Australian Flag Protocol Remembrance Day
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Civic Flag Policy
Civic Flag Policy Date Authorised by Council: 10 March 2021 Commencement Date: 11 March 2021 Review Date (4 years from authorised date): March 2025 Responsible Department Governance and Strategy This policy has been adopted by Council. 1 INTRODUCTION The flying of flags is a visible symbol of respect and acknowledgement. Every sovereign nation flies its own national flag as the symbol of the country, of the people, of the ideals and beliefs that those people live by and proclaim. Flying the Aboriginal and Torres Strait Islander flags demonstrates Council’s recognition of First Nation peoples and demonstrates our respect and acknowledgement. The flags that are to be flown permanently pursuant to this policy are the Australian National Flag, Aboriginal and Torres Strait Islander Flags and the Moreland City Council Flag. The Moreland City Council Flag will be substituted with other flags of significance as required by the Community Flag Schedule. Flags flown in accordance with the Community Flag Schedule will be flown in accordance with the relevant protocol and Council resolution. 2 CONTEXT 2.1 Alignment • The Flags Act 1953 • Australian National Flag protocol 3 OBJECTIVES To clearly outline Council’s approach to the flying of the flags at Council’s Town Halls and other facilities and to establish a mechanism to consider requests for flying of flags of significant to the Moreland community. 4 POLICY DETAILS 4.1 AUSTRALIAN NATIONAL FLAG The Australian National Flag is the chief national symbol and was raised for the first time on 3 September 1901 in the presence of the first Australian Prime Minister, the Hon. -
ICV20 Tomlinson.Pub
The virtual battle: Flags in Georgian marine paintings Barbara Tomlinson Abstract The 18th century saw the development of an English school of marine painting following the example of the Dutch in the previous century. When representing naval battles, artists needed to handle numerous technical details including the depiction of British squadronal colours, distin- guishing flags and signal flags. This paper examines selected actions painted by Samuel Scott (1701/2-1772), Nicholas Pocock (1741-1821), Thomas Whitcombe (c.1752-1827) and William Anderson (1757-1837) and ask - how accurate were these artists, how did they research their paintings, how did they display flags for dramatic effect and who was their intended audience? The resources of the National Maritime Museum’s collections used to illustrate this subject in- clude prints, drawings and documents. The British maritime victories of the sailing navy era were immortalized by contemporary artists. Originally a Dutch genre, by the middle of the 18th century, marine pictures were also produced by British painters who specialised in these scenes. I would like to consider the relationship between the reality and the representation with particular reference to the way the artist shows British flags, concentrating on some of the less well-known battles. One painter who took considerable pains to include accurate detail was Nicholas Po- cock. A sketchbook survives compiled by Pocock during the Battle of the Glorious 1st of June when he was able to observe the action directly from the frigate Pegasus. These small and indistinct views remind us that in contrast to the way vessels are shown in marine paintings, in reality, everything would have been much more spread out and much further away. -
The Colours of the Fleet
THE COLOURS OF THE FLEET TCOF BRITISH & BRITISH DERIVED ENSIGNS ~ THE MOST COMPREHENSIVE WORLDWIDE LIST OF ALL FLAGS AND ENSIGNS, PAST AND PRESENT, WHICH BEAR THE UNION FLAG IN THE CANTON “Build up the highway clear it of stones lift up an ensign over the peoples” Isaiah 62 vv 10 Created and compiled by Malcolm Farrow OBE President of the Flag Institute Edited and updated by David Prothero 15 January 2015 © 1 CONTENTS Chapter 1 Page 3 Introduction Page 5 Definition of an Ensign Page 6 The Development of Modern Ensigns Page 10 Union Flags, Flagstaffs and Crowns Page 13 A Brief Summary Page 13 Reference Sources Page 14 Chronology Page 17 Numerical Summary of Ensigns Chapter 2 British Ensigns and Related Flags in Current Use Page 18 White Ensigns Page 25 Blue Ensigns Page 37 Red Ensigns Page 42 Sky Blue Ensigns Page 43 Ensigns of Other Colours Page 45 Old Flags in Current Use Chapter 3 Special Ensigns of Yacht Clubs and Sailing Associations Page 48 Introduction Page 50 Current Page 62 Obsolete Chapter 4 Obsolete Ensigns and Related Flags Page 68 British Isles Page 81 Commonwealth and Empire Page 112 Unidentified Flags Page 112 Hypothetical Flags Chapter 5 Exclusions. Page 114 Flags similar to Ensigns and Unofficial Ensigns Chapter 6 Proclamations Page 121 A Proclamation Amending Proclamation dated 1st January 1801 declaring what Ensign or Colours shall be borne at sea by Merchant Ships. Page 122 Proclamation dated January 1, 1801 declaring what ensign or colours shall be borne at sea by merchant ships. 2 CHAPTER 1 Introduction The Colours of The Fleet 2013 attempts to fill a gap in the constitutional and historic records of the United Kingdom and the Commonwealth by seeking to list all British and British derived ensigns which have ever existed. -
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Proc. XVII International Congress of Vexillology 149 Copyright ©1999, Southern African Vexillological Assn. Australia’s new flag Peter Martinez (ed.) nullius - land belonging to none - is now discredited.^ Australia’s present makes sense only from its past. The seeds of its future and,its future flag are already there. Integration of symbols requires the integrity of candour. The elemental idea of this paper is that integration of peoples and syrnbols comes from integrity of mind. Integrity will not ignore atrocities. Nor Australia’s new flag - will it cultivate political correctness of one kind or another. Civic harmony grows from mutual respect for different traditions and from shared experience. a pageant of colours and What many in Australia still recognise as mateship. The second point of reference in this paper is the symbolic power of colour. integrated symbols Colour crosses many margins and several meanings. Applied to people who stand behind flags and symbols, colour is an atavistic and sensitive issue in any couptry. Colour, and the differences of which the rainbow is an ancient symbol,^ A.C. Burton is a subtle issue for Australia, which seeks a harmony of cultures. Despite the goodwill and the good works of the last 200 years that out- measure mcdice, Australia is still a whole continent where a nation-state - but ABSTRACT: The history and significance of colour themes in Aus not quite a state of nation - has been built upon the dispossession of peo tralian vexillography are explored to provide a reference pdint for ples. Sovereign in custom, language, ritual, religion, in seals and symbols, and evolving and depicting old symbols in a new way, to weave from an above all in deep relationship to the land, Australia’s Aboriginal people are still ancient Dreaming new myths for a nation’s healing. -
An Argument from Design
Raising the Standard: An Argument from Design Tony Burton Abstract The creative process and principles informing the design of some special purpose and other flags lead to conclusions for flag design in general. The dynamics of metaphor and shape- shifting are considered. The scope for greater pageantry and innovation in flag design is explored. Current national flags of complex or awkward design present a challenge. Possible remedies are suggested. To paraphrase a famous utterance, the known delivers the unknown, and as at least one national flag of recent vintage demonstrates, the unknown can lead to an unforeseen, but serendipitous result. Among the many instances of how not to design a flag, how to is more worthwhile. Vexillologists have higher standards. Proceedings of the 24th International Congress of Vexillology, Washington, D.C., USA 1–5 August 2011 © 2011 North American Vexillological Association (www.nava.org) 83 RAISING THE STANDARD: AN ARGUMENT FROM DESIGN Tony Burton Flags Australia Tony Burton—Raising the Standard 84 Proceedings of the 24th International Congress of Vexillology—2011 RAISING THE STANDARD: AN ARGUMENT FROM DESIGN INTRODUCTION FLAG DESIGN REALITIES GUIDELINES SOME CONGRESS FLAGS ICV 24 ICV 26 SHAPE-SHIFTING ICV 8 OTHER FLAGS CANADA BANGLADESH SURINAM(E) SOUTH AFRICA DESIGN CHANGE POSSIBILITIES MOZAMBIQUE CYPRUS DOMINICA ST VINCENT AND THE GRENADINES DESIGN ECONOMY AND A FUTURE FLAG AUSTRALIA EUREKA A CONSERVATIVE APPROACH RADICAL ORIGAMI A PARAGON OF DESIGN PRACTICAL GUIDELINES THE EUREKA MOMENT —A THEORETICAL FRAMEWORK NOTES BIBLIOGRAPHY APPENDIX A BANNER OF THE 26TH ICV SYDNEY 2015 APPENDIX B CANADA’S FLAG DESIGN QUEST Tony Burton—Raising the Standard 85 Proceedings of the 24th International Congress of Vexillology—2011 RAISING THE STANDARD: AN ARGUMENT FROM DESIGN INTRODUCTION Flags have evolved in many ways from the medieval models paraphrased in the title slide— and not always with their clarity and flair. -
Australia's Flag and Learn Why Australia's Only Pandas Might Be Headed Home to China
Episode 25 3rd September 2019 Amazon Fires 1. Discuss the Amazon Fires story as a class and record the main points of the discussion. 2. Where is the Amazon rainforest? Find using Google Maps. 3. Which South American country has most of the Amazon rainforest? 4. Complete the following sentence. The Amazon is the most biologically ____________ place on Earth. 5. How far away can the smoke from the fires in the Amazon be seen? 6. What Brazilian city was covered by so much smoke the skies went dark like night time? 7. What harmful gas is being produced by the fires? 8. How did the fires start? 9. The Amazon acts as a carbon sponge. What does this mean? 10. How have people reacted to the fires in the Amazon rainforest? Check out the Amazon Fires resource on the Teachers page. Second World War 1. Discuss the BTN Second World War story as a class and record the main points of the discussion. 2. At the end of the First World War what document did many countries sign? 3. Who was Adolf Hitler? 4. What year was Austria invaded by the Nazis? 5. Who were Britain’s and France’s Allies? 6. In 1941 Japan bombed Pearl Harbour. Where in the US is Pearl Harbour? 7. What was the Holocaust? 8. In which country did the US drop two nuclear bombs? 9. What words would you use to describe the Second World War? 10. What questions do you have about the BTN story? Music Rights 1. Before watching the BTN story discuss what you know about music rights. -
Seeking an Emblem Observations on the Tradition of the New Zealand Ensign
Seeking an Emblem Observations on the Tradition of the New Zealand Ensign By Tim Kerr 2 Seeking an Emblem Observations on the Tradition of the New Zealand Ensign By Tim Kerr ISBN 978-0-473-34875-5 Published by Tim Kerr Tika Media Ltd P O Box 12 043 Christchurch 8242 Copyright © 1 January 2016 T D Kerr Hard copy versions printed and bound by Angus Donaldson Copy Service 430 Colombo St, Sydenham, Christchurch Front cover illustration from the NZ Government website [email protected] The NZ flag – your choice to decide. 3 Seeking an Emblem Observations on the Tradition of the New Zealand Ensign Tim Kerr, December 2015 So, we need a new national flag? We are going through a voting process to decide the need – and the design – of a representative New Zealand national flag – an ‘ensign’. Before everyone rushes out to vote for a new flag it would pay to know a little about flags. They have been around for a long time, and there is considerable formal etiquette in the design, construction and flying of national flags. In the present debate about the New Zealand flag there are three objections to the current design: 1: Its lack of uniqueness fails to tell the rest of the world who we are. 2: It is too similar to the Australian Federal ensign 3: It has a British union ‘jack’ in the canton – the first or ‘hoist’ quarter of a flag. One of the first considerations as we explore the debate is the subtle difference between a national flag, a national ensign and a standard. -
Flag of Defiance – the International Use of the Rhodesian Flag Following Udi
FLAG OF DEFIANCE – THE INTERNATIONAL USE OF THE RHODESIAN FLAG FOLLOWING UDI BRUCE BERRY University of Pretoria ([email protected] ; +27 82 909 5829) Abstract The international response to Rhodesia’s Unilateral Declaration of Independence (UDI) was to proclaim the colony to be in a state of rebellion, the government in Salisbury to be illegal, and to request the United Nations to apply sanctions against the ‘rebel regime’. The ensuing political impasse resulted in the need to promote a more distinctive national identity and the symbols to reflect this newfound independence. The first, and most obvious, change came with the adoption of a new national flag on the third anniversary of UDI on 11 November 1968. As the most visible symbol of post-UDI Rhodesia, the international use and display of the new flag became the subject of demonstration and controversy. This paper shows how the green and white Rhodesian flag came to highlight Rhodesia’s contested statehood when flown outside the country during the UDI period. Rhodesia’s new flag became a symbol of the country’s defiance, and the emotion it evoked, and continues to evoke, causes controversy even to this day. Keywords: Rhodesia, symbols, flags 1 1. INTRODUCTION After years of fruitless negotiations on the issue of independence, at 11 a.m. on 11 November 1965 (the 11th hour of the 11th day of the 11th month) Rhodesian Prime Minister Ian Smith and his Cabinet signed a Proclamation of Independence from the British Parliament, whilst retaining loyalty to the person of the Monarch as the Queen of Rhodesia.1 The immediate response by the British Government to this Unilateral Declaration of Independence (UDI) was to proclaim Rhodesia to be in a state of rebellion, the Government in Salisbury to be illegal and to request the United Nations to apply sanctions against the ‘rebel regime’. -
Flags of Australian Territories
-’-iqc 227 Jonathan Dixon: Flags of Australian Territories Abstract; Several different patterns have been proposed and/or used in flags for Australia's internal and external territories. This will be a historical overview of these flags, from Papua to the Cocos Islands. Since Federation in 1901, the flags of the territories of the Commonwealth of Australia have been quite varied. Unlike the state flags, which have followed the same basic pattern since they were established before Federation, the territories have adopted (or radically changed) their flags at many different times. The flags chosen reflect not only on the nature of the territories, but on the attitudes towards Australian flags of those making the decisions. Australia's territories can be classified as populated external territories, self-governing internal territories, and others which have ver\' limited populations and/or self-government. This last group, including the Jervis Bay Territor\" and offshore regions such as the Coral Sea Islands, do not have flags of their own, and it is often wrongly claimed that their flag is the Australian national flag. Of course, as territories of the Commonwealth, the national flag is used, but that is not at all the same thing. The differences between the flags of the other territories display the differences between the statuses of the territories, but a broader and more interesting picture is revealed when we also include the historical Australian territories in New Guinea. These flags from the start of the nineteenth centurt^ will be our focus as we discover that territorial flags have always not only been influenced by state and Commonwealth flags, but have also influenced moves to change them. -
Aboriginal and Torres Strait Islander Flags
Aboriginal and Torres Strait Islander Flags Aboriginal Flag The Aboriginal flag was created as a symbol of unity and national identity for Aboriginal people during the land rights movement of the early 1970s. The flag was designed by Harold Thomas, a Luritja man of Central Australia, and was first flown on National Aboriginal Day in Adelaide in 1971. In 1972, the flag became the official flag for the Aboriginal Embassy in front of Parliament House in Canberra. In 1995, the Aboriginal Flag was recognised by the Australian Government as an official 'Flag of Australia' under the Flags Act 1953. Symbolic meaning The flag consists of a colored rectangle divided in half horizontally, the upper half black and lower red. A yellow circle sits at the centre of the rectangle. The colors represent the Aboriginal people of Australia, the red ochre color of earth and a spiritual relation to the land and the sun, the giver of life and protector. Torres Strait Islander Flag The Torres Strait Islander flag was designed by the late Bernard Namok from Thursday Island in January 1992. The flag was officially recognised by the Australian Government as an official 'Flag of Australia' under the Flags Act 1953. Symbolic meaning The flag consists of horizontal bands: two green and one blue, separated by black lines; a Dhari which is a distinctive traditional dance and ceremonial headdress; and a five-pointed star are central motifs of the flag. Each part of the flag gives meaning to the Torres Strait Island culture: Green: represent the mainlands of Australia and Papua New Guinea. -
Australia and the Pacific
AUSTRALIA AND THE PACIFIC: THE AMBIVALENT PLACE OF PACIFIC PEOPLES WITHIN CONTEMPORARY AUSTRALIA Scott William Mackay, BA (Hons), BSc July 2018 Submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy Australian Indigenous Studies Program School of Culture and Communication The University of Melbourne 0000-0002-5889 – Abstract – My thesis examines the places (real and symbolic) accorded to Pacific peoples within the historical production of an Australian nation and in the imaginary of Australian nationalism. It demonstrates how these places reflect and inform the ways in which Australia engages with the Pacific region, and the extent to which Australia considers itself a part of or apart from the Pacific. While acknowledging the important historical and contemporary differences between the New Zealand and Australian contexts, I deploy theoretical concepts and methods developed within the established field of New Zealand- centred Pacific Studies to identify and analyse what is occurring in the much less studied Australian-Pacific context. In contrast to official Australian discourse, the experiences of Pacific people in Australia are differentiated from those of other migrant communities because of: first, Australia’s colonial and neo-colonial histories of control over Pacific land and people; and second, Pacific peoples' important and unique kinships with Aboriginal Australians. Crucially the thesis emphasises the significant diversity (both cultural and national) of the Pacific experience in Australia. My argument is advanced first by a historicisation of Australia’s formal engagements with Pacific people, detailing intersecting narratives of their migration to Australia and Australia’s colonial and neo- colonial engagements within the Pacific region. -
Canadianism, Anglo-Canadian Identities and the Crisis of Britishness, 1964-1968
Nova Britannia Revisited: Canadianism, Anglo-Canadian Identities and the Crisis of Britishness, 1964-1968 C. P. Champion Department of History McGill University, Montreal A thesis submitted in partial fulfillment of the requirements of the degree of Doctor of Philosophy in History February 2007 © Christian Paul Champion, 2007 Table of Contents Dedication ……………………………….……….………………..………….…..2 Abstract / Résumé ………….……..……….……….…….…...……..………..….3 Acknowledgements……………………….….……………...………..….…..……5 Obiter Dicta….……………………………………….………..…..…..….……….6 Introduction …………………………………………….………..…...…..….….. 7 Chapter 1 Canadianism and Britishness in the Historiography..….…..………….33 Chapter 2 The Challenge of Anglo-Canadian ethnicity …..……..…….……….. 62 Chapter 3 Multiple Identities, Britishness, and Anglo-Canadianism ……….… 109 Chapter 4 Religion and War in Anglo-Canadian Identity Formation..…..……. 139 Chapter 5 The celebrated rite-de-passage at Oxford University …….…...…… 171 Chapter 6 The courtship and apprenticeship of non-Wasp ethnic groups….….. 202 Chapter 7 The “Canadian flag” debate of 1964-65………………………..…… 243 Chapter 8 Unification of the Canadian armed forces in 1966-68……..….……. 291 Conclusions: Diversity and continuity……..…………………………….…….. 335 Bibliography …………………………………………………………….………347 Index……………………………………………………………………………...384 1 For Helena-Maria, Crispin, and Philippa 2 Abstract The confrontation with Britishness in Canada in the mid-1960s is being revisited by scholars as a turning point in how the Canadian state was imagined and constructed. During what the present thesis calls the “crisis of Britishness” from 1964 to 1968, the British character of Canada was redefined and Britishness portrayed as something foreign or “other.” This post-British conception of Canada has been buttressed by historians depicting the British connection as a colonial hangover, an externally-derived, narrowly ethnic, nostalgic, or retardant force. However, Britishness, as a unique amalgam of hybrid identities in the Canadian context, in fact took on new and multiple meanings.