Robin Kelly was born Robin Vandersluys in Mary Street, Kew. As a child, she sang in backyard concerts run with her brother, Leslie. The family moved to Deepdene in 1949 and Robin joined church and school choirs. Later she was to study classical singing with Stella Power, modern singing with Jack White, TV Presentation with Natalie Raine of Crawford Productions and acting/singing with Jessie Matthews. Following her victory in a talent quest at the Orama Ballroom, she was invited to join the Orama Big Band with singers Harry Cox and Arlene Forrest. She also sang with the Kerm Jones Jazz Band at Power House and with Frank Johnson's Jazz Band at Jazz Junction. Robin became resident band vocalist at the historic Federal Hotel in Collins Street with the Rudi Laquer Trio. She also sang at The Savoy Plaza with the George Cadman Trio. A year later she became resident vocalist at the Ress Oriental Hotel with the Lennie Holmes Trio. Later, Robin married pianist Peter Jones, singing under the name 'Robin Vanser' in clubs in Sydney and regional New South Wales. She was booked for a Vietnam War tour and also sang in Tahiti. Returning to Melbourne, her agent booked her to appear in shows in Tasmania including West Point Casino and Melbourne country venues. Another agent, John Bishop, booked her to do floor shows in Melbourne, including Xmas Seasons at the Hampton Hotel where she entertained audiences with her comedy and audience participation routines. In 1971, Robin Kelly retired to run her Robin Hood Antiques business in Canterbury, during which time she was married to tenor Glenn Kelly. Later she joined Sing Australia Camberwell Choir, performing as a soloist at their Melbourne Town Hall Concert.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection. Black and white photograph of Robin Vanser and dancers, in performance at the Wentworth Hotel, Sydney, 1965performing arts - australia - 1960s, robin vanser, musical performances - wentworth hotel - sydney - 1960s

Robin Kelly was born Robin Vandersluys in Mary Street, Kew. As a child, she sang in backyard concerts run with her brother, Leslie. The family moved to Deepdene in 1949 and Robin joined church and school choirs. Later she was to study classical singing with Stella Power, modern singing with Jack White, TV Presentation with Natalie Raine of Crawford Productions and acting/singing with Jessie Matthews. Following her victory in a talent quest at the Orama Ballroom, she was invited to join the Orama Big Band with singers Harry Cox and Arlene Forrest. She also sang with the Kerm Jones Jazz Band at Power House and with Frank Johnson's Jazz Band at Jazz Junction. Robin became resident band vocalist at the historic Federal Hotel in Collins Street with the Rudi Laquer Trio. She also sang at The Savoy Plaza with the George Cadman Trio. A year later she became resident vocalist at the Ress Oriental Hotel with the Lennie Holmes Trio. Later, Robin married pianist Peter Jones, singing under the name 'Robin Vanser' in clubs in Sydney and regional New South Wales. She was booked for a Vietnam War tour and also sang in Tahiti. Returning to Melbourne, her agent booked her to appear in shows in Tasmania including West Point Casino and Melbourne country venues. Another agent, John Bishop, booked her to do floor shows in Melbourne, including Xmas Seasons at the Hampton Hotel where she entertained audiences with her comedy and audience participation routines. In 1971, Robin Kelly retired to run her Robin Hood Antiques business in Canterbury, during which time she was married to tenor Glenn Kelly. Later she joined Sing Australia Camberwell Choir, performing as a soloist at their Melbourne Town Hall Concert.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection. Black and white photograph of Robin Vanser and dancers in performance in Tahiti, 19651965 | Tahiti | 4 weeksperforming arts - australia - 1960s, robin vanser, performing arts - tahiti - 1990s

Original photograph of the Kew Centenary Ball in the new Kew Civic Hall in 1960. The photograph formed part of the collection of WHS Dickinson and was presented to the Kew Historical Society by his daughter in 2018. Original black and white photograph of the presentation of a debutante and her partner at the Kew Centenary Dinner Dance at the Kew Civic [Town] Hall in 1960. Standing behind the debutantes are Cr WHS Dickinson, Mayor of Kew, and the Mayoress, Mrs Doris Dickinson.centenary of kew (vic) - 1860-1960, cr whs dickinson - mayor of kew 1946-1947, civic events - kew (vic)

Original photograph of the Kew Centenary Ball in the new Kew Civic Hall in 1960. The photograph formed part of the collection of WHS Dickinson and was presented to the Kew Historical Society by his daughter in 2018. Original black and white photograph of the entry of a debutante and her partner at the Centenary [of Kew] Dinner Dance in 1960. The photograph shows the entry of a debutante and her partner through a specially constructed floral arch at the back of the main stage, which was at that time located at the northern end of the Kew Civic [Town] Hall. The Mayor and Mayoress, Cr WHS and Doris Dickinson are standing at right.centenary of kew (vic) - 1860-1960, cr whs dickinson - mayor of kew 1946-1947, civic events - kew (vic)

Original photograph of the Kew Centenary Ball in the new Kew Civic Hall in 1960. The photograph formed part of the collection of WHS Dickinson and was presented to the Kew Historical Society by his daughter in 2018. Original black and white photograph of the entry of a debutante and her partner at the Centenary [of Kew] Dinner Dance in 1960. The photograph shows the entry of a debutante and her partner through a specially constructed floral arch at the back of the main stage, which was at that time located at the northern end of the Kew Civic [Town] Hall. The Mayor and Mayoress, Cr WHS and Doris Dickinson are standing at right.centenary of kew (vic) - 1860-1960, cr whs dickinson - mayor of kew 1946-1947, civic events - kew (vic)

Original photograph of the Kew Centenary Ball in the new Kew Civic Hall in 1960. The photograph formed part of the collection of WHS Dickinson and was presented to the Kew Historical Society by his daughter in 2018. Original black and white photograph of guests at the Centenary Dinner Dance in 1960. At right front is the Mayor of Kew, Cr. WHS Dickinson and the Mayoress, Mrs Doris Dickinson.centenary of kew (vic) - 1860-1960, cr whs dickinson - mayor of kew 1946-1947, civic events - kew (vic)

Original photograph of the Kew Centenary Ball in the new Kew Civic Hall in 1960. The photograph formed part of the collection of WHS Dickinson and was presented to the Kew Historical Society by his daughter in 2018. Original black and white photograph of dancers at the Kew Centenary Ball in the Kew Civic [Town] Hall in 1960.centenary of kew (vic) - 1860-1960, cr whs dickinson - mayor of kew 1946-1947, civic events - kew (vic)

Original photograph of the Kew Centenary Ball in the new Kew Civic Hall in 1960. The photograph formed part of the collection of WHS Dickinson and was presented to the Kew Historical Society by his daughter in 2018. Original black and white photograph of the seated invited guests at the dinner celebrating the 100th anniversary of the declaration of Kew as an independent municipality. The point of view is from the stage in the main hall at the north end of the building, looking towards the stage at the south end in the second hall. [Originally both halls could be separated or joined by concertina doors.]centenary of kew (vic) - 1860-1960, cr whs dickinson - mayor of kew 1946-1947, civic events - kew (vic)

Original photograph of the Kew Centenary Ball in the new Kew Civic Hall in 1960. The photograph formed part of the collection of WHS Dickinson and was presented to the Kew Historical Society by his daughter in 2018. Original black and white photograph of the arrival of the official party at the Centenary Dinner in the Kew Civic [Town] Hall in 1960. The 'party' are being led by the Mayor, Cr WHS Dickinson and the Mayoress, Mrs Doris Dickinson. centenary of kew (vic) - 1860-1960, cr whs dickinson - mayor of kew 1946-1947, civic events - kew (vic)

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Kew was declared a separate municipality in 1860. To commemorate this, a number of events were held in Kew, including a Centenary Dinner Dance in 1960 at which the speakers were Sir Robert Menzies and Cr WHS Dickinson. As the Mayoress, Mrs Doris Dickinson accompanied her husband, wearing this dress. Evening dress, made of unlined grey velvet, worn by the Mayoress, Mrs Doris Dickinson, (wife of Cr WHS Dickinson), to the Kew Centenary Dinner Dance in the Kew Civic Hall. The dress has matching cream kid gloves. The dress was donated by Mrs Judith Goodes, a daughter of Cr. and Mrs. Dickinson.cr whs dickinson, mrs doris dickinson, australian fashion - 1960s, women's clothing - 1960s, city of kew centenary - 1960, evening wear, evening dresses

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.An undated photograph of the dancer Robert Helpman with a group including his friend, Alma Figuerola, to his right.Reverse: "Robert Helpman Miss Figuerola" Also photographer's stamp: "Australian Consolidated Press - Feature - Copyright - Sydney Australiaarists - kew (vic), art exhibitions - kew (vic), sir robert menzies, alma figuerola

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Before true aerial photography became possible, photographers such as J.F.C. Farquhar were compelled to shoot their images from the highest vantage point. Here, it is presumed to be the roof of Xavier College, from which the panoramic view extends west towards the rise of Studley Park. The houses in the foreground face the southern end of Gellibrand Street. Wellington Street is at an angle to the camera with the Queen Street intersection on the near right. The wooden building behind the large horse paddock on the other side of Gellibrand Street is the Kew Recreation Hall, built 1888, demolished 1960. It was reputed to have one of the finest dancing floors in or around Melbourne. The Bowling Green at the rear of the Hall belonged to the Kew Bowling Club. Further west is the Kew Railway Station on Denmark Street, opened to the public in 1887. At this period, much of Studley Park was locked up in large landholdings, dominated by large mansions such as ‘Byram’. Bird's Eye View Looking Westkew illustrated, kew where we live, photographic books, henry kellett, denmark street, kew recreation hall, kew bowling club, wellington street

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Very few of the natural or built features in this panoramic photograph of Wellington Street remain. The open land between High Street South and Denmark Street, then known as O’Shannessy’s Paddock, was to become a residential subdivision at the beginning of the 20th Century. On the far side of Denmark Street, bordered by a picket fence, is the Kew Railway Station (demolished 1957). Further east, the large building with the flagpole is the Kew Recreation Hall (demolished 1960), which was the centre of civic life for almost a century. The building was used for dances, civic functions and exhibitions. A bowling green, tennis courts, and a cricket ground surrounded the Hall. The dominant building in the photograph is Xavier College, founded in 1872 by the Society of Jesus. The first classes for pupils were held in 1878. It is presumed that Farquhar used its roof for two of his bird’s eye views.Wellington Street from High Streetkew illustrated, kew where we live, photographic books, henry kellett

Monted black and white print positive. Men, women and children in an illuminated unidentified hall. Outfits worn would indicate that it is a community dance.dances, balls, halls

The Kew Recreation Hall was opened in 1880. For eighty years it was a major venue for concerts, performances, dances and civic events. It was demolished in 1960.This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Front view, from Wellington Street, of the former Kew Recreation Hall. The 1880 weatherboard building has a long covered entrance leading to the gabled facade. A smaller gabled room protrudes from one side of the facade. At this stage, the decorative features: gables, brackets, finials, etc were still preserved. The triple window would have been a major source of light for the interior. It appears to have an upper balcony in front of the window. Annotation verso: "28. Kew Recreation Hall prior to demolition. Built about 1880."dorothy rogers, kew recreation hall, buildings -- wellington street (kew)

The Kew Recreation Hall was opened in 1880. For eighty years it was a major venue for concerts, performances, dances and civic events. It was demolished in 1960.This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Oblique view, from Wellington Street, of the former Kew Recreation Hall. The 1880 weatherboard building has a long covered entrance leading to the gabled facade. A smaller gabled room protrudes from one side of the facade. At this stage, the decorative features: gables, brackets, finials, etc were still preserved. The triple window would have been a major source of light for the interior. It appears to have an upper balcony in front of the window. Annotation verso: "Kew Recreation Hall. Built ca. 1880 (Photo prior to demolition in 1960".dorothy rogers, kew recreation hall, buildings -- wellington street (kew)

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Sepia toned photograph of a dance number in The Maid of the Mountains, performed in the Kew Recreation Hall in May and June 1956. The Maid of the Mountains, called in its original score a musical play, is an operetta or musical comedy in three acts. The music was by Harold Fraser-Simson, with additional music by James W. Tate, lyrics by Harry Graham and additional lyrics by Frank Clifford Harris and Valentine. For the Kew production, the scenery was executed by James L. Alexander and the wardrobe supplied by J.C. Williamson. The ballet and ensembles were choreographed by Lillie Willaton. The pianiste, Joy Barker, can be seen at the front of the photograph. performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

The Municipality of Kew (1860-1863), the Borough of Kew (1863-1910), the Town of Kew (1910-1921) and the City of Kew (1921-1994) were local government instrumentalities in the State of Victoria. In 1994, the City of Kew was amalgamated, together with the former Cities of Camberwell and Hawthorn, into the new City of Boroondara (1994- ). Like other local government entities of the period, Kew was administered by town clerks. The two notable town clerks in Kew's history were H. H. (Henry Hirst) Harrison (1868-1955) and W. D. (William Dickie) Birrell (1899-1974). Harrison was appointed to the position in 1901 and retired in 1938 after 37 years. Birrell, appointed Acting Town Clerk in 1921, became Town Clerk in 1938, following Harrison's retirement. He continued in this role until his retirement in 1966.This card is part of an historically significant civic collection, containing hundreds of separate invitations, documents, greeting cards, programmes and tickets issued and/or collected by successive town clerks. Items in the collection illuminate the political, social and cultural history of the district. As a continuous record, ranging across most decades of the Twentieth Century, they reveal changing tastes in design, values and relationships in the history of local government in Victoria.RECREATION HALL KEW / "CORELLI' / WEDNESDAY 21ST JULY, 1909dance cards, recreation hall -- kew (vic), corelli

This was donated to the Glen Eira City Council Collection by Ron Fisher. The pin belonged to Ron’s father Syd and has been in the family until its donation. Syd was a WW2 veteran who joined up in Caulfield. The Mayor of Caulfield's Patriotic Fund was established in 1939 in conjunction with the Caulfield Returned Soldier's Club. Members raised funds by hosting dances in private homes and events at the Caulfield Town Hall. By 1944, more than £86,000 had been collected for the Fund.Small oval brass and enamel commemorative pin. Centre oval has blue enamel Australian flag, surrounded by the inscription "MAYOR OF CAULFIELD'S PATRIOTIC FUND". Red enamel scroll motif at rear. C-clasp fastening on reverse."STOKES MELB"caulfield patriotic fund, returned soldiers, world war two, wwii, fundraising, remembrance

The adults performing on the stage were staff members and parents from the Bulla Primary School. The event was the school concert which took place in 1988 at the Bulla Community Hall in Green Street. From their costumes they seemed to be performing a bush dance. A non-digital coloured photograph of six women dressed as bushmen dancing a folk dance on a stage with children seated on the floor in the front watching them.school concerts, bulla community centre., bulla primary school

This dress is a 'Dolly Varden' or 'shepherdess" style costume worn by Ida Annie Wallace (1890-1976) on a sea voyage to China accompanying her parents in 1911. The BHS has a photo of Ida wearing this dress when she was a guest at a dance for young people given by the Lord Mayor of Melbourne (possibly T. J. Davey). This party may have been held on the ship or it may have been a seperate event. This style dress was a popular choice for fancy dress in the late 1890s and early 1900s. The style is named after the character Dolly Varden in Charles Dickens, 'Barnaby Rudge' 1841. Around 1872, Dolly Varden-inspired costumes and paraphernalia were very a popular craze. Family information states that the silk for this dress was purchased by Ida and Marjorie's grandfather's sister (great aunt) in England circa 1840. The dress was donated by Marjorie Wallace (1901-1999), Ida's sister. Marjorie did not accompany the family to China, but stayed home with a governess. Marjorie lived in Brighton between 1923 and circa 1950 and attended Firbank Church of England Girls Grammar School.A dress consisting of bodice (.1) and skirt (.2). The bodice is made from beige silk with sprays of red and blue flowers and originally laced down the centre front with pink ribbon. The lower part of the bodice is modelled on a late 18th century polonaise design. The bodice is boned and features waist tapes. The elbow length sleeves are finished with beige hand made Maltese lace featuring Maltese crosses. The mid calf length skirt is made from pale pink silk which has been quilted and lined to create a stiffened form. Also with the dress is a piece of scrap floral fabric (.3) that is the same as the bodice fabric.dolly varden, marjorie wallace, barnaby rudge, charles dickens, fancy dress, ida annie wallace

This suit was tailor-made for Latvian dancer, choreographer and dance teacher Vija Vetra, who lived at the Old Hall, 93-95 Bay Street, Brighton and ran a dance academy at 97 Bay Street during the late 1950s and early 1960s. Born in Riga, Latvia in 1923, at the age of sixteen Vija ran away from home in order to study classical, character and modern dance at the Vienna Academy of Music and Performing Arts. She spent several years performing on European stages. When Latvia was annexed by the Soviet Union in 1944, more than 100,000 Latvians fled, seeking refuge in neighbouring countries. Vija's sister, mother and aunt were among them, managing to join her in Vienna. The following year, all four had to flee again when the Soviets moved into Austria. Escaping to Bavaria, they spent three years in displaced person camps before emigrating to Sydney as refugees in 1948. Vija found success as a dancer in Sydney. She toured Australia and New Zealand with the Bodenwieser Ballet, formed a Latvian folk dancing group and established a dancing school. By the mid-1950s she had gained recognition as a recitalist in her own right. She developed a passion for Indian classical dance. In the late 1950s she moved to Victoria. She opened a dance school in Bay Street, Brighton, while continuing to perform on stage in productions such as the musical 'Kismet' and the ballet 'Corroboree'. In 1959 she starred in the four-part live ABC television program 'Music and Dance'. She left Australia in 1964 for a tour of the United States and Canada, ultimately settling in New York City. Interviewed in the 'ABC Weekly' in 1957, Vetra described her taste in clothing as minimalist, saying she preferred to own as few clothes as possible to save the trouble of deciding what to wear: "And no bows or extravagances, but always a simple line."Two-piece women's suit made of maroon corded silk; comprising fitted jacket (.1) and straight skirt (.2). Jacket fastens with one large black faceted glass button. Jacket lined with pink satin; skirt unlined. vija vetra, migration, brighton, refugee, dancer, 1940s

Blue cotton circular skirt with white cord design of men and women dancing around the hem. Fastens with a metal sip in left proper side seam.Label, printed red on cream cotton, centre back: Milton Harding / MELBOURNE / GUARANTEED TAILORED / & HAND FINISHED (image of skirt)skirt, 1950s, milton harding

Banner used during 1984 tour of Canada and America by the Guiding Light Square Dance club. Made by Margaret Fox, who along with her husband Colin, volunteered to teach square dancing at the AFB. Her son remembers that his parents rarely ever drove to a dance together, as they would need both cars to ship down the food made by Margaret to the hall, or ferry dancers to and from dances.Yellow satin banner with green outline of Australia and two people dancing inside and writing inside boomerang across Australia and enamel badges attachedGuiding Light Square Dance Club 1984 Tour - Canada & Americarecreation, association for the blind, margaret fox, guiding light square dance club

Banner used during square dancing at George Vowell centre. Made by Margaret Fox, who along with her husband Colin, volunteered to teach square dancing at the AFB. Her son remembers that his parents rarely ever drove to a dance together, as they would need both cars to ship down the food made by Margaret to the hall, or ferry dancers to and from dances.White satin banner with AFB logo in sequins and yellow dancing couple and writing in blueGeorge Vowell Squares & Roundsrecreation, association for the blind, margaret fox

Banner used during by the Guiding Light Square Dance club at sessions and displays. Made by Margaret Fox, who along with her husband Colin, volunteered to teach square dancing at the AFB. Her son remembers that his parents rarely ever drove to a dance together, as they would need both cars to ship down the food made by Margaret to the hall, or ferry dancers to and from dances.Blue satin banner with AFB logo in gold and yellow sequins and yellow letters with gold fringingThe Guiding Light Square Dance Clubrecreation, association for the blind, margaret fox, guiding light square dance club

Banner used during by the Square Dance Club after the creation of Vision Australia. Made by Margaret Fox, who along with her husband Colin, volunteered to teach square dancing at the AFB. Her son remembers that his parents rarely ever drove to a dance together, as they would need both cars to ship down the food made by Margaret to the hall, or ferry dancers to and from dances.White banner with purple writing, dancing couple in green and letters V and A in green and purpleVision Australia Blind Sports Square Dance Clubrecreation, vision australia, margaret fox

Paterson Hall Story is told through the reminiscences of 23 people who played an active part in the life of a popular recreational and entertainment hub from 1929 to 1999. They relate how a simple concrete structure in Glenferrie Road, Kooyong became a 'home away from home' for people who were blind or vision impaired, their families and friends. The hall was originally built as a clubhouse for blind cricketers in 1927, but by 1929 it had been extended to include a social hall and other facilities including a verandah where spectators could watch the cricket. Over the years the hall was used for activities as diverse as square dancing, singing, craft classes, ball games, art and craft shows, drama groups and annual meetings.60 MP3 sound files of oral history interviews and book excerptsNarrated by Maurice Lockie, Bill Charles and Norah Tooheypaterson hall, association for the advancement of the blind, victorian blind cricket association