A cream programme with red and black print. On the front cover are the words, ' Bendigo Repertory Society inaugurated 1929 Has Much Pleasure in Presenting J. B. Priestly's Drama 'An Inspector Calls' A Play in Three Acts. Girton Hall Friday & Saturday August 6th & 7th, 1948. Programme 6s. Cambridge Press, Bendigo. Also included is a small newspaper cutting dated 5/8/48 from the Bendigo Advertiser showing a photo of a scene from the play.program, theatre, bendigo repertory society, lydia chancellor, collection, event, theatre, play, entertainment, drama, girton hall

Colour film that is 10 min 29 sec in duration, 16 mm sound. 28th Melbourne Legacy Children's commemoration ceremony on the eve of Anzac Day at the Shrine of Remembrance in Melbourne 1959, attended by the Governor, Sir Dallas Brooks, who gave an address. The President of Melbourne Legacy, Legatee McKeddie, conducted the wreath laying in the Inner Shrine. 2,500 children from 254 Melbourne Schools attended the ceremony, which was simultaneously broadcast by the ABC throughout Victoria, and over 200,000 children participated. Filmed by The Melbourne Repertory Film Unit, cameras Eric Aitken, David Corke, Ian Hanna and Jack Semmens, musical recording by Leo Fowler, music by Felix Werder, directed by Ian Hanna. This film has been digitised to preserve its content. Melbourne Legacy gratefully acknowledges the support of the Victorian Government and Public Record Office Victoria for making this possible.Film shows the public reverence and respect for those who died serving Australia in times of war. Displaying the Shrine environs and Melbourne skyline at that time adds further interest.Metal canister and spool with celluloid film labelled Our Children Remember.Circumference of spool MASPRO SYDNEY AUST. Spoke of spool calibrated in 50 feet units from 50 to 400 feet. Label x 2. Label 1 - Please note this film is the property of Melbourne Legacy. Label 2 - Victorian Film Laborities PTY. LTD., Cambridge Buildings, Station Street, Box Hill, Victoria. Our Children Remember. A film of the Anzac Eve ceremony at the Shrine of Remembrance. Melbourne 1959. Magnetic Stripe.anzac commemoration for students, wreath laying ceremony

Community Arts Centre - a. Space Requirements: 'Spreadsheet' - single page ruled up with horizontal rows listing 21 Bendigo arts organizations and vertical columns inserting 20 varied space requirements (e.g. main auditorium; stage; back stage; wings; etc) + Total space requirement for each organization. No date or author provided; b. Same 'spreadsheet' but specified as space in square feet. Attached is a handwritten note (no stated author) entitled ''Plaza Proposal'' (19/1/77) stating that the schedule is for the area requirements of local groups with information as to spending money of architectural surveys of existing buildings and time constraints on putting forward any proposition. List of Community Arts organisations; M.A.S.B.,M.L., Competitions society, Repertory society, Shakespeare Society, Operatic Society, concert Orchestra, Benola Choristers, Brass Bands Association, Pipe Bands Association, Victorian Society of Organ's, Film Group, Bendigo Arts Council, Photographic Society, W.E.L., Music Teachers, Spinners & Weavers, Wyse Players, Organ Club, Friends of the Art Gallery, California Gully Youth Club.

a/ Societa Corelli, City Hall, Bendigo. The Music Advancement Society of Bendigo presents the Third Concert 1960 series by arrangement with Musica Viva Society presenting Societa Corelli. Personnel: Violinists: Aldo Redditi, Luigi Gamberini, Scala Anna Maronna, Lando Cianchi, Will Eisma, Anita Rizzo, Gilberto Crepaldi. Viola: Wilhemina Eester, Giocondo Girotto. Cello: Silcano Zuccarini, Italo Gomez. Double bass: Giovanni Zanardi. Harpsichord/Piano: Mirella Zuccarini. Thursday, 25th August 1960 at 9.15pm. Hon. Sec. Mary Stanistreet. Members may move forward to unoccupied seats after interval. Programme. Advertisements: Allan's, Allan's Walk, Bendigo. Edgars', 293 Hargreaves St., Bendigo. Telephone3-4738. Coming Concerts, Saturday, 17th September, Celeste Trio and Miss Ann Levin. Saturday, 22nd October, Oriana Choir and Dorian Singers with Soloists and Orchestra. C1960. b/ Leaflet inside - 120 minutes of Drama and Suspense at Bendigo Repertory Society's production ''The Desperate Hours'' at Girton College HalBoltons Print., Bendigoprogram, music, music advancement society bendigo, a/ societa corelli, city hall, luigi gamberini, scala anna maronna, lando cianchi, will eisma, anita rizzo, gilberto crepaldi. viola: wilhemina eester, giocondo girotto. cello: silcano zuccarini, allan's walk, bendigo. edgars'

The colour negative appears to be an official photo arranged by the City of Ringwood Council.Gerald Smart was mayor in 1973/74 and 1976/77 for the City of Ringwood. He also served as a Councillor from 1967/68 until 1981/82. Married Sandra, who also served as Mayoress for Cr Pat Palmer. Gerald was instrumental in getting the Wyrenna-based local radio station, ECB-FM, off the ground. Other information:- SMART, Gerald Richard George 1967-73, Mayor 1973-74, Chartered Engineer. Melbourne University, R.M.I.T., Diploma of Radio Engineering. Son of Walter and Doris Smart. Married with one son. Cricket, tennis, golf, spearfishing, chess, table tennis, photography (8mm, 35mm, stills, music.) Theatre - Melbourne University, Emerald Hill Repertory Company. Radio - Music session on 3XY. Television - 'Consider Your Verdict', character parts. President Ringwood Arts and Crafts Society Honorary Secretary of Television Society of Australia Patron, Ringwood Swimming and Life Saving Club President Ringwood District Scouting Association Executive Committee Member of Municipal Association of Victoria Formed ECB-FM +Additional Keywords: Refer to the "Mayor" envelope, registration no. 3932, for further information.

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kangaroo ground-warrandyte road, north warrandyte, the robins

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

Article re films made by Melbourne University experimental film unit 'The Wheel' and 'August Schwerkolt slept here'.melbourne university experimental film unit, mitcham repertory group, uhl, jean, grant, max, brearly, gil

1_Program contains advertisements from local retailers in Ivanhoe and Eaglemont advertises the forthcoming play, lists the cast and crew, with details of the cast, synopsis of scenes and when each act occurs. 3_1 Refers to detail of staging with ‘average’ acting, with best performance by Lois James. 3_2 Detailed Review, includes performance dates; Thursday 1st and Friday 2nd May, 1952. Increased size of audience and detail of the staging and favourable descriptions of the actors and producer. All items in good condition 1_Photocopy on white A4 paper from scanned original program that is printed on both sides of single sheet. 3_1 photocopy of cutting from unidentified newspaper article. 3_2 Cutting from unidentified newspaper article. Black type face on newsprint paper which has an ecru tone. The Review is glued onto paper. 6_Photocopy of cuttings from unidentified newspaper articles elaine robinson, reg morkham, stella guererro, esme kopman, ken proctor, elaine hill, lois james, joyce carthew, thora berg, reg rudd, claudia, city of heidelberg repertory group, eistdford hall, directed by mel morgan

Two seasons, the first on the 14th & 15th August, 1952 was part of the Company’s 1952 playbill and contains advertisements from local retailers in Ivanhoe and Eaglemont and advertises the forthcoming play, The Playbill by Terrance Rattigan, embracing The Browning Version and Harlequinade. The second season, on 2nd October, 1952 was in aid of City Of Heidelberg Eisteddfod Society Prize Fund and the Society acknowledges the Group's co-operation. Scans of original programs that are printed on both sides of single sheets.reg markham, ken proctor, leonard tonge, keith featherstone, clement meadmore, mel morgan, lois james, helen hyne, graeme tonge, jim howard, george tanner, patricia walker, bruce mcbrien, peter maxwell, laurie woods, peter goad, jack campbell, gwynneth roberts, reg rudd, max mundy, fred tipping, thora berg, stella guererro, the ringer, city of heidelberg repertory group, eistdford hall, 1952, 4, directed by joyce carthew

heidelberg theatre company inc, city of heidelberg repertory group, 1979, 190, directed by david ashton

1978, 183, city of heidelberg repertory group, heidelberg theatre company inc, directed by alice bugge

1978, 184, city of heidelberg repertory group, heidelberg theatre company inc, directed by ian brown

1978, 185, city of heidelberg repertory group, heidelberg theatre company inc, directed by david ashton

1978, 186, city of heidelberg repertory group, heidelberg theatre company inc, directed by judith muir

1978, 187, city of heidelberg repertory group, hei, directed by dorothy pound

1978, 188, city of heidelberg repertory group, heidelberg theatre company inc, directed by carleen thoernberg

1978, 189, city of heidelberg repertory group, heidelberg theatre company inc, directed by michael bond, youth production, pantomome

1978, general memorabilia, city of heidelberg repertory group, heidelberg theatre company inc