Aboriginal Art Collection: Highlights from Australia's Public Museums and Galleries

Contents: Introduction SUSAN COCHRANE National Gallery of Australia, Canberra WALLY CARUANA National Museum of Australia, Canberra DAVID KAUS Museum and Art Gallery of the Northern Territory, Darwin MARGIE WEST Art Gallery of New South Wales, Sydney HETTI PERKINS AND KEN WATSON Museum of Contemporary Art, Sydney BERNICE MURPHY Queensland Art Gallery, Brisbane MARCO NEALE Queensland Museum, Brisbane RICHARD ROBINS National Gallery of Victoria, Melbourne JUDITH RYAN Museum Victoria, Melbourne GAYE SCULTHORPE Tasmanian Museum and Art Gallery, Hobart KIM AKERMAN AND DAVID HANSEN Art Gallery of Western Australia, Perth MICHAEL O'FERRALL AND BRENDA L. CROFT Western Australian Museum, Perth ROSS CHADWICK AND MANCE LOFGREN Art Gallery of South Australia, Adelaide JANE HYLTON South Australian Museum, Adelaide PHILIP A. CLARKE List of Plates Bibliography Editor's Acknowledgments Contributors Index

1969-70 Men's Basketball

Pictured here from left to right: Back Row - Les Korchok (Coach), Ken Cripps, Mike McGinnis, Bill Butler, Tim McKillop, Gary Jellum, Fred Kovacs (Manager). Front Row - Jim Leach, Wally Dick, Bob Tatti, Paul Zutautas, Tom Kearney (Trainer). Kneeling - Dave Luff, Dave Brent. Missing - Bill Levesque.

Niagara Symphony Orchestra fonds, 1926, 1948-1998, n.d.

In 1948, The St. Catharines Civic Orchestra was founded by Jan Wolanek who was also the first conductor. Initially, this was a community orchestra and in 1963 its governing body assumed the name St. Catharines Symphony Association. In 1978 the name was again changed to The Niagara Symphony Association to reflect regional responsibilities. Wally Laughton was named Assistant Conductor in 1952/53. R.C. Clarke took over the orchestra for an interim period after Wolanek left in 1957. In 1958 Leonard Pearlman became the Music Director. It was under his direction that the Niagara Symphony Chorus came into existence in 1963. Milton Barnes succeeded Pearlman in 1964 and he was responsible for directing the symphony’s first opera production. He also made a concerted effort to attract younger people to symphonic music. In 1972 Leonard Atherton became the Music Director. He started the Cantata Choir and the Madrigal Singers. It was under his tenure that the orchestra became professional. When Atherton left in 1980, there were three seasons of guest conductors, the most notable of these conductors was Uri Mayer. In 1981 James Vincent Fusco was appointed as composer in residence and in 1983 Ermanno Florio became the Music Director. He retained this position until 1995 when Michael Reason took over. Daniel Swift was appointed as Music Director and Conductor in 1999 and the Niagara Symphony Orchestra became the orchestr in residence at Brock University. Laura Thomas was appointed as Associate Conductor 1n 2004. Daniel Swift’s resignation in 2008 began a search for a new Music Director. Bradley Thachuck was appointed as Music Director Designate and Principal Conductor in 2010. The orchestra is a fully professional, charitable institution with 52 members.The orchestra has also been led by Victor Feldbrill and Howard Cable. A junior symphony was first formed under Leonard Pearlman in 1960/61, but it wasn’t until 1965 that The St. Catharines Youth Orchestra was founded. The orchestra has consistently been an award winner in music festivals. The musicians range in age from 12 to 18 years. The highlight of the 1973-74 season was the orchestra’s participation in the first Canadian Festival of Youth Orchestras at The Banff School of Fine Arts. The St. Catharines Youth Orchestra has evolved from the St. Catharines School String and Brass Ensembles to a full scale symphony under the direction of conductor Paul van Dongen. In 1974 the Symphony House music program came into existence. It was 1976 when Richard Grymonpre was hired as the principal violinist of the St. Catharines Symphony Orchestra and conductor of the St. Catharines Youth Orchestra. Tak Ng Lai took over the position as conductor in 1978. Laura Thomas is currently the Music Director of The Niagara Youth Orchestra. Source: Niagara Symphony, Orchestra in Residence, Brock University website and notes from Niagara Symphony files

Photograph - Wooden Cross Lieut. S.D. Woodruff

Photograph of the wooden cross which was erected at Wally Orchard Cemetery. It is inscribed "RIP in Memory of Lieut. S.D. Woodruff 116th Cdn. Inf. Bn. Killed in Action 14-7-18".

Comienza el espectáculo.

La finalidad principal de este trabajo es realizar una representación teatral, debido, sobre todo, a los resultados conseguidos en las actividades de dramatización llevadas a cabo en cursos anteriores. Algunos de los objetivos son conocer los elementos fundamentales de una obra teatral; favorecer el trabajo en equipo; fomentar el cuidado del gesto; adquirir las destrezas necesarias encaminadas al fortalecimiento de la capacidad vocal; crear y potenciar el movimiento interpretativo; desarrollar la creatividad, la expresión oral y corporal; crecer en actitudes positivas para la convivencia, la integración en el grupo, la participación o la autoestima; formarse como personas críticas, libres y constructivas; aprender a elaborar estrategias que ayuden a perder el complejo al fracaso y el miedo al ridículo; y aprender a maquillarse, vestirse y construir pequeños decorados. Las actividades consisten en la rotación de los alumnos por los diferentes talleres como el taller de relajación, respiración y vocalización; el taller de maquillaje y vestuario; el taller de decoración e iluminación; el taller de música, sonido y ritmo y el taller de juegos dramáticos. Además se representan varias obras teatrales: Peter Pan, El Parlamento de los Animales, ¿Dónde está Wally?, Full Monty, Mis Queridos Monstruos, La Tienda de las 1001 Noches, o el Fantasma de la Ópera. También se realizan exposiciones con murales-collages que anuncian las representaciones, fotografías, cuadernillos de trabajo y se visionan DVD de las representaciones. La metodología consiste en la explicación y exposición por el profesor del tema seleccionado, distribución en grupos de trabajo, anotaciones y apuntes en el cuaderno personal de cada alumno, puesta en común de los resultados y valoración de las sesiones. Se valora principalmente el sentido de la responsabilidad y el trabajo en equipo..

CELADE's recent experiences with national demographic surveys in Latin America. The case of Guyana

Includes bibliography

Trip report vital statistics assessment and training programme British Virgin Islands, July 11-19, 1985

Informe de la mision realizada para evaluar el estado de las estadisticas vitales en las Islas Virgenes Britanicas, y estudiar la forma de mejorar los sistemas de recoleccion y entrega de datos.

Integración financiera latinoamericana

Incluye Bibliografía

Block & Bridle Annual 1956-1957

Charles Adams (Faculty Advisor), Delbert Kuhlman, John Klingenberg, Ardyce Haring, Harvey Jorgensen, Roy Volzke, Billie Reed, Paul Yeutter Prof. Loeffel, Carolyn Hall, Byron Kort, Larry Paul, Elwin Mosier, Charles Corkle, Kay Robohm, Daniel Stilwell Duane Stokebrand, Gary Briggs, Walt Patterson, Wendell Mousel, Keith Smith, Darrel Zessin, Richard Bonne, Donald Kasbohm, Bruce Skinner Bob Discoe, Doyle Hulme, Jim Smith, Carl Lorenzen, Jay Cook, Gary Berke, Bob Volk, Roger Hild Donald Kuhl, Russell Person, Ray Cada, Ray DeBower, Bob Dannert, Phil Starck, Kay Knudsen, Jerry Brownfield, Allan McClure, Wally Bierman Morris Ochsner, Warren Mitchell, Ed McReynolds, Gerald Dart, Arza Snyder, Mervy Schliefert, Arley Waldo, Tom Hoffman, John Wink, Virgil Gellermann, Duane Neuman

Catches of Humpback Whales, Megaptera novaeangliae, by the Soviet Union and Other Nations in the Southern Ocean, 1947–1973

The great whales of the Southern Ocean were extensively exploited by modern whaling methods, with the first catches made in the Falkland Islands Dependencies region of IWC Management Area II in 1904 (Tønnesson and Johnsen, 1982; Hart, 2006). Exploitation went through several phases. Populations of humpback whales, Megaptera novaeangliae, and blue whales, Balaenoptera musculus, around South Georgia crashed around the time of World War I, and further exploitation occurred in other regions into the 1930’s. There was a hiatus in whaling during World War II, but large-scale catches resumed in Antarctic waters after 1945.

Catches of Humpback Whales in the Southern Ocean, 1947-1973

We review catches of humpback whales (Megaptera novaeangliae) in the Southern Ocean during the period following World War II, with an emphasis on Areas IV, V and VI (the principal regions of illegal Soviet whaling on this species). Where possible, we summarize legal and illegal Soviet catches by year, Area and factory fleet, and also include information on takes by other nations. Soviet humpback catches between 1947 and 1973 totaled 48702 and break down as follows: 649 (Area I), 1412 (Area II), 921 (Area III), 8779 (Area IV), 22569 (Area V) and 7195 (Area VI), with 7177 catches not assignable to area. In all, at least 72542 humpback whales were killed by all operations (Soviet plus other nations) after World War 2 in Areas IV (27201), V (38146) and VI (7195). More than a third of these (25474 whales, of which 25192 came from Areas V and VI) were taken in just two seasons, 1959/60 and 1960/61. The impact of these takes, and of those from Area IV in the late 1950's, is evident in the sometimes dramatic declines in catches at shore stations in Australia, New Zealand and Norfolk Island. When compared to recent estimates of abundance, the large removals from Areas IV and V indicate that the populations in these regions remain well below pre-exploitation levels despite reported strong growth rates off eastern and western Australia. Populations in many areas of Oceania continue to be small, indicating that the catches from Area VI and eastern Area V had long-term impacts on recovery.