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Bendigo Historical Society Inc.
Letter - MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO PROJECT LETTERS, 1994
Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Letters Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Letters and agreements listed below from March 1994 to 1996 31 March 1994 To: Vcitorian Arts Council Members From Grant Finck Project Coordinator Content: Intoduces himself as the coordinator for 12 months; to members looking for expression of interest, includes Information Sheet 1994 on what the Creatvie Village is. 27 October 1995 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Granting access to the Victoria Hill site for small quantities of geological material. 10 January 1996 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Endorsement of the project by the Council and confirmation that the Council will provide preliminary site wrok to allow the project to be enabled. Also advised the Arts Bendigo Mosaic Projectmakes contact with the Salvation Army (New Work Oppurtunity Project) 27 February 1996 To: Mrs Mearle Hall From: Ken Beasley Manager Project Development The Smith Read Training Group. Content: LEAP Project Proposal - Mining Heritage Mosaic outlining the benefites of using LEAP Trainees to undertake the project. Proposed Scope of work outlining responsibilities of each participant. Bendigo Mining NL Environmental Trust Fund ( Perseverance Exploration and Department of Energy and Minerals Victoria representatives) 27 June 1996 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Advising that the Council will match dollar for dollar funding for the engaement of an artist to supervise the construction of the Mosaic in Upper Rosaling Park up to $3,500. 22 July 1996 To: Anne Buzza From: Geoff Brown Camp Hill Primary School Content: Thanks for using and manageing the school students to help create tiles. 9 October 1996 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Enclosed cheque for matching grant of $3500 15 October 1996 To: Mrs Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Agreement to relocate the project facilities to the car park and to maintain a close liaison between the Council and Arts Bendigo. 13 November 1996 To: Mrs Mearle Hall From: The Sidney Myer Fund Helen Morris Research Officer Content: Remittance advice for $1000 22 April 1997 To: Mrs Mearle Hall From: John Little Administrator Victorian Arts Council Content: Remittance advice for $500 towards the project and enclosing 12 VAC Annual reports. 20 October 1998 To: Mrs Mearle Hall From: City of Greater Bendigo, Andrew Hall (Director Community Development) Content: Advising that the Council will make a grant of $1090 for the purpose of printing of Brochures for Bendigo Heritage Mosaic. A service agreement to be signed before the issue of the grant, 21 March 2001 To: Mrs Mearle Hall From: City of Greater Bendigo,Justin Hanney (Director Community Services) Content: A reference from Council supporting the project application to Vic Health for the development of a series of small mosaic pieces along the linear pathway asjacent to the Bendigo Creek. 12 November 1996 To: Mrs Mearle Hall From: Arts Bendigo Inc. Content: Cheque for $2000 being first payment as under contract two for mosaic project. 4 December 1996 To: Mrs Mearle Hall From: Arts Bendigo Inc. Content: Cheque for $2000 being second payment as under contract two for mosaic project. 27 July 1997 To: Maery Gabriel Mosaic Artist From: Arts Bendigo Inc. Content: Cheque for $2000 being final payment as under contract two for mosaic project. 12 June 1997 - Two copies To: Maery Gabriel Mosaic Artist From: Arts Bendigo Inc. Content: Agreement between Maery Gabriel (The artist) and Arts Bendigo Inc. to complete the final two sections of the Bendigo Heritage Mosaic at the base of the Rosalin Park Poppet Head, Bendigo with a design of approvximately two square metre within each section. The work to be completed by the endo of July 1997, unless severe weather conditions make the laying impossible. Agreement for two lots of $2000. 14 June 1996 From: Maery Gabriel Mosaic Artist To: Arts Bendigo Inc. Content: receipt for 50% payment for two weeks and $60 Travelling expenses. 21 May 1996 Agreement between Arts Bendigo of P.O Box 563, Bendigo in the State of Victoria (hereinafter referred to as the ‘AB’ of the first part AND Meary Hall of Morningswood, Petersons Road, Ellinbank, 3821 in the State of Victoria (hereinafter referred to as ‘the artist’) o f the second part. ENGAGEMENT: (a) AB engages the Artist to provide her services as Mosaic Artist for the design and creation of a Mosaic pavement surround to the poppet head lookout in Rosalind Park, Bendigo and matters incidental threrto at such schools, halls and any other places as required from time to time by AB and the Artist accepts the engagement upon the term and condisitons heinafter appearing. (b) Services to be provided by the artist include community consultation and design work in association with AB Co-ordinator and Arts Bendigo, a minimum of six weeks of the artist’s time within the six months of the project. Completion of section one of the whole design with further work on the other sections to depend on available funding. The agreed fee was $5400 and $60 per visit to Bendigo with living away to be provided by Arts Bendigo 1 November 1996 Agreement between Arts Bendigo of P.O Box 563, Bendigo in the State of Victoria (hereinafter referred to as the ‘AB’ of the first part AND Meary Hall of Morningswood, Petersons Road, Ellinbank, 3821 in the State of Victoria (hereinafter referred to as ‘the artist’) o f the second part. ENGAGEMENT: (a) AB engages the Artist to provide her services as Mosaic Artist for the design and creation of a Mosaic pavement surround to the poppet head lookout in Rosalind Park, Bendigo and matters incidental threrto at such schools, halls and any other places as required from time to time by AB and the Artist accepts the engagement upon the term and condisitons heinafter appearing. (b) Services to be provided by the artist include community consultation and design work in association with AB Co-ordinator and Arts Bendigo, a minimum of six weeks of the artist’s time within the six months of the project. Completion of section one of the whole design with further work on the other sections to depend on available funding. The agreed fee was $5000 and $60 per visit to Bendigo with living away to be provided by Arts Bendigo, plus transfer of the diamond saw purchased by AB 28 August 1996 Memorial to Bendigo’s Mining Heritage and Traditions finacial and other support as at August 128th Arts Bendigo Financial contribution: $7000 Local Busine Sponsors: $2800 City of Greater Bendigo Matching Above: $2800 City of Greater Bendigo Site works: Equiv, $12000 Local Businesses and institutions supplying goods and services to total value of: Equiv: $7600 Expenditure: Purchase of equipment, including diamond saw: $2000 Purchase of materials: $800 Artists design fees: $3000 Artists on site work, travel and accomodation: $12000 insurance, administration etc.: $700 31 May 1996 List of possible donors checklist Undated Budget Sheet 21 September 1995 From: the Victorian Arts Council To: City of Greater Bendigo Content: Ivoice for $5000 10 december 1995 From: Maery Gabriel artist To: Arts Bendigo Content: Invoice $1575 for design of Rosalind Park Lookout. 45 hours @ $35/hour 1 October 1996 Historic mining Mosaic Pavement, Rosaling Park Poppet Head Financial Statement as a October 1st 1996 28 October 1996 From: Maery Gabriel To: Ann Buzza (representing Arts Bendigo) Report on project of Rosalind Park Mosaic as at October 1996. The report lists the difficulties faced with the weather, unsuitable facilities on site and problems with the LEAP team labour. -
Bendigo Historical Society Inc.
Letter - LYDIA CHANCELLOR COLLECTION: GOLDEN SQUARE STATE SCHOOL EARLY YEARS, 1963
LYDIA CHANCELLOR COLLECTION: GOLDEN SQUARE State School Early Years Letter from the Public Library of Victoria. Melbourne 26th March 1963, J.A. Feeley (Signed), Chief Librarian To: Mr J. W. Parry, Golden Square Training School No. 1189, Golden Square Victoria. List of notable events May 1854 to December 1874bendigo, history, schooling, lydia chancellor, golden square -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, 'The Ballad of Dr Scabie' by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching of a male doctor or surgeon. graeme drendel, printmaking, doctor, surgeon -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, 'Memories' by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. graeme drendel, printmaking -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, 'Piggy' by Graeme Drendel, 1974
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with pig. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Etching by Graeme Drendel, 2011
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying a calf. graeme drendel, printmaking, calf, cow -
Federation University Art Collection
Work on paper - Silkscreen, Graeme Drendel, The Objects Suspended by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen -
Federation University Art Collection
Work on paper - Silkscreen, Graeme Drendel, 'Enclosure with Keeper' by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Etching by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying two milk buckets.graeme drendel, printmaking, bucket, milk, farmer -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Rooms x 3 by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Three etchings showing aspects of a room.graeme drendel, printmaking -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, [In anticipation of the skeptics] by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. A etching of a man with a man size goose.graeme drendel, printmaking, goose, fauna -
Kiewa Valley Historical Society
VHS Tape - Kiewa Hydro Electricity Scheme x2, Kiewa, Circa 1990
This VHS was produced by the State Electricity Commission of Victoria, to show the pristine state of the Kiewa River and Valley post the completion of the Kiewa Hydro Electricity Scheme (Circa 1950s), The late 1970s on wards was the beginning of deeper social scrutineering by pro environmental groups such as the Australian Wilderness Society (1976) and the Greens (political Party), before, during and after the construction phases of any man made structures in forest/bush areas which may or could damage or adversely affect the natural flora and fauna of sites. This promotional VHS, which was produced in the 1990s, was to project that unlike the Tasmanian State Electricity Commission (Franklin Dam issue), the Victorian State Electricity Commission acted in a way to protect the environment to the maximum level possible. With the passage of time since, and the issue of the global push to minimise carbon pollution, and as an alternative to coal fired power stations, the use of hydro electricity can now be seen as a highly efficient alternative to "coal powered" electricity. This VHS is a snap shot in time (1990) when the Kiewa Valley was still relatively under populated and holiday houses owned by city bound workers was still relatively insignificant. As more and more holiday makers retire to a small but friendly region(Kiewa Valley and Mount Beauty) the increase in visitor numbers will affect the local rural bush scene more and more. The changes that will occur (in time) can be measured against the scenes presented in this video. The additional resources provided by the State Electricity Commission of Victoria of "alpine bush" fire control and management, together with an ongoing educational scheme for school children in learning about what constitutes the Alpine country's unique environment, are a very important offshoot, benefitting to both the communities within the Kiewa Valley and regional Victoria.This VHS tape is stored within its own plastic cover which has a front side covered by a coloured photograph(both front and back cover) of the Kiewa River, just to the north east of the Mount Beauty township. The VHS tape is nestled within a formed inner structure which not only prevents the tape from moving to and fro but also unnecessary intrusion of foreign particles.Front cover "KIEWA" on the spine top circle with lines projecting out and below this "SEC". Middle of spine "KIEWA" and bottom of spine "VHS"secv, kiewa valley, dale-bromley, cy-duff, chris- harding, michael-glucz, forestation education, wilderness photography, nature film. -
Kiewa Valley Historical Society
DVD - Kiewa Hydro Electricity Scheme, KIEWA, Circa 1990
This DVD is a digital reproduction of a VHS produced by the State Electricity Commission of Victoria, to show the pristine state of the Kiewa River and Valley post the completion of the Kiewa Hydro Electricity Scheme (Circa 1950s), The late 1970s on wards was the beginning of deeper social scrutineering by pro environmental groups such as the Australian Wilderness Society (1976) and the Greens (political Party), before, during and after the construction phases of any man made structures in forest/bush areas which may or could damage or adversely affect the natural flora and fauna of sites. This promotional VHS, which was produced in the 1990s, was to project that unlike the Tasmanian State Electricity Commission (Franklin Dam issue), the Victorian State Electricity Commission acted in a way to protect the environment to the maximum level possible. With the passage of time since, and the issue of the global push to minimise carbon pollution, and as an alternative to coal fired power stations, the use of hydro electricity can now be seen as a highly efficient alternative to "coal powered" electricity. This item provids a snap shot in time (1990) when the Kiewa Valley was still relatively under populated and holiday houses owned by city bound workers was still relatively insignificant. As more and more holiday makers retire to a small but friendly region(Kiewa Valley and Mount Beauty) the increase in visitor numbers will affect the local rural bush scene more and more. The changes that will occur (in time) can be measured against the scenes presented in this video. The additional resources provided by the State Electricity Commission of Victoria to "alpine bush" fire control and management, together with an ongoing educational scheme for school children in learning about what constitutes the Alpine country's unique environment, are a very important offshoot, benefitting to both the communities within the Kiewa Valley and regional Victoria. The DVD is nestled within a formed inner structure (case), which not only prevents the disc from moving to and fro but also unnecessary intrusion of foreign particles.This DVD is a TDK data/video recordable single sided 4.7 GB disc.It is a 1-16x speed."KIEWA" on disc.secv, kiewa valley, dale-bromley, cy-duff, chris- harding, michael-glucz, forestation education, wilderness photography, nature film. -
Kiewa Valley Historical Society
VHS Video - Kiewa, Kiewa Compile, Date compiled 25th Nov. 1998
The construction and development of the Kiewa Hydro scheme showing its construction and the people in work and play during its duration. It also shows the development of Mt Beauty and Bogong townships. The films were used as News Reels, Tourist Information and Entertainment.This item provids a snap shot in time (1990) when the Kiewa Valley was still relatively under populated and holiday houses owned by city bound workers was still relatively insignificant. As more and more holiday makers retire to a small but friendly region(Kiewa Valley and Mount Beauty) the increase in visitor numbers will affect the local rural bush scene more and more. The changes that will occur (in time) can be measured against the scenes presented in this video. The additional resources provided by the State Electricity Commission of Victoria of "alpine bush" fire control and management, together with an ongoing educational scheme for school children in learning about what constitutes the Alpine country's unique environment, are a very important offshoot, benefitting to both the communities within the Kiewa Valley and regional Victoria.This VHS tape is stored within its own plastic cover which has a front side Titled "KIEWA in the MAKING". The VHS tape is nestled within a formed inner structure which not only prevents the tape from moving to and fro but also unnecessary intrusion of foreign particles. Titled "Kiewa Compile" with 4 short films titled 1. Kiewa in the Making 2. Kiewa Capers 3. It only seems like yesterday 4. Kiewa.kiewa, hydro electricity, state electricity commission of victoria, construction towns, 1940s 1960s, mt beauty, bogong, falls creek, clover power station, mckay power station, bill sutton, news film, construction workers, early machinery