Otway Life Almanac 2019

ALMANAC 2019

$10 A R T S + C U LT U R E + E CO LO G Y + S P I R I T

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A word from us Planet Earth has completed another orbit around the Sun since our last publication and it is with great pleasure and excitement that we present to you our Otway Life Almanac for 2019. In this issue, our 19th publication, we continue our commitment to bringing you beautiful images and thought-provoking articles that illuminate the culture, ecology, art and spirit of this ancient land. Ancient, special and worth protecting, the Otway Basin had its beginnings in the Jurassic Period (600 million years ago). The Otway Cool Temperate Rainforest is a plant community that dates back 140 million years to Gondwana when dinosaurs roamed the earth. Now that is ancient indeed…learn more about the Aboriginal culture that has existed here for at least 3000 generations. (Before Louttit Bay p.13) 2019 is the International Year of Indigenous Language and we encourage you to have a go at the local Wadawurrung language by downloading the app (p.5) Cararcamigen, our Aboriginal Gathering Place in Colac have celebrated their first birthday, read their story on page 11. We will be donating $1 for every sold printed copy of the Almanac to their Unity in Community Art Trail.

Cape Otway Conservation Ecological Centre’s mission is to protect and understand the local flora and fauna including the endangered quoll. In support of their mission we have nominated the quoll as our mascot for Otway Life Almanac 19. Look out for ‘Chuditch’ in the almanac, a delightful quoll created by Kaye Kessing. Chuditch is a feisty main character in her ‘Bilby’s Ring Trilogy’. (p.19) In this issue we have turned up the spotlight on artists and their work – many artworks are for sale and you may

The Team Publisher, editor & co-founder: Nettie Hulme Art Director & co-founder: Gillian Brew Advertising enquiries: Nettie Hulme E otwaylifemagazine@gmail.com F www.facebook.com/otwaylifemagazine B otwaylifemagazine.wordpress.com T twitter.com/otwaylifemag View Online issuu.com/otwaylife.magazine Cover: Otway Autumn by Sisca Verwoert Next issue 2020 Almanac, December 2019 Disclaimer: The views expressed in Otway Life Magazine are those of its individual authors.

Otway Life Almanac 2019 is a not-for-profit publication that works on a full cost recovery model.

Due the rise in postage costs we no longer offer subscriptions.

Printed by: Adcell Group on 100% recycled stock

also be inspired to join a local art group and find your own creative expression.

Our cities are becoming more populated and with all the hectic activity that goes along with high density living, we see an increased need for people to make a ‘getaway’ and reconnect with the natural world in order to maintain a balance in their lives. A trip to the Otways, her coast and hinterland, offers more than stunning scenery. If you take the time there is much benefit to your wellbeing to be derived from walking in the bush or along the coast, tasting the local produce and staying for a sleepover.

Whether you call the Otways home or are visiting for first or hundredth time – this ancient land, and her more than human community, is sure to renew your spirit in these harried times.

We hope you enjoy this expanded Otway Life Almanac and find something to entertain and nourish you as our beautiful planet completes another solar orbit in 2019.

Yours in kindness

Nettie & Gill Kindness in words creates confidence.

Kindness in thinking creates profoundness.

Kindness in giving creates love. Lao Tzu

Contents International Year of Indigenous Languages 4 Aboriginal Star Stories 9 Year of the Pig 10 Caracaramigen 11 History Note - Before Louttit Bay 12 History Note - Glenora 14 Tiger Quoll 16 Books & Writing 18 Arts 26 Artist Profiles 34 Otway Sleepovers 54 Boutique Boozeries 58 The Good Life 61 Sustainable Table 62 Otway Harvest Trail 68 Matters of the Heart & Spirit 73 Finding Felicity 78 Environment 80 Great Ocean Walk 90 Experience and Enjoy 92 Tides 98

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2019 International Year of Indigenous Languages An International Year is an important cooperation mechanism dedicated to raising awareness of a particular topic or theme of global interest or concern, and mobilizing different players for coordinated action around the world.

In 2016, the United Nations General Assembly adopted a resolution proclaiming 2019 as the International Year of Indigenous Languages, based on a recommendation by the Permanent Forum on Indigenous Issues.

At the time, the Forum said that 40 per cent of the estimated 6,700 languages spoken around the world were in danger of disappearing. The fact that most of these are indigenous languages puts the cultures and knowledge systems to which they belong at risk.

In addition, indigenous peoples are often isolated both politically and socially in the countries they live in, by the geographical location of their communities, their separate histories, cultures, languages and traditions.

And yet, they are not only leaders in protecting the environment, but their languages represent complex

Unique systems of knowledge and understanding the world

Sustainable development, investment, peace building and reconciliation

NUMBERS Numbering around 570 million indigenous peoples make up the greater part of global cultural diversity and speak the majority Wadawurrung App of the world's Wadawurrung Digital Resource 7,000 languages.

systems of knowledge and communication and should be recognized as a strategic national resource for development, peace building and reconciliation.

They also foster and promote unique local cultures, customs and values which have endured for thousands of years. Indigenous languages add to the rich tapestry of global cultural diversity. Without them, the world would be a poorer place.

Celebrating IY2019 will help promote and protect indigenous languages and improve the lives of those who speak them. It will contribute to achieving the objectives set out in the United Nations Declaration on the Rights of Indigenous Peoples and the 2030 Agenda on Sustainable Development.

The celebration is also expected to strengthen and reinforce the many standard-setting tools adopted by the international community which include specific provisions to promote and protect languages.

Fundamental human rights and freedoms of indigenous peoples

FACTS

Cultural values, diversity and heritage

Social inclusiveness, literacy, poverty reduction and international cooperation

RISKS

Indigenous languages constitute the vast majority of the world's linguistic diversity, and are an expression of cultural identity, diversity and a unique understanding of the world.

The disappearance of indigenous languages is likely to have significant negative impacts on areas such a politics, law and justice, health, education, culture, access to ICTs, and so on.

Introduction to the Wadawurrung Language of the region that encompasses the Geelong and Ballarat areas of Victoria. Produced in partnership with the Wathaurung Aboriginal Corporation and the Victorian Aboriginal Corporation for Languages.

Wathaurong CD Rom In 2004 Wathaurong Aboriginal Cooperative released the teacher’s guide Learning Wathaurong as an interactive CD-ROM with an accompanying booklet.

This is the result of collaboration between Wathaurong Aboriginal Cooperative Ltd and Multilocus Interactive Pty Ltd with funding provided by the Department of Communications, Information Technology and the Arts (DCITA) and the Aboriginal and Torres Strait Islander Services (ATSIS).

(https://itunes.apple.com/us/app/wadawurrung-language-introduction/id1162480939? mt=8) Click on the icon above for free download on iOS devices.

Together with teacher’s resources and lesson plans, the CD is used as a tool for teaching Wathaurong language.

It is a mixture of stories, exercises and activities to Otway Life Almanac 2019

encourage students of all ages to learn and practice speaking, reading and listening skills in Wathaurong language. Made up of 11 modules designed to provide a basic introduction to the language the CD includes a Wathaurong to English vocabulary list and interactive colourful activities. These learning materials help to revive the Wathaurong language and teach children and community language in a fun interactive manner.

Wadawurrung Digital Resource Introduction to the Wadawurrung Language of the region that encompasses the Geelong and Ballarat areas of Victoria. Produced in partnership with the Wathaurung Aboriginal Corporation and the Victorian Aboriginal Corporation for Languages.

International Year of Indigenous Languages 5 Gunditjmara Digital Language Resources The Laka Gunditj Language Program, together with VACL, have produced six interactive digital storybooks in three Gunditjmara languages featuring local stories, artists and narrative voices.

Designed by Kiwa Digital for children of all ages, KIWA digital storybooks use iPad and iPhone to bring stories to life in a huge range of languages that combine the narrators voice with touchable text. Digital storybooks are a great resource for kids of all ages to develop reading and comprehension skills and can be used as part of a lesson plan or reading strategy and to help children learn spelling and pronunciation.

The project involved the creation of content through a series of community-based workshops aimed at developing, capturing and recording the stories which were then developed into digital learning resources.

The project was undertaken in collaboration with community, Traditional Owner Groups, local schools, Victorian Aboriginal Education Association Inc, Department of Education and Early Childhood Development and Kiwa Digital.

The books are presented in dual language, both English and a Gunditjmara Language, which are interchangeable allowing users to swap between languages. Users are also able to record their own narration and add this to the resource to be played back at any time. The six books are now available on the App Store ready for any person or school to download.

To download the apps, which are available for use on iPad, iPhone and iPod Touch, visit the VACL app store https://itunes.apple.com/us/artist/victorian-aboriginalcorporation/id928978621 Information sourced with permission from: https://vaclang.org.au

What’s in a Word?

Wendell Berry: “People exploit what they have merely concluded to be of value, but they defend what they love, and to defend what we love we need a particularising language, for we love what we particularly know.”

Here are some words in different languages that are used to talk about nature: Ag borradh (Irish) – the vitality and promise that arrives with Spring, telling us that new life is about to start.

Serein (French) – fine rain falling from a cloudless sky, typically after sunset.

Aloha aina (Hawaiian) – love of the land.

Shinrin-yoku (Japanese) – a visit to the forest for relaxation (‘forest bathing’)

Bangweulu (Bemba, Zambia) – where the water meets the sky.

Songimvelo (SiSwati, South Africa) – to care for nature.

Dadirri (Aboriginal Australian) – contemplation, deep inner listening and quiet awareness of creation that allows you to be at peace with yourself, with others and with nature.

Tenalach (Irish) – the relationship and deep connection with the land/air/ water that allows one to literally hear the earth sing.

Gökotta (Swedish) – to wake up early in the morning with the purpose of going outside to hear the first birds of Spring.

Gümüş servi (Turkish) – reflections of the moon on the water.

Hoppípolla (Icelandic) – to jump into puddles.

Komorebi (Japanese) – the dappled light effect when sunlight shines through tree leaves.

Madrugada (Spanish) – the moment at dawn when night greets day.

Madrugada (Spanish) – the moment at dawn when night greets day.

Serein (French) – fine rain falling from a cloudless sky, typically after sunset.

Shinrin-yoku (Japanese) – a visit to the forest for relaxation (‘forest bathing’) Songimvelo (SiSwati, South Africa) – to care for nature.

Tenalach (Irish) – the relationship and deep connection with the land/air/ water that allows one to literally hear the earth sing.

Source: https://www.coolaustralia.org/

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mother(s) native tongue we are thieves of sunlight mother and i, soaking in the seasonal crusts of a south-east queensland winter. layering shawls upon time across the brim of our cinnamon dusted yiman* shoulders. hand in my hand dutifully mother shuffles around this garden playground, her distant nursing home. a place where deeply rooted terracotta pots forge amongst crayon coloured flowers giving rise to an inquiring ladybug mountaineering forbidden brown skin exploring just below the unthreading hem line of mother’s inherent sculptured legs.

mother looks on half interested

that same crossword dialect for which you were forbidden to voice

half not.

post 1945 (Woorabinda Settlement).

mother begins to scribble with her tongue in a language

softly whispering to my first teacher,

i do not understand.

“i know poetry | i know stars |

listening with borrowed providence to the spillage of her words bewilderment

mother smiles

anger

muling away the curtains from

happiness

her silken aboriginal-afghan eyes.

frustration confusion

leaning her ear toward mine

laughter

mother sighs with grand certainty

judgement

…i gave you all my stories!

confabulation. i am jealous.

sunlight now shifts from one shoulder

what a recipe of speech?

to the other

you never offered me your language.

casting shadows over these handwritten notes.

never. not once.

my eyes miscarry.

you only occasionally loaned me your aboriginal-english lingo

marigolds, snap-dragons, begonias, daffodils and blooming pansies lotion my lean desert fingers gently sailing up and down the oars of their urban throats i tickle in delight

know the sting of bees |.”

excitement

my ears hunt for a serpent butterfly echoing in distress.

edging toward her beloved garden bed the one nearest the aviary before a manicured mattress of flora and fauna we kneel in faith mother and i, but not in prayer.

i have also grown to

a thorough concoction of bastardy words if ever there were along with conversations of the deceased

for the lifers of this home morning tea is now served in the adjacent dining room, the one without a garden view. i pocket a chrysanthemum breaking its defenceless stem

premonitions of the future

between my fingers

history of the Letters

burying seeds

mother you impress me

inside my jacket.

always in privacy always without witness.

still no serpent butterfly in sight.

now your mind reclines into an abyss of natal sustenance

mother’s memory,

piece by piece,

a sacred tomb

your glossary so fertile.

a place that will forever unbolt me.

i want to speak my mother’s tongue!

mother continues to hold my hand.

a silent womb

*Yiman / Iman / Yeeman / Jiman / Eoman (Nations / Tribe) Taroom, lower Dawson River region of south-west eastern Queensland.

Otway Life Almanac 2019

International Year of Indigenous Languages 7

Yvette Henry Holt Brisbane-born multi-national award winning poet, academic and stand-up comedienne Yvette Henry Holt, heralds from the Bijdara, Wakaman and Yiman Nations of Queensland. Yvette’s poetry has been widely published and anthologised nationally and internationally online and in print.

Her first collection of poetry titled Anonymous Premonition won the Queensland Premier’s Literary David Unaipon Award (2005) published by the University of Queensland Press (2008), poetry from that collection has been translated into French, Mandarin and Mapuche Chile. Anonymous Premonition then went on to win the Victorian Premier’s Literary Award for Indigenous Writing (2008), Scanlon Prize for Poetry NSW (2008), Kate Challis RAKA Award (2010) University of Melbourne.

Yvette has lived and worked in the Central Deserts surrounding Alice Springs for more than nine-years, her work in the field of Australian literature more emphatically the bibliography of Australian Indigenous literature spans more than fifteen-years and outreaches in editing, mentoring, international writing agencies, judging of state and territory literary prizes and community grassroots facilitation of poetry and storytelling in Central Australia.

Yvette is Chairperson of FNAWN First Nations Australian Writers Network – the national peak body for Indigenous Australian writers, storytellers and poets.

About mother(s) native tongue: Returning home to Brisbane just gets that much more difficult each and every time. Mother’s regression into childhood frivolous sentiments echoes throughout her nursing home as she transitions from Alzhiemer’s to dementia at a most unforgiving pace. I wrote this poem after visiting mother in May, 2018, flowers always brought out the botanist, the protagonist, the inner child in her – on this particular morning, flowers as I witnessed also brought out the native tongue of my mother, speaking in a language which I had never heard her speak before. Where did your speech come from? Who are? You never once shared your native tongue with me!

PHOTO: Four Generations: Mum Marlene Holt (née Henry) myself, my daughter Cheyenne and my granddaughter Harper

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Aboriginal Star Stories

The stories behind Aboriginal star names now recognised by the world’s astronomical body Duane W. Hamacher - Senior ARC Discovery Early Career Research Fellow, Monash University Four stars in the night sky have been formally recognised by their Australian Aboriginal names.

The names include three from the Wardaman people of the Northern Territory and one from the Boorong people of western Victoria. The Wardaman star names are Larawag, Wurren and Ginan in the Western constellations Scorpius, Phoenix and Crux (the Southern Cross). The Boorong star name is Unurgunite in Canis Majoris (the Great Dog).

They are among 86 new star names drawn from Chinese, Coptic, Hindu, Mayan, Polynesian, South African and Aboriginal Australian cultures.

These names represent a step forward by the International Astronomical Union (IAU) – the global network of the world’s roughly 12,000 professional astronomers – in recognising the importance of traditional language and Indigenous starlore.

What’s that star called?

Many cultures around the world have their own names for the stars scattered across the night sky. But until 2016, the IAU never officially recognised any popular name for any star.

Instead, each star is assigned a Bayer Designation, thanks to a book published in 1603 by German astronomer Johann Bayer. He systematically assigned visible stars a designation: a combination of a Greek letter and the Latin name of the constellation in which it is found.

He gave the brightest star in a constellation the letter Alpha, then the next brightest star Beta, and so on down the list. For example, the brightest star in the Southern Cross is Alpha Crucis.

The IAU recognised that the lack of official star names was a problem. So the Working Group on Star Names (WGSN) was formed in 2016 to officially assign popular names to the hundreds of stars visible in the night sky.

That year the working group officiated 313 star names, derived mainly from the most commonly used Arabic, Roman and Greek names in astronomy. But the list contained few Indigenous or non-Western names.

That changed last year when the WGSN formally approved the 86 new star names drawn from other cultures.

Aboriginal Australian cultures stretch back at least 65,000 years, representing the most ancient star names on the list.

The WGSN is looking to identify even more star names from Australia and other Indigenous cultures around the world.

Otway Life Almanac 2019

As Indigenous cultures have a rich collection of names for even the faintest stars, many new star names could gain IAU recognition.

So what do we know about these four stars and the origin of their names?

Wardaman star names The Wardaman people live 145km southwest of Katherine in the Northern Territory. Wardaman star names come from Senior Elder Bill Yidumduma Harney, a well known artist, author and musician.

He worked with Dr Hugh Cairns to publish some of his traditional star knowledge in the books Dark Sparklers (2003) and Four Circles (2015). These books remain the most detailed records of the astronomical knowledge of any Aboriginal group in Australia.

Larawag (Epsilon Scorpii) The stars of the Western constellation Scorpius feature prominently in Wardaman traditions, which inform the procedures of initiation ceremonies.

Merrerrebena is the wife of the Sky Boss, Nardi. She mandates ceremonial law, which is embodied in the red star Antares (Alpha Scorpii). Each star in the body of Scorpius represents a different person involved in the ceremony.

Larawag is the signal watcher, noting when only legitimate participants are present and in view of the ceremony. He gives the “All clear” signal, allowing the secret part of the ceremony to continue.

Epsilon Scorpii is an orange giant star, lying 63.7 light years away.

Wurren (Zeta Phoenicis) Wurren means “child” in Wardaman. In this context it refers to the “Little Fish”, a child of Dungdung – the life-creating Frog Lady. Wurren gives water to Gawalyan, the echidna (the star Achernar), which they direct Earthly initiates to carry in small bowls. The water came from a great waterfall used to cool the people during ceremony.

Just as the water at the base of the waterfall keeps people cool and rises to the sky as mist, the water in the initiates’ bowls keeps them cool and symbolically transforms into clouds that bring the wet rains of the monsoon season.

These ceremonies occur in late December when the weather is hot and these stars are high in the evening sky, signalling the start of the monsoon.

Zeta Phoenicis comprises two blue stars orbiting each other, 300 light years away. From our perspective, these two stars eclipse each other, changing in brightness from magnitude 3.9 to 4.4 every 1.7 days.

Aboriginal Star Stories 9

The Spotted Quoll, Mityan the Moon in Boorong tradition.

Star map painting by Senior Wardaman Elder Bill Yidumduma Harney, featuring the Milky Way, the Moon, and ancestor spirits.

Ginan (Epsilon Crucis) Ginan is the fifth-brightest star in the Southern Cross.

It represents a red dilly-bag filled with special songs of knowledge.

Ginan was found by Mulugurnden (the crayfish), who brought the red flying foxes from the underworld to the sky. The bats flew up the track of the Milky Way and traded the spiritual song to Guyaru, the Night Owl (the star Sirius).

The bats fly through the constellation Scorpius on their way to the Southern Cross, trading songs as they go.

The song informs the people about initiation, which is managed by the stars in Scorpius and related to Larawag (who ensures the appropriate personnel are present for the final stages of the ceremony).

The brownish-red colour of the dilly bag is represented by the colour of Epsilon Crucis, which is an orange giant that lies 228 light years away.

Boorong star name Unurgunite (Sigma Canis Majoris) The Boorong people of the Wergaia language group near Lake Tyrell in northwestern Victoria pride themselves on their detailed astronomical knowledge. In the 1840s, they imparted more than 40 star and planet names and their associated stories to the Englishman William Stanbridge, which he published in 1857.

In Boorong astronomy, Unurgunite is an ancestral figure with two wives. The Moon is called Mityan, the quoll.

Mityan fell in love with one of the wives of Unurgunite and tried to lure her away.

Unurgunite discovered Mityan’s trickery and attacked him, leading to a great fight in which Mityan was defeated. The Moon has been wandering the heavens ever since, the scars of the battle still visible on his face.

Unurgunite can be seen as the star Sigma Canis Majoris (the Great Dog), with the two brighter stars on either side representing his wives.

One of the wives (Delta Canis Majoris) lies further away from Unurgunite and is closer to the Moon than the other wife (Epsilon Canis Majoris). This is the wife Mityan tried to lure away.

On rare occasions, the Moon passes directly over the wife of his desires, symbolising his attempts to draw her away.

He also passes over Unurgunite, representing their battle in the sky. But Mityan, and Moon, never passes over the other wife (with the Arabic name Adhara).

Delta Canis Majoris is an orange-red supergiant that lies 1,120 light years away.

Credit: Bill Yidumduma Harney Article originally published in The Conversation January 15, 2018

10 Year of the Pig

2019 Year of the Earth Pig 2019 is the year of the Earth Pig, the fortunate golden Pig! Chinese year 4716 The new Moon in Aquarius on February 4 2019 at 1:03 pm PST, also celebrated on February 5, begins the year of the Earth Pig and the month of the Fire Tiger.

Pig year is a time of celebration, peace-making, and enjoying the fine things in life especially good food. Now is the year to take a vacation, relax, and not work too hard.

Kind actions are rewarded, and people can work together in harmony.

Under the influence of the golden Pig, we can find peace, happiness, and contentment in life. There is more emphasis on the earthly pleasures of sex, fine food, and beautiful things. Artistic endeavours can be successful, including all things foodie and gourmet. Next year Rat 2020 year will be the time to pay the bills after Pig year indulgence.

THE EARTH PIG Of the five Taoist elements Fire, Earth, Metal, Water, and Wood, this is the year of the Earth Pig. Earth qualities are stability, honesty, practicality, industry, prudence, reliability, kindness, and loyalty. Earth traits add fortitude to Pig’s temperament. Gold Pig is well loved and respected by family, friends, and colleagues. More Earth Pig info is in my book Taoist Astrology.

LUCKY HOURS In Pig year, activities are more successful during Pig, Tiger, Rabbit, and Sheep hours that are favorable for Pig. Pig hours are 9 pm – 11 pm Tiger hours are 3 am – 5 am Rabbit hours are 5 am – 7 am Sheep hours are 1 pm – 3 pm PIG PERSONALITY People born in Pig years (1911, 1923, 1935, 1947, 1959, 1971, 1983, 1995, 2007, 2019) are peaceful, optimistic, and sensitive. A Pig person has a heart of gold because they are a naturally kind, generous, and gentle soul. Creative Pig can find success in the arts, including the culinary arts.

In relationships, sincere Pig is faithful, devoted, and affectionate. Pig is appreciated by their partner, who recognizes their pure heart. Pigs are romantics who makes Otway Life Almanac 2019

sacrifices for those they loves. A Pig won’t dazzle you like a Dragon or charm you like a Snake. Instead, she will grow on you until you cannot do without them.

As a parent, Pigs tends to spoil their children, and forgives all kinds of nonsense. Pig has high standards for herself, yet is rarely judgmental of others. At work, Pig is patient and dedicated. But this Pig year is not the time to attempt big or overwhelming career projects.

Honest Pig can be naive, so be sure that no one takes advantage of you this year, especially in financial dealings.

When threatened by change, Pig can become sick when experiencing too much turmoil. But do not mistake Pig kindness for weakness because Pig has amazing willpower.

Pig correlates to the Western sign Scorpio, but Scorpio without the sting because Pig is guileless. Pig is most compatible with another Pig, artistic Sheep and Rabbit, and brave Tiger.

Source: https://susanlevitt.com

Caracaramigen

Caracaramigen11

Colac Aboriginal Gathering Place

by Ebony Hickey The Beginnings The Aboriginal Gathering Place project was a dream of a group of dedicated community members and strong advocates that have been campaigning for a culturally safe space and platform for their voices to be heard in this region for many, many years.

It was the plight of these people that led to conversations with Colac Area Health, Barwon Health and Wathaurong Aboriginal Co-operative some years ago, that led us to be able to open the doors of our site Caracaramigen House at 4 Miller Street, Colac on the 3rd of November 2017.

The idea of the Gathering Place was born from the outcomes of a Community Mapping Project undertaken in 2016 but many will say (and rightly so) that it’s been in the hearts and minds of this community for many years.

The local Aboriginal community along with the local Aboriginal Action Group have been working hard on the Aboriginal Gathering Place Project alongside the current Project Worker who is employed to work 12 hours a week

by Wathuarong Aboriginal Co-operative.

In the 2016 Census it was shown that the Colac Otway Shire, Surfcoast Shire and Corangamite Shire had over 500 residents identifying as Aboriginal and Torres Strait Islander in over 200 households. We are Aboriginal people, First Nations People living on Gadubanud, Gulidjan and Djargurdwurung lands. We are babies, children, youth, adults and the elderly. We are living, loving and continuing to care and advocate for our people, our rights and our country. We are students, we are teachers, we are knowledge sharers, we are mother and fathers, sisters and aunties. We are hardworking, we are sharing and we are giving. We are lovers and we are fighters. We are the sons and daughters of our Ancestors, proud and strong in our identity. We are the present and we are the future, we are worthy and we are willing to put in the hard work required to realise our dream which is a permanent culturally safe space for Aboriginal People of Colac, the Otway Ranges, Corangamite and surrounding areas. It is likely that more people within our shires will feel confident to identify as Aboriginal because of the work we are achieving already at the Aboriginal Gathering Place.

The heritage and culture of the Colac, Otway and Corangamite Shire is energetic, magnificent and diverse.

We have community members with blood ties as far as the Torres Strait, from the Kimberly, Noongar Country, from the Centre of Australia, the waterways of Northern New South Wales and we have blood ties as close as our front door, right here in Maar Nation. We value the eclectic diversity of our community and take a strength’s based approach at learning and growing from each other’s knowledge and experiences.

The Aboriginal community living in this region have historically been subject to a range of issues due to the lack of advocacy and understanding around cultural safety in health, community, family, education and a range of other services. Being graphically located at minimum 100kms from an Aboriginal Community Controlled Health Organisation, (Wathuarong, Gunditjmara and Ballarat and District) it is clear for us as Aboriginal people to see the gaps, but not as clear to the mainstream world why these gaps exist. Having a physical space has benefitted not only our own Aboriginal community, but also the nonAboriginal community. It has been an opportunity to have some robust conversations about ‘the gaps’ and needs of our local Aboriginal Community whilst dispelling myths and mistruths.

New Partnerships The broader community of the Colac-Otway region are embracing the new partnerships and alliances with the local Aboriginal community and many new program opportunities are arising as a result of the establishment of the Gathering Place. An example is the Colac Otway Shire providing funding for the Possum Skin Cloak Project .

At the heart of these programs is the acknowledged need to have the local Aboriginal community identify, support and control delivery of services from Caracaramigen House, and through these programs build connection to family and community, which is a critical domain for Aboriginal health and social and emotional well-being.

Connectedness and social inclusion are essential health and well-being outcomes of Gathering Places, which address isolation and community fragmentation.

Unity in Community Project An exciting project called Unity in Community is an Arts Trail that we will be embarking on over the next twelve months. The trail highlights Aboriginal people in a positive and thought provoking lens through street and public arts in the Colac central business district.

We will use art created at the Colac Aboriginal Gathering Place by a broad range of age groups and abilities (for example, playgroup, youth and Elders) in many different forms on walls, windows and in public spaces. These works of art will begin to address generational racism and violence towards Aboriginal people in the Colac region that has been present since colonisation.

The Unity in Community Arts Trail will aim to have over 20 pieces of art in the Colac central business district over a 12-month timeline.

12 History Note - Before Louttit Bay

Before Louttit Bay

Township of Lorne and Loutitt Bay

It is hard in the twenty first century to agree on ‘the facts’ about life in what is called the Otways before the arrival of Europeans, and during the period after 1835 when British sovereignty was introduced. Very little evidence today exists in the public arena to say precisely how life was for the Aboriginal people who have lived here for at least 60,000 years. One way of looking at our shared history is to understand that Aboriginal culture has existed here for at least 3000 generations; and new Australians have been here for eleven generations.

The two cultures that came to share Australia were and remain diametrically opposed in their fundamental concepts and principles. British culture is Christian and capitalist, based on individual achievement and a personal relationship with God. Indigenous culture is based on the collective and on the vital spiritual dimension, ever present in people’s lives, which integrates the people actively with the land in a way which can best be described as custodianship, not a personal ‘ownership’ or ‘exclusive possession’ as we understand those ideas today.

The Gadubanud The Gadubanud refers to the people who traditionally had responsibility for the land that makes up most of what is called the Otway Ranges. These Otway peoples occupied the rainforest plateau, plains and rugged coastal areas and stretches from approximately Painkalac Creek at Airey’s Inlet to Princetown on the coast, and inland from Princetown to the confluence of the Barwon and Gellibrand Rivers, and then north and east to where the Barwon River meets Deans Marsh Creek. Neighbouring clans were the Wadawurrung to the east, and the Gulidjan and Kirrae Whurrung peoples, from Colac in the north and Warrnambool in the west respectively.

In the 1960s Australia’s most respected 20th century archaeologist, Professor D J Mulvaney of the Australian National University acknowledged that ‘The Otway Peninsula is probably the least known Victorian tribal area, as 19th century records are virtually silent concerning its aboriginal inhabitants.’ Mulvaney Otway Life Almanac 2019

conducted an archaeological survey of a cave area at the mouth of the Aire River in 1961, and for many years that was the only contemporary academic reference to the Gadubanud. In 2009, Lawrence Niewojt conducted a more complete and detailed survey of the Gadubanud.

Despite this work, even today little about Aboriginal life in Otways and about ‘first contacts’ between the Gadubanud and the European arrivals can be ‘proved’. There are however other sources which can contribute to our understanding of Aboriginal life. These include the often unpublished but long-held oral traditions of Aboriginal clans of the district. In addition, there are the memoirs of the early settlers, both published and private, which often reveal startlingly different pictures of relations between new settlers and the locals. As well, there is now informed and detailed analysis by recent scholars.

In particular the work of Bill Gammage demonstrates the highly sophisticated land custodianship and management of their environment by Indigenous people all over Australia. Using all these approaches, as well as the limited and contested published sources from the 19th century, enable a more detailed picture to emerge.

The Gadubanud lands have five documented clan groups: Bangurra, Guringid, Ngalla, Ngarowurd and a fifth known as Yan Yan Gurt. ‘Yan Yan Gurt’ means ‘everflowing spring’ and the name was applied by an early settler George Armytage to the clan group whose estate included that spring, in what is now the Deans Marsh area.

When authorities enquired about the goings on of traditional people east of the Hopkins and through to Wadawurrung country [Barrabool hills area], Allan provided demographic information to Port Phillip officials with the understanding that people were surviving autonomously, and should be allowed to remain so. However, in nearly all cases, the push for land by settlers not only reduced significantly the sizes of land parcels protected for Aboriginal people, but also left unprotected from further settler incursions, land where Aboriginal people were then living autonomously.

History Note - Before Louttit Bay 13

While it is impossible to produce a precise figure for the historical population of the area, a survey of the potential food supply and archaeological evidence suggests that combined clan numbers is estimated variously at ‘several hundred people’ and ‘perhaps 1000’ before the arrival of European settlers to the region in the early 19th century. Archaeological survey documents not only suggest the Otways displays one of the highest food and artifact dispersals, including sites of cultural and spiritual significance, and remnants of stone dwellings, but also supports oral traditions telling of movement through the Otways.

Niewojt describes the Gadubanud diet as rich and varied: ‘The many middens along the coast show fragments of turban shells, abalone, periwinkle, elephant fish, chiton, beaked mussel and limpets. It is known that seals, Cape Barren Geese, eels and ducks were also eaten, along with local spinach, tubers and berries. With over 100 kilometres of coastline yielding shellfish, the presence of several wetlands and productive estuaries, and the plant foods available both in open land and potentially acquired through trade with neighbouring groups and evidence from the archaeological Title record, historic coastal survey maps and an assessment of regional Permanent link: http://handle.slv.vic.gov.au/10381/320527 food resources indicate the existence of a sophisticated resource management regime and movement corridors that were maintained Print through the selective deployment of fire to generate a specific type of landscape mosaic.’

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The work of Niewojt, especially when understood in the context of Gammage’s The Biggest Estate on Earth [2011] demonstrates that the Gadubanud people, residing seasonally at various settlement areas throughout the Otway region, adapted the land and ecology to best serve their needs using a sophisticated system of land management.

This careful, knowledgeable land custodianship is further evidence of the idea that ‘much Aboriginal history is environmental history.’

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Native wurile

William Buckley who lived with the Aboriginal tribes in and around the Otways for more than 30 years and played an important role as an initial intermediary between the Port Phillip clans and the first settlers arriving from Van Diemen’s Land, had contact with the Gadubanud. Niewojt recounts contact between William Buckley and the Otway clans: William Buckley’s memoirs provide a detailed set of observations on the use of some Otway wetlands. On one of their wanderings in southwestern Victoria, Buckley’s mob [believed tohttp://digital.slv.vic.gov.au/view/slvviewer/slvprintpage.jsp be Wadawurrung] was invited to take part in an exchange of tuber roots for eels. The groups were to meet at a place called Bermongo [we now believe the correct name was Barramunga which means ‘birth of the great rivers the Barwon and Gellibrand']. Located at the headwaters of the Barwon River, the marsh was teeming with eels.

When they arrived for the exchange, prepared with woven baskets full of starchy tubers, they found a large congregation of about 80 men, women and children. Though Buckley does not name the group involved in the exchange, it is very likely that they were dealing with the Yan Yan Gurt clan, the clan of the Gadubanud people known to live on the north side of the range. The exchange emphasizes the long-distance character of trade connections in the Aboriginal economy and the strong desire for dietary variety.

First hut erected on John Dallimore's part of "Yuulong" property

http://digital.slv.vic.gov.au/view/slvviewer/slvprintpage.jsp

This is an abridged excerpt from longer article and is reproduced with kind permission – the complete article and references can be found here: https://www.lornehistoricalsociety.org.au/ history/before-louttit-bay/

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14 History Note - Glenora

Glenora

A Gibbs family legacy

by Stephen Brooks & Merrill O’Donnell When Doctor Richard Gibbs arrived in Colac in 1903, he could not have realised that he would ultimately spend a quarter of his life in the town and leave an enduring legacy.

Having initially enjoyed a three year stint in Colac from 1889 as a locum doctor, Richard returned to Colac after completing his medical studies overseas and periods of work in Warracknabeal and Sale. In 1892 he married Helen Maconochie, daughter of a well-known family of Westbank, Camperdown and Poligolet Station, Lismore and the births of three children soon followed. In 1901, Dr Gibbs travelled with his family to Great Britain where he ‘visited all of the great centres of medical and surgical teaching and in Edinburgh was admitted as a Fellow of the Royal College of Surgeons.’

Wanting to be closer to his wife’s family in the Western district, Dr Gibbs’ return to Colac heralded a successful working partnership with Dr Wynne at Lislea House, yet his first years were somewhat turbulent, as Dr Gibbs openly challenged some of the older established medical professionals of the town and their exclusive relationships with the Colac Hospital.

Helen and Richard Gibbs

Despite these hurdles, Dr Gibbs quickly involved himself in the life of the Colac community, training first aid volunteers and nursing students, as well as acting as the volunteer medical officer for local groups. He rendered valuable service to the hospital and was esteemed and extremely popular amongst the townsfolk.

After the birth in 1905 of their fifth and last child, Richard and Helen Gibbs built a new family home, designed by renowned Camperdown architect Warburton Pierre ‘Perry’ Knights. ‘Glenora’, completed in 1907, combined a ground floor doctor’s surgery with family living quarters on the first floor and balconies at both the front and back provided ‘splendid views of Colac and the surroundings’. Helen had inherited a significant sum of money upon her father’s untimely death in 1903 whilst en route to visit his homeland of Scotland and she used these funds to ensure her new and imposing home contained many family comforts. There were even small stained-glass windows depicting sailing yachts, remembering the family’s love of yachting, a pastime they always enjoyed on Lake Colac.

The Gibbs family’s previous residence was moved to Connors Street and refurbished as a private hospital and named ‘Quisisana’ (‘Here you find health’). Renovations and modernisations included the addition of ‘a new operating room with ceiling light.’

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John Gibbs

Macs send off

When the First World War was declared, Dr Gibbs immediately joined the local Colac Patriotic Committee and eagerly ‘threw himself into the war effort.’ His two eldest sons, Richard (Mac) and John (Jack) quickly joined the Australian Forces and were sent overseas. Mac was later awarded the Military Cross ‘for conspicuous gallantry in action’, the first Colac soldier to distinguish himself in that way.

Tragically, Mac was killed in France in July 1916 and his body never recovered, the anxious family having to wait almost a year for confirmation that he had died. Younger son Jack was invalided home in 1917 with tuberculosis and Dr Gibbs

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'Glenora' Corner of Corangamite and BroomfieldSstreets.

departure from Colac, Helen Gibbs was described as ‘a true Australian woman and mother who had borne with fortitude her great sacrifice and loss.’ Sorrowfully, there would be further wartime grief and loss for Helen, still mourning the deaths of her beloved sons.

Dr Richard Gibbs surgery.

sought permission to care for him. Sadly, three months after his arrival, Jack died at the family home at Colac.

Devastated and deeply affected by the deaths of his two sons, Dr Gibbs, who had long been a strong advocate of the war, decided to dedicate his life to the repatriation of the many young men who were returning home maimed and debilitated.

Within six months, the family left Colac and took up residence in Brighton where Dr Gibbs commenced as a senior surgeon at the Australian General Hospital, Caulfield. At a farewell supper prior to her family’s

Newly commissioned Major Gibbs worked tirelessly to care for the returned servicemen and earned the respect from both the wounded soldiers and his peers. However, in a tragic accident in 1919, just 15 months after moving to Melbourne, Richard Gibbs fell from the back of an open tram and died. After a military funeral, thousands of grateful ex-servicemen and civilians lined Swanston Street and eight hundred soldiers followed the gun carriage bearing Dr Gibbs’ coffin to the railway station where it was transported to Colac for a largely-attended funeral service and interment at the local cemetery.

Helen Gibbs remained a widow for 40 years, enjoying the love and comfort of her remaining children; two daughters and a son, and her grandchildren. In February 1959, Helen died aged 90 and was laid to rest with her much loved Richard and son Jack in the Colac cemetery.

Today, ‘Glenora’, the Gibbs family home on the corner of Corangamite and Bromfield Streets, remains one of the most prominent buildings in Colac.

IMAGE Lucia Griggi

16 Tiger Quoll

Seeing Spots The Tiger quoll, Dasyurus maculatus, is one of four quoll species found in Australia, which all belong to the genus Dasyurus, meaning ‘Hairy-tail’. Tiger quolls are the only quoll species to have spots on the tail (the Tiger quoll also goes by the common name Spotted-tailed quoll).

Male Tiger quolls are larger (2.5-3.5kg on average, although there have been records of males over 8kg) than their female counterparts (1.5-2kg on average) which makes Tiger quolls the largest of the quoll species . Female Tiger quolls will bear one litter per year of around 5 young and it has been found that multiple paternity is common.

This means that individual young of the same litter may have different fathers! The Tiger quoll is primarily solitary and nocturnal, although they have been known to be active throughout the day on occasion.

HABITAT: Tiger quolls are dependent on habitats ranging from rainforest to wet and dry eucalypt forest and woodlands. Individuals can have substantial homeranges of up to 800ha for males and 400ha for females, although these may still be underestimates. With their larger home ranges, males tend to overlap their range with several other quolls, regardless of gender. Females however, are known to occupy exclusive territories and be much more defensive of their home range. The Tiger quoll is more arboreal than other quoll species and they particularly like to use fallen logs while travelling, frequently jumping from one log to another without returning to the ground. These animals will seek shelter and den in a range of different structures such as hollow trees and logs, rock crevices, caves, subterranean burrows and clumps of dense vegetation. Communication within a population of solitary, wide-ranging animals can be difficult and one solution Tiger quolls employ is the use of ‘latrines’, communal areas where they can deposit scat (poo) and scent mark. These sites are critical to Tiger quoll populations as they may operate as a ‘quoll Facebook page’, enabling local quolls to keep track of related individuals and maintain social cohesion. These latrines likely also assist in reproduction by advertising female sexual receptivity and male presence or dominance.

Another benefit of latrine sites and quoll poop (scat) is that conservation dogs can be trained to detect them. This means that dog and handler teams can search large areas of bush and detect evidence of quolls without actually tracking or disturbing the animal itself. The Otways has a conservation dog program up and running with a number Otway Life Almanac 2019

of dogs conducting surveys for Tiger quoll scats through the Otways Conservation Dogs program.

DIET: Tiger quolls are important predators in the environment and eat a range of prey species from small antechinus species and native rats to possums, birds, reptiles, invertebrates and even European rabbits. A Tiger quoll’s diet will vary in response to changes in the abundance of different prey species, however Tiger quolls in East Gippsland, VIC, have shown that in general 80% of the prey they consumed was medium-sized. Tiger quolls have been shown to actively hunt for arboreal mammals but they will also feed on carrion when it is available.

THREATS: As Tiger quolls have large home ranges, den in a variety of vegetation structures and primarily hunt arboreal (tree-dwelling) mammals, very large areas of habitat are likely to be required in order to support a viable population of Tiger quolls. This means that habitat loss and fragmentation are a serious threat to the continued survival of the Tiger quoll. Increasing pressure from cats and foxes are another severe threat to their future as both foxes and cats are known to kill Tiger quolls, particularly when these animals are still young and dispersing from their den sites. On top of that, niche and diet overlap is quite high between the quoll and introduced predators, which means Tiger quolls, foxes and cats are competing closely for the same food resources.

This kind of competition between carnivores can strongly affect their behaviour, abundance and distribution with ongoing effects on the biodiversity of prey species.

As you can see, the odds are stacked up against the Tiger quoll here in the Otways and we need your help to save them! Please report any sightings of this spectacular spotted species to our threatened species hotline: 0 ‘I SPOTTED’ 1: (0 4 7768833 1) Things to look for: • Spots! If you see a furry creature running around with beautiful white spots all over its body (including its tail), then it’s likely you have just spotted a Tiger quoll.

• A long tail held horizontally behind a stocky and wellbuilt body running in a bounding overstep pattern.

• Remember that this is an animal that is more than capable of climbing, so don’t forget to look up as well!

SOURCE: https://www.conservationecologycentre.org/discover/ conservation-science/otsrn/tiger-quoll/

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Prickly Moses Spotted Ale Working to protect a rare, endangered Tiger quoll usually involves work in the field, habitat restorations and captive breeding project, but helping out the endangered tiger quoll can also mean drinking a beer — or at least buying one.

The Prickly Moses Spotted Ale is a special brew in a spotted-themed partnership between Otway Brewing and the Otway Conservation Centre. It's a golden ale, an easy sessional drinking beer and 100% of the profits of this beer go to the Conservation Ecology Centre. Since 2013, nearly $150,000 has been donated to support conservation and research programs across the Otways.

Shayne Neal from Conservation Ecology Centre says, "When Otway Brewing came to us with the idea of partnering up and developing a beer there was a really amazing opportunity to put a Tiger quoll on a beer bottle and raise the awareness of an animal that no one seems to know about. And raising awareness it did!"

The community has really got behind the quoll research and there is a much greater awareness around the quolls of the Otways now compared to five years ago. But whilst the quolls make a great mascot, the quoll research is just the beginning.

The partnership was the idea of Andrew Noseda, CEO of Otway Brewing, "The partnership was a natural step for the company. We wanted to support the Conservation Ecology Centre because we are committed to the region, our beautiful natural environment and our community.

Through the creation of this premium boutique beer, ‘Spotted Ale’, we are making a meaningful contribution to keeping Tiger quolls safe in the Otways and beyond.”

“The presence of the quoll in the Otways is really just an indicator of a healthy ecosystem,” according to Conservation Ecology Centre Ecologist Mark le Pla. Through the Otways Threatened Species Research Network, the Conservation Ecology Centre has now expanded their field studies to all the threatened species in the Otways, from the Tiger quoll and Long-nosed potoroo to the lesser known species such as Tall astelia and the Swamp antechinus.

Tiger quolls are the largest remaining marsupial predators on the Australian mainland but their numbers are in serious decline.

Though the Otways was traditionally a stronghold for these animals, there was no confirmed evidence of Tiger quolls in the region for nearly a decade. That was until scientists at the Conservation Ecology Centre rediscovered the elusive species through DNA analysis. Since then there have been five pieces of evidence of quolls from different parts of the Otways.

It's a win-win situation, your next pint could be contributing to the health of your local ecosystem—so drink up, and toast the Tiger quolls that, in a small way, you’re helping to save one sip at the time.

Conservation Ecology Centre, Cape Otway Prickly Moses Handcrafted Beer, Otway Estate Winery & Brewery, Barongarook To find out more, visit: www.conservationecologycentre.org/spotted-ale www.pricklymoses.com.au/beer

18 Books & Writing

WA L K I N G T H E B A R W O N R I V E R

from Source to Sea Jennifer Morrow & Peter Greig

Walking the Barwon River

From Source to Sea

by Jennifer Morrow & Peter Greig

Why did we want to walk the length of the Barwon River from source to sea?

For each participant of the walk, there is probably a different answer. Perhaps it is simply curiosity as we go about our workaday lives, driving on bridges over the river or one of its many tributaries, and glancing sideways wondering what is round its many bends.

The Healing Walk is the brainchild of singer-songwriter, Neil Murray. Neil comes from Lake Bolac and he had organised an annual walk with a group of indigenous people, artists, land managers and farmers along one of the creeks that led into Lake Bolac, with the “Lake Bolac Eel Festival” celebration at the end of the walk.

...the simplicity of walking and talking, sharing knowledge, and appreciating our own backyard and the importance of the Barwon River was a unifying and uplifting experience

The opportunity to camp out and share stories beside a glowing campfire with thoughts of exploration and adventure may be a motivation. For keen “Landcarers” it was an opportunity to take a close look at the revegetation and weed control work that is being done and still needing to be done along the banks of the river. And for others the walk was to experience nature; to learn from the wisdom of the elders, and to commune with all who care about the Barwon River, the natural environment, wildlife, bird life, agriculture and water. And all embraced the opportunity to connect with the many communities along the river; from the upper catchment communities of Forrest, Birregurra, Winchelsea, Inverleigh and the Barrabool Hills, through Geelong, Lake Connewarre, and the Barwon Estuary to, finally, the coastal dwellers at Barwon Heads.

So, where was the seed for this trek sown? In 2011, as a member of the East Otway Landcare Group, I was invited to a Landcare conference in Halls Gap. It was there that I heard about a group from Lake Bolac, who each year walked a “Healing Walk”.

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In 2012, I was invited to join the Healing Walk. As I walked with the Lake Bolac people on our way along Mt Emu Creek from Woorndoo in Western Victoria, I learned so much about the history of Lake Bolac’s Indigenous and European heritage that included the amazing life story of the eels.

How does an eel spawned in the Coral Sea find its way back to Lake Bolac in Victoria?

There is something ancient and elemental about walking all day – it is not surprising that walking is at the heart of Eastern meditative traditions. I enjoyed the experience so much I thought I could bring it back to our part of the world with a focus on the lifeblood of our area, the Barwon River.

This book is the story of that walk, what we saw, what we learnt and what we did. For all who walked, the simplicity of walking and talking, sharing knowledge, and appreciating our own backyard and the importance of the Barwon River was a unifying and uplifting experience.

New friends were made, old friendships strengthened and we all completed our own journeys feeling just that little bit richer for having done so.

Exerpt by Jennifer Morrow Walking the Barwon River from Source to Sea is available for purchase through Upper Barwon Land Care Network, phone 5236 2401 to place your order.

Books & Writing 19

The Bilby Trilogy

by Kaye Kessing

After more than 40 years of working as an artist in many mediums to promote the lives of native animals, you have now created what could be described as your Magnum Opus: Bilby’s Ring Trilogy - described as suitable for 8–10 year olds but let me say it is a most enjoyable read for adults also what was your intention in writing the trilogy?

By the late-1990’s, I had produced the ‘Easter Bilby Picture Book’ for Rabbit Free Australia, its sequel ‘Easter Bilby’s Secret’ and the board game then touring quiz game ‘On The Brink On Tour’, for The Federal Department of Environment Canberra. It occurred to me that the research involved in these and other projects might make the foundation for an Australian native vs feral adventure story. The idea stayed as I produced more environmental projects around Australia until, around 2005, it was time to get serious.

The heroes of the Easter Bilby Books, already known to many younger children, naturally stepped with me out of ‘legend’, into ‘real’ contemporary Aussie life. Along with them came my enduring master theme: the threat to Australian native creatures from introduced animals (such as ‘Cat and Fox’ of Easter Bilby ill-fame).

I have always believed in the benefits of including education with entertainment (and the absolute waste when education is missing). I hoped to create a fastmoving adventure tale underlaid with much of the information I had gleaned over the years about the environmental changes and problems across Australia.

Bilby and his mates embarked on an epic journey from ‘The Great Red Deserts of the West’ through a representative range of ecosystems and habitats: desert, to pastoral, to farming, to fattening lands, over mountain ranges and

ultimately into ’The Biggest City by the Endless Sea’. I hope to give readers an over-arching image of what Australia is made up of geographically and ecologically and how the introduction of both domestic and feral animals from other countries has affected our ecosystems, habitats and their inhabitants. I also hope to give a different view (as might be seen by Bilby and other species) of ‘us’ as humans: that most powerful, scary and self-serving of species. In BILBY’S RING this ranges from Aboriginal hunter-gatherers to the humorous ’Snow’, an indigenous man of the Darling River, to his grandson Tinny and Nessa; two young humans who befriend and save them from close annihilation in ‘The Biggest City’. Through these encounters and the journey of five small threatened species across a continent I hoped to create an epic adventure tale grounded in geographical, ecological and biological information about the on-going dangers to all life in our ‘Great Wide Land’.

You toured schools when the trilogy was first released - what were some of the memorable occasions with students and teachers?

The best way to give an example of ‘memorable occasions’ on the schools tour is perhaps a brief report on the first two schools we visited. The first was a small public school on the Mitchell Highway between Dubbo and Bourke in NSW - invited there by a Nyngan friend and her cousin who worked at the school. We arrived to a lovely welcome from the small group of students with their teachers and assistants. I had expected to work hard for an hour plus but instead found myself delightfully entertained by performances (one in Indonesian) based on their reading and study of The BILBY’S RING trilogy. It was a lovely start to the schools' tours from a great bunch of straight forward, practical bush students, many living on properties.

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The next school was in Brisbane, well provisioned, with many wealthy parents. For this hour plus I did work!

After the usual introduction to myself, my past work and how I came to write BILBY’S RING, I began reading the first chapter, where Bilby is chased, nearly caught and eaten by Chuditch the quoll; has a brutal fight with a huge buck rabbit who he unintentionally kills and then, to his own surprise, rescues the quoll from choking on the buck rabbit’s carcass. The bush students had taken blood, punch-ups and rude-mouthed rabbits calmly in their stride. In Brisbane even boys began to squeal and squirm at the first sniff of danger. With the bush students I discussed the best ways to kill feral cats and foxes; with the Brisbane students we discussed the ethics and responsibilities of owning cats and then how the meat, that most of them ate, had to be slaughtered and by whom. (Although Brisbane students squealed and squirmed, when the school librarian asked if they would want to read more there was a unanimous ‘yes!’)

You mentioned quolls make excellent pets. Can you tell us more about those experiments?

I have no personal experience of keeping quolls as pets but have two reports from those who have. An

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Aboriginal friend’s family acquired an orphaned Northern Quoll kitten when living in the Top End, NT. The friend remembered it as a great little pet, that was trained, as one does with a domestic kitten, not to bite or scratch to damage and it was also toilet trained. As a child, the friend enjoyed it as a pet with her siblings, until the playful little pet ran under ’nannies’ nightie one night, up and over her bare belly. Then at an age it could fend for itself, the quoll kitten was ‘bushed’.

The other experience of keeping quolls as pets can be read about at www.newsroom.unsw.edu.au/news/sciencetech/keeping-australian-native-animals Michael Archer, Professor of Biological, Earth and Environmental Sciences at UNSW, raised a Western quoll as a pet in the late 1960’s, describing it as: ‘obsessively clean, never failing to use a box of kitty litter for all excretions, dog-like in his love of play throughout his life. Bright and quick to learn, far more affectionate and attentive than a cat….’

I have been told that, due to the demise of Eastern quolls in Victoria, Victorians can, or could, apply to keep a quoll as a pet, as one would a cat or dog, or keep them for breeding purposes only with no handling as one would a pet.

Books & Writing 21

You can order the Bilby's Ring trilogy, beautifully illustrated maps and posters from Kaye Kessings website kayekessing.com

Feral cats are a huge issue in Australia and you have been accused of being anti-cat. What exactly is your relationship to felines?

I grew up with, on one count, thirteen farm cats in mid-north South Australia, my first pet being a black and white cat named ‘Mr Whiskers’. Without common knowledge back then about the full impact of feral cats on the environment, on the farm we just took it for granted that they did what they were kept for: reducing the numbers of feral mice, barn rats and sparrows, as well as controlling snakes around the house when we kids were roaming as toddlers. I certainly do not ‘hate’ or even dislike cats and have known cats of great and endearing character.

What I am is ‘anti’ roaming cats, whether domestic pets or feral. Despite what many owners would argue, broadly speaking cats cannot help being the killing machines they are designed to be. Our Australian native species simply cannot stand up to the constant onslaught from the millions of feral and domestic roaming cats - throughout every night and every day, throughout ongoing years. I see it as a simple choice: do we want to retain the unique native species endemic to this once-isolated continent or, do we want a country dominated by feral cats and foxes as

the apex ground predators? The choice is plainly, one or the other.

What’s next for Kaye Kessing?

As a self-publisher the onus is on me to market and sell this Trilogy that I spent a solid ten years researching, writing, illustrating and producing. Although selfpromotion is not the job I am best suited to, it must be an on-going ’next’.

I would love to add sequels to The BILBY’S RING trilogy as Bilby, Chuditch, Mala, Numbat and Sticky hone their understanding of humans (both helpful and self-seeking) and the environmental issues facing most native species across Australia since its last great human invasion. As well, the potential and mounting dangers from climate change would have to be investigated.

22

Landmarks

by Robert Macfarlane

Review – language and the land are continuous John Burnside To have the words to describe the natural world is to become more attentive, and, we can only hope, more capable of caring In his 1988 collection, Beaivi, áhčážan (The Sun, My Father), the great Northern Sami poet, musician and activist Nils-Aslak Valkeapää included one poem that caused particular problems for his translator, the writer and scholar Harald Gaski. The poem (272 in the sequence) consists of three strands of text, one of which “represents different reindeer, according to their age, their appearance, whether they are male or female, whether they are spotted or have any other kind of special marks and so on”. For example, the word beaiveluosttat signifies “reindeer with a streak of lighter hair along the side with thicker, more even hair than on the rest of its body, this streak only appearing in the reindeer’s third year”, while liidneoaivi means “a reindeer with a white head, but not one whose body is spotted”. Clearly, there was no way of rendering these terms in Norwegian (or indeed, any other language), which meant that Gaski was obliged to leave it “untranslated in the Scandinavian rendition of Valkeapää’s book, because the Scandinavian languages lack the equivalent terms for reindeer. Thus the limitations of the Scandinavian languages are laid bare, they are unable to match or rival Sami in regard to explaining with exact preciseness the content and consequences of Sami experiences ... The larger claim to make would be to assume that the sort of sophistication shown regarding reindeer is potentially applicable to other phenomena as well, so one does not have to be particularly interested in reindeer to be impressed with the intellectual complexity of a language that can do what Sami can do in one word.”

A story like this is salutary because it reminds us that indigenous people, whether in the Arctic Circle or the Australian bush, have always known what some people in the so-called developed world are just discovering: that language and the land are continuous. Indigenous people have always known that the land (and the other, human and non-human, creatures who live there) informs the language of its inhabitants. Only an illiterate invader thinks of this river, that herd of bison, or the wind itself as a mere resource; only a benighted land-management consultant can blissfully ignore the fact that our relationship to the land around us is, or should be, a dialogue and that participation in that dialogue can involve deep knowledge, not only of the words, but also of the things they denote.

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This is what makes Robert Macfarlane’s Landmarks so important: described as “a celebration and defence of the language of landscape”, it actually goes further by enriching, not only our vocabulary of land terms, but also our ways of seeing.

To know the words currel (an East Anglian term for a small stream), or drindle (a “diminutive run of water, smaller than a currel”), not to mention the many words that the dialects of these islands have for varieties of snow, is to enter into a new relationship with the natural world.

To have the words is to become more perceptive, more attentive – and, we can only hope, more capable of caring for rivers, bison and the windy uplands where our rarest birds shelter. As Macfarlane points out: “Smeuse is a dialect noun for ‘the gap in the base of a hedge made by the regular passage of a small animal’; now I know the word ‘smeuse’, I will notice these signs of creaturely movement more often.”

That peatlands, like forests and great rivers and prairies, die because corporations (whether they be in energy production, agribusiness or real estate “development”) and our “business-friendly” governments so decree is, in part, a consequence of our lack of knowledge, not only of the language, but also the realities of the land. At the very least, we need the words to understand complex ecologies – but what happens when those words are gone? Macfarlane notes that, in the new edition of the Oxford Junior Dictionary, there has been “a culling of words concerning nature”, with a comparable increase in words related to electronics, resulting in “the outdoor and the natural being displaced by the indoor and the virtual”.

It should, perhaps, come as no surprise that an educational publisher would push the skills, vocabularies included, that best serve the capitalist system in which it is embedded, but this example is yet one more signpost in the process of denaturing human existence that has been going on since the industrialisation of the “developed” world. Landmarks is a book that ought to be read by policymakers, educators, armchair environmentalists and active conservationists the world over. If we are to defend the land from further degradation, we have to begin by knowing what it is we are talking about.

Courtesy of Guardian News & Media Ltd

Books & Writing 23

Kayla found a pair of matching bent sticks tucked inside a shed door. They were nothing really. Pete had barely given them a glance, but Kayla couldn’t leave them alone. There was nothing she wanted more. As her brother disappeared through a door framed with dusty spider webs, Kayla, almost beyond her own volition, took one stick firmly in each hand.

As she began to turn slowly in the circle of motley light, the sticks began to quiver. A tremor of fear passed, but not nearly strong enough to overwhelm the sense of magic, of power and knowing, that had been hers since her hands tightened around the worn wood.

Kayla followed the quivering tips out into the sunlight.

Blinded by the sudden glare, she continued to be drawn forward till she looked up and found herself at the sheep trough where Ed had been working since breakfast on a stubborn old pump.

Kayla never forgot the light of unexpected pleasure that shone from her Uncle Ed’s eyes.

“What you got there, girl?” Ed asked.

Kayla shook her head with no idea how to reply. “Magic,” was the only word she could find.

“You’d be right about that,” he said, reaching slowly across the gap and taking the rods gently from her hands. “Who’d ever have thought,” he added, chuckling to himself. “So you got a bit of a feel for water then, lass?” Kayla nodded solemnly. “Let’s you and me go for a walk.” He took her hand and headed out past the woodheap into the next paddock burnt barren by a harsh white sun.

“Are they wands?” Kayla asked hopefully into the silence.

“You could say that,” was all Ed offered. They came to the centre of the flat ground, the house and shady peppercorns a smudge of hazy green on the horizon. Ed crouched down beside her. In the deep silence, Kayla wasn’t sure if it was the leather of his old boots creaking or his long bones as well.

“These, my girl, are what’s called dowsing rods. For those of us lucky, or maybe even special enough…” Here Ed stopped and gave Kayla a big wink. She was glad, and gave a tentative smile in return. It was all feeling a bit serious. “…Special enough to have a feeling for it, these old sticks will lead you to water like you was following a bit of string.”

“Water wands,” she whispered.

Taking a moment to listen for her faint words, Ed nodded.

“Yep, that’s just what they are. Water wands.” He passed them to her and watched as, without hesitation, she wrapped each little hand around the two ends, instinct bringing the long points upwards. “Now I want you to shut your eyes.” Kayla

closed out the sharp glare of sun. “Turn round slowly in a circle.” She felt his hand on her shoulders guiding her turn.

“That’s the way. Wait till you sense it.” Ed’s voice seemed to come from way outside. “You’ll know when. Then open your eyes and follow the pull wherever it takes you.”

Kayla turned as slowly as she could till her feet were moving without thought, till there was nothing to know but the wands in her hands. She was starting to feel the strain of concentration when the sticks seemed to jerk slightly as if of their own mind. Time slowed as Kayla stopped, drew a long breath full of wishing, and moved the points back from where they’d come. There it was again, like a tug on a line. Trembling slightly with the thrill that had run through her body, Kayla opened her eyes. One step after another she set off across the dusty field. Under the shade of his hat, Ed stayed crouched where he was, watching her advance unfailingly towards a distant star picket. Beaten firmly into the ground it marked the meeting of two underground streams he’d been considering for a future bore.

Reaching the picket at the same time, Ed witnessed the sharp crossing of the wands, as sure a sign as any that this girl was a conduit as good as they come. Her sparkling eyes confirmed it. She knew without being told. Kayla was filled with something bigger than herself and, as if words might drain it, silently offered him back the rods. He knew that ecstasy, and indicated she might like to carry them home. With her other hand she took his. They walked slowly back to the house.

Exerpt from' KAYLA' by Francesca Cairns KAYLA – Book One can be downloaded in full from francairns.com/novella-kayla/-\ REVIEW: Kayla’s journey carries us through diverse Australian climatic conditions with complete conviction.

The narrator’s voice is swift, sure and commands a poetic eye equipped for both inner and outer travel. Water. What could be more essential to life? Kayla has been gifted and tutored to respond to the assaults we’ve made on the most precious resource of this driest of continents.

To redress the imbalance seems nigh impossible. Yet her actions inspire as does the defiant tenderness that moves us through these pages.

Rod Moss, Central Australian Artist & Writer 2014 Chief Minister’s NT Book of the Year Award, One Thousand Cuts 2011 Prime Minister’s non-fiction award, and NT Book of the Year http://rodmoss.com

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The Memory Code: How oral cultures memorise so much information

Duane W. Hamacher Senior ARC Discovery Early Career Research Fellow, Monash University Ancient Celtic bards were famous for the sheer quantity of information they could memorise. This included thousands of songs, stories, chants and poems that could take hours to recite in full.

Today we are pretty spoiled. Practically the whole of human knowledge is conveniently available at our fingertips. Why worry about memorising something when we can simply Google it? The answer seems pretty evident when we go into a panic after losing our smartphones!

Long before the ancient Celts, Aboriginal Australians were recording vast scores of knowledge to memory and passing it to successive generations. Aboriginal people demonstrate that their oral traditions are not only highly detailed and complex, but they can survive – accurately – for thousands, even tens of thousands, of years.

Yet I struggle to remember what I did last Tuesday. So how did they do it?

Researcher Lynne Kelly was drawn to this question while investigating Aboriginal knowledge about animals for her PhD. It was evident to Kelly that Aboriginal people catalogued huge scores of information about animals – including species types, physical features, behaviour, links to food and plants – and wondered how they do it.

A memorable thing Aboriginal elders explained to her how they encode knowledge in song, dance, story and place. This led to a theory that may revolutionise archaeology.

It has long been known that the human brain has evolved to associate memory with place, referred to as the method of loci. This means that we associate memory with a location. How often do memories come flooding back to us when we visit our childhood haunt?

Loci (Latin for “place”), can refer to landscape features, ceremonial sites, abstract designs – anything with distinct features where information can be linked to memory. Kelly developed this into a framework that may explain the purpose of famous sites such as Stonehenge, the Nasca lines and the Moai of Easter Island. The meanings of these sites have been a topic of controversy for decades. What Kelly proposes in her new book The Memory Code is that sites such as Stonehenge and the Nasca lines are actually memory spaces.

Knowledge is power In oral cultures, knowledge is power. It is imperative that the most important knowledge be maintained and preserved by a few select custodians who have proven their worth.

Otway Life Almanac 2019

In Indigenous cultures, elders who have passed the highest levels of initiation hold the deepest levels of knowledge. This is reflected in ceremonial sites where knowledge is passed down.

Aboriginal initiation sites include a secret area where the most sacred knowledge is discussed. We also see this at Stonehenge, where the perimeter of standing stones shields the centre of the ring, where the most important aspects knowledge are passed on through ceremony.

These sites include features that are unique in shape and form. At Uluru, the Anangu elders associate every crevice, bump, and notch around the perimeter of the mountain with knowledge that is stored to memory.

Star maps and memory But loci is not only linked to places you can touch or visit.

Indigenous people also use the stars as memory spaces.

For example, groups of stars can represent features on the landscape. Aboriginal Law Man Ghillar Michael Anderson explains how the Euahlayi people were able to travel long distances for trade and ceremony.

The Euahlayi would memorise star maps at night and learn the songs that talk about their relationship to the land.

Each star was associated with a landscape feature, such as a waterhole. Later in the year, they would sing the song as they travelled across country by day. These songline routes became the foundation of some of our highway networks that criss-cross the country.

Rather than navigating by the stars, the stars themselves serve as a memory space.

In The Memory Code, Kelly provides new insights into how oral societies are able to store vast quantities of knowledge to memory without it degrading over time. It may explain how Aboriginal memories of land that existed before it was flooded by rising sea levels during the last Ice Age survived in oral tradition for more than 7,000 years.

To test it herself, Kelly used the technique to memorise all of the world’s countries in order of population by linking them with features around her neighbourhood, including buildings and gardens – making up her own stories for each one. And she can now recite them flawlessly.

You might be surprised how easy it is to do yourself.

Originally published in The Guardian Sept 27, 2016

GEELONG PERFORMING ARTS CENTRE’S 2019 DEAKIN UNIVERSITY THEATRE SEASON

26 Arts

Iris Walshe-Howling

Anglesea Performing Arts I’ve had a long standing connection to this part of the world since the seventies when our children were young, through family who lived here. We spent many fantastic, memorable long hot summer holidays, mild winter breaks, glorious spring and autumn days stretched out on the beaches during the day and trawling the stunning little rock pooled bays as the sun went down or bush walking to bloated waterfalls and bracing cold pools for a refreshing plunge before drying out on hot sun drenched rock platforms. We enjoyed many family and friends BBQs at Scotchman’s Hill overlooking glorious Loutitt Bay or surrounded by the beautiful bush at various bush hubs.

It’s common to hear people talk of this liminal place where the mountains and ocean meet as their spiritual home.

People feel a strong sense of belonging here connected to this stunning ever changing landscape.

Having the opportunity to call this place home since 2001 after retiring from thirty odd years teaching Theatre Studies, Drama and Art has meant being able to enjoy all that Lorne and its surrounds have to offer every day. It feeds my life, it feeds my soul, it feeds my creative needs like nothing else can.

I had been active in the Melbourne’s independent theatre scene as an actor and director since the late sixties when I was a member of the infamous La Mama company which morphed into The Pram Factory APG. They were heady days for Australian theatre and I remained heavily involved with fringe theatre within various iconic Melbourne venues prior to my move to the Surf Coast.

In 1981 I was a founding ensemble member of the Contemporary Performance Centre which was established in a disused church in Hawthorn Melbourne for the purpose of promoting experimentation, research and innovative, creative work in the theatre arts.

Otway Life Almanac 2019

For eight years prior to moving to the Surf Coast I was a performer with 'Crow's Bar Cabaret’.

My involvement with 'The Anglesea Entertainers’ which it was then called, occurred in 2003 when a work colleague approached me to see whether I would be interested in directing a play for the four remaining actors from a company on the verge of collapsing. They had chosen a play by Australian playwright, John Romerril, who was also at La Mama in the late sixties, called 'Mrs Thally F’ which I loved. We had a lot of fun putting it together and had a very positive response from local Surf Coast audiences and a reviewer who hadn’t seen anything like it before. It’s a zany, quirky, very black comedy based on actual court documents from a real life case which had happened in post war Sydney where a woman poisoned both her husbands with rat poison. The media hype surrounding the proceedings was unheard of prior to this so I decided to use the notion of a ‘media circus’ to inform the play stylistically and set it in a dance hall with a live swing band. The issues of women’s position within the social and family structures of the day were cleverly interwoven into the text and I made the most of putting the emphasis onto those burning questions.

Word of mouth gave us full houses by the second week with a core audience who have supported all our ventures since. We decided to change the name to Anglesea Performing Arts (APA) and we haven’t looked back.

The company has gone from strength to strength and our theatre skills have reached a very high standard. A couple of our members have turned to writing plays which the company has produced.

The real test for our audience came with Self Accusations, a contemporary voice piece by Peter Handke and presented simply on the stage on which we projected images of the written text. Seven women dressed in black standing at seven music stands with scripts, seven microphones and a text to die for. We used minimal movement and gesture except for the turning of pages of the script in unison at appropriate times. The actors delivered the piece exploring the rhythmic vocal patterns and playing with and exploring

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speed of delivery, volume, and a variety vocal qualities in unison and individually or in various groupings thus exposing each of their characters in their delivery.

We performed it for the One Act Play Festival and the audience loved it after which we took it to Torquay for a season as one of three short plays. We then performed it to much acclaim at the Aireys Inlet Writers Festival and for a Wellness Conference held in Lorne.

We have just finished performing in our third season from our last collaboration and very successful venture with award winning playwright Janet Brown who approached me last year to direct a piece of verbatim theatre The Hope Song based on interviews she conducted with seven people living with a mental illness. A beautiful play ‌. It has been one of the most rewarding experiences for us as a company as we were approached by Sane Australia after a sold out season on the Surf Coast. They offered to partner and sponsor us in taking the play to Melbourne. It had just been chosen by La Mama for their Summer Season and we performed it to another sold out season (prior to the opening night) in Melbourne. We were then approached by Women With Disabilities Vic (Barwon Hub) who offered to sponsor us to bring it to Geelong for Mental Health week 2018 and we were also included in the programming for Geelong’s first White Night Event. All in all, a very rewarding heartfelt project for all concerned.

We continue to present many different genres and styles, extending our skills base and exposure to new and exciting material and rehearsal techniques, pushing the boundaries for both actors and audience alike. We have had rewarding and exciting collaborations with other companies and award winning playwrights. The future looks full of opportunities and creative purpose.

2019 will bring forth new adventures and exciting projects yet to be announced for us as a company. www.angleseaperformers.org.au

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Aftermath Photography:

Land of Blood

by Anjella Roessler

Indented head 1836, 1 Wadawurrung male killed

possibly can, I’ll 'Google Maps' the area and find a location The series I am currently working on for my thesis is based within it that has something in it that calls to me. I then on research into massacres and murders of Aboriginal travel to this area and photograph it using an old-style people by the early colonial settlers. My step-family are camera and special techniques that cause the photograph from the Taungurung clan from the Yea- Kilmore area and to take several minutes to be taken. In this time, rather they have stories of such traumas handed than just obtaining a snapshot, a down through the surviving generations. snippet of time itself is recorded. Trees I was never taught about this side of It’s a way of breaking sway, water rushes by, birds and sheep history at school, and many people I’ve disappear into the landscape, sometimes talked to have no idea of these events. through the sense of even a car or person will go through and I wanted to find these hidden parts of have disappeared in the final image. The detachment we’ve history and create an awareness that they images are processed in a traditional did indeed happen, and that we should built up from the darkroom using chemicals and water in be acknowledging them and confronting a special formulation which gives the constant stream of what has happened, and not trying to unique texture and stains to the images. erase history or change it. violence and horror From start to end the whole process is My technique involves initially a lot of we get shown daily random as to what I’ll end up with. It can research. I’m using modern research available be nerve-wracking hoping I’ll end up to give me initial places to begin, which then with something usable! leads to searching through old newspapers, The finished images fit into the genre of aftermath journals and books to find records written at the actual time. photography. This is a new genre and one which I’m The records are quite vague generally, so narrowing down focusing my research on significantly as there has been locations to an exact point are impossible in most cases. little done within the area in Australian photography.

Once I have a general vicinity narrowed down as much as I Otway Life Almanac 2019

Arts 29

Corio Bay 1803, 2+ Wadawurrung males killed.

Golf Hill Station, Shelford 1837, 2 Wadawurrung killed.

Buninyong 1847, 2 Wadawurrung killed.

Mt. Mercer 1839, 6 Dja Dja Wurrung killed.

Most so far has been centred around Germany and the landscapes where concentration camps once stood. The main aspect of it is to show past traumatic events through landscape photography, where no sign of the event, no people, no violence, is actively shown. It’s a way of breaking through the sense of detachment we’ve built up from the constant stream of violence and horror we get shown daily,

by making the viewer confront the trauma by having to put themselves into the image and imagine the event – to see the invisible as it were. Using my techniques, I feel that this invisible world is there on the image, just waiting to be seen from the corner of the eye, and it’s my hope that it will start a conversation where we can face the realities of our past and the wrongs that were done. www.anjellaroessler.com.au

Lib Lib Station, Moolap 1842, Unknown number Wadawurrung killed.

Mt Cottrell, Werribee River 1836, 10 Wadawurrung killed.

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Fool - Roderick Poole

Queen of Brushes - Sisca Verwoert

Strength- Karlijn Sas and Uli

Two of Quills - Magpie Larks

The Artisan Coast Tarot

Otway Life interviews Eldritch and Jade Forest about their tarot project.

Eldritch: The Otways first filled me during my early witchcraft training for one of my rites of passage. I really love the sense of deep intelligence I feel in parts of the forest. I remember standing under Marriner’s Falls at the end of three days long walk and the feeling of the water breaking me open and clearing me out. I've been coming here ever since.

Jade: Back in the nineties I heard that there were people campaigning against clearfell logging in the Otways.

I came with curiosity and left enraged and engaged. I came back every summer for years until the Otways was declared a national park. I fell in love with the land and made many wonderful friends. In 2016 a dear friend decided to sell her house in Skenes Creek...we bought it without question.

The southern Otways is home to so many really interesting, caring people: organic farmers, artisans, artists, poets and quiet, competent people who get things done. We had been wanting to make a tarot deck for a lot of years, but the deck we envisaged was quite an epic undertaking. The Artisan Coast Tarot grew from a humbler idea of a local tarot, celebrating local people.

We were sitting in the bath at 2am; talking about whether the local project was something we could do, when we heard knocking. There was an ibis balanced on top of our gas bottle pecking at the window. Thoth the scribe showing up in that moment felt like a blessing. We started the project the next day.

We put out the word we were looking for models, and within two weeks most of the major arcana and royalty were photographed. For the pip cards we took photos in landscapes around Apollo Bay. We chatted to Nattie Murray about showing the cards at Hello Coffee during the Winter Wild festival, and she was kind enough to believe Otway Life Almanac 2019

that we could pull off an exhibition of 78 images in a few weeks. And then she modelled for us with almost her whole family!

The pip cards used details from the original shots Sisca's hand with a paintbrush, Nicola wielding a quill, Cathy's hand with a goblet, and the wheel from Ken’s seedling cart. The photos were simplified into layers of solid colour and the palette was kept very minimal.

We used transparency for skin and picked out shadows for definition. We had many late nights in front of the computer and enjoyed every minute of it.

Printing the cards turned out to be challenging, as we wanted 100% recycled card and needed to print white.

When it came to picking a box for the cards, nothing seemed quite right until we thought of the beautiful work of local textile artist Lyndi Whelan, and asked if she'd like to help with creating a 'reading cloth'. As we tell this, she is bent over her cauldron experimenting with soy milk, gum leaves, seaweed and a huge pile of muslin.

Stylistically, this project is a big leap away from what we've done in the past. We were inspired by Art Nouveau and Art Deco poster art. We tried to find an aesthetic that matched the feeling we got from the Apollo Bay area.

Fate offers such grace. We can either take the offer or step back. This house, this land, these excellent people have been offered to us so we'll do our best to be worthy of the offering. What's next for us? Maybe a Coastal Kama Sutra?

Really, we're just very excited about the growth of the Otway region into a thriving community of fine artists, artisans, and all of those who would lead a finely crafted life. Being part of that is amazing.

Our website is blackwoodandgreenstone.com The Artisan Coast Tarot cards are for sale via the website 50% of profits will be donated to Apollo Bay Arts Inc.

Arts 31

Apollo Inc. not-for-profit group of volunteers who have a passion forfor all kinds of art.

Apollo BayArts Arts Inc. a not-for-profit group volunteers who have aapassion allall kinds of art.

Apollo BayBay Arts Inc. isisaaisnot-for-profit group ofofvolunteers who have passion for kinds of art.

Our aim is istotoenhance the quality ofoflife for Apollo Bay && district residents through promotion ofof Our aim enhance the quality life for Apollo Bay district residents through promotion Our aim is to enhance the quality of life for Apollo Bay & district residents through promotion of activities to Apollo Apollo Bay. Bay. We activitiesininall allart artforms, forms,totoassist assistlocal localartists artists and and bring bring artistic artistic performances performances to We are are activities in all art forms, to assist local artists and bring artistic performances to Apollo Bay. We are 33 years old, formed in 1985 and incorporated in 1994.

Over the years, the group has grown and now 33 years old, formed in 1985 and incorporated in 1994.

33 years old, formed in group 1985 has andgrown incorporated in 1994. incorporates the the following: Over the years, and now incorporates the following: Over the years, group hasApollo grownBay andArt now incorporates the 2018 following: • the the annual Show (26 December - 4 January 2019) • the annual Apollo Bay Art Show • the annual Apollo Bay Art Show (26 December 2018 - 4 January 2019) Hall • the2018 Arts- Inc Gallery2019) - located in the front room of the heritage Mechanics (26 December 4 January • • Inc the Gallery Arts Inc Gallery located in the room of the heritage Hall the annual Apollo Writers Festival held the last Mechanics weekend of July) • the Arts - located in-Bay the front room offront the(traditionally heritage • • theHall annual Bay Writers TuesdayApollo Art Groupmeet at Festival the King(traditionally Parrot Galleryheld the last weekend of July) Mechanics • 10amArt - 1pm weekly Tuesday Groupmeet at the King Parrot Gallery • the annual Apollo Bay Writers Festival • 10am Thursday Art Group - of meet at the Senior Citizens Hall - 1the pm last weekly (traditionally held weekend July) I 0am -Art 3pm weekly $3 per at personSenior Citizens Hall • Thursday Group meet • Tuesday meet at the -King Parrotthe Gallery • Art GroupPrinting Project - various workshops throughout I 0am - 3pmPress weekly $3 per person 10am - 1pm weekly the year and studio space Thursdays, Senior Citizens • Printing Press Project various workshops • Thursday Art Group - meet at the- Senior Citizens Hall throughout Hall 10 am - 3pm weekly $3 per person I0am -• 3pm $3 per person the weekly year and studio space Thursdays, Senior Citizens Creative Village Project - poles & seats on foreshore • Printing Hall Pressmaintenance Project workshops throughout 10 am -- various 3pm weekly $3 per person the year and space Thursdays, Senior-Citizens • studio Creative Village Project poles &Hall seats on foreshore 10 am - 3pm weekly $3 per person maintenance We have an Arts News column • Creative Village Project - poles & seatsinon maintenance theforeshore Apollo Bay ews weekly,

Facebook PageNews https:// Wea have an Arts column We have an Arts News inwww.facebook.com/ the Apollo Bay ews column weekly, in the Apollo Bay News weekly and a Facebook Page ApolloBayArtslnc/ we www.facebook.com/ApolloBayArtslnc have a Facebook Page https:// published books, present We have published books, presented exhibitions, www.facebook.com/ performances, workshops and anything people exhibitions, performances, workshops and else anything elseask for.

ApolloBayArtslnc/ we have people ask for.isOur funding from grants, fundraising Our funding grants, isfundraising raffles and the raffles art show. published books,from present and the art show.

Anyone can join and it's free. exhibitions, workshops and anything else Anyone canperformances, join and it's free.

Enquiries to apollobayarts@gmail.com people ask for.

Our funding is from grants, fundraising raffles Enquiries to apollobayarts@gmail.com and the art show.

Anyone can join and it's free.

Enquiries to apollobayarts@gmail.com

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Artist interviews by Jackson Hayat.

Lorna Pitkethly and Brian Williams We have lived here for 25 years since 1993, before that we would visit on holidays. One time we were heading back to Melbourne from our caravan trip and stopped out on the Great Ocean Road at the Museum which was newly opening at the Cable Station. This was our original connection with the Art Show as it was formerly run by the Apollo Bay Historical Society. For 18 years we have been part of the Apollo Bay Art Show, both in exhibiting and setting up.

Lorna works with kiln-fired transparent and opaque glass to create 2D and 3D artworks, and Brian with a wood turners lathe to create pieces from various timbers. Huon pine and Blackwood are 2 timbers he likes to use, however he uses all timbers and has also used recycled materials.

Lorna and Brian were both raised in families with artistic leanings. Creativity was encouraged and they have always themselves been interested in attending art exhibitions. Lorna is inspired by the environment, natural world and history of art. Her main interest is design and colour and the practical techniques of using a kiln and firing and slumping glass. Brian likes to produce items which are needed so that they are useful whilst at the same time ornamental. His inspiration comes from the ideas he dreams up in his mind and then tries to create in the making process.

Editors note: VALE Brian Williams - November 2018.

Since this interview Brian sadly passed away.

Our thoughts are with Lorna, friends and family.

Gayle Seach After graduating art school I worked in Holland and Melbourne in publishing and textiles, then 18 years ago moved to Apollo Bay from the Dandenong Ranges. I then focussed on painting on canvas.

I get inspired by the history of places and things, whether it be driving through rural countryside or walking around the block, and usually make works in series to explore a concept.

Otway Life Almanac 2019

My Hull series was inspired by old boat hulls stored around the corner from my studio. Other subjects include old dairies, canola fields, silos, the inescapable ocean, landscapes and more, some of which will be shown at the Apollo Bay Art Show.

Website: apollobaygallery.blogspot.com

Arts 33

Cathy Donovan Being an artist is about being truly myself. My earliest memory as an artist was of painting over other artworks hanging in my home at 12 years old.

I had faith in my art. Over my life art was a constant companion, but now it is my passionate focus. I want to support others to take up art too, and give workshops and classes and share resources whenever I can.

Until recently watercolour and textiles were my key mediums, but since moving to Apollo Bay I have extended to printmaking (intaglio and collographs) and other painting mediums. I expect to showcase printmaking in this years art show, but an odd watercolour may creep in!

My inspiration comes from birds and the stunning colour and drama in the sea and forest around me.

Karlijn Sas I was born in the Netherlands, where I finished a BA in Arts at the University of Amsterdam. After finishing my bachelors I moved to Belgium to get my MA in Belgium at the University of Leuven.

Following this I worked in the arts field as a curator of visual arts exhibitions and as a programmer for art house film, preferring art that offers the viewer the freedom to interpret.

Most of my works come from a specific place or topic that get pasted onto the canvas in multiple coats. The works that I'll exhibit at this year’s Apollo Bay Arts Show are made with acrylics on board and can be seen as an abstract expressionist's approach to the Otways.

Me and my partner live in Apollo Bay and run the social enterprise of the Conservation Ecology Centre, raising funds for conservation in the Otways.

These local artists and many more will be exhibiting at the 42nd Apollo Bay Art Show.

Follow us on social media facebook.com/ApolloBayArtslnc Instagram: @apollobayartshow www.apollobay.com/arts Email: apollobayartshow@gmail.com Phone: 0418 448 007

34 Artist Profiles

Artwork TOP: Universal Guidance ABOVE LEFT: Explosion of Colour ABOVE CENTER: Ode to Art Nouveau ABOVE RIGHT: Ceramic self portrait

Salt and Pepper GALLERY

OPEN 7 days 10am-4pm 557 Great Ocean Road, Bellbrae P: 0417 760 365 Otway Life Almanac 2019

Artist Profiles 35

Catherine M. Brennan

Salt and Pepper Gallery years the challenges were in balancing the needs of my children and the personal needs/desires of my expression of art. I always put my creative masterpieces first, these being my three children. My living, breathing master pieces. Now that they are adults, I can indulge myself completely in my professional career as a full-time artist. My ‘masterpieces’ now support me in my art world. The cycle of my life in art and my love of family is now complete.

What are your plans and hopes for the future?

I plan to expand my open studio/gallery into a more visual space where people can be more interactive with the art I create. I plan to make this happen through sound and light. It is important to me to have visitors to my Salt and Pepper Gallery ‘feel’ a sense of art through an atmosphere not just through the visual appreciation but also through a more holistic engagement of their senses. Art changes with the evolution of life.

Where can people view your art?

Artist Catherine M Brennan in her studio/gallery

What brought you to this part of the world?

My Salt and Pepper Gallery is open 7 days 10am-4pm.

I continue to exhibit at other venues as well as within my gallery. My Facebook page (saltandpeppergallery) will show current exhibitions. Please feel free to contact me if you need any information.

I have an immediate answer to this question - ‘the water’. I feel more alive, more energised, more creative, more me when I can have contact with the ocean. It might be visual or just jumping in and splashing about. I love being under the water. I paint a lot of underwater scenes. I can see a community under the water. This community is alive and as ‘family’ orientated as the community above the water.

We are in nature as much as nature is within us.

What has been your art journey up to now?

It has been 42 years since my first exhibition. Since then I have had the pleasure of working with many different artists. During this collaboration I have shared and learnt.

I’m now a committee member of Geelong Sculptors Inc. I continue to learn and share my art with this group of artisans. We exhibit annually. My working/studio gallery is open 7 days. This means I have a solo exhibition which is continually running. My Salt and Pepper Gallery, which is situated on the Great Ocean Road in Bellbrae is a working studio/gallery.

What has been the biggest challenge in your life as an artist?

Challenges change as I grow older. I see each challenge as a chance to grow and change in my art form. In my earlier

Artwork: Red Poppies

36 Artist Profile

Jan Stickland

ABOVE: Exhibition, Decay and Vulnerability. Palacete Del Embarcadero, Santander, Spain

Jan Stickland creates sensitive and meditative works. The core of her practice is print making, but she also works in paint, drawing and mixed media. Her work, influenced by the Japanese concept of Wabi Sabi, celebrates the beauty of the mundane object with all the imperfections, while simultaneously reflecting fragility and vulnerability.

What brought you to this part of the world?

What was the experience in Spain like for you?

My family moved to Colac following a work promotion for my husband in 1986.

To be selected to exhibit, and help represent Australia, was a huge honour. There were 12 Australian artists involved in solo exhibitions. The atmosphere during the conference was of sharing and learning, the day my exhibition opened I was overwhelmed with the positive feedback, plus the interest and enquiries into my techniques. It was an incredible feeling to be regarded on the same level as many of the printmakers I have spent years looking up to and admiring.

We knew little of Colac and the Otways however my husband and I have loved raising our three children here.

The landscapes surrounding us are magnificent, schooling and sporting opportunities fantastic, and the people are so welcoming , generous and kind hearted.

What has been your art journey up to now?

I’ve been in and around art for most of my life, completing a Certificate of Art at the Victorian School of Art in 1976, a Diploma of Art (Visual) in 2002 and currently I’m a final year student at Federation University, studying a Bachelor of Art (Fine Art).

I enjoy being an active committee member at Red Rock Regional Theatre and Gallery, organising and curating regular exhibitions including the annual Corangamarah Art Prize.

I have participated in many exhibitions in Victoria as well as Japan, U.S.A., Italy and Spain. In the 2016 Flanagan Art Prize I was very excited to be awarded the Emerging Artist prize.

Recently in Spain I was a delegate at the international printmaking conference IMPACT 10 where I was selected as a solo exhibitor, showcasing contemporary international printmaking trends.

Otway Life Almanac 2019

What have been the biggest challenges in your life as an artist?

There are two very large challenges for artists living in a small country town. The first is to allow yourself the time to create and not let life take over. Over the years I have happily and very willingly given up the time required for art production to my beautiful family and my career.

The second and probably the greatest difficulty is the feeling of creative isolation. Interaction and discussions with other artists is crucial to keep your work moving forward and to challenge your ‘comfort zone’.

Recently I have experienced how much easier it is to maintain inspiration and a productive arts practice when you have regular contact with other artists. My arts practice reignited when I became involved with Red Rock Regional Theatre and Gallery.

Arts 37

Artist Statement:

Decay and Vulnerability is a quiet and contemplative work. I have used the analogy of the skeleton leaf to create a very personal autobiographical statement. It speaks of the isolation of the individual, but more emphatically, it speaks of the beauty that can be found in decay and the strength that can be gained by exposing your vulnerability.

ABOVE: Decay and vulnerability. Lino cut with chin colle. 56cm x 78 cm.

BELOW: Printmaking installation, Hanging by a Thread. Colac Otway Performing Art Centre

ABOVE LEFT: Hanging by a thread. (detail) Etching. 40cm x 300cm.

ABOVE RIGHT: Vase: mixed media 56cm x 78cm.

It would be wonderful if the Colac Otway Shire was able to support the visual arts by renting studio spaces to artists, creating a centre and network for casual and organised inspiration. This is my dream for this area! I know creative isolation is a problem for many people on all levels of creative production and such a centre would help towards completing the whole picture of what Colac Otway Shire can provide for the well-being of its population.

What are your plans & hopes for the future?

To keep creating art, and to keep challenging what I create.

Instagram: jansticklandart Website: www.jansticklandartist.com Email: jansticklandartist@gmail.com

38 Artist Profile

Barbara Bateman

"Colourful Moments" Oil on linen, width 152cm x height 122cm. $3,200.

Contemporary landscape artist Barbara Bateman is a Melbourne artist who draws and paints the natural environment from her Otway bush and seaside property on the Great Ocean Road near Lorne.

Her paintings are autobiographical and deeply personal. They record her memories, imagination and emotional states.

Barbara engages physically with the immediate environment in a “plein-air” tradition to paint a “sensed reality” of what she sees rather than a representational or descriptive view of the landscape. Barbara stands in the bush or on the beach and draws, paints and photographs what is in front of her then moves into the studio to arrange the interplay of light and colour observed and interpreted by her in a contemporary way.

The compositions of Barbara’s paintings follow multiple pathways over, across, through, in and around spaces allowing equal weight to the object and its background.

She does not use traditional perspective where converging lines meet a central point but places equal importance on the arrangement of forms, colours and volumes in space Otway Life Almanac 2019

Barbara working in her studio

and controls the positive and negative spaces both in depth and surface patterns. Her painterly and colourful broken brushstrokes cover the entire surface space in an abstract manner.

Her artworks involve a process of interiorisation, of getting into the soul of things to reach the truth and essence. It is an ascetic exercise through which she filters out the most spectacular of what is visible.

Arts 39

"Stepping Forth" Oil on linen, width 137cm x height 122cm. $3,000.

Barbara has two studios, one at Cathedral Rock on the Great Ocean Road where she does most of her plein-air work and drawings. On return to her second studio in Melbourne she often works up her paintings into their contemporary formats.

Cathedral Rock Studio Broadbent Road, Great Ocean Road, Lorne Mt Waverley Studio 44 Outlook Road Mt Waverley, Vic 3149 E:

barb.bateman44@gmail.com

W:

www.barbarabateman.com

Phone (03) 9807 3941 "Another Kind of Experience" Oil on linen, width 102cm x height 76cm. $1,500.

Mobile 0408 808 963

40 Arts

The Surf Coast Arts Trail Discover the art and meet the artists...

Here's a sneak peak...

1. Caroline Hawkins 2. Cinnamon Stephens 3. Donna Pollock 4. Peta Uthmeyer 5. Melinda Solly 6. Veronica MacDonald 7. Sharryn Jenkinson 8. Jan Francis

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Artist Profile 41

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Avys Hope

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Moving from Melbourne to Aireys Inlet in 2002 was a touch of 'Seachange', 'Always Greener' or just plain going home to the country. As a child growing up on a farm, the old saying: “You can take the girl from the country, but you can never take the country from the girl” applies.

I have always had an interest in tactile arts and crafts, having knitted my way through the late eighties, making teddy bears in the mid nineties. My interest in ceramics/mosaics started in the late 1990’s, mainly in the winter period as I have a busy life running a Caravan Park.

My inspiration comes from nature, colors, different mediums and textures. The mosaics become organic, taking a shape and life of their own. My art can be placed either inside or outside. I was very fortunate to meet Cinnamon Stephens who collaborated in creates frames for my hanging mosaics.

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My first introduction to exhibiting was the Colac/ Otway Art Exhibition in the gardens of historic "Narrighid" in 2004. I have continued to exhibit with Geelong Sculptors Inc. throughout Geelong – the Town Hall, Deakin University and this year at 101 Ryrie Arts. In 2009 Geelong Sculptures Inc was contracted to make a moving, touchable sculpture to commemorate the 200 year anniversary of Braille. “Do Touch Sculptures” is on display in reception at Vision Australia in Belmont.

My first solo exhibition will take place 1st December to 27th December, 2018 at Eagles Nest Gallery. I am feeling extremely excited and a little daunted by this and look forward to the future of more creativity. I also will be running classes in 2019.

E:

info@aicp.com.au

T:

0439 306 615

42 Artist Profiles Moongate Studios

ginkoh jewellery

Anglesea Artisan

Coilyline Studio

elegantly earthy and made to last, handcrafted by Stephanie Hocking.

I design and make all pieces predominately using Gold, Silver & Bronze incorporating natural textures and recycling elements where appropriate. Every Ginkoh Jewellery piece is cast and crafted in my home studio in Anglesea. One of a kind individualised jewellery to suit you and your purpose.

Ginkoh Jewellery began in 2010 focusing on customised wedding rings, repairs and reworks. I also supply original pieces to galleries and retailers locally and in Melbourne. You're welcome to visit my studio upon appointment to discuss what you need and see how they're made.

Muddys She-shed

Anglesea Art Studios a mini arts trail of artists with contemporary vision Studio 66 Cinnamons Art

Solly | Giles Fragility Studio

Anglesea has an abundance of art!

We host the Surf Coast Art Space, the Anglesea Arthouse and many home studios, including some full time artists.

This mini art trail gives you the contacts for seven of these home studios. We are open anytime by appointment, and can also be found during the Surf Coast Arts Trail in August, and the Melbourne Cup Long Weekend in November.

BELLBRAE Painting, printmaking, ceramics, metalwork, sculptural weaving, woodwork, sculpture, eco-dying, artist books, jewellery and more!

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H A RV

www.ginkohjewellery.com ginkoh@hotmail.com Otway Life Almanac 2019 2018

For more info AIREYS phone Cinnamon 0400 436 308 or follow us on facebook

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STUDIOS Moongate Studio 90 Elkington rd.

Coilyline Studio 7 Ramsay st.

Anglesea Artisan 11a Evans st.

Muddy’s She-shed 5 River Reserve rd.

Solly/ Giles - Fragility 7 McConnell Close Studio 66 - Cinnamons art 66 Niblick st.

Ginkoh 21 5th Avenue

angleseaartstudios

Arts 43

Lindy Fullarton Photographic Artist

JUZT art Studio & Gallery Justine Martin is a featured artist in the TV program ‘Colour In Your Life’ – she is known for her interpretations of animals, with her bright, textured and bold pallet.

These are her primary subjects and her talent interest varies with the usage of different mediums, paintings, drawings and sculptures.

Justine has initiated her journey through art since 2011 with advice from her doctor to fulfil her days.

Diagnosed with Multiple Sclerosis this propelled her to use her creativity to the utmost. Since Justine’s introduction to art she has become an award-winning artist throughout Victoria. Justine teaches workshops on Acrylic Painting and also Sculptures from a cement modelling compound called Pal Tiya from her studio in Marshall. Commissions are most welcome for paintings, drawings, portraits and sculptures.

JUZT art Studio & Gallery is at 125 Barwarre Road, Marshall. Open by appointment.

T: 0403 564 942 E: juztart@yahoo.com.au W: www.juztart.com.au

Searching gloomily for inspiration, for something new to photograph one day, I wandered into my toy room.

Yes, I have a toy room. Yes, I am in my 60’s. And yes, I refuse to grow up! It began many years ago when I owned a toy shop and had the opportunity to collect vintage toys.

And there they were. The marionettes, the puppets, the ventriloquist dummies; all begging silently to be in the picture and eager to strut their stuff. And so began my Playful Art Prints and Cards journey.

The planning and composition of my images can take quite a long time, as does the post-production. At the heart of it though is the playfulness. Always the playfulness.

I create my images for that inner child in us all. I hope they arouse a childhood memory. Or a smile.

A laugh perhaps.

44 Artist Profiles

Lenora Freadrich I was born and raised on a farm in Canada. After moving to Australia to be close to family, I fell in love with this Great Southern Land whilst living in East Gippsland where my garden became an extension of my canvas.

I love to paint flowers, trees, birds... anything that appears in my garden… Then I challenged myself to do some oil portraits of my dear friends which people say is my best work... I think that’s why I can’t stop...I just love a challenge!

While spending a year in Anglesea with daily walks on the beach, the Southern Ocean captured my heart and has been the muse for many of my paintings.

In June 2018 I moved to Colac to reconnect with my love for the countryside. And have enjoyed the new challenge of building a studio.... and another garden.

This is where I would love to share my ideas with aspiring artists and continue my art journey.

Look out for the program of workshops at Art Shed • basic watercolour techniques • acrylic painting for beginners • advanced acrylic painting techniques Lenora Freadrich Sales and Tuition Ph: 0428 930 667 lenorafred@gmail.com #lenorafredart Wall design by Clint Feldtman Otway Life Almanac 2019

Angela Baldwin Design My travels overseas as a young person, especially Scandinavia, inspired me to pursue my passion for textiles and design which lead to many happy years working as a design consultant in Melbourne.

After relocating to the Otways six years ago I found a new freedom for my art expression. Then… I discovered botanical eco printing and dyeing.

I am continually delighted and fascinated by the vibrant, unpredictable colours and patterns that nature can provide us.

Indigo, woad, cherry ballart, eucalyptus leaves, madder, avocados and turmeric are just some of the natural and ethical substitutes for producing colours on silk, wool and linen.

There is something very special about wearing a scarf made from natural fibres and dyes. A scarf that has been created in collaboration with nature herself.

Check out my Instagram for where you can buy one of my scarves or I am happy to custom design a scarf just for you or someone you love.

Angela Baldwin Design angelabaldwindesign W: artsatlassw.com.au/angela-baldwin/

Arts 45

Karen Harvey Jewellery Karen Harvey brings her love of nature and her keen eye for detail to her contemporary jewellery making.

She has successfully combined her jewellery making skills with an earlier background in horticulture and landscape design. This combined experience enables Karen to design and create beautiful handcrafted sterling silver jewellery with a focus on the natural world around her.

Karen designs and creates each individual piece by hand in her studio in the foothills of the Otways in Victoria – her inspiration for her jewellery comes not only from her surrounds but from within … sentimental moments and meanings are often captured and made into a lasting memento of precious thoughts and feelings.

Karen works with her clients to create individual pieces which reflect the personality of the wearer, or have deeper personal meanings for them.

Karen offers courses in jewellery making and special workshops for couples to make their own wedding rings.

With these rings ... ... we have made

Chris Hoggard Ceramics It is two years since Chris Hoggard decided to take a leave from her teaching career of thirty odd years to run pottery classes at her studio in Warncoort. Surrounded by several acres of picturesque garden, Chris’s studio is filled with her students current projects and her own work which she sells at markets and retail outlets around the district.

She runs morning, afternoon and evening classes two days per week and her students work at their own pace on projects that interest them individually. Her students come from as far as Apollo Bay, Lorne and Camperdown to attend. This year Chris has completed a Graduate Diploma of Ceramics at Federation University, Ballarat to further develop her own skills in this medium.

In following her passion, Chris says she has been able to offer a creative outlet to a wide range of people who live in and around the district. By offering fun, social and creative classes morning, afternoon and evening she is offering everyone who is interested the opportunity to fit classes in around their family and working commitments.

If you are interested in learning more about these classes go to: W: chrishoggardceramics.com.au

KHJ Karen Harvey Jewellery

Contact Karen for further details: E: karen@karenharveyjewellery.com W: karenharveyjewellery.com T: 0400 427 839 KHJ Business Card FINAL.indd 1

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46 Artist Profile

Cinnamon's Art Custom designed @ Studio 66 - Anglesea Cinnamon and Rowan Stephens live and create in a tiny studio in a shady corner of their backyard in Anglesea.

Creative metalwork has been Cinnamon’s main source of income for around 25 years, and she is showing no signs of slowing up!

Sculpture created from steel, copper and found metal objects, mostly old tools, is Cinnamon’s main passion. Her artwork manifests itself in many shapes and forms; from large gates, security doors and window screens, to indoor and garden sculpture, mirror frames and now a jewellery range. Inspired by the natural environment around her, Cinnamon loves using birds, flowers, feathers, leaves and spirals in her designs. The period of Art Nouveau is also a constant source of design consultation for this artist.

“We make our living from creating custom designed artworks”, says Cinnamon. “I love meeting with clients on site and listening to their ideas. I then sketch out designs and concepts that seem to spring straight into my mind, occasionally even while the client is talking! A design may start from a beautiful tree the client may have in their yard, or it may be the number of people in their family that dictates the direction of a design... you never know, until you start the conversation to see where the custom design will settle into their lives. It is quite an honour to know that they trust you as an artist to create an artwork that will mean something special to them and be in their home or garden for a very long time... The best part is delivering the final piece. Their eyes light up and they often say that it’s even better than what they had imagined.”

Rowan is a solid partner in Cinnamon’s studio with just about every creation being handed to him at some point for a twist, hammer, grind, buff or paint. Occasionally, in between custom jobs, Rowan even gets a chance to create his own sculptures! His artwork often conveys a strength and balance that comes from his years devoted to Kyokushin Karate, and a love for Japanese design that he shares with Cinnamon.

You can see more of Cinnamon and Rowan’s creations online. Cinnamons art is the name to look out for on social media and their website. You will discover the huge range of what these sculptors have created over the years. Gift vouchers are also available for those special people in your lives.

Most recently, they have been working on an exciting project for the Anglesea streetscape. Commissioned Otway Life Almanac 2019

by the local Anglesea traders and tourism group, BATA; Cinnamon and Rowan have been designing and creating a number of metalwork panels that are being secured to the street lamps in the main shopping centre. They feature native flora and fauna significant in the Surf Coast/ Otway region. “I was extremely humbled, excited and a little bit nervous when I was approached for this project”, Cinnamon said. Watch out for these distinctive creations next time you drive through Anglesea!

You can find out more about Cinnamon’s art and even start your own custom design conversation with Cinnamon and Rowan by visiting their studio, Studio 66 located at 66 Niblick Street, Anglesea.

Open by appointment 0400 436 308 You can also follow this dynamic duo’s creative projects on www.cinnamonsart.com Cinnamons art – Studio 66 cinnamons_art Cinnamon is also a busy facilitator of: Anglesea Art Studios

angleseaartstudios

Geelong Sculptors Inc.

geelongsculptorsinc

Art Space

surfcoastartspaces

Arts 47

CLOCKWISE from top left Cinnamon with “Spoontail in Callistemon” sculpture Callistemon detail Copper Feather jewellery set Cinnamon and Rowan having fun in their studio IMAGES BY R HOSKING

48 Artist Profile

Sisca Verwoert I came to live in Apollo Bay after a full and peripatetic life overseas with my family. In the intermittent years we had visited Apollo Bay regularly on home leave and fell in love with the place. I had visited beautiful places before, experienced wonderful locations overseas, but none brought the tall hills down through luscious valleys and green meadows to the waters edge in such a dramatic and pristine way. When the time came to choose a place to settle, I decided this was it.

The natural beauty provided by my new home has furnished me with many years of inspiration. My eyes have become so full that my canvases have become larger and dense with birds and flowers, richer than I could ever have imagined, and still the images come. There is nothing abstract or simple about nature. Simplicity is not my aim, nor is it my satisfaction.

I had been an abstract painter in the seventies but found I was drawn increasingly to a more communicative and representational style . Abstraction became too self indulgent and meaningless to me. Whom was I painting for? I did, however retain the love of accidental effects and where they might lead me, never abandoning the process completely.

The act of painting and the hours spent involved with the process has a meditative quality about it and with music pumping while I work, I can express my joy of life. The materials I use matter and I have learned that only the best quality canvas and paint are sufficient to my needs and for the effects I crave .

My method has evolved over the years. I start my paintings with loose splashes and gestures, oils thinly applied. I allow forms and figures to present themselves without

Otway Life Almanac 2019

prior planning or predictability and then spend many enjoyable hours shaping both the details and the whole.

My images densely fill the canvas, my relation to nature being whimsical, with strange plant and animal forms emerging. Colour remains central to everything, melding with sensuous form.

The whole of art history has influenced me and therein lies the dilemma. How and what does a contemporary artist paint? Modernity has directed us to abstraction, but after abstraction, what? Anything goes. Everything is Art. Do not misunderstand me, I love Pollock and Rothko but they ended up suicides. I love much of Picasso’s work but he did us no favour by stating his ultimate aim was to paint like a child, a goal shared by many contemporary artists.

Few pull it off. “When I was a child I painted like a child and when I grew up...

I return often to my collection of books on the old Masters because I loved their beautifully crafted details and rich oily surfaces. I lament that there are so few great women artist who have survived from that time and look forward to a time when women are valued along side of men. The fact that a three hundred year old painting by a Artemisia Gentileschi is valued at one quarter of a Caravaggio at a recent Christies auction speaks volumes.

In saying this, there are contemporary women I must acknowledge for having inspired me and there are so many more: Margaret Woodward, Paula Rego, Georgina Beier and Barbara Rae to name a few.

The great thing about painting is you don’t retire - a future with endless hours of creative expression in an environment of natural beauty makes me happy.

Arts 49

We live in one of the most naturally beautiful places in the world. We must care for it and protect it. I am a great admirer of the folks working at the Conservation Ecology Centre- Cape Otway and I regularly donate paintings to help raise funds for them.

Eddie Hara

My paintings can be seen at Metropolis Gallery in Geelong or at my always open studio on the Great Ocean Road Marengo.

P: 0418 530 328

E: siscav@bigpond.com

Apollobayartist

I regularly visit my daughter in Kuching, Malaysia where my paintings are known by some . Last year I was interviewed on the radio station Tea FM about my background and it developed into a wide ranging discussion and the direction I thought painting was going. I am sometimes visited in Australia by several interested artists from Kuching and this time was invited to demonstrate my painting style to a group of children and their teachers. I have seen some magnificent work by local artists and am reminded of my years in Indonesia where I became good friends with an artist named Eddie Hara who over the last twenty years has become a highly respected artist in Switzerland fetching huge prices in Hong Kong and Singapore as well. His work is extraordinary and defies definition.

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Arts 51

Colac Otway Arts Trail

The Colac Otway Arts trail runs over the the third and fourth weekends in October In 2018 at the inaugural trail, over 35 venues and up to 100 local artists were involved in open studios, displays, demonstrations and delivering workshop. Pop up venues included Apollo Bay Senior Citizens hall, Studio Forrest @Forrest Hall and Birregurra Christ Church Hall. Exhibitions were displayed at Copacc, Otway Estate winery, Gosling Creek Winery and Murray Street market.

The beautiful galleries of RRRTAG, Apollo Bay Arts Inc, and Gellibrand River Gallery also supported the event as well as the many open studios throughout the shire.

Organised by a dedicated committee of volunteers, the weekend had some very positive feedback in particular was the better weather after the March trial where bushfires and bad weather caused the cancellation of the event on the Sunday.

Some venues reported as many as 100 visitors over their weekend openings.

In 2018 the Colac Otway Arts Trail was fortunate to receive funding from the Colac Otway Shire which enabled them to contract a graphic artist to create and print a brochure filled with maps and details of artists and venues.

the Followrail...

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Another first for 2018 was the addition of a bus to visit the venues, leaving from COPACC and travelling the route. The bus had some fantastic feedback an it is hoped that it will run both days in 2019.

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A huge thank you to everyone involved in the 2018 Colac Otway Arts trail especially our artists and visitors, sponsors and hard working volunteers.

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The first exhibition planned at this space is COAT Tales, a celebration of the 2018 art trail and the artists involved. It is hoped that this will be open to the public by mid December 2018.

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SHOOT | EDIT | PRINT Tim Lucas

As a landscape photographer I have perhaps the ideal location. Travel no more than an hour in any direction and my environment ranges from Volcanic Plains, Salt Lakes, the Otway Ranges, Great Ocean Road and more.

With all this variety it’s no wonder that I can always find somewhere to go and explore!

SHOOT

Castle Cove

Hawks Nest Road

The biggest misconception about photography comes from the multitude of ways people can shoot these days, with modern smart phones now taking over the role that the good old ‘point and shoot’ camera once held. Whilst I do use the phone from time to time, its role is usually limited to sharing online. To take the next step, and capture a photograph that is suitable for large (or small) format printing still requires a good quality camera, lenses and perhaps more importantly the ability ‘to see’. It is a skill that many landscape painters possess, but that many photographers don’t.

But at the same time, being able to travel to experience different cultures is always on my mind as well.

Wherever photograph I have a defined process that I follow – SHOOT | EDIT | PRINT. Each of the elements require different skills and techniques. Perhaps the ‘darkest art’ is creating high quality Fine Art Prints.

Kalimna

I am a ‘slow shooter’, often arriving on scene and then sitting back, absorbing. This might take a few minutes, or it might take half an hour – but either way it’s essential. When running landscape a workshop it is common to see participants arrive, unpack and start firing away. The theory being ‘it’s digital, we can just delete them’. In practice this approach generally leads to the photographer missing the smaller intimate details, and ending up with an image that is lacking good composition. If there was only one tip I could give it would always be to ‘stop, look, listen and plan’, and once the composition elements have been thought through, then the appropriate settings can be addressed in the camera.

Webpage: www.timlucasphotography.com.au/ Facebook : www.facebook.com/timlucasphotographyau/ Instagram: www.instagram.com/timlucas.photography/ ViewBug: www.viewbug.com/member/timlucas Email: tim@digitalnature.com.au Phone: 0429 646111 Otway Life Almanac 2019

Arts 53

EDIT

ORIGINAL

PRINT

Printing

EDITED

Editing a photograph is an essential element in process of creating a fine art image. The terms are important – the photograph was ‘as captured by the camera’, and the image being the results of the editing process. When shooting with DLSR cameras they usually have two modes – JPG and RAW. In JPG the photograph saved on the camera has been processed using the computing power of the camera. When shooting in RAW format the camera simply captures the scene, and does not do anything more. Shooting in RAW gives the photographer the chance to edit the image themselves, creating the mood and

Stretching onto a frame

Once an image has been created, now it is time to decide how it is going to be viewed - on a device or printed. When printing, the print medium needs to be taken into account. Prints will always look different to onscreen viewing, and often the screens are much brighter than printed images. This is where the ‘dark art of printing’ comes in.

Understanding what print media best suits the image is vital to getting the best results.

In my print studio I have 20+ paper and canvas options. Each has a role, but it is the image the dictates the media that is used.

adding depth that only come from a connection with the scene.

The editing process usually starts by setting white and black points, investigating the details in the shadows and looking at the contrast in the scene – with the aim to create some depth in the image.

The next steps involve looking at unwanted elements, the small things that grab the viewers eye and detract from the scene. You can see this in the before/after images here. The original image had a lot of eye-catching bright spots on the water, but removing them the image is better balanced, and the composition vastly improved.

The finished product

Often when printing work for a client, the request is ‘can you print this on …’. However taking the approach of the ‘image chooses media’, I will offer up a suggested print media - with the reason why.

The difference between a ‘happy snap’ and ‘fine art print’ requires attention to detail from shooting through to printing.

If you are interested in this process, or are looking at print options then please get in touch.

I will guide you through the steps to create and print your own images, something that you will be proud to hang on your walls.

54

Otway Sleepovers Advertorial

Otway Sleepovers

Whether you’ve spent the day in the Otways beach combing, touring through the lush hinterland, visiting family and friends, or joining in a special celebration…you will need to rest your weary head at the end of the day. And you are spoilt for options from camping, glamping & self-contained holiday homes through to luxury B & B’s. You can sleep under the stars of the Milky Way, by a camp fire or snuggle into a cosy cabin.

Whatever your desire or budget, Otway Sleepovers are the stuff of dreams.

So come...lose your clock...and find the time...

Otway Life Almanac 2019

Otway Escapes For couples seeking romance, OTWAY ESCAPES offers 4 uniquely designed properties.

OTWAY VALLEY VIEWS: Artistically “retro” renovated 1940’s Farmers Cottage on 40ha.

OTWAY ESCAPES LOVE SHACK: Apartment accommodation with 360 degree rural and Otway views.

LOVE IS IN THE AIRSTREAM: Glamping in style!

A 1966 renovated Airstream Caravan including outdoor Star gazing Bath with spectacular rural and bush views.

Re-awaken your senses with the romance of wood fires, spa’s, saunas, artwork and Japanese plunge baths. Experience and embrace beautiful gardens and outdoor sculptures with an abundance of birdlife and animals. Indulge with packages prepared with local produce. Enjoy spectacular views over rolling hills and the Otways, all within close proximity of the Great Ocean Road, Lorne and Birregurra.

Return transfers available to local restaurants. www.otwayescapes.com.au

Otway Sleepovers 55 COTTAGES & EVENT CENTRE

King Parrot Cottages & Event Centre consists five cottages, a Lodge with Hall attached and campground in Pennyroyal on the northern slopes of the Otway Ranges. King Parrot is a popular destination for romantic getaways, family holidays or large family celebrations.

The architecturally designed accommodation is fully self-contained, ranging in size from single to four bedrooms, accommodating between two and fourteen people. Each offers comfort, character and privacy in a rustic bush land setting, including stunning valley views.

Activities include the salt-water swimming pool, games room with table tennis, fuse ball, air hockey, darts, board games plus mini golf course, suitable for all ages. Bush-walking tracks and waterfalls abound in the immediate vicinity and within close reach are the beautiful beaches along the Great Ocean Road, the wonders of the Otway National Park and the gourmet trail of berry farms, fine foods and farm produce.

King Parrot is very popular wedding venue. Please give us a call to discuss options and obtain rates.

Most pets are welcome by prior arrangement only.

195 Dunse Track, Pennyroyal VIC 3235

R

At K rainf Phone: 03 5236 3372 Email: contact@kingparrot.com.au www.kingparrot.com.au

Our the s

Idea

Your Pho 195 Ema

t: 0411 721 163 e: info@otwayescapes.com.au w: www.otwayescapes.com.au

56

Advertorial

OTWAY FIELDS GROW  EAT  REST

At Points South By The Sea we offer 3 luxurious cottages with the most amazing views of the ocean.

Our cottages are fully self contained with everything you will need to have a most amazing and relaxing holiday.

If you want privacy, an open fire, sensational views, a spa bath, comfy beds and a balcony with a BBQ... then you've got it!

Add to this your own private beach, a window seat with ocean views, lots of bush walks and koala viewing and then only ten minutes to Apollo Bay... you've got it all!

And all this from $250 per night (seasonal variations) with a complimentary welcome hamper and a nice bottle of wine… you've got a bargain!

Bookings online at www.points-south.com.au or call Bryan direct on 0417 377 138 for a special discount when mentioning Otway Life Magazine. www.points-south.com.au

Stay a few nights in our beautiful cabin overlooking the Otways, explore the hinterland, the Great Ocean Road (GOR) and relax in your peaceful, quiet, romantic self contained cabin style accommodation for two. Included is a breakfast basket each morning featuring fresh farm free range eggs, a loaf of freshly baked bread and a selection of farm preserves. Local bacon is also provided. Depending on the season, you’ll find a few extras in your basket such as freshly picked berries or fruit.

Your cabin comprises of a comfortable queen size bed, beautiful ensuite with full shower and a seating area with couch, table and chairs and a small kitchenette. There is an abundance of birdlife around the area and photography enthusiasts will love the photo opportunities.

If you are enjoying a meal at Brae Restaurant, or Bespoke Harvest, we can provide transport to and from the restaurant, please check on booking.

85 Meadowell Rd, Gerangamete VIC 3249

OTWAY FIELDS GROW  EAT  REST

CALL DIR E FOR YOU CT OTWAY L R IF READER E DISCOUN T

5260 Great Ocean Road, Wongarra Phone: 0417 277 138 Otway Life Almanac 2019

YOUR ESCAPE TO THE COUNTRY

www.otwayfields.com Tel 0418 757 028

Otway Sleepovers 57

Countrywide Cottages offer dog friendly self-contained four star holiday cottages on the edge of the Otways, 25 minutes inland from Lorne. We were delighted to be rated in the top ten of the Gold List of Australian Accommodation by Star Ratings Australia in 2017 and are consistently rated 5 stars on Trip Advisor. Just 90 minutes drive from the Westgate Bridge in Melbourne, the journey to your amazing dog friendly holiday is an easy one after a long week at work!

Where your dog is as welcome as you are.

Cosy log fires Pillowtop beds Electric blankets Dogs welcome inside Home made treats Free range eggs Huge fenced yards Off leash areas Wild birds Bushwalks from your door

holidays for humans and hounds

03 5288 7399 0419 114 786 stay@countrywidecottages.com.au www.countrywidecottages.com.au

58 Advertorial Boutique Boozeries

Boutique Boozeries

The Beechy Hotel, exemplifying the expression “Cold Beer, Warm Welcome�, is located on the main road through Beech Forest, 45 kms south of Colac and approximately 6 kms from the popular Otway Fly. A favourite haunt of locals from as far afield as Gellibrand, Lavers Hill and Johanna, it also welcomes tourists and day trippers with its focus on good old fashioned country hospitality.

Under the management of Myles and Gwynneth Cowley since December 2013, the enthusiasm and attention to detail they bring to the running of the newly refurbished pub will ensure that your visit is a memorable one.

A central wood burning heater roars throughout the winter months providing ambiance and warmth, whilst the views to the south from the expanse of windows are simply spectacular.

The hotel accommodation comprises 4 rooms, each including a comfortable queen size bed and a set of single bunk beds. www.thebeechyhotel.com.au

35 Main Street Beech Forest 3237 VIC Phone: 03 52359220 www.thebeechyhotel.com.au

Otway Life Almanac 2019

Boutique Boozeries 59

Welcome to the Terminus Hotel in Station Street Forrest. We’re just off the main drag where you can enjoy a peaceful cold one from the deck overlooking bush and parkland.

The Terminus is a real country pub where there are no pokies and you can still get an affordable, delicious home cooked meal. Dinner available every night and lunch and dinner Saturday and Sunday.

You’ll never go hungry at the Terminus.

2-4 Station Street Forrest, Victoria 12pm - 11pm everyday (03) 5204 9704

We are family friendly, and that includes the fur-kids as well with hitching posts and fresh drinking bowls outside. It’s a perfect place to refresh after a walk around the historic township of Forrest, Lake Elizabeth or after riding the famous mountain bike trails.

We’re an easy stroll from the caravan park and other accommodation.

So drop in and enjoy your favourite tipple or cold beer on tap including locally brewed Prickly Moses Otway Pale and Geelong’s Little Creatures Furphy.

The view and the Wifi is on us.

www.terminushotelforrest.com

Gosling Creek O T W AY H I N T E R L A N D

Cool climate wines made from estate grown grapes

Cellar Door open 11am-5pm weekends

Free Live Music on Sunday afternoons. Please check Facebook for performer details

Family friendly environment Dogs on leads welcome

495 Murroon Road,STEWART Murroon P 5236 3229 E retail@goslingcreek.com.au www.goslingcreek.com.au DAVID 495 Murroon Road, Murroon P: 5236 3229 M: 0402 474 925 retail@goslingcreek.com.au www.goslingcreek.com.au

60 Boutique Boozeries PENNYROYAL RASPBERRY FARM & CIDERY Otway Estate are proud makers of Prickly Moses Handcrafted Beer, Forbidden Fruit Cider and Otway Estate wines. We strive to create the best beer possible using the best ingredients with water being the key. Located in the Otways we are blessed with pure Otway rainwater, it is well known that you need good water to make good beer and there's nothing better than water from the lush rainforest.

At Prickly Moses Handcrafted Beer, we believe that beer is diverse in its colour, aroma and flavour and is not just limited to "yellow fizzy stuff". We create beers to match an appearance, aroma and flavour profile - not a budget - so we use the best ingredients we can find. Our repertoire of exciting beer recipes continuously grows and we're always keen to try something new.

We hope you enjoy our beer as much as we enjoy brewing it for you.

OPEN FRI-SUN 11am-5pm 10 Hoveys Road, Barongarook VIC 3249 Phone (03) 5233 8400

Pennyroyal Raspberry Farm is the oldest working berry farm in the south west of Victoria, within easy access of the famous Great Ocean Road.

During the summer berry season, we have a full range of raspberries, cultivated blackberries and many other varieties available for “pick-your-own”.

The Ciderhouse offers seasonally inspired lunches and snacks which you can complement with a glass of our award winning Crucible Cider, Perry or Berry Gins during the season as well as weekends up to and following the season.

The Ciderhouse Café and Cellar Door will be open 10.00-4.00 on weekends for cider and snacks from Melbourne Cup Day weekend up to the season and then through to April.

The 2018/19 pick-your-own berry season will open on Saturday 1st December 2018, 10am-4pm daily December through January until end of berry season (closed Christmas Day).

Our cosy, self-contained cottage accommodation for couples is available year round.

Get Behind

a Great Cause Saving Australia’s last tiger, one sip at a time!

at the

ennyroyal Raspberry P Farm & Cidery

100% of Spotted Ale profits go to saving the endangered Tiger Quoll Conservation Ecology Centre Cape Otway

pricklymoses.com.au Otway Life Almanac 2019

115 Division Road, Murroon 3243 Phone: (03) 5236 3238 pennyroyalraspberry.com Pennyroyal Raspberry Farm & Cidery

The Good Life 61

The Good Life

by Ami Hillege

Well, let it not be said that I’ll back away from a challenge.

And a challenge it was when I received a phone call from Xav at Barongarook Pork a few weeks ago. He reminded me that we’d had a conversation a while ago about doing something with his pigs’ heads. Apparently I’d sounded keen. I’m sure I was remembering the delicious brawn or ‘head cheese’ we’d eaten when I was growing up. It was common to share a pig, steer or sheep with extended family. What followed was usually a communal evening of cutting up said meat and preparing some form of charcuterie that would be shared amongst the families who helped with the work.

So I tentatively agreed to ‘have a go’.

I had a week or two to search for a recipe before the heads would be available. So on a Friday afternoon, I received the call to say the heads were ready for collection. I drove over to Xav’s farm where he raises free-range pigs. His pigs have a wonderful life. There’s a lot of mud!

Perfect for a pig. In fact, the morning I was there, Xav had bogged his tractor in the paddock! He handed me a big box, with the lid closed, and off I trundled back through the forest to my little farm in Gerangamete just ten minutes away.

I’m not sure what my family thought when I set the box on the kitchen bench and opened the lid. Staring out at us were two snouts and four eyes.

Eeuuwww…. That was the general response. After my initial reaction of ‘what the hell have I done?’, it was simply a case of working out how I was going to fit a pig’s head into a pot. Let’s just say there was a little bit of pushing and shoving to get the whole head into a position that would allow it to be covered by liquid. It’s not something that I need to contend with on a daily basis and it was rather confronting.

I decided on using the smallest head for a recipe that required slow cooking on top of the stove. I had a huge pot that was usually used for processing chooks and ducks that happened to be just the right size. The recipe I chose for cooking the head on top of the stove was for braun.

It’s basically all the meaty bits chopped and suspended in jelly that forms when cooking the bones and collagen for a long time. It’s no different to the little layer of jelly that you find on the top of a very good pork pie. The head was covered with water and I added a number of spices.

Juniper berries (very common in cooking wild boar in Italy), peppercorns, cinnamon sticks and bouquet garni all went into the pot. Since it was winter and our kitchen Rayburn was lit, I sat the pot on the cool edge of the stove and let it do its thing. It simmered very slowly over the next 12 hours. The following morning after allowing

the contents to cool, I carefully lifted the head out of the pot and onto a large tray so that the juices wouldn’t run all over the bench! Gloves on, I carefully separated the cooked meat from the cheeks and other parts of the head and set them aside. What amazed me was how much meat I was able to retrieve from the head. There was also a LOT of fat, which I discarded. I then chopped the meat, seasoned it all and added a little of the liquid and spooned the mix into small lined loaf trays to set.

The second head was going to be roasted slowly. I wanted to make rillettes with this one. This is a type of French pate’ that you pack into a glass jar and cover with a thin layer of the fat. Sounds disgusting, but it is truly delicious when spread on a fresh piece of baguette or slice of sourdough toast and eaten with pickles and mustard. I had to use my oven for this purpose, as I wanted to cook it slowly. I stuffed all the crevices (including the mouth!) with garlic, rosemary, thyme and parsley. It cooked slowly overnight and on the Sunday morning I pulled it out to see what the result was. The skin was firm and leathery and I removed the ears for my daughter’s dog Tilly. They were just like the ones you buy at the pet shop, only these were super tasty and chemical free! I repeated the process with separating the tender and ‘oh so tasty’ meat from all the hidden cavities. After shredding the meat and salting it, I added back a little of the fat and packed it into some jars.

The proof of the pudding is always in the tasting, and we sat down with a loaf of freshly baked bread, a pile of pickled broad beans (only because that’s what we had on hand in our pickling cupboard from last summer) and opened a bottle of cold white Dinny Goonan Riesling and gave it our best Masterchef judges impressions. The verdict was an 8 out of 10. There’s always room for improvement! Perhaps a little more seasoning next time we decided. I learned that when you serve something cold or at room temperature, you require more salt. We remedied the situation with a little black garlic salt, which was just perfect.

So, would I do this again? Yes, absolutely, but for a special occasion like Christmas or a family celebration. It’s immensely rewarding to create a dish from what would usually be considered a waste product. It is a very time consuming exercise for not a huge volume of product at the end. It has however given me a true appreciation of eating ‘nose to tail’, with low food miles to boot!

Xav Meade can be contacted via his Facebook page Barongarook Pork, and sells his ethically raised pork at various markets and box programs around the region.

62 Advertorial Sustainable Table

Sustainable Table The temperate climate and typography of the Otway Ranges provide an ideal setting for the sustainable production of food and other products for the local community. A ‘sustainable table’ is one that uses local food grown using ecological and ethical practices that: Contribute to a thriving local economy and sustainable livelihoods; Protect the diversity of both plants and animals and the welfare of farmed and wild species; Avoid damaging or wasting natural resources or contributing to climate change; Provide social benefits, such as good quality food, safe and healthy products, and educational opportunities.

Please support these local industries and be healthy at the same time!

The Calvert family has deep roots in Irrewarra. A Western District farming area near Colac, Calverts first farmed here in the 1840s. The bakery is in the restored stables of Irrewarra House – once filled with the aroma of horses and straw, it now exhales the heavenly aromas of freshly baked bread. Irrewarra is an Aboriginal word meaning “long spear throw”.

Traditional home of the Kolak clan, Irrewarra is now famous for sourdough bread and Irrewarra biodynamic ice-cream.

This is artisan bread at its finest.

Rustic and pure, our bread is not tainted with commercial yeast or preservatives and is created in a time honoured tradition. Shaped by hand and baked on the stone floor of the oven, every loaf is the individual expression of our bakers’ hands.

Never heavy or sour, our bread is the culmination of a 30-hour fermentation and proofing process.

But the real proof is in the tasting. www.irrewarra.com.au

Irrewarra Sourdough Bakery T. (03) 5233 6219 www.irrewarra.com.au

Otway Life Almanac 2019

Sustainable Table 63

Experience chocolate a little differently …

Platypi Chocolate is the latest great reason to take a break in the Otways. With canopy views of the Otway bush and birdsong for company, Platypi Chocolate is an ideal place to sit a while and reinvigorate the senses.

All chocolates are handmade on site from natural ingredients, including berries, fruits, nuts and our homemade honeycomb and marshmallow. Choose from specialty ganaches, then grab some packaged options to get you through the rest of your day.

Our kitchen garden gives us inspiration for our all-day meal options, or skip straight to our chef’s desserts!

Enjoy a wine, beer or locally roasted coffee or go for our specialty, a deconstructed hot chocolate! Create your own with one of our chocolate ‘bombs’, topped off with a homemade marshmallow – a little fun and theatre!

Open 10am to 5pm daily on the Apollo Bay side of Forrest, drop in and take a breather.

Platypi Chocolate 73 Grant Street, Forrest www.platypichocolate.com.au Like us on Facebook and Instagram

phone

5232 1111

64

Sustainable Table

Otway Artisan Gluten Free is a small, regional, gluten free bakehouse dedicated to the production of the finest quality gluten free breads and pizza bases.

We use a specially blended combination of premium quality gluten free flours which help give our breads and pizza bases that soft fluffy texture on the inside and golden crust on the outside. No animal fats or oils are used in any of our products and all of our products are dairy free and also 100% preservative free.

Come and visit our bakery for some amazing, fresh out of the oven, gluten free bread and pizza bases.

Our bakehouse is situated in the historic town of ‘Birre’ in the old bank building. The building was originally home to the Colonial Bank, built in the 1880’s and is full of character. Here we love to see strangers chat over a panini and locals regularly come in for a good coffee and good service.

We are proud to be part of the rich tapestry of the Otway region and are truly passionate about creating handmade, healthy and wholesome gluten free products.

They are sure to delight (and even surprise) those customers who are gluten intolerant, wheat intolerant, coeliacs or are just health conscious and enjoy great flavours!

7 7 M A I N S T R E E T, B I R R E G U R R A , VICTORIA 3242 --------------------------------------------------------------------P: +6 1 0 3 5 2 3 6 2 4 2 5 | M: 0 4 1 0 8 0 0 077

e: hello@otwayartisanglutenfree.com.au Otway Life Almanac 2019

Sustainable Table 65 Otway Prime is proud to be one of Victoria’s very first paddock-to-plate beef and lamb farmers and pioneers of what is now a growing trend for farmers to offer their produce directly to consumers.

The beautiful Otway region with its cool, pristine, high rainfall environment provides the perfect backdrop for our farm business. Long growing seasons and plentiful water allows livestock to graze peacefully in paddocks sheltered by the national park.

Over the years, Otway Prime has remained true to its original ethos of producing quality over quantity, valuing the land, the environment, being sensitive to animal welfare concerns and transparent with our customers.

We are pleased to offer our customers the highest quality produce, both tender and full of flavour. It is meat as it used to be, before the days of overcrowded feed-lots and it is absolutely true that you can taste the difference.

Keep an eye out for us. We can be found at many of the fabulous farmer’s markets in the greater Otway region, including South Geelong, Torquay, Airey’s Inlet and Apollo Bay. At these markets we proudly sit alongside some particularly talented local farmers and artisan producers.

Take the opportunity to drop by for a visit during your summer holiday and savour not just Otway Prime’s grassfed, dry aged beef and lamb, but also some of the region’s wonderful and unique produce.

More details: www.otwayprime.com.au and we are on facebook too.

Direct from the farmer

We serve coffee, drinks, milkshakes, homemade pies, sausage rolls, pasties, cakes, slices, biscuits, bread, soups and salads, local produce, newspapers, milk, cheeses, butter, groceries, local meats, vegetables, fruit, handmade regional giftware and local homewares

OPEN for breakfast, lunch and takeaway dinner 7 days a week. 8am - 5pm phone: 0428 112 212 email: udi@otwayprime.com.au

33 Grant Street, Forrest 3236 Victoria T: (03) 5236 6496 forrestgeneralstore.com.au

66

Sharing the passion Cheeselinks is an Australian business that is both familyowned and operated. The company was established in 1986 as Home Cheesemaking Supplies, specifically to provide quality cheesemaking ingredients and education to people who wanted to learn to make cheese in their own homes.

Over time we have expanded and we now supply many of Australia's cheese factories with cultures, baskets, and other equipment. The name was changed to Cheeselinks in 1999, to reflect the increasing service provided to commercial manufacturers.

Cheese-making is more than an art...

It’s a passion.

There are few past-times more fulfilling than creating your own produce. At Cheeselinks, we help you explore the world of cheese-making to discover just how easy it is to produce delicious cheeses and dairy products in your own home. You’ll never forget the moment you first taste a slice of cheese you’ve created with your own hands that you can share with your family and friends. We stock a wide selection of cheese-making tools, equipment and ingredients to help you prepare delectable cheese products. If you’re not ready to try yourself, we also host a range of workshops to provide expert advice and guidance on how to make an assortment of cheese styles.

Otway Life Almanac 2019

Come share our passion. Cheese and yoghurt making kits, cheese and yoghurt making cultures, rennet, recipes, hoops and baskets, wraps, cheesemaking workshops, basically everything you need to make sensational dairy products in your own kitchen.

Cheeselinks is a family-owned business supplying everything you need to make delicious cheese and yoghurt in your own home! It's cheap and easy to start –check out www.cheeselinks.com.au for more information about workshops coming up in 2018.

I attended a Cheeselinks workshop run through the Forrest Neighbourhood House here in the Otways. It was a fabulous day and we went home proudly bearing our very own delicious cheese and bubbling with enthusiasm to have a go at home. The instructors were knowledgable, friendly and more than ready to answer questions and share all those handy hints you wont get on a YouTube video.

There's something special about sharing the excitement of learning a new skill with a group of like-minded people, it was so good I signed up for another course!

Gillian Brew, Forrest resident

Sustainable Table 67

Share the passion... at a Private Workshop If you have a group of people that want to make cheese, private workshops can be arranged to cater to your needs.

As well as our standard workshops, there are a number of other workshops in our repertoire available on special

request, including Cheddar, Gouda, Swiss Cheese, Triple Cream Brie, Goat Cheese, Caerphilly and more!

A corporate or private workshop is the perfect opportunity to customise your workshop and learn to make the cheeses that you most want to learn!

68 Otway Harvest Trail

On the trail for Otway's best The Otway Harvest Trail is a local producers’ trail located in the Great Ocean Road hinterland. Stretching from Moriac to Port Campbell, the trail promotes visitation to the region by offering visitors and those living within the region authentic local experiences. A vibrant community of producers, makers, growers, artisans and sellers promote the produce of the region.

The bounty of the Otways is celebrated in four main categories: eat, drink, stay and play. The ‘eat’ category comprises of provedores selling local produce, artisan bakers, farm cafes, a world class restaurant and many more venues offering delicious food created with local produce.

Our members, Ravens Creek Farm in Moriac and The Farmers Place in Freshwater Creek, grow their own produce, raise their meat and offer education to our next generation by holding regular kids story times and holiday activities.

Brae Restaurant is a firm fixture on the world stage where Chef Dan Hunter creates seasonal tasting menus with location in mind and reflecting a close connection with the land and the pristine natural surrounds of the Otways.

The Deans Marsh General Store, Forrest General Store, and Jo’s Pantry in Colac are gathering places for foodies who seek out local fare. Pick up a paper, buy a coffee and some local olive oil from Maluka Estate or local preserves by the talented folks at the Otway Kitchen. Bakers Jo from Pennyroyal Bush Bread and Leah from Leah’s Bakes will keep your sweet tooth satisfied with their breads and cakes. Fill up your pantry stores with bulk foods at Jo’s Pantry.

When it comes to ‘drink’, you’ll be spoiled for choice.

Whatever your preference, there is something for you.

Craft breweries, wineries, cider and gin makers all offer superb local bevvies. While away a Sunday afternoon sipping wine and listening to live music at Gosling Creek winery. Visit cellar doors for wine tastings of delicious cool climate wines. Pop in to Dinny Goonan Wines and sample Dinny’s award winning Shiraz and Riesling wines. Relax at the Forrest Brewery with a delicious glass of cold beer.

Watch the brewer at work.

‘Stay’ for a weekend with your pooch at pet friendly Countrywide Cottages or relax on your own private deck overlooking the Otways at Otway Fields. Gather a group of friends or family and stay at King Parrot Cottages or indulge in a bit of luxury at Otway Escapes Luxury Spa Cottages.

Organise a foodie tour with Andy’s Trails or book a private cooking class at Cucina Cooking School. Visit local markets during the summer months. Come out and ‘play’.

Otway Life Almanac 2019

Each January, on the eve of Australia Day, the Otway Harvest Trail members gather at Birregurra Park and hold a Twilight Festa. It’s a celebration of the bounty of the region. Visitors from near and far come for the food, drinks and fabulous entertainment. This event has become a firm fixture on the local calendar. Chat with Pete from DK Potatoes, well known for his purple potatoes, sample hand made chocolates made by Jason from Gorge Chocolates, talk with Justin from Otway Artisan about his delicious gluten free breads. This is an event where you’re able to meet the people who grow and produce the food, wines and beers that the region is known for.

The Otway Harvest Trail is a member-driven, volunteer run group. Visit the official website www.otwayharvesttrail.org.au and follow the OHT on Instagram and Facebook.

Come and eat, drink, stay and play.

Otway Harvest Trail 69

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These times are estimates and should be used as a guide only: 35mins 40mins 45mins 55mins 17mins

26

VISITOR INFORMATION CENTRES

VISITOR SAFETY

To discover more visit your nearest Visitor Information Centre:

For the safety of visitors some businesses may choose not to operate on days of Very High, Severe, Extreme or Code Red fire alert days.

Check emergency warnings at www.emergency.vic.gov.au

Lorne 1300 891 152 Torquay 1300 614 219 Apollo Bay & Colac 1300 689 297 Port Campbell 1300 137 255 Also at Anglesea & Winchelsea

Otway Life Almanac 2019

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1616 The The Terminus Terminus Hotel Hotel 1717 Forrest Forrest Guesthouse Guesthouse LakeLake Elizabeth Elizabeth 1818 Forrest Forrest General General Store Store 1919 Forrest Forrest Brewing Brewing CoCo B100B100 2020 Platypi Platypi Chocolate Chocolate 2121 Otway Otway Fields Fields Farm Farm Shop Shop 2222 Foothills Foothills Organic Organic WYE WYE RIVER RIVER 23 23 Otway Otway Estate Estate 159C159 2424 Kawarren Kawarren Farm Farm Stay Stay 25 25 Otway Otway Blueberries Blueberries KENNETT KENNETT RIVER RIVER C119C119 2626 Lightkeeper’s Lightkeeper’s Kitchen Kitchen Rd Rd ea n ea n Oc t Oc t a a 27 27 Otway Otway Central Central Tavern Tavern Gre Gre 2828 GORGE GORGE Chocolates Chocolates 29 29 Sow Sow & Piglets & Piglets Brewery Brewery SKENES SKENES CREEK CREEK 0km0km 5km5km 10km 10km 3030 Forage Forage onon thethe Foreshore Foreshore 3131 The The Place Place of of Wonder Wonder APOLLO APOLLO BAY BAY 3232 Timboon Timboon Fine Fine IceIce Cream Cream 1 1 Robertsons Robertsons Farmgate Farmgate 3333 Timboon Timboon Railway Railway Shed Shed Distillery Distillery 2 2 The The Farmers Farmers Place Place 3434 Dairylicious Dairylicious 3 3 Brown Brown Magpie Magpie Wines Wines 3535 Lake Lake Edge Edge Cafe Cafe 4 4 Ravens Ravens Creek Creek Farm Farm 3636 Corunnun Corunnun Walnuts Walnuts & Truffles & Truffles 5 5 Dinny Dinny Goonan Goonan Wines Wines 3737 Colac Colac Botanic Botanic Cafe Cafe onon thethe lake lake 6 6 Countrywide Countrywide Cottages Cottages 3838 Cucina Cucina Cookery Cookery School School & B&B & B&B 7 7 Blakes Blakes Estate Estate 3939 Jo’s Jo’s Pantry Pantry 8 8 The The Store Store Deans Deans Marsh Marsh 4040 Irrewarra Irrewarra Vineyard Vineyard Villa Villa 9 9 Gosling Gosling Creek/Otway Creek/Otway Hinterland Hinterland Wines Wines 4141 Yeowarra Yeowarra HillHill Winery Winery 1010 Pennyroyal Pennyroyal Raspberry Raspberry Farm Farm & Cidery & Cidery 4242 Warncoort Warncoort Quince Quince Paste Paste 11 11 Gentle Gentle Annie Annie Berry Berry Gardens Gardens 4343 Tarndie Tarndie Polwarth Polwarth Wool Wool 1212 Otway Otway Escapes Escapes Luxury Luxury Accomodation Accomodation 4444 Otway Otway Artisan Artisan Bread Bread 1313 King King Parrot Parrot Cottages Cottages 4545 Brae Brae 1414 Very Very Berry Berry Orchard Orchard 4646 The The Vault Vault – farm – farm giftgift shop/ shop/ Hastings Hastings Ostrich Ostrich Farm Farm 1515 Ratley Ratley Manor Manor Farm-Stay Farm-Stay Cottage Cottage 4747 Winchelsea Winchelsea Tea Tea Rooms Rooms & Cafe & Cafe 2020

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72

Steiner education …

Head…Heart…Hands...

Art education is widely extolled for its virtues in preparing us for a changing world, according to Prof. Ted Snell in his recent address to the Australian Council of University Art and Design Schools Annual Conference . Ted, a cultural leader and advisor on the Arts in Australia, states that visual literacy and education in communication via the arts is as fundamental in today's world as language and numeracy.

He goes on to quote the Top 10 Work ready skills according to the 2016 World Economic Forum with the first 3 being ‘critical thinking’ ‘problem solving’ and ‘creativity’. He affirms the necessity of students to make and learn about art at all levels of the school system in order to have a well-rounded education. Visually adept students will be well -placed for a Fourth Industrial Revolution with skills developed and honed through an engagement with the visual arts.

(The West Australian 26-9-18).

The first impulse to seek out a different way of socialising with and rearing our children came from a local Homebirth midwife. She spoke from personal experience with a group of parents in Apollo Bay at a day on Natural Parenting in late 2001. The joyful routines and rhythyms of a Steiner-run playgroup and the benefits to our children of experiencing this gentle approach in their early development were discovered and a spark was lit.

Several parents bought the book ‘You are your Child's First Teacher’ and some months later we decided to form a group and keep meeting, with the possibility of starting a playgroup. A committee of interested families set about collecting and making simple toys and furniture from natural materials, learning seasonal songs and discovering crafts skills to share with each other. Playgroup Leaders from Geelong Rudolf Steiner School (now based at Steiner education aims to convey knowledge skills and Freshwater Creek) ran a playgroup session for us in May attitudes via an artistic or creative vehicle. Rudolf Steiner 2002. They lead us through a morning circle was an Austrian philosopher, scientist with songs and rhymes, with crafts for the and educator who was able to offer parents to role model ‘busy hands’ for our “If, through an artistic ideas and practical help in fields such as and finished with the story ‘Sweet medicine, agriculture, architecture, the approach which appeals children, Porridge’ told with small dolls and fleece arts, religious renewal and education. to the whole human erupting from the overflowing porridge pot.

In 1919 he established a school for the Resources we’d collected were split to set up children of employees at the Waldorf being, we gradually spaces in two private homes with regular play Astoria cigarette factory in Stuttgart, dates beginning in Term 3 2002. unfold in our teaching Germany. Based on his own philosophy -‘Anthroposophy’ comes from the Greek words anthro (human) and sophia (wisdom) meaning ‘wisdom of man’ - he expressed his approach to education:”to receive the child in reverence, to educate the child in love, to lead the child into true freedom”.

“If, through an artistic approach which appeals to the whole human being, we gradually unfold in our teaching what has become purely intellectual in the world, our pupils will grow into complete and integrated personalities, capable of developing real initiative” (Steiner, The Renewal of Education 1920).

what has become purely intellectual in the world, our pupils will grow into complete and integrated personalities, capable of developing real initiative” Steiner, The Renewal of Education 1920

The pre-school child’s nature is to experience, explore and come to know the world through imitation and the senses, by physically ‘doing’ and feeling. The parental role is to provide a worthy environment for this to occur, one that is safe, caring and harmonious. There is no ‘teaching’ at this stage, but the children’s capacities are enhanced by listening to stories, painting and making crafts, singing and celebrating seasonal festivals.A group of families in Apollo Bay decided to start what is now Playgroup by the Sea -Steiner inspired, in 2002 and continues to meet with a small group of families each Tuesday – here is our story…

Otway Life Almanac 2019

Over the years we've met in private homes of many of our families, local Church Halls, the Youth Club, the tennis/netball clubrooms, the Preschool, Otway herbs, the beach and the bush from Wye River to Paradise & west to Cape Otway. In December 2014 we moved to the group’s current location in a little shed next to the rainforest on the Barham River Road Apollo Bay kindly shared with us by a generous local family.

Each week we follow a similar rhythym, we bake bread,welcome the Seasons with songs, share fruit salad for morning tea, and make crafts with our families. We have crafted items from all sorts of natural treasures including fleece angels from local wool and Autumn Fairies from Forrest leaves. On our seasonal table we light a candle and bring in flowers and a shell or stone from the local area. We finish with a story about nature,animals, gnomes, giants or even fairies and have been taken on many magical adventures together.

Seasonal festivals are special occasions which offer the opportunity to share food drinks and music. We have celebrated Autumn Harvest, Mid-Winter Solstice, Spring, and Christmas and Summer Solstice with time given to reflect the on natural beauty of the changing world around us.

Matters of the Heart & Spirit 73

Parents and children have been involved in maypole dancing, lantern parades & dramatic performances. ’Seabreeze’ newsletters produced by parents started in Autumn 2003 sharing recipes, patterns, poetry, stories and parenting articles, have been a great source of inspiration for many families past & present. Some of our local families have moved away over the years to follow their dreams in different places but we have many fond memories of creating supportive nurturing community for each other as young families. Our children have a foundation in this creative way of being and retell stories of their playgroup mornings with varying degrees of fondness and sentimentality. To one child we were known as the ‘bread’ playgroup.

We currently have a Steiner Study group which meets every 2nd Thursday in a home in Marengo, We cannot expect our children to be clear in thought, balanced in feeling and assured in action if we have not taken on the inner work of adult development ourselves. This awakening is the task we all share as human beings journeying in community together.

Our playgroup is on every Tuesday 10am-12 noon of school terms run by our wonderful leaders Gabby Moore and Nat Morrow. The children involved in the initial groups back in 2002 are all now either finished school or completing Year 12 in the next little while..

Thank you to all those who have taken on leadership and committee roles it is because of you that we are today still a vibrant and growing group. We are grateful we have continued to receive generous support from Playgroup families and community members – Including Otway Life for sharing our story! This group attracts good will and good weather for all sorts of creative free play.

Come along with your preschool aged children if you are interested in finding out more. Phone Lyndi 0428 999 490 or Gabby 0438 523 148 your first session is free!

"Where is the book in which the teacher can read about what teaching is? The children themselves are this book. We should not learn to teach out of any book other than the one lying open before us and consisting of the children themselves".

- Rudolf Steiner - Rhythms of Learning

74

Raising Healthy Families

The importance of connecting children to nature in the 21st century by Kit Kline As parents, our lives have become hectic! Working and raising children simultaneously has become a balancing act.

Sometimes we get it right, other times we don’t. And when we don’t, we often have feelings of not being good enough.

Worry and stress become our daily habits and we look for easy, quick solutions. Those solutions might be eating fast foods, giving our children technology to keep them busy or downing a bottle of wine to forget the day we have had.

The consequences of these solutions can be detrimental to both our children’s health and our own as parents. Some of the symptoms that could arise include: depression, anxiety, feeling isolated, substance abuse, behavior problems, and learning difficulties.

I am a mother of four young children and have spent the last seventeen years working as a counsellor in the field of mental health and substance abuse.

I understand first-hand the consequences of not spending time in nature. And conversely, I’ve experienced the joys and benefits to be found immersing ourselves in the natural world. This includes for both child and parent.

There is much evidence to suggest that spending time in nature can relive stress, reduce depression, improve mood, alleviate anxiety, reduce blood pressure, improve autoimmune function and bring families closer together. I have just returned from a 4-day break in the Otways with my family and I can certainly state that I have returned home feeling much more relaxed, clear minded, refreshed and have a greater appreciation for my children. We spent our time away walking through rainforests, horse riding, taking photographs of the natural world, playing in the dirt, sitting

around a fire and talking, and enjoying a picnic at the Californian Redwoods.

What a magical place that is!

This time together gave us the chance to slow down, connect and appreciate the smaller things in life. One of the most important things that we can do for our children is allow them to spend time in nature observing and exploring. We don’t need to be busy in nature or plan activities, just ‘being’ in nature rather than ‘doing’ is the important thing. I really enjoy going to the bush and just allowing my children to lead the way. It is interesting to see what they do and how they behave.

You soon start witnessing something very special. They ‘tune in’ to their sensory system and start to hear the birds, touch the leaves of trees, taste the water in the river, smell the blooming flowers of spring and see with inquisitive eyes. They become one with nature around them.

Children also appear to become more creative and observant. They start to engage with the natural world like they are in a playground and make up their own games and create art using natural resources. Spending time in nature can also help children become critical thinkers and improves their problem-solving skills.

We are not separate from the natural world. We are nature. It is important that we teach and role model this to our children. In order to raise healthy families and nourish ourselves both mentally, emotionally, physically and spiritually we must continue to nurture our connection to the natural world. This includes spending time exploring our natural environments, eating organic wholefoods provided by the earth and enjoying time away from technology. Doing it as a family to share experiences and create memories. Connecting our children to nature in the 21st century is not only good for our children but also for ourselves!

Kit Kline is the founder of Nature Based Therapy and is passionate about improving individual, family, community and environmental health. She is currently studying psychology at Deakin University and facilitates workshops on NBT and delivers the Diploma in Nature Based Therapy.

For more information please visit www.naturebasedtherapy.com.au or email Kit at info@naturebasedtherapy.com.au.

Otway Life Almanac 2019

Matters of the Heart & Spirit 75

Qing and Jing

Crystal Clear Mind Tranquil Heart

Excerpt from Professor Lun Wong’s Nature Dao lectures to the graduate students of Traditional Chinese Medicine

by James Middleton Adv. Dip TCM Two words, Qing and Jing, are presented as precepts from Nature Dao (Tao), the ancient Chinese ‘Study of Nature’. Qing means crystal clear mind and Jing means tranquil heart.

When a person embodies the essence of these two words, there is never internal argument in the mind. When a person maintains their calm – tranquillity – and a crystal-clear mind, they easily sort out even the most complicated problems.

This is because the Dao heart is very pure, like clean and crystal-clear water. If a person or life situations confront you, remain calm and clear of mind. This is the best way to aid discrimination and allow the truth to become apparent. It may be that you need to acknowledge some part of what is happening in order to learn; this is beneficial and no grounds for any upset.

It may be that you need to find a way to offer your own ideas. Discussion, without pushing another person down, will calm and improve the situation. Falling into argument leads to aggression, gossip, taking sides and emotional upset. Do not allow yourself to assert superiority over others. Not arguing and having no enemy are manifestations of Qing and Jing.

Qing Jing Wu Wei is an ancient precept, reflecting a state of being that displays a crystal-clear mind and tranquil heart, being calm and adjusting naturally to life’s changes without aggression or upset. Accepting everything that does, or does not come, with equanimity, without attachment to actions or to the result of actions. Thus illustrating a path beyond inner disturbance.

The internal mental/emotional state of Wu Wei is likened to very still clear water. Water can only remain clear when there is no agitation or disturbance.

Qing Jing is to facilitate a crystal-clear mind and tranquil heart by keeping with a beneficial central life path. Wu Wei

is to calm the mind by remaining free of attachments, to actions, or to the result of actions. These words indicate an imperative to guide one's internal and external self to adjust/adapt naturally to life’s changes without aggression or upset. These four words are historically linked together because each aspect supports the attainment of the other.

Together these four words describe a state of being that maintains equilibrium of mind and body, is always at peace, displaying non-attachment to results, holding a beneficial focus, flowing with the natural way of life and never taking unfair advantage.

When we master Wu Wei, we initiate the advance to You Wei. If any circumstance arises that allows you to benefit the situation, or person, to return to nature – or to a better way, then do it. If there is no one else available to help or do something that needs to be done, then you have to do it. To be complete, the proper way of Dao is to evolve to You Wei, when we have opportunity to do the right thing and we are strong enough, then we have to do it; why not?

Why did Lao Zi emphasize Wu Wei? He likened Wu Wei to a natural state of nature.

When there is no wind, a tree remains still with no movement left or right. When there is wind, a tree flexes in exact accord as the force against it warrants, perfectly, according to the flow of currents. When there is rain, the leaves and limbs flex and bend under the weight of water, always facilitating the path of least resistance.

The forces that push against a tree strengthen the tree.

The forces of nature teach the tree how to be strong. Roots grow to be perfectly appropriate for relationship with the soil - for the trunk to survive. The trunk will develop according to the surrounds - well enough for the branches to survive. The branches will develop according to the surrounds - well enough to ensure success of the leaves and fruit and so forth. This is nature and this is our nature too. So, we remain unaffected and allow nature to train us to be strong - and this is Qing Jing Wu Wei

James Middleton was for 18 years the senior practitioner and senior assistant to Prof Wong Lun at the Academy of Traditional Chinese Medicine (TCM) Northcote. He has been a full time practitioner of TCM since 1991. Most recently he has written a rendering of Prof Wong's ’Nature Dao Lectures' and the Academy ‘Clinical Acupuncture Class Notes’. He served as Secretary of the Traditional Medicine of China Society Association (TCMCA)for 10 years.

More information can be found at: www.jamesmiddleton.net

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Matters of the Heart & Spirit 77

Buddhist view of love and compassion

By Venerable Jampa Drolma and David Mayer.

The definition of love in Buddhism is something quite different from the ordinary term ‘love’ we regularly use in our daily life. It is not in relation to attachment or lust but love with a sense of good-will and from the depths of one’s heart that we direct a sincere wish for sentient beings (all living beings with a mind) to be happy and have the causes that gives rise to happiness.

So from this definition, we can translate it as lovingkindness, or unconditional love.

We all have this potential within ourselves and it arises from a gentle, warm heart. If we are willing to activate this and allow ourselves to open our heart and open our mind, this loving kindness is the most powerful emotion. Why? Because with love our suffering is relieved, it brings protection and increases affection and happiness. It is the very essence of our peaceful state of mind because it minimizes hatred and anger from dominating our mind. Love is something that we all appreciate, and it is a value that should be directed to both the self and others. So, we focus on fulfilling others’ happiness while directing our practice to working on oneself, that is, removing attachment, anger and ignorance from one’s own states of mind.

His Holiness the 14th Dalai Lama advises us to “Put others first; you yourself come next. This works even from a selfish point of view. You want happiness and do not want suffering, and if you show other people kindness, love and respect, they will respond in kind; this way your happiness will increase. If you show other people anger and hatred, they will show you the same, and you will lose your own happiness. When you are concerned with others, your own well-being is fulfilled automatically.”

All sentient beings wish for happiness and there is nothing wrong in that, however often in pursuit of our own happiness we tend to neglect others. The true source of happiness is our connection with others and considering their needs. When we neglect others our own peace of mind is difficult to maintain because it is a mind that views others as different from the self.

Tara the Liberator

The previous extract was written by Drol Kar Buddhist Centre’s resident nun the Venerable Jampa Drolma from a one-day workshop on the topic of developing love, compassion, joy and equanimity.

Buddhist practice makes specific reference to addressing everyday difficulties and offers level headed methods to deal with them. Developing love for all beings is advanced by recognizing our universal difficulties in life such as adjusting to sickness, aging and loss. Recognizing that we all experience pain when confronting these situations, we work towards developing a warm heart in wishing that all are free of this pain. As Jampa mentions, love is defined as the wish that all beings have happiness and genuine compassion and the wish that all are free of pain and we make effort through our practice to offer love and compassion equally to all, without bias or prejudice.

Drol Kar Buddhist Centre conducts regular retreat days throughout the year held within the tranquil setting of our 7-acre garden, the day long practice provides opportunities to reduce stress and have a break from our busy life. Some of the feedback we received on our last retreat day included “enjoyed the retreat especially the next day, good lesson in tolerance”, “we meditated on love, compassion, joy and equanimity, you have made our day and future brighter” and “I found everyone involved very welcoming and encouraging”.

78 Finding Felicity

Finding Felicity Felicity n. /fI’lIsIti

A state of well-being characterized by emotions ranging from contentment to intense joy…

Renewing your relationship with the natural world, eating well, exercising and having healthy relationships are all pathways to felicity…

In the Otway Ranges and surrounding area there are many innovative programs, services and events to aid your journey.

Here are just some we have found…

Healing Services for Mind, Body and Soul Down a quiet dirt road in a peaceful bush setting is the beautiful sanctuary of Crow Kiah. It is here you will find Serra Manawey Healing, a holistic healing service to help ease the minds, bodies and souls of people seeking an alternative approach to personal health and relaxation.

Serra Manawey is an experienced Energy Healer and Massage Therapist who believes true healing comes from treating clients on all levels.

Offering a range of services including Balinese Intuitive Massage, Relaxation Massage, Energy Clearing Massage, Reiki, Crystal Healing and Sound Healing, there is something to suit each person’s needs.

After a treatment clients are welcome to spend some time resting in the orchard or reflecting in the mystical labyrinth, a gift of space and time before returning to the world.

Serra Manawey Healing Forrest. Ph: 0447309771 Email: serramanawey@gmail.com

www.serramanaweyhealing.com Otway Life Almanac 2019

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Chinese Medicine Colac Otway Chinese Medicine offers the best in physical therapies for pain, tension, and stress.

Sports injuries, acute back pain, neck pain and headaches are all within the qualifications and experience of practitioners Andrew Broomfield and Shizu Aoki-Broomfield.

Andrew is a Chinese medicine practitioner and registered acupuncturist, while Shizu is a highly skilled remedial massage therapist.

Andrew and Shizu have been operating Colac Otway Chinese Medicine in their Hesse Street clinic for 16 years, placing them among the most experienced therapists in Colac and district.

If you are suffering acute or chronic pain, from sport or work injury, arthritis, fibromyalgia or chronic fatigue, or pain and tension from unknown causes, come and try some therapy at Colac Otway Chinese Medicine.

If you are unsure whether you would benefit more from acupuncture with Andrew, or massage from Shizu, give us a call, or drop in for a chat we'll and advise you what we think might work best.

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For appointments at our Colac, Forrest, and Lorne practices: Phone (03) 52311799 M: 0438 816 170 or book online

colacotwaychinesemedicine.com

Finding Felicity 79

Nature Based Therapy Nature Based therapy is an emerging field in both complimentary therapies and holistic health treatment which is being incorporated into the practice of many medical and mental health professions. Occupational therapists, physical therapists, nurses, social workers and psychologists have used NBT practices as a complementary means of treating a variety of physical, emotional, and cognitive disorders.

Nature Based Therapy uses nature as a tool to promote health and is based on the therapeutic use of sensory experiences which incorporates nature bathing, journaling, creative arts, holistic counselling, nature based diet, Indigenous philosophy, holistic health education and self-care into clinical settings that greatly benefit clients.

There is a growing amount of evidence based research that suggests Nature Based Therapy has proven to be beneficial treatment modality for anxiety, depression, stress and other mental health disorders. By enabling people to reconnect with nature and experience its beauty, a sense of belongingness emerges, and life becomes more meaningful.

"Look deep into nature and then you will understand everything better " Albert Einstien

KIT KLINE - Nature Based Therapist T: 0415 926 334 info@naturebasedtherapy.com.au

www.naturebasedtherapy.com.au

80 Environment

Fungi hold forest secrets Although little appreciated, clandestine subterranean relationships between fungi and plants underpin the health of the local Otway forests.

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Australia is a fungal Eden with about 8,000 species of the larger fungi having been scientifically described. Hundreds, possibly thousands of species of fungi exist in the Otways forests, although many are yet to be named. While most people are familiar with the cap-and-stalk style mushroom, fungi exist in all sorts of weird and wonderful forms shaped like corals, goblets, pancakes, brains and other more curious configurations. While we often only think about fungi when we see mushrooms push through the soil, it is the underground network of fungal fibres known as mycelia that underpin forest health and functioning.

Beneath the soil, fungal mycelia form beneficial relationships known as mycorrhizas with the great majority of plants. Over 90% of plants form these relationships with fungi including almost every plant species in the Otway forests. Usually a single plant species has multiple fungal partners. Scientists consider that the exchanges that occur as part of these relationships are some of the most relevant biological processes on the planet.

So how do these relationships work? In these subterranean alliances, fungi either sheath plant roots or directly penetrate the root cortical cells, greatly extending their root systems, and helping them to access water and nutrients. They also improve the resilience and health of plants by increasing their drought tolerance and resistance

to soil-borne disease. Plants return the favour by providing the fungi with a feed of sugars produced through photosynthesis. What's more, these mycorrhizal networks stretch beyond just individual trees. Fungi extend relationships through the soil to other plants, facilitating nutrient transfer between them and uniting plant communities. Mycorrhizal networks are now considered to be the orchestrators of plant interactions mediating their growth and survival.

The fungal network of mycelia is like a giant scaffold, building architecture in soils, allowing water to gently percolate to deeper horizons and aerating the soil so it becomes inhabitable to other forms of life. Fungi are also the great recyclers of organic matter, returning nutrients to the soil and making them available to plants. Through secreting enzymes, they can degrade almost any organic material containing carbon. Although bacteria and invertebrates also contribute to decomposition processes, only fungi can degrade lignin. Every leaf and stick that falls to the forest floor will be recycled by fungi.

Ever noticed signs of animals digging while wandering around in the forest? Fungi also provides food for dozens of native mammals such as wallabies and bush rats. In autumn, underground fungi such as truffles, can constitute most of their diets. Although European truffles are now harvested commercially in the Otways, the forests harbour a huge diversity of native truffles.

As the air cools and the autumn approaches, make sure you take the opportunity to discover the incredible fungal treasures of the local forests.

About the Author Dr Alison Pouliot is an ecologist and environmental photographer who runs fungal ecology courses in Australia and internationally. She has been holding fungus forays in the Otways for over a decade. Her recent book, The Allure of Fungi documents a forgotten corner of the natural world that is both beguiling and fundamental to life. For more information or join a foray visit: www.alisonpouliot.com.

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Wildlife Wonders

ecotourism experience will bring many benefits A new ecotourism experience on the Great Ocean Road has its sights set on helping to solve some significant problems, from Australia’s faunal extinction crisis to a shortage of secure jobs.

But it’s not all about the animals. Wildlife Wonders will create careers in conservation as well, increasing the number of secure jobs available to local people and bringing some great minds into the region too.

Lizzie Corke and the team at the Conservation Ecology Centre have spent nearly two decades working to protect the unique environment of the Otways.

The project is also addressing a current gap in the tourism market, creating a sustainable tourism attraction that educates visitors and enhances their experience of the Great Ocean Road and regional Victoria.

The work has, in part, been supported by their awardwinning Great Ocean Ecolodge, but a couple of years ago they realised it was time to step up their efforts.

“Australia has one of the worst records in the world for allowing our unique animals to go extinct,” says CEO Lizzie Corke. “And current funding challenges mean there is limited long-term monitoring, skills shortages, and low levels of innovation in conservation.”

In a true case of thinking globally but acting locally, the Conservation Ecology Centre realised they could use their experience in eco-tourism to create a unique experience on the Great Ocean Road which would deliver social and economic benefits, as well as helping to fund their conservation research.

“Wildlife Wonders provides an alternative funding model for conservation – helping us break free of short-term funding cycles - leading to more effective and efficient conservation efforts”.

“Long-term monitoring, conservation, and restoration projects will allow us to better understand and protect the Otways. Leading to an improvement in the viability and resilience of threatened species populations.”

Otway Life Almanac 2019

Wildlife Wonders has the potential to positively disrupt the current tourism industry - providing visitor connection with the Great Ocean Road region and increasing length of stay.

“We hope that Wildlife Wonders will encourage visitors to stay longer and to spend more money in the region, helping to strengthen our local economy,” says Lizzie.

After being given the green light last year, the project has received support from both the Australian and Victorian governments and revegetation and path layout have commenced on the site.

“We’ve secured over $6 million in funding, including the Victorian Government’s $1.5 million investment and $2 million from the Australian Government,” says Lizzie.

“Now we’re commencing discussions with private philanthropists and investors to bring us up to our target of $12.6million for the project.” says Lizzie.

For more info visit: www.wildlifewonders.org.au Or keep up to date by following Wildlife Wonders on Twitter (@WildWondersAus), Facebook (@ WIldlifeWondersAus), or Instagram (@WIldWondersAus)

Ferns establishing

Environment 83

Credit Doug Gimesy

Benefits of the project include: • A reliable, sustainable funding model for conservation • Engagement of the local and global community with Australian wildlife conservation • Ecologically responsible economic development in regional Victoria • Secure jobs and career development opportunities in conservation and ecotourism Credit Doug Gimesy

• Demonstration of a business- based approach to community development and environmental conservation • A sustainable tourism attraction that educates visitors and enhances their experience of the Great Ocean Road and regional Victoria

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Hidden Falls

Wye River Falls

Dunse Falls

Otway Life Almanac 2019

Horseshoe Falls

Environment 85

Falling for the Otways

by Ed Arnfield

I was first introduced to the Otway Ranges on a camping trip a few years ago. Over the course of three days, I photographed the popular attractions of Erskine Falls, Hopetoun Falls, Beauchamp Falls and many others.

Although I had only been exposed to this place for a few days, It was enough to plant a seed of curiosity within me; and photographing these waterfalls was something I needed to do.

Having spent a lot of my childhood hiking on and off-track around Wilsons Promontory and the Alpine National Park, I felt comfortable in stepping off the path in the Otways too.

After purchasing a detailed topographic map and loading coordinates into my GPS, I made a few trips back and forth to the upper regions of the Cumberland River in search of rarely seen waterfalls.

Within a month, I was hooked. The complete sense of solitude and freedom when hiking off-track to see seldom visited waterfalls is a feeling I will never tire of. Navigating through and traversing the rivers and creeks of the Otways is rarely an easy task, but the efforts are never in vain when I get to capture and share these hidden gems few know about or will ever see.

Over the winter of 2016, I made over 20 trips into the forgotten corners of the Otways. I visited and photographed waterfalls in areas such as: the Pennyroyal Valley, Lavers Hill, Separation Creek, Tanybryn and many watercourses situated within the Olangolah Plantation.

My interest began to grow further when I discovered old photographs and news articles mentioning some of these

Lardner Falls

locations. Reading articles about these maiden expeditions up undocumented rivers provided great information along with fascinating stories of the men who dared traverse them. Old maps and photographs helped me piece together the original names of waterfalls and gave me clues as to where others may be.

During some down time I had while on an extended thruhike overseas last year, I happened across an old picture of a waterfall located somewhere on the Cumberland River. It was titled ‘Cumberland Falls’ and looked to be at least 60-80 years old. After further research, I discovered this waterfall is now shown on modern day maps under the contemporary name ‘Hidden Falls’. I made the decision that when I got home, I would attempt to photograph these falls.

Over the recent months with the help of my cousins, we have been heading deep into the Otways with the intention of filming each journey. Sharing the beauty of these magical, untouched places is a duty that I feel is necessary. Allowing others to vicariously experience the magnificence of these surroundings whilst shedding light onto the concealed cataracts of the Otway Ranges gives me great joy. It is hard to explain the feeling of elation one experiences when in the presence of an isolated natural treasure. But hopefully, through our videos, others may gain an understanding and an appreciation of these beautiful places.

Social Media links Youtube Channel with our waterfall videos: www.youtube. com/channel/UC5G8L1tm-D6l-ZFKNS-wwvw Instagram www.instagram.com/eddy.arnfield/

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The Banyalla Conundrum

by Mike Robinson-Koss

Go on admit it, the Otways is home to some beautiful and majestic trees. Towering mountain ash, ancient myrtle beech and gullies full of blackwood come quickly to mind.

These are the useful trees, the commercial trees, the ones we like to photograph and write stories about. Sometimes though, we forget to bring our vision down into the understory where there is an amazing array of interesting and unusual shrubs and small trees stretching upward to the canopy above.

I love the names of some of these species. Descriptive are some, esoteric are others. Names like satinbox, blanket leaf, musk daisy, Christmas bush, mock olive, bootlace bush and banyalla come to mind, conjuring up images of a mysterious forest. I can’t get that last one out of my mind though. Banyalla. An unusual name, obviously of indigenous origins but one I can find no reference to or from where in Australia the name originates. There are a few European common names for banyalla that include cheesewood and waddywood.

So, fresh cut wood has a cheesy appearance but after drying it is hard and durable and its uses have included weapons, tools and even pool cues!

You’ll find banyalla (Pittosporum bicolor) growing all over the Otways where rainfall is sufficient and in well-drained soils. It loves growing amongst the soft tree ferns in the cool temperate rainforest around the Aire River.

Gondwanan in origin, the genus Pittosporum includes 200 species across Africa, Oceania and Australasia. Out of the 11 species native to Australia, the two that are the main characters in this Otway story are the sweet pittosporum (P. undulatum) and, not surprisingly, our very own banyalla. The story, as yet unfinished, looks like it may not have a happy ending. Sweet pittosporum’s original territory is east of Melbourne skirting the coast all the way up to Queensland, but for over a century has been widely planted as a sweetly scented shade and hedge tree in Otway coastal towns. Banyalla’s home territory is mostly at higher elevation along the Great Divide with its

ABOVE: The leaves, flowers and seed of the indigenous Pittosporum bicolor- banyalla. Growth habit of the indigenous banyalla is a tightly branched, columnar small tree up to 6m tall x 3m wide.

The hybrid between the two species. Note the flat, non toothed leaves.

Seed pods all look similar.

Otway Life Almanac 2019

Pittosporum undulatum- sweet pittosporum. Note the true undulatum leaves- yellowish, wavy and somewhat toothed. Sweet pittosporum is a very vigorous tree to 10m tall and wide

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westernmost population here in the Otways. Historically it has been overlooked as a garden ornamental.

Along the Great Ocean Road, the fruit of sweet pittosporum has become a tasty addition to many a bird’s diet where the seed is digested and ejected far and wide and inland into banyalla territory where they readily germinate into dense trees shading out any competition, including from the banyalla. But something even more sinister is lurking behind the scenes. The two species are VERY closely related and now that the invader has moved into banyalla territory they have started to hybridise. This hybrid subspecies is now categorized as P. undulatum ssp. x emmettii and is popping up in the least expected places.

Increasingly, the collection of banyalla seed is becoming more fraught with serious gene pollution issues.

Collecting from populations where the hybrid is absent will mostly assure the collector of pure genes but the Otways are small and not very high in elevation. There are unknown numbers of hybrids germinating every

year, potentially spreading further into the deepest, most isolated parts of the Otways. Botanists from Monash Uni have begun some initial research into the hybrid but it’s still very early days and no real answers are forthcoming short of removing all the hybrids and P undulatum across the Otways. A seriously monumental task!

So what can be done? Education is a start, thus this article. Please pass it on to your friends. If you the reader know of these weeds growing in your garden or in the bush near you, why not get into action. Get the saw sharpened, inform your neighbours or get your Landcare/ friends group on side.

As a grower of banyalla I really need to know where I can go to safely collect seed to keep the true lineage of the species going. This task is becoming harder by the day.

The Otway Range is an island surrounded by ocean and grassland. The banyalla has literally got nowhere to go and not enough time to evolve to find its way out of the conundrum it finds itself in.

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Tree Planting Calendar For the Successful Grower In order to have a successful tree planting / revegetation program you must be prepared well in advance of the planting day.

It has been proven over and over that weed or grass competition is the main cause of tree seedling mortality. In other words, the trees die before they become established because they are competing with the surrounding vegetation for available soil moisture. By keeping the area around the young tree seedling weed free, the seedling will grow without competition and by the first summer will have its roots into the moist subsoil helping it survive until the rains begin again.

In years of drought or exceptionally hot conditions this pre planting weed control could be the one factor between success and failure. Weed control is the most important step in a successful revegetation program.

The other points to consider now before you’ve picked your trees up and are ready to plant are: 1. Do you have rabbits or hares or other animals on your property that find tree and shrub seedlings tasty such as sheep, wallabies, kangaroos, crickets, magpies, etc?

If the answer is yes then you should be controlling the feral critters and fencing out the others. If you’re not sure, look for burrows, droppings, or rabbit scratches in the soil. Go out at night with a spot light and look around for animals. You will soon see them in the light and you can work out what they are. Ask questions of your neighbours of their experiences- do they know of browsing animals in the area and if yes what are they?

b. Inland where soil can get waterlogged during the winter months or be prone to extreme frosts, an early to late spring planting is the recommended time. The soil is still moist (but starting to dry out) and is beginning to warm up encouraging the tree/shrub to grow. The seedlings’ roots will follow the soil moisture down into the subsoil as the soil dries out from the surface down.

The Plan of Attack for Successful Revegetation 9-12 MONTHS PRIOR TO PLANTING 1. Start your weed control program now if you have highly competitive weeds such as phalaris, blackberry, paspalum or bracken.

Grasses can be controlled with glyphosphate (ie Round Up) or by using mulch; woody weeds are controlled with Brush-off or more serious nasties like Garlon or even using stock like goats (they will also browse native plants you may wish to maintain so be careful. Goats only control blackberry, they won’t kill it so as soon as you remove the goats, the blackberries will return-be ready!).

2. Order your plants well in advance of planting.

2. What species of tree/shrub are you going to plant on your property? What are your needs/ wants?

We recommend you order your plants before December (about 6-10 months before planting). If you don’t know what to plant, give us a ring and we can help you with selecting species and where to plant them.

Some species are difficult to grow or have certain seed collecting requirements. These plants need more time before they are ready for planting. It all boils down to being prepared.

a. Halting or slowing erosion.

3. Begin your vermin control program now!

b. Helping to curb a soil salinity problem.

The rabbit calici virus and mixomitosis have helped to control some of these critters but if rabbit burrows are still open, other rabbits will move in. Rabbit burrows need to be destroyed for long term control. Baiting, shooting, fereting all assist the task but in the long term you must remove their homes and harbour (ie bracken or blackberries). In large numbers, rabbits and hares will eat all of your trees/shrubs!

c. Attracting birds and wildlife. d. Windbreak or shelter for farm animals. e. Screen out the nosey neighbours! f. Firewood, sawlog or pulpwood supply.

3. When should you be planting your trees/shrubs? a. Along our Southern coastline where frost is nonexistent you can start planting as soon as reliable autumn rains have saturated the soil and continue planting right up to spring (the difference in timing might be because of soil type, rainfall, protection from salt winds, etc).

Otway Life Almanac 2019

4. Wallabies and kangaroos can be a big headache locally so check with tree planting neighbours on their tactics or enquire with the relevant government agency.

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4-6 MONTHS PRIOR TO PLANTING 1. If the ground has been cropped for years or has had cattle on it, the soil may be compacted which may affect root penetration of your native seedlings. Before the soil becomes saturated with autumn rains, pull a single tyne ripper through the soil using a tractor or dozer. Instead of slicing the soil, the ripper will shatter and crack the hardpan layer giving the trees’ roots a chance to venture below the impeding layer. Single tyne rippers can be hired.

2. You will need to control weeds and grasses again when they germinate with the autumn break.

This will either be with mulching or with chemical control (glyphosphate). Many people use a knapsack and spray spots with the herbicide where the tree will eventually be planted.

3. Mounding of the soil might be important if your plantation will be in a very wet or salty patch of land.

After mounding, the winter rains will help break up any clods of soil in the mound where weeds (and their seeds) could be harbouring under. Special mounding implements can be hired.

4. Don’t forget to get your fencing started (and hopefully completed). If you are using a fencing contractor, you’ll need to have booked the contractor well in advance.

5. Do you need to order tree guards? Most guards only protect the plants from rabbits. Wallabies can’t be guarded against unless using expensive wire mesh or tall tube guards. Wind can be limiting factor in extremely exposed areas however in most situations guards are not necessary against wind.

4 WEEKS PRIOR TO PLANTING 1. If you’re using herbicides to control weeds you should be spraying now. * If you sprayed glyphosphate in the autumn you have a choice now. You can just spray glyphosphate by itself (which will kill any weeds that have germinated since autumn) or you spray a mixture of glyphosphate and simazine (or other pre emergent herbicide). A pre emergent herbicide provides some post planting weed control by killing off germinating weed seeds. The success of this herbicide depends a lot on your soil type, rainfall near the time of application, and rate of application. (*Some landowners only apply herbicide once, 3-4 weeks before planting. This is usually the glyphosphate/ simazine mix. This can be successful if the existing grass

is short and doesn’t have highly aggressive weeds like phalaris or kikuyu).

2. Fencing should be complete prior to planting. Stock should not run over the ground once simazine has been applied.

3. Contact Otway Greening to make sure all your plants are ready and arrange a pick up date.

4. What tools will you need to plant the trees/shrubs.

You can hire Hamilton tree planters (for forestry tubes or Lannen cells); Potti Putki tube planters and kidney baskets (for Lannen cells) from Otway Greening.

Organise them now!

PLANTING WEEK 1. Pick up your order and give the plants a few days to get aclimatised to their new home. All our plants are grown out of doors so there will be no problems with the plants being too green.

2. If your plants are in cells (Lannen 81 or 63 trays) maintain a watering schedule. The seedling roots have claimed most of the space in the cells so the cells can dry out quickly especially on warm days. Make sure your plants are saturated for planting using a sprinker or wheelbarrow filled with water.

3. Have you organised family and friends to be labourers on the day? Work as a team with even the kids helping.

4. If the ground is wet (and your plants are too) it won’t be necessary to water the plants in the ground. Just firm the soil in around the plants so there are no air pockets to dry out the seedling.

5. Make sure to have fun!

6. You might want to keep records of where and what you planted. This might be useful information later on when ordering more plants.

7. After planting, PLEASE return your Lannen trays to Otway Greening. They are very expensive to buy and we need to reuse them every year.

8. When returning your trays talk to us at Otway Greening about next year’s project because it won’t be long before the December deadline comes around.

Find more Find more Factsheets at www.otwaygreening.com.au

Tree Planting Calendar For the

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Great Ocean Walk

‘Walk 91’ was an idea that came to life in the early 2000’s.

Mark Kininmonth, the founder of Walk 91, worked as a Ranger with Parks Victoria in Apollo Bay and helped build the track when the Great Ocean Walk was in its earliest stages of construction.

“Because Parks Victoria encourage walkers to hike from east to west, it is not unusual to walk for a whole day without seeing other hikers,” he adds.

The self-guided walks that Walk 91 offer are flexible, as you can choose to walk alone or with a group of friends and you can also select your own start date. Walk91 will happily plan the rest.

When the walk first opened to the public in 2005 it was 91 kilometres long, instead of the 104 kilometres it is now.

They offer fully catered accommodation packages that (Mark would have chosen a different name for Walk 91 if include shuttles and bag transfers, so that you only have he knew the walk would continue to to carry a small day pack whilst you walk. grow and improve so dramatically However, if camping out under the stars is over the years!) Mark says “It has “Getting fit whilst for you, Walk91 can also move your camping been wonderful to see the walk gear along the trail to avoid carrying heavy experiencing a new extended to end at the iconic 12 bags and food each day.

Apostles, rather than at the original environment, enjoying Along the track you will also see much of finishing point of Glenample, and the magnificent ocean South East Australia’s flora and fauna as the to see the walk realigned to take in is teeming with koalas, kangaroos, even more coastal views and inland views and just ‘switching walk birdlife, flowers, trees and coastal heath. rainforest tracks”.

off’ seems to be high on

Mark loves this part of the world and feels The Great Ocean Walk has now lucky to be able to share his experience and people’ s wish list for a become a must-do trip for walkers knowledge of the area. and tourists from all over the world. perfect holiday” Most walkers tend to be from “It’s really rewarding to see the sense 40 – 65 years of age, but Mark has of achievement that people get out of completing their Great Ocean Walk, and how relaxed and noticed that the trail is starting to attract hikers of all ages happy they are when they reach the end”. and nationalities who just want to spend quality time in the great outdoors.

So, if you feel like a challenge and want to experience “Getting fit whilst experiencing a new environment, enjoying the magnificent ocean views and just ‘switching off’ seems to be high on people’s wish list for a perfect holiday”, says Mark.

Otway Life Almanac 2019

something new whilst disconnecting from a busy lifestyle, the Great Ocean Walk is a great place to start. You don’t need to be an experienced walker, you just need a good level of fitness and a sense of adventure!

Great Ocean Walk 91

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Experience & enjoy...

Rotary Club Of Colac Community Market Colac local and former Colac Otway Young Citizen of the Year Bradley McLeod originally developed the idea of running a community market. Brad joined forces with the Rotary Club of Colac and on September 16th 2018, the first market attracted around 2,500 – 3,000 people.

Brad developed this community market as he felt Colac needed something to help promote this incredible town and also provide a regular event where families can have a great time. The Rotary Club of Colac Community Market has a wide range of items on display from stall holders across our wonderful region. There is handicrafts, a variety of food/drink vans and food stalls, face painting, metal art, local small businesses, candles/melts, fresh meat, an animal nursery and so much more.

It’s a fantastic day out for the whole family.

This is a community market, which is held every 3rd Sunday of the Month at the Colac Showgrounds located in Bruce Street, Colac.

For further enquiries or if you would like to participate as a stallholder, please contact the Market Convenor Brad McLeod on 0488 447 739.

DARE - Disability Access Radio Express Radio Producers • Cherise Jettner • Robbie Farquhar • Bruce Pietsch Thursday: 09:30 - 12:00 “We’ve been doing this show for a long time and we love it! We love being in the community and enjoy each other’s company on the show. It feels good to be part of a team and we’re also involved with the OCRFM committee. After the show we go to see our friends and it feels really good to hear them say they were listening and enjoyed it.”

Our all-abilities team of DJ’s will make you smile with a new theme each week, featuring funky music related to the theme, jokes, poems, a healthy recipe, arts updates, the DARE footy rave, and a weather report all interspersed with disability news and information.

Broadcasting to Southwest Victoria Colac - Apollo Bay - Red Rock - Camperdown - Winchelsea - Birregurra - Lorne - Anglesea - Aireys Inlet - Port Campbell - Timboon - Terang Derrinallum - Lismore - Beeac - Teesdale - Skipton Easy Listening: Country : Disability News & Info : Children's Programming : Rap & Hip Hop : Dance & Electronica : Metal : Jazz : Nostalgia : Classical : Comedy : News & Events Otway Life Almanac 2019

... to Market to Market

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2019 COLAC OTWAY MARKETS & EVENTS APOLLO BAY Apollo Bay Seafood Festival 2019 Friday 15 - Sunday 17 February 2019 Apollo Bay Community Market Every Saturday Apollo Bay Farmers Market Third Sunday of the month BIRREGURRA Birregurra Sunday Market 2nd Sunday of every month from November to April PLUS Easter Sun Otway Harvest Festival 2019 Friday 25 January 2019 Birrigurra Festival & Art Show 12 & 13 October 2019 COLAC Colac RSL - Show n Shine Saturday 2 March 2019 Colac KANA Festival 2019 Saturday 16 March 2019 Duck Drop Derby 2019 Sunday 09 June 2019 Colac Sunday Market at the Showgrounds Third Sunday of the month Colac Otway Arts Trail Sat 18 & Sun 19 October, Sat 25 & Sun 26 October FORREST Otway Odyssey 2019 Saturday 23 February 2019 Forrest Soup Fest Sunday 9th June 2019 GELLIBRAND Gellibrand River Blues and Blueberry Festival Saturday 23 February 2019 KAWARREN Otway Growers and Makers Market 4th Sunday of each month, Echidna House 2019 WYE RIVER R APR MAY JUN Wye Peak Challenge 2019 Saturday 16 March 2019 RUNS & MARATHONS Otway Trail Run - Old Beechy Rail Trail Sunday 17 March 2019 21 5 9 Great Ocean & Otway Classic Ride Saturday 27 April 2019 2018 2018 2019 2019 OAST MARKETS 2018-19 SURFRoad COAST MARKETS Great Ocean Running Festival Saturday 18JAN MayJUN 2019 SEP OCT NOV DEC JAN SEP FEB OCT MAR NOV APR DEC MAY FEB MAR APR MAY JUN Run Forrest Sunday 9 June 2019 AIREYS INLET Trail Run 21

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Experience & enjoy...

Join Birregurra's community for a jam packed weekend of affordable family fun with all your favourites along with more great music, more delicious food, more tasty wine, more incredible art and more great activities for all ages.

Remember, it's a great time to think about Christmas presents. BIRREGURRA is a plastic free town - please bring your own carry bags. ​​ Entry to the festival is gold coin donation! All proceeds raised go to support the festival's sustainability as well as community programs and local community groups.

DON'T MISS OUT ON: Birregurra Art Show at the Mechanics Hall The Dog Jump. Woodchop on SATURDAY Woodchop sponsored by AKD with wood sculpting on Sunday Two stages loaded with great music Market stalls Garden Stalls - vegie seedlings, natives and cottage plants Kids activities, animal nursery and the Mik Maks on Sunday Food and wine area showcasing quality Otways produce FReeZA Stage

Torquay Cowrie Market is a not for profit community market run by Surf Coast Arts Inc. This iconic market is nestled amongst the majestic trees overlooking Zeally Bay on the Torquay Foreshore.

Always a friendly atmosphere with two stages featuring local music and entertainment. The Cowrie Market specialises in quality local art, craft, jewellery, vintage, plants and fresh produce. A great meeting place and never disappoints. m.me/torquaycowriemarket http://www.surfcoastarts.com/torquay-cowrie-market.html If you want to join in email; cowriemarket@yahoo.com.au tell us about yourself!

Otway Life Almanac 2019

... Fiesta Fantastica Come and enjoy our

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FRI 22 - SUN 24 FEB 2019

Blues and Blueberry Festival The Gellibrand River Blues and Blueberry Festival is a unique annual event held during the last weekend of February to celebrate Blues Music, local blueberries and other produce and artistic talents. Take a drive down to Gellibrand on the weekend of the 22nd - 24th of February 2019, where you can relax and listen to some of the best Australian Blues Bands, whilst enjoying local beer, wines and food as well as great country hospitality at Otways Tourist Park on the Saturday from 1200 noon to 8.00pm.

This eighth annual festival will host Dan Dinnen & Shorty; Hatsapella & Co; Sammy Owen Blues Band and the Wayne Jury Band to entertain you.

Music, meals and drinks can also be enjoyed at other venues in the Gellibrand area throughout the weekend,

such as the local Footy Club on the Saturday night from 8.00 pm to 11.00 pm, as well as the finale at Otways Estate on Sunday 24th February from 1-4pm.

Sunday morning will continue the frivolities with music, quality stalls and great family activities at the Rex Norman Park. Kids are well entertained and a fantastic array of local Blueberry fair will tempt all. Celebrate the delicious Local Blueberries served in so many mouthwatering ways at the Sunday Market from 9:30am to 2pm. Learn the best way to maintain your new Blueberry plants from the experts themselves.

For more information: www.bluesandblueberryfestival.com.au Phone: 03/52358357 or 03/52358348

Experience & enjoy...

96

Apollo Bay Surf & Kayak operates in the beautiful environment of Apollo Bay on the Great Ocean Road. On our doorstep we have the Otway National Park and the Marengo Marine Sanctuary, which hosts a Seal Colony.

Learn to Surf, Seal Kayaking, & Walk Apollo Bay Surf & Kayak / Walk 91 can provide you with surf lessons and surf hire, kayaking to the seals and kayak hire, SUP (stand up paddle board) lessons and hire, snorkeling hire, body board hire. Alternatively explore the Great Ocean Walk ™ with Walk91.

We provide transport on the Great Ocean Walk, rental and transfers of camping gear & food and water drops, , B&B accommodation and Inn to Inn walking.

PLEASE NOTE WE DO NOT RUN DAILY. Call for availability

BLUE SKY ARE YOUR LOCAL OUTDOOR EXPERTS Blue Sky is a network of independently owned and managed Australian outdoor retail stores each offering knowledge only a local could have.

We have developed close relationships with trusted, premium brands and continually strive to bring you innovative, quality equipment that offers exceptional value for money.

Blue Sky are dedicated to satisfying your outdoor equipment needs at the right price with free expert advice!

The next time you're heading out you'll need Blue Sky for all your camping, fishing and outdoor needs!

www.blueskyoutdoor.com.au

KAYAK to the SEALS

at the Marengo Seal Sanctuary

OL5

we have all your outdoor, leisure and camping needs covered

76 Murray St Colac Phone: 5231 2347 Email: colac@blueskyoutdoor.com.au Contact Mark 0405 495 909 www.apollobaysurfkayak.com.au Otway Life Almanac 2019

...and keep the kids entertained with an extensive range of games and toys instore.

the great times the Otways has on offer

97

all the joy of cycling without the huff and puff...

• Easy to ride Electric Power Assisted bicycles • Great family fun, childrens bikes & toddler trailers available • E-bike tours under the koalas with coast views • No licence required • Bookings essential • 1 hour guided Eco-tours • Great value for money

Contact Nathan Swain at

0413 971 736

E nath@otwayebikes.com.au W www.otwayebikes.com.au 2019 Victoria School Holidays Dates

2019 Victorian Public Holidays

Period Term 1 - 10 weeks

Start Tues Jan 29

Finish Fri 5 April

Date

Day

Holiday

01 January

Tuesday

New Year’s Day

School Holidays

Sat 6 April

Mon 22 April

28 January

Monday

Australia Day

Term 2 - 10 weeks

Tue 23 April

Fri 28 June

11 March

Monday

Labour Day

School Holidays

Sat, 29 June

Sun 14 July

19 April

Friday

Good Friday

Term 3 - 10 weeks

Mon 15 July

Fri 20 Sept

20 April

Saturday

Day after Good Friday

School Holidays

Sat 21 Sept

Sun 6 Oct

21 April

Sunday

Easter Sunday

Term 4* - 11 weeks

Mon 7 Oct

Fri 20 Dec

22 April

Monday

Easter Monday

2019/2020 Summer School Holidays

Sat 21 Dec

Tue 28 Jan 2020

25 April

Thursday

Anzac Day

10 June

Monday

Queen’s Birthday

TBA

Friday

AFL Grand Final Friday

05 November

Tuesday

Melbourne Cup Day *

25 December

Wednesday Christmas Day

26 December

Thursday

*Senior Years may have different finishing dates in term 4 The information above is relevant to Victoria government state schools.

Independent and Catholic schools term dates can vary from school to school. Check directly with the relevant school to find out the correct term date information.

Otway Health is your local health and community services provider, located in Apollo Bay. We offer expert quality care in the following capacity:

• urgent care unit • in-home support • community health and wellbeing programs • residential care • allied health

Boxing Day

The urgent care unit operates 24 hours per day, 7 days per week. For more information go to otwayhealth.org.au or contact our Reception Team on (03) 5237 8500.

75 McLachlan Street, Apollo Bay, 3233

98

2019

APOLLO BAY – VICTORIA

LAT 38° 46’ S APOLLO BAY – VICTORIA

Time

0030 0714 TU 1311 2034

1

JANUARY m

0.89 1.83 0.62 1.73

2 0125 0804

1.08 1.73 WE 1406 0.65 2146 1.78

3 0238 0904

1.22 1.62 TH 1512 0.65 2255 1.83 0420 1011 FR 1621 2358

4

1.26 1.53 0.61 1.88

5 0607 1116

1.20 1.47 SA 1723 0.55

6 0052 0714

1.92 1.09 SU 1216 1.44 1816 0.48

Time

0010 0600 WE 1242 1948

0025 1.17 19 0305 41.22 0735 1.42 0722 3 0238 0904 1.62

10

11 0356 1003

2.00 0.71 FR 1548 1.60 2145 0.52

12 0425 1034

2.01 0.69 SA 1627 1.64 2221 0.61

0453 1105 SU 1708 2257

13

1.99 0.67 1.67 0.73

14 0518 1136

1.94 0.66 MO 1752 1.67 2332 0.85

15 0541 1207

1.87 0.64 TU 1844 1.66

16

mm

Time

1.01 0033 0.97 1.51 0646 0.37 1.78 FR 1249 1.56 2029

1

Time m

m Time

0005 0.96 0153 1.17 0536 1.62 1214 0.49 0816SA1.54 1935 1.70

Time m Time m

m

0.85 1.55 0.29 1.63

16

0144 0112 0815 1350 0617 MO 2151

Time

0032 1.04 1.01 0644 1.33 0.76 TU 1246 1.51 2017 1.55

Time m m Time 0.90 0126 0033 0.96 1.40 0830 0.61 0646 WE1.62 1326 1.62 2100 1249 0.49

MAY

m

1

1.06 1.44 1.06 1.64

Time Time

16

2

0704 1.39 0610 1.45 0732 1.46 SU 1439 0.36 SA 1335 0.57 SU 1302 0.34 0053 1.07 0315 1.23 2244 1.57 2042 1.55 2132 1.61

TH

1.78 0.97 1.36 0.53

1.88 0231 0607 1.20 0.86 0841 1116 TH1.47 1.40 1419 0.16 2015 1723 0.55

1.90 0.82 1.55 0.52

5

0417 1.16 0520 0.96 0314 1.15 0551 1.19 1113 1.31 0913 1010 1.28 1.55 MO 1606 0.71 1040TU1.33 1535 TU 1716 0.32 2315 2347 1.59 1417 0.50 1648 0.60

4

FR

1.12 0115 2255 1.83 0748 1.32 SU 1630 0.32 TU 1247 0420 1.26 1847

20 0436 0958

17

2

18190148 0646

1.73 1.08 SA 1522 0.42 MO 1148 1.32 2326 1.71 1754 0.56 1512 0.65

0949 1.32 0830 1.45 0951 1.55 TU 1515 0.88 WE 1416 0.76 1502 1.15 0215 0118 TH1.05 2300 1.06 1.57 2132 1.66 2201 1.67

17 1001

m m

0.87 0.85 1.65 1.55 1.02 1.76 0.29 1.63 0.83

1.81 FR 1530 1.11 0047 2154 0.90 1.78

Time

Time m

m Time

0323 0.95 1.04 1 0144 1.83 16 1050 0815 1.33 1626 1.33 SU 2213 1.67 0.76 MO 1350 1.55 0341 2151 0.83 0420

0248 1022 SA 1530 2146

1

m

TU

0.60 1.97 1146 2.13 SU 1640 1.28 MO 1734 1.21 1.11 2240 0309 1.65 2312 1.68

2 1114

17

Time Time

1 16 0032 0644 0.69 2.05 1.28 1.72

0245 1038 MO 1551 2130 1246

2017 0340

2 1129

0052 202220 0628

19

3

SU

4 18 0348 0900

1.64 0431 0.77 1.05 0219 1.02 19 1123 1.82 1.28 0845 1.54 FR 1701 0.85 0.93 2338 1.83 0.35 MO SU 1437 0.92 0046 1.64 1.73 0524 0.66 2353 2241 0.98 1.31 0.51 1.59

0000 0607 TH 1217 1803 1600

0452 1.75 0648 1.07 1.65 0.83 1107 1.41 1129 1.30 WE 1234 1.44 TU 1730 0.71 WE 1703 0.54 0025 1.73 0305 1.17 1822 0.30

5

20

17

2 3

0441 1.13 1144 1.34 1722 SA 2336 0.66

4

18190145 0711

1.57 0518 0.79 0.94 1223 2.02 1227 2.05 FR 1308 1.72 SA 1800 0.86 1810 1.08 SU 0417 1.16 0520 1855 0.96 0.92

5 0643

20

0.63 0.96 2.15 1.36 1.09 1.81 0.43 2200 0540 1.53 0.54

0.92 0452 1208 1.89 1.14 SU 1747 2349 1.74 MO 1407

5

20 1257

2.25 1840 1.04 MO 0314 0.98

2

17

0509 0506 0.52 0004 1.09 1241 2.16 0559 1.40 1.08 WE 1320 TU 1822 1112 1915 WE 1654 0.93

4

3

0014 0551 WE 1322 1906

5

19

1.62 0051 0.38 0644 2.20 TH 1400 0000 1.64 0.98 1957

20

4 18 0325 1007 1.65 0.47 2.18 1.04 TH 1.63 0.44 2.15 0.96

0523 1300 TH 1839

1549 2240 0031

5 0614

FR 1344 0431 1927 0735 1.42 1113 1.31 0913 1.31 0607 1.02 1123 1011 1.53 0722 1.08 1010 1.28 0045 1.66 1.79 0157 1.83 0142 1.88 0020 1.71 1.81 0028 1.89 0015 1.76 0037 1.80 0057 1.61 0133 1.61 0123 21 0024 211.32 6 0124 1522 0.42 6 0714 1535 0.51 1217 1.54 1701 1621 60.61 1148 1606 60.71 0551 0814 0.89 0721 0.71 0601 0.81TU 1716 0714 0.32 0.84 21 0611 21 6 21 6 SA21 TU TH FR FR1.00 MO 0.99 MO 0.55 0554 0.64 0624 0.46 0635 0.28 0727 0.45 0704 1.40 1337 1.44 TH 1339 1.61 1229 1.59 MO 1137 1.33 SA 1349 1.89 SU 1314 2.18 1306 2.16 TU 1340 1.59 2.28 2.20 FR 1436 2.12 TH 1403 1803 SA 1426 2326 1.71 WE 1232 2315 0.93 2338 2358WE1.88 1754TH0.56 2347 MO1.59 1830 0.70 1734 0.22 1933 0.51 1921 0.32 1813 0.55 1938 0.89 1853 0.86

4

23 0203 0744

1.99 0.75 1.55 0.45

0112 0010 0617 1334 0600 SA 2128

17

2

1.97 0.89 1.46 0.41

0325 0932 TH 1511 2107

Time Time

Local Time LAT 38° 46’ S LONG 143° 41’ E Times and Heights of High and Low Water APRIL JUNE

TU 1656 0154 2239 0619 1.67 0704 1.39 0610 1.45 0949 1.32 0830 0804 1.73 0925 1.41 0732 1.46 1.15 0348 1.05 0145 0.96 0506 1.09 0325 0.88 0551 1.19 0219 1.13 0426 0.68 0511 0.53 0432 0359 0.74 0355 1.02 18 0148 18 18 3 18 3 3 0646 1.55 0900 1.28 0711 1.36 1112 1.40 1007 1.60 1040 1.33 0845 1.34 1324 0.57 1439 0.36 1302 0.34 1515 0.88 1416 1406 0.65 1530 0.62 1335 0.57 18 3 3 18 3 1111 2.00 1054 1.72 1159 2.08 1236 2.17 1215 TH SU SU TU WE WE SA 0.66 SA 1407 0.43 1654 0.93 TH 1549 0.83 1648 0.60 MO 1600 0.35 FR 1417 0.50 WE 1645 1.55 1.12 1623 1.17 SA 1.18 TU 1829 1.12 MO 1734 2300 WE 1750 2105 1.62 SU 1437 2244 1.57 2042 1.57 2132 2146SU1.78 2323MO1.71 2132 FR1.61 2220 1.65 2353 1.64 2200 1.53 2240 1.74 2241 1.57 2256 1.80 2253 1.71 2328 1.63 2338

0217 0829 TU 1352 1946

1.98 0.81 WE 1432 1.50 2028 0.41

m

1.17 1.54 0.59 1.71

0619 1.67 0925 1.41 TH 1324 0.57 SA 1530 0.62 0125 1.08 2105 1.62 2323 1.71

22

9 0252 0900

m Time

1

1.95 0.98 1.44 0.43

8

Time m

0.97 0153 0030 0.89 1.78 0816 0.61 1421 0714 FR1.83 1.63 2216

2019

APOLLO BAY – VICTORIA

0136 0005 16 1 16 1 16 1 16 1 16 0839 0536 1358 TH 1242 0.61 1334 0.37 1214 1311 0.62 1421 0.59 WE FR SA FR SA 2047 TU 0053 1.07 0215 1.06 0047 0.90 0309 1.56 1.11 0154 0.93 0315 1.23 0118 1.05 1948 1.63 2128 2034 1.73 2216 1.71 2029 1.70 0253 0249 1.08 1935 17 17 17 2 17 2 2

0138 0755 MO 1307 1903

7

LONG 143° 41’ E Times LAT 38° 46’ S LONG 143° 41’ E and Heights of High and Low Waters Times and Heights of High and Low Waters Local Time FEBRUARY MARCH JANUARY FEBRUARY MARCH APRIL

0115 0651 TU 1246 1833

5

7

SA

1.96 0302 0.74 0909 WE 1346 1.50 FR 1500 0052 1.92 1929 0.15 2054

8

6 0714

1.09

2.03 0331 1216 91.44 24 0247 0831 0938 SU0.64

19

0227 1.98 1.12 220436 0809 0.60 0958 1.32 1435 1.78 FR 2015 0.38 0.32 SU 1630

20

1.96 0.75 1.65 0.55

23 0308 0853

25

7

10

1903 0.43 2.09 0427 0.51 1035 1656 SA 1624 1.79 MO 0217 1.97 2201 0.43 2242

26 0409 0959

11

21 0551

8 0829

0.89 2.08 0451 1352121.46 27 0447 TU0.48 1039 1103 1736 SU 1715 1.84 1946 TU0.41 2246 0.59

9

2.02 0425 0115 0.64 1015 0651 1.81 MO 1702 0.68 2234 TU 1246

2225

0500 261833 1053

13

2.00 0.71 1.60 2145 0.52

2.07 0303 1.88 0.40 0.86 SU 0900 2.03 1524 0.68 2115 1.40 TH

10

7

11

0.89

1.92 0243 1337 1.44 0.75 0825 1.84 1515 SU0.51 1933 0.70 2054

24

1.96 0321 0231 1.90 0.66 0907 0841MO0.82 1.94 1600 0.72 2138 1419 1.55

25

2015 0.52 1.97 0358 0.57 0946 2.00 TU 1644 0302 1.96 0.75 2219

26

8 0909

23

21 0721

2.01 0200 0.48TH 1339 0747 2.12 1444 TU 1921 0.67 2032

9

2.02 0231 0227 0.41 0821 0809 2.18 1521 WE 0.71FR 1435 2106

6

0.71 0714 0.99 1.86 0229 1.86 0204 1.61 1232 91.40 0.48 24 0817 WE 0.37 0746 2.15 WE 1522 2.22 1502 0.32 1830 0.70 TH 0.82 2103 0.83

7

26

0.75 23 0853

13

1.94 0.66 MO 1752 1.67 2332 0.85

0.85

1.63 25 1.84 0.47 0.68 2.03 1.81 0.84 1913 0350 0.58 1.59

22

26 0948

0.56 1.96 SU 1647 1.94 2240 0.86

0200 0.83 23 0742

8

6 0714

0.84

1.60 0332 1.89 SA 1349 9 0310 0855 0.32 24 0929

13

2022 0.20

9

14 0450 1100

2.08 TH 1758 2330 0.56 1.71 15 0513 SU 1134 0.30 FR 1842

10

26 0409 0959

2.09 0.51 SA 1624 1.79 2201 0.43

2258 0.79

1.85 0507 0331 2.00 0.40 1102 0938TH0.69 1.95 1810 0.80 2334 1538 1.75

28

2215 0.79

2413

2131 0.61 1.76 0541 1.68 0.33 1139 0.41 1.86 1855 1.83 FR2.02 0400 0.82

29

2255 0.86

1.57 0451 2.08 0.26 1048 0.45 1.81 SU 1803 0.81 2334 2.00 SA

28

13

29

14

2246 0.59

28

2.03 0.47 1.85 0.75

25

1945 1.70

0052 0659 SU 1258 1656 1.84 2045

2242 0.75

0.96 1.42 0.62 1.60TU

2.00 0.39 1750 2.00 2314 0.78

10

25

1955 1.64

11 0331 0930

27

2315 0.83

0513 1133 WE 1819 2348

13

1.85 0.48 1.77 0.89

1.97 0.57 MO 1601 2.00 2151 0.75

2353 0.87

28

26310358 0946

1.98 1.01 1.70 0.37 1.31 2.16 TU 1.69 2219 0.76 0148 0920 1405 FR 1644 2046

13

1314 9 0358 0934 1853 TU 1628 2220

1.86 0112 1.61 0416 1.65 0454 10 0158 0.45 25 1007 0.79 10 1021 0644 0.72 0654 2.03 TU 1645 2.01 WE 1708 1329 2.03 0.77 2257 0.87 2303 MO 1400 0.87 1941 0454 1918 1.63 0506 1.67 0556

7

22

0359 0942 MO 1647 2235 SU

11 1030

26

0.63 1045 0.94 1.99 WE 1715 1.96 TU 1730 0130 1.88 2321 0.78 2332 0.89

8 0715

1.68 TU 1.09 1.89

2032 0.82

0.79 0056 1.82 0838 1.21 SA 1313 1.81 FR 1332 0231 2006 1.83 1840

29

10 0821

0.38 0217 1521 0.75 0147 2.12 15WE 0945 1.94 30 0942 0.80 1.29 SU 1431 SA 1501 2106 2110 1.77

11 0301 0856

TH 1749 2348

0702 1442 12 1200 2024 FR 1835

0229 24 13 0817

0.89 1.70 TH 1218 1.03 FR 1213 1.23 2.15 TU 1444 WE 1908 1.88 1807 1.81

14 0111 0832

11 1109

23 0151 0736

0.87 1.76 1.33 1.70

0039 0812 SA 1301 1522 1929

2103

14 0138 0918

25 0304 0856

SU 1424 2030

0.80 0245 TH 1600 1.83 1023 2141 1.35 MO 1602 1952 1.60 2136

1.74 0.30 TH 1559 2.04 2140 0.78

15

26 0339 0934 FR 1640 2217

 Copyright Commonwealth of Australia 2018, Bureau of Meteorolog 1.93 of Predictions 0433 is1.91 0331 Tide 1.65 0414 Datum Lowest Astronomical 0.48 are in local 1025 0.35time (UTC0931 1012 tim Times standard +10:00)0.26 or daylight savings 2.00Phase 1727 2.09 NewFR 1639 1.93 First 1720 WESymbols SA Quarter Moon Moon

27

2225 0.77

0426 1029 WE 1717 2257

1943 1.74

8

1.85 0.40 1.95 0.80

2258 0.79

0507 1102 TH 1810 2334

28

1.80 0.36 1.97 0.83

2215 0.79

0401 1009 SA 1721 2251

2255

1.57 0.26 1.81 0.81

28 0451 1048

1.50 0.33 SU 1810 1.71 2334 0.85

13

SU 1803 2334

14 0450 1100

29 0541 1139

14 0436 1051

29 0538 1129

15 0541 1207

30 0012 0641

15 0026 0551

15 0513 1134

30 0012 0615

15 0526 1141

30 0022 0655

31 0058 0724

1.05 1.69 TH 1326 0.55 2110 1.75

1.65 0.29 FR 1842 1.74

1.68 0.41 FR 1855 1.83

27

14 0532 1206

0.96 1.63 FR 1245 0.38 2012 1.61

1.76 0.33 TH 1758 1.86 2330 0.82

12

29 0603 1159

0.91 1.83 WE 1241 0.51 2005 1.80

1.74 0.42 TH 1910 1.69

12

0610 1.77 1209 0.43 TH 1930 1.82

1941 1.77

1.54

1.03 2.02 1.79 0.41 1.00 2.18 1.59 0.71 1.19

0304 0846 1547 MO 0028 2138

14 0518 1136

1.87 0.64 TU 1844 1.66

1.95 0.48 TU 1905 1.84

2054 0.67 0.96

29 0000 0635

1149 0321 WE 1846 1006 0.64 1015 0.40 0900 0.66 0907 1.65 0012 0.89 0526 1.44 0022 1.00 0025 0.86 1600 0049 1616 1702 1524151.94 MO15 SU 1.41 MO 301.81 0.29 0615 1.55 1141 2.03 0.45 30 0655 30 0708 1.54 0803 1.74 1216 0.50 1908 0.68 1.64 TU 1215 0.90 2207SA0.68 2234 2115 WE0.72 2138 MO 1232 0.85 TH 1246

12

0526 1119 MO 1809 2329

2318 0.90

1.52 0523 2.01 1.54 0.46 1105 0.48 0.85 1.84 TU 1802 1.84 SU 1515 2.12 0.83

2151 0.57 2039 0.70 1.50 0538 1.45 0547 1.51 0.33 1129 0.73 1129 0.64 1810 2.07 1.71 MO 1854 1.69 SU 1842 1.79 0425 0303 TU1.96 2334 0.85

14 0436 1051

0500 312.00 11 0427 1035 0.59 26 1053 MO

9

2244 0.80

1.52 0234 1.92 0446 0.58 1037 0832 0.75 1.77 MO 1750 0.92 1446 1.84 2329

2012

0524 7 0214 0756 1223 SU 1507 2056 1800

21 0611

1.64 SU 0.66 2.08 MO 1615 2.04 0.89 SU 1606 1938 2153 0.77 2221 0.85

1.86 0.79 0011 13 0012 0714 1.73 28 0724 9 0200 0747 0.48

2428

2225 0.77

20

23

24280243 0825

2353 0.87

1.61 0.49 2.09 0.87 SA

1.62 0808 0.25 0850 0.56 2.13 SU 1544 2.07 SA 1525 0124 1.81 2113 0.79 2146 0.85

1.80 0401 0347 0.36 1009 0935 1.97 SA 1721 0.83 2251 SU 1615

2221 0.61

1.99 0.67 1.67 0.73

1.64 0115 0314 0.25 0655 0910 2.10 SA 1611 0.79 2203 FR 1333

0.81 1.67 1.59 0.42 2.11 0.55

5

1.85 0610 1.77 0426 0247 2.03 0.48 1209 0.43 0831 0.64 WE 1029 1.77 TH 1930 1.82 1717 0.89 2257 TH 1441 1.61 SA

27

0453 1105 SU 1708 2257

24

11

8 0805

 Copyright Commonwealth of Australia 2018, Bureau of Meteorology 0425 Astronomical 2.01 0447 2.08 0451 1.94Predictions 0535 0400 Datum of Predictions is Lowest Tide Caution: are of1.90 secondary quality 1034 0.48 0.53 when 1130 0959 Times are in local standard time 0.69 (UTC +10:00)1039 or daylight savings time1103 (UTC +11:00) in effect0.39 1.64 1.84Quarter Moon Phase Symbols Full Moon Moon SU 1715 First Last Quarter SA 1627New TU 1736 1.82 WE 1839 1.92 TU 1639

12

0.40 1459 1.71 2.19 TH 0020 2049 0.88

21 0601

1.59 0.30 0934 0.40 0909 0.26 1559 2.04 FR 1640 2.00 TH 1622 SA 0308 0203 1.84 2.00 2140 2.05 0.78 2217 0.82 2203 0.78

11 0856

23 0749

1.69 0237 TH 1229 0.29 0830 2.17 FR 1535 1813 2048 0.82 2126

1.81 0304 1.78 0128 1.76 0241 10 1.98 0.38 25 0856 0.37 10 0828 0.60 0739 0.91 2.12 TH 1600 2.12 FR 1542 0.80 2141 1.78 1324 1.54 2126 TH 0.82 2015 1918 0.69 0301 0.38 1.74 0339 1.69 0318

22

1.98 0.37 2.16 0.76

8

0715 0.60 0736 0.40 0707 0.38 MO 1406 2.12 TU 1442 2.27 1423 2.22 0142 0045 WE1.66 1956 1.88 0.84 2024 0.84 2011 0.87

19

2034 0.91

1.61 0214 1.73 7 0046 0.23 22 0809 0643 0.94 2.18 SA 1511 0.83 2111 1308 1.72 0.92 0224 1855 1.60 0252

0141 0721 FR 1445 2031 FR

0.60 0559 1406 1.67 0609 2.12 12MO 1120 0.83 27 1126 0.84 1.94 TH 1741 WE 1816 1956

2012 1.61

TH 1326 0.55 1548 2110 FR1.75

6 0814

20

5

1949 0.89

0.57 1.55 1427 1.56 2.00 SA27 0431 0.33 1026 0.69 2006 1.92 MO 1723 0.62 1.90

25

0356 31 0058 0724 1.69 111.05 1003

9

8

1927 0.99

0.51 1.91 0331 1.65 0414 1.61 0359 1527 1407121.70 FR 0.47 0.35SA12 0931 1.91 0.26 27 1012 0952 2.09 1639 0.47 1.93 SA 1720 1.88 FR 2105 2000 SU0.69 1704

0329 0932 0.75 0916 0.91 0026 0.96 1511151.55 TH1.83 FR 1532 30 0012 0641 0551 1.63 1245 0.38 2107 FR0.45 2114 WE 1241 0.51 2005 1.80

20

1852 1.01

1.86 0112 1.92 0052 1.76 0452 0120 0.92 1.76 1.75 0648 1.07 0.72 22 0654 0.46 71.30 0630 0.50 22 0707 0.42 1107 0.83 1129 TU 2.03 MO 1400 2.26 1345 2.22 WE 1420 1.41 2.25 0.87 1941 0.85 1932 0.93 2010 0.54 0.93 1.44 WE 1703 TU 1730 0.71 0.30 1.88 0151 1.91 0129 1.73 0200 1.72

4

0.74 1.94 0535 1.90 1.93 0433 1346 1.50 12 0400 1500 271.65 WE27 FR 0.48 0.53 1130 0.39 0959 1025 1.82 WE 1839 1.92 1727 1929 0.15 TU 1639 2.00 2054WE0.55

14

10

1.84 0.68 1.81 0.58

23

2.08 0234 1.33 0.45 0832 WE 2.00 SA 1446 0.22 0.57 2039

23 0744

2028 0.41 1.95 0532 1.74 0.48 1206 0.42 1910 1.69 TU 1905 1.84 0325 TH1.99

29 0603 1159

1.00

8

0.16 2.00 0331 0.39 0930 1750 2.00 1601 TU MO 0203 1.96 2314 0.78 2151

2315 0.83

0526 2.03 0513 0252 1.98 1119 0.47 1133 0900WE0.81 1819 MO 1809 1.85 2329 2348 1432 1.50 WE0.75

28

24

2.00 0.59 1.84 0.75

5

1.76 0115 0115 1.78 0.91 0655 0748FR0.97 1.54 1333 0.69 1913 1247 1.36

19

4

0052 7 22 7 0158 0644 0628 1329 SU 1918 TU WE 1234 1847 0.53 1822 0203 1.84 0200 1.94 0130

0128 0739 TH 1324 1918

2.05 0.51 0805 0.83 0742 0.57 1.70 SA 1427 2.00 SA 1527 1.91 0024 1.79 FR 1407 0157 1.83 2105 0.47 2000 0.69 2006 0.62

2.00 0347 0.69 0935 MO 1137 1538 1.75 SU 1615 TH 1441 1.61 SA0.48 1816 1734 2022 0.20 2131 0.61 2151 0329 2.08 0400 0138 1.95 0916 0.56 1006 0755SU0.98 1616 FR 1532 1.71 2114 2207 1307 1.44 MO0.30

19

4

0.89 1.55 SA 1216 0.50 1945 1.70

1.44 0.45 MO 1908 1.64

MO 1854

TU 1215 1955

31 0052 0659

0.96 1.42 SU 1258 0.62 2045 1.60

 Copyright Commonwealth of Australia 2018, Bureau of Meteorology Datum of Predictions is Lowest Astronomical Tide Caution: Predictions are of secondary qua Times are in local standard time (UTC +10:00) or daylight savings time (UTC +11:00) when in effect Moon Phase Symbols New Moon First Quarter Full Moon Last Quarte

Otway Life Almanac 2019

1948 1.63

2034 1.73 0125 0804 WE 1406 2146

2

1.08 1.73 0.65 1.78

3 0238 0904

– VICTORIA

1.22 1.62 1512 0.65 TH 2255 1.83

0053 0619 TH 1324 2105

0315 0925 SA 1530 2323

1.15 1.55 1417 0.50 FR 2220 1.65

3 0551 1040

17

me

m

23 50 26 13

0.69 2.05 1.28 1.72

20 46 34 12

0.60 2.13 1.21 1.68

11 0.53 36 2.17 29 1.12

19

4

Time Time m m

Time

Time Time

m

1.23 1.41 0.62 1.71

1.19 1.33 1648 0.60 SU

0215 0704 SU 1439 2244

0118 0732 SA 1335 2132

1.05 1.28 1600 0.35 MO 2353 1.64

3 0219 0845

17

20194

mm

SEPTEMBER

TU

2034 0.54 0052 1.98 TU 1656 1.19 WE 0714 0125 2239 1.50

2 0340 1129

6

0351 0.60 0406 1123 1.98 1151 1630 0.551.21SU TH 0600 1.83 1725 1721 2313 2241 1242 0.621.54

mTime

Time

m Time

Time Time

m

WE

1.730.54 17 0449 1.922.00 1215

Time

Time m

m Time

Time Time

m

2

SA

FR

4

m m

SA

SA 1315 1.93 1917 0.92

FR 1815 0.89

MO 1137 17 0619 1.33 1.67

2

MO 1342 2.07 1922 0.59

1.63 2.20

TU 1345 1.96 1939 0.72

17

21

2

17

6

SA 2105 0115 1903 0.98 0651 0523 0.29 0030 1.54 0113 0148 1.22 1307 0627 1.440.49 TU 1246 MO2.10 1300 0655 0646 0904 1.62 1406 TH 1839 0.96 FR 1339 1903 0.432.03 SU 1833

1.02 WE 1750 1.07 TH 1904 2146 1.78 0138 1.95 2338 1.51

7 0238 0755

1324

22

7

22

7

1.61 0.49 2.09 0.87

52 50 44 46

1.62 0.56 2.07 0.85

32 29 15 21

1.64 0.66 2.04 0.85

16 07 45 57

1.65 0.79 2.01 0.87

10 102170.750755 25 1025 25 111271.020841100.82 1138 1.07 0808 1.65 1218 22100651 22250809 0.980.96 0.86

06 45 15 32

1.67 0.94 1.96 0.89

1.83 1.79 0004 1627 1.641.07SU11 1715 11 0556 26 0535 1109SA 0.94 1101 0742

3

184

19

19

1949 0.71 0.50 0.650.95 FR 1417 TH 1512 1941 2220 1.65 1.83 1.971.58 0203 0115 0206 1.96 1.78

2255 0217 0031 1.54 0614 0.23 0829 FR 1344 2.13 SA 0420 1352 1927TU 0.86

5

17

8

20

4 1011 1946

3

23 5

1.53 0.41

20

19 1929 0735 0.15 1.42

8

1819

4

2018 1648 SU0.81

0223 0712 0747 0.74 0.39 0817 0.890.52 0744 1414 2.05 1446 2.15 TU 1445 MO 1.26 0305 1.17 2048 1.460.90WE 1346 FR 2015 2033 1.50 0.64

2047 0.60

0.45 MO

4

9

1432 0214 WE1.65 0607 0756 0.30 2028 1116 SU 1507 2.15 MO 2056 1723 SA0.74

5

2038 0.55 1600 0.35

23 20

22

3

19

2059 1437 SU 0.31

58

19

4

5

22

207

0325 1.99 0329 0304 1.70 0445 0932 0317 0.751.75 0916 0846 0.42 0912 0.74 1009 1511 1.55 1532 FR 2.14 1544 2.08 1642 MO 1547TH TU TH 0052 2154 1.92 0024 2138 0.71 2237 2107 0.450.81 2114

10

25 8

23

6 0714

1.09

21 0551

1.76 1.79 0540 1216 1.44 1137 SU0.57 9 0358 24 0400 0356 2.000.85MO 9 0409 0934 0948 1052

11

WE 1511 2.04 2118 0.70

TU 1526 2.15 2115 0.59

1.501.69 TH 1441 0237 0351 0436 1.20 0833 0924 0.410.64 2022 0958 1.47 1515 2.08 WE 1604 2122 2157 0.550.83 SU 1630

26

1816 0.48 TU 1628 2.11 WE 1610 1003 0.712.05 2220 0.68 2226 0.79

MO

2

Tides 0.8899

18 0325 1007

1.60 TH 1549 0.83 2240 1.74

2019

0431 0.77 2019 19Local Time 1123 1.82

1.64 1.02 1.54 0.93

Time m

0.85 FR 1701 Local Time APRIL 2338 1.83 DECEMBER

m Time

Time Time

m

2.16 0339 2.12 0.81 0929 0.75 1.72 SU1.33 0815 SA 1.59 15191800 1.58 0.23 2110 0.26 0.92 0.76 1350

TU

2151 1.55 2.11 0417 2.04 1.81 0.75 10070028 0.72 1.54 15580611 1.54 MO 0.84 1.11 0309 0.18 2151 0.33

2

21

0324 0915 0.86 0644 1504 MO 2046 1246

2017 0403 17 1.89 0954

17

7

18 4

19

2251 0.43 0.38 2131 0.30 0.66 MO 1407

1.61 1.94 1.12 0.66 0.20 1.32

3

20

23

2226 1654 WE 0.26

19

4

FR 1614 1.93 2208 0.41

9

24

0.59 TH

4

9 0747

24 0817

5 23

1.95 0.88 0.64 1.60 1.55 2303 0.50 1549 0.83

2240 1.91 0559 20 1152 0.40

19

1.74 1.91 0.64 1823 1.58 FR 0431 0.77 2.27 2351 0.70

0607 1123 1.82 0.84 1.02 2024 0.84 1.77 0641 1.77 0639 1.85 0.51 1217 61.54 1701 0.85 TH 0.74 FR21 0.84 21 1202 1241 0.84 1238 0.65 1.86 FR0.93 1829 1.59 1.39 TH0200 1812 1.43 19210229 1.47 1.86 1934 1.62 WE SA 2315 1803 2338 1.83

1637 1.51 SU 1722 1.65 2347MO 1.59 2317 0.380.75 2244 0.26 0832 0825

SA 1530 1.74 2140 0.40 0.45

2310 0.93

1.45

2.00 0.76 0.65 1.53 1.66 0.33

1819

1.88 1.85 06050151 1.82 0.72 12000736 0.78 0.60 1.44 1811 1.47 TH 0000 2.12 1.64 TU 0.39 23491442 0.76

820

5

4

m m

2.07 0.90 0.72 1.40 1.48 0.15 0.61

1.62 2.04 0.67 1547 1.50 TU 0.55 0154 0.93 2131 0.21

18

22

3

2353 1.64 2241 0302 1.96 2.05 0203 1.84 1.57 0200 2200 1.94 0130 0319 2.05 0436 2.02 0600 1.53 1.83 0536 1.83 0337 2.10 0308 0402 2.11 0.82 1136 0.77 1120 0911 0.71 08530909 0935 0.770.83 1022 0.76 0.72 0909 0.75 0.51 0805 0742 0.57 0715 1737 1.46 WE 1715 1537 2.03 FR 1505 1.84 1545 1.77 SU 1608 1.59 2.05 TU TH SA 00251.65 1.73 0417 1.16 0520 0.96 FR2138 0.98 2310 1500 1.91 1407 1427 0314 2.00 SA0.26 2330 0.51MO 1406 2128 SA 0.42 15272108 0.321.70 2207 0.47 0.76 1113 1.31 1956 07220.55 1.08 2054 2105 0.471.31 20001010 0.69 1.28 2006 0913 0.62 0357 1.99 1.90 0426 2.07 0546 1.98 0514 1.90 0644 1.72 0618

2326 1.71 1754 0.56 24 0831 9 0938 0.64 0.69 24 0935

SA 1426 2.15 SU 1445 2358 1.882.07 2012 0.79 0900 2049 0.810.86

8

0.93 1.45 0.76 1.66

17

18

1.59 0259 1.88 1522 0.42 0.32 6 1115 1621 0.611.63 1148 61.32 1606 6 0123 21 0156 21 0301 211716 21 0.71 6 1216 FR0.23 MO0.79 MO 0.80 0854 0942 0.84 0953 0.80TU 1055 0.76TU 1535 0704 0753 0.57 SA 6 0837 0.52 0252 1.98 0247 2.03 0331 2.00 0347 2.08 0234 1.92 0243 2.01

7

0154 0830 WE 1416 2132

1.611.39 WE 12320732 1.59 1.45 1.89 1.32 1.40 1.46 WE 1337 TH 1229 0610 SA 1349 0949 SU 1314 2.18 0704 0830 09251.44 1.41 TH 1339 0418 2.03 04531853 1.96 0.86 0442 2.09 1938 0.89 0.88 0.34 1515 1006 1045 0.71 1031 0.73 TU 0.72 WE 1416 2.05 1413 1.96 1510 1.76 1637 1.51 WE 1633 1421 2.10 WE 1619 1.55 1.63 MO 1554 1.50 SU 1347 1.99 FR 1.61 TU1.57 TU1.71 TH 1431 1.96 SU 1.62 2244 1.57 2042 2300 2132 2323 2132 1.88 1.90 1.98 0128 0115 1.84 0158 1.86 1947 0231 0.86 0.79 0.63 2144 0.19 22310112 0.44 1.92 2217 2006 0.51 02272008 2017 0.331.76 2058 0.38 2212 0.30 0.86 0841 0.82 0809 0.60 0739 0.91 0655 0.68 0644 0.72 0654 0.46 0519 0.96 1.96 0530 1.88 0520 0249 2.07 0319 2.20 0144 1.74 0243 2.05 0400 2.11 0457 1.94 1.67 1.15 0348 1.05 0145 0506 1.09 0325 0551 1.19 0219 1.13 1.40 1.55 1.78 1324 1333 1.81 2.03 MO TH 1419 FR0.78 0.66 0.30 1058 0.74SU 1329 11211400 0.73 2.26 1111 0826 FR 0.62 14350835 0855 0.741.54 0949 0.81 1042 0.71 1.55MO 0739 0900 1.28 TH 0711 1112 1007 1040WE 1.33 0845 1417 2015 2.03 2.11 1656 1.36 1.54 TU1918 17191941 1.49 0.85 1724 1500 2.09 2015 1.88 1440 1.92 1539 1.68 1632 1.46 TH SA 1.34 TH FR 1509 0.16 0.52 0.38 1918 0.69 1913MO 0.58 0.87 WE1.40

0.40 0015 0.22 1.55 2.00 0159 1.98 19210206 0234 2.220.70 0323 2.15 0439 1.63 1816 0.480.50 1734 1933 0.32 1813 30.55 1830 1324 0.57 0.36 3 0813 1406 0.65 15300.51 1335 18 0102 181439 18 0.57 3 0432 18 0540 30.62 0700 1215 1300 2.01 TH 3 0601 0.26 0800 0.79 0915 0.81SU 1302 0738 0.52 1020 SU WE2.05 SA0.62 SA 0.70

4

Time

0303 2.26 0857 0.77 1.55 1444 1.79FR SA1308 2025 0.25 1855 0.29

0341 0124 0931 0.75 1440 1.81 1518 2.00 1542 1.72 TH SU WE 1353 SA 0.81 0.90 0714 07140118 0.99 1.05 0601 0047 2026 0.48 2103 1936 0.38 2131 0.25

21 0551 6 0814 0.711.06 6 0053 1.00 1.07 0215 03150.89 1.2321 0721

1822 1.091.11 1.08 2338 1.52

1216 1.73 1.44 SU 0804

FR

1948 1.63 0016 1.53 1.56 1935 2216 1.71 2029 1.70 0130 1.90 2.13 0505 0.28 1.83 2.16 0359 172128 17 0247 20024 2 0106 2 0148 1.83 1.88 0020 21.71 0045 0.59 0723 0.77 0841 0.85 1239 1.79 1.97 17 0616 0157 0647 0.44 0142 0727 0.671.66 0941

14 09 11 11

0.80 1.83 1.35 1.60

mm

OCTOBER

1.11 1.32 0.88 1.57

1.09 1.40 1654 0.93 WE

0000 0607 TH 1217 1803 NOVEMBER

0530 0.59 0051 1.77 0212 2.06 0.35 0009 1.65 0059 2.03 0317 1238 1.86 0645 0.76 0805 0.89 1.88 0553 0.39 0637 0.63 0859 1.44 0.32 1703 FR 0.54 1730 0.71 1.78FR 1845 0617 1.51 TU 0536 08161.36 0646 WE1.83 TU 1247 0.98 1316 1.92 1410 1.01 1300 WE 1.98 1234 1.98 1504 MO TU 1314 WE 1.62 SU1.54 1910 0.80 1955 0.60 1.45 1837 0.68 1822 1854 0.46 2050 1847 0.30 0.61 1334 0.37 1214 14210.53 0.59 1249 0.49

1.61 0.45 2.12 0.91

47 42 31 52

3 0506 1112

19

4

33 27 36 34

0.87 1.76 1.33 1.70

0.96 1.36 1407 0.43 MO 2200 1.53

2

18 0145 0711

1.13 1.34 1437 0.66 SU 2241 1.57

19

1.63 0.44 2.15 0.96

56 38 13 40

0309 0949 TU 1515 2300

17

2017 1.62

2151 1.55

0.90 1.45 0.34 1.55

LAT 38° 46’ S LONG 143° 41’ E 0520 0.96 APOLLO 0314 0.98 1.73 0417 BAY 1.16 – VICTORIA Heights of High and LAT Low Waters 1.08 1010 1113 1.31 38° 46’ S1.28 LONG 0913 143° 41’1.31 E 1.32 TU 1716 0.32 Times 1606 0.71 1535 0.51 TUand MOand Heights of MARCH High Low Waters FEBRUARY 2315 1.59 0.56 2347 1.59

1.17 0025 and 1.42 Times 0722 0.42 MO 1148 Local Time 1.71 1754 AUGUST

51 44 00 57

0.89 1.70 1.23 1.81

0047 0610 SU 1302 2042

1.05 1.46 0.57 1.61

APOLLO BAY – VICTORIA

1.65 0.47 2.18 1.04

11 24 13 07

2

18 0348 0900

04 59 20 15

09 1.68 26 1.09 41 1.89

1935 1.63

2029 1.70

1.06 1.39 0.36 1.57

0436 1.12 0452 0.92 0115 1.78 0052 1.75 0046 1.73 0524 0.66 0607 1.20 0648 1.07 20 5 5 5 0010 1.32 0.97 0112 0032 1.041223 16 0.89 01530.97 1.1720 0628 0.96 0748 0.831.01 1 0643 0144 0.94 20 0958 1107 0005 1.41 0.855 1.47 20 1 11290033 1.30 16 16 16 16 1 16 1 1 16 1 16 1 16 1 162.02 1

0245 0.69 0030 1116 1038 1.91 1723 0714 1.30 MO 1551SA TU 2130 1.53 1311

1

2

18 0148 0646

0305 0420 1.26 1011 1.53 0735 ONG 143° 41’ E FR 1621 0.61 SA 1522 gh and Low Waters JANUARY 2326 2358 1.88 JULY

2128 1.56

2216 1.71

1.07 1.67 0.57 1.62

0.48

2359 0.57 0.48

2.00 1446 1.84 1.07 1515 0452 2.12 0341 1.93 0515 SU 1.99 1615 0436 1.88 1.83 0555 0012 SA 1538 SU1.78 01151.75 1.78 0052 1.75 SA0633 0648 0930 2131 0.86 1033 0.89 21511014 0.85 0.850.70 1130 0.78 0735 0.57 2039 2054 1107 0.67 07480.61 0.97 0628 0.83 MO 1153 1129TU 1.30 2.12 TH 1536 1.98 1801 1.52 1709 1.44 SA 1651 1.80 SU 1552 1.63 TH 1304 0.56 2247 0.43 2213 0.36 2358 2324 0.32 1947 0.32 2148 1247 1.36 1.44 1730 0.71 WE 1703 TU0.64 WE 1234 TU 0.47

0.37

2.15 WE 0.68TU 1444 0705 1.72 00321522 0.96 2.22 0044 0.90 0046 1.73 0524 0.66 22 7 22 7 22 7 0.92 1.64 222032 1253 0.77 07222103 1.71 22 0724 1.79 0.82 70.94 0.83 1.41 0643 1223 2.02 0.92 FR 1929 1.45 SA 1327 0.89 SU 1331 0.64 1.36 2048 1.52 2054 1.69 0.54 1.72 1800 0.86 FR 1308 SA 1.78 2.08 0400 2.02 0425 2.07 0303 1.96 0321 2.02 0231 1.81 0304 18470.64 0.53 1822 0.30 1855 0.92 0420 1006 1.91 1.96 0608 1.87 1015 0518 1.76 0725 1.690.66 0640 1.67 0100 0.87 0057 0.77 01260856 1.14 0.37 0149 1.09 0.56 0.40 0900 0907 0.41 0821 0.38 8 1115 0.96 1702 23 10472.030.88 8 1235 82.18 8 08141600 0.81 23 1003 0.92 0.92 23 1211 0.82 0835 1.59 23 0800 1.68 1.64 23 0818 1.71 1.71 1524 1.94 1600 FR 2.12 SU1.81 2.12 SU 1616 MO1.38 TH 1.90 2.04 1731 MO 1.66 MO 1615 1.53 1.41 1753 1406 1.71 0.99WE 1357 0.79 1422 0.92 MO 1434 0.62 SU1.83 TU 1853 WE 1.66 SA1521 1.79FR 1559 01571.81 0142 1.88 SU 0020 0124 0028 1.89 0045 2218 2207 0.58 0.54 2330 0.49 22342250 0.35 2122 1.41 2104 1.54 22072141 1.62 0.82 2212 1.79 0.30 0.68 0.68 2115 0.72 2138 0.71 2106 0.80 1.00 0814 0.89 0721 0.71 0601 0.81 0714 0.84 0611 0.55 0714 0.99 1.95 0503 1.85 0705 1.75 0609 1.63 0042 0.60 0012 0.44 0210 1.05 0215 0.96 0242 1.27 0315 1.20 1.33 13372.00 1.61 9 0825 1349 1314 2.18 1232 WE0427 TH 1229 SA 1.66 SU24 WE 24 1037 91.44 241339 24 1.40 91.98 2.09 0500 2.00 0331 1.97 0358 1.74 91.89 1.69 0.95 0.97 1200 1.04TH 1127 0.92 1.58 0734 1.59 0942 1.59 1.58 240301 0906 09220339 1.58 0925 1.63 1.94 1.78 1822 1.51 1053 1644 1.44 1.00 1303 0.87 1530 0.55 1.02 SU0856 1514 0.75 15250934 0.88 0.40 1544 0.57 0.22SA 1618 1035 1933MO 0.51 1921 0.32 WE 1327 1813 1938 1853 0.86 1830 TU TH 0.70 TU 0.51 0.59 0.39 0930 0.57 0946 SA 0.37 0.30 MO0.89

5

20

10

25

6

1721 1734 FR 0959 2319 0.54 FR 1548 1.60 SA 1624 1.79 0138 1.95 0115 1.88 0454 1.80 0639 0.43 1.91 2145 0445 0.521.80 2201

10

21

11

2336 0.39

5

25

11

25

6

26

2010 1.33

20

10

21

6

26

2250 0.53

20

5

11

1906 1.35

2242 1.53

21

26

2232 1.70

2310 1.74

2321 1.90

MO 1656 1.84 TU 1750 2.00 MO 1601 2.00 TU 1644 2.16 TH 1559 2.04 FR 1640 2.00 02310.75 1.90 0227 1.98 0128 0158 0112 1.92 0552 2242 1.76 0017 0.57 2314 0713 1.54 0137 0.75 0113 0.60 0353 1.84 1.16 0352 1.07 04182217 1.30 0.82 0451 1.20 0.78 2151 0.75 1.76 2219 0115 0.76 2140 0.78 1.86

7

7

10

27 1039 27 1025 1913 12 0931 0.390.3812 09591918 0.48 0.69 0.35 0.58 1833 0.48 0.16 12 1103 20150.53 0.5227 1130 2015

11

10

2210

25

25

2225

0.96 0932 1.54 0843 1.56 1044 0.68 1.60 1016 1.66 1027 1.53 1036 1.56 0.60 0739 0.91 0655 0644 0.72 0654 0.46 1803 1.81 SU 1636 1.67 1450 1.07 FR 1418 0.90 1622 0.78 WE 1648 0.48 WE 1708 2.07 TH 1633 1.98 TU 1258 1.11 WE 1739 1.35 SU 1642 0.97 MO 1625 0.65 0425 2257 2.010.76 TUSA 0447 0535 1.901.78 TH 2140 0400 1.93 1.54 0433 1.91 0331 1.65 TU2.030414 1307 1.44 1246 2.08 1.40 2327 14191.94 1.55 1435 1324 1329 1400 2.26 1931 1.39FR 2058 1.39 2345 1.81 1.70 2344 2303 0.48 MO0.67 TH0451 TH 1.33 FR 1333 SU 1.90 MO 1.61

12 1903 1034

0.69 0.43

TH 1749 1.99 FR 1654 2221 0.611.89 0217 1.97 2348 0.67 2330 0.72

8 0829 0453

0.89

26

23 0526 0744 0.74 2.03

11

26

11

80513 0909 0.75 23 0853 0.51 1.85 0610 1.77

1855 1.66

26

11

26

8 0805 0.83 23 0742 0.57 0426 1.85 0507 1.80

2052 1.34

1937 1.31

2300 1.43

2240 1.55

1658 1.09

1520 0.95

1750 0.99

1700 0.74

1.991.76 0058 0.60 0.46 0251 0.73 0202 0.56 0417 0.84 0032 1352 1.46 1346 1.50 0012 1500 1.9112 0449 1407 TU1.86 WE FR1133 FR 0.95 12 0702 27 0635 121119 121.65 271527 27 1.70 1200 1.11 1141 0846 1.79 2713 0801 1.60 102428 1.61SA 0945 1.57 13 1141 1.620.40 1107 0620 13 28 281.67SA121427 1105 0.671.16 1209 0.43 1029 0.36 1946 0.41 1929 0.47 0.15 20540.48 0.55 2105 0.47 2000 0.69 1102 2006 FR 1835 1.90

27

0.26 0.87 1012 0.47 1918 1941 0.85 0120 0.67 0037 0.48 0305 0.89 0239 0.76 0521 1.17 0516 1.07 0001 1.86 0022 1.98 0.57 0650 1.67 1.84 1.82 1.92 1639 1727 2.09 1.93 SA TU 1736 TU1041 WE1.59 1.85 1154 1.06 0916 WE 1.60 18390830 1.51 1.552.00 0958 1136 1.63FR 1639 1122 1.68 05391720 1.24 1.88 0610 1.11 1230 1.18 1700 1.55 1442 1.15 1339 1.00 1649 1.06 1549 0.86 1728 0.87 1722 0.53 1123 1.50 1143 1.52 SU MO WE TH FR SA MO TU WE TH 2246 2315 2353 0.872.05 22250203 0.77 1.84 2258 0200 0.79 1.94 2215 0130 0.79 1.882255 0.86 0203 0.59 1.96 03020.83 1.96 0308 0151 1.91

1712 1.78

1339 1.25

1249 1.10

1220

8 0715 0401 1.57

26

0.60 23 0736 0451 1.52 1710 0.64

1746 0.39

0.40 1.87 0042 2.07 0046 1.97 0115 2.04 2.00 1406122.12 1442 2.27 MO 1.02 TU27 1.12 271009 0621 06361048 1.13 0710 1.00 0.26 0.58 0.62 1956 TH0.84 2024 0.84 1.66 WE 1219 1.69 1213 1.47 FR 1242 1.50

13

28

SA MO TU TH FR SA SU 1.77 1.82 1810 TU1.97 1.81 SU SU 1708 1.67 MO 1809 WE 1819 WE 1717 1.95 2356 TH1.77 1959 1.85 1.53 1742 1.44 2209 TH 1.38 19302137 1.41 1804 0.75SA 1721 1813 0.40 17531803 0.48 1.77 1838 0.32 2257 0.73 2329 0.75 2348 0.89 2257 0.80 2334 0243 0.83 2251 0.81 1.86 2334 0.92 0252 0008 1.980.68 0247 2.03 0111 0.45 0331 2.00 0347 2.08 0234 1.92 0200 0229 1.86 0039 0.68 0204 0.63 0418 0.74 0334 0.59 0005 1.59 0533 0.85 0114 2.01 2.01 0132 2.17 0127 2.04 0201 2.06

13 081291.890900 28 0745 28 091690532 13 1.73 0952 1.76 1.59 1123 1.68 1050 24130603 24280935 0831 0.64 0938 0.69 0518 0.81 1.94 1.95 1.74

13

9

28

2413

28

9

13

2428

1.68 0559 0.95 1206 1.76 0705 0.48 1.05 0716 0.95 0720 1.01 0759 0.90 0.45 0832 0.75 0825 0747 0817 0.37 0450 0541WE 1.68 1.50 FR0.48 1229 1.701.76 1259 1.67 TH0436 1311 1.68 12580538 1.46 1.45 SA 1301 1.25 SU 1230 1.23 TU 1530 1.24 WE 1412 1.11 FR 1743 1.01 SA 1630 0.83 MO 1754 0.60 SA 1334 1.50 1432 1.50 1441 1.61 1915 15380.42 1.75 2.00 SU 1826 1446 1444 1522 2.22 WE1.79 SA1206 SU 1615 SA 0.91 SU 1515 TU 0.31 WE 0.73 1929 2110 0.48 1.45 1.34 2315 1.48 2300 1.60 1838 2.12 0.60 1859 18351129 0.32 1927 0.28 1136 1734 0.661.66 TH 1159 1100 0.33 1.84 1139 0.41 1051 0.33 2.15

14 2028

29 2022 0.41

1752 0056 1.670.61 TU 1905 0323 MO0.67 14 0138 29 0854 0918 1.92 2332 0.851.72 14 1056

0325 1.991.25 SU 1424 1.33 MO 1334 2030 1.68 1813 1.53

1722 0329 WE 2220 0932 0916 0541 0.75 1.87 0012 0.64 0154 0.54 0433 1511 1.55 1532 1207 0.64 0641 TH FR 15 0245 30 15 1023 1.95 0959 1.75 1152 1844 1.661.22WE TH 1241 2107 0.45 2114 1.30 1812 MO 1602TU TU 1500

10 15

2136 1.59

25 30

1945 1.42

reau of Meteorology

26 31

2131 0.61

1.69 0229 0.44 0518 0.74 TH 1910 1.77 1025 1.64 1209 1.77 1.15 1814 0.94 2.08TH 1547 1.04 0400SA2.02 1.42 2138 1.35

29

14

2151

29 0445 1145

1723 0425 SU 0.56 10060.96 0.64 1015 0.91 0026 0.61 0.41 0008 1.62 0004 1.71 0347 1616 1.81 1.83 1.63 SU0551 MO 1702 15 1.81 30 1124 1.75 0605 0.74 30 0545 0.51 0.30FR 1656 22070.38 2234 FR 1245 1.06 0.92 1245 1.85 MO 1230 SU0.68

10 15

2323 1.80 1.46 2005

0356 0301 2.000.44 0409 31 1058 0058 1003 0.711.80 0959 WE 1619 0724 1.601.13 FR 1548 2157 1.39 SA 1624 2145 0.52 TH 1326 2201

11

0.20 1.84 0.63

14

2302 2012 1.48

25

1842 1.61

2.09 0455 0.39 0427 31 1215 1.871035 1.05 0.51 0.80 1.69 1.79SA 1749 MO 1656 0.55 0.43 2242

11

2110 1.75

2.00 0.59 1.84 0.75

0.87

2039

29 0.70

2054

1758 1855 1.83 0.60 1.761.86 0056 0150 TH0055 FR2.00 1.81 0647 0.940.82 0633 0.84 0745 2330 0.69 1257 1.83 1334 2.07 MO 1306 1.78 0303TU 1.96 0321 TH 1856 0.82 1841 0.47 1912

14

29

14

14 0.67

29 2032 0.82

2103 2.05 0.83

1.71 MO 0217 2.21 02061854 2.08 1.69 0244 291810 0804 0.87 2334 0.8514 0800 0.89 29 0841

2.11SU 0.97

1.66 FR 1357 1.66 1340 1.46 SU 1420 2.02 0231 SA1.81 0304 0.45 1944 0.25 1917 0.21 2013 0.40 0856 05130900 1.65 0.66 0012 0907 0.89 0.41 0526 0821 1.44 0.380022 1.00 1.83 0135 1.93 0147 2.17 0227 2.18 2.16 0300 2.19 02450655 2.09 1.41 0322 2.03 1524 1.94 1600 1521 2.12 1600 1134 0.29 0615 1.55 1141 0.45 SU MO WE TH 15 30 15 30 15 30 0.60 0728 0.92 0727 0.82 0821 0.88 0848 0.80 0838 0.79 0918 1842 1.74 1216 FR 0.50 1.64 SU0.80 0.90 0.68 FR 2115 2138 2106 2141 SA1.86 TU 1.92 1.82 1343 1409 0.71 1.63MO 1439 1.62 14221215 1.47 MO 1502 TU 1339 WE 0.72 SA1908

10 15

1810 0.57

0500 1053 TU 1750 2314

26

14 0.57

2.00 0.39 2.00 0.78

1925 0.71

25 30

1925 0.36 1945

1947 1.70

0331 1.97 0358 0234 2.26 31 0.57 0052 0946 0.96 0815 0.79 0930 1425 1.84 0659 1.42 MO 1601TH 2.00 2008 0.29TU 1644 0.62 SU 1258 2219 2151 0.75

11

31 26

10 15

0.32

1.98 0.37 2.16 0.76

2045 1.60  Copyright Commonwealth of Australia 2018, Bureau of Meteorology

2028 0.24

0301 0856 TH 1559 2140

11

25 30 20011955 0.14

1.74 0.30 2.04 0.78

0.37

2.02 2.12 0.75 0.82 1.52 2056 0.33 1.64

26310339 0934 FR

0.82 1.50 1.78 0.29

0357 0955 1544 TU 1640 2137

1.69 2.00 0.71 0.40 1.54 2.00 0.42

2217 0.82

0425 2.01 2.08 0451Datum 1.94of Predictions 0535is Lowest 1.90 Astronomical 0400Tide 1.93 0433 1.91Caution: Predictions 0331 1.65 0414quality 1.61 Caution: Predictions0447 are of secondary quality are of secondary 1034 0.69 Commonwealth 1103Times 0.53 1130 0.39 0959 or 0.48 1025time0.35 1012 0.47 daylight savings time (UTC +11:00) when in1039 effect 0.48 of Australia are in local standard time (UTC +10:00) daylight savings (UTC +11:00)0931 when in0.26 effect  Copyright 2018, Bureau of Meteorology 1.64 1.82Phase 1839 1.92 New TU 1639 2.00 First 1727 2.09 Full 1639 1.93 SA TU 1736Moon WE WEQuarter FRMoon MoonSU 1715 1.84 Symbols First QuarterSA 1627 Full Last Quarter Moon Last1720 Quarter1.88 Datum Predictions Astronomical Caution: Predictions secondary 2221 of0.61 2246is Lowest 0.59 2315 0.83 Tide 2353 0.87 2225 0.77 2258 0.79 are of2215 0.79 quality 2255 0.86

12

27

12

27

12

27

12

27

Times are in local standard time (UTC +10:00) or daylight savings time (UTC +11:00) when in effect 2.03 0513 1.85 0610 1.77 0426 1.85 0507 1.80 0401 1.57 0451 1.52 Last Quarter1048 0.58 0.47 New Moon 1133 0.48 1209First 0.43Quarter 1029 0.40 Full Moon 1102 0.36 1009 0.26

0453 1.99 13Moon 28 0526 1105Phase 0.67 Symbols 1119

13

28

13

28

13

28

SU 1708 1.67 MO 1809 1.85 WE 1819 1.77 TH 1930 1.82 WE 1717 1.95 TH 1810 1.97 SA 1721 1.81 SU 1803 1.77 2257 0.73 2329 0.75 2348 0.89 0.80 0.83 2251 to 0.81 2334 0.92 The Bureau of Meteorology gives no warranty of any kind whether express, 2257 implied, statutory2334 or otherwise in respect the availability,

0518 1.94 0603 1.95 0532 1.74 1.76 0541will 1.68 0436 1.50 purpose 0538or 1.45 currency, completeness, quality or reliability of the information or0450 that the information be fit for any particular 14accuracy, 14 14 1100 0.66 29 0.48 Intellectual 1206Property 0.42 rights.

0.33 29 1139 0.41 14 1051 0.33 29 1129 0.73 will1136 not infringe any1159 third party MO 1752 1.67 TU 1905 1.84 TH 1910 1.69 TH 1758 1.86 FR 1855 1.83 SU 1810 1.71 MO 1854 1.69 2332 0.85liability for any loss, damage, cost or expense resulting from use 2330 0.85excluded.

The Bureau's of, or0.82 reliance on, the information 2334 is entirely

15 0541 1207

1.87 0.64 TU 1844 1.66

30 0012 0641

0.91 1.83 WE 1241 0.51 2005 1.80

31 0058 0724

1.05 1.69 TH 1326 0.55 2110 1.75

15 0026 0551

0.96 1.63 FR 1245 0.38 2012 1.61

15 0513 1134

1.65 0.29 FR 1842 1.74

30 0012 0615

0.89 1.55 SA 1216 0.50 1945 1.70

15 0526 1141

1.44 0.45 MO 1908 1.64

30 0022 0655

1.00 1.41 TU 1215 0.90 1955 1.64

31 0052 0659

0.96 1.42 SU 1258 0.62 2045 1.60

 Copyright Commonwealth of Australia 2018, Bureau of Meteorology Datum of Predictions is Lowest Astronomical Tide Caution: Predictions are of secondary quality Times are in local standard time (UTC +10:00) or daylight savings time (UTC +11:00) when in effect Moon Phase Symbols New Moon First Quarter Full Moon Last Quarter