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Migrants Enriching Australia
Migrants Enriching Australia was born of a project to assist ethnic community groups preserve and manage their material heritage.
This story consists of 21 story objects - including videos, audio recordings, images and text - and two educational resources available at the bottom of the page.
During the research a few people emerged who vividly carried a particular story about immigration and settlement to Victoria. These included Peter Yiannoudes who introduced Greek films to Melbourne in the 1950s. He carried his portable projector on a train and visited small country towns and even a farmhouse around Victoria, in order to share this dynamic Greek heritage with Greek expatriates.
Janina Archabuz (Pani Babscha) is a Polish grandmother who carefully designed and sewed multiple copies of intricate costumes for a Polish dance troupe in Ardeer, in Melbourne’s west. Janina is self-taught, however the costumes are exquisitely sewn and meticulously detailed. These costumes gave the Polish group visibility when performing traditional dances in the community, and contributed to their community’s transition from being Poles to being Australians of Polish origin.
The research for the Multicultural Communities’ Collection Project revealed incredibly rich collections – their photographs, documents, costumes and memorabilia from their countries of origin, their community members’ journeys to Australia and the process of settlement into this country and this state - held by community groups, each different and many reliant on individuals who valued their history and their community identity. The project was based on the idea that understanding of and control over community heritage strengthens community identity, which in turn contributes to an Australia which is enriched by diverse ethnic groups living side by side harmoniously.
The Multicultural Communities’ Collection Project began in 2011 - firstly as a project of the then Arts Victoria and later Museums Australia (Victoria). It involved visiting up to 40 ethno specific community groups and providing them with professional assistance to preserve and store their material heritage. There was also training in the documentation and digitisation of these collections, and including them in the web based cataloguing system, Victorian Collections.
Ethnic Communities Council of Victoria (ECCV) is the peak body for Victoria’s multicultural communities and have been advocating their needs and concerns to government for 40 years. It is the principle liaison point between multicultural communities, the government and the wider community. The ECCV welcomed the opportunity to facilitate these two films for Culture Victoria, to share more broadly these stories about immigrants and how they have enriched our community.
Film - Joel Checkley (director and editor) and Belinda Ensor (producer), 'Kinimatigrafos', 2015
Courtesy of Joel Checkley and Belinda Ensor
Film - Joel Checkley (director and editor) and Belinda Ensor (producer), 'Kinimatigrafos', 2015
My name is Panayiotis or Peter Michael Yiannoudes and I born in a small village in Cyprus, Vouni, in Limossol.
♪ MUSIC ♪
I was involved in the cinemas when I was nearly 15 years old, starting, working as a ticket seller in a cinema in Limossol, Cyprus
and since then it become part of my life.
My name is James Tatoulis. I have lived in Australia for the last sixty years and came as a young kid, as a migrant. Great experiences throughout and one of the powerful experiences was being involved, in the very start of Greek cinema in Melbourne.
I came in Australia in 1956. I remember there were not many Greeks in those days.
There was very little sort of social possibilities, so family gatherings, houses, for name days and eventually engagements and weddings became very important, as did film and cinema.
They used to screen Greek films every Saturday in a small church hall,
they called Nicholas Hall in Lonsdale Street, the city.
But before I left Cyprus my boss, really, he used to be the agent of Finos Films and so he told me 'Look, if at any time you wanted to be an agent of Finos Films, tell me and I will arrange that, and so when I came here I became their sole agent for Finos Films for many years.
And then I started of course, in 1957, I started my own business
with this film called Golfo.
But in Melbourne, unfortunately, not any theatre was willing to rent any cinema to anybody, for foreign films.
But because I was working to the Hoyts Theatres, one of the projectionists gave me the idea of hiring Melbourne Town Hall.
The cinemas were in fact the Town Halls so it was an interesting environment.
That was two and a half thousand seats in the centre of the city, beautiful place, and I have a big success out of that.
There was a real energy seeing thousand people descend on Swanston Street on a Saturday night in the 1950s, you can imagine Swanston Street was pretty dead and suddenly you know there's all these people there.
And I remember the opposite was the, the Capitol Theatre and the manager came and said 'What's happening here, what's, so many people!'
And, they said 'it's a Greek Film'.
It was the social point of the week because, as you might imagine, all these people, my parents in those days they're in their thirties so they'd be working, you know, pretty hard in pretty menial tasks during the week and so it was you know the outlet.
So Saturday night, it was almost like Saturday Night Fever.
It was like to be in their own country.
Come to the cinema, meet people, listen to their own language.
The films were good and I think the audience really empathised with the characters and they were very much part of it.
It is very hard to, to explain how nostalgic you be when you be away from home.
You think that is something that you can't describe that.
So, you know, I think it had a tremendous influence in creating a basis for future Greek cultural events in Melbourne.
The people who came from 1950s to 1959, 1960 it was not easy.
They came, alright work hard to work hard and they wanted to do something in their life for the future.
I doubt that many societies, apart from perhaps Australia and Canada
and perhaps the US to some degree, you know, you could in one generation go from you know a sort of penniless migrant to your sort of being the top of you game in your profession.
They gave to their children every thing possible the chance to become a professional.
I think the opportunities afforded were just absolutely fantastic and it's based on education and merit, rather, rather than status and family.
Everybody, they wanted to make their own business.
The only place to go to make business - in the country.
This is why we found so many people, around Austalia like Geelong, Ballarat, Bendigo, Shepparton, Albury.
But I couldn't get any cinema there.
And I have decided to convert the film from 35 to 16mm.
Then I went around Australia and New Zealand and Tasmania with one projector and one screen and the films, and I've been around Australia.
In 1958 we make a partnership with the other, two other gentlemen‚
Mr Papodopolous and Mr Raftopoulos.
They used to import their own films and we have decided to join forces to be able to bring a professionalism in the Greek cinema business.
Then, 1960, we bought the National Theatre in Richmond and then 1961 we bought the Sun Theatre, Yarraville.
And 1965, we bought in the same year the Paramount Theatre, Oakleigh, the Kinema Theatre, Albert Park, the Empire Theatre, Brunswick and Westgarth Theatre, Northcote.
So we bought really in every area there used to be Greeks, we opened a cinema.
So in a sense it was like a semi-commercial, semi-altruistic, giant social work sort of happening and it was very successful.
Really those days the cinema was the main entertainment.
Later on as the community became larger and more established then they established clubs.
The community became older, the second generation they start to grow up, they wanted a different type of entertainment.
That really took you know ten to fifteen years to happen.
So in the fifties and early sixties the, basically the church and cinema especially were the only, social sort of venues.
Until 1979-80 when video came in and that was the end.
Really we finish completely in 1984 really, we close all the theatres.
The Greek cinema plays a major role really, in my opinion giving to the Australian immigrants something to remember and something to have ah, to cherish you know for the rest of our lives.
It had profound influence in bringing people together and, and really shaping, to some degree, the course of the Greek identity in Melbourne.
For me, it was part of my life. It's in me.
Certainly from a personal point of view, I've always been interested in cinema and whether that was the genesis of it or not I don't know but even to this day, I'll see probably a film a week.
Still I am involved and still I love it, and I will love it until my end.
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Peter Yiannoudes established Greek Cinema in Victoria in the 1950s.
A Greek-Cypriot, Peter travelled around Victoria with a portable projector and showed Greek films wherever he could find Greek audiences. He also showed films from other cultures such as Indian.
He bought several movie houses, only one of which he still owns. Peter Yiannoudes has a very real sense of history and of his role in creating a multicultural Victoria. Fortunately therefore he has maintained an enormous collection of films, posters, movie machines and has written a book.
Audio - Joel Checkley (director and editor) and Belinda Ensor (producer), 'Midnight at the Movies', 2015
Courtesy of Joel Checkley and Belinda Ensor
'Midnight at the Movies'
Peter Yiannoudes: When we took over the Westgarth Theatre, one night I was, I couldn’t sleep so I went into my office and I decided to screen a film. And I was alone in the cinema. And then the police came and they locked the doors and said, ‘What’s happening?’.
Because they assumed somebody is in the cinema. And I told them that I’m the owner. I said, ‘I’m watching a film’. They said, ‘At 2 o’clock in the morning?’. I say, ‘yes’. I’ve heard some stories but not to such an extent.
And so I like to see the films on the big screen. It’s a different, different feeling. Video and the big screen on the tv is not as entertaining and as emotional as when you watch the film on the big screen at the cinema.
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Peter Yiannoudes recalls a late night visit to the Westgarth Cinema and reminds us why films mean more when we see them at the cinema.
Film - Joel Checkley (director and editor) and Belinda Ensor (producer), 'Dance to Remember', 2015
Courtesy of Joel Checkley and Belinda Ensor
Film - Joel Checkley (director and editor) and Belinda Ensor (producer), 'Dance to Remember', 2015
Krystyna Popczyk: My names Krystyna Popczyk. I've been involved in this Hall probably since I was in my late twenties and I love my heritage. Anything Polish to me is special.
[musical interlude]
Elizabeth Drozd: Hello, I am Elizabeth Drozd, the Chief Executive Officer of the Australian Multicultural Community Services. So it is known that Australia is a land of migrants, from all nations and Countries in the world.
Krystyna Popczyk:My parents were taken by the Germans to, from Poland to Germany to work as slave labor. They met there after the war and I was born. We came out here on a ship from Naples.
Elizabeth Drozd: Between 1947 and 53 we had the displaced persons wave. The then Prime Minister of Australia, decided that Australia needed to ‘populate or perish' and there were thousands of Polish and other Eastern European migrants.
Janina (Jenny) Archabuz: My name is Janina Archabuz. I grew up, that was, the long time ago that was under Poland, but after when, after the revolution, that was under Russia.
Krystyna Popczyk: When I was two years old we arrived in Melbourne in December of 1949. We were separated.
Elizabeth Drozd: They had to fulfill the two-year contacts, which was part of the deal.
Husbands and wives were separated and children. Those were the times.
Krystyna Popczyk:And my mother and I were taken to Bonegilla, where we were for two years before we got reunited again with my Dad.
Janina (Jenny) Archabuz: In Australia, from the Greta Camp they separated my husband, they sent him to Charters Towers.
Krystyna Popczyk:They were happy to be away from where they came from, from the Germans.
Freedom - for my parents, freedom was the most important thing of all.
[musical interlude]
Elizabeth Drozd: Ardeer, for example, it had pockets were like 60-80% of people would be from, from Poland, from Ukraine so it was very Polish and I think just families kind of, it's that chain migration almost.
Krystyna Popczyk: Everyone was building homes at the same time. So one Saturday the men, once they finished their normal job, would got to this person's, this family's house.
Janina (Jenny) Archabuz: We help each other. We help each other, you know, if for instance, neighbour helping me today, I was helping him next day.
Elizabeth Drozd: So there is an extreme attachment to those homes that were built by the, those migrants. They often lived, that's the home they lived in, and it's the only home.
[musical interlude]
Krystyna Popczyk: The Polish men got together and formed a committee and at first it was just a committee to raise money, they'd hold dances in all sorts of places and raise money with the thought of building something.
Elizabeth Drozd: It was very important for those people, for that generation to have a place of their own, to have a community centre.
Krystyna Popczyk: The hall was built with the money that they made fundraising.
Janina (Jenny) Archabuz: We get no money from nobody, no government, no council, no, from nobody - just people.
Elizabeth Drozd: So there are these wonderful stories of migrants on a Saturday, Sunday coming and bringing their sort of milk crates to sit on and they would devote their Saturday and Sunday.
Krystyna Popczyk: And I know the wives used to get really angry - my mother included - that my father spent more time here than he did at home.
Janina (Jenny) Archabuz: And pick and shovel, and wheelbarrow. Yep. Was very hard, very hard way.
Elizabeth Drozd: There is just, it's a labour of love. They are very special.
Krystyna Popczyk: Once the hall was finished, and I mean I got married, I had children um, and then when we formed the dancing group - that's when my involvement became even bigger.
[musical interlude]
Krystyna Popczyk:When they came out here they wanted their children to remember, you know to be taught the culture, the costumes, the dance and everything else. And that's why the group was very successful.
Janina (Jenny) Archabuz: Sometimes it was up to seventy kids, four groups of the children, and they ask me to do something. And this is how it start with my costumes. That was my challenge and I was happy that I can do something.
Krystyna Popczyk: The dancing teacher, her name was Barbara, she would bring a picture or a photo of a couple and she would speak to Jenny about the materials that had to be used. Jenny would make up a doll-sized model of what she wanted and if she approved it then we went into full size.
Janina (Jenny) Archabuz: If I make something she said, ’Oh no, not that way, some different way'.
Because you don't see the back, you can see front but the back - she said 'I have to think', but anyway I said, ‘You think, because I don't have much material left'.
Krystyna Popczyk: She couldn't do all these cultural things when she was younger and here she had a chance and she was, she even played a grandmother on stage at one, you know she was, had a role.
Janina (Jenny) Archabuz: Sometimes two or three times I'd have to do it, before she agree – ‘That's the way'. But when it's finished, when they start to dance, ‘Oh, this was worth it, [laughs] worth the trouble!'.
[musical interlude]
Krystyna Popczyk: Jenny and I would go shopping at the markets and any material shops we could find to buy the materials.
Janina (Jenny) Archabuz: But I was lucky, sometimes, I went once, I got just a sample - it was much dear. Second time I went, was on special. Oh boy - I went.
Krystyna Popczyk:Metres and metres and bolts of material and then we'd take it back to her house and she'd start cutting.
Elizabeth Drozd: So that's really special to see this, this sort of a tradition, and the fact that it was all handmade and homemade.
[musical interlude]
Krystyna Popczyk: We travelled parts of Australia. We went to Brisbane, Sydney, Adelaide.
Janina (Jenny) Archabuz:In shopping centres we were dancing, in Footscray Mall we were dancing.
Janina (Jenny) Archabuz:When they were dancing, they were happy, they were happy.
Krystyna Popczyk: We had a parents dancing group.
Janina (Jenny) Archabuz: The parents were dancing too. Yeah. Parents were dancing too. But mostly instead of helping me they were sitting watching [laughs].
Krystyna Popczyk: Every region in Poland has a different dance, so they danced all of them. We did the Charleston, the Polonaise and the Krakowiak which is the most traditional dance in Poland that everybody does.
Janina (Jenny) Archabuz: **Jenny sings a line from Krakowiak**
Krystyna Popczyk: And well you saw the costumes -they're just magnificent.
[musical interlude]
Krystyna Popczyk: We were very proud of our children. Even now there all grown up with their own families. Some of them are in their forties, but they still remember.
Janina (Jenny) Archabuz: It's a shame, because after, all the older people - younger kids
- they were working in the, like supermarket part-time job, so they couldn't get all together for the practice. So they stop.
[musical interlude]
Krystyna Popczyk: She's very proud of those costumes and so she should be. We all are.
I don't know if there'll be another generation who will use them. Not here I don't think. We have been approached about giving them to another group. It's, I mean, that's probably what we will do in the end, um, but it just seems so hard to let them go.
[musical interlude]
Janina (Jenny) Archabuz: We're still busy. We're still busy. Always, always, every weekend is booked. Yeah, but mostly like last Saturday in the month it's Maltese Senior Citizens, and they're dancing.
Krystyna Popczyk: We have a German Club that meets here once a month and they have a huge Gala Dance in, I think November.
Janina (Jenny) Archabuz: It's interesting. I like to see the different custom, and different food. Yeah, but every Sunday we have Filipino here, and so far we having really nice people.
Elizabeth Drozd: It's about all of us here - not just one community and so I am as someone of Polish background, I am really pleased that regardless of race and ethnicity those centres are just available and they are being used. And people are very welcome to use them.
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This film is inspired by Janina Archabuz, more affectionately known as Pani Babscha.
Pani sewed thousands of costumes for a Polish dance troupe called Wesole Nutki (Merry Notes) that existed and performed from 1985 – 2000. The costumes represent folk costumes from all the different regions of Poland.
Pani used photographs and record covers to create many of the costumes. The dance troupe no longer exists and the children have integrated into the Australian community. It flourished as a transitional phenomenon as the parents and children adapted to a new country but did not let go of the culture of their country of origin.
Included also are interviews with Elizabeth Drozd, a VMC Commissioner and an active leader of the Polish community, about Polish migration to Australia; and with Krystyna Popczyk, who is a younger friend of Pani Babscha, and worked with the dance troupe.
The film is in many ways about ‘place’. It explores the chain migration of Polish immigrants who moved to the then undeveloped western suburb of Ardeer from the 1950s and assisted each other in building homes and a community hall. This community hall was the focus for the children’s Polish dance troupe Wesole Nutki (Merry Notes) that existed and performed there and throughout Australia from 1985 – 2000.
Today this Hall, the Polish House "John Paul II" is still owned by the community but used by Maltese, Germans, Fillipinos and other groups. It therefore, to quote one of the interviewees, reflects the multicultural nature of Victoria.
Audio - Joel Checkley (director and editor) and Belinda Ensor (producer), 'This is How it Started', 2015
Courtesy of Joel Checkley and Belinda Ensor
Jenny Archabuz: This is how it started with my costumes. When I was a little girl it was very hard to get material but if mum give me something and my dad made me wooden doll, he put some like a nail or something you can move the hands. I don’t remember body – I think I can twist the body too. Skirt was okay but the top was problem but if I lose my temper, mum will take away. You have to think, don’t lose your temper. That was, that was no. Anyway, I was almost crying, not allowed to cry, I have to think. Ah hah, I put here under arm, right under – ah that’s easy. I got that one. I put the top on. Oh gosh, my doll is dressed. Not that properly, but anyway she is dressed, she is okay, and this is how it started. And knitting, crocheting, embroidering and this is how it started.
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Jenny Archabuz grew up in Poland, before the Second World War.
Although materials were scarce, Jenny recalls her father making her a doll and the first clothing she learnt to sew.
Poster - Greek Cinema Poster, Finos Films, 'Ekines Pou Den Prepei N’ Agapoun (Those Women Who Cannot Love)', 1951, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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Courtesy of the Ethnic Communities Council of Victoria
EKINES POU DEN PREPEI N’ AGAPOUN
Produced by Finos Films, 1951.
Starring Smaroula Giouli, Alecos Alexandrakis.
A romantic comedy about a singer and a poor girl.
Australian Release July, 1959.
This film was brought to Australia and screened by Peter Yiannoudes.
Poster - Greek Cinema Poster, Millas Films, 'Kyriakatiko Xipnima (A Windfall in Athens)', 1954, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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Courtesy of the Ethnic Communities Council of Victoria
KYRIAKATIKO XIPNIMA / A WINDFALL IN ATHENS
Produced by Millas Films, 1954.
Directed by Michael Cacoyannis (Zorba the Greek).
Starring Dimitris Horn, Elli Lampetti.
A light comedy about a winning raffle ticket lost by a girl and the man found it.
Australian Release May, 1957.
This film was brought to Australia and screened by Peter Yiannoudes.
Poster - Greek Cinema Poster, Tzal Film, 'Englima Sto Kolonaki (Murder At Kolonaki)', 1959, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
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Courtesy of the Ethnic Communities Council of Victoria
ENGLIMA STO KOLONAKI
Produced by Tzal Film, 1959.
Directed by Tzannis Aliferis.
Starring: Maro Kontou, Michalis Nikolinakos.
The story of a murder at the Kolonaki a suburb in Athens.
Australian release April, 1964.
This film was brought to Australia and screened by Peter Yiannoudes.
Poster - Greek Cinema Poster, Nicos Sambatakos (producer), 'To Koritsi Tis Gitonias (The Neighborhood Girl)', 1956, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
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Courtesy of the Ethnic Communities Council of Victoria
TO KORITSI TIS GITONIAS / THE NEIGHBORHOOD GIRL
Produced by Nicos Sambatakos.
Directed by Maria Plyta.
Starring Orestis Makris, Smaroula Giouli, George Fountas.
The story of poor girl who left her fiancé for a rich old man.
Australia Release July, 1956.
This film was brought to Australia and screened by Peter Yiannoudes.
Poster - Greek Cinema Poster, Anzervos (producer), 'To Pontikaki (The Little Mouse)', 1956, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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Courtesy of the Ethnic Communities Council of Victoria
TO PONTIKAKI / THE LITTLE MOUSE
Produced by Anzervos.
Directed by Nicos Tsiforos.
Starring Aliki Vouyiouklaki, Alecos Alexandrakis.
A light comedy that tells the story of a young girl who is a thief. She is arrested by a kind policeman who tries to bring her to the community.
Australian release March, 1956.
This film was brought to Australia and screened by Peter Yiannoudes.
Poster - Greek Cinema Poster, Peter Voudouris (producer), 'To Xipolito Tagma (Barefoot Battalion)', 1954, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
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Courtesy of the Ethnic Communities Council of Victoria
TO XIPOLITO TAGMA / BAREFOOT BATTALION
Produced by Peter Voudouris, 1954.
Directed by Greg Tallas.
Music by Mikis Theodorakis.
Starring Maria Costi, Nicos Fermas.
The story of the barefoot battalion in Athens during the German occupation.
Australia Release in Australian Cinemas March, 1956.
This film was brought to Australia and screened by Peter Yiannoudes.
Poster - Greek Cinema Poster, Finos Films, 'E Agni Tou Limanioy (The Lilly Of The Harbour)', 1952, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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Courtesy of the Ethnic Communities Council of Victoria
E AGNI TOU LIMANIOY / THE LILLY OF THE HARBOUR
Produced by Finos Films, 1952.
Directed by Giorgos Tzavellas.
Music by Manos Hadjidakis.
Starring Eleni Hadjiargiri, Giorgos Glinos.
A drama that tells the story of people living in ports.
Australian release August, 1963.
This film was brought to Australia and screened by Peter Yiannoudes.
Poster - Greek Cinema Poster, Finos Films, 'O Methistakas (The Drunkard)', 1950, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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Courtesy of the Ethnic Communities Council of Victoria
O METHISTAKAS / THE DRUNKARD
Produced by Finos Films, 1950.
Directed by Giorgos Tzavellas.
Starring Orestis Makris, Dimitris Horn.
The dramatic story of a drunkard and his beautiful daughter.
Australian Release in March, 1958.
This film was brought to Australia and screened by Peter Yiannoudes.
Poster - Greek Cinema Poster, Klak Films,, 'Ime Mia Dystichismeni (I Am Miserable)', 1964, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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Courtesy of the Ethnic Communities Council of Victoria
IME MIA DYSTICHISMENI / I AM MISERABLE
Produced by Klak Films, 1964.
Directed by Apostolos Tegopoulos.
Starring Nicos Xanthopoulos, Martha Vourtsi.
A drama that tells the love story of a poor couple and their difficulties in life.
Australian release in March, 1967.
This film was brought to Australia and screened by Peter Yiannoudes.
Memorabilia - 'Greek cinema tickets', Various dates, From the personal collection of Peter Yiannoudes
Courtesy of the Ethnic Communities Council of Victoria
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Courtesy of the Ethnic Communities Council of Victoria
This is Peter Yiannoudes' collection of the various type of tickets and passouts used by the Greek cinemas in Melbourne.
Photograph - 'Dancers from Wesote Nutki (Merry Notes) Polish Dancers', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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Dancers from Wesote Nutki (Merry Notes) Polish dance school in Ardeer. Costumes made by Janina Archabuz.
Photograph - 'Dancers from Wesote Nutki (Merry Notes) Polish dance school in Ardeer', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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Dancers performing on stage at the Polish Community Centre in Ardeer. Costumes made by Janina Archabuz.
Photograph - 'Dancers from Wesote Nutki (Merry Notes) Polish dance school in Ardeer', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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All rights reserved
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Photograph - 'Dancers from Wesote Nutki (Merry Notes) Polish dance school in Ardeer', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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Conditions of use
All rights reserved
This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
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Children performing on stage at the Polish Community Centre in Ardeer. Costumes made by Janina Archabuz.
Photograph - 'Dancers from Wesote Nutki (Merry Notes) Polish dance school in Ardeer', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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Conditions of use
All rights reserved
This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
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Dancers performing at Highpoint City Shopping Centre from the Wesote Nutki (Merry Notes) Polish dance school in Ardeer. Costumes made by Janina Archabuz.
Photograph - 'Dancers from Wesote Nutki (Merry Notes) Polish dance school in Ardeer', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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Conditions of use
All rights reserved
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Photograph - 'Construction of the Polish Community Centre in Ardeer', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
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The Polish Community Centre is Ardeer was built by and for the Polish community from the area.
Photograph - 'Construction of the Polish Community Centre in Ardeer', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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The community imagined a space where they could hold cultural events together, so raised the money to build the hall themselves, on weekends and after work.
Photograph - 'Construction of the Polish Community Centre in Ardeer', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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Conditions of use
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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
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The hall became an important central place for celebrations and cultural events and practices, including language classes and dance performances.
Photograph - 'Construction of the Polish Community Centre in Ardeer', From the personal collection of Krystyna Popczyk
Courtesy of Krystyna Popczyk
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Conditions of use
All rights reserved
This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.
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This education resource links to relevant learning outcomes in the year 10 Australian History Curriculum. It utilises a range of primary sources including images, video and essays; interviews with members of the Greek community; inquiry and research-based activities; and assignment tasks and an assessment rubric.
The resource was created by Catherine McLay, 2015.
This education resource links to relevant learning outcomes in the year 6 Australian History Curriculum. It utilises a range of primary sources including images, video and essays; interviews with members of the Polish community; inquiry and research-based activities; and assignment tasks and an assessment rubric.
This resource was created by Catherine McLay, 2015.
