The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat

Report by Consultants Econsult Planning & Development produced under the Steering Committee guidance of the City of Doncaster and Templestowe and the Shire of Eltham recognising a lack of diversity in housing stock to meet changing housing needs. The Study objectives are: *To provide for a wide variety of housing choices and lot sizes *To make housing more accessible taking into account the Australian Model Code *To maintain residnetial amenity by taking into account significant local features *To prepare guidelines and policities which consider slope, lot, size, location, availability of services and significant vegeation. *To determine the housing types and lot sizes, required by new residents in different locationsresidential development, housing

This group photograph of the Grade 2/3 class at Jacana Primary School serves as a poignant reminder of the school’s enduring legacy within the local community. Established in 1959 and operating until the early 2000s, Jacana Primary was more than just a place of learning—it was a cornerstone of community life, shaping generations through education, inclusion, and shared experience. The image captures not only the young faces of its students but also the spirit of camaraderie, diversity, and belonging that defined the school’s culture. As a visual record, it offers insight into the everyday life of the school and reflects the broader social and educational landscape of Jacana during its years of operation.This photograph of the Grade 2/3 class at Jacana Primary School is significant as a visual record of a community-focused institution that operated from 1959 until the early 2000s. It captures the essence of the school’s role in shaping young lives through education, inclusion, and shared experience. The image reflects the values of camaraderie, diversity, and belonging that defined the school’s culture, offering insight into the social and educational environment of Jacana during this period. As one of the few remaining records of the school’s later years, it holds enduring value for understanding the local history and identity of the area.A vibrant laminated colour photograph featuring a group of children and staff seated in three rows. Their names are displayed on a white panel, printed on glossy paper, accompanied by the school logo.jacana primary school, education, photograph, group photograph, 1999, jade lloyd, teagan nash, analisa capretta, jovie anne orca, jomana matar, andrea ratnam, jocelyn towers, erika borigano, samantha iskander, kristijan mihaljev, emre akbiyik, trent gore, clara david, elias younan, stephanie melia, andrew knostenbergs, allak hamad, joshua harris, matthew welsh, maeve-aine oakley, andrew fuimaono, krishna hurley - edwards, benjamin grubb, mrs. vivien mcnish, ms. milly dobricic, ms carol taylor

Murrup Laarr translates as 'Ancestral Stones' in Wadawurrung. This artwork by Dr Deanne Gilson is located in the North Gardens Indigenous Sculpture Park. The park is a significant project for the City of Ballarat and features works by Aboriginal and Torres Strait Islander artists, celebrating the richness and diversity of culture and telling important cultural stories. Dr Deanne Gilson is a Wadawarrung Traditional Custodian and established artist. She installed the first artwork commissioned by the City of Ballarat for the Sculpture Park in early 2019. Murrup Laarr is a contemporary artwork consisting of a traditionally-built stone hut in the middle of a circle of basalt standing stones, marked with ceramic plates reflecting the stories and symbols of dreaming, memory, ceremony.The artwork is of aesthetic and cultural, social and spiritual significance to the people of Ballarat and to Wadawurrung peopleA traditional hut made from river stone and stacked rocks, with the hut surrounded by large basalt rocks with plaques featuring unique designs on stoneware plates imbedded into them. Murrup Laarr (Ancestral Stones), 2019 / By Deanne Gilson / Wadawurrung people have always used stones to mark places of ceremony and important business. The stones are the holders of memory and knowledge, Country and Spirit. They mark the cosmos and seasons. They follow the sun, marking the summer and winter solstice, important dates for planting and harvesting and telling stories of past, present and future. / The stones are alive and still present. Murrup Laar has been created using local basalt stones to tell Wadawurrung stories of dreaming, memory and ceremony. / “Creating Murrup Laarr (Ancestral Stones) at this time has placed Aboriginal people and practices back on Country and created a place to tell our stories. I am very honoured to have had this opportunity. An Aboriginal stone circle existed in Ballarat pre-colonisation; by putting back what was lost throughout colonisation I pay homage to my ancestors, past, present and emerging”/ – Deanne Gilson, March 2019 murrup laarr, wadawurrung

Nanya Station is a magnificent 40,000 hectare property in far western New South Wales. Its unique system of natural salt lakes, old growth Mallee, and variety of intact ecosystems, makes Nanya a significant refuge for biological diversity. Federation University Australia has been the proud custodian of Nanya since 2004, and values Nanya as an important resource in our research, conservation and education programs. Staff and students are committed to creating a research community to preserve and enrich the biodiversity of this important legacy of the University and the nation. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.A photographic documentation of sheep, feral goat and kangaroo bones found and photographed at 'Nanya Station'. art, artwork, michael shiell, shiell, nanya, bones, available

his group photograph of the Grade Prep/1 class at Jacana Primary School, taken in 1998, stands as a meaningful testament to the school’s lasting impact on the Jacana community. Founded in 1959 and active until the early 2000s, Jacana Primary was more than an educational institution—it was a vital hub of community life. Through decades of service, it fostered a spirit of inclusion, learning, and shared experience that shaped the lives of countless students and families. The image not only preserves the youthful faces of its students but also encapsulates the values of camaraderie, diversity, and belonging that were central to the school’s ethos. As a visual document, it offers valuable insight into the everyday experiences of school life and reflects the broader social and educational environment of Jacana during that era.The 1998 Grade Prep/1 class photograph from Jacana Primary School holds enduring historical and cultural value as a representation of the school’s pivotal role within the Jacana community. Established in 1959 and operated until the early 2000s, Jacana Primary was a foundational institution that contributed significantly to the educational and social development of the area. This image is significant not only as a record of the students and staff of that time but also as a reflection of the school’s inclusive and community-oriented ethos. It embodies the values of diversity, belonging, and collective identity that defined the school’s culture. As a visual artifact, it offers insight into the lived experiences of local families and the broader educational landscape of late 20th-century suburban Melbourne. The photograph serves as a tangible link to the past, preserving the memory of a place that shaped generations and fostered a strong sense of community connection.A vibrant laminated colour photograph featuring a group of children and staff seated in three rows. Their names are displayed on a white panel, printed on glossy paper, accompanied by the school logo.jacana primary school, education, photograph, group photograph, ms carol taylor, 1998, jennifer salib, dylan owen-buoy, teagan nash, krystal le, breanna nash, scott gore, christopher muscat, mohammad matar, andrea ratnam, andrew knostenbergs, jocelyn towers, hung phan, jesse west, mohamad saad, kristijan mihaljev, krishna hurley - edwards, matthew welsh, elias younan, alexandria ioseka, allak hamad, vanita harris, joshua harris, mrs. pam streete, mrs. linda mostyn

This book was written before the "preservation of Australian Flora and Fauna" movement became a household edict. The book covers all the "known" marsupials of the time and coloured prints are provided where required to show physical and other distinguishing features. Time and extensive searches of hard to reach places in Australia has uncovered a greater range of marsupials than presented in this book. Rural Australia (1940s) had not been as developed and altered as the 1980s onward. This book was used in Primary schools as reference material. Although rural school children would have come across many "real life" encounters with some of the mammals referred to, the diversity and range of mammals presented in this book is quite extensive. Most "city" born children would have only seen the mammals presented in this book at animal zoos in the larger cities.This book details the Australian wide range of mammals, and not just those which school children in the Kiewa Valley could meet "face to face". However the rural based pupils would find the chapters and coloured prints more "real" than city located students because they are living day to day in the Australian bush, home to all the various mammals and marsupials presented in this book.This green coloured hard covered book has 178 double sided printed pages and twenty five plate detailing the appearances of native mammals. The first two pages are frayed and all pages show colouration (yellow) of age. The book has a clear plastic cover as protection placed at a later dateOn the spine "FURRED ANIMALS OF AUSTRALIA" and underneath "BROUGHTON" and at the bottom "ANGUS & ROBERTSON"australian mammals and marsupials, nature books, australia wild life

This photograph contains an array of different musical instruments being used by a band in a performance. The instruments visible in the photo include the Cymbals, Double bass, Trumpets, Trumbones, Tuba and Clarinets. Given the assortment of instruments present it is clear that this ensemble is an orchestral band. All of these instruments require the musician to be sitting while performing as depicted in the photograph. This photo was taken in 1997 and highlights the diversity of the band members, which includes both young and old men and women all working together to deliver a performance. While the details of the event are still unknown, it is safe to assume that this was taken during a formal performance due to the formal attire worn by the band members. This photo captures a specific time and event in amazing detail while showcasing the historic use of these intruments in a social setting. This photograph carries great historic significance as it depicts the historic use of these instruments within the context of an orchestral band performance. With this knowledge, one can track the importance and use of these instruments across time as well as understand the type of events and activities associated with the people and communities that attended these gatherings, as both performers and audience members. Black and white rectangular photograph printed on matte photographic paper, unmounted.reverse: 2671 / 1997.00007 / Agfo [watermark]band, band members, instruments, musical instruments, trumpet, black and white, formal attire, musical performance, 1997, brass instruments, percussion instruments, woodwind instruments, orchestra

This analog voltmeter is quite a large (industrial type) apparatus which permits the easy monitoring of electrical variations within the large SEC Victoria Hydro Scheme's electrical generators. These generators are powered by the hydro force of "stored" water at a higher altitude. The establishment of both the NSW and Victorian Hydro schemes was achieved from the mid 1900's to the 1960's. At this point in time the need for additional power sources to quench both an industrial and domestic demand for electricity was purely an economic and not and environmental (carbon reduction) factor. This hydro scheme was instigated by "the Government of the day" as a bold move and was the major force of the World War II refugee and "technical" workforce inclusion of skilled and unskilled migration into the Australian environment. Although this mass "invasion" of workers with families was thought of in some circles as intrusive, the expansion of population post war years and its integration into the Australian rural sector, produced the multi- lingual multi-cultural diversity of later years. This voltmeter is very significant to the Kiewa Valley as its use was introduced during the Kiewa Hydro Scheme. Although only a small apparatus it was part of the explosion of human resources into the valley. This influx of population transformed the region from that of a basically quiet rural region to one which evolved into both an industrial and a larger residential community. This evolution in the valley created a change, not only in the "physical" landscape but also the socio-economic expansion which permitted other "tourist" based industries into the valley. This analog volt meter has two metal rods protruding from the "back" of instrument with screw on points for the negative and the positive leads allowing the "current" to flow across the calibrated resistors to indicate on the "face" side the strength of the voltage "power". The "face" of the instrument has a zero point and then five evenly graduated marks from Zero to the "100, 200 and 300" marked points of measures. A large "V" below these pointers indicates that they represent levels of voltage. Three small screws hold the "face" in place. At the back of the meter is an aluminium "clasp" with three protruding screws (positioning fasteners) and a a screw tightening fixture for the correct fastening of the "clasp" into the correction location on the meter "board".Manufacturer's logo "CSG" underneath "ITALIA"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth

This protection relay apparatus (a large electrical fuse), which permits the easy monitoring and disconnection of faulty electrical apparatus connected to the large SEC Victoria Hydro Scheme's electrical power producing generators. These generators are powered by the hydro force of "stored" water at a higher altitude. The establishment of both the NSW and Victorian Hydro Schemes was achieved from the early 1900's to the 1960's. At this point in time the need for additional power sources to quench both an industrial and domestic demand for electricity was purely an economic and not and environmental (carbon reduction) factor. This hydro scheme was instigated by "the Government of the day" as a bold move and was the major force of the World War II refugee and "technical" workforce inclusion of skilled and unskilled migration into the Australian environment. Although this mass "invasion" of workers with families was thought of in some circles as intrusive, the expansion of population post war years and its integration into the Australian rural sector, produced the multi- lingual multi-cultural diversity of later years.This protection relay is very significant to the Kiewa Valley as its use was introduced during the Kiewa Hydro Scheme. Although only a small apparatus it was part of the explosion of human resources into the valley. This influx of population transformed the region from that of a basically quiet rural region to one which evolved into both an industrial and a larger residential community. This evolution in the valley created a change, not only in the "physical" landscape but also the socio-economic expansion which permitted other "tourist" based industries into the valley.This protection relay unit has a black painted metal shell with four copper enclosed "prongs" fastened to the rear of the housing(from a bake-lite plate) . Between these "prongs" are four "empty" points allowing additional "screw on" bases. The front glass enclosed meter and recorder allows for the identification and automatic disconnection of any faulty equipment connected to the main power generator. This equipment acts similarly to a modern day circuit breaker found on the electrical circuit boards of residential homes.On the top section of the front panel "ASEA" to the left "Made in Sweden" and to the right "Frabrique en Suede" below this "RIS" below this a graph and next to it two columns of numbers and a pointer for each setkiewa hydro electricity scheme, victorian state electricity commission, relays, generators

This transformer lamp system, which has a dial to transform 240 volts to a minimum of 32 volts was used by electrical technicians to inspect internal parts of the large generators (even in small confined spaces). The reason for the reduction of the 240 volts to the 32 volts was for the safety of the inspector. The SEC Victoria Hydro Scheme's electrical generators are powered by the hydro force of "stored" water at a higher altitude. The establishment of both the NSW and Victorian Hydro schemes was achieved from the mid 1900's to the 1960's. At this the point in time the need for additional power sources to quench both an industrial and domestic demand for electricity was purely an economic and not and environmental (carbon reduction) factor. This hydro scheme was instigated by "the Government of the day" as a bold move and was the major force of the World War II refugee and "technical" workforce inclusion of skilled and unskilled migration into the Australian environment. Although this mass "invasion" of workers with families was thought of in some circles as intrusive, the expansion of population post war years and its integration into the Australian rural sector, produced the multi- lingual multi-cultural diversity of later years.This transformer lamp is very significant to the Kiewa Valley as it was introduced as a very small part of the explosion of human resources into the valley. This influx of population transformed the region from that of a basically quiet rural region to one which evolved into both industrial and larger residential community. This evolution in the valley created a change, not only in the "physical" landscape but also the socio-economic expansion which permitted other "tourist" based industries into the valley. This is also a specific electronic item which was manufactured in Melbourne and not sourced from Europe or Asia. This demonstrates the fast evolution of Australian technology to a high standard compatible to that of the rest of the world.This heavy hand held electrical transformer (transforms 240 volts to 32 Volts) an has one leather handle on the top with three small (gauze filtered) air holes. It also has two 2 pin directional cable distribution (clipsal) in/out points 10amps / 240 volts. There is one glassed in volts/ac meter and one variable switch (180 to 150 voltage in settings of 10 volt increments.There are two vents (one on each of the smaller sides). There is also one three pin electrical lead coming out from the top.On one side is a manufacturer's plaque with "ELECTRONIC A & R EQUIPMENT MELBOURNE" and underneath "TYPE 1719, PRI V. 180 250" underneath "V.A. 1250" underneath "CYC 50" underneath "SEC V. 115" underneath "SEC A. 10 . 8". The label on topside "CAUTION SET SWITCH TO 250 v BEFORE CONNECTING TO MAINS THEN, WITH EQUIPMENT OPERATING, SET METER TO RED LINE.kiewa hydro electricity scheme, victorian state electricity commission, transformers

Vol. 3, No. 4, Aug-Sep 1998 CONTENTS THE GREAT DAREBIN MUSIC EXPO Celebrating cultural diversity 3 THE FINAL TOUCH Dangers of inappropriate picture framing 6 BOOK REVIEW Michele Lonsdale reviews Raymond Gaita's Romulus May Father 9 A NEW FACE IN ELTHAM ARTS From Brown's Town, Jamaica, to Eltham Wiregrass 10 BANYULE YOUTH ART AWARDS Young artists throw down the gauntlet 12 CD REVIEWS Authentic and Get A Handle On It 14 PHOTOGRAPHY John Fitzgerald's first exhibition 16 SHORT STORY Girl in a Yellow Sweater by Morag Kirk 18 POETRY REVIEW Ray Liversidge reviews Ian McBryde 22 THEATRE Carolyn Pickett at Heidelberg Theatre company 23 DAG HOUSE ON HIGH STREET New home for Darebin Arts Action Group 24 SIGMUND JORGENSEN DINES OUT Food and wine as culture 25 POETRY Sandy Jeffs' Poems From the Madhouse 27 RAY MOONEY PLAY REVIEW 27 THEATRE Alabaster Youth Theatre and Daniel Kahans at La Mama 28, 29 WINING, DINING & ENTERTAINING 30 PICASSO AND TUCKER AT HEIDE 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, john fitzgerald, annie keil-taggart, just add water, melanie shanahan, darebinn music expo, ruby hunter, cretan brotherhood dance academy, tim nikolsky, margaret leighton, paper moon, alfie massoud, conga pa gozar, neville crawford, framing, dymocks booksellers, raimond gaita, michelle lonsdale, eltham wiregrass gallery, charmaine sheppard, banyule young artists award, brett wood, rebecca james, saramcfarland, michael hebden, heath warwick, michelle wood, victoria ashton, pietro ristorante grossi, la mama theatre, robbie greig, nerida kirov, george kirov, mathew arnold, john skinner, jeff buckland, laurie strickland, eltham high school, montsalvat, eltham library community gallery, alan marshall short story award, morag kirk, dynamic vegies, jenni mitchell, ruth johnstone, la trobe university art museum, ian mcbryde, ray liversidge, heidelberg thearte company, carolyn pickett, darebin artists action group, sigmund jorgensen, sandy jeffs, la piazza restaurant bar & cafe, adams of north riding, llobex image wizards, yarra valley country club, daniel kahans, bulleen art & garden centre, museum of modern art at heide, monty deli & catering services, albert tucker, volumes

FedPride 2021-2024 is a comprehensive strategy, aimed at achieving best inclusive practice in every area of university life: from recruitment and enrolment, to our culture, campuses, how we engage with the communities where our campuses are located and importantly through our curriculum and research. We know that diversity – having access to and embracing difference in backgrounds, perspectives, knowledge and skills – gives our university a breadth that supports innovation and the highest quality of thinking. It enriches us as individuals and as a community. FedPride has a particular focus on our staff and students being able to bring their whole selves to university life. When we feel safe, included and celebrated, we contribute freely and with enthusiasm and bring the best of ourselves to work and study. FedPride is an intersectional strategy, in that the rights, inclusion and access of people from diverse cultural backgrounds, people with disability and Aboriginal and Torres Strait Islander Peoples are held as core to every impact area. FedPride 2021–2024 has been developed with consultation across the University. The strategy is led by the FedPride Steering Group and implemented and monitored by the Implementation Group. Reports to measure progress will be provided annually for the Vice-Chancellor’s Senior Team. FedPride is endorsed by the Vice-Chancellor and the Vice-Chancellor’s Senior Team.A3 poster publicising Fed Pride. This poster was displayed at all Federation University posters in 2022.fed pride, equity

Federation University Australia’s Student Commons Area at the Mt Helen Campus was the first FedUni building to be officially given an Aboriginal name, Gnarrwirring Karung. Meaning Learning Place in the local Wadawurrung language, the re-named centre (pronounced Narrowing Ker Ung) will provide recognition of the area’s cultural heritage and increase the vibrancy, diversity and rich culture throughout the campus. The re-naming ceremony was held at the Gnarrwirring Karung Student Commons Area, S Building, Mt Helen Campus. “The choice of name follows an extensive process of seeking suggestions from the student body, the University’s Aboriginal Education Centre and local Aboriginal custodians,” Geoff Lord, Chairman of the University’s Reconciliation Action Plan (RAP) Committee, said. “The official naming meets many elements recognised within the FedUni RAP such as enhancing community, embedding culture, providing opportunity and, most importantly, respect. “The ceremony is a fine example of putting Aboriginal culture at the centre of our daily lives.” Jasmine Graham, Manager of the Aboriginal Education Centre, said the re-naming was a milestone for the local Aboriginal community. “The University is committed to greater recognition of Aboriginal heritage and culture throughout all of its campuses,” Ms Graham said. “Gnarrwirring Karung will be an impressive landmark throughout the Mt Helen Campus and a welcoming learning place.” A number of photographs taken at the naming of a Federation University space in the Mt Helen Campus 'S' Building. The space has been named Gnarrwirring Karung, Waddawurrung for Learning Place. waddawurrung, gnarrwirring karung, aboriginal, mt helen campus, jasmine graham, helen bartlett, reconciliation action plan, university women

Federation University Australia’s Student Commons Area at the Mt Helen Campus was the first FedUni building to be officially given an Aboriginal name, Gnarrwirring Karung. Meaning Learning Place in the local Wadawurrung language, the re-named centre (pronounced Narrowing Ker Ung) will provide recognition of the area’s cultural heritage and increase the vibrancy, diversity and rich culture throughout the campus. The re-naming ceremony was held at the Gnarrwirring Karung Student Commons Area, S Building, Mt Helen Campus. “The choice of name follows an extensive process of seeking suggestions from the student body, the University’s Aboriginal Education Centre and local Aboriginal custodians,” Geoff Lord, Chairman of the University’s Reconciliation Action Plan (RAP) Committee, said. “The official naming meets many elements recognised within the FedUni RAP such as enhancing community, embedding culture, providing opportunity and, most importantly, respect. “The ceremony is a fine example of putting Aboriginal culture at the centre of our daily lives.” Jasmine Graham, Manager of the Aboriginal Education Centre, said the re-naming was a milestone for the local Aboriginal community. “The University is committed to greater recognition of Aboriginal heritage and culture throughout all of its campuses,” Ms Graham said. “Gnarrwirring Karung will be an impressive landmark throughout the Mt Helen Campus and a welcoming learning place.” A number of photographs taken at the naming of a Federation University space in the Mt Helen Campus 'S' Building. The space has been named Gnarrwirring Karung, Waddawurrung for Learning Place. waddawurrung, gnarrwirring karung, aboriginal, mt helen campus, reconciliation action plan, s building, waddawurrung language, place names

Paperback. Front cover has a large photograph of a lyrebird in full song. Along the lower edge of the front cover are four photographs; a Spotted March frog, the Gould Memorial Drive, a river and a wombat. Back cover has a photograph of the Cathedral Range at dawn.non-fictionA book of photographs of natural attractions, flora and fauna taken in and around the Murrindindi Shire.murrindindi, victoria, landmarks, flora, fauna, waterfalls, rivers, nature, natural attractions

Paperback. Front cover has a large photograph of a lyrebird in full song. Along the lower edge of the front cover are four photographs; a Spotted March frog, the Gould Memorial Drive, a river and a wombat. Back cover has a photograph of the Cathedral Range at dawn.non-fictionA book of photographs of natural attractions, flora and fauna taken in and around the Murrindindi Shire.murrindindi, victoria, landmarks, flora, fauna, waterfalls, rivers, nature, natural attractions

This Favag Timer apparatus was a part of the first electronic control system -(1960's), in Victoria), which worked using telephone stepping selectors to convey a change in voltage providing a regulated pulse from the control centre(Mount Beauty) to the remote Power Stations opening and closing (stop/start) of various devices at the Power Station and a return signal confirmed the action taken. Testing of this unit was carried out using a "dummy" device at the remote Power Station so as not to disrupt the power plant's operation. This timer was one of many electrical apparatus connected to the large SEC Victoria Hydro Scheme's electrical power producing generators. These generators are powered by the hydro force of "stored" water at a higher altitude. The establishment of both the NSW and Victorian Hydro Schemes was achieved from the early 1900's to the 1960's. At this point in time the need for additional power sources to quench both an industrial and domestic demand for electricity was purely an economic and not and environmental (carbon reduction) factor. This hydro scheme was instigated by "the Government of the day" as a bold move and was the major force of the World War II refugee and "technical" workforce,inclusion of skilled and unskilled, migration into the Australian environment. Although this mass "invasion" of workers with families was thought of in some circles as intrusive, the expansion of population post war years and its integration into the Australian rural sector, produced the multi- lingual multi-cultural diversity of later years.This Favag Timer was one of the crucial pieces of equipment that made it possible for the Mount Beauty Terminal Station to control the operations of these Power Stations; McKay, Clover, West Kiewa Power Stations and the Dederang Terminal Station.This aluminium and anodised "FAVAG" (pulse) timer is fastened to a base structure which comes with its own metal cover that is fastened by two metal hooks. From the top of these hooks runs a thick leather "carry" strap.The instrument, itself, a small "micro motor" at one end tape feeding spool on the other. Aluminium metal structures offer a preventative barrier against any electronic spikes from static electricity sources. There are two toggle switches to the bottom right hand side and twelve coloured "pin" connection points.There is a sliding access sleeve which exposes a circuit board.with various leads fastened on each side. In front of one of this slide are two "screw in" fuses, spare fuses are in a small envelope taped above. Circuit diagrams are etched white on black background on the top face of the main structure. At the base of the back section is a two pronged input terminal. There is a fine black rubber layer (cushioning) for the mian top cover.On the cover fastened with two rivets "FAVAG" underneath in small print "Fabrique d'appareils electriques S.A." underneathe "NEUCHATEL-SUISSE". on one end is a "STATE ELECTRICITY COMMISSION OF VICTORIA" metal label screwed on.The back label has manufacturers' type and model number.sec vic kiewa hydro scheme, alternate energy supplies, alpine population growth

The Wurrung Wurrung Kit is designed to introduce students at all levels to the heritage of Aboriginal languages within the area now known as Victoria. The kit aims to: Create awareness of Victorian Aboriginal languages in the past and present. The kit is not designed for the teaching of languages, Develop students' understanding of the relationship between the languages and culture of Victorian Indigenous people, or Koories, Create awareness of the importance of language to indigenous communities today and to foster respect for these communities and their languages, Highlight the diversity within Aboriginal Victoria and Australia in terms of languages and culture, Provide resources for students and teachers that can be used either as a window into Aboriginal culture generally, or to complement a broader unit of work in indigenous studies. Resources for teachers Purpose of this kit Using this kit Terminology Pronunciation Facts about Aboriginal languages in Victoria Language and Aboriginal culture Revitalizatoin of Aboriginal languages Language Alive in the community Community protocols Understanding the Language Map VELS and Curriculum links Teaching Framework Resources and contacts Activities for students Animal names Colouring in Possum Koala Kangaroo Code breaker What do yo know? Concentration Sounds, spellings and symbols Kinship Different things, different words Koorie Garden Timeline Story of Victorian Languages Language on the Mission Role Play Traditional Owners Placenames Graffiti Wall Map References.maps, b&w photographs, b&w illustrations, colour illustrations, games, referenceswoiwurrung, boonwurrung, gunnai kurnai, djadjawurrung, wathaurong, keerraywoorroong, jardwadjali, wergaia, ladjiladji, taungurung, dhudhuroa, kulin

Pam and Marion EDHS Newsletter No. 62, September, 1988 SPRING GARDENS TRIP 30 Oct 1988 On this trip we will be visiting gardens which are of historic interest or of old world character. The date has been selected to coincide with the time when the gardens are likely to be at their best. The Central Victorian Goldfields area has been selected because it offers a wide range of gardens open to the public. From this range we have chosen three gardens which we think will be of great interest to members and their families and friends. These are the gardens: • "Buda", Castlemaine One of Victoria's most famous historic gardens. The mansion which was the home of the Leviny family for 118~ years is also open for inspection. • "Badger's Keep", Chewton This is a cottage garden (complete with 100 year old cottage) with a great diversity of plants. • "The Springs", Sedgwick A country garden also with a great array of plants The cost of the bus is $9.00 for adults and $5.00 for children. There is an additional charge for entry to the gardens, $2.00 each for "Badger's Keep" and "The Springs": for "Buda" it is $3.00, $1.50 for pensioners and $1.00 for children Each of the gardens has plants for sale. Bring your own picnic lunch. Please be at the Eltham Shire Offices by 8.15 a.m. so we can leave promptly at 8.30. To book for this trip complete the attached form and return the appropriate fare. EDHS Newsletter No. 63, November, 1988 RECENT ACTIVITIES More recently the Spring Gardens trip attracted a full bus load and a waiting list. Those who went thoroughly enjoyed the historic garden and mansion at "Buda" and two other excellent gardens at "Badger's Keep" and "The Springs". The popularity of this trip warrants a repeat performance. There are a number of other gardens of historic and general interest which are worth a visit in the future.Two colour photographic printsactivities, eltham district historical society, buda, castlemaine

Pam and Marion EDHS Newsletter No. 62, September, 1988 SPRING GARDENS TRIP 30 Oct 1988 On this trip we will be visiting gardens which are of historic interest or of old world character. The date has been selected to coincide with the time when the gardens are likely to be at their best. The Central Victorian Goldfields area has been selected because it offers a wide range of gardens open to the public. From this range we have chosen three gardens which we think will be of great interest to members and their families and friends. These are the gardens: • "Buda", Castlemaine One of Victoria's most famous historic gardens. The mansion which was the home of the Leviny family for 118~ years is also open for inspection. • "Badger's Keep", Chewton This is a cottage garden (complete with 100 year old cottage) with a great diversity of plants. • "The Springs", Sedgwick A country garden also with a great array of plants The cost of the bus is $9.00 for adults and $5.00 for children. There is an additional charge for entry to the gardens, $2.00 each for "Badger's Keep" and "The Springs": for "Buda" it is $3.00, $1.50 for pensioners and $1.00 for children Each of the gardens has plants for sale. Bring your own picnic lunch. Please be at the Eltham Shire Offices by 8.15 a.m. so we can leave promptly at 8.30. To book for this trip complete the attached form and return the appropriate fare. EDHS Newsletter No. 63, November, 1988 RECENT ACTIVITIES More recently the Spring Gardens trip attracted a full bus load and a waiting list. Those who went thoroughly enjoyed the historic garden and mansion at "Buda" and two other excellent gardens at "Badger's Keep" and "The Springs". The popularity of this trip warrants a repeat performance. There are a number of other gardens of historic and general interest which are worth a visit in the future.Seven colour photographic printsactivities, eltham district historical society, buda, castlemaine

[from EDHS Newsletter No. 62, September 1988:] SPRING GARDENS TRIP 30 Oct 1988 On this trip we will be visiting gardens which are of historic interest or of old world character. The date has been selected to coincide with the time when the gardens are likely to be at their best. The Central Victorian Goldfields area has been selected because it offers a wide range of gardens open to the public. From this range we have chosen three gardens which we think will be of great interest to members and their families and friends. These are the gardens: • "Buda", Castlemaine: One of Victoria's most famous historic gardens. The mansion, which was the home of the Leviny family for 118~ years, is also open for inspection. • "Badger's Keep", Chewton: This is a cottage garden (complete with 100 year old cottage) with a great diversity of plants. • "The Springs", Sedgwick: A country garden also with a great array of plants. The cost of the bus is $9.00 for adults and $5.00 for children. There is an additional charge for entry to the gardens, $2.00 each for "Badger's Keep" and "The Springs"; for "Buda" it is $3.00, $1.50 for pensioners and $1.00 for children. Each of the gardens has plants for sale. Bring your own picnic lunch. Please be at the Eltham Shire Offices by 8.15 a.m. so we can leave promptly at 8.30. To book for this trip complete the attached form and return the appropriate fare. [from EDHS Newsletter No. 63, November 1988:] RECENT ACTIVITIES More recently the Spring Gardens trip attracted a full bus load and a waiting list. Those who went thoroughly enjoyed the historic garden and mansion at "Buda" and two other excellent gardens at "Badger's Keep" and "The Springs". The popularity of this trip warrants a repeat performance. There are a number of other gardens of historic and general interest which are worth a visit in the future.Two colour photographsactivities, buda, castlemaine

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. This form of bobbin lace is made in Malta. It is a guipure style of lace. Maltese lace is worked as a continuous width tape lace on a tall, thin, upright lace pillow called a "Trajbu" and the Bobbins are called "Combini" . Bigger pieces are made of two or more parts sewn together. Lace made in Malta was originally needle lace, from the 16th to the 19th century, when the economic depression in the islands nearly led to the extinction of lacemaking there. But in the mid 1800s, Lady Hamilton Chichester sent lacemakers from Genoa to Malta. They used the old needle lace patterns and turned them into bobbin lace, which was quicker. It was not long after its introduction that the Maltese lace developed its own style from Genoese lace. Maltese lace was shown at The Great Exhibition of 1851 and it became popular in Britain. The style was copied by lacemakers in the English Midlands, and it was one of the sources for Bedfordshire lace. Maltese lace usually has the following characteristics which are useful for identification: It is usually made from cream silk. There is often the 8 pointed Maltese cross as part of the pattern, worked in whole or cloth stitch.The pattern may also have closely worked leaves known as “wheat ears” or “oats”. These are plump and rounded in shape, rather than the long narrow leaves of other types of bobbin lace. Maltese lace edging. It shows the Wheat ears, characteristic of Maltese lacelace, maltese lace, lace tape

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. This form of bobbin lace is made in Malta. It is a guipure style of lace. Maltese lace is worked as a continuous width tape lace on a tall, thin, upright lace pillow called a "Trajbu" and the Bobbins are called "Combini" . Bigger pieces are made of two or more parts sewn together. Lace made in Malta was originally needle lace, from the 16th to the 19th century, when the economic depression in the islands nearly led to the extinction of lacemaking there. But in the mid 1800s, Lady Hamilton Chichester sent lacemakers from Genoa to Malta. They used the old needle lace patterns and turned them into bobbin lace, which was quicker. It was not long after its introduction that the Maltese lace developed its own style from Genoese lace. Maltese lace was shown at The Great Exhibition of 1851 and it became popular in Britain. The style was copied by lacemakers in the English Midlands, and it was one of the sources for Bedfordshire lace. Characteristics of Maltese lace. Maltese lace usually has the following characteristics which are useful for identification. It is usually made from cream silk. There is often the 8 pointed Maltese cross as part of the pattern, worked in whole or cloth stitch.The pattern may also have closely worked leaves known as “wheat ears” or “oats”. These are plump and rounded in shape, rather than the long narrow leaves of other types of bobbin lace. Camisole, made of silk thread Maltese bobbin lace that is constructed of lengths of lace forming two rectangles with a hole for the neck. Shows the characteristic Maltese cross and wheat ears. Fabric is made of tape lace joined togethercamisoles, maltese lace, bodices

This outfit from Sydney-based wearables label Iordanes Spyridon Gogos (ISG), was designed by Founder and Creative Director Jordan Gogos in collaboration with Akira Isogawa and other creative partners. The outfit comes from the ISG x Akira 2023 Afterpay Australian Fashion Week (AAFW) collection show presented at Carriageworks, Sydney 16 May 2023. Jordan Gogos is one of Australia's most innovative multidisciplinary artists. Preferring to describe his current designs as 'non normative', 'wearables for the imaginative' Gogos' work and practices have been influential in changing the conversation around clothing design, production and presentation by embedding co-collaboration, sustainability, diversity, and inclusivity in all aspects of his label. Born and raised in Tokyo, Japan before immigrating to Australia in 1987, Akira Isogawa is regarded as one of Australia's most innovative and successful fashion designers. In a career spanning over 25 years, Akira is perhaps best known for his contemporary interpretations of traditional Japanese clothing, and the quality of his craftsmanship. Isogawa has worked on a range of creative collaboration projects over the course of his career and was named Australian Designer of the Year at the Australian Fashion Industries Awards in 1999. The ISG x Akira collection show presented at AAFW resulted in a collection of 40 looks featuring digitally printed, compressed and patchworked garments with applique, embroidery, beading and origami. Made from deadstock and archival fabrics, accessorised with unique headpieces and footwear designs, the looks were presented in a theatrical collection show amid a colourful runway piled high with upcycled textile artworks and trojan horses signifying Gogo's Greek heritage, signed by Akira in red calligraphy. The models included people with diverse gender identities and body shape and size. - Kristina StankovskiOutfit consisting of a headpiece, top, skirt and shoes (pair). The fabric of the hat, top and skirt has been quilted and stitched together, and is of grey, white, black and yellow hues. The top has two sets of ties which fasten at the back of the waist. The skirt and top feature gold medallions which show a trojan horse and lettering. The shoes are lace up boots and include hues of fluro pink and yellow, as well as white, black and grey. The boots are lined with black vinyl. As part of this collection, this record includes six quilted squares of material created as test patch/samples of fabric used to create the outfit, and two test gold medallions. 9014.1 Headpiece 9014.2 Top 9014.3 Skirt 9014.4 Boots 9014.6 Six fabric sample squares 9014.6 Two gold medallions[printed on gold medallions] IORDANES SPYRIDON GOGOSjordan gogos, iordanes spyridon gogos, akira isogawa, 2023 afterpay australian fashion week, design, fashion, art, sustainability, innovation, trojan horse

This outfit from Sydney-based wearables label Iordanes Spyridon Gogos (ISG), was designed by Founder and Creative Director Jordan Gogos in collaboration with Akira Isogawa and other creative partners. The outfit comes from the ISG x Akira 2023 Afterpay Australian Fashion Week (AAFW) collection show presented at Carriageworks, Sydney 16 May 2023. Jordan Gogos is one of Australia's most innovative multidisciplinary artists. Preferring to describe his current designs as 'non normative', 'wearables for the imaginative' Gogos' work and practices have been influential in changing the conversation around clothing design, production and presentation by embedding co-collaboration, sustainability, diversity, and inclusivity in all aspects of his label. Born and raised in Tokyo, Japan before immigrating to Australia in 1987, Akira Isogawa is regarded as one of Australia's most innovative and successful fashion designers. In a career spanning over 25 years, Akira is perhaps best known for his contemporary interpretations of traditional Japanese clothing, and the quality of his craftsmanship. Isogawa has worked on a range of creative collaboration projects over the course of his career and was named Australian Designer of the Year at the Australian Fashion Industries Awards in 1999. The ISG x Akira collection show presented at AAFW resulted in a collection of 40 looks featuring digitally printed, compressed and patchworked garments with applique, embroidery, beading and origami. Made from deadstock and archival fabrics, accessorised with unique headpieces and footwear designs, the looks were presented in a theatrical collection show amid a colourful runway piled high with upcycled textile artworks and trojan horses signifying Gogo's Greek heritage, signed by Akira in red calligraphy. The models included people with diverse gender identities and body shape and size. - Kristina StankovskiOutfit consisting of a dress, underskirt and shoes (pair). The underskirt is made of tulle, while the dress is origami style with black, red, white, gold, green, yellow and orange fabric. The dress has two sets of press studs under each shoulder strap. Shoes are lace up boots with black, white and yellow patchwork fabric, with rubber soles and vinyl lining. This record includes seventeen pieces of test/sample fabric. 9013.1 Dress 9013.2 Underskirt 9013.3 Boots & White laces 9013.4 Fabric samplesjordan gogos, iordanes spyridon gogos, akira isogawa, 2023 afterpay australian fashion week, design, fashion, art, sustainability, innovation, trojan horse