Engaging with the Chinese Non-Group
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My Program Choices
MY PROGRAM CHOICES Term 1: 4th January to 27th March 2021 Name: ______________________________________ DSA Community Solutions site: Taren Point Thank you for choosing to purchase a place in one of our quality programs. We offer a variety of group based and individualised programs in our centre and community locations. There are four terms per year. You will have the opportunity to make a new program selection each term. To change your program choices or to make a new program selection within the term, please contact your Service Manager. Here is a summary of the programs you can select, including costs, program locations, what you need to wear or bring with you each day. To secure a place in your chosen program, please submit this signed form at the earliest. These are the DSA Programs I choose to participate in. Live Signature: ______________________________ life the way you choose For more information call Georgina Campbell, Service Manager on 0490 305 390 1300 372 121 [email protected] www.dsa.org.au Time Activity Cost Yes Mondays All day* Manly Ferry Opal Card Morning Bowling at Mascot $7 per week Pet Therapy @ the Centre $10 per week Afternoon CrossFit Gym Class $10 per week Floral arrangement class $7 per week Tuesdays All day* Laser Tag/Bowling @ Fox Studios $8-week/Opal card Morning Beach fitness @ Wanda No cost Tennis at Sylvania Waters $5 Afternoon The Weeklies music practice at the Centre No cost Art/Theatre Workshop @ the Centre $20 per week Wednesdays All day* Swimming & Water Park @ Sutherland Leisure Centre $7 per week Morning Flip Out @ Taren Point $10 per week Cook for my family (bring Tupperware container) $10 per week Afternoon Basketball @ Wanda No cost Disco @ the Centre No cost • All full day programs start and finish at Primal Joe’s Cafe near Cronulla Train station, and all travel is by public trans- port. -
Parklands Volume 38 Autumn 2007
parklands THE MAGAZINE OF CENTENNIAL PARKLANDS VOLUME 38 • AUTUMN 2007 38 • AUTUMN VOLUME Station weathers the hands of time Refreshing new look for Restaurant A tale of two tolls Directions Parkbench We were honoured and delighted to be With the substantial residential also joined by the 2007 Australian of the redevelopment on the western boundary of Year, Professor Tim Flannery and Young the Parklands bringing an additional 40,000 Australian of the Year, Tanya Major at the people or more over the next few years, it Carrington Drive reverts AFL kicks on at Bat and Ball event. It was an appropriate setting for is clear that the Trust and the Council will to two-way The Bat and Ball area in Moore Park will continue as an AFL ground nationally significant Australia Day events need to continue to work closely together following a six-month trial period. The field, which is available for training Following the completion of this year’s within the Parklands, especially as to ensure sustainable open space with and competition, will help to Moonlight Cinema season on 11 March 2007, Centennial Park was the site of the historic recreational opportunities for the local and ease the ever-growing Carrington Drive will revert back to two-way declaration of Australia’s Federation in 1901. broader community. The Trust has taken demand for field hire and the traffic flow. Alterations to the line marking and increasing popularity of AFL in To read more about this event, see the the opportunity to provide feedback to the signage will be undertaken and the directional the Eastern Suburbs. -
The AWA Microphone for Harbour Bridge 75Th
..The Microphone used for the Sydney Harbour Bridge Opening ceremony. Compiled by David Burger, March 2007 with material from: - Phil Burgess Telstra, - Ted Miles – ex AWA technician. Press Release No. 94 (14/03/07) – Telstra's Sydney Harbour Bridge 75th birthday gift Phil Burgess, GMD, Public Policy and Communication, Telstra. Telstra has donated a rare microphone from its historical collection used to open the Sydney Harbour Bridge 75 years ago to the Sydney Powerhouse Museum - and it has created a bit of excitement. The Reisz microphone is a rare example of Australian technology manufactured in 1930 and was used to broadcast the 1932 opening ceremony of the Sydney Harbour Bridge to thousands of people. What has made the microphone especially significant is the signatures of all 10 dignitaries at the opening ceremony, including the NSW Premier John T Lang, NSW Governor Philip Game and the Bridge's Chief Engineer, JJC Bradfield. Speaking at the official donation event, Telstra's Group Managing Director PP&C Phil Burgess said that Telstra was proud to share this wonderful piece of Australian history with the community on the 75th birthday of the Sydney Harbour Bridge. "Every good piece of history has a story behind it and this microphone is no exception," Dr Burgess said. "Thanks to the Powerhouse Museum, many more people will be able to see and understand the role it played in unveiling a great Aussie icon." Why did Telstra have the microphone in its historical collection? The microphone became one of a collection of microphones owned by Mr Philip Geeves who was announcing for AWA (Amalgamated Wireless Australia Ltd) on the day of the Sydney Harbour Bridge opening. -
Phanfare May/June 2006
Number 218 – May-June 2006 Observing History – Historians Observing PHANFARE No 218 – May-June 2006 1 Phanfare is the newsletter of the Professional Historians Association (NSW) Inc and a public forum for Professional History Published six times a year Annual subscription Email $20 Hardcopy $38.50 Articles, reviews, commentaries, letters and notices are welcome. Copy should be received by 6th of the first month of each issue (or telephone for late copy) Please email copy or supply on disk with hard copy attached. Contact Phanfare GPO Box 2437 Sydney 2001 Enquiries Annette Salt, email [email protected] Phanfare 2005-06 is produced by the following editorial collectives: Jan-Feb & July-Aug: Roslyn Burge, Mark Dunn, Shirley Fitzgerald, Lisa Murray Mar-Apr & Sept-Oct: Rosemary Broomham, Rosemary Kerr, Christa Ludlow, Terri McCormack, Anne Smith May-June & Nov-Dec: Ruth Banfield, Cathy Dunn, Terry Kass, Katherine Knight, Carol Liston, Karen Schamberger Disclaimer Except for official announcements the Professional Historians Association (NSW) Inc accepts no responsibility for expressions of opinion contained in this publication. The views expressed in articles, commentaries and letters are the personal views and opinions of the authors. Copyright of this publication: PHA (NSW) Inc Copyright of articles and commentaries: the respective authors ISSN 0816-3774 PHA (NSW) contacts see Directory at back of issue PHANFARE No 218 – May-June 2006 2 Contents At the moment the executive is considering ways in which we can achieve this. We will be looking at recruiting more members and would welcome President’s Report 3 suggestions from members as to how this could be Archaeology in Parramatta 4 achieved. -
Governor Phillip Tower, Museum of Sydney and First Government
Nationally Significant 20th-Century Architecture Revised date 20/07/2011 Governor Phillip Tower, Museum of Sydney and First Government House Place Address 1 Farrer Place and 41 Bridge Street, Sydney, NSW, 2000 Practice Denton Corker Marshall Designed 1989 Completed 1993 (GPT) 1995 (MoS) History & The site of Governor Phillip Tower, Museum of Sydney & First Government Description House Place are located on a city block bounded by Bridge, Phillip, Bent & Young Streets in Sydney's CBD. Together with the Governor Macquarie Tower First Government House & the heritage listed terraces fronting Young & Phillip Streets the site was the Place with Museum of subject of an international design competition held in 1988, of which the primary Sydney & Governor Phillip aim was to conserve the archaeological resource of the First Government Tower behind, terraces to House which investigations of 1983-85 had revealed to lie beneath the northern portion of the block & extending into the road reserves of Young, Bridge & either side. Source: City of Phillip Streets. The cultural significance of the place shaped the development Sydney Model Makers. for the site: the conservation of the archaeological site of First Government . House & the Victorian terrace housing. To satisfy this & the commercial imperatives of maximising tower floor plate areas, the scheme incorporated several innovative approaches. Firstly in the urban design: the conception of First Government House Place as an 'urban room', achieved by setting back the Governor Phillip Tower from Bridge Street, enabled the archaeological site to be conserved, interpreted & celebrated, & served to ennoble the space with the presence of the imposing colonial sandstone buildings to either side; the public link from Phillip Street to Farrer Place, & the setbacks provided to the terraces. -
The Historical Archaeology of the First Government House Site, Sydney
The Historical Archaeology of the First Government House site, Sydney Further Research PENNY CROOK AND TIM MURRAY Volume 11 of the Archaeology of the Modern City Series A HISTORIC HOUSES TRUST OF NEW SOUTH WALES PUBLICATION Published by the Historic Houses Trust of New South Wales The Mint, 10 Macquarie Street, Sydney NSW 2000, Australia www.hht.net.au Published in Sydney 2006 © Archaeology of the Modern City Project Partners, 2006 ISBN 1 876991 14 3 The views expressed in this book may not be representative of the Historic Houses Trust of New South Wales or the other project partners and remain the responsibility of the authors. The Archaeology of the Modern City project incorporates two research ventures: ‘Exploring the Archaeology of the Modern City: Sydney 1788–1900’ and ‘Managing the Archaeology of Central Sydney and Melbourne 1788–1900’. Both projects are funded by the Australian Research Council Linkage Scheme and conducted by Project Partners: La Trobe University, the Historic Houses Trust of New South Wales, Godden Mackay Logan Pty Ltd, the Sydney Harbour Foreshore Authority, the NSW Heritage Office, Heritage Victoria and the City of Sydney. C ONTENTS Synopsis.......................................................................................................................................... 7 Introduction................................................................................................................................... 9 Acknowledgements..........................................................................................................................................................9 -
Particpant Bios
CAAP Artist Lab Participants BIOGRAPHIES LENA CRUZ Lena is a graduate of the Western Australian Academy of Performing Arts. Theatre highlights include her debut as Jenny in The Threepenny Opera for Western Australian Opera, Lady Macbeth in Macbeth for Bell Shakespeare, Mother Courage for Belvoir, Monkey- Journey to the West for Theatre of Image, Miss Bell in Fame, Hair, and creating the role of Cynthia in the original production of Priscilla, Queen of the Desert the Musical. Most recently, she has appeared in STC’s The Wharf Revue. Film and television highlights include starring as Rory Van Dyke in The Wannabes, Margarita in The Night We Called it A Day, Cassandra in Upskirt, Sofia Martinez in Shortland Street, Pet in Bargain Coast, Jody Lim in Dirt Game, Comedy Inc, Watch With Mother, All Saints, The Very Trevor Ashley Show, and Kiki and Kitty. She has co- written and co-starred in the cabarets The Singer’s Guide To The Universe, About Face, and one-woman shows I’m A Stranger Here Myself directed by Tony Sheldon and Bitter Sweet, for which she was nominated for the Sydney Fringe Festival Drum Media Show-Stopping Individual Performance Award and the Best Of People’s Choice Award. HAPPY FERAREN Happy Feraren is a Filipino actor and improviser based in Sydney with 11 years experience. She has performed in over 500 shows in a wide range of improvisational theatre formats both locally and internationally (including Manila, Sydney, Hong Kong, Amsterdam, Chicago and New York). In the Philippines, she began as a presenter for national radio and television as well as live events and was a supporting actor in the feature film ‘My Candidate’. -
Harbour North Public Domain Study
Guiding Directions 3. Respect and celebrate heritage, conserve and restore Observatory Hill The signifi cant heritage fabric of the area is a defi ning part of its character. The social, cultural and physical heritage of the area is highly valued by the City as well as recognised at a state and national level. Consistent rows of terrace houses, corner hotels and warehouses typify the heritage fabric of the area, with elements such as retaining walls, stairs and the landform of Observatory Hill itself also contributing to the experience of the place. Opportunities to celebrate and interpret the heritage of the area should be incorporated in public domain and streetscape upgrade works, including the retention of elements such as stone kerbs. At Observatory Hill, opportunities to restore the park space after numerous infrastructure encroachments, and improve the setting and interpretation of heritage elements can be explored. buildings (existing and approved) CoS heritage listed buildings (Draft City Plan LEP 2011) CoS conservation area (Draft City Plan LEP 2011) 24 HARBOUR VILLAGE NORTH PUBLIC DOMAIN STUDY 4. Celebrate landform and harbour views The experience of landform and harbour views is one of the defi ning characteristics of the area. Public domain works should respect and reinforce existing Harbour view corridors along streets and between buildings, and should highlight the experience of topography with pedestrian bridges and well designed stairs and lifts where appropriate. Existing sandstone walls along The Hungry Mile, stairs and bridges, are unique to this precinct and should be celebrated. Signifi cant and historic panoramic views from Observatory Hill to Sydney Harbour are important and must be protected. -
Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword
Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword Imagine a world without performing or visual arts. Imagine – no opera houses, no theatres or concert halls, no galleries or museums, no dance, music, theatre, collaborative arts or circus – and in an instant we appreciate the essential, colourful, emotive and inspiring place that creative pursuits hold in our daily life. Creating opportunities for arts to flourish is vital, and this includes realising inspiring venues which are cutting edge, beautiful, functional, sustainable, have the right balance of architecture, acoustics, theatrical and visual functionality and most importantly are magnets for artists and audiences, are enjoyable spaces and places, and allow the shows and exhibitions to go on. 4 Performing Arts Bendigo Art Gallery 5 Performing Arts Arts and Culture Performing and Visual Arts 03 08 – 87 88 – 105 Foreword Performing Musicians, Arts Artists, Sculptors and Festivals 106 – 139 140 – 143 144 Visual Arup Services Photography Arts Clients and Credits Collaborators Contents Foreword 3 Victoria Theatre and Concert Hall 46 Singapore South Bank Studio, Queensland Symphony Orchestra 50 Australia Performing Marina Bay Sands Theatres 52 Arts 8 Singapore Elisabeth Murdoch Hall Federation Concert Hall 56 Melbourne Recital Centre 10 Australia Australia Chatswood Civic Place 58 Sydney Opera House 14 Australia Australia Carriageworks 60 Glasshouse Arts, Conference and Australia Entertainment Centre 16 Australia Greening the Arts Portfolio 64 Australia Melbourne -
04 Part Two Chapter 4-5 Everett
PART TWO. "So what are you doing now?" "Well the school of course." "You mean youre still there?" "Well of course. I will always be there as long as there are students." (Jacques Lecoq, in a letter to alumni, 1998). 79 CHAPTER FOUR INTRODUCTION TO PART TWO. The preceding chapters have been principally concerned with detailing the research matrix which has served as a means of mapping the influence of the Lecoq school on Australian theatre. I have attempted to situate the research process in a particular theoretical context, adopting Alun Munslow's concept of `deconstructionise history as a model. The terms `diaspora' and 'leavening' have been deployed as metaphorical frameworks for engaging with the operations of the word 'influence' as it relates specifically to the present study. An interpretive framework has been constructed using four key elements or features of the Lecoq pedagogy which have functioned as reference points in terms of data collection, analysis and interpretation. These are: creation of original performance material; use of improvisation; a movement-based approach to performance; use of a repertoire of performance styles. These elements or `mapping co-ordinates' have been used as focal points during the interviewing process and have served as reference points for analysis of the interview material and organisation of the narrative presentation. The remainder of the thesis constitutes the narrative interpretation of the primary and secondary source material. This chapter aims to provide a general overview of, and introduction to the research findings. I will firstly outline a demographic profile of Lecoq alumni in Australia. Secondly I will situate the work of alumni, and the influence of their work on Australian theatre within a broader socio-cultural, historical context. -
Kelson Nor Mckernan
Vol. 5 No. 9 November 1995 $5.00 Fighting Memories Jack Waterford on strife at the Memorial Ken Inglis on rival shrines Great Escapes: Rachel Griffiths in London, Chris McGillion in America and Juliette Hughes in Canberra and the bush Volume 5 Number 9 EURE:-KA SJRE:i:T November 1995 A magazine of public affairs, the arts and th eology CoNTENTS 4 30 COMMENT POETRY Seven Sketches by Maslyn Williams. 9 CAPITAL LETTER 32 BOOKS 10 Andrew Hamilton reviews three recent LETTERS books on Australian immigration; Keith Campbell considers The Oxford 12 Companion to Philosophy (p36); IN GOD WE BUST J.J.C. Smart examines The Moral Chris McGillion looks at the implosion Pwblem (p38); Juliette Hughes reviews of America from the inside. The Letters of Hildegard of Bingen Vol I and Hildegard of Bingen and 14 Gendered Theology in Ju dea-Christian END OF THE GEORGIAN ERA Tradition (p40); Michael McGirr talks Michael McGirr marks the passing of a to Hugh Lunn, (p42); Bruce Williams Melbourne institution. reviews A Companion to Theatre in Australia (p44); Max T eichrnann looks 15 at Albert Speer: His Battle With Truth COUNTERPOINT (p46); James Griffin reviews To Solitude The m edia's responsibility to society is Consigned: The Journal of William m easured by the code of ethics, says Smith O'BTien (p48). Paul Chadwick. 49 17 THEATRE ARCHIMEDES Geoffrey Milne takes a look at quick changes in W A. 18 WAR AT THE MEMORIAL 51 Ja ck Waterford exarnines the internal C lea r-fe Jl ed forest area. Ph oto FLASH IN THE PAN graph, above left, by Bill T homas ructions at the Australian War Memorial. -
Powerhouse Museum Exhibitions 1988-2018
"1 The Powerhouse Museum: an exhibition archive 1988-2018 Exhibitions developed by and/or displayed at the Powerhouse Museum, the Observatory, the Mint, the Hyde Park Barracks, the Powerhouse (now Museum) Discovery Centre and online from 1988, when the Powerhouse opened its doors in its new Ultimo location, to 2018. Abbreviations: PHM Powerhouse Museum MNT The Mint Museum HPB The Hyde Park Barracks HB Harwood Building (previously Stage One) OBS The Sydney Observatory PDC Powerhouse (now Museum) Discovery Centre WP Web-based Project AMOL Australian Museums and Galleries Online TR Travelling exhibition PP Powerhouse publication EP External publication Preface From its original establishment in the 1880s to the present day, the Museum of Applied Arts and Sciences, previously under different names and now known as MAAS, has proudly and diligently exhibited different aspects of its outstanding collection. The following list seeks to provide a record of exhibitions from the opening of the new Powerhouse Museum venue in Ultimo in March 1988 through the 30 subsequent fruitful years. The list also documents exhibitions in associated venues including the Sydney Observatory, for some years the Hyde Park Barracks and the Mint Museum, as well as touring exhibitions. Many years of rigorous planning preceded the 1988 opening of the Powerhouse Museum, which was heralded as the most important cultural development in Sydney since the opening of the Opera House, and a major event in Australia’s bicentennial year. A museum for us all, a museum of creativity, curiosity and community, the Powerhouse Museum set out to explore the interrelationship of science, art and people in an Australian context.