On the 26th of November 2000, the Arthritis Foundation of Victoria held its "Primelife Grandparent of the Year" grand finale award celebration. The event was held at the Melbourne Town Hall. In this photo, Victorian Junior Latin Dance Champions, Shaun Kingston and Kelly Yates, perform one of their ballroom dance routines during the event. The photo appears on page 16 of the Vol 14 Issue 01, Autumn 2001 edition of the Arthritis Foundation of Victoria's quarterly magazine, Update. It accompanies an article titled, "business promotions unit", which reports on the award night event. The photo is captioned: "Kelly Yates, left, and Shaun Kingston display their award winning dance style."COL photo of two people, both facing the camera. They are clasping eath other's hand during a dance performance. Both are dressed in ballroom dancing costumes - the young man is wearing a black shirt and black trousers and the young woman is wearing an orange sleeveless mini dress. In the background, people are seated at large round tables covered in white tablecloths.[Handwritten in red ink in the top right corner] 5. [On a white label, handwritten in black ink] Shaun Kingston and Kelly Yates, display their award winning dance style. 16 [circled]arthritis foundation of victoria, afv, osteoporosis victoria, ov, fundraising, primelife, grandparent of the year, gpoty, ballroom dancing, latin dance, champions, dance competitions, junior dance, shaun kingston, kelly yates, dance costumes, melbourne town hall, 2000

BHS CollectionA soft covered book titled 'Two Hundred Dancing Years and how to celebrate them with a Colonial Ball.' by Shirley Andrews and Peter Ellis. Published by The Australian Bicentennial Authority Australia 1788 - 1988. Presented to the Royal Historical Society of Victoria, Bendigo Branch with kind regards from Peter Ellis 3/12/1988.Shirlely Andrews and Peter Ellisentertainment, dance, colonial ball, peter ellis, book, dance, dancing, music, colonial ball, australian history, history, australian bicentenary, dance styles, balls, entertainment, recreation, australian food, food, menus, colonial food, colonial fancy dress, costume, fashion, dance programmes

Digital image of Electric Supply Co. well loaded, tram No. 17 in the Gardens, mid 1920s. Two images of the same photograph - the first has been straightened up. Photo by Jim Cox. Original held by the Brunswick Community History Group. Side on view of the tram shows the hand brake mechanism in the front cab, lifeguards, magnetic brakes, the seating arrangement, the step guards and rolled up blinds. It has an roof advert for the Ballarat Coliseum. In front of the tram appears to be the driver wearing a white summer jacket and cap. The lady standing nearest to the number of the tram is wearing a Charleston dance style skirt with a lower belt line and the Charleston dance style shoes - more around the top of the legs. The gentleman alongside has his trouser hem length high than normal to expose the shoes or boots. In the background is the Gardens Kiosk roof.Yields information about ESCo tram 17 and the travellers of the mid 1920s in Ballarat.Digital image of a black and white photograph.esco, tram 17, wendouree parade, one man trams

Colour photograph. Dance. Crowd. Old style dress. Photo reads NFF on back.photo, group, dance

Colour photograph. Dance couples in period style dress.entertainment, dance, barn dance

Colour photograph. Emu Creek Bush Band play in marquee. Couples dancing in period style dress on wooden stage flooring.entertainment, music, bush dance and music club

Colour photograph. Emu Creek Bush Band play in marquee. Couples dancing in period style dress on wooden stage flooring.entertainment, music, bush dance and music club

These photos were saved with a label saying "Veterans Health week '96" which is an awareness campaign from the Department of Veterans Affairs. From an article in The Answer in December 1996, the motto of the week was "Enjoying Life" and over 80 events were held in Victoria. these photos are from "the annual Veterans' Health Week Afternoon Tea Dance. Three hundred people danced in style to the music of the Mellow Tones, filling the dance floor every dance. During a delicious afternoon tea, Melbourne Legacy Line Dancers demonstrated their fun style of dancing and encouraged everyone to join them."A record of an event for widows and a way of keeping them active and of the relationship with the Department of Veterans' Affairs.Colour photo x 2 of widows line dancing in Veterans Health Week.Handwritten on the back '2' in red pen.widows, activities, answer

Mrs Clive Robinson, née Christina “Nin” McMaster Smartly attired in fedora and lace-up highland dancing style shoes, Australian Team Captain Mrs Clive Robinson’s tartan kick pleat skirt flies up as she practises her swing. Mrs Clive “Nin” Robinson (1985-1971) was a NSW golf champion. Raised on a 5,000 acre sheep station, during WWII she drove a charcoal burning truck and cooked for the forces at Air Force House. Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Fiona Collyer. Photographer notations on slide: "Mrs Robinson B98" Published: The Age 27 August 1935 p. 6 Published title: Golf Championships Begin. Published caption: A galaxy of champions will take part in the Australian Women's Golf Championship tomorrow. Three are shown here. Below — Mrs. C. Robinson, national champion. On the right — Miss J. Hood Hammond, champion of New South Wales and Miss Gardiner, Queensland champion. Trove article identifier: http://nla.gov.au/nla.news-article203984927 Description: Female golfer teeing off. She is wearing a hat, cardigan, tartan skirt and "Highland dancing" style shoes. Blurred spectators can be seen in the background. Research by project volunteer, Fiona Collyer: Mrs Clive Robinson née Christina Jeanie McMaster, known as "Nin" Mrs Clive Robinson (1895-1971) was a NSW golf champion. She won the Australian Women's amateur golf championship in 1934. Nin was captain of the team who won the Tasman Cup against New Zealand in 1934. She was the captain of the Australian team who competed against the visiting British women’s team in the Australian Women's Golf Championship in 1935 at Royal Melbourne. In 1936 Nin won the NSW Ladies Championship. Nin was raised by parents Mr and Mrs John McMaster on an 8000 acre sheep station called "Weetalabah” near Coolah, 135 kilometres northeast of Dubbo NSW. In 1923 she married Dr. Clive Robinson, a Macquarie Street specialist, and they lived in Point Piper with their daughter Diana. During WWII Nin drove a charcoal burning truck and cooked for the forces at Air Force House. She died of leukemia in 1971. Note: Highland dancing style of shoesPhotographer notations on slide: "Mrs Robinson B98".golf, women golfers, royal melbourne golf club

who are enjoying the colonial day. Some have had their faces painted while others are wearing party hats.A coloured photograph of nine students from Bulla Primary School in various styles of dance dress and face-painting.

BHS CollectionThree copies of a brown spiral bound book titled Collector's Choice of Set Tunes Polkas and Barn Dances for traditional dancing in Australia. Vol. 1.Compiled by Peter Ellis. Includes 180 tunes for Bush Dances, Quadrilles and Folk Style couples dances. Companion to 'Take Your Partners' by Shirley Andrews. Published by The Victorian Folk Music Club Incorporated, 1986. Box 2025S, G.P.O., Melbourne, 3001. Printed by Ajax Printing & Duplicating Pty. Ltd. 13 Pender Street, Thornbury, 3071. 105 pgs. Ill., ph., music.entertainment, dance, bush dance, peter ellis, collection, dance, dancing, music, polkas, barn dances, shirlely andrews, quadrilles, folk dancing, bush dancing, australian history, entertainment, leisure, book

Article about Tony Ghosthawk a full-blood native of the Santee Sioux tribe from South Dakota who has been living at Yarrambat and touring schools and Victorian communities showcasing his native-style music, dance and culture. Photograph includes friends, Carol Bodin, Sue Nolan and Steve Stranks.Digital file only scanned by EDHS from item on loancarol bodin, pow-wow, santee sioux tribe, south dakota, steven stranks, sue nolan, tony ghosthawk

Kiewa Valley Line Dancers meet regularly to move in unison to music while standing in lines. There are certain moves that are memorised to the music creating the effect of everyone moving together while facing one direction and dancing on their own. Line dancing has been around for a long time possibly originating from round & square dancing in the 1800s. In the 1990s country western music was influenced by the popularity of line dancing. Then ballroom rhythms and technique took line dancing to the next level. Line dancing reached Europe and in 2008 gained the attention of the French government. Line dancers dance to most styles of music and is popular throughout the world.This shirt belonged to Lorna Reid who lived in Tawonga in the Kiewa Valley. Line dancing began with Jim Budd in Mt Beauty in 1994 at the old Guide Hall with the assistance of the Neighbourhood Centre. Isla, a visiting teacher, with her husband Peter, continued classes at the Community Centre followed by Yvonne Sutton. At this time Social events were held with clubs from Myrtleford, Wodonga, Albury and Wangaratta. The next teacher was Joy Keith who held classes twice a week (Tuesday and Wednesday), with Eileen Speechly, from Gippsland, who held a class on Saturdays. In 2007, Robyn Quick took classes. An Intermediate class on Wednesday and Beginners on Friday. She visits Myrtleford once a week to learn from a teacher there. Line dancing is still (2018) enjoyed by many women in the Kiewa Valley giving them the opportunity to socialize and exercise together.Red polo shirt with collar and two red buttons at top front. Short sleeves. Front and back - black print of two 'mountains' with "High Country / Line Dancers / Kiewa Valley. Label size 18 "Player"kiewa valley line dancers, music, kiewa valley, tawonga, lorna reid

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

Part of the Bennetts Collection. See Catalogue No. 9726P for details of service for "Alva Marie Bennetts".1. Colour photograph of multi-story Japanese style building. Group of dancers in traditional costume on forecourt. 2. Colour photograph of Japanese Wrestlers in ring. Crowd of spectators in background. 3. Colour photograph of two Japanese ladies kneeling in front of an altar. 4. Colour photograph of a group of Japanese ladies seated around a table eating lunch. 5. Colour photograph of a Japanese bride in traditional costume at her wedding ceremony. Two other ladies featured. 6. Colour photograph of a Japanese housewife in traditional costume. Lady sitting in front of a tub,bennetts collection, alva bennetts, photographs, japan

This dress was typical of those worn on special occasions usually after 5 pm: eg. dinner dances, balls, weddings. There were many such functions at Mt Beauty and the Kiewa Valley eg. the Hospital BallThis dress was worn by Margaret Mc Kendrick (nee Vyner) who lived in Tawonga when growing up. She married Ian McKendrick and they lived in Mt Beauty. She worked as a nurse at the Tawonga and District hospital. They had three children: Linda, Robyn and Boyd. Ian worked at the Mt Beauty Post Office.Metallic brown taffatta cocktail dress with scooped neck front and back. Princess line in one piece with pleated side panels and back from the waist. Bows either side of the A line at front and three bows from the waistline to the bottom of the zip at the back. Capped sleeves. Skirt lined with stiffening.Label: Styled by Camille Lee of Melbourne'after 5' dress; ladies' clothing; margaret mckendrick; tawonga

Photographs of a concert performed at 130 AGH B.C.O.F. at Christmas 1948. Collected by Alva Bennetts. Part of the Bennetts collection. See Cat No. 9726P for details of service for Alva Marie Bennetts VFX128835.1. Black and white photograph of a concert party on stage during a performance. Audience members in uniform. 2. Black and white photograph of performers in sailor costume on stage. Lady playing piano at right. 3, Black and white photograph of performers on stage in various costume styles. Lady playing piano at right. Woman in uniform standing next to piano. 4. Black and white photograph of dancers on stage performing the Can Can. 5. Black and white photograph of a band of musicians in costume and performing on stage. Bass drum has Kings Crown next to letters “R.H” plus “130 AGH, BCOF” on it.1. Handwritten in blue ink on front at top “Concert at Hospital, Christmas 1948”alva bennetts, bennetts collection, bcof, 130 agh, photographs, concert

The Eltham Community and Reception Centre was Australia's first public mud-brick building. Commissioned in 1977 by Eltham Shire Council, led by Shire president (and architect) Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. The official opening was performed by the Hon. R.J. Hamer; E.D., M.P., Premier of Victorai on Saturday, April 22, 1978. Architects: Whitford & Peck Pty Ltd Quantity Surveyor: D.J. Cant & Associates Structural Civil Engineers: Charlett & Moore Pty Ltd Landscape: Peter Glass, Dennis Edwards Mech Elec: Lobley Treidel & Partners Pty Ltd Acoustics: Riley Barden & Kirkhope Builder: L.U. Simon Pty Ltd Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p177 The Wiggles performed there, so has the ABC’s Play School. New citizens have made their vows, volunteers have been honoured, school children have performed, weddings celebrated and people mourned at funerals. Since 1978 the Eltham Community and Reception Centre at the corner of Pitt Street and Main Road, has provided a beautiful and quintessential Eltham environment for people from all over Melbourne. Recognised as Australia’s first public mud-brick building, the centre was built partly on the site of the parsonage of the former Methodist Church (now the Uniting Church).1 Commissioned by the Eltham Council headed by President Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. Following public consultation, it was agreed to build a centre for dances, exhibitions, films, plays or concerts. The results – at a cost of around $620,000 – captured the Eltham rustic style. The building – in soft tones of mud-brick and timber and immense floor-to-ceiling windows – overlooks the Diamond Creek and sporting fields. Eltham’s strong artistic heritage is reflected in the centre. Although the lighting is not ideal for a gallery and labels cannot be placed on walls, the centre hosts the Nillumbik Art Awards and displays around ten to 20% of the Nillumbik Shire Art Collection, usually for around a year at a time.2 On permanent display, close to the entrance, is local artist Clifton Pugh’s White Choughs in the Landscape. Further to the right is the Walter Withers Gallery, named after a local member of the Heidelberg School of artists. As part of the Eltham Gateway opposite the Eltham Hotel, the centre stands on what was once part of the Eltham Town Centre along this section of Main Road, then known as Maria Street. On the same site once stood the house and flour mill owned by Henry Dendy, best known as the founder of Brighton, although he lived longer in Eltham. Beside the drive is a wheel-rim tool with accompanying plaque, illustrating a technology important during the horse-powered age and now almost completely gone, as has the blacksmith’s shop that had housed it nearby. The implement is a platform for fitting iron tyres to the wooden rims of cartwheels. Beneath it is a capsule placed in 1985 to commemorate Victoria’s 150 years, which is to be opened in 2035. Although the plants, forming part of the landscaping by Peter Glass and Denis Edwards, are largely indigenous and other native species, some exotic plants are protected as an important link with the site’s past. Planted at the front around 1920, is a large Peppercorn tree with two joined trunks growing from the base, and close by is a Bhutan Cypress (Cupressus torulosa). Three other Peppercorn trees fringe the drive. The building includes two halls – the larger seating 250 people – and a large foyer overlooking trees and ovals. Both halls have retractable rear walls providing varying spaces as required, and guests can use several external decks. A site for outdoor theatre has been carved out of the natural slope outside the entrance. The Bricklayers Union refused to use the traditional mud-bricks, which weigh more than 22kg. As a result the mud-bricks were redesigned to reduce their weight and were laid back-to-back to produce a wall of normal thickness.3 The centre’s massive timber frame is reminiscent of timber bridge construction, with infill panels of mud-brick.4 In accord with the rustic style are colossal rough-sawn posts, bolts and steel brackets. The combination of mud-brick, exposed feature timber framing and creative design in this centre, characterises Eltham’s innovative buildings and the social movement behind them from the 1940s to the 1970s.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, eltham community and reception centre, mudbrick construction

This file contains 4 items relating to the Elsternwick Classic Cinema: 1/1 original black and white photograph of the Elsternwick Classic Cinema, 9 Gordon Street Elsternwick. Date and photographer unknown. 2/ 2 photocopied photos of the Elsternwick Classic Theatre in its various stages of operation. One photo is of it as the Dorchester Dance Hall between 1938 and 1946 and the other is of the Classic Cinema in 1994. Photographers unknown. 3/National Trust of Australia (Victoria) Classification Report on Elsternwick Theatre with attached cover letter addressed to the Manager of the Planning Section, City of Glen Eira Council, from Ian Pausacker from the National Trust dated 04/10/2000. The report includes a statement of significance, history, description, context and floor plans of the theatre. 4/1 newspaper article written by Alex Njoo from the Caulfield/Port Philip Leader, 31/01/2012, congratulating the Tamir family on their conservation of the Elsternwick Classic Cinema. Includes a colour photo of the Tamirs, photographer unknown.elsternwick classic cinema, gordon street, elsternwick, dorchester dance hall, national trust of australia, national trust register, elsternwick theatre, pausacker ian, classic cinema, entertainment, cinemas, theatres, victorian style, elsternwick public hall, skating rink company limited, selwyn street, victorian permanent building society, community centres, films, shows and exhibitions, film projectors, amalgamate picture company ltd., richardson frank g., architecture, stairs, associated theatres limited, ballantyne and hared, balconies, architectural features, entrances, depression 1929-1939, astor, dancehalls, esquire theatre, prentice george, plottel joseph, architects, cowper murphy and associates, sharon cinema, tamir eddie, readings, free classical style, plans, business people, njoo alex, tamir family

Sepia Toned Studio photograph of 6 young ladies lined up left to right holding the waist of the lady in front of her, 3 of the ladies wear polka dot pinafores, the other 3 ladies wear a pants suit all are wearing Dutch style hats, mounted on a cream card in a brown wooden frameBartlett Bros Bendigoentertainment, dance, dutch dancers, bartlett bros bendigo, dancing girls

An historical visual record of some of the members of the Ladies Harbour Lights Guild, circa 1950. Many events run by the LHLG founded in 1906, were initially held in venues across Melbourne. In later years the main hall of the building opened in 1917 became a main venue for entertainment, meals and dancing. The LHLG organisation eventually amalgamated with the Flying Angels at the Mission circa 1962 and many LHLG members such as Dora Simpson, later elected as FA President went on to officiate.The Ladies Harbour Lights Guild (LHLG) a Melbourne and statewide network initially raised funds and held events for the Mission to Seafarers. Originally founded in 1906 the LHLG were responsible in 1917 for raising the funding for the Chapel and Dome at the Mission. The group and network developed a structure promoted to and adopted in one form or another by other similar auxiliary groups supporting Missions around the world. Black and white photograph. Image shows a number of women sitting in front of the stage in the main hall of the Mission to Seafarers Melbourne. In the background there is a three-piece band situated on the stage. Depicts the MtSV stage decorated with flowers, and lengths of material woven through an arch.The ladies seated in two rows in front of the stage all wearing summer dresses and have short hair styles typical of the 1950s Printed title and donor information printed across the top of the mount. See also historical informationpiano, drums, band, floorboards, stage, 1950s, dresses, main-hall, curtain, celebrations, lhlg, ladies harbour lights guild, mission to seafarers, seamen mission, mission to seamen, flying angel, melbourne, flinders street, prue leggoe, music, dance, entertainment, events, sailors, seafarers, seamen, lynette reynolds (nee madson), king george vi

Two cardboard parts to a printed programme. On one is a posy of violets and the printing: "Programme German Masque Ball, Tuesday 22nd. The second lists 15 dances. Printed by A. Brookley, Printers. Also are the following two articles from Trove: From the Bendigo Advertiser and the Bendigo Independant, Wed 23 Aug 1905: GERMAN MASQUE BALL. The pleasant plan of fancy masque ball, which for nearly 20 years now has been an annual fixture at this season, is always looked forward to with delight. It is got up by the Bendigo Deutcher Verein, in aid of their free library. The function took place last night in the Masonic Hall and was most enjoyable, and all who took part in it were delighted. The hall was tastefully decorated with flags, flowers and ferns. Bockelmann's Band occupied the stage and discoured sweet music. Many of the items on a long programme were of Mr. Bockelmann's own composition, notably the schottische "Bendigo," the waltz 'Como, 'and the waltz "Golden City." By 9 o'clock there were about 80 couples on the floor. Amongst the merry troupe of dancers were youths and maidens in all sorts and descriptions of gay costumes, including flower girls, Japanese lady, German peasant, lily of the valley, Mercia, Geisha girl, French Vivandiere, red dominos, black dominos, "The Last Rose of Summer," rose, sailor girls, gondolier, Pierot, Charles II., Tipperary boy. Toreador, Romeo, Prince Le Var, huntsman, Indian prince, fireman, barristers. jockeys, cricketers, etc. Many of the Iadies were in evening dress, but wore the masque. The arrangements were admirably carried out by the secretarv. Mr. J. D. Khaland, while it would be difficult to find a better M.C. than Mr. J. Armstrong. The dancing was witnessed by a large number of the public, who were accommodated on a temporary gallery at one end of the hall. A small charge was made for their admission, which helped to swell thelibrary funds. An excellent supper, served in Mr. W. C. Dick's best style, was much enjoyed. Dancing was kept up till about three o'clock, everybody pronouncing the gathering a highly enjoyable one. bendigo history, sandhurst, lutheran german church, penny school

TSDAV Magazine, No. 1, May 1981. It has a yellow cover with sketch of dancers in costume. Peter n. Ellis written at the top of the front cover. Photos and illustrations inside. Contains a copy of an interview with Alistair Anderson by Fay McAlinden, news of functions, feature on traditional social dance, feature on Steps and styles and callers' headaches by Shirley Andrews, Aims and objectives of TSDAV, Feature All about Sandhurst Dance Club, Coming Events, Q & A, Technical Notes and Discussion Point.magazine, club, traditional dance association, peter ellis collection, tsdav magazine may 1981, peter ellis, jenny milne, penny lane, shirley andrews, fay mcalinden, bruce mcclure, norm ellis, alistair anderson, johnson elwood, sam sherry, john kirkpatrick, sue harrison, hugh rippon, beat klippel, con klippel, efdss, tony sutter, rowan webb, pedr curteen, michael thatcher, victorian folk music club, margaret kiddle, steele rudd, sir roger de coverly, banjo paterson, patsy adam smith, jean lawson, larry harrigan, harry mcqueen, sandhurst dance club, ian thwaite, lynne stone, mark power, roy hay

Black and white photograph. In memory of the pioneers of Emu Creek sign. People Dancing in front of Emu Creek hall. Bush Band. Accordion. Guitar. Violin. Lute. Old style attire. Rear of photo reads Emu Creek Band Bendigo Bush Dance & music club Dancers.entertainment, dance, bush dance

Colour photograph. Couples dancing in marquee on wooden stage style flooring. Period style dress.entertainment, dance, bendigo old time dance club

Colour photograph. Couples dancing in large building. Some in period style dress. Parquetry flooring.entertainment, dance, bendigo old time dance club

Colour photograph. People in period style dress linked hands arms crossed over front. Around edge of large hall/ building. Parquetry style flooring.entertainment, dance, bush dance

Colour photograph. Couples dancing outside very large shed building behind. Period style dress.entertainment, dance, bendigo old time dance club

Colour photograph. People dancing on wooden stage inside marquee. Period style costume.entertainment, dance, bendigo old time dance club