These flowers were then taken to the 271 church and blessed by the priest at the end of the liturgy (Table 3), which endowed them 272 with magical properties, and they were used for making decoctions, and vapour or fume 273 In communities that follow Eastern Christian traditions (Greek Catholic, Orthodox), the most important feast involving wildflowers was the birth of John the Baptist (Ivana Kupala). In the Greek-Catholic villages of Northern Hungary, this feast was celebrated 269 with bunches of flowers from the fields, meadows, and gardens that typically included 270 large amounts of the larkspur and cornflower.
266 In communities that follow Eastern Christian traditions (Greek Catholic, Orthodox), 267 the most important feast involving wildflowers was the birth of John the Baptist (Ivana 268 Kupala). After the ceremony, these flowers were taken 260 home by the churchgoers to save their houses from lightning strikes or to treat sick chil-261 dren and animals (e.g., via fumigation or infusion baths). Overall, I argue that the process and creative interpretations of Anzac do not necessarily constitute active dissent or rejection of the nationalist discourse rather, they increase the spaces into which the Anzac discourse permeates, further solidifying its place in the national consciousness. Finally, I found that the contexts of production and display of crafty commemoration may frequently be banal, which contributes to the normalisation of Anzac narrative as a widely accepted element of social life. Secondly, crafty commemorations reproduce and reinforce traditional imagery and emotional frameworks associated with Anzac that in turn support a crafty commemoration as a palatable, accessible and non-threatening form of commemoration. Firstly, I found that crafty commemoration is a meaningful endeavour, achieved through identity affirmation around family or craft practice, and building a sense of belong to community and nation. My analysis unmasks the 'cultural work' that is undertaken through commemoration in non-traditional locations. Interviews with 34 creative artists, readings of created Anzac cultural artefacts (entries or displays), and consideration of the display sites themselves were all analysed to draw attention to the inherent purposes, meanings and assumptions of the Anzac narrative operating in these contexts. Grounded in a material and cultural studies approach, I critically examine the milieu of production of Anzac-themed arts and crafts artefacts created specifically for rural agricultural shows and arts and craft displays. This thesis focuses attention on vernacular, individual-level acts of Anzac commemoration that took place outside of these contexts to understand how everyday Australians were moved by and respond to the call to remember the Anzac Centenary. Social narratives on the Centenary have tended to be institutionally controlled and homogeneous, and commemorative activities have been tied closely to the traditional spheres of commemoration, such as services and marches.
The Anzac Centenary commemorative efforts have been positioned as a focal point of national significance for Australia in the period 2014-2018, and encompass the keystone centenary of the Anzac troops landing at Gallipoli in 1915.
This thesis investigates how Anzac narratives are interpreted and integrated into contemporary understandings of Australian national heritage and collective remembering through craft.
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