THE
AN EDUCATIONAL RESOURCE
TWO ACRE VILLAGE ART MURAL // 1 © CITY OF KINGSTON
Information included in this resource pack is correct at time of printing. For the most up to date version of all worksheets, go to kingston.vic.gov.au/twoacrevillage TWO ACRETHE ART MURAL AN EDUCATIONAL RESOURCE
Cheltenham’s rich history, diversity and natural environment are reflected in the City of Kingston’s Two Acre Art Mural; a public artwork created by local artists James Beattie and Andrew Bourke.
The Two Acre Art Mural: an Educational Resource is an exciting way for Kingston students, residents and visitors to engage with and celebrate the history, art, plants and animals of Cheltenham.
This educational resource not only presents the viewer with greater insight and information about the Two Acres Art Mural, it also connects the viewer to the natural and historic features of Cheltenham.
The development of the Two Acre Art Mural: An Educational Resources has been a cross-Council initiative that is aligned to various Council strategies and plans including Council’s Cheltenham Activity Centre Structure Plan, Public Art Strategy, Graffiti Management Plan, Active Youth Spaces Strategy and Kingston Youth Strategy.
We encourage you to get involved, and enjoy the arts and history that is central to the life of Kingston: a liveable, creative city.
Geoff Gledhill CITY OF KINGSTON MAYOR
TWO ACRE VILLAGE ART MURAL // 3 ACKNOWLEDGEMENT OF TRADITIONAL OWNERS
Council acknowledges the Kulin Nation as the Traditional Owners of the land of which the municipality is a part and pays its respects to the Elders, past and present. Council is a member of the Inter Council Aboriginal Consultative Committee (ICACC).
INTRODUCTION
The Two Acre Art Mural is a public art work in the City of Kingston, created by local artists for the whole community.
This educational resource has been created to assist teachers, students and residents to understand the multilayered themes of the Two Acre Art Mural. It includes information on local government requirements when planning public art, as well as delving into the complex world of graffiti art.
ACKNOWLEDGEMENT
The development of this educational resource would not have been possible without the valuable help from the following people:
• Artists James ‘Jimmy’ Beattie and Andrew Bourke • Boonwurrung Elder Aunty Carolyn Briggs • Filmmaker Benjamin Sale • Historian Graham J. Whitehead • Kingston Council staff from Environmental Planning, Active Centres, Youth Services, Communications, Libraries and Arts teams • Kingston Historical Website contributors TWO ACRETHE ART MURAL AN EDUCATIONAL RESOURCE
CONTENTS
PART 1 / Art Mural Information
PART 2 / Art Mural Detail
PART 3 / Design Process
PART 4 / Public Art
PART 5 / Mentoring
PART 6 / Additional Information
PART 7 / Teacher’s Resources
PART 8 / Worksheets 6 // TWO ACRE VILLAGE ART MURAL PART ONE ART MURAL BACKGROUND ART MURAL INFORMATION
In 2012, artists James “Jimmy” Beattie and Andrew Bourke were commissioned by the City of Kingston to create an art mural on the external wall of The Fore, a residential apartment complex, next to the Frankston railway line in Cheltenham. The Two Acre Art Mural was created using a variety of street and graffiti art techniques. A range of vibrant and earth tone colours have been used to reflect the bustling shops, the beach, and the natural and human elements of the local area.
Further information on why the mural was commissioned is on Page 24.
TWO ACRE VILLAGE CHECK OUT THE MURAL FEATURE VIDEO BACKGROUND youtu.be/1QIMQNRARAA
Two Acre Village was the name given by Josiah Morris Holloway to a portion of land he purchased in 1852 that is now known as Cheltenham. The Village was located within the boundaries of Nepean Highway, Centre Dandenong and Chesterville Roads, and Bernard Street. More detailed information can be found in the book Two Acre Village: A Cheltenham History by Graham J. Whitehead, which is available for loan in all Kingston libraries.
ARTISTS’ VISION
The Two Acre Art Mural was created to inspire the viewer’s imagination and evoke their senses, especially the thousands of commuters who travel past Cheltenham station along the Frankston railway line each day. The mural takes individuals on a journey that weaves together stories inspired by Cheltenham’s history, diversity and natural environment. The piece incorporates the artists’ modern creative graffiti art while maintaining a level of intelligence and sophistication. The Two Acre Art Mural will remain timeless through the ages, while sitting sympathetically in its environment. It warmly embraces and welcomes the viewer and most of all everyone, young and old, can enjoy, respect and take something from it.
CREATING THE ARTWORK
Artists “Jimmy” Beattie and Andrew Bourke created the Two Acre Art Mural with a wide range of different painting styles and techniques from photorealism through to abstraction inspired by geometric and axonometric shape. These styles are complemented with a twist of street art and edgy graphic design resulting in a finished piece that holds no creative boundaries.
A wide array of mediums have been used to create the Two Acre Art Mural including aerosols, gesso, acrylics, house paints and clear gloss anti-UV protective graffiti solution. These different mediums were applied with brushes, stencil templates, projection, spray-paint, molds, rollers and pallet knives.
TWO ACRE VILLAGE ART MURAL // PART ONE / 1 PART ONE / ART MURAL INFORMATION
THEMES OF THE TWO ACRE ART MURAL
MOVEMENT STREET ART A large section of the mural is painted with The artists have included their personalised graphic abstract shapes and patterns that reflect style of cropped street-based graffiti work the nature of movement and speed caused by as part of their trademark that is instantly trains – they will almost merge into trails of recognised and respected by other local graffiti colour for those viewing from a passing train. artists. The inclusion of their graffiti art and the The essence of movement is also captured shapes within the Art Mural help break up the by layering and entwining different geometric area and minimise vandalism. shapes which also reflect moving forward and a passage of time. ART, DESIGN + ARCHITECTURE The artists were mindful that the finished Art Mural had to meld The Fore apartment block into the surrounding Cheltenham landscape. The rectangular and grid like appearance of the building is also reflected in the Art Mural as it wraps around the windows and corners of the building. The historic section of the mural is painted in an almost sepia tone colour palate complemented by a number of warmer colours that reflect the colour scheme from the building. Some of the blocks have remained unpainted, exposing the original concrete. These sections have been overlaid with the architectural plans for The Fore building, to reflect a completion of the full circle from the original land maps. The hand within the Art Mural turns the wall into cloth and breaks up the repetitive and horizontal shapes of the blocks by the dynamic shapes of the draped fabric. Similar to the design of the building, the older historic frontages reveal the modern development behind. The large colourful rainbow lorikeet balances out the bright colours used on the block section at the start.
CHELTENHAM’S HISTORY LOCAL The Art Mural is a timeline of the local area. The geometric shapes and patterns FLORA + FAUNA detail imagery that reflects the origins The mural includes a touch of the Trompe-L’oeil art of Cheltenham’s past. Aerial views of technique as a hand reaches out seemingly from in Cheltenham, historic photos of Two Acre front of the mural and pulls aside the movement Village, people and cultural images of the and history section to reveal a beautiful picture of Boonwurrung people through to iconic local Port Phillip bay looking toward Melbourne in the residents are captured within the Art Mural. distance. The passage through time includes those buried within the pioneers’ cemetery and more modern uses of the area including Southland, shops, food, art and sport.
PART ONE / 2 // TWO ACRE VILLAGE ART MURAL MEET THE ARTISTS ANDREW BOURKE “Aerosol art holds no creative boundaries; the possibilities are only limited by one’s imagination”
Andrew Bourke specialises in creating unique works of art, free from the burden of artistic restraint. He brings life to discarded walls through the injection of colour and meaning.
With over two decades of experience Andrew is known for his ability to use spaces efficiently, his attention to detail and his proficiency in working with a range of surfaces. He is one of Australia’s most influential graffiti/ aerosol artists and has a back catalogue of national and international exhibitions.
Andrew grew up in Cheltenham and he works with schools and communities around Australia to teach children the importance of social development via creative expression. JAMES BEATTIE
James ‘Jimmy’ Beattie is a Melbourne-based artist and graphic designer whose position in the street art scene is well established and can be seen on walls, canvas and in magazines both locally and internationally.
Growing up in Melbourne, a stone’s throw from a railway station, he was instantly drawn to the colourful work along the suburban railway lines and in 1996 began experimenting at leaving his own mark on society. The fact that much of his early work around Melbourne is still intact is a tribute to the respect he has generated amongst his peers.
In the video link, Jimmy provides an overview of the theory and training required to become an established artist. Jimmy always had an interest in art and he engaged in numerous short courses about airbrushing whilst at secondary school. This led him in experimenting with photorealism, ceramics, photography, drawing and painting. Jimmy then went on to further studies at Brighton Bay completing the Year 13 Art Course which lead to an arts course at Monash University.
Jimmy is one of Australia’s leading mural artists having won multiple awards. His striking commissioned works can be found in restaurants, private homes, markets, shops and public spaces throughout Melbourne.
More information about Jimmy is available on his website graffixcreative.com or blog sdmcrew.com
CHECK OUT JIMMY’S PROFILE VIDEO youtu.be/EON3211qLok
TWO ACRE VILLAGE ART MURAL // PART ONE / 3 PART ONE / 4 // TWO ACRE VILLAGE ART MURAL PART TWO CHECK OUT THE MURAL FEATURE VIDEO ART MURAL youtu.be/1QIMQNRARAA ART MURAL DETAIL DETAIL
Cheltenham’s rich history, diversity and natural environment are reflected in the Two Acre Art Mural. Follow the numbers in the images below/above for more information about that part of the mural.
1. 10. 1. 6. 1. 37. 6. 5. 12. 8. 4. 7. 11. 9. 2. 6. 3. 4. 8.
13. 31. 18. 21. 30. 23. 19. 27. 16. 29. 22. 32. 20. 24. 17. 36. 25.4. 28. 34.4. 15. 35. 14. 33. 38. 26.
CHELTENHAM’S HISTORY CHELTENHAM’S LOCAL FLORA CHELTENHAM’S WILDLIFE 1. CHELTENHAM 9. BENEVOLENT ASYLUM 13. RED FLOWERING GUM 20. OLD MAN BANKSIA 27. BRUSH TAIL POSSOM 34. AUSTRALIAN COMMON GRASS formerly known as Two Acre Village 10. CHELTENHAM’S LOCAL SPORTS Corymbia ficifolia Banksia serrata Trichosurus vulpecular SKINK 2. WILLIAM BRUTON 14. AUSTRAL BRACKEN 21. SWAMP GUM 28. NATIVE CRESTED PIGEON Lampropholis guichenoti Cheltenham Pioneer & Local 11. TREVOR BARKER Ptaridium esculentium Eucalyptus ovata Ocyphaps lophotes 35. BULL ANTS Historian Local Legend and Football Great 12. LUCKY GRILLS 15. ORANGE FUNGI 22. SHOWY BOSSIAEA 29. AUSTRALIAN MAGPIE 36. NATIVE BEES 3. R.P. FAIRLAM 1861 - 1947 Local Television Personality & Pycnoporus coccineus Bossiaea cinerea Gymnorhina tibicen 37. AUSTRALIAN PAINTED LADY 4. THE BUNURONG PEOPLE Comedian 16. WEDDING BUSH 23. CLUSTERED SWORD EDGE 30. RAINBOW LORIKEET BUTTERFLY First inhabitants Ricinocarpos cyanescens Lepidosperma gladiatum Trichoglossus Hhaematodus Vanessa kershawi
5. ADDIE LILIAN FAIRLAM 17. SMALL GRASS TREE 24. PALE MAT-RUSH 31. LAUGHING KOOKABURRA 38. REDBACK SPIDER 6. THE FAIRLAM STORE & THE FORE Xanthorrhoea minor Lomandra glauca Decelo novaeguineae Lactrodectus hasselti APARTMENTS Connection 18. GOLDEN WATTLE 25. BUNDLED GUINEA FLOWER 32. NOISY MINOR TAWNY FROGMOUTH Acacia pycnantha Hibbertia prostarata Manorina melanocephaia Podargus strigoides 7. CHELTENHAM PIONEER CEMETRY & MEMORIAL PARK 19. FOREST REDGUM 26. MATTED PATIA 33. EASTERN BLUE-TONGUED LIZARD 8. CHELTENHAM RAILWAY STATION Eucalyptus tereticornis Pratia pedunculta Tiliqua scincoides scincoides
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CHECK OUT THE HISTORY AND LOCATION VIDEO youtu.be/vApksG3_Es4 HISTORY
Cheltenham’s rich history, diversity and natural environment are reflected in the Two Acre Art Mural.
1. CHELTENHAM: FORMERLY KNOWN AS TWO ACRE VILLAGE In the mid-19th century, land became available for auction in the new colony of Victoria after it had been surveyed, divided into portions and offered up for sale as part of the separation of the Port Phillip district from New South Wales. Pioneer and land developer Josiah Morris Holloway, born in London 1812, purchased many large parcels of land. In 1852, he owned 1736 acres of land in the Parish of Moorabbin for which he paid a total of £2539. That land is now located in the towns of Blackrock, Sandringham, Mentone and Cheltenham.
In May 1852, Holloway paid £938 11s 9d at auction for 625 acres 2 roods 36 perches of land, which he named Two Acre Village. He subdivided this land into 370 allotments, many of them 2 acres in size. Today, that land is part of the suburb of Cheltenham, and is located within the boundaries of Nepean Highway, Centre Dandenong and Chesterville roads, and Bernard Street. FURTHER INFORMATION ONLINE localhistory.kingston.vic.gov.au/htm/article/186
Source: Whitehead, GJ 2012, Two Acre Village: A Cheltenham History, City of Kingston 2. WILLIAM BRUTON: CHELTENHAM PIONEER AND LOCAL HISTORIAN William Henry Bruton was born in 1854, a year after his parents settled on a market garden property near what is now Latrobe Street Cheltenham. During his early childhood, in about 1860, he remembered Aboriginal people wandering between the Melbourne area and Mordialloc, where, prior to the bridge over the creek being built in 1855, the Aboriginals used to guide travellers who crossed the creek to sand bars at low tide.
He recalled corroborees near Cheltenham’s Royal Oak Hotel, which he said was called the “Armagh” prior to the 1860s. Derrimut, a Bunurong tribe chief, was notable for wearing a top hat on occasions, presumably to demonstrate his high position in the tribe. Derrimut called at his home one day and he remembered his mother giving him a bowl of boiled potatoes, a food the chief loved. Bruton remembers him as ‘Dedimut’, probably because he heard the name differently to others.
Bruton notes in his memoirs how the Aboriginal people declined in numbers during his youth and then disappeared. Blind and aged 75, Bruton dictated his memories of Cheltenham and district to his daughter Eva during the late 1920s. Subsequently they were published as Local History: Carrum to Cheltenham.
Author acknowledgment: Graham J. Whitehead FURTHER INFORMATION localhistory.kingston.vic.gov.au/htm/article/475 Bruton, WH, and Rainey, J 1999, ó Local History: Carrum to Cheltenham
PART TWO / 2 // TWO ACRE VILLAGE ART MURAL THE FAIRLAM FAMILY: CHELTENHAM PIONEERS William Ruse and his bride Elizabeth came to Cheltenham in the 1850s after they were married in Chester, England. They called the area where they settled ‘Chesterville’, which later became part of Cheltenham, with Chesterville Road remaining as a legacy of the Ruse family to this day.
The Ruses’ daughter, also Elizabeth, married William Fairlam, the son of other English immigrants, and the couple settled in Cheltenham, eventually moving to a large house in Weatherall Road. William Fairlam established an estate agency and auctioneering business in Charman Road, right next to the railway crossing. CHELTENHAM: The Fairlams had three children: Percy, Addie and Eugenie. Percy and Addie feature in the Two Acre Art FORMERLY KNOWN AS TWO ACRE VILLAGE Mural. In the mid-19th century, land became available for auction in the new colony of Victoria after it had been surveyed, divided into portions and offered up for sale as part of the separation of the Port Phillip district from New South Wales. Pioneer and land developer Josiah Morris Holloway, born in London 1812, Kodak Box Brownie RICHARD ‘PERCY’ FAIRLAM: PHOTOGRAPHER 3. purchased many large parcels of land. In 1852, he owned 1736 acres of land in the Parish of Moorabbin for At the turn of the 20th century, a little wooden shop front stood which he paid a total of £2539. That land is now located in the towns of Blackrock, Sandringham, Mentone opposite what is now a cab stand at Cheltenham railway station. A and Cheltenham. large handwritten sign boldly advertised its purpose – R. P. FAIRLAM - PHOTOGRAPHER. It was during his twenties that young Richard William In May 1852, Holloway paid £938 11s 9d at auction for 625 acres 2 roods 36 perches of land, which he Fairlam, also known as “Percy”, combined his great artistic talent and named Two Acre Village. He subdivided this land into 370 allotments, many of them 2 acres in size. Today, inherited business skills by establishing this photographic venture. that land is part of the suburb of Cheltenham, and is located within the boundaries of Nepean Highway, Strategically positioned next to his family’s business in Charman Road Centre Dandenong and Chesterville roads, and Bernard Street. Cheltenham, the elegantly groomed Percy would stand in the shop FURTHER INFORMATION ONLINE doorway attracting customers and observing the community, which he localhistory.kingston.vic.gov.au/htm/article/186 used as his main photographic subject.
Percy produced a significant study of the natural and man made surrounds of Cheltenham. To record these landscape scenes, Percy would have used a large format ‘view’ camera; that is, a camera built like an accordion, with a lens at the front and a glass viewing screen at the back. Images were formed by light travelling off the chosen subject, through the camera lens and falling onto the back viewing screen. A photographer focused their subject by moving the lens end of the camera forward and back until a sharp image was achieved. The image projected on the viewing screen was not very bright, so to aid his judgement, Percy would have placed black cloth over his head and the back of the camera. Once satisfied with his composition and focus, he would then be ready to expose the image.
Instead of roll film, Percy would have used ‘quarter-plate’ negatives to capture his images. These flat glass plates were placed within a light-tight housing, which slipped into a back section of the camera. A protective sleeve was raised within the housing, lens cap removed and an exposure would be made of the object onto the light-sensitive material coated on the glass plate negative. Once the exposure was complete, the ‘dark slide’ housing could be taken into the darkroom and the negative processed by hand. Percy’s view camera was made from wood with brass fixtures and it was necessary to always carry a tripod to mount and steady the camera for shooting. These early view cameras were adequate for large format work such as landscapes.
Percy also became renowned for shooting from daring positions; one ‘aerial’ view over Cheltenham was taken in 1908 by climbing a giant pine tree within the Cheltenham State School grounds. To allow for more flexibility and exploration of subject matter, Percy would have used an early twin-lens or single-lens reflex camera, such as the fashionable Kodak Box Brownie.
Author acknowledgment: Janinka Eva FURTHER INFORMATION ONLINE localhistory.kingston.vic.gov.au/htm/article/78
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4. THE BUNURONG PEOPLE: FIRST INHABITANTS Aboriginal people lived in Australia for at least 40,000 years before European explorers and settlers arrived. The first Australians who lived in the Mordialloc district were the Bunurong people, who formed part of what was the Kulin nation, a group of five tribes that occupied Victoria’s central district surrounding Port Phillip Bay and its hinterland.
Bunurong people traversed the whole coastal fringe of Port Phillip, as far around as the Geelong area. When the first Europeans came to Port Phillip Bay, just after 1800, the Bunurong tribe was small in numbers, with estimates putting their total population at about 300. There is evidence that at about this time, the Kurnai tribesmen from Gippsland had attacked the Bunurong clans and killed up to half of them. Kurnai people seem to have been long-term enemies of the Bunurong tribe.
For countless centuries the lifestyle of the Bunurong people had been that of the hunter- gatherer. They used simple weapons (spears, boomerangs, stone axes, etc) to kill animals, birds and fish. Hunting was the role of the men, who ranged over several kilometres in search of game. Women gathered nutritious plants and berries as well as digging for yams and other edible tubers. They also hunted small animals. As the Bunurong tribe lived close to the sea they consumed shellfish (periwinkles, mussels and the like) – the large shell middens on the cliffs at Beaumaris and Sandringham give testament to this.
At night, fires were vital to these people, who cooked the day’s food supply and left small fires burning to provide some warmth as they slept nearby. When the clan moved to a new hunting place, firesticks were carried with them so that they had no need to go through the time-consuming job of creating fire by vigorously rubbing dry sticks. Like other indigenous Australians, the Bunurong tribe was nomadic, ranging over much of the Port Phillip coastal area, including the Mornington Peninsula, in search of food and water. Apart from the creeks, the tribe knew where fresh water springs existed. White farmers used these springs later on, the ones around Cheltenham Park including Mordialloc Creek, the Beaumaris shore near Ricketts Point and the Carrum Carrum Swamp were great sources of eels, fish and water birds. Before white people came, the Carrum Carrum Swamp was a huge trapped area of water behind the coastal dunes that drained, only slowly, through the distant Kananook Creek in Frankston and Mordialloc Creek. However, due to development and modern drainage measures, only parts of the original Carrum Carrum Swamp remain, such as the Edithvale-Seaford Wetlands.
Note: There are many different spellings for the tribal name Bunurong. Two of these spellings have been used in this educational resource – Bunurong and Boonwurrung – as they were the spellings used by the information sources (Leo Gamble and Aunty Carolyn Briggs).
PART TWO / 4 // TWO ACRE VILLAGE ART MURAL For the Bunurong, permanent shelter was unusual; most of their protection against the elements was constructed with tree limbs and bark that did not remain in place for long. They also sought out protected spots, such as small depressions in the sand dunes or areas of thick vegetation, while rugs and cloaks formed by stitching possum skins together provided warmth. It was a simple lifestyle, but one that put little pressure on the environment given the small numbers of people. It has been calculated that the Bunurong people could satisfy their needs with about four hours per capita of work a day, so they had plenty of rest time.
In June 1835, John Batman, acting without any authority from Sydney or London, drew up a fraudulent contract which saw huge tracts of land around Port Phillip pass into his hands in exchange for blankets, mirrors, axes, etc, to be distributed to the tribes annually. The tribal chiefs who signed that document had no concept of its real meaning and were unaware of the fact that the white chief they dealt with was acting for himself and his friends out of greed for land to exploit. It was not long before the Bunurong people and their neighbouring Kulin nation members began to suffer.
Members of the Bunurong tribe had no way of dealing with the intruders, whom they knew had ‘firesticks’ (guns) that could kill. There was no option but to accept the invasion and try to get the best results for their people by a form of co-operation. For instance, Derrimut, one of their chiefs who had signed Batman’s contract, knew about a plan by Aboriginals to massacre the small number of white settlers when Melbourne was just a small encampment around John Pascoe Fawkner’s dwelling. He went among the whites and warned them of the impending attack by large groups of warriors, not necessarily all Bunurong clansmen. Steps taken by the whites deterred the aggressive natives and the bloodshed was averted. Derrimut was honoured by the Europeans for this action, some settlers erecting a substantial gravestone when he died in 1864.
FURTHER INFORMATION Author acknowledgment: Leo Gamble localhistory.kingston.vic.gov.au/htm/article/499
localhistory.kingston.vic.gov.au/htm/article/174
BOONWURRUNG TRANSLATIONS Boonwurrung Elder Carolyn Briggs assisted the artists with translations for the Boonwurrung Language. Look closely in the mural to find some of the traditional food sources including:
Fish Wallabies Shell fish GUMBAK WEENBEE TUYANG
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ADDIE ‘FAIRLIE’ TAYLOR LIBRARIAN & AUTHOR 5. Addie “Fairlie” Lilian Taylor (nee Fairlam) was born in Cheltenham in 1887 and she attended Cheltenham State School in Charman Road. She read any books that were available and did well at her studies. When Taylor was just eleven she passed the necessary tests in fifth grade to reach the standard that qualified her to do the Merit Certificate course, though she was never enrolled.
Her father took her out of school and employed her in his shop, which was a newsagency and general store as well as an estate agency. In 1898, the Fairlam business was suffering the effects of the depression of that time, and for the next 5 years Taylor looked after the shop daily for the long hours of trading.
At the end of 1903, when Taylor was almost sixteen, she convinced her parents to allow her to return to school and she became a student at Mentone High School for girls, which was opened by the Simpson sisters Effie, Minnie, Ethel and Daisy (this was the forerunner of Mentone Girls’ Grammar School). Taylor then trained as a teacher through the Teachers’ Training College in Grattan Street, Carlton. Somebody in her course group nicknamed her ‘Fairlie’, a corruption of her surname, and it stuck, even after marriage when she became Fairlie Taylor.
Although before she was married, Taylor was sent to a succession of small country schools over the next decade, often being required to set the school up from scratch. Between 1928 and 1933 Taylor survived and paid the rent by having stories and articles published in the Women’s Mirror, New Idea, and among other publications, The Herald then a Melbourne daily paper.
As the librarian at the Presbyterian Ladies’ College, Taylor was given free rein over her love of books and began an imaginative program of displays, talks, radio programs and other innovative moves that put the library in the forefront of education. In 1936 she introduced filmstrips as a way of dealing with certain topics in the library setting. Her name became known in Melbourne educational circles and people from universities, training colleges and schools visited her library. She spoke at conferences, did radio broadcasts on the ABC and was consulted by a wide variety of people interested in this field of education. She continued her librarian work at Methodist Ladies’ College until retirement in 1953.
Taylor spent an active retirement involving herself in a wide variety of part-time pursuits, mostly in the field of education. When she was more than 80 years of age Taylor wrote the book Bid Time Return, where she describes in detail the way children played and enjoyed their free time over 100 years ago. She quotes word for word all the rhymes they sang, she describes the birthday party games and the challenges.
In 1976 she was awarded the British Empire Medal for services to education. Taylor was an early pioneer of women’s independence and a creative thinker of remarkable energy.
FURTHER INFORMATION ONLINE Author acknowledgment: Leo Gamble localhistory.kingston.vic.gov.au/htm/article/487
PART TWO / 6 // TWO ACRE VILLAGE ART MURAL THE FAIRLAM STORE AND THE FORE APARTMENTS CONNECTION 6. From the early to late 1990s one of the only permissible aerosol mural walls throughout the south- eastern suburbs of Melbourne was the side of the old Fairlam family corner store, now the home of The Fore apartments. Many established and well renowned artists and designers took it in turns creating various amazing works of art on this site. Due to a change of landowners, artwork was not allowed at this site from 1990 to 2012.
This historical element of street art is captured in the Two Acre Art Mural through the tribute to a local graffiti legend (Swell), who greatly inspired Andrew Bourke when he was finding his way into graffiti as a young teen. Swell produced, in Andrew’s eyes, some of Melbourne’s best aerosol art at that point in time. Andrew spent years practicing his own craft on that very site, on the side where the old Author acknowledgment: Andrew Bourke Fairlam shop/ Cheltenham station wall was located, and a strong connection was forged.
CHELTENHAM PIONEER CEMETRY AND 7. MEMORIAL PARK Land along Charman Road, 2.49 acres in size, was reserved for Cheltenham Pioneer Cemetery in 1862. Less than a year later, on 18 March 1863, cemetery trustees, led by Chairman Thomas Attenborough, were appointed. The cemetery opened for interments on 3 October 1864 and the first burial, namely that of John Fullerton Hunter, occurred on 27 March 1865. The Cheltenham Pioneer Cemetery was the first general cemetery established in Melbourne’s bayside and until 1917 it was known as the Mordialloc and South Moorabbin General Cemetery. In 1874, the small area was extended to 8 acres of land and initially just half of the area was used. There has been little change about the cemetery since 1931, with the only notable exception being the Walls of Remembrance for cremated remains built in 1961.
Cheltenham Memorial Park was established in 1933, following a sudden increase in the demand for grave sites at Cheltenham Pioneer Cemetery in the late 1920s. The first burial at the new cemetery was that of Mary Ellen Payne on 27 March 1933 and since that time over 55,000 interments have taken place. From 1944 Cheltenham Pioneer Cemetry to 1952 the now 20 hectare site was progressively established through land acquisitions. In 1961, the first lawn burial area was opened, then in 1996 the first mausoleum occurred and since this time an additional 5 mausolea have been built to cater for the demands of the local community.
FURTHER INFORMATION ONLINE localhistory.kingston.vic.gov.au/htm/article/504
Source: Whitehead, GJ 2012, Two Acre Village: A Cheltenham History, City of Kingston
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CHELTENHAM 8. RAILWAY STATION The late 1870s marked the beginning of a massive program to construct railway lines throughout Victoria. One of these lines was from Caulfield to Frankston.
The final design accepted for station buildings from Caulfield to Mordialloc was referred to as the ‘Garden Cottage Style’, described as a symmetrical building with two gables either side of a central entry, covered by a wide veranda. The gables were surmounted with iron finials and two polychrome brick chimneys. To the right of the entrance was the booking office and, to the left, a ladies’ waiting room from which toilets were accessed across a yard. The male toilets and urinals were accessed from the station platform. A wide veranda decorated with iron lacework and brackets fronted the building to the railway platform.
Historians Andrew Ward and A. Donnelly, in a survey of Victoria’s railway stations, point out that five stations on the Frankston line were built in what they categorise as the ‘Cheltenham Style’; Cheltenham, Highett, Glenhuntly, Mordialloc and Frankston. This design was only used for a period of two years. These stations were built in a rush, with four of the five contracts being signed on the same day, 5 January 1882. The station at Cheltenham, built by Davies and Batty, varied from the description given above, in that the plan was reversed so that on entry the booking office was to the left and the ladies waiting room was to the right. The lamp room and toilets were to the Melbourne end of the platform. As Ward and Donnelly point out, the lamp room was built at some distance from the main building as it constituted a danger, while the pan-serviced toilet facilities were separated ‘for good reason’.
The June 1881 plan of the station grounds at Cheltenham shows a central access pathway from the station building to Charman Road together with a metalled road to the left leading to the carriage dock. There was one branch line or siding leading to the Cheltenham Railway Station c1920 carriage dock, while another travelled to the rear of the up-line platform. In addition to the two platforms, there were three railway houses which were provided for the gate keepers on Tulip Road (now Park Road) and Charman Road, and the station master and his family on Tulip Road.
Courtesy Mordialloc & District Historical Society Source: Whitehead, GJ 2012, Two Acre Village: A Cheltenham History, City of Kingston FURTHER INFORMATION ONLINE localhistory.kingston.vic.gov.au/htm/article/504
PART TWO / 8 // TWO ACRE VILLAGE ART MURAL MELBOURNE 9. Laying the foundation stone BENEVOLENT ASYLUM In 1919, local councillors were very keen to have an asylum at Cheltenham, believing it would attract more residents to the area and assist in gaining a better train service, but they were concerned about road building costs. Cr Mills pointed out that building a road alongside the site would cost £300 and further expenditure would be entailed for gravelling Moorabbin Road and Centre Dandenong Road – costs which the council could not meet. However, he thought if the asylum committee gave pound for pound, the council might see its way to assist in carrying out the work.
The asylum committee was highly concerned about Courtesy Kingston Centre gaining access to the Cheltenham site. The contractor given the task of constructing the new building would need to transport large quantities of heavy materials to the site and roads in their current state made this impossible. The committee was considering building a railway from Cheltenham railway station to the site but they still needed roads and they were needed before the construction of the building could commence.
The solution to this problem was building a 2ft 6in gauge light railway. The railway was also used to transport guests to the site to witness the laying of the foundation stone in April 1909. Almost two years after the foundation stone was laid, patients were transferred from North Melbourne (the old asylum site) to Cheltenham. The logistics for such an occasion given the distance, the condition of many patients and the available transport, were immense. Added to this were the emotional feelings held by many patients leaving the gloomy but friendly environment they had known for many years, while others were looking forward to more pleasant accommodation “by the sea”. Some were so old and feeble they took no interest in what was a momentous occasion in the history of the institution.
By the beginning of 1920, almost nine years later, the Asylum was receiving praise with the institution now well established at Cheltenham with its gardens and lake. Writer, Ketteringham wrote in The Age newspaper of the spacious, well-ventilated wards where the beds were spotlessly clean. Bathing facilities were considered to be unequalled with a plentiful supply of hot and cold water always being available. He noted that every inmate was compelled to bathe at least once a week. The dining room, he thought, surpassed anything he had seen in other institutions for its cheery brightness and tables without blemish.
Courtesy Mordialloc & District Historical Society With a change of focus from asylum to aged care services, the facility was renamed the Kingston Centre on 21 October 1970.
Source: Whitehead, GJ 2012, Two Acre Village: A Cheltenham History, City of Kingston
FURTHER INFORMATION ONLINE localhistory.kingston.vic.gov.au/htm/article/302
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CHECK OUT THE HISTORY AND LOCATION VIDEO 10. CHELTENHAM’S LOCAL SPORTS youtu.be/vApksG3_Es4
CHELTENHAM CRICKET CLUB The first meeting of Cheltenham Cricket Club was held at Bruton house in 1872; J. Martin was President, W. McKnight was Secretary and J. Monk was captain of the club. Also present was W. Bruton, W. Organ, D. Organ and R. Woff. While at first the club was known as the Cheltenham Cricket Club, by February 1875 it had adopted the name “Rising Star Cricket Club” and retained this name until 1886.
The location of the ground on which Rising Star first played in Cheltenham is unknown, however by 1880 the club secretary was seeking six acres of land in Cheltenham Park. In December 1880, the council received a letter from the Land’s Department noting that Messrs W. Ward, J. Jamison and W. McKnight had been appointed trustees for the cricket ground at Cheltenham and suggested that regulations be drawn up regarding management. Some 27 years later, after the club had surrendered the Cheltenham Park ground and was looking to create a new ground at Cheltenham Recreation Reserve. James Monk recalled that a lot of “old buffers had put a lot of work into that park” and Cr Brownfield recalled playing there when he was a youngster.
Cheltenham Recreational Reserve In 1887, the 15th annual meeting of Cheltenham Cricket Club, chaired by William McKnight, was held in the Old Protestant Hall. The original name of Rising Star for the club had been replaced to Cheltenham Cricket Club. Two years earlier a newspaper reference to the club used the new name and since then the club has continued to use it to the present day, although it acknowledges that in its early history the club was under the banner of Rising Star.
Source: Whitehead, GJ 2012, Two Acre Village: A Cheltenham History, City of Kingston
CHELTENHAM RECREATION RESERVE: WEATHERALL ROAD In the early days, Cheltenham Cricket Club played its matches on the area of land that is now used as a car park for Charman Road shopping centre, as well as the site used by Leader newspapers before the newsgroup sold the site in 2013. During 1897, an area of Crown land was approved for the establishment of a new recreation reserve. This land was in its natural state, covered with gum trees, tea-tree and shrubs. The secretary of the recreation reserve handed over what was then known as Weatherall Road Reserve to the club in 1899. On Saturday 2 September 1899, members and local farmers joined together for the first of many working bees, with horses, drays and ploughs to clear the land. The land in the early days was virgin bush and the response for voluntary help to clear the area was outstanding.
PART TWO / 10 // TWO ACRE VILLAGE ART MURAL After the land was cleared, local and surrounding market gardeners held an annual show. During 1908, an area of this land was set aside to establish a football and cricket sportsground. The City of Moorabbin CHELTENHAM’S LOCAL SPORTS levelled the playing area and erected a post and rail fence around the ground with pine tree shrubs planted on the west side. The goals were placed east to west and a cricket pitch was established.
FURTHER INFORMATION ONLINE localhistory.kingston.vic.gov.au/htm/article/289
CHELTENHAM FOOTBALL CLUB Known as the Rosellas, the early Cheltenham Football Club sides began playing on a regular basis in 1893 and would travel long distances by steam train to play country teams, such as Ballarat, where they would arrive at their destination, play the match, socialise and then return to the station. Opposition players and supporters would give three hearty cheers on their departure.
Similar to Cheltenham Cricket Club, the local teams’ home games were first played in a paddock on the corner of Park and Charman Roads in Cheltenham, before finally being granted permission to develop where Cheltenham Recreational Reserve now stands. The ground was opened in 1909 and the first Cheltenham side entered in the newly formed Federal Football Association along with three other foundation members: Mordialloc, Mentone and Ellindale. The grand final for that year was a tough encounter between Cheltenham and Ellindale, with Cheltenham coming out victors, thus becoming the inaugural Federal Football Association premiers.
By the end of the 1920s, Cheltenham went on to win five senior premierships in the Federal Football Association; they won the flags in 1909, 1911, 1913, 1922 and 1925, with the late Percy Woff playing in all 5 premiership sides and captaining in 1922.
Cheltenham Football Club produced many local champions to play for the club over the following 90 years including Jack Barker, Jim Sloss, Jeff Farnbach, Eric Whitecross, Jim Brooks, Source: Whitehead, GJ 2012, Two Acre Village: A Cheltenham History, City of Kingston Norm Wilson and Peter Box along with Kevin Roberts and Bob Arnfield through the 1940s and 50s, and later players such as the legendary Trevor Barker who played through the 70s with much success before moving on to play in the Victorian Football League for St Kilda Football club. Cheltenham Football Team 1935 In the 90s, the Rosellas senior team was considered a force to Courtesy Graham Whitehead, Kingston Collection be reckoned with, taking out the 1992, 1993, 1995 premierships and the club is still recognised as a formidable force to this very day.
Author Acknowledgement: cheltenhamfnc.com.au/about-cfnc/history
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11. TREVOR BARKER: LOCAL LEGEND AND FOOTBALL GREAT Trevor Barker (1956 - 1996) was an Australian rules footballer with St Kilda Football Club in the Victorian Football League. Recruited from Cheltenham Football Club in 1975, Barker was also a handy cricketer, winning an Under-16 premiership with his father Jack as coach.
He made his VFL debut wearing number 25 against Hawthorn, in Round 2 on 12 April 1975, before changing to the number 1 jumper in 1977 when he was selected to represent Victoria at interstate level. He went on to represent Victoria seven times. In an era where the Saints battled and had very little success (his 230 games did not include any finals appearances, a league record), Barker had a distinguished career and was considered to be the Saints’ best player throughout the 1980s. He was an inspirational footballer, known for his spectacular marking and contribution to the club and was captain of the Saints from 1983 to 1986.
St Kilda’s best and fairest award, instituted in 1914, is named the Trevor Barker Award as a mark of respect to his contribution to the club. Barker won St Kilda’s best and fairest award in 1976 and 1981, and was named in the club’s Team of the Century. He was also inducted to the St Kilda Football Club Hall Of Fame in 2003. The Trevor Barker Beach Oval, home of the Sandringham Football Club, was also named in his honour.
After retiring, Barker worked briefly in the media before returning to football, this time as coach of the Victorian Football Association club in Sandringham. He led the club to two premierships (1992 and 1994), and was then appointed as the Reserves coach at St Kilda in 1995. Trevor Barker sadly passed away from cancer aged 39, on 25 April 1996. He now rests peacefully in Cheltenham Pioneer Cemetery.
Author acknowledgement: Andrew Bourke
Trevor Barker
PART TWO / 12 // TWO ACRE VILLAGE ART MURAL CHELTENHAM’S GOLF CLUBS Cheltenham has a unique selection of golf courses located in the sand-belt all dating from the 1920s or before. Some of them were designed by Dr Alister MacKenzie, an influential course architect of the twentieth century. Golf in Cheltenham is an experience no passionate golfer should miss.
Cheltenham’s golf courses include:
• Sandringham Municipal Golf Course - Cheltenham Road • Victoria Golf Club - Park Road • Cheltenham Golf Club - Victor Avenue • Royal Melbourne Golf Club - Cheltenham Road Watering a green at the Cheltenham Golf Course 1973
Author acknowledgement: golfvic.org.au Courtesy Eric Longmuir, Kingston Collection
LEO ‘LUCKY’ GRILLS: LOCAL TELEVISION PERSONALITY AND COMEDIAN 12. Leo Grills, known professionally as “Lucky” Grills, was an Australian actor and comedian. Born in Tasmania on 26 May 1928, Grills was best known for portraying the lead role of unconventional detective Bluey Hills in the television series Bluey in 1976. It was a guest role in an episode of Australian policy drama Matlock Police that brought him to the attention of producers for the role of Bluey. He was later reintroduced to a younger generation in a recurring segment of the early-90s comedy series, The Late Show called Bargearse, a humorous re-dub of Bluey.
He was awarded the Australian Centenary Medal in the 2001 Queen’s New Year Honours List for his services to the entertainment industry and the arts. He was also awarded the OAM (Order of Australia Medal) in the 2001 Queen’s Birthday Honours List for his services to the entertainment industry through charitable organisations. On the day prior to his death, he was still working and had made two back to back public appearances. Grills passed away on 27 July 2007. His cremated remains were later interred at Cheltenham Memorial Park on 19 December 2007.
Author Acknowledgement: Andrew Bourke
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NATIVE FLORA
The Two Acre Art Mural includes a range of native flora from the local area. Not all flora is indigenous but they all reflect the history and beauty of Cheltenham. 13. RED FLOWERING GUM CORYMBIA FICIFOLIA AUSTRAL BRACKEN Red Flowering Gum is one of the most commonly planted PTERIDIUM ESCULENTUM 14. ornamental trees in the Bracken is a plant 60cm to 1m in height broader eucalyptus family. with fronds that grow from underground In nature it prefers infertile, rhizomes and roots. The fronds are sandy soils but it is readily coiled when they first adaptable to most temperate locations, emerge, becoming harder provided it is not exposed to severe frost and darker as they unfurl or sustained tropical damp. It is an ideal and expand. Bracken street tree as it is hardy, moderately fast requires well drained growing, and rarely grows large enough soils to flourish and it is to require pruning. common for Bracken to form dense patches. Bracken is an integral part ORANGE FUNGI of the Australian landscape and flourished throughout the sandbelt region and is 15. PYCNOPORUS COCCINEUS still present in most bushland reserves, A very versatile fungus that occurs in a foreshore areas and along some rail line and variety of landscapes ranging creek edges. from moist ferny gullies to semi-desert environments. It is very common on SMALL GRASS TREE paperbark trees (Melaleuca XANTHORRHEA MINOR 17. family). The Fungi typically Grass trees are very hardy, slow growing and grows on fallen timber, long lived. They require well drained soils assisting in the rotting in full sun to dappled shade. Flowers are process. produced in summer on tall spear-like shafts with masses of small WEDDING BUSH creamy-yellow nectar 16. rich flowers. RICINOCARPOS CYANESCENS Grass trees are resilient This plant originated in Western Australia in dry, drought and and is widely known for being drought bushfire conditions and tolerant. It is an evergreen shrub and are a distinctly adorns glossy white Australian. flowers in spring and early summer. The Wedding Bush likes well-drained soil located in full sun or CHECK OUT THE FLORA AND FAUNA VIDEO part shade. youtu.be/0xs97QZw4cQ
PART TWO / 14 // TWO ACRE VILLAGE ART MURAL SWAMP GUM EUCALYPTUS OVATA 21. 18. GOLDEN WATTLE ACACIA PYCNANTHA The Swamp Gum is a fast growing This plant is Australia’s floral tree with an open emblem. It is fast growing in canopy. It prefers well drained soils and sunny poorly draining positions. Golden Wattle is a and infertile soils showy plant that produces including clay soils a mass of fragrant, fluffy, that dry out in golden flowers in late winter summer. Swamp and early spring. The Golden Gums are frost Wattle grows between 2 and 8 resistant and thrive in full sun to semi metres and is frost hardy. shade. Swamp gums are used as wind The hard coated seeds germinate after fire. breaks and are an important food source Plant nurseries mimic nature by scarifying for a variety of wildlife including Koalas. the seed with sandpaper and/ or emersion in boiling water. This treatment stimulates the seed and encourages growth.
SHOWY BOSSIAEA FOREST RED GUM 22. BOSSIAEA CINEREA 19. EUCALYPTUS TERETICORNIS The Showy Bossiaea is a member of the pea This is one of the better known eucalyptus trees family (Fabaceae family) and is known for its and its wood is hard and very durable. The outer yellow and brown flowers. It is a spreading bark generally has a bluish tint, but is normally shrub that tolerates patchy and may range from nearly white to drought, shade and coastal reddish according to season and the locality. exposure. The Showy Leaves are long and slightly Bossiaea is a low and curved towards the point. spreading shrub that is less Forest red gum grow on than a metre in height. creek flats, alluvial flood The showy flowers attract plains and on heavy soils. a wide range of insects Flowers are white, some and their prey, especially may have a pink tinge and lizards. they flower from April to November. OLD MAN/ SAW BANKSIA BANKSIA SERRATA 20. This Banksia has a wide distribution from eastern Victoria through mainly coastal forests of New South Wales and into southeast Queensland. It’s a hardy plant found growing naturally in sandy soils but responding well to cultivation when given good drainage. It’s salt resistant and therefore ideally suited to coastal sites and will withstand frost. Banksia serrata can be a shrub of 2m high or a small tree up to 12m or so with gnarled and twisted branches. As well as the wonderful flowers and leaves, Banksia serrata has interesting rough bark displaying a variety of colour tones and is often used as a feature plant in gardens. The common name, Old Man Banksia, is in reference to the silvery, grey-brown seed cones and their resemblance to an old man’s mouth and face, as they open.
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23. CLUSTERED SWORD SEDGE PALE MAT-RUSH LEPIDOSPERMA GLADIATUM LOMANDRA GLAUCA 24. Sedges are grass-like plants that are part Lomandra is a perennial herb found in of the Cyperaceae family. A simple bush Australia, New Caledonia and New Guinea. regeneration technique to help identifying Lomandra comes from the Greek loma sedges is the saying ‘sedges have edges = edge and andros = male (referring to and rushes are round’. the reproductive organ (anthers) on some A sedge’s triangular leaf species). The Pale Mat- gives it an ‘edge’ feel, Rush is a small, sprawling though be careful as grass-like herb that they can cut skin very grows to 25cm. It is a quickly. common landscaping The Clustered Sword plant with blue-green Sedge is a dense sedge stiff leaves. It grows found in wetlands, well in partial to full dunes and creeks in sun and prefers moist coastal areas. soils.
BUNDLED GUINEA FLOWER 25. HIBBERTIA PROSTRATA MATTED PRATIA As a member of the Dilleniaceae family PRATIA PEDUNCULATA 26. of flowering plants the The Matted Pratia is a prostrate perennial herb flowers of and is widespread and common in wet areas. the Bundled It is a flat, ground-covering plant with star-like Guinea Flower blue or white flowers appearing in Spring and are yellow and Summer. With tiny round green leaves this plant appear from has the ability to grow roots from the nodes on September to the stems. This can be of concern as it makes it December. The hard to fully remove flowers each Matted Pratia from an have 5 petals area. With this survival and attract mechanism the Matted butterflies. Pratia could become The Bundled Guinea is a low growing an invasive plant if not plant that reaches no more than 0.6m managed properly. tall. It likes moist well drained sandy soils in heath woodlands.
PART TWO / 16 // TWO ACRE VILLAGE ART MURAL NATIVE FAUNA
The Two Acre Art Mural includes a range of native fauna from the area. Not all of them are indigenous species. Native means they are from Australia and indigenous means they are locally found. They have been incorporated by the artists due to their colours and form, and the meaning they bring to the mural.
BRUSH TAIL POSSUM NATIVE CRESTED PIGEON 27. TRICHOSURUS VULPECULAR OCYPHAPS IOPHOTES 28. The common Brush The Native Crested Pigeon is a stocky pigeon Tail Possum is a with a conspicuous thin black crest. Most of the nocturnal (active at plumage is grey-brown, becoming pinker on the night) marsupial (a underparts. The head is grey, with a pinkish-red mammal with ring around the eye. If startled, this pigeon takes pouched young) to the air with a characteristic whistling flight and native to Australia. glides with down turned wings. The whistling It mainly eats foliage, sound is produced by the air passing over a fruit and flowers and modified primary feather creates dreys which are nest-like on the wing. It is found in structures within shrubs and trees. In lightly wooded grasslands in most Australian habitats, eucalyptus both rural and urban areas leaves are a significant part of the diet but and usually in the vicinity rarely the sole item eaten. of water as it has to drink It is the Australian marsupial most often every day. Its diet consists seen by city-dwellers, as it is one of few mostly of native seeds, as that thrives in cities, as well as a wide well as those of introduced range of natural and human-modified crops and weeds. Some environments. leaves and insects are also eaten. The Crested Pigeon builds a delicate nest of twigs, placed in a tree or dense bush.
AUSTRALIAN MAGPIE 29. GYMNORHINA TIBICEN The Australian Magpie is a medium-sized black and white bird native to Australia and southern New Guinea. The adult Australian Magpie is a fairly robust bird ranging from 37 to 43cm in length, with distinctive black and white plumage, gold brown eyes and a solid wedge-shaped bluish-white and black bill. The male and female are similar in appearance, and can be distinguished by differences in the markings on their back. Described as one of Australia’s most accomplished songbirds, the Australian Magpie has an array of complex vocalisations. It is omnivorous, which like humans, means they eat seeds, meat and plants. The bulk of its varied dietary made up of invertebrates and they are generally sedentary and territorial throughout their range. Common and widespread, it has adapted well to human habitation and is a familiar bird of parks, gardens and farmland in Australia. Spring in Australia is magpie season, when a small minority of breeding magpies (almost always males) become aggressive and swoop and attack those who approach their nests, especially bike riders.
CHECK OUT THE FLORA AND FAUNA VIDEO youtu.be/0xs97QZw4cQ TWO ACRE VILLAGE ART MURAL // PART TWO / 17 PART TWO / ART MURAL DETAILS
30. RAINBOW LORIKEET TRICHOGLOSSUS HAEMATODUS The Rainbow Lorikeet is unmistakable with its bright red beak and colourful plumage. Both sexes look alike, with a blue (mauve) head and belly, green wings, tail and back, and an orange/ yellow breast. They can often be seen in loud and fast-moving flocks throughout the coastal regions across northern and eastern Australia and are generally found in rainforests and woodlands, as well as in well- treed urban areas. Rainbow Lorikeets often travel together in pairs and occasionally respond to calls to fly as a flock. Pairs defend their feeding and nesting areas aggressively against other Rainbow Lorikeets and bird species, chasing off not only smaller birds such as the Noisy Minor, but also larger and more powerful birds such as the Australian Magpie. They feed mainly on fruit, pollen and nectar, and possess a tongue adapted especially for their particular diet.
NOISY MINOR LAUGHING KOOKABURRA MANORINA 32. DACELO NOVAEGUINEAE 31. MELANOCEPHALA The Laughing Kookaburra is a Noisy Minors are nectar-eating birds stocky bird about 45cm in length native to eastern Australia. They enjoy (slightly larger than the Magpie), nectar, fruit and the occasional insect. with a large head, prominent brown Noisy Miner is a good name for them eyes, and a very large bill. They because of the repetitive noisy chirping have a white or cream-coloured they make, especially when there are body and head with a dark brown young miners around. They can also make stripe through each eye and more a whole lot of noise when an intruder faintly over the top of the head. enters their territory. That intruder could The name “Laughing Kookaburra” be another type of bird, cat, dog or even a refers to the bird’s laugh, which it uses to establish person. Noisy Miners can drive away other territory amongst family groups. It can be heard at any birds from their territory. time of day, but most frequently shortly after dawn and One of the reasons why these birds seem after sunset to dusk. to benefit from people is their preference Kookaburras occupy woodland territories (including for areas with widely-spaced trees and little forests) in loose family groups, and their laughter understorey (shrub layer). Suburban gardens serves the same purpose as a great many other bird fit that description perfectly, and they are calls—to demarcate territorial borders. Most species further rewarded by the recent Australian of Kookaburra tend to live in family units, with interest in planting offspring helping the parents hunt and care for the flowering nectar-rich next generation of offspring. indigenous trees and They are a member of the Kingsfisher family. They bushes like Grevilleas capture their prey by perching on a convenient and Bottlebrush. branch or wire and waiting patiently for prey to Noisy Minors are not pass by. Common prey includes mice and small to be confused with mammals, insects, lizards, small birds and nestlings, the Indian Minor (small and most famously, snakes. and dark brown) an introduced species, considered a pest.
PART TWO / 18 // TWO ACRE VILLAGE ART MURAL EASTERN BLUE-TONGUED LIZARD 34. AUSTRALIAN COMMON 33. TILIQUA SCINCOIDES SCINCOIDES GRASS SKINK The Eastern LAMPROPHOLIS GUICHENOTI Blue-Tongued Lizard is a This small lizard (no more than 10cm in species of large length) is common along the east coast skink which of Victoria, south east South Australia and is common the northern parts of Tasmania. They are throughout common in suburban back gardens, where eastern Australia, they feed on insects and shelter under any often found in available cover. They are most common bushland and suburban areas where conditions in areas with drier grassy habitats where are suitable. They are known as blue-tongues they appear to dominate. because their tongue ranges from bright to They lay 2-5 eggs in late dark blue and they have a habit of displaying it spring which hatch in mid prominently and hissing loudly when disturbed. to late summer. The young The Eastern Blue-Tongued Lizard is a stout lizards mature within and slow lizard that grows 30–60 cm in twelve months. length, with brown to grey scales and a barred pattern across the body and tail. Rather than laying eggs, the Eastern Blue-Tongued Lizard gives birth to live young, making them an NATIVE BEES ovoviviparous animal. They give birth to AUSTROPLEBEIA AND between six to twenty per litter and the young TETRAGONULA SPECIES 36. consume the egg sac immediately after birth. Australia has over 1,500 species of native bees. BULL ANTS 35. They collect pollen from MYRMECIA SPECIES a wide variety of flowers in order to feed their Bull ants are large and alert ants that can grow young. Only two of up to 40mm. They have characteristic large the species, the social eyes and long, slender mandibles and a potent native bees (Tetragonula venom-loaded sting. They have superior species) and vision and are able to track and even follow (Austroplebeia species) intruders from a distance of 1 metre. Many have no sting. Of the species of bull ants have bright red or orange remainder which live solitary lives, none are colours on the head or abdomen. aggressive and most cannot actually use their There are about 90 species of bull ants in sting on humans because they are too small Australia with diverse behaviours and life to do so. Larger examples of Australian native cycles and there may be more yet to be bees are capable of stinging if handled or discovered. Bull ants live in urban areas, squashed. forests and woodland Social species of Australian native bees do through to heathland produce honey, but not much, as they are vegetation. They feed relatively primitive bee species. In cool- via collecting nectar and climate areas of Australia, all the honey the other plant juices, as well bees produce is needed by the swarm to as animal prey, which is live through winter. carried back to the nest.
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AUSTRALIAN PAINTED 37. LADY BUTTERFLY VANESSA KERSHAWI The Australian Painted Lady Butterfly has a life cycle of 53 days during the warm months of summer. The female lays her eggs in the centre of the leaf of a food plant, usually species from the Daisy family. The eggs are green and hatch in about three days. As a caterpillar, the Australian Painted Lady is only active at night, during which its main activity is feeding. During the day, it hides in a curled leaf or at the foot of a food plant. The adults feed on the nectar of flowers especially native everlasting daisies. The Australian Painted Butterfly migrates from the north of Australia south during the warmer months, usually in large numbers.
38. REDBACK SPIDER LATRODECTUS HASSELTII The Redback Spider is a dangerous Australian spider that is a member of the widow spider family, which are found throughout the world. The female is easily recognisable by her black body with a prominent red stripe on the upper side of the back of her abdomen. Females have a body length of about a centimetre, while the male is smaller, being only 3-4 mm long. The Redback Spider is one of few arachnids that usually eat their partner after mating. Redbacks are considered one of the most dangerous species of spiders in Australia. Their neurotoxic venom is toxic to humans, with bites causing severe pain often for over 24 hours. Anti-venom is commercially available and since its introduction in 1956, no deaths due to redback bites have been reported.
PART TWO / 20 // TWO ACRE VILLAGE ART MURAL FIND THE TAWNY FROGMOUTH PODARGUS STRIGOIDES The Tawny Frogmouth is a type of bird found throughout Australia and is often mistaken to be an owl. Males and females look alike and are 35–53 cm long. They have yellow eyes and a wide beak topped with a tuft of bristly feathers. They make loud clacking sounds with their beaks and emit a reverberating booming call. Tawny Frogmouths hunt at night and spend the day roosting on a dead log or tree branch close to the tree trunk. Their camouflage is excellent — staying very still and upright, they look just like part of the branch. They are almost exclusively insectivorous, feeding rarely on frogs and other small prey. They catch their prey with their beaks rather than with their talons. Owls fly around at night hunting food, but Tawny Frogmouths generally remain sitting very still on a low perch, waiting for food to come to them. It is their large eyes and excellent hearing that aids its nocturnal hunting.
Author acknowledgement: Andrew Bourke
TWO ACRE VILLAGE ART MURAL // PART TWO / 21 PART TWO / 22 // TWO ACRE VILLAGE ART MURAL PART THREE DESIGN PROCESS
The first step in the design process involved Andrew and Jimmy being invited by Council to submit a design for an artwork to go on the wall of The Fore apartment block.
To develop their design, the artists conducted research by talking with many community groups and individuals to find out what they would like to be included on the wall and what connected people to this location. Through these conversations Andrew and Jimmy learnt how important the local history and nature is to residents as well as the artwork having the ability to connect to local youth.
The next step was brainstorming how these ideas from the community could be included in the artwork. Following the brainstorm a penciled sketch that included the rough main elements was created. This sketch was then converted to an electronic version using the computer program InDesign with images edited through another computer program, Photoshop. The InDesign process also involved scaling the elements of the artwork, gridding up the design, image colour correction and laying the images together. The end result is a digital image of the artwork that allows the client to have a sense of what the artwork will look like.
The preliminary design was then submitted to the Council and survived the elimination process to finish in the top four. The next step was to prepare the documentation and further information that details the elements within the artwork and to give reason why their artwork should be chosen over the other three entries. Further conversations with community groups took place and the artists undertook further research about each element (including each plant, animal, local feature and historical figure).
This final submission impressed the Council and the artwork was commissioned. As artist Jimmy describes in the film, 99% of creating public art is the design process and the artwork is the 1%.
CHECK OUT THE DESIGN PROCESS VIDEO youtu.be/dM1jU9KzSdE
TWO ACRE VILLAGE ART MURAL // PART THREE / 1 PART THREE / 2 // TWO ACRE VILLAGE ART MURAL PART FOUR PUBLIC ART
CHECK OUT THE CHANGING PERCEPTIONS VIDEO CHANGING youtube.com/watch?v=nEYWh4Q-YHg&feature=youtu.be PERCEPTIONS
The aim of the Two Acre Art Mural is to have as many people relate to it and to have access to it as possible. People connect through history, local icons, sport, street art, flora and fauna.
The location of the Art Mural is also important with changing perceptions. See Part Two / 7, item number 6 for more details.
The artwork also aims to increase the profile of aerosol art. There are very few legal public walls for aerosol art to be created and displayed on. It is hoped that through this artwork the positives of aerosol art are understood by artists and community alike. These positives include producing great art the public admires, the potential to make a living from aerosol art as well as appreciating street art as art and not vandalism (if conducted in the correct manner).
Street and graffiti art are still emerging arts and the range of literature detailing this artform is limited. Topics to research include street art, graffiti art, urban art, guerrilla art, post-graffiti, neo-graffiti and stencil art. There are a couple of high profile street and urban artists around the world that have influenced Andrew and Jimmy’s artwork, of note is Blek le Rat’s (Xavier Prou) work from Paris and New York.
The inclusion of street art and graffiti motifs in the artwork gives respect to the artwork. The unspoken rule with street art is that graffiti artists do not touch other artists’ work. This respect reduces the chances of the artwork being touched or tagged. The inclusion of street art is also a connection to the younger generation.
Another element the artists included in the artwork to reduce graffiti and to increase community connection was the provision of depth. The use of foreground, mid and background elements as well as the drawing back of the curtain from history to the natural elements which has transformed the flat surface to almost a 3D image.
TWO ACRE VILLAGE ART MURAL // PART FOUR / 1 PART FOUR / CHANGING PERCEPTIONS
STRATEGIC CONSIDERATIONS
There are a number of strategies and plans that Council uses to guide how it commissions public art. The strategies that were considered as part of the Two Acre Art Mural include:
PUBLIC ART STRATEGY 2012 – 2016
The aim of the Public Art Strategy is to develop community-based partnership projects that revitalise public places through connections with history, culture, stories and diversity.
The outcomes of the Strategy will increase liveability through advancing opportunities for public participation and street life, improving aesthetics in public places, enhancing opportunities for local artists, and increasing understanding and interest in our diverse cultures, stories, histories and heritages through collaborative development with the community, developers, local businesses, state organisations and Council.
The City of Kingston is committed to developing a public art program which reflects and celebrates our history, stories, cultures and sense of place. Ultimately, Kingston aims to be a centre for ephemeral, temporary and permanent public art.
GRAFFITI MANAGEMENT PLAN
The structure of Council’s 2012-2017 Graffiti Management Plan is designed to highlight the holistic and multi-faceted approach of Kingston’s graffiti management program. The Plan identifies three key priority areas:
• Empower the community to prevent and respond to graffiti; • Improve the amenity of public spaces; and, • Enforce state and local laws.
One of the identified actions to help empower the community is to facilitate opportunities for the development of quality street art projects that can address specific local community graffiti concerns.
PART FOUR / 2 // TWO ACRE VILLAGE ART MURAL ACTIVE YOUTH SPACES STRATEGY
Graffiti is mentioned within the Active Youth Spaces Strategy and the references include:
• The City values and will encourage the ongoing involvement of young people in the design, development and management of active youth spaces. • Install public art, sculptures, items of interest and cultural expression. • Graffiti and tagging should be removed from active youth spaces at the earliest opportunities (ideally within 48 hours). However removal techniques must not make facility surfaces slippery or impact on the surface quality. Review Council’s graffiti removal policy and procedures, including resource implications for improving response times (NB: training may be required to ensure Council approved graffiti art is not mistakenly removed).
KINGSTON YOUTH STRATEGY 2012-2016
As part of this strategy Council supports the youth participation principles of:
• Empowerment – so that young people have greater control over their lives through participation and access to relevant information; • Purposeful Engagement – so that young people take on valued roles to address issues that are relevant to them, and influence real outcomes; and, • Inclusiveness – so that all young people are provided with opportunities for meaningful participation.
All of these plans and strategies can be found on Council’s website www.kingston.vic.gov.au by typing the name of the document into the website search function.
CHECK OUT THE DESIGN PROCESS VIDEO youtu.be/dM1jU9KzSdE
TWO ACRE VILLAGE ART MURAL // PART FOUR / 3 PART FOUR / 4 // TWO ACRE VILLAGE ART MURAL PART FIVE MENTORING
CHECK OUT THE MENTORING YOUTH VIDEO youtu.be/4olE7kr57cg
The Two Acre Art Mural provided an opportunity for young local artists to be mentored by the project artists Andrew and Jimmy. Two young people, Judah and Ryan, were given the chance to gain knowledge, enhance their skills and spend time with both Andrew and Jimmy. Both have gained career pathway knowledge, advice and support to pursue their passions in art and design.
Each week of the project Judah and Ryan worked with Andrew and Jimmy and were hands on with each element of creating the artwork including gridding, sketching up with chalk and crayon and blending colours.
Through a workshop process with the artists, Judah and Ryan created a large canvas work that was endorsed and used by Council as the main marketing tool for National Youth Week 2012.
Andrew reported that both Judah and Ryan were easy to engage with, were eager to listen and take on both Andrew and Jimmy’s perspectives. Andrew states “I remember when I was their age, if I ever had the chance to speak with an artist that I considered a peer in the graffiti scene I relished their advice and took on as much from it as I could, given that it was a rare opportunity. This is why I feel strongly about keeping open communication with young people these days interested in developing their skill sets and interested in going about graffiti in the right way”.
TWO ACRE VILLAGE ART MURAL // PART FIVE / 1 PART FIVE / 2 // TWO ACRE VILLAGE ART MURAL PART SIX ADDITIONAL INFORMATION
ONLINE ADDITIONAL VIDEOS INFORMATION REFERENCES
Kingston Historical Website Silver, Tony 1983, Style Wars, Documentary (rated M) http://localhistory.kingston.vic.gov.au “The documentary shows young artists struggling to express themselves through their art, and their points of view on the Two Acre Art Mural Webpage subject of graffiti, as well as the views of then New York City www.kingston.vic.gov.au/twoacreartmural Mayor Ed Koch.”
LOCAL MEDIA PHOTOGRAPHIC RESOURCES REFERENCES Kingston Your City newsletter article Cheltenham History in the Making, November 2012, page 7 PART 2 ART MURAL DETAILS Moorabbin Glen Eira Leader article Cheltenham in 2031, 31 March 2010, page 1 3 Kodak Box Brownie, n.d. photograph viewed 13 June 2014 Moorabbin Kingston Leader article < http://www.phogulum.com/wp-content/uploads/ Revival for Eyesore, 6 April 2011, page 1 cameras/kodak-six-20-brownie-e-front.jpg >
7 Cheltenham Pioneer Cemetry 2014, City of Kingston, REFERENCE Australia. BOOKS 8 Scott, Rob, et al 2002, Indigenous Plants of the Sandbelt: A Whitehead, G, 2012, Cheltenham Railway Station, City of gardening guide for South-eastern Melbourne, Earthcare, St Kingston, Australia. Kilda 9 Whitehead, GJ 2012, Two Acre Village: A Cheltenham Whitehead, G, 2012, Melbourne Benevolent Asylum, City of History, City of Kingston Kingston, Australia.
Young, Alison, Ghostpatrol, Miso, Timba, Thames and 10 Hudson 2010, STREET/STUDIO: The Place of Street Art in Whitehead, G, 2012, Cheltenham Recreation Reserve 2014 Melbourne (featuring work by Niels Oeltjen, Tom Civil, Tai City of Kingston. Snaith, Ghostpatrol, Ash Keating, Al Stark, Miso, Twoone, Mic Porter and the Everfresh Crew) Whitehead, G, 2012, Cheltenham Football Team 1935, City of Kingston, Australia. Young, Alison and Halsey, Mark 2006, Our desires are ungovernable: Writing graffiti in urban space, Sage 11 Publications Whitehead, G, 2012, Cheltenham Golf Club: photograph by Eric Longmuir, Kingston Collection, City of Kingston, Young, Alison 2010, Negotiated consent or zero tolerance: Australia. Responding to graffiti and street art in Melbourne, City Volume 14 13 Corymbia ficifolia, Australia Nature HD Wallpaper 195069 Picture, n.d. photograph, viewed 6 March 2014,
TWO ACRE VILLAGE ART MURAL // PART SIX / 1 PART SIX / ADDITIONAL INFORMATION
PHOTOGRAPHIC REFERENCES CONTINUED
14 23 Clark, G, n.d, Pteriduim esculentium, photograph, viewed 6 Harrison, I, 2005, Lepidosperma gladiatum (Sward), March 2014, photograph, viewed 6 March 2014,
16 25 Clark, R, 2008, Ricinocrapos cyanescens, Acton Park, Hibbertia prostrata, n.d, photograph, viewed 6 March 2014, photograph, viewed 6 March 2014,
19 29 Eucalyptus tereticornis buds, capsules, flowers and foliage, Australian Magpie, Gymnorhina tibicen, n.d. photograph, n.d, photograph, viewed 6 March 2014, viewed 6 March 2014,
20 30 Banksia-serrata-2, n.d, photograph, viewed 6 March 2014, Rainbow Lorikeet, n.d. photograph, viewed 6 March 2014,
21 31 Allinson, L, 2011, Eucalyptus ovata – Swamp Gum, Laughing Kookaburra, n.d. photograph, viewed 6 March 2014, photograph, viewed 6 March 2014,
PART SIX / 2 // TWO ACRE VILLAGE ART MURAL PHOTOGRAPHIC REFERENCES CONTINUED
33 Blue Tongue Goondiwindi, n.d. photograph, viewed 6 March 2014,
34 Grass Skink, n.d. photograph, viewed 6 March 2014,
35 Rao, D, 2008, Myrmecia sp., photograph, viewed 6 March 2014,
36 Aylatt, L, 2010, Tetragonula Stingless Bee, photograph, viewed 6 March 2014,
37 Hobern, D, 2010, Australian Painted Lady Butterfly Vanessa kershawi, photograph, viewed 6 March 2014,
38 Red Back Spider, Latrodectus hasseltii, n.d. photograph, viewed 6 March 2014,
39 Harrison, J, Tawny Frogmouth, n.d. photograph, viewed 6 March 2014,
TWO ACRE VILLAGE ART MURAL // PART SIX / 3 PART SIX / 4 // TWO ACRE VILLAGE ART MURAL PART SEVEN HOW TO USE THIS TEACHER RESOURCES RESOURCE
The themes of the Two Acre Art Mural relate to Indigenous culture, history, flora and fauna, art, urban design and mentoring. Each theme has a variety of activities and questions to assist students and teachers to understand the Art Mural. The questions and activities are generic allowing them to be adapted to different ages and knowledge levels.
For example, in the urban design section the students are asked to design a best practice urban building. For younger students this could be making a 3D model of a building using recycled materials. For older students it could be drawing and designing a building to scale using the IT program AutoCAD.
Another example is a visit to Cheltenham Park (or similar) and create a species list within the flora and fauna section. For younger students this could be to draw a bird or plant that they see or write how they can tell the difference between two different bird species. For older students it could be undertaking a Birds Australia bird transect study, identifying all birds sighted and then keying them out into their scientific families. Or it could be creating an information brochure for the area that Council could then share with visitors to the park (this could include the logo of your school to give recognition of your students’ help).
Teachers and educators are encouraged to review the activities and questions and choose those that suit the length of time to visit and study; the skill level of students; what they feel comfortable delivering; and how it relates to school’s scope and sequence (or equivalent) deliverables.
LINKS TOTHE CURRICULUM
These resource materials have been made as generic as possible to assist teachers to link the learning and achievement of their students to the relevant levels (1 – 10) in the Australian Curriculum and AusVELS. For example the level of detail, information and research to complete history question 2 (Why do you think it is important to recognise past historical figures?) would vary depending on the student’s age and capabilities.
The Two Acre Art Mural includes themes that relate to two of the cross-curriculum priorities:
PRIORITY ORGANISING IDEAS
Aboriginal and Torres Strait Islander History Country / Place: 01.2, 01.3 and Culture Culture: 01.5, 01.6 People: 01.9
Sustainability Systems: 01.2, 01.3 Futures: 01.6, 01.7
TWO ACRE VILLAGE ART MURAL // PART SEVEN / 1 PART SEVEN / TEACHERS RESOURCES
There are activities and questions within this educational resource that will assist teachers to deliver sustainability, and Aboriginal history and culture information and learnings as part of the visit to the Art Mural.
The Two Acre Art Mural and the educational resources will assist teachers to deliver the following AusVELS Domains:
STANDARDS AND PROGRESSION POINTS (P) / CONCEPTS AND SKILLS (C) / RELATED SECTION DOMAIN SCOPE AND SEQUENCE (S) IN THIS RESOURCE
The arts standard (P) • Creating and making All • Exploring and responding
Communication (C) • Interpreting information All • Developing clarification strategies • Understanding conventions of presentations
Design, creativity and • Investigating and designing Urban design technology (P) • Producing • Analysing
English (S) • Text structure and organisation All, especially history and art • Expressing and developing ideas • Literature and context • Responding to literature • Examining literature • Creating literature • Texts in context • Interacting with others • Interpreting, analysing and evaluating • Creating texts
Personal learning (P) • The individual learner Mentoring • Managing personal learning
Science (P) • Science understanding Flora and fauna • Science inquiry skills
Thinking processes (C) • Questioning / methodology of inquiry All • Managing information • Problem Solving • Decision Making
Interpersonal development (P) • Working in teams Art (debate, survey activities) • Building social relationships
The Humanities: Geography • Geographical knowledge and understanding Indigenous Culture, Flora and (P) • Geospatial skills Fauna, History (map activity) • Geographical inquiry and skills
The Humanities: • Chronology, terms and concepts Indigenous Culture, History, Art History (P) • Historical questions and research • Analysis and use of sources • Perspectives and interpretations • Explanation and communication
Information and • ICT for creating Urban Design (designing communications (C) building activity)
PART SEVEN / 2 // TWO ACRE VILLAGE ART MURAL PLEASE NOTE
The table on the adjacent page contains information sourced from three elements of the Australian Curriculum and the Victorian AusVELS:
P - Standards and progression points C - Concepts and skills S - Scope and sequence
As the Australian Curriculum is rolled out there will be more supporting documents developed and this resource will be updated to include these additional supporting materials. This information was sourced from: http://ausvels.vcaa.vic.edu.au www.australiancurriculum.edu.au www.vcaa.vic.edu.au/Pages/foundation10/curriculum/index.aspx
FEEDBACK
Council invites feedback on the content and activities within this educational resource with a view to regularly update and add to the resource. Council also encourages schools to send examples of students’ work from their visit to the Art Mural.
For further information please contact:
Environmental Education Officer
City of Kingston 1230 Nepean Highway Cheltenham VIC 3192 (03) 9581 4713 [email protected]
TWO ACRE VILLAGE ART MURAL // PART SEVEN / 3 PART SEVEN / 4 // TWO ACRE VILLAGE ART MURAL PART EIGHT STUDENT RESOURCES STUDENT RESOURCES
The following section contains a selection of photocopy friendly worksheets based on the information in the Two Acres Art Mural Educational Resource Pack.
The worksheets are broken down into the following sections:
• Indigenous Culture • Local History • Flora and Fauna • Art • Urban Design • Mentoring
These worksheets include a range of questions which engage students through short and long answer questions, excursions, sketching, surveying, debating and research.
PART EIGHT / 1 PART EIGHT / WORKSHEETS
TEACHER’S REFERENCE MAP
The following map shows Two Acre Village and its surroundings as a reference for teachers who wish to create a local excursion of the Two Acre area for students.
Keys Road Wickham Road HIGHETT STATION Highett Road CHESTERVILLE RD legacy of the Rose Family Nepean Hwy Bernard Street Kingston Road HIGHETT KINGSTON HEALTH formerly MELBOURNE TWO ACRE VILLAGE BENEVOLENT ASYLUM Bay Road Argus Street CHELTENHAM Southland MEMORIAL PARK Shopping + St CEMETRY Centre Chesterville Road Herald Street
CHELTENHAM Cavanagh Street Jack Road CHELTENHAM CHELTENHAM GOLF CLUB Park Rd STATION Centre Dandenong Road
George Street Tulip Street SANDRINGHAM TWO ACRE VILLAGE ART MURAL former site of VICTORIA GOLF CLUB R.P. FAIRLAM CHELTENHAM PHOTOGRAPHY SHOP PIONEER CEMETRY
Cheltenham Road arrigal Road Nepean Hwy Weatherall Rd CHELTENHAM W STATE SCHOOL CHELTENHAM Latrobe St RECREATION RESERVE
Home of BLACK ROCK William Bruton Reserve Road Charman Road
Church St Balcombe Road
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PART EIGHT / 2 // TWO ACRE VILLAGE ART MURAL TWO ACRE Name: VILLAGE ART MURAL
WORKSHEET 1 Indigenous Culture QUESTION 1
What is the Boonwurrung translation of:
FISH WALLABY SHELLFISH
QUESTION 2
Create your own art mural based on the Boonwurrung people information provided in Part 2 of the Educational Resource.
WORKSHEET 1 / 1 TWO ACRE VILLAGE ART MURAL
QUESTION 3
Research the aboriginal use(s) of one flora and fauna species from the Art Mural. Draw a picture of your chosen species and write a short description.
Flora Name: Fauna Name:
QUESTION 4
Research Derrimut / Dedimut the local Aboriginal Elder/ Chief and write a short story about your findings.
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WORKSHEET 2 Local History QUESTION 1
Fauna Name: How many historical figures can you find in the Art Mural?
QUESTION 2
Why do you think it is important to recognise past historical figures?
QUESTION 3
Research one of the historical figures in the Art Mural. Write about your findings.
Chosen Historical Figure:
WORKSHEET 2 / 1 TWO ACRE VILLAGE ART MURAL
QUESTION 4
Visit the Pioneer Cemetery and find the resting place of a historical figure/s from the Art Mural.
Choose 3 Headstones of Historical Figues in the mural you found. Draw the details of the Headstones:
Develop a trail through the cemetery visiting the graves of famous people who are included in the mural.
CHELTENHAM PIONEER CEMETRY
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QUESTION 5
Are there other historical figures from Cheltenham and surrounding area who you think should have been included in this Art Mural? Why?
QUESTION 6
Imperical measurements are used throughout many of the historical descriptions. Write the imperical measurements and their symbols for the following descriptions used:
Money
Linear Measurements
QUESTION 7
Convert the follwing amounts into todays costs and measurements:
£938-11-9
625 acres, 2 roods, 36 perches of land
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QUESTION 8
In 1908 R.P. Fairlam Photographer (Richard William Percy Fairlam) climbed the giant pine tree in Cheltenham State School to take an aerial view of Cheltenham.
Research what sort of camera he could have used to take this photo in 1908. Write about your findings:
How would you have climbed a tree carrying this camera?
How is the 1908 camera different to today’s cameras?
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QUESTION 9
Three of Cheltenham’s historical figures in the Art Mural were awarded medals or have a medal named after them for their service to community. Research the meaning of the medals they were awarded:
British Empire Medal (Addie Fairlam):
Australian Centenary Medal (Lucky Grills):
Order of Australia Medal (Lucky Grills):
Trevor Barker Award (St Kilda Best and Fairest):
QUESTION 10
Research the history of the Benevolent Asylum.
Write about your findings on the history of Australia/Victoria’s asylums and the influential people and events that brought about the change from people being in an asylum to Australia reintegrating people back into the community.
Submit your findings as an essay or presentation to the class.
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QUESTION 11
On a separate page, create a map to scale that shows the local features included in the Art Mural and the information in Part 2.
Areas you should include are: • Chesterville Road • Weatherall Road • The Fore apartments • Estate Agency & Auctioning Business in Charman Road • R.P. Fairlam Photographer • Cheltenham State School • Stanley Street • Cheltenham Railway Station • Cheltenham Pioneer Cemetery and Memorial Park • Benevolent Asylum • Cheltenham Cricket Club • Cheltenham Football Club • Sandringham Golf Course • Victorian Golf Club • Cheltenham Golf Club • Royal Melbourne Golf Club
Research other maps and think about how you could present these locations in a creative way.
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QUESTION 11
Draw your Map and anything you wish to include in the space below:
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WORKSHEET 3 Flora & Fauna QUESTION 1
Define the following words:
Flora:
Fauna:
Indigenous:
Native:
QUESTION 2
Choose one Flora and Fauna species from the Art Mural and research and answer the following: Flora Name: Fauna Name:
Description: Description:
Sketch an Image Sketch an Image
What makes this Flora unique? What makes this Fauna unique?
TWO ACRE VILLAGE ART MURAL // WORKSHEET 3 / 1 TWO ACRE VILLAGE ART MURAL
QUESTION 3
Match the flora and fauna numbers to their location on the mural.
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QUESTION 4
Visit Cheltenham Park, or similar native bushland area and compile a species list of the flora and fauna from the mural that you find in the bushland.
A resource to assist you is The Indigenous Plants of the Sandbelt: A gardening guide for South-eastern Melbourne book (see resource list for details).
QUESTION 5
Create a diagram of the ecosystem or foodweb of how the flora and fauna in the Art Mural connect to each other.
TWO ACRE VILLAGE ART MURAL // WORKSHEET 3 / 3 TWO ACRE VILLAGE ART MURAL
QUESTION 6
Research the different classifications given to our flora and fauna (common- endangered). What are the classifications for the flora and fauna in the Art Mural?
QUESTION 7
How does Council protect the local environment?
Make contact with Council to find out who are the Council staff involved in protecting the local environment?
QUESTION 8
Conduct an interview of 3-4 questions with a Council officer to find out how their role helps protect the local environment.
QUESTION 9
Write a story about how you and your family interact with our native flora and fauna.
QUESTION 10
Find out how you can help the natural environment, for example tree planting, weeding, collecting litter, helping local environment groups, ‘Friends of’ groups, or keeping your cat indoors.
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WORKSHEET 4 Art
QUESTION 1
Research the meaning of street art and graffiti art. Describe the differences between these two styles of art. Which art category (street or graffiti) best describes the Two Acre Art Mural? Why?
QUESTION 2
What planning goes into a piece of public art of this size and quality?
QUESTION 3
Why is public art important in our community?
QUESTION 4
Does graffiti art classify as public art? What do you think public art is?
TWO ACRE VILLAGE ART MURAL // WORKSHEET 4 / 1 TWO ACRE VILLAGE ART MURAL
In April 2013 Kingston Council presented a “Schmooze” event with the Two Acre Art Mural as the topic. Schmooze is where the public can meet the artist and find out more about the art work and the influences on the artist.
For this Schmooze event there was a panel discussion with James “Jimmy” Beattie – Artist; Professor Alison Young – Criminology and street art and Alex McCulloch – Metro Gallery.
The discussion and audience question and answer session was facilitated by a member of the Kingston Public Advisory Panel.
QUESTION 5
Create your own public art Schmooze event with students being the panel members, the audience and the facilitator. Research the panel members to find out their expertise and personal interest in street art from around the world.
QUESTION 6
Should graffiti art be illegal? Why/why not?
QUESTION 7
Research a famous artist who had to fight for their work to be recognised.
QUESTION 8
Research the different techniques used to create the Two Acre Art Mural.
QUESTION 9
Write a persuasive piece on street art.
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QUESTION 10
Research the art technique Trompe- l’oeil and describe how it uses realistic imagery to create optical illusions.
QUESTION 11
Council has a Public Art Policy (www.kingston.vic.gov.au/publicart). How does this Art Mural align to the policy?
How can the public art policy be improved?
How does art at your school fit into the public art policy?
QUESTION 12
Design an art mural that represents your school and local community/ suburb. Research the historical people, flora and fauna to be included in your art mural.
What art medium would you use– free form/ stencil/ modern/ graffiti?
Where would your art mural be located?
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QUESTION 13
Get into groups of 4 and have a Debate with another group. Topic: grafitti art is good for our community verses grafitti art is bad for our community.
QUESTION 14
If you wanted to learn how to create street art, who can help you? Where can you go to learn?
QUESTION 15
Research famous iconic murals from around Australia and the world.
QUESTION 16
Create and conduct a survey to capture the public’s perception of this artwork, street art and/or graffiti. Present your findings to the class.
QUESTION 17
Discuss as a class the cultural influences within the American Graffiti scene. There is a strong graffiti scene in America that is covered in the DVD Style Wars (rated MA - please make sure you check with your parents & teacher before watching this).
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QUESTION 18
Social media is an important communication channel to find information about street art and graffiti art. List some sites and key words that provide information on street and graffiti art and their artists.
QUESTION 19
What is graffiti tagging?
How would you define the difference between graffiti art and tagging?
QUESTION 20
Survey community members, members of your school and your peer group to find record people’s perceptions of graffiti tagging. Present your findings to your class or a public audience.
QUESTION 21
Research career choices for those interested in street art.
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WORKSHEET 5 Urban Design QUESTION 1
Why can’t we design buildings and locate them wherever we want?
QUESTION 2
Research the following considerations that need to be made when designing a building and summarise them below:
What controls are there on building design – Federal, State, Local, environmental?
What environmental features need to be included? What additional environmental features can be included?
What are the special considerations for housing / office spaces / shops?
What are the required amenities of a building?
Impact on other people’s amenity?
How many people are allowed to work/live in a building?
What sort of facilities are needed (natural light, windows, pool, how many rooms, bathrooms)?
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QUESTION 3
How has the Two Acre Art Mural impacted on the design/look/amenity of the building?
QUESTION 4
Research what is considered best practice building design. Present your findings to your class.
QUESTION 5
Design a building that includes best practice urban design principals and has accessible public art.
QUESTION 6
Visit some iconic buildings in Melbourne. How does public art feature in these buildings? How could public art feature with these buildings?
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QUESTION 7
Look at the Two Acre Art Mural from different viewpoints on both sides of the road and railway line. Draw or create a plan that shows actions that could be undertaken to improve the Art Mural. For example what can be removed so people can see the Art Mural better, where can people sit to view the Art Mural?
QUESTION 8
How do Councils ensure buildings are designed correctly? How do they monitor that buildings are being designed and built correctly?
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WORKSHEET 6 Mentoring
CHECK OUT THE MENTORING YOUTH VIDEO youtu.be/4olE7kr57cg
QUESTION 1
Read the mentoring article in November 2012 Kingston Your City newspaper and watch the mentoring section of the film youtu.be/4olE7kr57cg.
What do you think were the benefits for Judah and Ryan participating in the mentoring program with artists Andrew and Jimmy?
QUESTION 2
Why do you think the artist/youth mentoring program was established?
QUESTION 3
Research other youth mentoring programs and list the organisations involved with these mentoring programs and the reasons they were established?
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QUESTION 4
Develop your own mentoring program for youth that would assist in providing solutions to an existing youth community issue.
QUESTION 5
It is time to develop a mentoring program that you want to be part of. To develop this program start with who inspires you; why are you inspired and how you would like to be mentored by this person?
QUESTION 6
For this activity imagine you have been mentored in the art field of your choice. Write a media article, similar to the Kingston Your City article, about your mentoring journey. See newspaper articles in resource section.
WORKSHEET 6 / 2 // TWO ACRE VILLAGE ART MURAL TWO ACRE VILLAGE STUDENT RESOURCE Map ART MURAL
LOCAL AREA MAP Two Acre Village and Surrounds
Keys Road Wickham Road HIGHETT STATION Highett Road CHESTERVILLE RD legacy of the Rose Family Nepean Hwy Bernard Street Kingston Road HIGHETT KINGSTON HEALTH formerly MELBOURNE TWO ACRE VILLAGE BENEVOLENT ASYLUM Bay Road Argus Street CHELTENHAM Southland MEMORIAL PARK Shopping + St CEMETRY Centre Chesterville Road Herald Street
CHELTENHAM Cavanagh Street Jack Road CHELTENHAM CHELTENHAM GOLF CLUB Park Rd STATION Centre Dandenong Road
George Street Tulip Street SANDRINGHAM TWO ACRE VILLAGE ART MURAL former site of VICTORIA GOLF CLUB R.P. FAIRLAM CHELTENHAM PHOTOGRAPHY SHOP PIONEER CEMETRY
Cheltenham Road arrigal Road Nepean Hwy Weatherall Rd CHELTENHAM W STATE SCHOOL CHELTENHAM Latrobe St RECREATION RESERVE
Home of BLACK ROCK William Bruton Reserve Road Charman Road
Church St Balcombe Road
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TWO ACRE VILLAGE ART MURAL // MURAL AND MAP / 1 TWO ACRE VILLAGE STUDENT RESOURCE Summary of Worksheets ART MURAL
WORKSHEET 1: 8. In 1908 R.P. Fairlam Photographer (Richard William INDIGENOUS CULTURE Percy Fairlam) climbed the giant pine tree in Cheltenham State School to take an aerial view of 1. What is the Boonwurrung translation of: Cheltenham. Research what sort of camera he could Fish: have used to take this photo in 1908. How would you Wallabies: have climbed a tree carrying this camera? How is the Shell fish: 1908 camera different to today’s cameras?
2. Create your own art mural based on the 9. Three of Cheltenham’s historical figures in the Art Boonwurrung people information provided in part 2. Mural were awarded medals or have a medal named after them for their service to community. Research 3. Research the aboriginal use(s) of one flora and fauna the meaning of the medals they were awarded: species from the Art Mural: British Empire Medal (Addie Fairlam): Fauna: Australian Centenary Medal (Lucky Grills): Flora: Order of Australia Medal (Lucky Grills): Trevor Barker Award (St Kilda Best and Fairest): 4. Research Derrimut/ Dedimut the local Aboriginal Elder/ Chief. 10. Research the history of the Benevolent Asylum
WORKSHEET 2: 11. Research (or write an essay) on the history of HISTORY Australia/Victoria’s asylums and the influential people and events that brought about the change from people being in an asylum to Australia 1. How many historical figures can you find in the Art reintegrating people back into the community. Mural? 12. Create a map to scale that shows the local features 2. Why do you think it is important to recognise past included in the Art Mural and the information in part historical figures? 2. These include: Chesterville Road, Weatherall Road, The Fore 3. Research one of the historical figures in the Art apartments/ estate agency and auctioning business Mural. in Charman Road, R.P. Fairlam Photographer, Cheltenham State School, Stanley Street, 4. Visit the Pioneer Cemetery and find the resting place Cheltenham Railway Station, Cheltenham Pioneer of a historical figure/s from the Art Mural. Capture Cemetery and Memorial Park, Benevolent Asylum, the details recorded on their headstone/s. Consider Cheltenham Cricket Club, Cheltenham Football developing a trail through the cemetery visiting the Club, Sandringham Golf Course, Victorian Golf Club, graves of famous people included in the mural. Cheltenham Golf Club, and Royal Melbourne Golf Club. 5. Are there other historical figures from Cheltenham and surrounding area who you think should have been included in this image? Why?
6. Research the imperial measurements mentioned in the historical descriptions including: Money: pounds, shillings and pence Land measurements: acres, chains, links, roods and perches
7. Convert the following into today’s cost and measurements: £938-11-9 625 acres 2 roods 36 perches of land
MURAL AND MAP / 2 // TWO ACRE VILLAGE ART MURAL TWO ACRE VILLAGE STUDENT RESOURCE Summary of Worksheets ART MURAL
WORKSHEET 3: WORKSHEET 4: HISTORY ART
1. Define 1. Research the meaning of street art and graffiti art. Flora: Describe the differences between these two styles of Fauna: art. Indigenous: Which art category (street or graffiti) best describes Native: the Two Acre mural? Why?
2. Match the flora and fauna numbers to their location 2. What planning goes into a piece of public art of this on the mural (Mural Image Included in Resource size and quality? Section of this document) 3. Why is public art important in our community? 3. Choose one flora and fauna species from the Art Mural and research: 4. Does graffiti art classify as public art? What do you Meaning of scientific name: thinks public art is? Description of the species: Draw a diagram of the species 5. In April 2013 Kingston Council presented a What is special or unique about the species? “Schmooze” event with the Two Acre Art Mural as the topic. Schmooze is where the public can meet 4. Visit Cheltenham Park, or similar native bushland the artist and find out more about the art work and area and compile a species list of the flora and the influences on the artist. For this Schmooze event fauna from the mural that you find in the bushland. there was a panel discussion with James “Jimmy” A resource to assist you is The Indigenous Plants of Beattie – Artist; Professor Alison Young – Criminology the Sandbelt: A gardening guide for South-eastern and street art and Alex McCulloch – Metro Gallery. Melbourne book. The discussion and audience question and answer session was facilitated by a member of the Kingston 5. Create a diagram of the ecosystem or foodweb of how Public Advisory Panel. the flora and fauna in the Art Mural connect to each other. Create your own public art Schmooze event with students being the panel members, the audience and 6. Research the different classifications given to our the facilitator. Research the panel members to find flora and fauna (common- endangered). What are out their expertise and personal interest in street art the classifications for the flora and fauna in the Art from around the world. Mural? 6. Should graffiti art be illegal? 7. How does Council protect the local environment? 7. Research a famous artist who had to fight for their 8. Make contact with Council to find out who are work to be recognised. the Council staff involved in protecting the local environment? 8. Research the different techniques used to create this artwork. 9. Conduct an interview of 3-4 questions with a Council officer to find out how their role helps protect the 9. Write a persuasive piece on street art. local environment. 10. Research the art technique Trompe- l’oeil and 10. Write a story about how you and your family interact describe how it uses realistic imagery to create with our native flora and fauna. optical illusions.
11. Find out how you can help the natural environment, 11. Council has a Public Art Policy (www.kingston.vic.gov. for example tree planting, weeding, collecting litter, au/publicart). How does this Art Mural align to the helping local environment groups, ‘Friends of’ policy? How can the public art policy be improved? groups, or keeping your cat indoors. How does art at your school fit into the public art policy?
TWO ACRE VILLAGE ART MURAL // SUMMARY OF WORKSHEETS / 1 TWO ACRE VILLAGE STUDENT RESOURCE Summary of Worksheets ART MURAL
12. Design an art mural that represents your school and WORKSHEET 5: local community/ suburb. Research the historical people, flora and fauna to be included in your art URBAN DESIGN mural. What art medium would you use– free form/ stencil/ modern/ graffiti? Where would your art mural 1. Why can’t we design buildings and locate them be located? wherever we want?
13. Debate – grafitti art is good for our community verses 2. Research what needs to be considered when grafitti art is bad for our community. designing a building including: What controls are there on building design – Federal, 14. If you wanted to learn how to create street art, who State, Local, environmental can help you? Where can you go to learn? What environmental features need to be included? What additional environmental features can be 15. Research famous iconic murals from around included? Australia and the world. Housing/ office space/ shops Amenity of building 16. Create and conduct a survey to capture the public’s Impact on other people’s amenity perception of this artwork, street art and/or graffiti. How many people are allowed to work/live in a building? 17. There is a strong graffiti scene in America that is What sort of facilities are needed (natural light, covered in the DVD Style Wars (rated MA). Watch the windows, pool, how many rooms, bathrooms) film and discuss the cultural influences within the American graffiti scene. 3. How has the Two Acre Art Mural impacted on the design/look/amenity of the building? 18. Social media is an important communication channel to find information about street art and graffiti art. 4. Research what is considered best practice building Research the sites and key words and that provide design. information on street and graffiti art and their artists. 5. Design a building that includes best practice urban 19. What is graffiti tagging? How would you define the design principals and has accessible public art. difference between graffiti art and tagging? 6. Visit some iconic buildings in Melbourne. How does 20. Survey community members, members of your public art feature in these buildings? How could school and your peer group to find record people’s public art feature with these buildings? perceptions of graffiti tagging and present your findings to your class or a public audience. 7. Look at the Art Mural from different viewpoints on both sides of the road and railway line. Draw 21. Research career choices for those interested in street or create a plan that shows actions that could be art. undertaken to improve the Art Mural. For example what can be removed so people can see the Art Mural better, where can people sit to view the Art Mural?
8. How do Councils ensure buildings are designed correctly? How do they monitor that buildings are being designed and built correctly?
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WORKSHEET 6: MENTORING
1. Read the mentoring article in November 2012 Kingston Your City newsletter and watch the mentoring section of the film (youtu.be/4olE7kr57cg). What where the benefits for Judah and Ryan to participate in the mentoring program with artists Andrew and Jimmy?
2. Why do you think the youth mentoring program was established?
3. Research other youth mentoring programs and list the organisations involved with these mentoring programs and the reasons they were established?
4. Develop your own mentoring program for youth that would assist in providing solutions to an existing youth community issue.
5. It is time to develop a mentoring program that you want to be part of. To develop this program start with who inspires you; why are you inspired and how you would like to be mentored by this person?
6. For this activity imagine you have been mentored in the art field of your choice. Write a media article, similar to the KYC article, about your mentoring journey.
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