Produced by "Kids Show" - a ballet-pantomime . This production was first staged in 1981 and toured around Australia. The production is performed to some of George Gershwin's music.Small posterthe wonderful wizard of oz, kidshows, rex reid dance company, athenaeum theatre, pantomime

2008, 363

2005, 341, john keogh

2005, 344, bruce akers

2004, 334, brain moroney

1995, 289, gordon dunlop

Empress playing cardsEmpress playing cards

007 Tong Ming playing cards Playing cards

The Dates we sourced on the flyer were November 15 - 25 with night and matinee shows avaible. This Performnce was in association with AAustralian Drug Foundation, BE YOUR bEST. ,VICHEALTH, Playing Australia ,Arts Victoria ,Australiian Council of the Arts and Punt Hill Spirital Apartments .colored yellow and black flyer in the profile of someone wearing a paper bag on his/her head.back to back theatre, circus oz, freak show, athenaeum theatre two

Dimitri Cah, a young Italian migrant, painted eighteen murals throughout the Glenara Motel while employed by the proprietors, Frnk and Nancy CreaColour postcard of one of the eighteen murals decorating the internal walls of the Glenara Motel, Lakes Entrance, Victoria. This one shows the artists stylised idea of an Aboriginal camp.Aboriginal Lifelike Sceneaboriginals, motels, arts, rsl clubs

Colour postcard of one of the eighteen murals decorating the internal walls of the Glenara Motel, Lakes Entrance, Victoria. This one shows two peacocks perched on tree branches.Glenara Motel Motel of Many Murals (on front)motels, arts

Demonstrates Museum Operations.Set of five 35mm Kodachrome cardboard mount - colour slides by Frank Londey of operations at the BTPS depot and in Wendouree Parade April 1985 (date on the slide) Perhaps during a organised tour. .1 - W3 661 on No. 6 road .2 - trams 33 and 18 on the depot fan .3 - 27 and 40 at St Aidans Drive .4 - 27 and 661 at Gardens Loop .5 - 661 in Wendouree Parade at the Ferry stop tramways, trams, btps, btm, depot, wendouree parade, st aidans drive, tram 661, tram 33, tram 18, tram 27, tram 40

"Children's wear colour card: basic range for knitwear", British Colour Council, 1960.dyeing knitting yarn production, alexander lau pty ltd british colour council, lau, mr alexander - alexander lau pty ltd, dyeing, knitting, yarn production

1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture

Colour postcard of one of the eighteen murals decorating the internal walls of the Glenara Motel, Lakes Entrance, Victoria. This one reflects the painter's romanticism showing a young couple in a small boat on a lake with water lilies and swans.Glenara Motel Motel of Many Murals (on front)motels, arts, rsl clubs

Watsonia High School student cast for the annual one act play competition c1967. This is Blue House's melodrama; student and staff names provided by donor. Staff: Mr Atkinson, Mrs Kanarev, Mr Johnson; Student cast:Dianne Macdonald, Judy Marsh, Paul Wallace, Glynne Pietzsch, Robert Loughman, Doug Jacquier, Wayne King.Part of the Watsonia High collection of Glynne Pietzsch who was a student at Watsonia High in the 1960s.2 black and white photographs mounted on grey card.Staff and student names on mount.watssonia high school, school plays, glynne cousins pietzsch, glynne pietzsch

Colour postcard divided back, four photo panels - Biscay Greetings, 1. - Evening lights of Melbourne reflected in the Yarra 2 - Bourke St - as for Reg Item 2639 3 - Collins St - with A class 239 at Swanston St (See Reg Item 5206 for a larger image.) 4 - View looking north along Elizabeth St from Flinders St Station with the Robert Risson shelter in the view. Back has space for name and address, stamp and a message and details of the postcard. Produced by Biscay Greetings, possibly mid 1980's. Card No. BG291trams, tramways, bourke st, z class, a class, collins st, elizabeth st, robert risson, shelters, tram 239

This Mathematics learning aid was made in Australia by the Cuisenaire Company of Australia under licence . These wooden number rods were invented by Belgium school teacher Georges Cuisenaire, who wrote a book about them in 1952 (Les Nombres en couleurs). Cuisenaire rods with booklet and box, wood / metal / paper, made by the Cuisenaire Company, Australia, 1965-1980. This object consists of a sheet metal box, containing 10 compartments, each with a single size of wooden blocks in different colours. The shortest block is 1 cm long, next 2 cm, etc., longest is 10 cm long. ORIGINAL CUISENAIRE (R) NUMBERS IN COLOUR / (R) MADE IN AUSTRALIA UNDER MR CUISENAIRE'S LICENCE BY CUISENAIRE CO OF AUSTRALIA P/Lcuisenaire, educational resources, mathematics learning aids

The production was performed by The Sydney Theatre Company presented by Wilton Morley and Peter Davis. The Melbourne production was performed by arrangement with the Melbourne Theatre Company. Cast: Sir Robert Helpmann as Lord Alfred Douglas; Mark Lee as the young Lord Alfred Douglas; Ric Hutton as the Month Marquis of Queensberry with, Frederick Parslow as Oscar Wilde. The play was directed by Richard Wherrett.small poster ; good conditionmelbourne theatre company, sydney theatre company, robert helpman, mark lee, ric hutton, frederick parslow, richard wherrett, athenaeum theatre, theatre poster

This recorded play of the book 'The Weaver from Meltham' - The story of Godfrey Hirst was made circa 1951 and aired on ABC radio. It was handed down to Ken Hirst from his father Ivan Hirst, grandson of Godfrey Hirst. At the end there is an additional recording . It is a speech and presentation to HRH Queen Elizabeth II on the occasion of the birth of Princess Anne of a baby blanket made by the employees of Godfrey Hirst woollen mills circa 1951Light green record slip containing a double sided record of the radio play of The Weaver from MelthamAWA custom long play Microgroove recording

Lush colour photographs of the particular environments, including flora, fauna, birds etc and maps locating area.Colour illustrations, colour photographsconservation, sustainability, biodiversity, victorian alps, mallee

24 colour slides of Garden Week 1985, 1-17 Garden Week at Burnley Campus, 18-24 damage to the turf. 34 photographs of Garden Week 1986 at Burnley. Mostly flower arrangements and damage to the turf. 1 scanned.flower arrangements, garden week 1985, sun garden week 1986, turf damage

Artist Georg Rosenkranz, crewman aboard the HSK Kormoran, painted this while at Graytown POW CampStylised watercolour painting of POW playing darts in GraytownPlaying Dartsgraytown pow camp, georg rosenkranz, hsk kormoran, illustrations, watercolour

Ill, unpaged.non-fictionA pictorial essay of the ascent of Everesteverest - pictorial works, everest expedition 1953