.
REPRODUCED COURTESY THE KOORIE HERITAGE TRUST R67A.80(3)
Gunner’s Uniform
c 1887 - 1897
This uniform, worn by Gunners in the Victorian Horse Artillery, contains many decorative elements that have filtered into the world of fashion, including the knee-high black cavalry boots.
On loan courtesy of the Jess Collection
Irvin Flying Jacket
c 1940s
The Irvin flying jacket was made from sheepskin. The leather on the outside provided a hardy protective shell and the sheep’s wool inside ensured warmth.
Worn by British and Australian troops during the Second World War, the design of the Irvin bomber is still replicated today from high-end products that are faithful to the jacket’s original materials and construction, to look-alike variations using faux leather and wool.
On loan courtesy of Rod Wilson
Jungle Greens and Camouflage
Military uniforms require constant updating and re-design. With every new conflict comes the need for soldiers to adapt to different environmental conditions, technologies, and tactics of warfare. Having the right clothing is essential for enhancing the capabilities of military personnel as well as protecting them from harm.
Like the transition from the brightly coloured uniforms of the nineteenth century to the muted hues of the First World War, jungle warfare also necessitated a shift in military attire. The khaki worn by Australian soldiers in the Middle East and North Africa was eventually replaced with green that better mimicked the lush foliage of tropical locations like New Guinea and Borneo.
The development of specific clothing suitable for combat in this type of environment began in earnest with the outbreak of war in Vietnam. The United States and Australian military (who entered the war in 1962) both continued to modify ‘jungle greens’ throughout the war to give soldiers the best advantage and help tackle issues specific to jungle fighting, including camouflage, heat and moisture.
In an interesting twist, the adoption of jungle greens filtered into popular fashion via university students and young people in the 1960s, who were opposed to America’s and subsequently Australia’s, involvement in the Vietnam War. Shopping at army surplus stores for cheap, utilitarian clothing that went against the trends of consumer culture at the time, some young people wore military outfits as a protest. Their subversive reinterpretation of military uniforms was amplified by the addition of hand-painted peace symbols and anti-war messaging on their recycled army fatigues.
After the Vietnam War, the colours, patterns and functional aesthetic of jungle greens were absorbed into the mainstream. Cargo pockets and boxy silhouettes remain features of this universal style, incorporated into ‘everyday’ fashion and street-wear.
Lovett family tradition
The tradition of Lovett family service in the Australian Defence Force began with Hannah McDonald, a Gunditimara woman, and her husband James Lovett. Five of their twelve children served in the First World War. Leonard (Charlie), Edward, Frederick and Herbert fought on the Western Front. Another son, Alfred, served with the Australian Light Horse in the Middle East
On their return to Australia, the brothers were refused a drink at their local pub because of their race. They were also denied soldier settlement grants of land and suffered the indignity of seeing First Peoples' land divided amongst non-Indigenous veterans and settlers. Despite this, Charlie, Edward, Frederick and Herbert, and their younger brother Samuel, went on to serve in the Second World War. Charlie spoke fluent German, picked up from German settlers at Tarrington, near where he worked, which he put to good use while guarding German prisoners-of-war at Murchison.
In all, twenty-one direct descendants of the Lovett family, have served in the Australian Defence Forces, spanning all conflicts from the First World War to the war in Afghanistan. All have returned to Australia.
MK-IVB Flying Goggles
c 1940
These Second World War era flying goggles include an anti-glare visor that was an important technological development in aviation eyewear.
On loan courtesy of Rod Wilson
Military Dress Uniform
Early military uniforms looked very different to combat uniforms synonymous with modern eras. By the 17th century, armies across Europe began dressing in colourful, elegant, tailored clothing. Senior
officers and soldiers in elite units wore more elaborately decorated attire.
The extravagance of these uniforms was toned down once militaries at the time recognised they needed to invest in kitting-out a permanent army that had a more unified identity. However, in comparison to the
drab designs of later patterns, the uniform, up to the late nineteenth century, was still relatively elaborate and brightly coloured. After the French Revolution, France’s military became known for wearing the
colour blue, which led to them being called the ‘blue coats’, whilst the British wore red and were known as the ‘red coats’. These bright colours and distinctive features such as style of hat were, at the time, important for identifying friend from foe on the battlefield, as well as delineating civilians from serving men in wartime.
During the Victorian era, the British army and by extension, colonial forces such as those in Victoria, donned uniforms that, although more practical in design, still had the flourishes of their predecessors. Whilst khaki and then camouflage eventually took over as the dominant dress code, the earlier style of uniform has maintained a presence within the contemporary Australian Defence Force, in the form of dress uniforms. Worn mainly for ceremonial occasions, the dress uniform for Army, Navy and Air Force each references the traditions of early military clothing.
Gold braiding, beaded or metallic embroidered patches, aiguilettes (a decorative cord with metal tip, worn across the shoulder and front lapel), embossed gold and silver buttons, Sam Browne belts (leather waist belt with shoulder strap attached), epaulettes and shoulder decorations with tassels and fringes, are just some of the traditional features that are incorporated into dress uniforms today.
In popular fashion, these opulent embellishments have been incorporated to elevate both men’s and women’s clothing, giving an air of power and prestige.
Mini Skirt
date unknown
Pygmies T-Shirt
c 2000
Elements of jungle green and camouflage design have been regularly incorporated into popular fashions since the 1970s. In recent decades, these colours and motifs dominated subcultural fashions in the 2000s across rave, alternative rock, R n B and pop music.
On loan courtesy of the Australian Broadcasting Corporation, ABC TV
Shrine of Remembrance Collection
Private Alfred Lovett and family
1915
Hamilton. Victoria
photographer unknown
Private Leonard (Charlie) Lovett
1916-19
photographer unknown
Private Alfred Lovett (left), 26th and 12th Battalions, and Private Charlie Lovett, 39th
Battalion, were Gunditimara men from Lake Condah in Western Victoria. They were two of five brothers to serve in the First World War,
After training in Egypt, Alfred arrived on the Western Front in 1916. He participated in the Battle of Pozieres, fighting at Mouquet Farm. In the freezing winter of 1916-17, he suffered badly with various bronchial complaints and influenza.
He was invalided home to Australia early in 1918.
Charlie joined the 39th Battalion on the Western Front in late 1916. He was wounded during the Battle of Passchendaele in October 1917, suffering gunshot wounds to the right arm and knee. He spent some time hospitalised in England before returning to his unit in January
1918. He returned to Australia in 1919.
REPRODUCED COURTESY THE AUSTRALIAN WAR MEMORIAL P01651.001, P05049.001
Private Daniel Hodgekiss 1918
Hupp, Somme, France photographer unknown
Private Daniel Hodgekiss, a Ngarrindjeri man from Port Willunga, South Australia enlisted in Mildura, Victoria, in 1916.
He distinguished himself at Villers-Bretonneux on the night of 24-25 April 1918. The 59th Battalion was advancing against heavy machinegun fire. One enemy gun, located near a haystack, caused heavy losses and stopped part of the advance until 'a daring soldier, Private Hodgekiss, ran around the stack and killed the gunner' and the advance could continue.
The following month, Hodgekiss was severely wounded in the right leg and hospitalised in the United Kingdom.
Medically unfit, he undertook repatriation training in using a shearing machine, but had little time to use his knowledge. He returned to Australia in late 1919 and died, prematurely as a result of his war service, in 1924.
His unmarked grave in Mildura Cemetery was found by a local researcher and officially recognised in 2012.
REPRODUCED COURTESY OF THE AUSTRALIAN WAR MEMORIAL E03810
Private Eugene 'Mickey' Lovett
с 1953
Korea photographer unknown
Private Eugene 'Mickey' Lovett, from Heywood, Victoria, served in the 3rd Battalion, The Royal Australian Regiment in Korea from 1952 to 1953.
His brothers Robert (Bob) and James (Jim) served in the Airforce and Army respectively during the Second World War.
The brothers are the grandsons of Hannah and James Lovett.
REPRODUCED COURTESY THE KOORIE HERITAGE TRUST R67.78.18(2)
Private George Rose 18 July 1953
Korea
photographer Phillip Hobson
Private George 'Rosie' Rose, a Gunditimara man from Heywood, Victoria, celebrates his birthday with a wash. With tin hat, Browning machine gun, armoured vest and a towel around his waist, he moves back onto The Hook feature after cleaning himselt and his weapor in the valley behind his hill. He is a member of B Company, the 2nd Battalion, The Royal Australian Regiment (2RAR).
Rose was the stepson of Frederick Lovett who served in the First World War.
Private Samuel Lovett and Aircroftwoman Alice Lovett1942
Fitzroy,Vlctorla
photographer unknown
Private Samuel Lovett, 2/5th Australian Infantry Battalion, and his niece, Alrcraftwoman Alice Lovett, Women's Auxiliary Australian Air Force (WAAAF) followed in their family tradition when they enlisted for the Second World War,
Samuel served with the 2/5th Battalion, fighting the Vichy French In Syria In 1941, then against the Japanese in New Guinea from 1942-1945. He, like his brothers, sought a soldier settlement land grant, but was denied.
Alice enlisted in the WAAAF in 1941. She trained at Rosebud and was posted to the No. 2 A;, Navigation Training School at Nhlll. Despite men and women being segregated, it was not well policed, and some men made unwelcome advances. When offered a promotion and posting to Queensland, Alice declined and joined her friends Connie Alberts ond Mary Klng at the Maribyrnong Munitions Factory.
Ray-Ban Aviator Sunglasses
2023
A coveted fashion accessory, Ray-Ban Aviator sunglasses were created in the 1930s. They were developed after John Macready, a Lieutenant General in the United States Air Corps, approached medical equipment company, Bauch & Lomb, to devise a lens that would protect aviators’ eyes from the intense glare of the sun. The tear-drop shape created a shield from all angles and the anti-glare lens, literally banned rays from
affecting pilots’ vision.
On loan courtesy of Ray-Ban
Royal Australian Air Force
Gabardine Coat
1976
Australian service personnel were never officially issued trench coats, however during the First World War, officers could purchase them from British suppliers as part of their uniform.
Despite never officially being part of the Australian uniform, the influence of the trench coat silhouette can be seen in some coat designs. One example is this Royal Australian Air Force gabardine double-breasted coat with belted waist, gold buttons and epaulettes.
On loan courtesy of Warrnambool Returned and Services League.
Royal Australian Navy Uniform
c 1940s
The flared trousers of the traditional naval uniform were worn with blue serge (a diagonal weave, sturdy textile) or white duck (heavy, tight weave cotton) jumpers or frocks that were worn over a white, square-necked flannel shirt. This was paired with a blue jean collar — a large square shaped collar worn over a sailor’s shirt, decorated with white tape stripes. A black scarf was tied around the neck along with a white rope lanyard.
Shrine of Remembrance Collection
TOYS, TALES & TENACITY
childhood experiences of war
Almost all children living in Victoria have a connection to war and conflict, some directly, others through a family member or ancestor. This exhibition explores how children's ideas about war and the military are shaped by the world around them.
Children have long been exposed to stories, activities, and games that seek to describe or replicate the experience of war. These activities often use war, or war-like themes, to harness a child's imagination and have been used to foster patriotism, engender discipline, or sow the seeds of militarism. Tales of heroic deeds, wartime advertising, and school curricula have also been used to justifv to children the actions and sacrifices of the nation at war.
While most children in Victoria have experienced war indirectly, for some it has had a direct impact on their lives.
For these children war can be a source of uncertainty and anxiety. They may have been separated from loved ones, endured hardship and austerity, or made other sacrifices to support their families. For children in their formative years, the effects of war can be long lasting.
War has had a profound impact on Australian culture, including the lives of children. This exhibition explores the many ways children experience war. Through toys, games, books, letters, and drawings, visitors will gain a unique glimpse into the lives of children and childhood experiences of war.
This exhibition is a testament to the generosity of those who have shared their personal stories and belongings to help us understand the experiences of children in war. Their contributions have made this exhibition possible and have helped to ensure that these stories are not forgotten.
Toys, Tales & Tenacity was supported by the Victorian Government and the Victorian Veterans Council.
TRENCHES TO RUNWAY
At first glance, the giddy world of fashion and the gravity of military service may appear distant, even disparate, but the two are intricately entwined. From haute couture to street wear, military style has influenced how we express ourselves for generations.
Military uniforms are both symbolic and practical. They have been used by societies to indicate group identity, symbolise and convey authority, and project and maintain power relationships. They have also been created to protect the wearer and enhance capabilities in battle.
Both these qualities have strong appeal in fashion. e potent symbolism of military attire creates opportunities for everyday clothes to be imbued with notions of tradition, prestige, power, and strength. The utilitarian nature of military clothing provides a rich vein of inspiration too. Pockets, epaulettes, badges, zips, camouflage are removed from their original purpose and reimagined as stylistic adornments.
Over the decades, fashion (from sub-cultural styles to designer-wear) has given rise to many unique reinventions of defence clothing, even in ways that subvert militaristic symbols. e adaptations
are seemingly endless. Combined with the influence of pop-culture, particularly across fil¬m and music, the transformation of the military uniform into everyday-wear was inevitable.
The influence of military attire on popular fashion has been undeniable. It has shaped trends, silhouettes, and even cultural narratives. This exhibition traces the evolution of several military uniform icons and their enduring impact on the ever-changing landscape of style.
The Bomber Jacket
Much like the ‘trench’ coat, the ‘bomber’ jacket’s name is a giveaway to its military origins. Made popular in the 1950s by Hollywood stars such as James Dean and Marilyn Monroe, the jacket was born out of the need for fighter pilots to be protected from the sub-zero temperatures of high altitudes. At these temperatures, skin could freeze to metal instruments and loss of dexterity and focus for pilots could be fatal.
In 1927, the United States Aviation Clothing Board released its first prototype aviator jacket, the A-1. Initially designed to be summer issue, the A-1 was a waist length leather jacket with buttons, knitted collar and waist band. The fact that it was unsuitable for all-year wear, as well as the impractical use of buttons, led to the roll out of a second iteration in 1931, the A-2. A zip front replaced the buttons, and the new improved version was made from heavy duty leather with sheep’s wool trim.
During the Second World War, British and Australian, air force pilots were issued with the Irvin flying jacket. It was designed by Leslie Irvin, an American aviator and inventor who set up business in the United Kingdom. Irvin’s sheepskin jacket featured a zip-front with zip openings on the sleeves. The collar could be zipped high around the neck for extra warmth and vents sewn into the underarms created air circulation.
Once technological innovation enabled cockpits to be insulated, there was no need for the thick leather style bomber jacket. Air forces around the world transitioned to light-weight jackets, often retaining the original style and silhouette of the first era flying jackets.
Today, defence aviators wear all-in-one suits and no longer wear the traditional bomber jacket. However, the classic bomber lives on in popular fashion, where it has remained a constant feature in our wardrobes and on the runway.
The Trench Coat
The trench coat gets its name from the open tunnels dug by soldiers to provide tactical protection from warfare synonymous with the First World War. Despite its name, the coat was not part of standard issue uniform worn by British or Australian troops in the trenches. It was an item of clothing worn by high-ranking officers, who could purchase it from military clothing suppliers in Britain.
The coat’s origins can be traced back to the invention of waterproof textiles — an important technology for military garments. The earliest version of waterproofing was the development of rubberised cotton. Despite its waterproof quality, rubberised cotton was not very breathable. It had an unpleasant smell and early versions were prone to melting in heat.
In the 1850s, Thomas Burberry, an English draper, invented a new water-resistant fabric called gabardine. His invention involved applying a waterproof coating to individual strands of cotton or wool fibre, resulting in a light-weight, breathable fabric. He used this new fabric to produce his now famous Burberry trench coat.
By 1916 the term ‘trench coat’ had been coined. The new style was marketed by several luxury brands, who sold it to not only military officers, but wealthy British men who enjoyed outdoor leisure pursuits like hunting and fishing. These associations lent the coat a certain prestige.
However, it was the coat’s later connection to Hollywood that sealed its popularity and desirability. In 1942, Humphry Bogart made the trench coat his signature look in publicity shots for the film Casablanca and Audrey Hepburn famously wore one in the 1961 film Breakfast at Tiffany’s.
The popularity of the trench coat has never waned. Its tailoring is suited to both masculine and feminine silhouettes and many versions, retain the original military details and accessories such as D-rings and epaulettes.
The White T-Shirt
The white t-shirt is such a ubiquitous garment, it’s hard to imagine it even has a historical back-story. It transcends time and crosses fashion genres; it is a blank canvas that seems perpetually contemporary. It is its very plainness that hides its military roots and obscures the many twists and turns it has had in popular fashion.
Getting its name from the t-shape cut of the sleeves and torso, the white t-shirt began as an undergarment for the United States navy. Adapted from designs for underwear originating in the medieval period, in 1913, the US navy began issuing the white t-shirt as part of the naval uniform. Worn to protect the sailor’s uniform from sweat and dirt, the t-shirt was worn as an undergarment. It was only after the Second World War that the white t-shirt began to be worn as outer-wear. After returning home from service, many sailors wore their t-shirts as civilian attire. A more relaxed attitude to fashion was being ushered in during this time and the t-shirt emerged from under men’s shirts to become a more casual style.
A symbol of masculinity in the mid-twentieth century, the t-shirt became associated with images of the ideal muscular male body. The form-fitting design accentuated the arms and chest. This image was catapulted into the popular imaginary in 1951 when Marlon Brando wore a white t-shirt paired with a pair of Levis’ 501 jeans in the film adaptation of the Tennessee Williams’ play, A Streetcar Named Desire. Other Hollywood associations continued to mould the humble t-shirt into a symbol of cool and sexy youth rebellion, when James Dean wore one in the film Rebel Without A Cause. The t-shirt began to represent a backlash against the formalities and conservatism of older generations and the way they dressed.
Since the 1950s, the white t-shirt has been reimagined across sub-cultural styles, mainstream fashion and haute couture. Its adaptability across the clothing landscape is endless, it is a blank canvas that has been constantly reinvented.
United Colors of Benneton red jacket
Francois Esterhazy sequin detail trousers
date unknown
Both these garments reference early styles of military uniform — the colour red, epaulettes and decorative buttons of the jacket and the contrasting white sequin side stripe of the black trouser leg.
On loan courtesy of the Australian Broadcasting Corporation, ABC TV
Shrine of Remembrance Collection
Vietnam War Era
‘Jungle Greens’ Uniform
c 1968 - 1975
The demands and conditions of jungle warfare during the Vietnam War, meant that uniforms needed to be cooling, have enhanced camouflage abilities and include functional design elements such as large pockets.
‘Pixie’ shirt
Trousers
GP (General Purpose) combat boots
On loan courtesy of Rod Wilson
Wristwatch
c 1915
Whilst many of us wear wristwatches, as both a functional and fashion accessory, prior to the First World War, they were rarely used. Men’s fashions at the time favoured the pocket watch. This all changed on the battlefield when synchronising watches for a timed attack made it necessary for officers to easily access a watch. Some men improvised by
tying their pocket watch to their wrist, whilst others were lucky enough to have been given a watch as a good luck gift from a loved one prior to leaving for war. This watch was given to 22 year old George Masterson of Melbourne, by his sweetheart, Helen Church. Hidden inside the back of the watch is a small photograph of Helen. They married after the war.
On loan courtesy of Rod Wilson
Aunty Dot Peters' Wreath
The gum leaf wreath artwork by Nina Kelabora is inspired by the late Aunty Dot Peters AM, who laid a gum leaf wreath at the Shrine each year.
The colours of the leaves are the same as those found in the Aboriginal and Torres Strait Islander flags. Individual leaves, sitting side by side, proudly represent Aboriginal and non-Aboriginal soldiers who have served and continue to serve as equals in the Australian Defence Force.
REPRODUCED COURTESY OF FIRST PEOPLES - STATE RELATIONS, THE VICTORIAN ABORIGINAL REMEMBRANCE COMMITTEE AND THE PETERS FAMILY
Anzac Day 1982, Shrine of Remembrance
On Anzac Day, 1982, the Shrine of Remembrance became inextricably associated with the exclusion of the LGBTQ+ service community when Bruce Ruxton, then president of the Victorian Returned Services League (RSL), stopped five gay veterans from laying a wreath in honour of gay and lesbian people who had served and died in war.
The five men were representatives of a newly formed organisation called the Gay Ex-Services Association (GESA). Founding member and Vietnam veteran, Max Campbell, suggested that the association started specifically to lay a wreath on Anzac Day. Max was overseas in 1982 when the first attempt was made. However, he successfully laid two further wreaths in 1983 and 1984. On those occasions, the Shrine’s Chairman of the Board of Trustees stood by the memorial’s intended purpose as a place of commemoration for all to pay their respects.
Nevertheless, the incident in 1982, combined with public comments made by the Victorian RSL President Bruce Ruxton, shaped a deep sense of exclusion from commemoration within the veteran and serving LGBTQ+ communities.
Veteran Leading Aircraftsman, co-founder and surviving member of GESA, Phil Neil, reflects on what he and the other four GESA members hoped to achieve on Anzac Day 1982, saying that:
...we felt like it wasn’t just five guys walking up with a wreath to the Shrine, the most sacred place in Victoria, to do something that we felt needed to be done...[we hoped] people may have listened to us, who were thinking about joining the services or currently in the services and felt, well hey, we are not alone...I’m very proud of what we did.
Ben Pullin
Born in 1970 in Perth, Western Australia, Ben’s childhood years were spent moving from state to state due to the demands of his father’s service. Growing up already immersed in military culture, the decision to follow in his father’s footsteps and join the Australian Defence Force was a natural one.
During his service Ben was deployed overseas twice. First to Rwanda in 1994 with Alpha Coy 2/4 RAR Advance Party: a particularly violent and confronting peacekeeping mission. This was followed by East Timor in 1999 with 5/7 RAR as a Detachment Commander.
Ben medically discharged in 2000 with post-traumatic stress disorder. Like many service men and women, the long-term effects of being on constant high alert for imminent danger, witnessing atrocities inflicted by other humans and feeling powerless to protect families and children, left him invisibly scarred. Facing many obstacles in the years post-service, Ben turned to art as a way of transforming those scars into physical traces of his memories and experiences.
Both his sculpture and painting styles have the appearance of a sketch: marks and assemblages done with speed. The fast style Ben employs has been dictated by a back injury, but his work is simultaneously measured. His series of sculptures for example, are a continual work in progress that he obsesses over, perfects and refines in each rendering. The colours in his paintings are carefully selected to represent the familiar hues of life in the army.
The duality to Ben’s work is also highlighted by the way it is both ethereal and grounded. On the one hand the figures in his paintings and sculptures are only partially present: the people and faces appear to us as outlines, shadows and shapes. On the other hand, they are anchored in unflinching subject matter. For example, in Displaced 2019, a soldier stands protectively among Rwandan refugees, but a little figure has broken away from the group and is standing alone. Ben describes the pain in knowing how fragile and fleeting human interactions can be during war as one of the lasting memories for many soldiers: something especially difficult to grapple with when children are the victims.
Requiem 2020, pays homage to several young men who lost their lives in Afghanistan in August 2010. Like a film still, the work captures the movement and action of the battlefield. These are moments in time from the lives of real soldiers. A nod to their sacrifice, comradery and the physically and psychologically demanding work they did.
In Reflections 2020, the bronze cast face is brought to life with the artist’s eye projected onto it. Originally inspired by the Eternal Flame at the Shrine of Remembrance each version in his series of sculptures reflects on the identity of veterans.
Between Two Worlds presents contemporary works of art by three veterans: Sean Burton, Rory Cushnahan and Ben Pullin.
Traversing painting, sculpture and street art, each artist interrogates notions of identity, dislocation and resilience.
Art has become a powerful voice for these veterans. Finding a therapeutic benefit in the creative process, they have developed a unique visual language to represent both their own personal experiences and shared issues facing many young service men and women today.
For more information please click here.
COLLABORATIVE WORK
Untitled, 2020 is a collaborative work by Ben and Sean that was created for the Between Two Worlds exhibition.
Developed with the Shrine of Remembrance’s younger audiences in mind, the artwork was inspired by themes and stories from the Shrine’s collection and permanent galleries.
The piece depicts six characters across Army, Navy, Airforce and veteran support services. Spanning different eras, they highlight qualities like resilience, mate-ship, selflessness and dedication exemplified by service personnel past and present.
The three figures portraying women in the Australian military highlight the pioneering service of the Women's Auxiliary Australian Air Force during the Second World War. Their formation set a precedent for women's service in Navy, Army and Air Force in all roles across the Australian Defence Force.
Untitled also unpacks the idea that service and sacrifice comes in many forms. This is explored through the recognition of service animals.
The history and significance of dogs in the military is represented by a digger and his terrier, used as a mascot and to keep the trenches free from rats; a contemporary soldier and his military working dog, highlighting the strong mutual bond formed in combat; and a veteran with his service dog, trained to enrich the lives of veterans and first responders suffering from post-traumatic stress disorder.
Dr David Bradford
Dr David Bradford served as a Regimental Medical Officer with the Australian Army in the Vietnam War. He was aware of his attraction to other men when he joined the Army but knew that he could never be open about this during his service. The pressure of the military’s position on same-sex attraction, and the influence of his own religious upbringing, meant that David had to hide this aspect of his identity.
Despite the silence imposed on him, David says that service allowed him to reflect on the strict religious morals that had shaped the sense of guilt he held around sex and sexual identity. These beliefs no longer seemed to make sense in the context of war and the gruelling lives of soldiers under his medical care.
After he completed his service in 1968, David met and fell in love with his life-long partner Michael—they are still together and married. He also established a career as a leading sexual health clinician and was at the forefront of managing the first cases of Human Immunodeficiency Virus (HIV) in Melbourne in late 1983.
David’s work with HIV and Acquired Immunodeficiency Syndrome (AIDS) patients came at a time when treatment and knowledge about the disease was in its infancy. At the beginning of the global outbreak in the 1980s and ‘90s, there was much stigma and fear about it, particularly because it could be sexually transmitted. Although the virus can affect anyone regardless of sexuality or gender, men in the gay community were disproportionately affected —creating even deeper stigma, not only about HIV/AIDS, but about same-sex relations between men.
Felix
Felix joined the Defence Force as a way of escaping a deeply religious upbringing and homophobia he experienced in the small town where he lived. Being bisexual, transgender and having to remain ‘in the closet’ was very difficult. He describes being part of the military a more comfortable fit: ‘You got called by your last name and on the whole most things were pretty gender neutral’. The experience was not all positive and Felix admits that there were times when he struggled with the gender norms and expectations imposed on an Assigned Female at Birth (AFAB) person.
Originally training as a mechanic and serving in both the army and navy, in the early 2000s Felix decided to pursue an engineering degree. During this period, Felix also gained a better understanding of the gender incongruence he was experiencing, leading to his decision to transition. At this time, it was not possible to remain in service and transition, so Felix made the career decision to move into the Defence arm of the Australian Public Service (APS). He transitioned whilst completing his degree and, although it was challenging to return to work as a transgender man, and explain the change to colleagues, it is the strong bonds he has formed with people that he values most about his service career.
Group Captain Mick Jansen
Group Captain Mick Jansen is a proud serving member of the Royal Australian Air Force. He has been open about his sexuality for the majority of his service career and has experienced a positive culture and wide support within the Defence community. He has led the Defence and DEFGLIS contingents in the Sydney Gay and Lesbian Mardi Gras numerous times, most recently in 2022. His long-time partner, now husband, Dan, has been able to accompany him during overseas postings and Defence events; something that Mick does not take for granted, knowing that LGBTQ+ rights are still not recognised in some parts of the world.
Hidden in Plain Sight
How do you tell the history of people who were denied existence? This is the challenge of revealing the lives, stories and experiences of lesbian, gay, bisexual, trans, gender diverse and queer (LGBTQ+) people in the Australian military and during Australia’s wartime involvement, especially in the early part of the twentieth century.
Official histories of the First World War went so far as to state categorically that:
There is no evidence pointing to any significant homosexuality in the Force, and this is on par with Australian experience in general. The records of the [AIF] therefore provide no contribution to the place of the homosexual in a total war effort.
The official history of the Australian Army Medical Services’ work during World War I, 1943.
This statement reflects broad attitudes and norms within Australian society and culture at the time it was written. Same-sex attraction and behaviour were deemed a medical or psychological ‘problem’ to be treated or to be dealt with as a criminal offence. Until 1949, same-sex acts between men in Victoria were punishable under the death penalty—and they continued to be illegal until 1980.
Same-sex behaviour between women was never against the law in Australia. Despite this, it was still considered a ‘moral perversion’ and women risked being stigmatised and socially disgraced if this aspect of their identity was discovered or revealed.
Having to live in secret did not erase the existence of same-sex relationships or expressions of gender diversity across Australian cities and towns, nor in the military. However, because people often expressed their sexuality or gender in private or in confined social situations, the personal stories and material histories of LGBTQ+ people are challenging to uncover. Nevertheless, there are examples to be found that shine light onto lives and relationships of LGBTQ+ Australians during wartime and in military service in the early twentieth century.
Photographs
by Rober Fairer
Alexander McQueen Autumn/Winter 1996-’97 - “Dante”
Alexander McQueen Spring/Summer 2000 - “Eye”
Alexander McQueen Autumn/Winter 2001-’02 - “What a Merry Go Round”
Alexander McQueen Spring/Summer 2003 - “Irere”
Alexander McQueen - “Black Retrospective” 2004
Alexander McQueen Autumn/Winter 2006-’07 - “The Widows of Culloden”
Alexander McQueen Autumn/Winter 2008-’09 - “The Girl Who Lived In The Tree”
Dior Ready to Wear Spring/Summer 1999 - “Communists and Constructivists”
Dior Haute Couture Autumn/Winter 2000-’01 - “Freud or Fetish”
Dior Ready to Wear Spring/Summer 2001 - “Wonder Women”
Dior Haute Couture Spring/Summer 2002 - “Trans-Siberian Excess”
Dior Haute Couture Autumn/Winter 2006-’07 - “Planet Botticelli”
John Galliano Spring/Summer 1997 - “A Russian Gypsy Named O’Flanneghan”
John Galliano Spring/Summer 2000
John Galliano Spring/Summer 2005 - “Too Rich To Walk”
John Galliano Autumn/Winter 2005-’06 - “Renée”
John Galliano Autumn/Winter 2006-‘07
John Galliano Spring/Summer 2009 - “British”
John Galliano Spring/Summer 2010
Rainbow wreath
2022
On Anzac Day 2015, DEFGLIS began the tradition of laying rainbow wreaths in recognition of all LGBTIQ+ service during war and peace. Led by Victorian member of DEFGLIS and veteran nurse with the Royal Australian Air Force, Stuart Martin, the first wreath was laid at the Shrine of Remembrance, along with three other cities, and every year since then DEFGLIS members and veterans have laid rainbow wreaths at memorials across the country.
Representatives of DEFGLIS laid this wreath on Anzac Day 2022. This was of special significance because 2022 marked 40 years since the Gay Ex Services Association was denied the right to lay a wreath at the Shrine in honour of gay and lesbian people who had served and died in war.
Repression
Within the Australian military, same-sex behaviour was considered criminal, immoral, and incompatible with service, but no consistent policy across the three services existed until 1974. Commanding officers who became aware of homosexuality could initiate disciplinary action or tolerate it, and there was no uniform application of these approaches across the services or between men and women. Often it could depend on the attitudes of the individuals in charge, or the specific culture of a unit or work area. Rank and position were also a factor, with officers having more privacy and being under less scrutiny than other ranks.
From 1974, the services adopted a consistent approach which required that all suspected cases of homosexuality be investigated by the military police. If someone was found to be a confirmed homosexual, they would be given the option of requesting their own administrative discharge or would face a dishonourable discharge ‘services no longer required’. Whilst some LGBTQ+ personnel were able to avoid sanctions or detection and live under the radar, so to speak, others faced entrapment, interrogation and discharge. The threat of surveillance was always present.
Rory Cushnahan
Rory was born in 1989 in Belgrave, Victoria. He pursued a career in the defence forces from a young age, joining in 2008, aged 18. In 2010, he was deployed as a combat soldier to Afghanistan with his unit, 5RAR, as part of Mentoring Task Force-2. After serving in Afghanistan he returned to Australia, continuing his career in defence for another two years.
Although always drawn to creative forms of expression such as drawing and music, he says that it wasn’t until after leaving the army he discovered the true power of art. Rory describes his creative process as an exercise in mindfulness: the positive focus of attention and time spent mastering technique is a kind of meditation.
Much of his work contemplates identity as a soldier and the unique experiences of those who have served. The challenges of being deployed to a country so different in environment and culture to one’s own; the gravity of war; the gruelling demands of life as a combat soldier and the transition back into civilian life, have become inspiration for Rory’s painting practice.
Faces are a common preoccupation, occasionally his own, but mostly others’. In the piece War is Home…Home is Hell, 2019, the faces adorning the canvas are Christ and Madonna. His use of rich colours and large scale, draw us into the classical-style religious imagery, and we almost overlook Christ’s army camouflage shirt and the words etched into the two faces: Hope; Self Help; RIP; Lost; Found; War is Home; Home is Hell.
The use of stylised text is also a recurring element in his work. The graffiti inspired lettering creates a unique visual identity, in the same way street artists use ‘tags’ as signatures. Written text is a central component to unpacking the layers in Rory’s work. His commentary about service, sacrifice and the aftermath of war are distilled into carefully chosen words that elevate his works from purely decorative to deeply reflective: sometimes revealing what might be considered, uncomfortable truths about the human condition.
Rory describes the thoughts that were consuming him at the time he painted War is Home…Home is Hell, 2020:
War becomes home at some point in time of a soldier’s life… War is meant to be the hard part but for some reason it’s life once returning that becomes the challenge.
Most guys get back to a broken family and have to put the pieces back together because they haven’t been around for so long. When you don’t get rest after going to war, problems arise. Or doing a career change mid 20s and you are a combat veteran trying to fit into society, it can be a challenge for many different reasons....
When soldiers face bad problems in civilian life, some say, take me back to the simple days of war.
Royal Commission into Defence and Veteran Suicide
In April 2021 the Prime Minster established a Royal Commission into Defence and Veteran Suicide. The aims of the Royal Commission are: to examine the contributing risk factors relevant to defence and veteran death by suicide; to analyse the impact of culture within the Australian Defence Force, Department of Defence and Department of Veterans’ Affairs on defence members’ and veterans’ physical and mental wellbeing; and to look for common themes among defence and veteran deaths by suicide or other lived experience of suicide behaviour or risk factors.
Discharged for their sexual orientation, Yvonne Sillett and Danny Liversidge gave evidence about the impact of the forced discharge on their lives and mental health at the Royal Commission in February 2022. In late 2019, they established the Discharged LGBTI Veterans’ Association. Created for Australian Defence Force personnel, their families and friends who were adversely impacted by the ADF’s historic anti-LGBTQ+ policies, the association provides advocacy and support. An important aspect of their work is to seek an apology and recognition.
Watch extracts from Yvonne and Danny’s testimonies to the Royal Commission using the film icon.
Sean Burton
Sean was born in 1966, in the United Kingdom. A former British soldier, Sean emigrated to Australia and served in the Australian Defence Force between 1989 and 2006, with deployments to East Timor, the Solomon Islands and the Middle East.
As an artist, Sean has a foot in both street art and the art ‘establishment’. Whilst his primary canvas has been the walls of Melbourne’s laneways, he has also been a finalist in the National Portrait Gallery’s, Darling Portrait Prize and the Australian War Memorial’s, Napier Waller Art Prize.
Growing up in the UK, Sean was heavily influenced by the punk movement. He was drawn to what he calls the ‘do it yourself’ ethos of punk: creating a style and identity from whatever people had to hand.
Sean stopped making art during his military career but his drive to pursue it again crystalised when he found himself struggling with deteriorating mental health as a result of his service. Art offered a way forward, teaching him about resilience.
Primarily using stencils and aerosol paint, his work often depicts people he’s served with or stories of service men and women from the past. The facial expressions, colours, words and clever juxtaposition of seemingly unrelated elements, convey a feeling or mood distilled into a single moment.
In Tough Love, 2018, we initially see a confronting line of Australian soldiers in riot gear. Yet the image is overlaid with the words love will win. A love heart worn on the sleeve of one of the soldiers is a visual commentary on the use of discipline to foster responsibility and express care.
In Selfless, 2018, a First World War nurse takes a selfie on a mobile phone. With a humorous touch, Sean highlights the continuum of service from past to present and challenges us to see that the woman who served 100 years’ ago, is not so different to those that dedicate their lives to service today.
Many of his works have multiple iterations. The work Babs, 2018 for example, was originally completed as a paste-up on a laneway wall, peeled off a year later, and attached to a canvas. Based on a photograph taken by Sean in East Timor, the piece explores personal qualities like resilience, strength and dedication that represent the people he served with.
The Lost Company, 2018 is another example of Sean’s ability to crossover between street and gallery. Originally presented in an exhibition, the powerful installation highlighted the high rate of veteran suicide. The piece has continued to have a presence long beyond its time on the gallery walls; modified for display on concrete bollards around the city of Melbourne.
Sergeant Major, 2017 is a playful piece depicting an iconic character from the 1970s British television series, It Ain’t ‘Alf Hot Mum. The work expresses the sense of humour and good nature that, for Sean, is a defining characteristic of many who serve. The ability to make each other laugh and create a sense of camaraderie in the face of adversity is a cherished trait.
Support services
If content in this exhibition raises issues for you or anyone you know, the following services offer support:
QLife. Australia’s first nationally - oriented counselling and referral service for LGBTIQ+ people.
Phone: 1800 184 527
Open Arms. Free and confidential, 24/7 national counselling service for Australian veterans and their families, provided through the Department of Veterans’ Affairs (DVA). https://www.openarms.gov.au Phone: 1800 011 046
Lifeline. Suicide and crisis support.
Phone: 13 11 14
Beyond Blue. Free, immediate, short-term counselling Advice and referral via telephone, webchat or email 24/7.
Phone: 1300 224 636
Thorne Harbour Health. Provides professional, affordable counselling for members of LGBTIQ+ communities and individuals or couples who are affected by or at risk of HIV.
Phone: 1800 134 840
Defence Gay and Lesbian Information Service. Defence Gay and Lesbian Information Service provides policy and community information to gay, lesbian and bisexual, transgender, intersex and non-binary serving and ex-serving members of Defence and their families.
Discharged LGBTI Veterans' Association. A support and advocacy association for Australian Defence Force personnel, their family and their friends who were adversely impacted by Defence's historic anti-LGBTI policies.
The Australian Defence Force: A Changing Organisation
In 1990, the terms of reference for Australia’s Human Rights and Equal Opportunity Commission (HREOC) were broadened, giving it authority to investigate complaints of government and workplace discrimination based on sexual orientation. This created an avenue for some service personnel to challenge the Australian Defence Force’s policies and treatment of gay, lesbian and bisexual members.
However, it was not until the HREOC began investigating the ADF’s ban against LGB service personnel, with reference to Australia’s obligations to uphold the International Covenant on Civil and Political Rights, that a repeal became a real possibility. In 1992, following the advocacy of the Attorney General, Michael Duffy, Prime Minister, Paul Keating, created a Caucus Joint Working Group on Homosexual Policy in the Australian Defence Force. In response to the Working Group’s report and subsequent Cabinet submission from Michael Duffy, Keating’s government abolished the ban against gay, lesbian and bisexual people serving in the ADF.
In his 23 November 1992 statement regarding the lifting of the ban, Prime Minister, Paul Keating said:
This decision reflects broad support in the Australian community for the removal of employment discrimination of any kind, including discrimination on grounds of sexual preference. The decision brings the ADF policy into line with the tolerant attitudes of Australians generally.
Australia’s lifting of the ban was in line with changes in military organisations in other countries during the same period, including Canada, Israel, and the following year Aotearoa New Zealand. It also represented broader social changes within both the Australian and international community on LGBTQ+ rights.
LGBTQ+ oral histories reveal attitudes among many members were slow to change, and the 1990s in general represented a time of tolerance rather than acceptance. Since the mid-2000s the ADF began to promote a culture of diversity and inclusion. In 2010, the ADF also finally made changes that enabled transgender service personnel to maintain their jobs and affirm their genders whilst serving
Visibility
Throughout the 1970s and ‘80s, the majority of states and territories in Australia de-criminalised homosexual acts, signifying a slow but gradual shift in the community’s attitudes to LGBTQ+ rights. Homosexuality was removed from the American Psychiatric Association’s list of disorders in 1973, leading to changes in attitudes among medical professionals throughout the world.
This period also saw the galvanisation of gay rights activism. In Sydney, for example, gay and lesbian activists founded the organisation Campaign Against Moral Persecution (CAMP) in 1970. CAMP’s aims were to:
[B]ring about a situation where homosexuals can enjoy good jobs and security in those jobs, equal treatment under the law, and the right to serve our country without fear of exposure and contempt.
Despite increasing visibility across Australian society, within the LGBTQ+ service community, visibility and recognition were slower to occur. The significant policy changes that enabled service personnel to serve openly did not occur until November 1992 for lesbian, gay and bisexual members and 2010 for transgender members. Nevertheless, the LGBTQ+ service community continued down a path that led to achievements that were unimaginable even 30 years ago—let alone 70 to 100 years ago—at the time of the First and Second World Wars.
WESTANDPROUD: Amy Hamblin 19 May 2014
Amy joined the Royal Australian Air Force (RAAF) in 2001. She began exploring her transition in 2008 and was outed to the RAAF when a friend with whom she served visited unannounced and witnessed Amy dressed as a woman. Although the RAAF did not initially support Amy when she came out as transgender, local command allowed her to change the conversation, helping make the RAAF more receptive to transgender members. Amy became one of the first transgender women to serve openly in the RAAF, serving for over 13 years.
Amy and eight others who identify as gay, lesbian, bisexual, transgender or intersex appeared in WESTANDPROUD, a Hobsons Bay Council sponsored film that premiered on the International Day Against Homophobia, Biphobia and Transphobia (IDAHOBIT) in 2014.
Watch an extract from this film using the film icon.
Yvonne Sillett
Yvonne joined the Australian Army at age 18, graduating from the Women’s Royal Australian Army Corps (WRAAC) School in January 1979. It was her life-long dream to follow in her mother’s and father’s footsteps; they had both served. She worked as a Cipher Operator in the Signal Corps of the Australian Army, a position that came with the highest security clearance level. In 1985, Yvonne became an Instructor at Kapooka, training the first all-female platoon: an achievement that still fills her with pride. Yvonne loved everything about the military: it was a job she wanted to do for life.
In 1988, her dream career came crashing down when she received a phone call from the Special Investigation Branch of the Military Police. Yvonne was told to attend a meeting at Victoria Barracks in Melbourne. At the time, it was well-known that the Army was targeting suspected gay and lesbian personnel in a series of investigations known as ‘witch-hunts’.
Yvonne was interrogated about her sexuality and told that she had been under surveillance, and there was evidence that she was a lesbian. After the interrogation, the situation escalated further with the downgrading of her security clearance. Yvonne knew that this spelled the end of her career, and although she tried to fight the security downgrade, she felt her only choice was to discharge to avoid further humiliation. Yvonne reluctantly left the Army in January 1989, exactly 10 years after joining.
Lesbian, gay, bisexual, transgender and queer (LGBTQ+) people have served in every theatre of war, across all eras, and in all areas of Australia’s armed forces. Motivated to enlist for the same sense of patriotism and commitment as others, they have proudly served, even though for decades, they could not be open about their sexuality or gender identity for fear of losing the career and life they loved.
Their personal experiences and even physical presence have also been excluded from places of commemoration in the past. Much has changed, particularly in the last 30 years, since the ban against lesbian, gay and bisexual people serving in Australia’s Defence Force (ADF) was lifted in November 1992 and transgender personnel were able to affirm their genders and permitted to serve in 2010.
Today, the ADF actively champions and promotes diversity among its personnel and with the help of advocacy and support organisations, aims to foster an inclusive culture.
This exhibition charts the history of LGBTQ+ people in Australia’s military and shares
personal insights from veterans and current serving personnel: celebrating and recognising their contribution, challenges, bravery and achievements.
Please note: this exhibition contains content that some visitors may find distressing, including historical accounts of discrimination, historical language or terms now considered discriminatory and references to suicide.
Notes on content: During research for the exhibition, we reached out for stories and experiences of service personnel with an intersex variation, however we were unable to collect any of those stories at this time. It is for this reason that we are using the initialism LGBTQ, rather than LGBTIQ which might falsely suggest we were representing stories of people in the armed forces with an intersex variation. We acknowledge that people with an intersex variation have and continue to serve in Australia’s armed forces, and hope that in the future we are able to make it safer for people to share their stories of service. We also include the plus sign in the acronym (LGBTQ+) as a way of signifying inclusivity, even where no specific stories of service appear.
More Information:
DEFENDING WITH PRIDE: VOICES
The Power of the Wreath Part 1. Click here
DEFENDING WITH PRIDE: VOICES
The Power of the Wreath Part 2. Click here
DEFENDING WITH PRIDE: VOICES
Carole and Christina. Click here
DEFENDING WITH PRIDE VOICES: BRIDGET. Click here
DEFENDING WITH PRIDE VOICES: PHIL. Click here
SHRINE OF REMEMBRANCE
shrine.org.au
iPh: +613 6991 8100
SHRINE OF REMEMBRANCE
shrine.org.au
Ph: +613 6991 8100