There was a time in Singapore when everything old is old again and must be torn down. After the devastation of Singapore during WWII, the region struggled to rebuild and restore pride for the locals.
Well, Singapore quickly became an economic gateway for the Asian region and a powerhouse for modernity, architectural innovation and post-war progress.
And while the machine of perpetual change revved up, many of the old buildings were demolished and streets flattened to make way for high-rise. And through to the 1990s the gleaming, clean, sharp-edged city was a model for progress – and the city had lost its soul.
But a change of heart was beating through the city and old shophouses were given a new lease of life and were being restored at a rapid rate to stand proud and colourful to add charm and a sense of history to Singapore. And there were even new buildings, built in the old style to compliment this emerging trend of heritage entitlement. Old buildings painted and shining with the bright gleam of pride sit comfortably in the shadow of the glass and steel monoliths.
With many beautifully preserved examples, the shophouses in Singapore are prime examples of timeless architectural appeal. These are narrow units built a neat row that explain and display Asian heritage and culture here more than any other structure – except maybe, for the temples.
So many styles
Traditionally, a shophouse has a narrow frontage with a sheltered corridor at the front for pedestrians (called a five-foot way). They have internal courtyards, open stairwells and skylights to bring light and air into otherwise dark and narrow interiors.
Shophouses display different architectural influences, often depending on when they were built. Several periods have been identified when it comes to shophouse architecture.
There is the minimalist approach taken in the Early Style with little to no ornamentation, the austere elegance of the Second Transitional Style and the streamlined modernity of the Art Deco period, which eschewed rich detailing and tiling for sleek columns and arches instead.
A brilliant mix
It is the Late Style that is the most head-turning, with its bold use of colour and fancy tiles, as well as the eclectic mix of Chinese, Malay and European elements.
Think of Chinese porcelain-chip friezes and bat-wing shaped air vents co-existing with Malay timber fretwork, French windows, Portuguese shutters and Corinthian pilasters.
Neighbourhoods of Katong, Chinatown, Tanjong Pagar and Emerald Hill boast many fine examples of the shophouses described above.
Chinatown, Tanjong Pagar and Emerald Hill boast many fine examples of the shophouses described above.
Take a walk through these five-foot ways and see for yourself these beautiful examples of historic Singaporean architecture.
Writer, Bev Malzard has taken some of the above material from Singapore Tourism for extra info on the architectural styles. And recommends to keep your camera or phone at the ready to snap images of the startling sight of these jolly little shopfronts – so colourful, so charming.
Or how I love old cinemas, eccentric architecture and overwrought decor.
Shame on you 1960s through to 1980s in Sydney. Just tore down old buildings willynilly to ‘modernise’ the city. And as the bricks tumbled, down came more than 20 old-style, elegant cinemas in Sydney including the Roma, Lido, Lyceum, Regent, Palace and sadly on and on the list goes.
The remaining cinemas are the State Theatre and the Capital Theatre.
And the State Theatre is here because its history spanned so many economic changes in the city that plans made to demolish, reinvigorate, turn into an office block and more, never got past the drawing board – and lucky it had history on its side.
It opened to grand fanfare in the social heyday of Sydney in 1929. It was the “Palace of Dreams’. Amazing architecture for the time and innovative structure behind the gothic, Italianate French and Jacobean crazy decor and foyer, theatre seating and private rooms design, made this extraordinary addition to the prominence of development in Sydney.
I recently took a two-hour tour of my fave theatre and discovered so much about it. I went as a child to the State when it was a movie theatre. And as television stole the movie-going public away from the theatres it became a live venue – as it had originally started out – with vaudeville acts and showy musicals.
I’ve seen artists from Bette Midler, through to Bob Dylan perform here and am off to see Catherine Tate soon.
There are many facts that are fascinating about the theatre which include:
Standing in the 2000 seat auditorium beautifully framed by 13 hand-cut crystal chandeliers
Observing the eclectic elements of the Theatre’s Gothic, Italian and Art deco design
Discovering the State’s famous Character Lounges including the exotic Butterfly Room (the ladies loo), the Pioneer Room, College Room and more
Be mesmerised by the world’s second largest hand-cut crystal chandelier, the
Koh-i-Nor. This is the second largest hand-cut chandelier in the world – the first is the divine chandelier that hangs in the Hapsburg Palace in Vienna, Austria.
Admire prize-winning artworks by famous Australian artists including William Dobell, Mary Edwards, Charles Wheeler and Raymond Lindsay. Stories of people trying to steal these paintings are shocking. In fact the theatre has so many stories of vandalism and what has been stolen over the decades makes you realise that Sydney is a den of thieves.
Delve into the depths of the Theatre to discover engineering marvels and mechanical masterpieces.
The ladies toilets (powder rooms) were designed to be hidden away discreetly because way back in the 1920s it was unseemly that a ‘lady’ would go to the toilet. Women would not eat or drink during the show until they arrived at home – and they ‘went’ before going out for the night.
Also there were private smoking rooms throughout the theatre (smoking wasn’t permitted in the foyer or inside the theatre) and these were for men only – ladies didn’t smoke!
The beautiful brass filigree doors to the seating were going to be melted down in the 1950s and the metal would have been worth around $130 but now and still standing (or opening and shutting) and are worth $17000.
When the American servicemen were in Sydney on R&R during WWII, smoking was allowed in all public areas. And 40 years later when the entire interior of the foyer and staircase areas was cleaned there was so much nicotine clinging to the walls that the decoration had disappeared.
The Theatre is still available for special films and recently held the premier of Ladies in Black. The annual Sydney Film Festival is held here and always begins with a silent film.
The State’s famous Wurlitzer organ that entertained the masses for many years is almost finished being restored. It will be back in action with its glorious makeover in 2019 when the State Theatre celebrates its 90th birthday. (The organ has to be played once a week to keep it in good working order.)
If you enjoy ‘old Sydney’ and the charm of the eccentric, try for a tour, it’s interesting, nostalgic as you learn the character and traits of this magnificent and special building of majestic elegance.
Architectural purists may scoff, but remember this is a Palace of Dreams, am amusement park.
Writer Bev Malzard was pashed in this cinema when she was 17. And on another note, she grew up in the Sydney suburb of Earlwood that supported two cinemas – the Chelsea (now a bottle shop) and the Mayfair (now three small shops). She likes to visit the last of the grand old girls in Sydney – The Randwick Ritz and the Cremorne Orpheum.
Snce its opening in 1929, The State Theatre Sydney has captivated the hearts and minds of patrons with its majestic elegance. Join in a guided tour of this magnificent and unique building and discover why it’s known as the Palace of Dreams.
During a fascinating 2 hour tour, you will:
I do love a bit of tradition, especially tradition that has a gentle message. Recently while staying at the elegant Metropole Hanoi hotel (Sofitel Legend Metropole Hanoi), just strolling through the corridors of the original building (built in 1901 by the French colonists) you can see and feel the essence of Indochine and hope to understand this (first) luxury hotel built in the city.
The hotel has a few famous ghosts that shuffle through the corridors when the lights go off and guests are tucked between their immaculate cotton bed linen. Rich dark brown timbers creak mildly underfoot in the rooms and the walls wear the patina of stories told and sold.
Author of many fine books, Graham Greene including The Quiet American spent time here (Suite 228)working on his books and watching the last days of the decline of French colonisation and CIA intrigue. This book and the film has endured and like the French (here from 1887-1954) has left its mark on Hanoi.
The hotel has also outlived its original owners, the colonisers, the CIA, the Japanese, the Chinese, Americans, Australians and all others who came to snatch a slice of Vietnam.
The Metropole Hanoi is a much-loved hotel and I met a man who had been staying here annually since the early 80s. He recalled then that there was a food shortage, and the staff of the hotel were too shy (call that scared) to talk to guests because of the culture of spies that flitted in and out of the shadows as Vietnam began to consolidate as a communist country after a bloody and bitter conflict that lasted from 1955-1975.
There’s a short tour to be had at the hotel where much of the past is recorded in panels. There’s the famous image of Jane Fonda and her visit here with an anti-war message and also Joan Baez stayed here and was present during a hideously long bombing raid across Hanoi over Christmas in 1972. The United States Airforce unleashed Operation Linebacker II, its most intensive bombing campaign since WWII.
Baez and the hotel staff spent 11 nights of the bombardment in an underground bunker crammed with 40 people.
This small network of cells (below) is under the hotel’s back courtyard and was only unearthed during renovations in 2011. Now there’s a new and sad tradition that invited guest into the bunkers narrow rooms where they listen to a crackly, fuzzy tape recording of the bombing and the screams of a mother calling for her son.
Baez based her famous anti-war song Where Are You Now My Son on this incident and partly recorded it in the shelter. The music is punctuated by the thumps of bombs hitting the ground.
Vietnam has weathered many a squall and indeed centuries of storms – and lives and thrives to move on.
The Metropole Hanoi has withstood much and has kept its sense of style, its good manners, and is a shining example of what true hospitality is.
The Shining Ritual
And talking of shining, one of the charming traditions carried out every day at the hotel is the Shining Ritual.
The Shining Ritual indicates Sofitel’s refinement and unveils the secret of excellence through recurrent cleaning and polishing of the Sofitel Legend nameplate located at the hotel entrance.
Every day, hotel staff perform the Shining ritual using a red velvet towel and green tea to clean the brass plate and the bronze gong. In the past, only Royal families had access to velvet, a material symbolising luxury, elegance, quality and beauty. Red is the colour of luck, happiness and success. Green tea, besides having healthy benefits is also a cleaning agent in Vietnamese households.
The Gong, a musical instrument used by most highland ethnic groups in Vietnam, is believed to link people to the spiritual world and is also representative of Vietnam culture as a whole.
Writer Bev Malzard, stayed two nights in the divine Metropole, enjoyed a feast of a breakfast and an afternoon tea to write home about – which she will do as soon as she has shed the three kilos that curiously attached to her body after a three-hour High Tea. Mon dieu!
He insisted he was the most handsome of the two? You choose. I know I made my choice.
Outdoor art is the art of the 21st century. Graffiti has graduated!
The Silo Art Trail that snakes through the wheat belt of Victoria is an inspired outdoor gallery. A couple of hours outside Ballarat and you are on your way.
The concept of having the towering (up to 27m), cylindrical concrete towers as the canvas for murals started with Guido van Helten’s stupendous ‘Farmer Quartet’ in the tiny town of Brim. Wheat silos define the landscape here and honouring the farmers and the history of the silos engaged the entire community – and it was lift off.
Shaun Hossach of Juddy Roller Studios proclaims himself as a ‘one-man unionist’ and does the leg work, negotiating and planning for the casual collective of Australian artists. He originally worked with GrainCorp (major sponsor), Taubmans Paints (the paint supplier), Creative Victoria and got the Government Drought Communities involved in the silo project.
Silo mural by Julia Volchkova on the Silo Art Trail in Rupanyup, Victoria
GrainCorp’s Luke O’Donnell says that the company is proud to sponsor the Silo Art Trail and more. “GrainCorp supply the decommissioned silos as the canvas, and regard the whole process as a perfect way to hold on to the important legacy that the structures represent and reinvigorate these towns”, he says.
First stop heading north on the 200km trail is at Rupanyup with a double modern silo decorated by Russian artist Julia Volchkova. Seeing the scope of breadth of the art works it’s obvious that this type of work is not for sissies. Cherry pickers have to be ‘driven’. The artists work in all weather, alone, and at a great height at the top of the canvas.
Next stop at Sheep Hills is a four-silo effort by Adnate of children of the local indigenous clan. To be dwarfed by the four lifelike faces is a privilege.
Mural portraits by Adnate in Sheep Hills, Victoria, on the Silo Art Trail.
And next at Brim is the extraordinary Farmers Quartet. The vision is almost overwhelming with the subtle hues of the landscape blossoming into four characters of the region humbly portrayed. Real people modelled for this and are the modest celebrities of the shire.
Silo mural of four locals by Guido van Helten in Brim, Victoria. Used as backdrop for episodes of 2017 Masterchef.
Further into The Mallee, in Lascelles is the two-silo artwork by Rone. Here is a man and a woman, fourth generation farmers curving around the soaring towers and as part of the landscape as the mallee root tree.
Top of the trail is at Patchewollock – a town to dwindling prominence that is the most isolated on the trail. Fintan Magee chose a subject from the only pub in town on his first night in Patchewollock: farmer Nick Hulland who is a reluctant pinup. But he says if it helps the town – he’s happy.
Other work is in preparation for the Silo Art Trail and silos in other states have put their hand up for attention.
We wonder what Norman Mailer (see reference below) would say if he had the good fortune to witness this original and exciting art.
Now, here’s a silo that could do with a good lashing of paint!
Guerilla art is now great art. Walls become artworks and silos the grand canvasses of rural towns. Once was graffiti, is now urban engagement and licence to paint the town red.
It probably began 45,000 years ago in Australia; community minded fellas worked their magic art on to the walls of caves to let passing nomads see what food was available, attractions in the region and objects to be found or maybe just to show off their talent. Rock art galleries started it all.
For thousands of years, human beings have made their mark upon plain surfaces, from stick men to tag-style graffiti.
And when someone criticized the wall vandals of the 80s with the sentence “Punks can’t spell Cappuccino”, that phrase became official graffiti and the wall expression medium had arrived, evolved and gained acceptance by the less-than-art- critical-public.
Pre ‘acceptable’ wall art in New York City, of the 70s gave birth to excessive public graffiti – think subway trains. In one of his essays back in the day, Norman Mailer said New York subway graffiti is “the great art of the 70s”. And it burned brightly until Mayor Ed Koch. elected on a clean-up-the-city every which way platform, scrubbed clean the city. By the mid-80s NYC graffiti had faded quietly and what was left or came later became the acceptable norm.
Across the Atlantic, enigmatic artist Banksy launched his wall art career in his home town, Bristol. Stencils became his medium as his art gained notoriety on a big scale in the late 1990s.
Banksy’s work (below) sneaks up on you. Characteristic of the works are the obvious digs at hypocrisy, violence, greed and authoritarianism but pathos and whimsy are in the creative makeup too.
There have been plaintiff cries of outrage that some of Banksy’s work has been painted over by other artists. No worries. His works and the art of most wall art specialists are not forever, just a fleeting expression from the artists and the topic de jeur.
And at home wall art has changed the urban ‘artscape’ and rural regions. Australia is engaged with a stunning variety of wall/outdoor art that crept in stealthily during the late 90s too. Melbourne had the wall art advantage first up because of the surviving laneways in the inner city. And some of the most creative artists have emerged from the southern capital.
Sydney was a slow starter but every week another piece of excellent art appears on the walls in and around the inner west and on the edge of the CBD. Without a lot of laneways remaining due to concentrated development, the older suburbs snatched the prize.
Melbourne.
The big winners for wall art are the small cities and rural towns of Australia with their untouched walls. Professional wall artists including Matt Adnate, Guido van Helten, Kaff-eine, Resio, Rone, Cam Scale and Makatron are working on walls way out of the city and enriching the life of country towns.
The south east Queensland ‘garden city’ of Toowoomba has held the First Coat festival for four consecutive years and through the laneways and backstreets, artists from near and far and embellished blank spaces. Toowoomba has created a home for beautiful works and the weekend festival is now on the party calendar.
Toowoomba.
Victoria’s Benalla (Rural Street Art Capital) has had monumental success with its Wall to Wall festival since inception in 2015. See blog post from July 3 on the report on the Benalla Wall to Wall festival.
Writer, Bev Malzard hanging about in Melbourne, the Chrissie Amphlett Lane.
Copyright Bev Malzard (Sections of this article have been published previously in the Financial Review Weekend and Travellers Choice Discover magazine.)
Vienna invites you to dance into a museum dedicated to Johann Strauss, creator of the Blue Danube Waltz, and his family. But there are also plenty of other places for fans of the waltz king to visit, from his apartment to his final resting place.
Only Vienna could do a museum like this justice. The Johann Strauss Dynasty Museum in the ninth district is the first museum in the world to focus on the history and artistic output of the entire Strauss clan: from Johann Strauss the Elder and the waltz king Johann Strauss the Younger to his two brothers Josef and Eduard. Visitors can also look forward to an impressive range of pictures and documents that bring Biedermeier-era Vienna to life. Audio stations dotted throughout the museum give fans a chance to listen to popular and less well known pieces from the family canon as often as they like, without interruption.
Johann Strauss (1825-1899), known to family and friends as Schani, his father Johann and his brothers Josef and Eduard took the world by storm with their music. With 1,500 works between them, from Die Fledermaus and The Radetzky March to the Blue Danube Waltz, they embody Viennese music like no others. Their waltz and operetta melodies can be heard in the capital’s concert halls throughout the year as well as at the traditional New Year’s Concert which is broadcast all over the world from the Golden Hall of the Musikverein.
It goes without saying that there is a Johann Strauss monument in Vienna. This golden statue of the waltz king playing his violin can be found in the Stadtpark, a short distance from the Kursalon. The Vienna Philharmonic played at its unveiling in 1921 and today it is one of the most photographed sights in the city. Johann Strauss II composed Vienna’s unofficial anthem The Blue Danube in an apartment at Praterstrasse 54 in the second district in 1867 where he lived with his first wife Jetty from 1863-1870. In addition to original furnishings and period instruments, exhibits include everyday objects from the great musician’s estate as well as portraits, photos, and documents on his life and work. The waltz king was laid to rest at Vienna’s legendary Central Cemetery, near the graves of Beethoven, Schubert, Brahms and Johann Strauss the Elder.
Museum of the Johann Strauss Dynasty, Müllnergasse 3, 1090 Vienna, www.strauss-museum.at
Johann Strauss Memorial, Stadtpark, 1010 Vienna
Johann Strauss Apartment, Praterstrasse 54, 1020 Vienna, www.wienmuseum.at
The waltz began as a dance of rebellion, embraced by teens and sneered at by conservative parents. When the dance first whirled through the ballrooms of Vienna, it caused an outrage and marked a decisive shift in European social customs.
The dance’s origins are probably humble. Its name comes from walzen— “to turn” in German—and may have developed out of the folk music of Austria’s western Tyrol region (although some authors associate its choreography with the volta, a 16th-century couples dance). Whatever its exact origin, by the late 1700s the waltz spread throughout Europe. The dance craze was particularly popular among young people from the wealthy middle classes, the perfect expression of a new, confident bourgeoisie, who were discarding the aristocratic customs of their elders.
A scene from 1774 novel The Sorrows of Young Werther, by J. W. von Goethe, describes a ball that begins with stuffy minuets until a new tune is struck: “When the waltz commenced, and the dancers whirled around each other in the giddy maze . . . Never did I dance more lightly. I felt myself more than mortal, holding this loveliest of creatures in my arms, flying, with her as rapidly as the wind, till I lost sight of every other object.”
In 1833 a British manual of good manners recommended only married women should dance it, as it was too immoral for the unwed.
It seems that travellers are mad for Spain at the moment, and why not, cities brimming with history, aromatic with the scents of flowers and amazing food and the time-honoured hospitality of this grand old country that is so much more than the sum of its parts.
Following is a short trip down memory lane from a couple of years back and a short but sweet 48 hours in Madrid.
Platea Madrid.
Arriving in Madrid on a pleasant end of a summer day, we drove along tree-lined streets and were delivered to the hotel Villa Magna in the elegant Salamanca barrio (precinct). This is the time when jet-lag kicks in but it’s too exciting being in a new city and it’s afternoon – lunch time, yay.
The fabulous Mercado de San Miguel where all sorts of divine food is at your disposal.
And this is how the eating frenzy began. First stop was a five-minute walk from the hotel to the beautifully restored and beloved Platea Madrid. The old art deco theatre has had new life breathed into it and has become a fragrant complex of tapas bars, Michelin starred restaurants and snack bars with rustic market-style décor. A cooling ale and a plate of potatas bravas (fried chunks of potato with spicy, paprika ridden tomato sauce), small bites of battered cod and some succulant slices of jamon iberico – I was hooked.
Jamon Iberica.
And an early dinner eschewed. This was the funny part of the trip – our timing was not always conducive to being ‘hungry’. Breakfast isn’t a big deal here. Coffee and a little pastry maybe or two coffees. Lunch is from anywhere between 2pm and 4pm and if you are on a schedule, you’ll find yourself having dinner within a couple of hours after a banquet of a lunch.
Normally, a little tapas bar has one or two specialties – this one featured grilled or stuffed mushrooms and fried chillies – and of course slices of jamon . . .
So after a quick change in my room and a serious count of the threads in the cotton sheets, we were off to nearby Tatal, a fancy restaurant owned by Rafael Nadal and Julios Ingelsias (both of then stood us up for a shared plate). The restaurant started filling up and by the time we left at 10pm (early by local standards) the place was packed with well-dressed patrons – and a week night too.
The following day was a series of long walks through the beautiful Buen retro Park, a visit the famous Museo Nacional Del Prado to view extraordinary paintings and sculptures by Spanish artists (Goya, Picasso, Velasquez for starters, shopping for espadrilles, finding just the right cake for afternoon tea and a final jaunt around town on a Tapas Tour – a definite must for food lovers.
Ah, Madrid, it was short, it was sweet but oh, so fine!
With more espadrilles than you can tip toe around, they are the authentic design and made here in Madrid. Writer Bev Malzard struck it lucky when her sandals broke and she just HAD to buy three pair of espadrilles – as you do!
What was guerilla art is now great art. Walls become artworks and sleepy lanes and behind the scene walls and silos the grand canvasses of rural towns. Once was graffiti, is now urban engagement and licence to paint the town red.
It probably began 45,000 years ago in Australia; community minded fellas worked their magic art on to the walls of caves to let passing nomads see what food was available, attractions in the region and objects to be found or maybe just to show off their talent. Rock art galleries started it all.
For thousands of years, human beings have made their mark upon plain surfaces, from stick men to tag-style graffiti.
And when someone criticized the wall vandals of the 80s with the sentence “Punks can’t spell Cappuccino”, that phrase became official graffiti and the wall expression medium had arrived, evolved and gained acceptance by the less-than-art-critical-public.
Melbourne art works.
Pre ‘acceptable’ wall art in New York City, of the 70s gave birth to excessive public graffiti – think subway trains. In one of his essays back in the day, Norman Mailer said New York subway graffiti is “the great art of the 70s”. And it burned brightly until Mayor Ed Koch. elected on a clean-up-the-city every which way platform, scrubbed clean the city. By the mid-80s NYC graffiti had faded quietly and what was left or came later became the acceptable norm.
Melbourne outdoor art.
Across the Atlantic, enigmatic artist Banksy launched his wall art career in his home town, Bristol. Stencils became his medium as his art gained notoriety on a big scale in the late 1990s.
Banksy’s work sneaks up on you. Characteristic of the works are the obvious digs at hypocrisy, violence, greed and authoritarianism but pathos and whimsy are in the creative makeup too.
And at home, wall art has changed the urban ‘artscape’ and rural regions. Australia is engaged with a stunning variety of wall/outdoor art that crept in stealthily during the late 90s too. Melbourne had the wall art advantage first up because of the surviving laneways in the inner city. And some of the most creative artists have emerged from the southern capital.
Sydney was a slow starter but every week another piece of excellent art appears on the walls in and around the inner west and on the edge of the CBD. Without a lot of laneways remaining due to concentrated development, the older suburbs snatched the prize.
The big winners for wall art are the small cities and rural towns of Australia with their untouched walls.
In previous blogs I have attended the amazing First Coat Festival in the Queensland tidy town of Toowoomba. I’ve followed wall art festivals to Wollongong south of Sydney, wandered the lanes of Melbourne and followed the fabulous Silo Art Trail in Victoria.
And once you get an interest in wall art/outdoor art there’s no turning back – you see it everywhere and become fans of certain artists. And when you see them at work and converse with them, you’ll find a group of young people who are modest, amiable and happy to share the love of this medium.
My last excursion into the rural artistic enclaves of Australia was to Benalla in Victoria for the /Wall to Wall’ Festival last March, the second one held there.
Benalla is a small city located on the Broken River in the High Country north-eastern region of Victoria, Australia, about 212km north-east of the state capital Melbourne. At the 2016 census the population was 9,298.
We drove from Sydney and overnighted at the pretty town of Rutherglen just over the border after driving through Albury.
Benalla is a town of character with great coffee shops a bakery that boasts numerous wards for having the best Vanilla Slice in Australia, good restaurants, beautiful Botanic Gardens and a splendid regional art galley.
We hit the street running to take in as many artworks as possible. Best view was watching the artists at work. They seem so small against the large canvasses they work on.
Benalla Art Gallery.
Outside of Benalla is a slip of a siding town called Goorambat where there a silo has been painted and in a wee Uniting church Matt Adnate has created the portrait Sophia’ which has become a local attraction.
‘Sophia’ by Matt Adnate.
I would encourage anyone to take the time out to get outta your city and explore our wonderful country towns as they are leading the way to colour in the bland residue of the dusty past. The towns are coming back to life and with the extraordinary support of the locals and visitors, they are more than an Aussie country town – they are performing on the world stage where art trails and maps are exposing the talent of the new breed of artists painting the town red!
Writer Bev Malzard nearly expired in the heat of the Benalla Wall to Wall weekend and hopes it might be a little later than March next year. BUT find out for yourself and keep in touch with what’s going on throughout the year in the town of the great vanilla slice – and yes, of course she ate one.
With more espadrilles than you can tip toe around, they are the authentic design and made here in Madrid. Writer Bev Malzard struck it lucky when her sandals broke and she just HAD to buy three pair of espadrilles – as you do!
