This rug was a gift and gesture of friendship from the local Muslim community to the City of Greater Bendigo. It was presented to Mayor, Cr Rod Fyffe on behalf of the people of Bendigo at a 2016 'Thank You Bendigo' dinner. In 2014 approval for a planning application from the Bendigo Islamic Association to build a community centre and mosque in East Bendigo prompted a series of public protests that captured widespread media attention. During this tumultuous period the Council identified the need for a community-wide plan to promote diversity and help address potentially divisive cultural issues. These events led to the COGB becoming the first local government area (LGA) formally accredited under Australia’s Welcoming Cities Standard. Community leaders emerged who wanted to show that the anti-mosque protesters did not reflect the views of the majority of Bendigo residents. The community lead ‘Believe in Bendigo’ movement gained momentum, and the Council and other local organisations joined forces to present a unified message that Bendigo residents do not tolerate racism. Muslims have made Central Victoria their home since the Goldrush, contributing to the community and the economy for the past 120 years. Traditional Islamic rugs, especially their patterns and motifs are intrinsically linked with the design of the Bendigo Mosque and Bendigo Islamic Community Centre providing important points of reference for the architects of the project. Typically, mosques are linked with specific cultural groups but not in the case of Bendigo where the Muslim community is made up of multi-ethnic groups. This meant the building's design was not fixed to a specific style or cultural iconography but instead needed to encompass many. The small local Muslim community selected a specific Australian architect because of their interest and knowledge of Islamic design and iconography gained through family collection of Islamic textiles. In thinking about the design of the mosque and community centre the architects wanted to acknowledge the role of Afghans in Australian history, especially tribal Afghans who helped build connections across the interior of Australia between First Nations communities, European settlers and Central Asian migrants. The gift of this Turkmen rugto the Bendigo community thus symbolises collaborative partnerships across faith and cultural groups based on friendship and mutual benefit. A Turkman rug was specifically chosen as it is the pinnacle of nomadic arts of the Islamic world. It was also important to the architects and the local Muslim community that the gift was a female artistic product as it was mainly a female Muslim architecture team that designed the mosque in Bendigo and there was a desire to select something that celebrated female artistry. This hand-woven rug is an engsi, made for a woman in preparation for marriage. Design work and weaving is a shared experience, between many generations of women and each rug hold the personal story of the woman it is made for and her family and thus holds deep symbolic meaning. There are often songs and poetry that are recited as the rug is made – helping the makers to memorisze the mathematical structure of the design. An engsi is put on the doorway to a yurt as part of a wedding ceremony. During the ceremony the groom turns the engsii upside down to check the quality of the rug makers weaving skills. The nomadic lifestyle of Yomut Turkman tribes determines the size of the rug as the loom can’t be carried. Its size is also restricted by the dimensions of the doorway of the yurt. This rug is dated as c 1880 because of the types of patterns used, the use of natural dyes (synthetic dyes were introduced to the area in 1890s) and with the smoother weaving on the back indicating the quality of craftsmanship dating to this time period. The Yomut engsi rug was made in Turkmenistan c1880 by Yomut Turkmen Tribes people and is designed to fit over the doorway of a yurt during a wedding ceremony. The main field motif is related to Turkoman jewelery design. The women and girls of the tribe spin the wool and design and weave the rugs. The men shear the sheep, dye the wool and clip the rug after it has been woven. The word “Turkoman” is thought to have been derived from Turk-iman, meaning the first nomadic Turkic tribes that began to follow Islam. Dyes used are natural including orange from madder root. bendigo mosque, bendigo islamic association, city of greater bendigo community partnerships, city of greater bendigo community groups

BHS CollectionThe Australian High Commissioner's Visit to Cornwall. Information supplied by Tom and Libby Luke. Mentioned is the visit by the Australian High Commissioner Mr Michael L'Estrange to Trevessa Farm, Cornwall, the birthplace of Sir John Quick. The Cornish Association placed a plaque on Trevessa Farm in 2002. Margaret Bigg, one of the owners of Trevessa Farm can claim to have relatives of the Ellis Family here in Bendigo. On the back is a copy of a Bendigo Advertiser article titled Cornish to honour their patron saint. It was dated March 4, 1992. Article contains some information on St Piran, the patron saint of miners. Also mentioned is the birthplace of Sir John Quick.bendigo, history, long gully history group, the long gully history group - the australian high commissioner's visit to cornwall, tom and libby luke, michael l'estrange, trevessa farm, sir john quick, camborne pool redruth urban regeneration company, dr tim williams, cr graeme hicks, cornwall county council, adrian and margaret bigg, the cornish association, john bolitho, ellis family, bendigo advertiser 4 mar 1992, st piran's day, tin mining, the cornish association of bendigo and district, eaglehawk town hall, eaglehawk dahlia and arts festival, max goldsworthy

"Hercynia" was the largest vineyyard in the Bendigo District. It was started by Carl Wilhelm Greiffenhagen (William) and his cousins, twins, Carl and August Heine. The first vine cuttings were planted in 1860. The partners owned 300 acres at Axe Creek and in 1862 had 24 acres under vines and an orchard of 4 acres. By 1884 they had expanded to 30 acres of vines. They produced many award winning wines. August Heine ( 1832 - 1898) was born in Germany and came to Australia in 1854 with his twin brother Carl and their cousin William Greiffenhagen. Initially the three took up mining successfully but then the partnership bought 300 acres at Axe Creek and planted a vineyard. They also grew fruit and crops to feed the working horses. In 1870 August sold his interest in the vineyard and set up his own smaller vineyard at Sheepwash Gully. He had several business interests before he took up the caretaker position at the newly dug Weeroona lake, a position he held until his death. Carl Heine sold his interest in the vineyard in 1873 and returned to Germany. WIlliam Grieffenhagen (1834-1916) continued his very successful vineyard until the region was hit with a highly infectious vine disease in 1893. Although his own vines escaped infection, he was within the 2 mile quarantine area and was forced to dig out all his vines. He never replanted but depended on his orchard instead. He was a founding member of the Bendigo Agricultural Society and a local Shire councillor for several years. In 1870 he married Margaret Boyd.Binder containing information relating to Greiffenhagen's cellar (Hercynia Vineyard) 1860 - 1991 including black and white photographs & maps, compiled by John Houlahan as a third year thesis whichnis pat of the assessment for a Bachelor of Arts (Social Science) degree. Donated to the German Society 15/2/96 by the Grandfather of author Jack Houlahan.John Houlahanbook, bendigo, wineries, bendigo-history-axe creek- wineries- german

Theatre History of Bendigo Paper presented by Fred Page of the Cinema and Theatre Historical Society during the Performers and Palaces Exhibition at Bendigo Bank Theatre on Friday November 24, 2000. Thanks to Bendigo Regional Archive Centre (BRAC). Reference to the building of the Lyceum theatre on the site of the Bendigo Advertiser, Pall Mall.Included is a negative of the Princess Theatre in View Street.bendigo, history, theatre history