Black and White Photograph of maypole dancing on the QEO during the royal visit of 1954.photograph, group, maypole dancing, royal visit

Part of the social history of the Stanley community and the life of children in rural AustraliaBlack and white photograph A group of 12 girls in white frocks with fansstanley children girls leisure dancing

Article One - Charge! - image of members of the aboriginal group carrying out a baton charge Article Two - Officer's Tribute - image of aborigines at Wangaratta carry out ceremony of changing of the guard Article Three - Two Australians - image of Shirley Anderson, 8, of Wangaratta frequently entertains Diggers, singing and dancing. She visits camp nearly every day to chat with guard on duty. Aboriginal soldiers formed a special all volunteer platoon at No 9 Camp Wangaratta in Victoria from late 1940 until February 1941. No 9 Camp was set up at the Wangaratta Showgrounds to allow the formation of the 2/24th Australian Infantry Battalion prior to leaving for Egypt. Major Joseph Albert Wright a WW1 Light Horse veteran was in charge of this platoon the only Aboriginal squad in the Australian Military Forces at that time. The soldiers from Lake Tyers enlisted at Caulfield between June and July 1940 include Harold Cornelius HAYES VX 48217 DOB 2/4/1916 Enlisted 25/7/40 Discharged 22/3/1941 Edward FOSTER VX48218 DOB 25/5/1921 Enlisted 25/7/1940 Discharged 22/3/1941 Noel Ernest HOOD VX48194 DOB 3/1/1919 Enlisted 25/7/1940 Discharged 22/3/1941 Edward Leslie MULLETT VX48199 DOB 30/6/1910 Enlisted 25/7/1940 Discharged 22/3/1941 Samuel Richard RANKIN VX48201 DOB 23/7/1910 Enlisted 25/7/1940 Discharged 22/3/1941 Stewart HOOD VX47351 DOB 23/1/1903 Enlisted 18/7/1940 Discharged 22/3/1941 William GORRIE VX48208 DOB 22/11/1921 Enlisted 25/7/1940 Discharged 22/3/1941 David John MULLETT VX48195 DOB 10/6/1919 Enlisted 25/7/1940 Discharged 22/3/1941 Arthur Alexander (Tom?) MULLETT VX48198 DOB 25/11/1914 Enlisted 25/7/1940 Discharged 22/3/1941 Images relates to the "special platoon" based at No 9 Camp Wangaratta as being the Australian Army's first all Aboriginal Unit formed in 1940. The soldiers were all volunteers mainly from Lake Tyers in Victoria. In addition to normal army training they performed guard duty at the Army Hospital and Camp. They formed the Gum Leaf Band and led the troops at community singing and assisted in Methodist Church services. Three black and white newspaper articles adhered to cream paperWarrior Tradition Written in blue ink 28/12/1940no 9 camp wangaratta, aboriginal platoon

Returned Soldier's Ball held in Wangaratta on 9th August 1937 Captain Mulder and Jim Boyd were floor stewards. A special set of four couples in full regimental dress danced the Quadrilles and other set dances.First Military Ball held in Wangaratta and due to its success it was decided to make it an annual event. Black and white unframed photograph of large group of men and women in front of stage with flags in background mounted on brown cardboardA momento of the Ret. Soldiers Ball Wangaratta 9.8.371937, wangaratta, returned soldier's ball

The Ruyton Reporter (formerly known as Ruyton Reports) captures the essential Ruyton Girls' School experience for the broader school community. It has been produced since 1986.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. It also gives insight into the types of activities and events undertaken at Ruyton Girls' School during the period of its production. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Black and white newsletter printed on paper with staple binding. 8 pages.Front Page: Vol. 1 No. 2 AUGUST, 1986 / R / RECTE ET FIDE LITER / RUYTON / GIRLS' SCHOOL / Reports / From Ruyton Girls' School / 12 Selbourne Road, Kew. 3101 / Telephone (03) 819 2422 / The Year 7 Camp at / Valley Homestead in Ovens, / Victoria was an outstanding / success. The first in a series / of camps with an adventure / bias for secondary students / at Ruyton, this camp is / held in early June, so that / younger students can / experience early winter / conditions in the high coun- / try, while enjoying the / warm modern comforts of / the Valley Homestead. As / kangaroos grazed on Mt. / Buffalo, the girls were / introduced to activities such / as Obstacle Courses, Bush / Dancing, Bush Skills such as / fire lighting, first aid and / shelter. Accompanied by / members of staff, these / activities proved not only / interesting and enjoyable, / but challenging and ap- / propriate to the age group / involved. As the leader, Miss / Willis, explained a special / week for all who took / part. / HIGH ADVENTURE / IN HAPPY VALLEY /ruyton girls' school, ruyton, school, students, newsletter, ruyton reports, ruyton news, kew, victoria, melbourne, girls school

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

The Firemen's Ball was held at the Memorial Hall, Sunbury 26 August 1936.A posed group of people attending the Firemen's Ball in Sunbury in 1936.bottom centre: A memento of a Firemen Ball, Sunbury 26.8.36dances and balls, sunbury, memorial halls, fire brigades, firemen's balls, clothing and dress, 1930s, george evans collection

A black and white image of a group of people at a dance in the Diggers Rest Hall. This venue was used by the people of the district for many years.on back: E & U / Cullinan / Diggers Rest / OLD HALLcullinan, uraina, eileen, chris, farming, farms, bayview farm, diggers rest, diggers rest hall, george evans collection

Donated by Helen Dudley.Black and white photographs. (1) 2 copies. 5 girls and a boy posing by the Potting Shed wearing ballet clothes. (2) 2 girls and a boy posing by the ponds. (3) 2 copies. Several girls dancing by the ponds. (4) "1945 Break up Ballet in progress with final act of Les Woolcock being thrown in the pond by the girls of the ballet."(1) On reverse, "1945 Break up 2nd Year students Ballet Group. L to R Rhonda Shaw, Helen Dudley (at rear), Jane Collingwood, Les Woolcock, Pauline Macaboy at rear, Mary Hume, Helen Hanna outside Potting Shed used for dressing room." Alma Rigg may be in it too. (2a,b) "1945 Break up Ballet in progress."helen dudley, female students, ballet group, rhonda shaw, jane collingwood, les woolcock, pauline macaboy, mary hume, helen hanna, potting shed, dressing room, alma rigg, ponds, ballet, students, break up, final assembly 1945, luffmann ponds, lily ponds

On Sunday 19 December 1954 at 3.30 pm, 52 people attended the inaugural general meeting, which was held in the Catholic church hall at Theodore Street, St Albans. Slovenians at the meeting were enthused at the prospect of developing closer ties and a committee was formed to organise the next dance. This humble beginning laid the groundwork for the establishment of the first Slovenian organisation in Melbourne, Victoria.On 5 December 1954 the first meeting of the club’s preparatory committee was held at 36 Prentice Street, East St Kilda with 26 people in attendance. The group prepared a list of regulations and decided on the name Slovenski klub Melbourne – Slovenian Club Melbourne (SCM). The first Minutes of the Meeting announced the club’s statement of purpose: • to assist migrants of Slovenian origin; • to assist assimilation to the Australian way of life; • to help Slovenian migrants in every possible way, especially financially; • to help Slovenian refugees in Europe, especially those who wanted to find a a new and free life in Australia; • to offer members and their friends healthy intellectual and physical activities in the cultural, social and sports arenas; and • to cultivate a Slovenian cultural heritage while also making contributions to their Australian community.A sepia photo of the Slovenians attending the first meeting in St. Albans, 1954 Some in attendance included: Ljubo Pirnat, Paule Postarenko, Ivan Gerbec, Tinka Verbic, Zladko Verbic, Viktor Ferfolia, Tusek, Joze Pekolj, Mrs Potocnik, Joze Potocnik, Janezic, Fanc Novina, Joze Golenko.first slovenian club, slovenians in melbourne, slovenian club, regulations of first slovenian club

Slovenians loved to participate at the cultural and multicultural events and have proudly displayed their traditional national costume of Gorenjska region in Slovenia. The dancers have entertained the visitors with the lively Polka and waltz dancing and the musician on a piano accordion expressed his joy. traditional Slovenian national costume of Gorenjska region - SloveniaGroup of Slovenian musicians and dances participation at the Royal melbourne Show in 1956. The Slovenian Club Melbourne was always in favour of participating at the Australian and multicultural events.The heart was a sign of love for this beautiful and welcoming country Australiaslovenian national costume, gorenjska, slovenia, piano accordion, polka, slovenian songs

Photograph of people at a Dance for Vermont Football Club - in sepia. Betty Pannam is fourth from left in short dress. Group include Mary and Lucy Brockell, Mrs Cooper and Charles Pannam. Charles played football for Collingwood. ( see sketch with photo).Haydn Bunton in black suit centre of picture. presented the prizesdances and balls, vermont football club, mckeon hall, murman - ringwood, st lukes anglican church vermont, brockell lucy, brockell mary, cooper mrs., pannam charles

Four black and white photographs copied onto a single A4 sheet, each of them of a large group of people at a ball.Top left photo: "A Memento of Hibernian Ball, Rutherglen. 1935" Top right photo: "A Memento of The Younger Set Ball, Benalla. 20-7-37" Bottom left photo: "A Memento of the Hibernian Ball, Rutherglen. 29-9-37" Bottom right photo: "A Memento of the Firemens' Ball, Rutherglen. 14-8-35"balls, dances, benalla, rutherglen, firemens ball, hibernian ball, younger set ball

Black and white photograph of a large group of children, in fancy dress, at a ball.At bottom of photo: "A Memento of Children's Ball, Rutherglen. 8-10-37"childrens ball, balls, dances

Black and white post card photograph a group of people in ball dress.At bottom of photo: "A Memento of the Firemens' Ball, Rutherglen 14/8/35"rutherglen firemans ball, dances, balls, fire brigade

Black and white postcard photograph of large group of people attending a ball.Written on a section of the photo: "Memento of the Hibernian Ball, Rutherglen, 29.9.37" On back of photo: "N. R. McGeehan, (Flashlight Specialist), 154 Hotham St., St. Kilda. S2"ball, dances, hibernian ball

Photo believed to have been taken at the Debudonk BallBlack and white photograph of a group of people in costume, dressed for a Debudonk Ball.On separate sheet: "Jack Carey, Poki Morrison, Ken McPherson, Doug Stanton, Alma Gordon, Ann Jackson, George Wheeler, Charlie Gordon, Muriel Edwards"balls, dances, jack carey, poki morrison, ken mcpherson, doug stanton, alma gordon, ann jackson, george wheeler, charlie gordon, muriel edwards, debudonk ball

Black and white photograph, mounted on grey cardboard, of a large group of people at a ball.Written on back of mount: "Rutherglen Military Ball" military ball, balls, dances

Postcard sized black and white group photograph of people in ball dress. Band on stage at back of photographOn back of photo: "Hibernian Ball - Rutherglen | 29/9/1937"hibernian ball, balls, dances

Postcard sized black and white group photograph of people in ball dressWritten at bottom of photo: "A Memento of the 'Tennis Ball', Springhurst"tennis ball, springhurst, balls, dances

Postcard sized black and white group photograph of people in ball dress.Written at bottom of photo: "A Memento of the Footballers Ball, Springhurst | 24/8/37"footballers ball, balls, dances, springhurst

Black and white postcard photograph of large group of people attending a ball.Written on a section of the photo: "A Memento of the Hibernian Ball, Rutherglen, 1935" On back of photo, in an oval stamp: "N. R. McGeehan, 154 Hotham St., Ripponlea, Photographer"ball, dances, hibernian ball

Black and white postcard photograph of large group of people attending a ball.Written on a section of the photo: "A Memento of the Firemens' Ball, Rutherglen, 14.8.35"ball, dances, fire brigade, rutherglen firemans ball

Digital image of a group of Irish dancers marching in the Koroit Irish Festival parade. koroit, irish, koroit irish festival, festival, irish dancers, dancers

The music was supplied for this dance by the Bushwhackers.A group at the Kew Festival Music Hall. From left to right: ? , Jack Joseph, ? , Kathleen Gervasoni (City of Kew Mayoress), Cr Jack Gervasoni (Mayor)city of kew, kew festival, colonial dance, kew town hall, bushwhackers, martin o'toole, lawrence o'toole