This ladies suit belonged to an elderly neighbour of the donor, Margot Miller, who lived in Black Street, Brighton in the 1970s. The neighbour had offered Margot a selection of her old clothing, dating from the early 20th century, as she wanted somebody to hold onto and care for the items after she died. Before Margot could take the items the neighbour was moved into a nursing home and, while cleaning out the house, the woman's son took the clothing to the tip with a load of rubbish. Margot happened to see him leave and was able to follow him and retrieve the clothes. They remained in the Miller family for many years; some were worn by Margot's daughters and some were ultimately passed on to others. Based on our research, we believe that the suit's original owner may have been Julia Richards (nee O'Keefe, c. 1882-1976), who lived at 59 Black Street during this time. Born in Ireland, Julia emigrated to Queensland in 1900. She married William Alfred Richards in 1911 and lived with him in Ayr, near Townsville, where they ran a hotel. It is unclear what became of William, but by the mid-1920s Julia and her two children were living in Brighton, where she remained until her death in 1976, aged 94.Cream wool ladies suit consisting of a jacket and skirt. Jacket is partially lined with silk, quilted around shoulders. Fastens with four self-covered buttons, one attached to a belt. Two box pleats at front and back, each featuring four decorative self-covered buttons at the waist. Upturned cuffs, each with two buttons. The skirt features a fabric belt and triangular pockets in each side with decorative self-covered buttons. Hook fastenings at side.1910s, women's suit, julia richards

This suit was tailor-made for Latvian dancer, choreographer and dance teacher Vija Vetra, who lived at the Old Hall, 93-95 Bay Street, Brighton and ran a dance academy at 97 Bay Street during the late 1950s and early 1960s. Born in Riga, Latvia in 1923, at the age of sixteen Vija ran away from home in order to study classical, character and modern dance at the Vienna Academy of Music and Performing Arts. She spent several years performing on European stages. When Latvia was annexed by the Soviet Union in 1944, more than 100,000 Latvians fled, seeking refuge in neighbouring countries. Vija's sister, mother and aunt were among them, managing to join her in Vienna. The following year, all four had to flee again when the Soviets moved into Austria. Escaping to Bavaria, they spent three years in displaced person camps before emigrating to Sydney as refugees in 1948. Vija found success as a dancer in Sydney. She toured Australia and New Zealand with the Bodenwieser Ballet, formed a Latvian folk dancing group and established a dancing school. By the mid-1950s she had gained recognition as a recitalist in her own right. She developed a passion for Indian classical dance. In the late 1950s she moved to Victoria. She opened a dance school in Bay Street, Brighton, while continuing to perform on stage in productions such as the musical 'Kismet' and the ballet 'Corroboree'. In 1959 she starred in the four-part live ABC television program 'Music and Dance'. She left Australia in 1964 for a tour of the United States and Canada, ultimately settling in New York City. Interviewed in the 'ABC Weekly' in 1957, Vetra described her taste in clothing as minimalist, saying she preferred to own as few clothes as possible to save the trouble of deciding what to wear: "And no bows or extravagances, but always a simple line."Two-piece women's suit made of maroon corded silk; comprising fitted jacket (.1) and straight skirt (.2). Jacket fastens with one large black faceted glass button. Jacket lined with pink satin; skirt unlined. vija vetra, migration, brighton, refugee, dancer, 1940s

Photocopy of photo: 4 women dressed in suits, dresses. On rear of sheet, 4 women dressed in suits and hats. In pencil 1962 popular girls ??? Appear to be the same group in photo on front of sheet.bendigo, bendigo easter fair, 1962 popular girl competition

Five Hanro catalogues, produced in Switzerland, printed in colour, depicting a range of Hanro garments. (a) A timeline of the Hanro Company from 1884 - 1959, printed in French ? , (b) Woollands Catalogue of Hanro Knit womens suits. (c) Catalogue of the Hanro Knit autumn collection. , (d) ' Miller Anderson presents Hanro of Switzerland ' catalogue, (e) Autumn collection -- same as © aboveHanro Companyorganization, business, hanro, hanro knitwear, clothing manufacture

The celebration of Queen Victoria's birthday on May 24 was renamed Empire Day in 1903 after her death in 1901. It was celebrated throughout the British Empire culminating in fireworks and bonfires in the evening. Empire Day was first introduced in 1905 to promote loyalty among the dominion countries of the British Empire. (from https://dictionaryofsydney.org/event/empire_day) Celebrated on 24 May, Queen Victoria's birthday, it was directed especially at school children. Teachers were encouraged to promote special steps to develop a feeling of pride in the British Empire and the achievements of the British race. Often a morning of short addresses, recitations and patriotic songs such as 'Rule Britannia' and 'Advance Australia' was followed by a half-day holiday to mark the celebration of Australia's strong ties to the British Empire. (from MuseumsVictoria)Empire Day was a celebration of the British Empire that was held for many years in the United Kingdom, Australia, Canada, and other countries. It took place every year on May 24, the date of Queen Victoria's birthday. Queen Victoria ruled England for 63 years. this item reflects the loyalty to and recognition of the British royal family in the first half of the 20th century.A black / white photograph of a large group of people , men in suits, women in long dresses. They are in a large fenced clearing.on back -" EMPIRE DAY ORBOST before 1909"empire-day celebrations gatherings public-events

Photocopy: image shows four women, dressed in suits or dresses and hats, two wearing furs around shoulders. Written on photocopy '1930's'?bendigo, bendigo easter fair, 1930 popular girls

A black and white photograph of unnamed Bendigo Teachers' College students in 1946. The men are dressed in suits with ties and the women are in suits, skirts with twin sets or dresses with jackets. The women are all wearing stockings or socks. See 3320.100bendigo, education, bendigo teachers' college students, la trobe university bendigo collection, collection, bendigo, education, tertiary education, teacher training, students, bendigo teachers' college, costume, fashion, attire, clothing, photo, photographs, photograph, photography, ms. j.c. burnett, mr. geoff pryor

Clothes brushes are still used today but they were of more importance in the days when white collar workers, both men and women, wore suits and hats and tailored clothing to work and these required frequent brushing to keep them looking good as they were not washable items. Formal work clothes were more likely to be worn, particularly by men, in the 20th century up to about 1970. This case with two brushes would have been used particularly in times of travel. This item is retained as an example of a household item of the past and will be useful for display purposes..1 -This is a brown oval-shaped leather piece rolled over to make a container or case. It has a leather and metal strap and buckle stitched into the front of the case. The leather case is slightly worn and stained. .2 & .3. -The case contains two oval-shaped clothes brushes that have light brown wooden polished backs with yellow/light brown horse hair tufts attached to the back. .1 - L 14 cm. W 8.5 cm. D 8 cm. .2 & .3 - L 12. 5 cm. W 8 cm. D 3.5 cm. household items, history of warrnambool

These are samples of the material used at the Fletcher Jones Factory in Warrnambool to make garments for men (suits, trousers, shorts) and women (suits, slacks, skirts, shorts). Fletcher Jones Clothing Factory was a key industry in Warrnambool from 1948 to its closure in 2005. The business was founded by David Fletcher Jones (1897-1977), a clothing manufacturer and retailer who worked as a hawker in the Western District following service with the A.I.F. in World War One. In 1924 Fletcher Jones opened three shops in Liebig Street selling men’s wear, hosiery and linen and operating a small tailoring business. He moved his shop to another location in Liebig Street and began to concentrate on men’s trousers production. In 1946 he opened a shop in Collins Street in Melbourne and eventually had stores and factories all over Australia. In Warrnambool he opened his factory at Pleasant Hill in Flaxman Street in 1948 and became a major Warrnambool employer, with over 1000 employees at one time. He transformed his business into a co-operative, with the name, ‘Fletcher Jones and Staff’ registered in 1947. The business diversified into other ranges of clothing for men and women but failed to compete with cheaper overseas clothing imports and the factory and shops were closed in the early 21st century. These pieces of material are of some interest as examples of the materials used in one of the most important businesses in Warrnambool and one that was of national significance for many decades. The Fletcher Jones label was well-known throughout Australia and Fletcher Jones himself was a prominent person in Warrnambool’s history, not only for his business interests but also for his philanthropy, his advocacy of business co-operatives and his support for many Warrnambool institutions. The Fletcher Jones Factory Gardens are still today a feature of Warrnambool and a tourist attraction. These two packets contain samples of materials used at the Fletcher Jones factory in Warrnambool. One packet (VC000690.1) contains four pieces of woollen material, one grey striped, one grey weave, one navy and one green, red and white tartan. The other packet (VC000690.2) contains two pieces of woollen grey and navy material and five small woollen samples of dark grey, light grey, navy, beige and blue and grey check material. warrnambool, industry

Grave of Francis Carter aka Stewart Roadknight is in Williamstown Lawn Cemetery Row MG 12 Father Howie Roadknight Mother May SellingsBlack and white photograph of Pearl Fallshaw with son William Tasman taken in 1926 along with a photograph of two women in bathing suits with small child seated on rock at beach. Lakes Entrance. Also a colour photograph of the gravestone of Stewart Roadknight aka Francis Carter in the Williamstown Cemetery.genealogy, people, beaches, cemeteries

Sepia image mounted on board. Image shows large group of men, women and children, seated outside undressed log building. Man are wearing three piece suits, hats. Women dressed in long dresses, hats. Appears to be a social group.person, group, social group, bendigo, sandhurst, social, group

Black & white photo of a Bendigo Concert Party. 5 men & 5 women. Men in black suits, white shirt, black tie, black top hat. Women in long dresses black at bottom, white at top with black & white feathered hats. person, group, bendigo concert party

The photograph has been printed from a glass negative which is part of the collection held by the Sunbury and District Heritage Association Inc. It is a view of Jackson's Creek near Eadies Mill.A black and white photo of a group of people sitting on an embankment and one man sitting on a large rock by Jackson's Creek. The men and women are dressed in suits and/or dresses. There is a waterfall behind and to the left of the party and a tree trunk in the foreground. Black and white with broad black margin on either side of the photograph.jackson's creek, sunbury, sunbury and district heritage association inc., clothing and dress, george evans collection

The group gathered for the photograph were enjoying themselves at an annual Ithacan Picnic during the 1930s. The picnic was most likely held at Maddingley Park, Bacchus Marsh as it was the regular site for the picnic up until 1980 following which a move was made to the Ferny Creek Reserve, now the regular venue. Notable from early picnic photos is the effort that was made to dress for the picnic; men in suits and women in smart outfits.A black and white photograph of people standing in an sports ground. There are seven men and five ladies as well as three young girls and a boy. Three of the men are sitting in front of the group on the ground.

Record of dress, vehicles and social commentSource unknown. Kept in collection of B&DHS for the record of dress, vehicles and social commentBlack & White photograph depicting an outing in the early 1900s. There are two vehicles (motor cars) that have been unloaded of luggage (including one suitcase) and (possibly) a picnic rug. The cars are surrounded by disembarked passengers - five men wearing hats and suits, seven women wearing hats and calf-length frockstransport, recreation, picnic, excursion

Sarah Wright was married to a gold miner named William. They lived at Laura Villa, Smeaton. Their family won many singing and instrumental awards. Frank Wright their son was born and attended Smeaton State School and was a renown resident of Smeaton. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia. Laura Ritchie was his sister and lived in Ballarat with her family. A black and white photo of two women sitting on a wicker couch on the verandah of a brick house. The older woman is wearing a dressing gown and slippers and the younger woman is wearing a light coloured suit. The women are Sarah Wright and her daughter Laura Ritchie. The house is Laura's home at 214 Armstrong Street Nth, BallaratWritten in pencil 214 Armstrong St Nth, Laura and Sarah Wrightsarah wright, laura ritchie, frank wright, cornet, ballarat

Sepia image mounted on board: image shows group of 8 women and 7 men, standing and sitting. Men wearing three piece suits, hats, women wearing dresses, shirts and skirts and hats ( some in hand ) Bicycles visible leaning on wall behind. Picture taken in same position as 1732.10 - connected groups ? Queens' Cycling Club ?person, group, man and woman, bendigo, sandhurst, group portrait, bicycles.

Documents, relating to the visit to Bendigo of Sir George and Lady Smith, 1913: a. Copy of photograph of four people seated outside Town Hall - Cr J Hooper (Mayor of Eaglehawk), Sir George Smith, Lady Smith, Cr J H Curnow, Mayor of Bendigo (original photo by W H Robinson - poor quality reproduction); b group photograph of approximately 33 people seated and standing outside Town Hall at the Cornish Welcome to Sir George and Lady Smith, 28th April, 1913 - four women among suited men, named under photo (poor quality reproduction with inked additions to list of names); c. & D. photocopies of menu for the Social in honour of Sir George and Lady Smith's visit to Bendigo. Mention of Musical Conductor - Mr R T Trembath; S J Langdon, Secretary (Cornish Residents of Bendigo) and Chas H Leggo (Caterer).event, social, reception, sir george and lady smith. cornish residents of bendigo. cr j. hooper. cr. j. h. curnow

B+W Group photo on cream board. 4 males + 4 females, perhaps a family group as there is a family facial resemblance. There are 2 generations . Older man + woman (mother + father?) seated in leather chairs with armrests. The younger 6 are standing behind with the youngest seated at centre of older ones. All in 'good' clothes, males in 3 piece suits + ties, women in 'Sunday best' dresses. Group centred on a large floral mat. Inscription: Bartlett Bros. BendigoBartlett bros. Bendigoperson, group, possibly, family group

Sepia image mounted on board: 11 men and 4 women. Horse and cart with barrel on back of cart. Five men of the group are seated on cart, others standing. Man is holding horse by collar. Men are dressed in suits, hats. Women dressed in mid-calf length skirts and long line jackets and hats. In background: hotel building with wrought iron lace on verandah. On window ( barely discernible ) Hotel Sha.. ( could be Shamrock?) and on another window : son.Lain. Photo could have been taken in early 1900 - 1920 ?Bartlett Bros., Bendigobendigo, hospital, bendigo, shamrock hotel, horse, cart, bartlett bros.

Photocopies of photos. On front written in pencil 1962 Marlene Hazeldene (now Llewellyn) has originals, has framed life governorship Home and Hospital, have originals both hospitals annual reports. Image on front shows Triumph sports car with women sitting up high on seat, in Easter Parade. Presumably Marlene Hazeldene. On back, photo of 4 women, one man. Women dressed formally in suits, dresses and hats. One woman has Mary Keating written on sash. Man in suit. In pencil '1958'. And Bendigo Advertiser.bendigo, bendigo easter fair, 1958, 1962 popular girls

Photograph: black and white photo mounted on cream board. Group of men, women and children, standing and seated in four rows, standing in front of weatherboard building (Spring Gully School ? ). Five men are seated in front row, wearing three piece suits, ties. Women are dressed in long dresses, most wearing hats. Photo perhaps late 1800's ?. On bottom Left Hand side of photo written in black : Cyril white, Photo, Bendigo Written on back of photo in biro Mrs. J. Noble, 232 Carpenter Street, Spring Gully, BendigoCyril White, Bendigophoto, group, spring gully, family portrait, noble, j.

Black and white photo of BRIT staff October 1965. Four rows of staff standing and seated in front of BRIT building. Men in suits Women in suitable business attire. Staff Names: FRONT ROW left to right: Misses H. Millott, M. Orde, H. Burgess, Mesdames P. Brammer, I. Rammage, Messrs. A. Craig, E.C. Thompson, E. Golding, R. Birrell, Misses G. Hird, L. Thomas, M. Hunt, Mrs. M. Gilbert, Miss F. Dixon. SECOND ROW left to right: Mr. H. Albrecht, Mesdames E. Bennetto, P. Swann, Messrs. R. Argus, W. Delecca, J. Berry, T. McLelland, I. Gillin, N. Singleton, R. Lacy, T. Lunn, G. Tangey, A. Birch, C. Candler, Mrs P. Martin, Messrs. N. Dack, R. Wilson. THIRD ROW left to right: Messrs. T. Lee, J Looney, R. Clark, T. Evans, A. Reid, E. Ainsworth, R. Stephens, A. Spicer, R. Wild, E. Hodge, J. Hutchison, G. Atkins, A. Crothers, W. Williams, F. Russell, F. Lea, A. Thompson, D. O'Hoy, S. Jennings. FOURTH ROW left to right: Messrs. G. Austin, F. Van Wollington, J. Lyne, A. Tabor, D. dePyle, B. Davey, H. Jones, B. Taylor, E. Cusack, G. Sargeant, J. Eadie, P. Ellis.bendigo, education, bendigo regional ins tech

The university of Ballarat Town and Gown was held on 26 October 2000 at the Ballarat North Football Club.Twenty three coloured photographs of the University of Ballarat Town and Gown Dinner, 2000. .11 - Three men wearing suits and ties stand holding glasses. L-R: ? , Doug McKnight, Bruce Clark.university of ballarat, town and gown, bruce clark, doug mcknight, richard king, david nicholson, philip candy, peter fryar, fryar, sue trelair, claire bell, jack barker, e.j. barker, martin westbrooke, stafford mcknight, paul jenkins, anne fennell, bill gribble, andrew berryman, garry taylor, fiona caro, david caro, weston bate, peter blackmore, peter morey, alistair heighway, val d'angri, darren cheesman, liz sheedy, jeannie king, val runyan, wayne muir, graeme beanland, louise hargreaves, rupert bowd, anne fry, margaret stewart, peter mansfield, clare gervasoni, anne beggs sunter, university women

Photograph captures people assembled for a meeting of the Elaine Coursing Club at Larundel around 1923.Black and white photograph on cardboard mounting showing a large group of people on the verandah of the Elaine Coursing Club, Larundel. The verandah has wrought iron lace work. The house is made of bricks, and two large windows can be seen on either side of the large door. Many of the people are wearing hats, the women are wearing dresses and the men are wearing suits and ties. There are more women than men.There are several chairs on either side of the group.Verso (in pencil) 'Elaine Coursing Club Grandpa'elaine, elaine coursing club, coursing, larundel estate

Durham Lead (also known as Durham, 1870s) was a mining township 15 km south of Ballarat. It was one of several mining centres along the main mining lead running south of Ballarat, generally along the valley formed by the Yarowee or Leigh RiverCopy of a sepia tone black and white photograph of a large group of men, women and children taken at the dance and euchre party Durham Lead 13 April 1938. Front row sitting on the seat (not the floor):- 4th from left, Mrs. Minnie Scott (nee Kinsey); 5th from left, Miss Lucy Kinsey; 1st right, Mr Thomas Scott Jnr. (dark suit & tie) 2nd back row:- 7th lady from right, wearing glasses, slightly behind, Miss Catherine (Kit) Scott A memento of the dance and euchre party Durham Lead 13.5.38durham lead, leigh river, garibaldi, gold

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doilies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. This book has photographs and detailed instructions for a wide range of tatted edgings and insertions suitable for household linens such as towels, doilies and tablecloths as well as patterns for whole mats. Stanley E. Mullen (a businessman) developed Semco Pty Ltd which began as a Melbourne based importation company in 1907. The first three letters of Semco's name were his initials. In 1915 it began manufacturing women's apparel, whitework and transfer patterns. In 1924 the company moved to Black Rock, Victoria and continued to produce an extensive range of needlework patterns and handcraft instruction booklets, threads etc. up until the late 1970's. Semco had a staff that included many young women. It was noted by E.J. Trait (editor of the local newspaper "Standard News") that the firm provided them with good working conditions and the correct rate of pay for women in a time of war - the starting rate for 15 year olds, mainly girls at Semco was 25 shillings per week. During World War 2, Manpower Regulations could be used to coerce workers to move into jobs that supported the war effort, but Trait argued that being employed at Semco could make this unlikely as the firm made some goods essential for the war effort. He even suggested that women be encouraged to produce needlework items (and play a part in the war effort) by sending them as presents, to the troops up north. He also heaped praise on the Semco workplace - noting that no Saturday work was the norm, allowing employees to shop and have "hair-do's" before enjoying a relaxing weekend! Semco also had a female cricket side in the women's Saturday association. After the war the firm stayed in production until the early 1990's when it was taken over by Coates-Paton Pty Ltd. Norma Benporath (1900 - 1998) was an expert in tatting techniques and taught and published extensively on the subject. She was born in New Zealand with impaired sight but cataract surgery restored 50% vision to one eye. She was inspired to learn tatting whilst watching her aunt tat and being told that tatting did not require as much sharp vision as embroidery. She quickly learnt to design her own patterns and published over 1000 tatted lace patterns between 1929 and 1952. She became a regular contributor to magazines (such as Home Beautiful) and newspapers across Australia. Her designs were also published in New Zealand, South Africa as well as the U.K. and U.S.A. When Semco, a thread manufacturer, noticed a rise in the sale of fine crochet threads, they realized they had an untapped market to explore. Norma designed a collection of tatting patterns for Semco that were used to help promote their threads. Norma also worked with Semco to produce a line of threads and shuttles specifically suited to tatting. In 1997, Norma was inducted into the "Order of Australia" for "Service to the craft of tatting as a designer and through the international publication of her patterns".This item is an excellent example of the needle work being enjoyed by women in the 1940's in Australia and the skills of the Australian designer, Norma Benporath. It is also an example of the trend that emerged for craft companies such as Semco to publish pattern books in order to advertise their own materials.A 32 page soft cover instruction book with green front and back covers showing two tatted doily designs. The book includes black and white photographs and written patterns by Norma Benporath.Front cover - "TATTING" "For / EXPERTS/ and / BEGINNERS" "By/Semco" "SEMCO INSTRUCTION BOOK" "No. 16" "WITH ILLUSTRATIONS AND INSTRUCTIONS" "9" Back cover - "FOR INSTRUCTIONS FOR WORKING SEE PAGE 22" "Published by Semco Pty. Ltd." "BLACK ROCK, 29, VIC"flagstaff hill maritime museum and village, warrnambool, great ocean road, tatting, tatting instruction book, tatting patterns, tatting shuttle, semco, semco pty ltd, norma benporath, needlework, handcrafts, household linen, craftwork

1936. Back to Cheltenham State School, Charman Road, Cheltenham. Photograph is black and white. Four rows of men and women dressed in their best clothes. School photo of coming back to Cheltenham in 1936. The men are wearing suits, some with waistcoats, and white shirts with neckties. The women are wearing dresses some with jackets,. On every man and women, they have a sticker against their chest with their names on it. Most of the ladies are wearing hats on their head, and about four ladies have their hats on their lap. The front row are sitting on the ground, second row sitting on a chair and third and fourth rows are standing.Front of Mount : Back to Cheltenham 1936 / CHARMAN RD. SCHOOL Stamp on back of Mount : N. R. McGeehan. / 154 / Hotham St / Ripponlea / Photographer.state school, charman road, cheltenham, 1936, school, cheltenham primary school, charman stephen, gettens mary, spring grove, balcombe road, nepean road, dairy farmers, market agrdeners, poultry farmers, methodist church