Photograph: Norm Borchers and Geoff Howard at Waubra. Geoff Howard is the current state member for Buninyong. He has been in parliament since 2009. Howard has also served as a councillor and mayor on Ballarat City Council. Howard has served as Parliamentary Secretary for Natural Resources and the Environment and Parliamentary Secretary for Agriculture. Norm Borchers passed away in 2008. Borchers was a Club President of the Sebastopol Lions Club (1975-76). He worked for the railways as an engineering employee and was long-term trade unionist (Amalgamated Engineering Union and the Australian Railways Union) and ALP member; he lived and worked in the Ballarat area. Norm was active in workplace disputes during the ALP split in 1955. He was a long time supporter of Ballarat Trades Hall. It is assumed that this picture was taken at an ALP barbeque - see pictures 0374 and 0375.Photograph.btlc, ballarat trades hall, ballarat trades and labour council, howard, geoff, politicians, borchers, norm, australian labor party, alp

Victor LITHERLAND (16 April 1897 - 1978_ Born Odessa, Russia (of English parents) Born in Odessa, Russia to British parents, Victor Litherland migrated to Australia in 1926 and moved to Creswick in 1932. Victor Litherland, who initially trained as a carpenter and cabinet maker, not only made most of his furniture and clothes but also his painting equipment. Victor Litherland is self taught himself. In 1943 he used books in the Sydney Public Library to teach himself painting, and produced a number of works of the environment in which he lived. Litherland's work has a disregard for perspective, unmodelled faces and cool fresh colours. He often made an elaborate frame for this work. 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.art, artwork, victor litherland, naive art, creswick, acrylic on canvas

Program for the 2010 Upwelling Festival. The Upwelling Festival Portland is a community celebration of the Bonney Upwelling, presented by the Upwelling Festival Incorporated and including a partnership with other community groups. The Upwelling Festival celebrates what is unique about Portland and the community and show cases an important environmental phenomenon – the Bonney Upwelling. The Bonney Upwelling is a unique and epic natural ocean phenomena where the spring winds shift to the south-east driving a change in ocean currents that powers a seven month feeding frenzy of tuna, crayfish, giant crabs, squid, fish, seabirds, seals, krill and blue whales. An incredibly rich ecological food web, the Upwelling is at its greatest off the coast of Portland and is the cornerstone of the lucrative local fishing and tourism industry. The Festival is a free event maintaining the key elements of the Blessing of the Fleet, Street Parade, Festival markets, local entertainment, Marine Environment Talks and community art projects on the site.Upwelling FestivalA4 sheet folded in 4, to make program advertising Upwelling Festival 2010. Glossy white paper, illustrations on front cover in blues, greens. Back cover sponsors logos. Inside pages, Festival explanation and list of events. Two copies.upwelling festival, events, tourism, whales, portland

Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) 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.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu

This appliance was a time saving method of cleaning floors. It appeared at a time (after World War II) when the domestic pressures faced by mothers and domestic staff was on the increase. The necessary "working parents" was through necessity becoming part of the "typical" family environment. It was the start of the ever increasing demand, from an economical reason, for both parents to work outside their property. Historically the period of the 1950s was one of extreme changes. It was an era where established role models were under pressure from an ever increasing demand for new and advancing consumerism. Communication levels via radio, newspapers and television was expanding at an ever increasing rate. Relatively isolated rural areas were opening up (post war) to foreign ideologies of consumerism. The basic restraints of "this will be alright mate, she'll do" was under a slow but effective take over. "I can get this done faster by this new whiz bang gadget that I saw on the TV last night!" was the new way to live by.This item is very significant in that it demonstrates the new consumerism at its infant stage of the social changes occurring due to greater communication levels between the rural Australian communities and other advancing communities world wide. The Kiewa Valley residents (mainly from the intermingling of rural and post World War II refugees working at the construction of the Victorian Hydro electricity installations, resulted in this rural area becoming integrated to new ways of living (both socially and economically). Once the attitude of "we have always done it this way mate!" was challenged and overcome, the acceptance of new time saving "gadgets" which started to pour in from foreign markets, the relative isolation of the Kiewa Valley (being mainly psychological entrenched), was over.This hoover electric floor scrubber and polisher has a main base containing two brushes (can be replaced with polishing pads). The two brushes/pads are fastened or removed from the base unit by pulling/pushing the heads from the small hexagonal shaft on the bottom of the machine motor. A pressure sensitive wire is inlaid at the brush/pad end to hold the brush/pad unit onto the shaft. The discs body and main body covering the electric motor are made from sturdy plastic. The rest of the appliance materials i.e. upright handle and the u framed attaching arm are made from lightweight powder coated steel. A small (350mm) red coloured foot switch protrudes from the back of the motor to release the the upright handle from the storage position to the action position.There are two fork shaped brackets on the rear of the handle, for securing the 6.5 metre long electrical cord and plug. There is no on/off switch on the appliance. A small stainless steel "u" framed clip (for hanging the appliance in the vertical position) for cupboard storage. Within the circle of the cleaning brush is stamped "1 above S.A.B.351" and on the opposite side P/No: 5023792". On the main plastic head of the brush discs are "TO CLEAN" and under this "USE ONLY WARM(underlined) WATER AND SOAP" on the opposite side, and within a circle is the Hoover Trademark. On the front of the blue coloured plastic dome covering the electric motor is (on a raised domed shaped plaque (on a red background) Hoover in slanted print from left to right(in a diagonal level)domestic appliances, floor cleaning, electric floor scrubbers and polishers