in the flow the making of a community mural at North Yarra Community Health, Collingwood

w o l f e h t n i r, to honour e v ri ’s fe li in e danc - we sing and italized her and be rev the making of a community mural at North Yarra Commun...
Author: Baldric Barnett
2 downloads 0 Views 6MB Size
w o l f e h t n i r, to honour e v ri ’s fe li in e danc - we sing and

italized her and be rev

the making of a community mural at North Yarra Community Health, Collingwood

Mural Storybook Published by:

North Yarra Community Health Inc (NYCH) 365 Hoddle Street, Collingwood, Victoria 3066 Phone: (03) 9411 4333 Fax: (03) 9411 4300 ABN: 73 644 085 045 www.nych.org.au

Edited by:

Marlies Blatz & Tania Furlong

Photos by:

Chi Chan, Collingwood College students, Marlies Blatz, Rob Cruse (cover photo & selected others) and Tania Furlong

Designed by:

Mustard Creative Media 135 Chestnut Street, Richmond, Victoria 3121 www.mustardmedia.com.au

Printed by:

McLaren Press 11-19 Lithgow Street, Abbotsford, Victoria 3067

Edition:

400 (2007) Reprinted: 120 (2008)

Fonts:

Violation (script font) and Futura

Stock:

Matt offset (cover stock 250gsm, internal stock 130gsm)

ISBN:

978-0-9580371-1-2

Mural Project Project Artists:

Ellen Michel & Mandy Nicholson (Indigenous artist)

Project Coordinator: Marlies Blatz, North Yarra Community Health



Liaison:

Collingwood College - Andy Sutton and Alan Holm Neighbourhood Justice Centre – Tania Furlong and Jodi Cornish

Laser cut outs:

Arrow Laser Australia Pty Ltd 24 Northgate Drive, Thomastown, Victoria 3074

Computer design:

Pierre Le Roux Design 293 Auburn Road, Hawthorn, Victoria 3122

Engraving:

Inscribe Australia www.inscribe.com.au

IN THE FLOW - the making of a community mural

w o l f in the er, to honour nce in life’s riv a d nd a ng si - we

talized her and be revi

the making of a community mural

at North Yarra Community Health, Collingwood

We are proud to acknowledge the Wurundjeri People as the traditional owners of this land

This project received funding from: City of Yarra Community Grants, Rotary Club of Collingwood, Wanted Man, Neighbourhood Justice Centre, Victorian Multicultural Commission, Vespa House Collingwood and the Australian Multicultural Foundation.

IN THE FLOW - the making of a community mural



Contents Introduction & messages



5-15

The practicalities

16-19

What does it all mean?

20-25

Preparing for the new mural

26-30

Hoddle Street history

31-32

Project participants

33

Acknowledgements

34

The artists

35

IN THE FLOW - the making of a community mural

Message from the Mayor The City of Yarra is proud to support the North Yarra Community Health’s mural project at their Collingwood Centre. North Yarra Community Health plays a vital role in our municipality, providing a vast range of health services that improve the well-being of our community. Through our annual Community Grants Program we are very pleased to have assisted NYCH to achieve their goal of revitalising an iconic site. The City of Yarra is committed to creating and supporting an environment in which arts and cultural activity flourish at all levels of the community. The Arts and Cultural Plan 2005 – 2009 outlines our mission to work with communities, artists, organisations, business and government to achieve community well-being, economic strength and cultural vitality within Yarra by involving local people, investing in local practice and supporting a shared sense of place. This project is a wonderful example of what can be achieved when we work together as a community. Cr Jenny Farrar Mayor City of Yarra 2007

Introduction We have put together this storybook to acknowledge the makers of the art work, to record the stages and phases of the project and to keep a record of the murals’ history. Murals have featured on the Hoddle Street façade of the Collingwood building of North Yarra Community Health since 1993. The eight original panels were created for the 125th anniversary of the then Collingwood Community Health Centre. They lasted for an amazingly long time. However, in about 2005 it became obvious that we could not maintain them any longer – the panels had come to the end of their natural life. The easy option would have been to just remove them, paint the wall a uniform colour and move on, but somehow this did not seem right, particularly for someone like me, who had always worked in the murals’ presence.

That wall is something that has been such an icon throughout my childhood, as we’d always look for it when passing along Hoddle Street. Ari Hatzis

IN THE FLOW - the making of a community mural



The Collingwood Centre has long been identified by the murals. ‘The building with the big colourful pictures on it, just past Johnston Street’ – that was always the directions I gave to people on how to find the health centre building along Hoddle Street, which after all stretches from East Melbourne up to Clifton Hill. I asked people in the community whether the ’old’ murals should be replaced or removed and the response was unanimous ‘I think they should be replaced’, ‘I still stop to look at them and always find another little fascinating detail’ and ‘They have been part of the place for such a long time.’ This new project is far removed from my original concept which was along the lines of ‘just paint new panels, fix them to the old frames, give the whole facade a lick of paint – and that’ll be it’. Well, so I thought. Never underestimate the creativity of a community and those artists. They wanted something completely different – new, fresh, theirs. And, of course, that long, long wall lent itself intuitively to the river theme. If only that old wall did not have those tricky corners and angles and bits sticking out …. As we agonised over what materials to use to make the river flow along the wall, how to make it all stick to that wall, and how to achieve it all somehow not too far outside the agreed budget, I was on occasions heard muttering under my breath, ‘All I ever wanted was new panels!’ Now of course, when I look at the beautiful, elegant, artistic, totally new and different mural, I would not have it any other way. The new mural is a stunning work of community art. For me, one of the major attractions to working in community health is that it provides so many wonderful opportunities to connect with the community – sharing an activity creates shared experiences and shared memories; memories which bubble away in our mind like the rainbow bubbles on the river and can delight us for years to come. Activities with others also allow us to connect beyond the time of the activity. I agree whole heartedly with Tania that community activity builds community relationships. On one of my home visiting rounds, I saw Mawolu, one of the students crossing the street, I wound down the window, called out to her – and got back a big smile. Because we had this shared experience, the mural, it provided both of us with the opportunity to acknowledge our connection, to share a greeting and a big grin. How lovely is that! One of the ideas of the project was to bring together the old - as in 1993 participants - and the new – as in younger persons as well as recently arrived people to Collingwood. One of the old crew was Jean Hales, well known Collingwood identity and much involved in the community on many levels and a very strong supporter of the community health centre for many, many years. Sadly Jean passed away before the mural was finished, but only days before her admission to hospital she still held a crayon in her hand. It never ceases to amaze me how imaginative each and everyone of us is, given a chance to express it; equally, it never ceases to amaze me how artists so skilfully pull it all together. In Ellen and Mandy we certainly had two artists who produced an outstanding result of which everyone involved in the project can be very proud. Marlies Blatz Project Coordinator



IN THE FLOW - the making of a community mural

Ellen Michel I thought it would be a straightforward project. Replace existing murals and design new ones for the wall of the North Yarra Community Health Centre, but of course, with the artistic process, nothing is that assured… In my research I discovered that Hoddle Street, as a main thoroughfare, started to be carved out by aboriginal people as part of a trading route to the river, where goods such as green stone and possum furs where exchanged, and with the colonization of Melbourne it continued to grow, linking North with South across the river. My approach in developing a concept is to start with the big picture. The landscape – from the very beginning the idea of ‘flow’ was there. It is impossible to ignore the continual flow of the traffic down Hoddle Street. The trees – always inspire me. Shielding the façade from busy Hoddle Street, the flowing tracery of the plane trees’ bare branches are like stain glass windows to the sky, inviting opportunities and exploration into other worlds. The river flowing through the landscape – the river is the source of life. Its health reflects the health of the society. From the earliest times people have come to the river, to sit and watch it flowing, to hunt, fish or meet friends and family there. For me, the sight and sounds of the river as it moves through the landscape, refresh me again and again. The society – the ordered structure of society complements the soft curves of nature, the linear bottom lines represent the framework of society. When Marlies took me on a tour of the community I sensed a certain order within the health centre, a certain societal structure which also spilt out into the surrounding areas, the Collingwood Neighbourhood House, the Youth Centre (both located at the bottom of the 253 high rise tower in Hoddle Street) and the ‘Billabong’ grounds of the housing estate. Collingwood College was a hive of activity on my visit. The building façade is over 50 metres long – a very long, low wall, broken up into two separate parts. The 22.7 metres of wall from Sackville Street to the main entrance resembled a modernist brown cardboard box; the other half, 27 metres to the corner of Easey Street, that of an archeological dig. What to do? Right from the start there was never any intention of making a silk purse out of a sow’s

IN THE FLOW - the making of a community mural



ear, nor denying the past, and it was important to follow the conceptual aspect that life is not without its rocky roads, its precipitous ravines and fault lines. Obstacles and snags can give us strength and courage. To flow over or around them can create new pathways to explore, or they can become havens preventing us from being washed away. The wall became a metaphor for life’s journey – the wall is long, sinuous, worn and has a less than perfect surface – it is life’s journey made solid. We finally agreed rendering was the answer - there was no other way to let the river flow over all those crevices and corners that old building had. It was a major shift in thinking, and to unify the façade the brown brick wall had to be bagged, to make it look the same as the Easey Street end. Commonality and difference – this idea became an important part of the framework for the project. The two ends of the health centre façade were different and distinct but we wanted them to come together as one to serve the community; a community which also has its commonalities and differences. The mural – allowing all the observations to be articulated, the mural started to develop substance. The two ends would be united by a long flowing raised band of render approximately 2 metres wide across the full length of the façade, the top edge having a curving flowing line and the bottom a linear structured line. The render background is the metaphor for life’s many layers. The mural on the wall depicts the river as it flows through the landscape, flanked by the banks, trees, their branches and roots. The curved tree line of the upper edge represents nature, the linear lower edge the society. Consultation with Community – the workshops with community members confirmed the idea that people are inspired ‘to move in the flow of the river of life for health and well-being’ by many different things. Their journeys are explorations and adventures through the passage of time and space. On the way their journeys are punctuated by stopping off places - meeting places, parks, cafes, clubs, homes. Places where they come together, with community, family, friends, workmates and people whose interests they share, to engage in activities together - eating, cooking, making art, storytelling, sport. I enjoyed the process of the consultation immensely. Unfurling a roll of brown paper on tables, placing stones, feathers, leaves, flowers with a blue curving line down the middle started the process. With a whole lot of pencils, felt pens, crayons and pastels we invited everyone to draw – ‘When you come to the river, what do you find there, what inspires you to move in its flow?’



IN THE FLOW - the making of a community mural

Drawing as a medium of communication – while interpreters were present for some participants, there was a wonderful freedom to communicate through the drawing of images. Often people would respond to someone’s drawing with another drawing and so it went, drawing manifested drawing. One very profound experience I had was with Adelah, one of the Afghani women, who drew a house and trees by the river to which I responded with another house alongside hers, she immediately drew a path to my door and I drew one back to hers. We smiled at each other communicating an understanding. Transference – the images drawn at that workshop were traced around, numbered and named. 72 images in all. A computer program was generated by a wonderful woman named Natalie, she was like an angel so caring and spent lots of time with me discussing the options for the outcome. I thank her for all her effort. She put me in good hands with Daniel and Greg, who laser cut the images in 3mm aluminium. While the images were all enlarged to approximately 600mm at the widest dimension something magic happened: the small and mundane, seemingly insignificant, were made disproportionately large and important, for instance, the mundane garlic and the apple are very large, birds are larger than people, houses larger than an island. In other words, the ordinary everyday is elevated and made monumental carved in metal. The image painting again was a collaborative undertaking in a final workshop in November. It was a powerful moment when everyone saw their images just as they had drawn them. A special thank you to my friends for their meaningful input. Thank you Rosemary Mangiamele for your moral support and your wonderful hands on expertise in painting the images. Thank you to Tony for helping me realise a vision and encouraging me to push the boundaries with a little reality check when my creativity got out of control. Thank you Andy for your words of wisdom and to your Year 9 kids’ refreshing input. And thanks to my co-worker Mandy whose magnificent hand has helped to make this work special. Last but not least, thanks Marlies, for keeping it all on track so splendidly. Ellen Michel Artist

IN THE FLOW - the making of a community mural



Mandy Nicholson When I was approached to be involved in this community mural project I jumped at the chance as I have completed similar projects with school children and thoroughly enjoyed the experience. This project was different as it involved a very diverse group of people from many backgrounds. All from different parts of the world, all bringing their own unique touch to the project by sharing stories, images and beliefs with me during the workshops. On a personal level I have gained much knowledge from them, insights about their communities, where they have come from, and how they find the Australian way of life. Especially the older people were willing to share their life experiences from their homelands, living in Australia and particularly Collingwood. It was great to hear that many had been living in the Collingwood area for numerous years and would never move as they loved it here. The students were also intriguing, they taught me about their homelands by pointing out animals, rivers and plants of significance. It allowed me to describe similarities and connections between their culture and mine, the Wurundjeri of Melbourne. I was particularly struck by the universal significance that ‘river’ and ‘water’ have in their life sustaining importance – for ceremonial and sustenance purposes, and the use of rivers as gathering places. Indigenous people, in the past and still today, meet frequently along important ‘river’ and ‘water’ systems throughout Australia to camp together or have large family gatherings, something I take part in several times a year. For me this cross cultural learning showed the link between animals and culture as a universal phenomenon. I was amazed to see how important birds were to so many people and the role of animals as ancestors and guardians in the different cultures, and how they compared with Indigenous Victoria. For instance the Vietnamese participants described their ancestral links to the dragon, just as the Wurundjeri people of Melbourne see Bunjil, the Eagle as the Creator. Both Bunjil and Waa the Raven (Bunjil’s helper) are ‘totems’, spiritual identifiers often in the form of an animal and are important in both ceremonial and daily life. We placed these two totems, Bunjil and Waa, at the entrance of the health centre as they are a welcoming symbol to visitors. Traditionally, when visitors were to come onto Wurundjeri land, a series of ceremonies first had to take place. The main one still practised today is the ‘Smoking Ceremony’ - people being formally welcomed and acknowledged onto Wurundjeri land. This involves the smoking of green Manna Gum leaves on the embers of a fire to create smoke. Manna gum leaf is used as it represents the name of the Wurundjeri people - Wurun = manna gum, and jeri = the grub that lives within the tree. Visitors are

10

IN THE FLOW - the making of a community mural

then encouraged to pass through the smoke to be cleansed. This is symbolic of purifying the area of any bad spirits that visitors may bring with them and, traditionally, was done because many Aboriginal clans were enemies and wished harm on the other party. Today this ceremony is done as a sign of respect to past, present and future Elders who are held in high esteem, highly valued, and who are the caretakers of Wurundjeri lands and people. The lands of the Wurundjeri extend through most of South Central Victoria, west from the Werribee River, north to the Great Dividing Range, east to the Yarra River and includes Melbourne’s central business district. Birrarung, meaning ‘river of mists’, is our name for the Yarra River. Wurundjeri share their borders with the Boon wurrung (coastal Port Phillip Bay), Dja Dja wurrung (the Bendigo area), Taung wurrung (the mountainous area north of Healesville), and the Watha wurrung (the Geelong area). Together these five clans represent the Kulin Nation; Kulin meaning ‘man’. The ending ‘wurrung’ (meaning ‘mouth’ or ‘to speak’) shows their connection through language. The Kulin Nation therefore has a common language. Due to Indigenous protocol, to be able to use the images of Bunjil and Waa to symbolise the Wurundjeri people, I must consult with the Elders what motifs they thought best to represent them. The Elders believed that the use of the Birrarung was an integral part of the project as it is near one of the most significant Wurundjeri gathering places along the river where it meets the Merri Creek, at Dights Falls. This site was a significant meeting place where trading of items such as tools, weapons and food took place, and also marriage exchanges. The totems Bunjil and Waa also controlled the social structure of Wurundjeri people. Your totem was handed down to you by Elders and you were not permitted to marry anyone from the same totem. Birrarung, the ancient meeting place of the traditional owners, still is an important place for local people gathering and meeting along the river. It has been great to see the varying age groups represented and working together for a common outcome. I was struck by the great community feel every time I worked with them. Even while painting the river design on the wall, participants who walked past chatted with me and had a friendly smile. It was a pleasure to meet so many lovely people. It would be great if people from such varied backgrounds would get together and learn from each other more often. There is a vast wealth of knowledge that can be shared between us all if we take the initiative and become more involved in shared projects like the mural. I knew little about the cultures of most of the people involved in the project but at the end I do feel it has given me some insight into aspects of some individuals, their lives and their culture and who they are. And I hope I have done the same for them. Mandy Nicholson Indigenous Artist

IN THE FLOW - the making of a community mural

11

Vera Boston Why does a Community Health Centre get involved with arts projects? What does that have to do with health? We at North Yarra Community Health think that it has a lot to do with keeping people healthy, forming new bonds and strengthening existing relationships, linking people together, giving them a sense of their community and showcasing the artistic skills of the community. Whether it’s the murals of 1993, the Generation Exchange theatre productions of 1999 and 2000, the Afghani/ Iranian Women’s Mural or the Inside Out - Outside In musical extravaganza of 2004, the Colours of Fitzroy mural by the BEEM Artists of 2006, or this latest creation, each of these activities has strengthened community life and given participants a greatly improved sense of well being by creating a space where people’s creativity can be expressed. In essence it’s about a healthy community, not just healthy individuals, and arts projects such as these nurture the community and build its resilience. The demise of the old murals has been keenly felt – however, the materials had aged, the community around us has changed and we needed a new landmark. I am delighted with the work which has been done – the artists have captured all the contributions made by the community and skilfully woven them into a beautiful whole. The river is particularly meaningful, representing both the Yarra, which is part of our name and of the municipality, and all the rivers of the world which link communities together, bring new ideas and are a source of beauty and richness. One of the highlights of this project has been the partnership with Collingwood College, and their Year 9 students have added a new perspective to the project. I am also aware that the Neighbourhood Justice Centre has partnered us in this work, and a number of the design workshops have been held there. The Collingwood Neighbourhood House and CHEAC, the Collingwood Housing Estate Art Committee, both played a major support role for the project and provided space for workshops. NYCH is extremely grateful to the people and organisations and businesses who contributed financially to the project, including a substantial anonymous donation – to all of them – Thank you very much.

12

IN THE FLOW - the making of a community mural

I also wish to thank the community members who took part in this project – you should all be very proud of your work which will be on public display for many years to come, and of course a big thank you to the artists - Ellen Michel and Mandy Nicholson. Finally, I want to acknowledge the work of Marlies Blatz, one of our Community Health Nurses and the coordinator for this project. Marlies’ enthusiasm, energy, and attention to detail ensured that everything went according to plan, that participants stayed involved with the project and that their aspirations for the project were realised. Well done everyone! Vera Boston Chief Executive Officer, North Yarra Community Health

Andy Sutton This year the Year 9 students of Collingwood College have undertaken an innovative curriculum program that has embraced Art Recreation and Community (ARC). This program included bike riding, art practise including outdoor sketching and painting, visits to galleries, parks and a variety of community centres. When the opportunity presented itself to be involved in the NYCH mural the program jumped at the opportunity because it embraced a lot of principles and experiences that we thought Year 9 students should have in their formative years. The mural project entailed students becoming involved with a wide variety of groups, and enabled students who might not normally engage with older members of communities other than their own to get that experience. Many students visited places such as the Neighbourhood Justice Centre, the community health centre and the Neighbourhood House for the very first time. Along the way it reinforced process, involvement and the development of an idea into a finished product. Students experienced the consultation process, information gathering, written diary entries,

IN THE FLOW - the making of a community mural

13

concept drawings, interviewing, digital documentation, working with community artists and had the opportunity to voice their opinions and express their ideas. They got the opportunity to produce a power point presentation for the launch of the project, work on the documentation of the project and had the practical experience of painting and working with the community artists. How do we measure a project like this? This is a true community collaboration that gives students a clear understanding of how important community interaction and involvement is to everyone: a true sense of belonging, feeling connected, making a contribution and being part of the wider community. From an educational perspective this experience and the opportunity to be involved in it adds to the rich tapestry of each and every student. This prepares them in future years as they grow into their community wherever they may be and gives them a true understanding of what ‘community spirit’ means. Andy Sutton Art Teacher, Collingwood College

Tania Furlong At the 2007 Annual General Meeting of the community health centre a small child sat in front of me with her mother. She turned around and when seeing me, gave me a big smile and said to her mum ‘I know her’. I had met them both at the mural design workshops. It was just a small acknowledgement from a child but it reminded me how participation in community activities builds community relationships. I participated in the mural project through my work at the Neighbourhood Justice Centre (NJC). The centre opened in Collingwood in February 2007. It houses a court, provides support services for victims, defendants and local residents, and holds mediation and crime prevention programs for the City of Yarra. It is the first community justice centre in Australia.

14

IN THE FLOW - the making of a community mural

An important part of the work of the Neighbourhood Justice Centre is supporting local initiatives and activities that strengthen the Yarra community. The mural project provided us with an opportunity to support one of our local key partners in their community building work. The Neighbourhood Justice Centre and North Yarra Community Health work closely together, and NYCH has a full time worker based at our centre. Being new to Yarra, this community engagement activity was a great opportunity for our staff to meet local community groups and individuals, introduce ourselves and our services, and be part of a fun and interesting community experience. We enjoyed taking part in the range of activities: from hosting workshops at our centre, to supporting the production of this storybook, to cutting up fruit and serving up bowls of steaming soup, to giving in to our creative urges during the design sessions and adding to the drawings and images for the mural. Personally, a particular highlight for me was hosting the workshops. The second floor of our building came alive with the activity and creativity of young and old people from a diverse range of backgrounds. My colleagues and I had the opportunity to meet these local people and it was inspiring to see our building used as a community resource.

The passing parade of murals on the walls of this our Collingwood community health centre not only depicts various stages of Collingwood over the decades, but it brings together all ethnic and social groups who participated and do not only come here for health reasons, but also to socialise with each other so that it creates a better harmony of communities. Harold

Thank you to North Yarra Community Health for involving and welcoming the Neighbourhood Justice Centre in the mural project; we have thoroughly enjoyed this opportunity. Most importantly, thank you to all of the participants, who showed us just how vibrant and talented our new community is. Tania Furlong Information Officer, Neighbourhood Justice Centre

IN THE FLOW - the making of a community mural

15

the Practicalities

The mural project was a moveable feast in its proverbial sense. The benefit of this was that our participants got to know a number of different organisations in the community. We started at the Collingwood Neighbourhood House, located at the ground floor of the 253 Hoddle Street high rise building. The drawing workshops happened at the Neighbourhood Justice Centre. On those two occasions the second floor became ours and very lively indeed. Here we wielded the crayons and colour pencils over that long roll of brown paper, which had been covered in flowers to inspire our creativity. The photos will speak for themselves – all the fun we had, although we could not really imagine the great result. The last two workshops were held in the ‘Factory’ meeting room at the community health centre.

Starting with a blank canvas…

16

IN THE FLOW - the making of a community mural

…it quickly filled with our creative output

te Jean Hales (L) Maria & the la

IN THE FLOW - the making of a community mural

17

The following gives a snapshot of a design in progress - from a drawing on a bit of paper to the final artwork on the wall.

From here…

…to here…

…to here

18

IN THE FLOW - the making of a community mural

As part of their ARC Program, the students also worked during school hours with their art teacher. They explored and designed shapes, form, colour and images in a ‘flowing’ fashion and had to keep a diary about the progress of the project.

The project we are working on this term is about multicultural community. Each country has their own beauty. The purpose of this project is to collect those wonderful things together in a painting. Community involvement means working with others for a community purpose, instead of standing aside. Vanessa

IN THE FLOW - the making of a community mural

19

What does it all mean? Looking at the river and the images floating on it – what were the ideas and thoughts behind them, what do they represent for the person who drew a particular image? What did they evoke in some of the other participants, what might they invoke in the observer of the mural? So we asked the participants in the workshop where the artists presented a life size mock up of a section of the mural and ‘life’ replicas of the drawings they had selected. Here are some of the stories behind the images on the mural.

HENNA Henna is for decoration, I paint henna on my hands for special occasions. Afrah with daughter Aya

LEEK & RADISH ast to traffic nce of nature, stark contr Reminder of the importa and concrete. Matthew

LEMON sour food. Hien I love food, I like

FLOWERS Represent beauty and are symbolic in a lot of cultures, they are used for different occasions, weddings, funerals, ceremonies, parties. Nyawaregak The flowers are my favourite, but I like everything, every piece has their own unique meaning. Effi Peach flowers blossom in spring, a sign of new life, happiness and hope, it is lunar New Year. Mr Chin Nguyen

20

IN THE FLOW - the making of a community mural

BIKE RIDING The ARC program, we do bike riding every week; I don’t really care about riding. Hien

SKATEBOARD Young people are at the centre of the community, they bring hope and signify change and growth. Robyn

FISHING Fishing is well respected work, represents calmness, serenity, love of the water, environment, the earth. Dieu Phan

TREE They give us fruit, shade, houses, furniture and beauty. Joy

Gum tree motif is very important to this country. Teresa

FIRE Acknowledges the spirit and life force that burns at the heart of all of us and the chaos and danger present in all of this. Matthew

IN THE FLOW - the making of a community mural

21

BIRDS

Heron. In Vietnam the heron with a long neck represents fidelity, the love of a wife awaiting her husband to return from war – in vain. Dien Tran

RUDI the crestless cockatoo. I wanted Rudi immortalised, our neighbour’s crestless cockatoo who hops into the tree outside my office window every day, looks at me with his beady little eyes and does his exercise routine - somersaults at the age of 80! Cockatoos can live up to 120 human years. He suffers from beak and feather disease – but to me he is a most delightful little creature cheering up my working day. Denis, his owner, told me he rescued him from cruel circumstances, took him to the Vet to have him put out of his misery – when Rudi suddenly squawked. That was 18 years ago. And now he enchants me every day. Marlies

Magpie. We are in Collingwood, are we not! Anna

22

IN THE FLOW - the making of a community mural

MAGPIE DELI This image represents a migrant family from Italy. In 1968 my husband and I purchased a property on the corner of Nicholson & Abbotsford Street in Abbotsford. We decided to build a shop with dwelling on the site naming the shop the Magpie Deli. This shop became a landmark, the shop has provided the convenience of shopping locally. I tell you about my hobby as a gardener. I grow many kinds of vegetables, the garden has some old fruit trees including a fig tree which I make jam with and offer it to friends and family; also an olive tree which my husband planted 40 years ago, olive fruit matures in autumn is picked and prepared in many different ways including pickles. Domenica

Rock ‘n and roll’n This image is important to me as dancing at the Collingwood Town Hall was my meeting place. This is where I learnt to socialise with the male members of our community. Some of these were new migrants and quite exotic to us young Australian women in 1956. We meet our boyfriends and husbands there, all from the local area, as few had cars, we walked to the dance, took a train or bus to get there. Ballroom dancing was in one hall and rock ‘n roll in another. Rock ‘n roll was a liberation from our parents’ music. We made the music and dance our own. We dressed in big full skirts with as many as four pettycoats under them, boys in skinny leg pants, thin ties and duck tailed hair cuts. And by the way, I did meet my husband there. The result: two children and five grandchildren. I have rock ‘n roll to thank for that. Joan

The Four Winds =

NGA E WHA Wind flowing from the North, South, East and West, can never be predicted by man as to what each wind flow brings. Some say there are joys of good tidings. Some moan as the flows are too strong.

The Maori scroll pattern depicts that mankind is never satisfied, we live in turmoil and we explode into a gush of tirade, we let off steam and over burden ourselves and where do we let it go? - in the wind. All walks of life comes from the four corners of the earth and each brings knowledge and wisdom. Like the wind we each seek their own future and when it is found, like the wind, we settle and embrace. People say ‘the answer is in the winds’ - perhaps, perhaps. Mere

IN THE FLOW - the making of a community mural

23

GARDENS & VEGETABLES In Aghanistan I had a garden at home. I grew many herbs, flowers and vegetables, every time I was free I started working on my garden, I really enjoyed it. Wajia In my backyard I had a very large tree with many birds, I enjoyed listening while they were singing. I remember everything about birds and trees in my house. Adela

To me means - home living growing friends plants people family. Thi Vy Tran Community garden. Peter Growing food is a universal symbol that shows a healthy community, strength, survival. Its purpose is to build healthy individuals, healthy families and healthy communities. Andy

House In Afghanistan I used to live in a very big house. I worked as a teacher. Every time I was free I enjoyed looking after my garden. Basira Warmth and safety and comfort. Casper YING & YANG Represents opposites, people are different, no one is perfect. Della Good and evil; weak and strong; kind and mean; happy and sad; dark and light; day and night; sun and moon; big and small; love and hate; male and female. Vy-Tran

MUSIC NOTES Is engagement, good feeling. Hadush Sun Nature’s life force. Maryan CANOE Making one’s own direction in life, not adrift, enjoying nature, going with the flow. Alan

24

IN THE FLOW - the making of a community mural

Island I started to draw Dights Falls; all that water must have inspired someone, when I turned around it was an island with palm trees.Too exotic for that place down the road. Chi

NEEDLE & THREAD The sewing together of different community groups, the quilting of this mural. Alan

Mountains Iran has many mountains and trees. Northern Iran has National Parks and green mountains and many rivers. Beautiful weather. Many people during holiday time they go to Northern Iran in order to enjoy all this beautiful nature. Emaneh

FAMILY Is nice and they never mind. Hadush

Fractal The fractal is a pattern which contains smaller versions of itself, it is a thing I find very beautiful. Here is a gum tree with hollows in it. Hollows in a tree was what I thought of when you talked about places of rest by the flow. The tree’s leaves too small to see here, are displayed in the same way as the raindrops. This scene also includes someone running, music and wind, three things which make me feel really vibrant.This scene is associated with nonacademic beauty, purely sense-based beatitude, music, wind, running. Kuyan

DRAGON The Vietnamese dragon shows the map of Vietnam. Diem Dang The S shape represents Vietnam, the three regions of South, Centre and North – it is draped in the dragon because the dragon is the emblem of royalty and power and sumptousness. In Vietnam it is the culture, history, a symbol that stands out, represents the good and bad things. Vy-Tran

IN THE FLOW - the making of a community mural

25

Preparing for the new mural

The tricky corners that caused us so much headache until we finally succumbed and decided on the render of the river to make it flow along the wall.

It just so happened that Tony was a friend of Ellen’s, and a long time client of the health centre, and an architect, and he volunteered his help and expertise!

26

IN THE FLOW - the making of a community mural

A last view of the old façade. The 1993 murals were created by artists Bob Clutterbuck and Claire Humphrys-Hunt, together with the community. They had served so well for so long – but as the saying goes, ‘nothing lasts forever’.

Along came Sam & Guiseppe La Torre and made them disappear on 13 October 2007.

IN THE FLOW - the making of a community mural

27

While most of the panels were beyond salvaging, the Old Men’s one was in still remarkably good condition. So, Paul Brophy, Manager of Sambell Lodge Hostel in Clifton Hill brought his ute… ‘We have so many of the old Collingwood residents living in our place – they’ll have a great time to look at it, read and reminisce and remember; the history on that panel is fantastic for that.’ The panel now adornes the courtyard at Sambell Lodge.

…and young Otis Craven was not letting everything going to waste either…

At the end of the day – a remarkably small pile was left.

28

IN THE FLOW - the making of a community mural

Then the preparations for the new mural started in earnest…

Mandy and Ellen outlining the river for the render…

…followed by George & Phil & Anthony, the renderer crew.

Things really are starting to take shape.

I think it would look alright, Andy!

IN THE FLOW - the making of a community mural

29

The first thin blue line – under a gorgeous blue sky

Mandy painting the roots

And then the trees started growing

Ralph, handyman extraordinaire got that one nailed!

30

IN THE FLOW - the making of a community mural

Hoddle Street history When I first heard about the storybook for the mural project I wanted to talk to some of our older members at the health centre about their memories of Collingwood before it was sliced in two by an eight lane arterial road. So I organised a meeting with Frank Thompson, Keith Fitzgerald, Harold Hamilton, Maria Luciani and Elsie Smith who have all lived in the suburb for a very long time.

(from L) Chris O’Neill, Frank Thompson, Keith Fitzgerald, Harold Hamilton, Maria Luciani, Elsie Smith

In the 1950s, before the demolitions began to widen Hoddle Street, Hoddle Street Collingwood was a thriving shopping strip much like Smith Street is now. These ‘slum’ demolitions were not without some controversy – the Government pleased with its progressive policy and action, locals resenting their neighbourhood and houses being labelled as slums. The original Hoddle Street ran between today’s median strip and the Abbotsford side footpath. There were pie shops, green grocers and grocers, butcher shops, a cinema and dance halls, and between Victoria Parade and Alexandra Parade no less than 5 hotels. After a day’s work in the Bryce & Duncan shoe factory women often would buy the ingredients for their families’ evening meal, then shell the peas in each others company on the train on the way home.

The Punt Road bus met with the double decker bus in Johnston Street, many factories, mainly footwear and clothing, were in the suburb, and lots of workers cottages lined the streets. For instance Elsie Smith grew up in one at the corner of Vere and Hoddle Street. Many of the people living in the workers cottages were subsequently relocated into the public housing estate between Hoddle and Wellington Streets. Part of the external wall of the health centre was once an internal wall of the Bryce & Duncan shoe factory; in fact their name is still visible on our Easey Street façade. The old factory extended to what is now the median strip but was once the western side of Hoddle Street. This explains the unevenness and many of the ‘tricky corners’ that the artists encountered when they tried to work out how the river design was to ‘smoothly flow’ along the wall. It also explains the name ‘the Factory’ for our big meeting room in the back of the building, a name which has become part of the ‘language’ of the organisation. In 1869 Dr John Singleton established the Collingwood Free Medical Dispensary in Wellington Street. In the 1970s the Whitlam government set up the community health program and by now the old Singleton’s and its charity model of health were feeling the winds of change. An increasingly progressive committee of management decided to purchase the present site between Sackville and Easey Streets and developed a plan for a purpose built new community health centre with money from this new community health

IN THE FLOW - the making of a community mural

31

program. The project had much support from the local Collingwood Council (including Frank Thompson who was a Councillor at that time), and the new centre was to be ‘state of the art’. Jim Goode was the centre’s first manager. Naturally some staff were nostalgic about the old building with its long tradition but the community itself was very excited – this was the first significant community resource, the first significant amount of public money spent on the Collingwood community for decades. It was also important that the committee of management was elected by members of the community until the infamous reign of Victorian Premier Jeff Kennett in the early 1990s, when he forced amalgamations on health services and local municipalities alike. This is how Singleton’s became Collingwood Community Health Centre became North Yarra Community Health and turned 138 this year. On 25 September 1977 the Collingwood Community Health Centre was officially opened. The then president, Bill Ladner, owned a shoe shop in Smith Street. However, for years after people continued calling it Singleton’s or just the Clinic. Today we still have two staff members who started their working life at the Wellington Street clinic – Yvonne Turner, our part time receptionist, and myself. Chris O’Neill

32

IN THE FLOW - the making of a community mural

Project participants Collingwood College students & teachers: Acok Dut, Adam Ross, Alan Holm, Andy Sutton, Casper Yu, Daniel Juusti, Daniel O’Regan, Della Luong, Diem Dang, Elly Gritzalis, Emmanuel Chan, Faiza Mahat, Hadush Gebreselasse, Hien Nguyen, Jacob Matray-Hutchinson, James Dawson, Kuyan Judith, Maryan Maalin, Matthew Simmons, Mawolu Zarwue, Michael Dinh, Nyawaregak Gach, Ozge Mirik, Peter Hua, Richie Nguyen, Sadam Ahmed, Sam Haynes, Sue Andrews, Thi Vy Tran, Vanessa Ly, Y-Nhi Ly.

Community members: Adelah Formoli, Afrah Hassen & daughters Aya & Meryem, Alexandra Lavrin, Anastasia Kezkiropoulos, Anna Bevilaqua, Antonietta Pretotto, Aysel Alpay, Basira Wasil, Chi Chang, Dien Quang Tran, Domenica Romeo, Effi Tsakiridis, Emaneh Nadali, Feddie Mark, Harold Hamilton, Jean Hales, Joan Flanagan, Joy Phillips, Kathie Vendy, Le-Thi Ngoc-Nga, Lien Thi Ly, Loan Thi Nguyen, Loi Thi Tran, Maria Danko, Mere Paora Epere, Mohammad Wasil, Monira Soliman, Nguyen Van Chin, Phan Thi Dieu, Phi Thi Nguyen, Robyn Williams, Sharifa Fayazi, Sinh Thi Khieu, Tam Phan, Teresa Assaf, Thao Thi Nguyen, Wajia Nouris, Wesley Baglin.

River to be free The River is free Seeing the people being pleased Doing things in and out of the River Fishing is great We can all relate Kids on skateboards are far from being bored All ages are on their bikes It must good for their health The birds fly and sing It’s just amazing to see them flap their wings So thank you River for all the love you bring. Wesley

IN THE FLOW - the making of a community mural

33

Acknowledgements Thank you to all the people who contributed their thoughts, ideas, expertise, time, and most importantly their emotions to our new mural. Thank you to all community members and the Year 9 students at Collingwood College who work-shopped, discussed, shared, drew and painted the images which now adorn the Hoddle Street façade. I want to particularly thank all our financial contributors who made this project possible through their generous funding – they are acknowledged on page 3. I would like to express my particular gratitude to a generous private donor who wishes to remain anonymous. We all know that never has there been a community project that would have come to fruition without the generous help and assistance from many individuals and organisations in that community. Thank you to the mob at Collingwood Neighbourhood House, the Neighbourhood Justice Centre and the Collingwood Housing Estate Arts Committee (CHEAC) for providing space for the workshops; all the workers who cooked yummy food for us; Collingwood College for integrating the mural project into their Art Recreation and Community program of the Year 9 students; the City of Yarra for additional support when needed, and, especially Fiona Hillary from Arts & Culture and the staff in Council’s planning departments who were unfailingly helpful. Thank you to the Board of Management of North Yarra Community Health and my colleagues. My very special thanks to Chris O’Neill who, despite his ongoing health issues was supportive and encouraging from the outset, and provided a sympathetic ear as well as practical suggestions as we negotiated the complexities of the project. Thanks to Tony Campbell for his architectural expertise, to Rob Cruse, who contributed to the photographic record of the project and Ramset for the generous supply of fasteners to attach the images to the wall. Our list of thanks also includes: Atefeh Sanae, Bich Ha, Carla Yarmine, Chathura Arachchige, Dawn Stickland, Elsie Smith, Faranak Safae, Frank Thompson, Geoff Clark & Anthony & Phillip (our renderers), Jodi Cornish, Keith Fitzgerald, Libby Walker, Maria Luciani, Paul Brophy, Ralph Kempf (handyman extraordinaire), Rosemary Mangiamele, Sam & Guiseppe La Torre (who knocked the old murals down), Samantha Jones, Sue Kent, Siu Chan and Zamzam Ibrahim. A particular thank you to Phil Hall for championing the need for good documentation. This story book, which records the project would not have been produced without his input, nor without the generous support of the Neighbourhood Justice Centre which funded the publication. Tania Furlong made a valuable contribution in the editing of the story book, and I want to thank her for that. Last but certainly not least – artists Ellen Michel and Mandy Nicholson without whose vision, determination, hard work and skill we would not have completed this beautiful project. Marlies Blatz Project Coordinator

34

IN THE FLOW - the making of a community mural

artist - ellen Michel

We are all creative beings and life offers all the potential to explore the vast possibilities. I am passionately committed to encouraging creativity in myself and others. Originally trained as a realist/impressionist painter with a BA in Art History/ Anthropology/Sociology and a Diploma of Art Therapy, I have for over 30 years practiced and taught the techniques and mastery of oil paint. Winning numerous awards for landscape, floral and still life, I have had five solo exhibitions and travelled extensively to paint in Europe and the Mediterranean. Experiential work as an art therapist has provided a vehicle for intuitive, spontaneous personal work and collaborative community work. While continuing to explore techniques of oil paint, washes, textile bleeding, chiaroscuro glazes and impasto I have developed a love of more solid forms of materials like mosaic, sculptured brickwork and ferro cement render. As a result of exploring these more solid art forms, I have undertaken several public art works including the mosaic wall at Watsonia Neighbourhood House, mosaic panels and outdoor murals at Doncaster Primary School, the Serpent Head Path at Mia Mia in Westerfold Park, and the Meditation Garden at Rosanna Fire Station Community House. www.artmakersstudiogallery.com

artist - Mandy Nicholson I was raised in Healesville and belong to the Wurundjeri-willam (Woiwurrung language) clan of the Kulin Nation of Melbourne.

I have always been interested in all art forms, especially drawing. For over 13 years I have also produced carvings, etchings, prints, ceramic pieces (carved, painted and produced), murals, corporate logos and children’s clothing for the 4-12 age group and public art. I specialize in painting which I started studying at high school, and furthered at TAFE, University and through experimentation. More recently I have begun work on collaborative pieces and larger scale public artworks. These include the Manchester and Melbourne Commonwealth Games Opening and Closing Ceremonies respectively, Common Ground (Birrarung Marr) and Kirrip Wurrung Biik (Wyndham City Council). My style consists of traditional motifs of south-eastern Australia, blended with my own contemporary interpretation. These both comprise of symmetrical lines and fine linear works. The stories behind my designs all revolve around nature, animals, stories of my people, personal experience and my two daughters. I always incorporate traditional imagery into all my pieces with a detailed story or explanation of each. www.bunjils-country.com

IN THE FLOW - the making of a community mural

35

Suggest Documents