Spiral bound, maroon plastic covered student study planner, issued by Williamstown High School for students in 1999. Also contains information about rules and regulations, uniform, bell times, camps, music programs.williamstown high school, student study planner, 2000

Spiral bound, maroon plastic covered student study planner, issued by Williamstown High School for students in 2000. Also contains information about rules and regulations, uniform, bell times, camps, music programs.williamstown high school, study planner, 2000

Spiral bound, maroon plastic covered student study planner, issued by Williamstown High School for studentsin years 7-10, in 2002. Also contains information about rules and regulations, uniform, bell times, camps, music programs.williamstown high school, 2002

Spiral bound, maroon plastic covered student study planner, issued by Williamstown High School for students in Years 11-12, in 2004. Also contains information about rules and regulations, uniform, bell times, camps, music programs.williamstown high school, 2004, student study planner

Spiral bound, cream cardboard covered, with clear plastic slip on cover, student study planner, issued by Williamstown High School for students in 2005. Also contains information about rules and regulations, uniform, bell times, camps, music programs.williamstown high school, 2005, student study planner

Boyd argues that modern architecture has triggered a necessity for greater harmony between architects and engineers. Boyd describes the architectural qualities of tension structures through an analysis of several case studies including projects by Frei Otto and Boyd's own house at Walsh St. Being a relatively new concept, Boyd criticises the neglect towards smaller buildings in this structural system, and also highlights some of its shortcomings. A 2-page letter from 'Arthur' (surname unknown) at the University of Melbourne's Department of Civil Engineering provides feedback to Boyd on his analyses of the chosen case studies.Original manuscript of article published in The Architectural Review Vol.134, No.801, November 1963, pp. 324 - 334. This draft was returned with covering letter from: ‘Arthur’ (AJF) Melbourne Uni. Dept Civil Engineering. Typewritten (c copy), foolscap, 14 (+2 quarto letter) pagesMinor handwritten editsengineering, tensile structure, master-designer, bernard lafaille, zagreb french pavilion, matthew nowicki, livestock pavilion, frei otto, paul rudolph, florida house, bill irwin, kevin borland, peter mcintyre, john and phyllis murphy, yuncken freeman, sidney myer music bowl, eero saarinen, yale hockey rink, edward d. stone, brussels u.s. fair pavilion, boston arts centre, walsh street, robin boyd, manuscript

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

For almost 40 years, Michael Walsh has been working alongside Indigenous people: documenting language, music and other traditional knowledge, acting on behalf of claimants to land in the Northern Territory, and making crucial contributions to the revitalisation of Aboriginal languages in NSW. This volume, with contributions from his colleagues and students, celebrates his abiding interest in and commitment to Indigenous society with papers in two broad themes. ?Language, identity and country? addresses the often complex relations between Aboriginal social groups and countries, and linguistic identity. In ?Language, identity and social action? authors discuss the role that language plays in maintaining social identities in the realms of conversation, story-telling, music, language games, and in education. ?Language and Social Identity in Australian Indigenous Communities? will be of interest to students of linguistics, Indigenous studies, anthropology, and sociology. Contents: 1. Introduction /? Rod Gardner ... [et al.] 2. Michael Walsh : a personal reflection /? Ros Fraser 3. Place and property at Yintjingga/?Port Stewart under Aboriginal Law and Queensland Law /? Bruce Rigsby and Diane Hafner 4. Linguistic identities in the eastern Western Desert : the Tindale evidence /? Peter Sutton Juwaliny : dialectal variation and ethnolinguistic identity in the Great Sandy Desert /? Sally Dixon 6. Who were the 'Yukul'? and who are they now? /? Brett Baker 7. Colonisation and Aboriginal concepts of land tenure in the Darwin region /? Mark Harvey 8. Aboriginal languages and social groups in the Canberra region : interpreting the historical documentation /? Harold Koch 9. The Kuringgai puzzle : languages and dialects on the NSW Mid Coast /? Jim Wafer and Amanda Lissarrague 10. Dawes' Law generalised : cluster simplification in the coastal dialect of the Sydney language /? David Nash 11. Space, time and environment in Kala Lagaw Ya /? Lesley Stirling 12. Turn management in Garrwa mixed-language conversations /? Ilana Mushin and Rod Gardner 13. Laughter is the best medicine : roles for prosody in a Murriny Patha conversational narrative /? Joe Blythe 14. Collaborative narration and cross-speaker repetition in Umpila and Kuuku Ya'u /? Clair Hill 15. Co-narration of a Koko-Bera story : giants in Cape York Peninsula /? Paul BlackMaps, b&w photographs, charts, word listslanguage and identity, language maintenance, language and culture, language and country

The class of '84 – Happily Settled. "Barry Baker has been mixing wheat farming with theological studies for several years. And now from his Rupanyup farm he's moving to Cavendish. He's 48, married with three children. His wife, Helen, married a farmer, and is working through her new role as a minister's wife. Barry is looking forward to going back to the country. He found the five years of study, the first three as a private student, a pretty long drag, although he's immensely enjoyed the privilege of theological study. He considers the ministry will be very much a pastoral one. "I've go to know my people before I can preach to them," he told me. He's interested in cricket and music."B & W head & shoulders photo of Rev. Barry Baker, wearing a skivvy and jumper.C&N identification.baker, barry, theological hall graduates 1984

Depicted are four students who were the 1951 House Captains at Ruyton Girls' School. The photo is an official school portrait, taken outdoors in front of Henty House (formerly Tarring). In the background, we can see two bicycles. The girls are dressed in their school uniforms, comprising a knee-length check-print skirt, dark jumper, light-coloured collared buttoned blouse with a dark tie, wool blazer, stockings, and dark-coloured lace-up shoes. Two of the girls are standing, while the other two are seated on a small concrete plinth. The students have been identified, from left to right, as A. Dickinson (Lascelles), C. Kent (Anderson, H. Cole (Bromby), and E. Duff (Daniell). Student leadership commenced at Ruyton Girls' School in 1906 with the introduction of the prefect system. Prefects had numerous responsibilities—gate duty, grounds duty, classroom marking, assembly door watch, uniform monitoring, and even supervising student detention. In 1947, a dedicated Prefects Room was erected on the east side of the Ruyton Girls' School Assembly Room in Henty House. The prefects system was revised in 1968 with a new leadership structure: there would be a permanent School Captain, Vice Captain and School Sports Captain; six permanent prefects would be elected, and the rest of the Matriculation class would form committees. These included Library, Social Services, S.C.M., Editorial, and Music. In this way, it was thought "that each Matric girl would have a certain amount of responsibility." With this revised structure came a brand new Prefects' Study, located in a former classroom next to the Domestic Science building. Each prefect was allocated one book locker, one clothing locker, "a small share in the heater", plus a new shared lounge. The prefect system was updated again in 1974. All sixth formers would become prefects, or "school officials." This saw the sixth form divided into two halves: one group would be prefects for the first half of the year, then the second group would take the reigns in the latter half of the year. In October 2023, Ruyton announced a new collaborative leadership structure for captains, prefects and house leaders, which would see two students in each leadership role.The record has strong historic significance as it gives insight into the House system at Ruyton Girls' School. In the early 1920s, Ruyton was settling into its new home at Selbourne Road, Kew. At the time, students were arranged by their form (or year level) for lessons and other school activities. A collection of eight emblems and mottoes for each form group was published in the Ruytonian December 1922, although the genesis of each were left unexplained. With enrolments continually growing, Principal Miss Hilda Daniell felt a new basis of organisation would benefit students, giving them a broader outlook and something bigger to work for. She took inspiration from tradition and implemented a House system. The House system was adopted at Ruyton in September 1924 to "provide a new kind of co-operation and competition among the girls, especially in Sport." There were four houses, three of which were named after early Principals: Anderson, Bromby and Lascelles. There was also the School House, initially for boarders only. Some time after the publication of the Ruytonian in April 1928, the School House was renamed Daniell House, and had opened up to day girls. The account published by the newly formed Daniell House in the Ruytonian December 1928 reads, "we are rather bashful in presenting this account of our doings, for we are conscious of our newness. Our house has now the honour of being known as Daniell House." Four of the original eight form emblems were adopted by the new Houses, while the others were discarded. According to former teacher and author of the centenary history of Ruyton, Ms Majorie Theobald, the House system "gave a new focus for all competitive sport, which had previously been organised on a rather inequitable basis." The colours chosen for the Houses were cherry red for Anderson, royal blue for Bromby, gold for Lascelles, and pale blue for School (later Daniell). New students starting at Ruyton from Prep onwards are allocated to one of the Houses with consideration to family connections and balance of numbers. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection of a former notable student.Black and white rectangular photograph printed on matte photographic paper.Reverse: Caroline Kent / Mary Murray. / 11.12.51. / Ann Dickinson / RGS011/1951/0003ruyton girls' school, ruyton, students, school, senior school, girls school, kew, melbourne, school uniform, prefects, photograph, henry henty, henty house, marion henty, tarring

The photograph depicts nine Ruyton Girls' School prefects and probationers in 1952. The four students standing in the back row are probationers, who have been identified from left to right as M. Hartshorn, C. Kent, J. Hodgson, and M. Morrison. The five students seated in the front row are prefects identified from left to right as E. Macdonald, V. Mummery, H. Cole (School Captain), S. Backhouse, and T. Abson. All of the prefects and probationers are dressed in full Ruyton uniform including knee-length check-print skirts, brown lace-up shoes, dark jumper, white collared button blouse with a tie, and wool blazer. The students are all looking straight at the camera and smiling. The image is an official school photograph taken by Clive Stuart Tompkins. The same photograph appears in the 1952 Ruytonian.The record holds strong historic significance as it provides insight into the history of student leadership at Ruyton Girls' School. Student leadership commenced in 1906 with the introduction of the prefect system. Prefects had numerous responsibilities—gate duty, grounds duty, classroom marking, assembly door watch, uniform monitoring, and even supervising student detention. In 1947, a dedicated Prefects Room was erected on the east side of the Ruyton Girls' School Assembly Room in Henty House. The prefects system was revised in 1968 with a new leadership structure: there would be a permanent School Captain, Vice Captain and School Sports Captain; six permanent prefects would be elected, and the rest of the Matriculation class would form committees. These included Library, Social Services, S.C.M., Editorial, and Music. In this way, it was thought "that each Matric girl would have a certain amount of responsibility." With this revised structure came a brand new Prefects' Study, located in a former classroom next to the Domestic Science building. Each prefect was allocated one book locker, one clothing locker, "a small share in the heater", plus a new shared lounge. The prefect system was updated again in 1974. All sixth formers would become prefects, or "school officials." This saw the sixth form divided into two halves: one group would be prefects for the first half of the year, then the second group would take the reigns in the latter half of the year. In October 2023, Ruyton announced a new collaborative leadership structure for captains, prefects and house leaders, which would see two students in each leadership role. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photograph printed on matte photographic paper.Obverse: C STUART TOMPKINS / CAMBERWELL / Reverse: Ruyton / Rawcey Ware (?) / Add to order / no 5488 / & make a / others / Ruyton / [illegible] /ruyton girls' school, ruyton, students, school, senior school, girls school, kew, melbourne, school uniform, prefects, photograph

Depicted are nine Ruyton Girls' School prefects for the 1951 school year. The image is a formal school portrait taken outdoors on school grounds outside of Henty House (formerly Tarring). In the background, we can see three bicycles with cane baskets. The students are all dressed in knee-length check skirts, a dark jumper, light-coloured collared button-up blouse with a dark tie, wool blazers, and dark coloured shoes. Four girls are standing in the back row, and five are positioned in the front row. Students in the back row have been identified from left to right as M. Murray, B. Addison, T. Abson and H. Cole; in the front row, from left to right we can see S. Backhouse, J. Wigg (Vice Captain), F. Jacobs (Captain), E. Duff, and A. Dickinson. The same photograph appears in the Ruytonian 1951. Student leadership commenced at Ruyton Girls' School in 1906 with the introduction of the prefect system. Prefects had numerous responsibilities—gate duty, grounds duty, classroom marking, assembly door watch, uniform monitoring, and even supervising student detention. In 1947, a dedicated Prefects Room was erected on the east side of the Ruyton Girls' School Assembly Room in Henty House. The prefects system was revised in 1968 with a new leadership structure: there would be a permanent School Captain, Vice Captain and School Sports Captain; six permanent prefects would be elected, and the rest of the Matriculation class would form committees. These included Library, Social Services, S.C.M., Editorial, and Music. In this way, it was thought "that each Matric girl would have a certain amount of responsibility." With this revised structure came a brand new Prefects' Study, located in a former classroom next to the Domestic Science building. Each prefect was allocated one book locker, one clothing locker, "a small share in the heater", plus a new shared lounge. The prefect system was updated again in 1974. All sixth formers would become prefects, or "school officials." This saw the sixth form divided into two halves: one group would be prefects for the first half of the year, then the second group would take the reigns in the latter half of the year. In October 2023, Ruyton announced a new collaborative leadership structure for captains, prefects and house leaders, which would see two students in each leadership role.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photograph printed on matte photographic paper.Reverse: Felicity Jacobs / Judi Olsen / Ann Dickinson / Bev. Addison / RGS011/1951/0004 /ruyton girls' school, ruyton, students, school, senior school, girls school, kew, melbourne, school uniform, prefects, photograph, henry henty, henty house, marion henty, tarring

Brown cover, blue spine, series of booklets inside representing the 'Course of Study, Primary Schools' Includes course for handwriting, mathematics, health, English, Nature Study, needlework, School library, music. Name written on cover in black text, Education Department Victoria Coat of Arms on top of cover.education, primary, golden square laurel st p.s.

The students from Bulla Primary School were engaging in a variety of creative activities as part of their studies. The activities that they participated in were dancing, drama, singing and instrumental music. The activity in this photograph the children were preparing to lift the coloured banner into the air. It was an activity that involved group cooperation and coordination.This activity engaged the children in group cooperation and coordination.A non-digital coloured photograph of group of children standing in a grassed area, in a large circle while holding onto a large coloured circular banner with an adult supervising the group.creative activities, bulla primary school

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

This velvet opera cape was worn by Agnes Emmeline "Dot" McCowan (nee Iredell, 1887-1969) to a reception for English aviatrix Amy Johnson in her North Road home in the early 1930s. Amy Johnson achieved worldwide fame in 1930 when she became the first woman to fly solo from England to Australia. Dot was the fourth child, and only surviving daughter, of Dr Charles Lesingham Maynard Iredell and Frances Keziah Iredell (née Hill), both formerly of Regents Park, London. Her parents had arrived in Australia in 1885 after Charles, a medical specialist, lost his money and house in the financial crash of 1880. In Melbourne, Charles established a reputation as an ear, nose and throat specialist and counted Dame Nellie Melba among his patients. Dot was schooled at Fairlight College in St Kilda. After falling from a tree at the age of twelve, she developed curvature of the spine. While recuperating, she took a correspondence course in theory and harmony of music with the Royal College of Music, London. She continued to pursue music after her recovery, ultimately winning an international scholarship to study piano and singing in Leipzig, Germany, but did not take up the offer due to her father's objections. She instead remained in Melbourne, where she put her skills to use as a music teacher. After her first fiancé disappeared at sea, Dot found happiness again with George Drummond. George owned a substantial property in Manjimup, Western Australia, and the couple planned to settle there after the wedding. It was not to be. Like many Australian men, George was killed in action on the Western Front during the First World War. It had become customary in George's wealthy family to give each son's bride a gift of one thousand pounds. Though Dot and George were never able to marry, the family nevertheless honoured the custom, and between their generous financial gift and her own teaching income, Dot was able to buy a well-appointed home at 9 North Road, Brighton for herself and her parents. The house remained in the family for many decades. In 1923, at the age of thirty-six, Dot met and fell in love with Alexander James McCowan. They were married on 28 February 1924; the reception was held in the North Road house.Salmon pink velvet opera cape with a padded collar and long fringe. Fastens at collar with a pair of circular metal clasps engraved with floral designs and accentuated with purple enamel. Silk lining.agnes emmeline iredell, agnes emmeline mccowan, opera cape, 1920s, 1930s, amy johnson

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams, and the sketch was completed tin preparation for that portrait. Bruce Smeaton (born 5 March 1938) is an Australian composer who is well known for a variety of Australian film and television scores in all genres, including features, shorts, television, documentaries and advertisements.[1] His scores include Picnic at Hanging Rock, Seven Little Australians, Roxanne, Iceman, and Circle of Iron. He has won the Australian Film Institute 'Best Original Music Score' Award for The Cars That Ate Paris (1974), The Great McCarthy (1975), The Chant of Jimmie Blacksmith (1978) and Street Hero (1984, shared with Garth Porter and others). (Wikipedia).1) Portrait of Bruce Smeaton in oil on an unframed stretcher. .2) Charcoal sketch of the head of Bruce Smeatonwes walters, portrait, artist, artwork, bruce smeaton, musician, sketch, walters, alumni, available

Framed portrait of Tilly Aston who began the Association for the Advancement of the Blind, a forerunner to the Association for the Blind. It is part of a series of paintings commissioned by the AFB Board to commemorate the work of past presidents of the organisation. Tilly sits with one hand resting against a table, and the other in her lap. She is wearing a black collared dress with a white lace neck ruff held with an opal pin. Two medals (the Jubilee medal and Coronation medal) are pinned to the chest, each consisting of a red and white bowtie with a brass medallion. Tilly Aston was born in Carisbrook, Victoria, in 1873. When she was very young her parents noticed she was having problems with her vision. They took her to a doctor who diagnosed her with no sight in her right eye and the prognosis of loss of vision in the left eye. As a result of this she was totally blind by the age of 7. Despite this her parents endeavoured to give Tilly as many of life’s advantages that their limited means could supply. From an early age she was taught singing, music, poetry, arithmetic, encouraged to read and observe the natural world around her and be independent. At the age of 8 she was sent to the Asylum and School for the Blind (later called the Royal Victorian Institute for the Blind). She excelled in a wide range of subjects and matriculated in 1889. With the help of a public fund was able to attend Melbourne University, being the first blind Australian to do so. Unfortunately the lack of Braille text books made it impossible for Tilly to continue her studies and she left in second year. Tilly was determined that other blind people would not have the same negative experience she had had. In 1894 she organised a meeting to form the Victorian Association of Braille Writers with the aim of producing and supplying Braille to blind Victorians. Braille was produced by trained volunteers with ? recruited in the first six month. Other rights and services for blind people remained very limited. In 1895 Tilly organised a meeting, which formed the Association for the Advancement of the Blind (now Vision Australia). The Association was instrumental in obtaining many benefits for blind people including a blind pension, voting rights and transport concessions. It also established the first nursing homes for blind people, at a time when many blind people were homeless and destitute. Tilly went on to be Australia’s first blind teacher. She was also a very talented musician, author of seven books and was very gifted at arts and crafts. She knew Esperanto and corresponded with people all around the world including Helen Keller. Tilly passed away on November 1st 1947. Her legacy continues through the work Vision Australia which provides services for thousands of blind Australians. A memorial bell dedicated to her is also situated in the King Domain Gardens. 1 art original in gold frameThe plaque at the base of the painting reads 'Miss Matilda (Tilly) A. Aston / President 1904, 1910, 1943 to 1947/ Association for Advancement of the Blind'. association for the advancement of the blind, association for the blind, tilly aston

My practice questions the definition of masculinity, from the position that there is more to the story than the mainstream narrative. My subjects consist of aesthetic beings seen through the lens of the classical principles of shape and form such as danseurs, youths, other ages and shapes. Sometiimes I have exculded faces to emphasize the interesting dynamic line unique to the male shape. Any symbols of sexual politics have been omitted, to concentrate on how the concept of maculinity pays alongside modern notions of beauty. Garth HORSFEILD (19 June 1970 - ) Born Ballarat, Victoria Returning to study after a partially completed degree and pursuing art and music, Garth Horsfield returned to the Federation University Arts Academy where he completed a Bachelor of Visual Arts in 2021. Portrait of a young man.dvc art award, alumni, garth horsfield, portrait, masculinity, male, men, available

A badly damaged and faded green paperback music textbook titled: First Steps in Harmony - a catechism of elementary Harmony for the use of beginners by Minnie Cuthbert L.R.A.M A.R.C.M. It has a preface, contents and index at the front of the book with lessons throughout. The back cover has printed in an ornate design, Theo Bonheur's Standard Pianoforte Tutor. At the back of the book are some advertisements for music books.non-fictionFirst Steps in Harmony book was written by request to assist junior pupils, and those beginners in Harmony who are only able to devote a small portion of time to its study. The book is divided into Lessons.music, songs, lyrics, singing

My practice questions the definition of masculinity, from the position that there is more to the story than the mainstream narrative. My subjects consist of aesthetic beings seen through the lens of the classical principles of shape and form such as danseurs, youths, other ages and shapes. Sometiimes I have exculded faces to emphasize the interesting dynamic line unique to the male shape. Any symbols of sexual politics have been omitted, to concentrate on how the concept of maculinity pays alongside modern notions of beauty. Garth HORSFEILD (19 June 1970 - ) Born Ballarat, Victoria Returning to study after a partially completed degree and pursuing art and music, Garth Horsfield returned to the Federation University Arts Academy where he completed a Bachelor of Visual Arts in 2021. Painted clouds on a blue skydvc art award, alumni, garth horsfield, clouds, sky

Reports published in The Courier newspaper of performances by Ballarat Academy of Performing Arts, including items naming students past and present of the University of Ballarat during 1997 plus articles of people and events connected to the Arts Academy. Also contains information about Ballarat University courses for performing arts. Articles are mostly from the Ballarat Courier newspaper in chronology year (1997) order with no page numbers. Two items are from December 1996 and three articles in October 2001. PRODUCTIONS : *' Pericles' performed by Ballarat's Ozact Theatre Company at Port Fairy's Battery Point. *'Maelstrom' written by Chris Dickens and directed by Peter Tulloch performed by BAPA third year students.(Oct. 28th - Nov 1st) Some cast members were: James McLaverty, Melissa Casey, Linda Judd, Angela Coad, Sarah Griffin, Kathy Lucas, Melissa Casey, Laura Hill, Grant Hickey, Jamie Robertson, Jon Catanzariti, Steve Kerr, Jeff Parker Natalie Zappulla. Performed at Ballarat University Studio Theatre (Nov 4th -8th) and also at Melbourne's CUB Malthouse (Nov. 25th-29th) *"7 Deadly" directed by Chris Dickens and performed in The Chapel at the Academy's Victoria Street campus by 1st year Ballarat University students. Some cast members were: Ash Abdou, Niniane Le Page, Alex Meerbach, Adam Davies and Elicia Bolger. *"Sounds of Broadway and Off' (Oct 9th - 11th) directed and choreographed by Judith Roberts and performed at the Studio Theatre , University of Ballarat, by 1st year students of Musical Theatre at BAPA. Some cast members were Paul Thomas, Shannon Palmer, Aakash Andrews, Justine Schnellbeck, Erica Chestnut,, Rebecca McGuinness, Matthew Heyward, Kellie Rode. Tickets cost $5.00 *'Bewitched" "a parody of the original television series" directed and produced by Ballarat performing arts graduates Adam Turnbull and Claire O'Sullivan. Most of the cast and crew were graduates from the University of Ballarat. Some cast members were: Katherine Evans as Samantha and Martin Cole as Darren. Simon Buckle was responsible for his original music, songs and special effects. *Concert: Featuring pianist Slavomir Zumis and cellist Robert Ekselman (Oct. 3rd) *"Charley's Aunt" by Brandon Thomas, directed by Belinda Lees and performed by 2nd year Ballarat Academy of the Arts 2nd Year Company at The Venue Studio Theatre, University of Ballarat (Sept. 23rd-27th). Cast members: Derren Jackson, Ross Larkin, Kevin Dee, Adelle Gregory, Colette Bruggeman, Luke Doxey, Gavin Fenech, Dennis Marinovic, Nadia Andary, Narelle Werner. Cost: Adults $10, Concession $7.50, Bookings at Majestix. *'The Importance of Being Ernest' (by Oscar Wilde), performed by second year theatre company of the University of Ballarat, directed by Maureen Edwards, designed by Andrew Arney. Cast members included Narrell Werner as Gwendolen, Tim Haymes as Jack, Mark Gambino as Algermon, Adelle Gregory as Cecily and Heather Kent as Lady Bracknell. The production was at the Studio Theatre, University of Ballarat, September 16th-20th , 8pm. Ticket costs: $10 Adult, $7.50 Pensioners/students. Double bill tickets for The Importance of Being Ernest and Charley's Aunt (Sept.23-27) costs: $15 Adults,$10 Concession. *"The Man From Muckinupin' (by Dorothy Hewett), directed by Chris Dickens and performed by University of Ballarat 3rd Year Performing Arts at Studio Theatre, University of Ballarat from Aug 26th - Aug 30th 1997. Cast members: Lisa Judd as Polly, James McLaverty as Jack, Jamie Robertson, Natalia Rose, Steven Kerr, Jon Catanzariti, Melissa Casey, Grant Hickey, Sarah Griffin, Laura Hill, Kathy Lucas, Angela Coad, and Jeff Parker. Ticket costs: $10 Adults, $7.50 Concession from MajesTix *'The Inspector' (by John Cousins) director Bruce Widdop, performed by the Third Year Graduating Company, University of Ballarat, Ballarat Academy of Performing Arts; at Studio Theatre, University of Ballarat, Aug 19th-23rd, 1997. Cast: Jamie Robertson as the mayor, Jeff Parker as the supposed government inspector, Grant Hickey as Sidney, Melissa Carey as Rose, and Sarah Griffin as Rose's daughter, Laura Hill as the postmaster and Linda Judd as the headmistress. Some 1st year students had cameo roles - Adam Parsons and Adam Davies. *'Cosi' directed by Andrew Seeary and performed by Theatre Movement at the Grainery Lane Theatre, Doveton Street, Balarat. The story has a young, nervous director Lewis, played by Brett Edginton, arrive in a mental home to produce a play with the inmates. Other cast members are Karl Hatton (Roy), Miranda Crellin (Cherry), Rob MacLeod (Henry), Ray Craven (Zac), Narrell Werner (Julie), Nadia Andary (Ruth), Mark Gambino (Doug), Elizabet Stewart and Michael Cooper (Lewis' unsympathetic friends) and Bob House (the Social Worker). Nadia, Mark and Narelle are Ballarat University performing arts students. Season: July 24th,25th 26th and 31st and August 1st and 2nd, 1997. Tickets at the door or through Majestix. Cost: Adults $16; Concession $11. Reviewer: Barry Breen, a Ballarat author, poet and performance artist. *'New Works' involves two plays - 'The Inside Out', director Melissa Casey and 'Secrets'. director Jeff Parker, presented by Ballarat Academy of Performing Arts Third Year Company, both written and directed by third year students. All production areas handled by students of BAPA. Cast members: 'The Inside Out' - Jamie Robertson, Laura Hill. 'Secrets' - Sarah Griffin, Linda Jude, Steven Kerr, Angela Coad, Natalie Zappulla. Staged at University of Ballarat's Studio Theatre. Bookings MajesTix - $10 or $7.5 *Euripide's, 'The Bacchae', a tale of revenge, directed by Bruce Widdop and performed by 2nd year students from the University of Ballarat Performing Arts Department and the BAPA. Assistant directors' Tim Haymes and Derren Jackson. Cast members: Richard DiGregorio (Dionysus), Chris Stipic (Cadmus), Colette Brugman (Agaue), Denis Marinovic (Pentheus), Mark Gambino (Teiresias) and Ross Larkin as the messenger. Other supporting performers are Luke Doxey, Brendan Mayne, Heather Kent, Kevin Dee, Gavin Fenech, Nadia Andary, Karissa Clarke, Adelle Gregory and Narrell Werner. The play was performed at the Studio Theatre, Ballarat University, June 3rd-6th, 1997.Tickets MajesTix or at the door - $10 Adult, $7.50 Concession. *'Back to the Tivoli' School of Performing Arts - June 10th -14th. Venue: Academy of Performing Arts, Victoria Street, 8pm *Aristophane's 'Lysistrata', an anti-war comedy directed by Belinda Lees who has moved the action of the play forward in time from the Peloponnesian to the Vietnam war. Performed by first year drama students from the University of Ballarat and BAPA at the Studio Theatre, University of Ballarat, Mount Helen, on May 27th-30th, 1997. Cast members: Niniane Le Page (Lysistrata), Fiona Russell (Calonice), Anne Winter (Myhrrine), Dominic Phelan (Cinesias), Alex Meerbach (Stratyllis), Michael Rafferty (Leader), Melissa Lowndes (Lampito), Renee Francis (Ismenia), Kathryn Martin (Corinthian), Geoffrey Spink (doorman), Adam Parsons (magistrate), Adrian Dart (policeman), David Kambouris (policeman two), Max Grarock (negotiator), Phol Crompton (ambassador) and Ross Farrell (herald). Male chorus members: Paul Thomas, Adam Davies, Ashraf Abdou, Karan Khanna. Female chorus members: Lauren Oliver, Suzie, Lewis and Lindy Kerr. Tickets MajesTix - $10 Adults, $7.50 Concession; or $12 special double bill price including The Bacchae. *Roger Woodward Recital - a piano recital by the internationally acclaimed Australian pianist to launch the Ballarat Academy of the Arts asset drive. He performed on the University's historic Erard Grand Concert piano on stage in Founders Hall, describing it as "absolutely amazing.' The instrument was 93 years old and hadn't been played for more than eighty years. An audience of 500 were entertained with pieces by Schubert and Bach for the first half of the program and Waltzes, Mazurkas, and Polonaises by Chopin after the interval. Fittingly an encore of the Minuet in G by Paderewski was played on the very piano the composer had brought from England for his Australian tour in 1906. *'The Merry Wives of Windsor' by William Shakespeare; directed by Beth Child; designer Damian Muller; Production by Third Year Graduating Company, University of Ballarat Performing Arts Department. This play is a comedy not performed very frequently. Cast members: Angela Coad (Mistress Page), Laura Hil (Mistress Quickly), Gavin Fenech (Falstaff), Kathy Lucus (Justice Shallow), Melissa Casey (Mistress Ford), Jeff Parker (Mr Ford), Jamie Robertson ( Mr Page) and Karrissa Clarke (Simple). Staged at the Studio Theatre, University of Ballarat, May 6th-10th 1997 at 8pm. Tickets $10. Concession $7.50. *"Ship of Fools" SMB Performing Arts. Grainery Lane Theatre, 9th-10th May 1997 Cast members: Chris Lytas (Mac & Convinso), Kate Edwards (Mayor & Rachel), Ruth Sheridan (numerous characters) *'Lola Montez - The Musical' author Alan Burke; director Peter Tulloch; choreographer Fred Fargher; designer Damian Muller, musical director Graeme Vendy. Performed by twenty-eight second year Performing Arts students with Nadia Andary in the lead role of Lola,, Grant Hickey as Henry Seekamp the Ballarat Times editor who receives a whipping from Lola for his criticism of her. Tim Haymes is the character Smith, Karissa Clarke plays nurse Jane Oliver and Ross Larkin plays soldier Daniel Brady. Other cast members were Luke Doxey, Richard Di Gregorio, Chris Stipic and Brendan Mayne. A feature of the show is Lola's celebrated Spider Dance which was acknowledged many years ago by the crowd throwing gold nuggets onto the stage. Presented by the Hugh Williamson Foundation in association with the Begonia Festival organizers the performance was at Her Majesty's Theatre, Ballarat nightly from 12th-15th March at 8pm with a matinee at 2pm on the 15th. Tickets at Majestic: Adult $18.50, Concession $13.50, Group Adult $15.50, Group Concession $10.50, Culture Vulture $12.00 Family $46 Season 97. *' 2001- 'On The Town' a musical comedy performed by graduating Ballarat Academy of Performing Arts and directed by course coordinator Kim Durban from the Victorian Theatre Company; and BAPA assistant production manager Jo Pearson. It features a cast of 30 and music from a 15 piece band. Photo depicts three cast members: Keith Miles, Adam Lubicz and Glenn Quinn. It was performed in America in 1944 and tells the story of three sailors who arrive in New York on 24-hour shore leave. It was performed at Founder's Hall, University of Ballarat, Mount Helen campus. Tickets $15 adults, $10 concession and $7 for children and students. Family tickets were available. Bookings MajesTix. *'Play With Your Food' a new theatre restaurant show performed by SMB Performing Arts students at Craig's Cellar, Lydiard Street, Ballarat. It was an original show devised and written by Second Year SMB Performing Arts students. following their sold-out touring show 'unplugged' and Book Week play 'SapceDust'. There are also articles about people involved with the University of Ballarat Performing Arts course and the courses in the Arts. Lady Lush's world of unusual characters presented jokes, songs, music whisked together into a bizarre story for audiences to enjoy and even be tie up. Cast members: Melissa Porritt, Loenne Whitecross, Jess Matthews, Kristie Glab and Julia McNamee. It was performed over five nights, 7th-8th-9th-15th and 16th November, 2001. Cost $20. NEWSPAPER ARTICLES: Directors for University of Ballarat 2nd Year Performing Arts - Belinda Lees and Maureen Edwards (photo) An advertisement for BA Visual Arts - Studio Studies available for Ceramics / Drawing / Graphic Design / Print Making /Painting / Multi-Discipline - Undergraduate and Post Graduate Studies. Also for BA Performing Arts - Major Studies available: Performance Acting, Theatre Production, Performance Music Theatre. Ballarat Academy of Performing Arts - New lecturers 1997: Lecturer in Design and theatre crafts - Damian Muller; lecturer in production and stage management - Leonard Bauska; and lecturer in theatre technology - Matthew Heenan. Ballarat Academy of Performing Arts - 1 st article in 'The Flag' Alumni Newsletter, University of Ballarat, Issue June, 1997 re 1st intake of students in February, 1997. 2nd article 'Where Are They Now' - Amanda Sandwith. Event - 'Lydiard Street Alive' : firebreathing act 'David and Goliath' performed by David Patullo. Article with information (includes advertisment for course) about the 3 year performing arts degree at Ballarat consisting of performance acting, theatre production and performance music theatre which are part of Ballarat Academy of Performi8ng Arts which resources from three institutions - University of Ballarat, Australian Catholic University and the School of Mines. BAPA launch: Photos of some attendees - June 3rd 1997 Ballarat Courier. Performers featured Erica Chestnut and Sue-Ann Thomas. Amy Young - Up Close and Personal article - Ballarat Courier - Saturday June 14 1997. Amy Young was the director and conductress of Ballarat 'Y" Choir for 45 years. In 1996 she donated her husband's (Dr Keith Young) Steinway grand piano and musical collection to BAPA. This article is about her life. Events calendar for the Month of May, 1997. Peter Tulloch ( University of Ballarat Performing Arts Co-ordinator 1997) Newspaper article - interview by Elise Sullivan that appeared in The Ballarat Courier Saturday May 3rd 1997 Weekend Edition . Many articles on Roger Woodward and a $3 million asset drive for the Ballarat Academy of Performing Arts. Advertisement for 3 Arts positions at the University of Ballarat - Lecturers in Theatre for Movement/Dance; Design, Theory and Craft; and Theatre Technology Article: 'Who's Who at the Academy' - A list of First Year, Second Year, Third Year, Performing Arts Staff (University of Ballarat and Australian Catholic University). Article about the Erard Concert Grande piano and its acquisition by the University of Ballarat. There are several articles linked to the production of "Lola Montez the Musical' including: *Lola Montez's life in a timeline -1818 to 1861 compiled by Peter Freund, Her Majesty's Theatre historian on behalf of Ballarat Begonia Festival. * A radio show in 1952 performed by Ballarat's "Y" Drama Group featuring 16 year old Joy Brehaut as Lola Montez and directed by 3BA's Ted Furling *Ballarat's Most Famous Scandal Advertising Poster for Lola Montez *Lola Whips In * Lola to Tread the Boards Again * Lola to Return to Ballarat - The "Minister for Purity, The Reverend John Potter" - (actor Jamie Robertson) * Veteran Takes His First Look at Lola * First Stage Lola meets the New Lola - Nadia Andary meets 1967 Lola, Nancy Brauer. * Lola Returns Home An article listing the 12th Annual Encore Awards held at Ballarat Village on Wednesday 5th March 1997. * Advertisement for major studies available in 1998 -Theatre Performance; Music Theatre Performance and Theatre Production plus upcoming productions - Aug - The Inspector and The Man From Muckinup; Sept - The Importance of Being Ernest and Charley's Aunt; Oct- The London Blitz Show and They Shot Horses Don't They? Nov - Graduate Exhibition * Article 3/12/1996: Amy Young donates her husband Dr. W. H. Keith Young's Steinway grand piano and studio stacked with historic documents to the jointly run Performing Arts Academy following his death. The book consists of A4 paper sheets, heat bound with blue card front and back cover with a plastic overlay. The pages contain photocopied articles printed in the Ballarat Courier during 1997. Two articles are from December 1996.bapa, pericles, ozact theatre company, ozact, maelstrom, chris dickens, joan petering, peter tulloch, 7 deadly, ballarat academy of performing arts, bpca, ballarat college of performing arts, sounds of broadway and off, judith roberts, graeme vendy, bewitched, adam turnbull, claire o'sullivan, katherine evans, martin cole, simon buckle, belinda lees, charley's aunt, brandon thomas, derren jackson, ross larkin, kevin dee, adelle gregory, colette bruggeman, luke doxey, gavin fenech, dennis marinovic, nadia andary, narelle werner, the importance of being ernest, maureen edwards, andrew arney, tim haymes, mark gambino, heather kent, performing arts courses 1997, the man from muckinupin, dorothy hewett, chris dickins, linda judd, james mclaverty, jamie robertson, natalia rose, steven kerr, jon catanzariti, grant hickory, sarah griffin, laura hill, kathy lucas, angela coad, jeff parker, john cousins, bruce widdop, melissa carey, adam parsons, adam davies, damian muller, leonard bauska, matthew heenan, cosi, grainery lane theatre, andrew seeary, brett edginton, karl hatton, miranda crellin, rob macleod, ray craven, elizabeth stewart, michael cooper, bob house, barry breen, the flag, performing arts academy - ballarat, bert labont'e, lydiard stree alive, david and goliath, david patullo, amanda sandwith, bapa launch, erica chestnut, sue-ann thomas, amy young, dr keith young, ballarat "y" choir, the bacchae, richard digregorio, chris stipic, colette brugman, denis marinovic, brendan mayne, karissa clarke, narrell werner, niniane le page, fiona russell, anne winters, melissa lownds, renee francis, kathryn martin, michael rafferty, dominic phelan, geoffrey spink, paul thomas, ashraf abdou, karan khanna, alex meerbach, lauren oliver, suzie lewis, lindy kerr, adrian dart, david kambouris, max grarock, phil crompton, ross farrell, roger woodward, erard grand concert piano, karrissa clarke, beth child, chris lytas, kate edwards, ruth sheridan, ballarat academy of performing arts asset drive, positions - school of arts, erard concert grande piano, ignace paderewski, professor david james, david james, robert allen, bapa opening, gabrielle mcmullen, dr ron wild, graham clarke, michael faulkner, sacred heart convent of mercy ballarat, lola montez the musical, spider dance, lola montez, grant hickey, fred fargher, peter freund, ballarat begonia festival, nancy brauer, james robertson, jo pearson, on the town, keith miles, adam lubicz, glenn quinn, play with your food, melissa porritt, loenne whitecross, jess matthews, kristie glab, julia mcnamee, smb performing arts students, the london blitz show, they shoot horses don't they?, graduate exhibition