Recreation Facility

Four Winds

The Story

Location of Object:

The Four Winds Arts Precinct is located 390 km south of Sydney and 9 km south of Bermagui at the locality of Barragga Bay. 36° 30' 15.084'' S 150° 3' 10.656'' E

Accessibility of Object:

Bermagui is located 381 km south of Sydney via the Princes Highway and Wallaga Lake Road. It is 648 km north east of Melbourne. Bermagui is served by sealed road connections to Tathra (44 km south), Cobargo (20 km west) and the Princes Highway (15 km to the north) near Tilba.

Vehicular access to the site is gained by travelling 9 km south of Bermagui along the Tathra-Bermagui Road until reaching the locality of Barragga Bay. From the main road, turn right into Four Winds Road and traverse the road for approximately 170 m, then turn left and follow it for around 550 metres.

The all weather road is traversable by 2WD vehicles and its condition is good. During the performance season, access is gained by foot from the carpark located beneath the Spotted Gum canopy just before the arts precinct. At other times, vehicles are able to access higher elevated areas of the precinct and a small car park adjoins the Windsong Pavilion. Disability access to higher areas and to the Windsong Pavilion is therefore good though assistance would be required to access lower areas closer to the Sound Shell.

Social History and Provenance of the Object:

The germ of the idea for an arts event originated in the late 1970s when renowned Australian actress Patricia Kennedy (1916-2012) shared her thoughts about creating a local version of the Aldeburgh Festival (an English arts festival devoted mainly to classical music) with celebrated writer and actor Rodney Hall (OAM). They were both inspired by living within the beauty of the coastal area south of Bermagui and, as happens at Aldeburgh, by the notion of utilising regional facilities for theatrical performances. Rodney then presented the concept to philanthropist Neilma Gantner (1922-2015). Neilma subsequently mentioned the idea of bringing the classics to the local community to the newly arrived pianist and Professor of Music Michael Brimer who ran with it. His affiliation with Melbourne University meant that he was able to bring an institutional base to underpin and further the conception and, at Neilma’s invitation, the first committee was formed.


Others who had previously decided to settle there had also experienced the ‘magical’ attraction that the coastal area exerts. The area south of Bermagui is renowned for its beauty and relatively unspoiled condition, attributes that had served to attract a new cohort of people to either live within, or regularly visit, the area. By the time of the festival’s inception the far south coast had been subject to a steady influx of new settlers whose presence gradually impacted the social fabric. A grouping of prominent people including historian Manning Clarke and his wife Dymphna, the businessman and philanthropist Ken Meyer and the renowned architect Roy Grounds all built holiday houses and retreats at Bithry Inlet on Wapengo Lake during the 1960s. Clarke enjoyed favoured historian status with the Whitlam government and he and Dymphna hosted many luminaries from within the ALP intelligentsia who came to their property ‘Ness’ from Canberra for the weekend. The closely situated Meyer-Grounds property, ‘Penders’, attracted many visitors from Melbourne including Neilma Gantner who would have had every good reason to visit her favourite brother Ken and her close friends Roy and Betty Grounds. Both these heritage-listed properties have been assessed as being of state significance.

Part of the cultural value attributed to Penders lies in the acknowledged role it played in bringing a new demographic of people into the area. Under the State Heritage Register Criteria (d), Social Significance, Penders is described as having,

… contemporary social significance as a founding example of property purchased along the south coast or in the nearby bush where a series of like-minded intellectuals and artists from the major cities followed Grounds and Myer in building and occupying modest and environmentally sensitive structures as holiday retreats.

Additional later arrivals who also impacted the prevailing social setting included those seeking a ‘tree-change’ and alternate life-stylers. For many new settlers the combination of extensive forested areas, lack of heavy industry and the distance between coastal settlements contributed to a perception that the area, especially parts closest to the coast, remained spacious, clean and untrammelled. The common thread that tied these newcomers together lay in the powerful attraction that the beauty of the area exerted upon them, along with their desire to protect it. Influential among these early figures was writer, environmentalist and adventurer John Blay who, along with his wife Wendy, established a wildlife refuge and conservationist collective, UmbiGumbi, at Cuttagee. Blay published a diarised record of his experiences in a highly personal and reflective work, ‘Part of the Scenery’, that was begun in 1979 and published in 1984.

The socio-economic environment into which these people came had, for quite some time, been transitioning away from forms of land use that had predominated in earlier eras of the shire’s development and this trend had also affected Bermagui and its surrounding area. Recounting her perceptions in regard to social changes stretching right back to 1938, local woman Sophie Mead (1982) provided a potted history of the Bermagui district that poignantly captured the essence of a bygone era, while still retaining a sense of optimism for the future of the town.

“We were recovering from the dreadful depression and there were whisperings of a coming war in Europe. The main industries in our town and close by were deep sea fishing, sleeper cutting, dairy farming and net fishing in Wallaga Lake and other small lakes. There were about 30 to 40 seagoing launches with full crews.

The dairy farmers sent their cream to the Cobargo and Bega butter factories by six or 10 gallon cream cans transported by lorries and horse-drawn vans. There was also a timber mill employing about 16 to 18 men, and a wattle bark mill. A certain amount of oyster farming was carried out at Wallaga Lake by returned diggers from the First World War and in the Bermagui River by men of the town.

A new sport had sprung up, big game fishing. Zane Grey, an eminent American author, had visited us to partake of this sport, and many Victorian game fishermen came for the same reason, returning year after year, staying at Mrs O’Shea’s hotel whilst here.

War broke out in Europe and many of our men joined the forces to fight overseas. Fishing was still carried out and the jetty and the fish shed had to be enlarged. The Japanese submarines got amongst a convoy of ships off Bermagui and quite a lot of wreckage was washed up on the beaches around the town.

Electricity was laid onto the town and nearby farms and homes in the late 1940s, making for better living conditions. Corvette building for the navy started up on the bank of the Bermagui River. The water was laid onto our town and outlaying homes from a dam built at Couria Creek at the base of Mount Dromedary in the early 1950s.

There was a new larger fleet of seagoing launches and a new jetty was built, also a breakwater near the river mouth. A fish canning factory started up on the disused wharf employing nine people, but after a few years this was closed down.

At about this time New Zealand started buying seven foot sleepers from New South Wales and many were cut and sent from here. The smaller boats coming to pick them up could lie at our wharf, but others had to be transported to Eden for the larger ships berthing there. This order was finally dropped in 1956-7. Sleeper cutting was now an easier task with the introduction of the blitz, and then again in 1958, by chain saws. A bigger crew was working the mill but the wattle bark industry was fading out, as was oyster farming at Wallaga Lake, though this was still carried on in the Bermagui River and catchment areas.

As time marched on sleeper cutting also declined. Today there are only five men cutting sleepers and several others with small mills scattered throughout the bush cutting a few sleepers and timber. Many of the farmers have gone into cattle breeding for beef, and those who still milk send it to the Bega Factory by tanker.

The building industry is flourishing with new buildings going up everywhere around the town.The population has grown to 1,200, swelling to seven and a half thousand in the tourist season.

Sewerage was put onto the town in the early 1970s and most streets were kerbed, guttered and sealed. There is a Country Club House with golf, tennis and bowls.

Bermagui also has an arcade with many shops, three practising doctors, a dentist, a hairdresser, lawyers and estate agents, also a squash hall, sauna, bank and many other amenities.”

Bertha Davison (1982), having researched the history of the Bermagui District, wrote:

“It seems that Bermagui’s future expansion depends mostly upon tourism, which in turn depends on the fine holiday facilities and especially the big game fishing available here.”

These descriptions provide a glimpse into the social setting that existed at Bermagui over the time leading up to the festival’s inception.

The small community of city escapees and artists at Wapengo was further increased when writer and actor Rodney Hall, his wife Bet and their three daughters came to live at Barragga Bay in 1973. Rodney Hall (born 1935) is one of Australia’s foremost poets and authors. A twice winner of the prestigious Miles Franklin Award (Just Relations and The grisly wife)) and recipient of the gold medal of the Australian Literature Society, his novels have been widely published and translated into many languages. In the early 1960s he worked as a freelance writer, actor, book and film reviewer and he was the Poetry Editor of The Australian from 1967 to 1978. Rodney was Chairman of the Australia Council from 1991 until 1994. A skilled recorder player, he founded the Summer School of Music in Canberra and was appointed Musical Director of the Musica da Camera Chamber Orchestra (1981-1983). He was made OAM in 1994. Bet Hall also received an OAM for improving the health of Aboriginal people of the Far South Coast and for community health work.

Four years after their arrival the celebrated Australian actress Patricia Kennedy came to live in a state of retreat within the forest at Wapengo. Widely respected for her portrayal of intelligent, considered and independent women, Pat Kennedy (OBE) had enjoyed remarkable success during a professional life that included award winning radio work for both the ABC and Crawford Productions in the late 1930s and 40s followed by critically acclaimed acting performances in Australia and England in the 1950s. Returning to Australia in 1958, she played opposite Dame Sybil Thorndike and Sir Lewis Casson in the J.C. Williamson production of The Chalk Garden, where she proved that she could match the performances of renowned actors from overseas. During the coming decades Pat captivated audiences in multiple productions and spent time in the early 1970s as a theatre consultant working for the Australia Council. By 1977 when she purchased her south coast property Pat, as a senior artist, had become deeply disillusioned and angry as a result of being successively overlooked in the casting of roles for which she was eminently qualified. Seeking a haven from where she could reflect and gather new inspiration Pat retreated into the Bush at Wapengo, later describing the twenty five years she spent there as her happiest times.

Patricia and Rodney had become acquainted while working on educational programs at the ABC in Brisbane in the early 1950s. This formed the basis of a lifelong friendship between them that deepened even further when Pat moved from Melbourne to Wapengo. Rodney and Bet Hall invited Neilma Gantner to meet Pat at their place at Barragga Bay where they all brainstormed the idea of multiple art forms occurring in multiple venues.

Neilma Gantner had begun to deeply identify with the place. She built a home at Barragga Bay and valued being a part of the Bermagui community. She became convinced that, as part of her social contribution, she could bring the gift of fine performance for those people who wanted it.

Born the second child of the great Melbourne retailer and philanthropist Sidney Myer and his wife Merlyn (née Baillieu), Neilma was a novelist, poet, short story writer and philanthropist whose lifetime of generous patronage was expressed in support for many worthy causes including funding for children with disabilities, refugees and child adoption. Although she was an active patron who came out of a tradition of patronage, Neilma had no interest in power and preferred to work behind the scenes. As a skilled facilitator who knew how to bring the right people together to make things happen Neilma ‘led from below’ and, when well into her seventies, was happy to make beds for visiting festival performers. By initiating a committee composed of people with experience in business, theatre production and the arts who were charged with steering the development of the festival, she demonstrated both a measured acumen and a capacity for insightful leadership. She also considered that the quality of the performances and the enjoyment of the audience were very important and this led to the creation of a child-care centre that operated during the early years of the festival. Neilma was loved and respected for her lack of affectation, her courtesy towards others irrespective of their social status, and for her gracious disposition. Though the original conception of the festival did not include a formalized educational program, Neilma regarded the experience of listening to classical music as fulfilling a deeper pedagogical function. In an filmed interview conducted toward the end of her life by her friend and assistant Sheena Boughan she stated,

I’m not interested in fishing – and that’s all that Bermagui had – and it needed something else – especially music. So we were very glad it happened. Classical – Yes that’s what we needed – the classical is supreme.

After the committee was formed, members of the Gantner family became interested in looking at a natural venue, and Neilma’s son Carillo began to play an increasingly influential role in the further development of the Four Winds site and its cultural trajectory. Rodney and Carillo had been colleagues while working at the Australia Council in the early 1970s and later acted as joint Artistic Directors of Four Winds from 1997 to 2004.

Carillo Gantner AC has made a major contribution to Australia’s cultural life over a long and distinguished career. Probably best known for having founded the Playbox Theatre in Melbourne in 1976 and as the driving force behind the construction of the Malthouse Theatre complex, his achievements also include his time as Cultural Counsellor at the Australian Embassy in Beijing (1985–1987), acting, directing and arts administration roles, time spent as a Melbourne City Councillor where he was Chairman of the Planning and the Docklands Committees and had portfolio responsibility for Cultural Development, President of the Victorian Arts Centre Trust (2000 – 2009) and as President of the Myer Foundation from 2004 to 2010 and current Chairman of the Sidney Myer Fund.

Carillo had enjoyed the family experience of using a natural hill on the side of the Botanical Gardens in Melbourne –the Myer Music Bowl - as an open-air venue, and he set about finding a local equivalent. While exploring the area around Barragga Bay he came upon a natural amphitheatre that faced a small lake and instantly saw its potential. The site was originally spotted gum and rainforest, but had been both logged and substantially cleared in the 1960s for beef cattle farming. An offer was made, and accepted, to purchase the property. The concept that later developed into Four Winds could now be realised. Neilma commissioned architect Hans Hallen to develop ideas for the site resulting in three grassed terraces that faced the lake and a small stage with a plywood sound reflector being built. However the design quickly proved incapable of enabling the adequate projection of un-amplified sound in an outdoor setting.

The first event took place 7 April 1991 with Patricia Kennedy reciting poetry, Michael Brimer playing a mix of Chopin, Liszt and Clementi piano works, then accompanying world famous soprano Rita Hunter who performed a selection of songs including compositions by Wagner to a small but appreciative audience of 200 people.

The program was expanded to a two-day event the following year and by 1993 the stage and terraced area had been enlarged. A Perspex sound reflecting backdrop was also built that provided some wind protection and allowed views to the lake to be retained while a new stretched, white fabric Soundshell designed by celebrated architect Phillip Cox provided shelter for performers and instruments alike. As the cultural reputation of the festival grew, the distinctive natural character of the immediate forest and wider coastal settings combined to produce a unique experience for concert-goers and played an important part in attracting ever larger audiences. The amenities that the site provided continued to develop until, in 2014, the place was re-imagined as ‘Nature’s Concert Hall’. Phillip Cox designed a new Soundshell that provided increased protection and, as a result of Neilma’s ongoing patronage, architect Clinton Murray was commissioned to conceive a new building, the Windsong Pavilion, that provided an all-weather performance space accommodating 160 people while aesthetically referencing seminal Australian architect Robin Boyd’s Black Dolphin Motel in Merimbula (built in1959).


These infrastructural developments have been accompanied by changes in the social composition of attendees to the festival and in the variable engagement of the people of Bermagui district. The early period of the festival’s growth was typified by a committed cohort of local volunteers who saw the event as a thrilling, new cultural opportunity and whose efforts made the event possible, accompanied with the general indifference of the majority of the Bermagui community for whom the event was seen as irrelevant to their main concerns. The Bermagui Tuna Festival at Easter was the town’s established and preeminent cultural event and there was a significant degree of anti-Four Winds feeling in the town (Rodney Hall. pers. comment). The festival was widely regarded as pretentious and mainstream interest in attendance was minimal.


While the early days of the festival were very reliant on the contribution of volunteers and aimed at securing the attendance of mainly local people (50%, 1997-2004), the event has become increasingly professionalized, is significantly more expensive to attend and now arguably attracts an audience that is mainly sourced from farther afield. And although the early programming of the festival (1992 – 96) under the Artistic Director Michael Brimer focused on the presentation of classical music, the program and scope of the festival has continued to broaden over the years, first under the joint directorship of Carillo Gantner and Rodney Hall (1997 – 2004), and increasingly so under other artistic directors over time. It is interesting to note that the original conception for the festival, using the Aldeburgh model, again underpins its direction. And Neilma’s vision endures.


The reason it has value is that art is the most profound human expression of all. No society has been without it. And the sharing of art at a high level is entirely what Neilma was about. That’s what it was… and welcoming people into it. (Rodney Hall)


Context:

Bioregional and Geographic Contexts:

Australia’s diverse geography and climate are revealed in its multiple bioregions where unique geologies, topographies and soils have contributed to the development of forms of biotic life that are highly distinctive. This variability acts to differentiate regions from each other and impacts both the nature of land use and the intangible sense of place that people culturally construct in each area.

Within the Australia landmass 89 Interim Biogeographic Regions and 419 sub-regions have been identified. Bermagui’s bioregion is South East Corner - sub-region Bateman. The Four Winds site is associated with the Coastal Foothills Dry Shrub Forest that is confined to the Ordovician meta-sediments constituting the area’s underlying geology. The forest is mainly characterized by the ubiquitous presence of Spotted Gum Corymbia maculata with a shrubby understorey containing the palm-like cycad Burrawang Macrozamia communis and a sparse ground cover. This floral assemblage occurs immediately north of Bermagui, at Barragga Bay and culminates around Mogareeka.

With the longest coastline of any local government area in NSW, Bega Valley Shire is also the state’s largest local government area with an area of 6,279 square kilometres. Sparsely populated with 75% of its area being comprised of national parks and state forests, it is also known as the ‘Sapphire Coast’ and the shire forms a significant part of Australia’s Coastal Wilderness.

These bioregional and geographic factors have contributed to the particular qualities that typify the Bermagui –Tathra coastal strip and are the reason that many people became attracted to the area and chose to settle there. As people progressively embed themselves into places they find ways to identify with the natural environment within which they are situated and this process of psychological identification gradually influences their senses of collective and personal identity. Bioregional and geographic diversity therefore have the potential to enable the development of cultural responses that reflect the varying environmental milieus. Nature’s Concert Hall exemplifies the integration of natural and cultural elements by exhibiting a unique identity and sense of place.

Cultural Context:

The richness of Australia’s geographic and cultural diversity also finds reflection in the multiple and distinctive forms our music takes. This great variety springs from sources deeply informed by tradition through to other music customs inspired by more experimental forms, styles and genres. Music and song have always been an integral part of Aboriginal and Torres Strait Island people’s cultural practice. Aboriginal songmen are revered custodians of the songs that represent the rich and distinct oral traditions of each community. Sacred and secular songs are also integral to Torres Strait island life and can include western style harmonies derived from contact with other cultures.

Australia also has a rich tradition of Western classical music. Its multiple forms included early or medieval music, baroque, classical, romantic, contemporary and new music. Early western musical influences in Australia arose from the cohort of convicts, soldiers and sailors who brought the traditional folk music of England, Wales, Scotland and Ireland, and from the first free settlers, some of whom had been exposed to the European classical music tradition in their upbringing.

Choral societies were established in the 1850s and symphony orchestras had been formed by the 1890s leading to increased levels of compositional activity. However the majority of classical composers still operated from within established European musical idioms because their background training had occurred in the United Kingdom or in Europe.

Federation in 1901 brought a growing sense of national identity that began to be reflected in the arts, notwithstanding the patriotic attachments with ‘the Mother Country’ that still existed for many and that still dominated people’s musical tastes. By the mid-century the evolving nature of Australian national identity led composers to seek inspiration from the unique character of the country that surrounded them, and by the 1960s composers were taking on additional influences that ranged from Aboriginal and south-east Asian music and instruments, American jazz and blues to European atonality and avant-garde musical forms. Contemporary music making continues to diversify. While traditional forms are still widely practised, new genres such as sound art and computer-generated composition provide innovative and exciting cultural possibilities.

Classical music making and performance in Bega Valley Shire has been limited by the relatively small number of people permanently resident in the area, by ‘the tyranny of distance’ and isolation from major cities where orchestras are typically located, along with by economic, demographic and other social and environmental factors. However the inception of the Four Winds Festival, with its strong emphasis on accessible performance and commissioning of new works from composers has brought a new and exciting impetus to music making within the shire. Five world premier performances of new works were presented at the 2018 festival. The shire also enjoys a vital cultural development in the formation of choirs and in choral presentations, largely as a result of new settlers arriving into the area from the 1970s onward.

Nature’s Concert Hall goes a considerable way to achieving a fusion of nature and culture. Now incorporating a Native Species Arboretum developed in association with Landcare Australia, the Four Winds site is home to a year-round program of cultural events. Nature conservation, community engagement and partnerships with the Yuin Aboriginal community have underpinned Four Winds from its beginnings. Important contributions by Eric and Lorraine Naylor supported the festival’s early success, the Gulaga Dancers have been a consistent presence throughout the years, and Aboriginal people acted as mentors in the recent Bermagui Project that saw artists engaging with the landscape between Gulaga and Biamanga Mountains in the ‘Fresh Salt’ exhibition.

The social institution created around the Four Winds festival, supported by the many dedicated volunteers including site managers, food stall operators, gardeners, car park attendees and others who have been involved with it since its inception, has achieved enormous cultural and critical success. This shared achievement has been ably assisted by professional input from Artistic Directors, stage managers, sound crews, performing artists and office administration staff along with the efforts of multiple unnamed individuals who all have combined together to develop this special contribution to Australia’s cultural life and creative endeavour in Bega Valley Shire.

Comparative examples:

Aldeburgh Festival, UK.

Works depicting/highlighting this object​:


The particular significance of this Object​:

Natures Concert Hall is a place of singular heritage significance for its past and continuing roles in the cultural development of Australia, the State of New South Wales and the local region’s people. The place is culturally significant for its relation to the promotion and performance of classical music generally and to diverse music-making and musical composition in particular.

The amphitheatre has strong associative significance for its connection with the Gantner family and the Myer Music Bowl in Melbourne, along with the festival’s instigators Patricia Kennedy and Rodney Hall, and ongoing design input provided by renowned architect Phillip Cox.

The natural beauty of the physical setting, the pleasant ambience of its manicured cultural landscape and the particular nature of the events occurring there combine to produce a place of high aesthetic significance.

The Four Winds Arts Precinct exemplifies the role of enlightened patronage, and the particular form it has taken there is probably unusual within an Australian context. The development of the Four Winds Festival and the physical infrastructure that is present at the place would not have occurred without the cultural leadership and consistent support provided by members of the extended Myer family. Neilma Gantner’s ongoing patronage, consistently gracious leadership and commitment, along with essential input from her son Carillo (who identified the site for the amphitheatre and has been a joint Artistic Director with Rodney Hall) have been both inspirational and pivotal to the success of Four Winds.

The Four Winds Arts Precinct has social significance for its role in providing a formal place for cultural, educational and leisure activities in the form of classical and other musical performances for close to three decades. This value continues to the present day. It is also socially significant for having provided a context for reconciliation between Aboriginal people, some of whom provided support that was instrumental to the early success of the festival, and the wider non-indigenous community. This value also continues to the present day.

The development of the event and venue are also demonstrative of changes to the economic and social demography of the shire generally, and at Bermagui where the former economic reliance on various forms of established industry (timber getting, fishing, abalone diving, dairying and farming) and the relative isolation of the population have each been supplemented by increased economic development in the form of tourism, the presence of new settlers who were captivated by the beauty of the area, and the growth of the town itself. The Four Winds site is therefore an important symbol relating to the ongoing development of the shire and the shift away from the struggles associated with remoteness and economic hardship through to the stage where local people had become sufficiently connected to wider population centres and prosperous enough to pursue new forms of leisure and recreation. Though it was not initially conceived on this basis, the Four Winds Festival and its associated sites now help to sustain the ongoing development and economic progress of the Bermagui and wider district.


The Four Winds site is also significant for the role it continues to play as an educational institution through activities associated with high quality musical performances, music teaching and environmental learning by children and adults in both formal and informal settings.


Relationship to National, State and Local historical themes


Themes: Main theme:

NATIONAL THEMES STATE THEMES LOCAL THEMES

8. DEVELOPING AUSTRALIA’S CULTURAL LIFE

Creative endeavour

Creative endeavour in Bega Valley Shire

Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.


Other themes:

NATIONAL THEMES

8. DEVELOPING AUSTRALIA’S CULTURAL LIFE

9. MARKING THE PHASES OF LIFE

6. EDUCATING

3. DEVELOPING LOCAL, REGIONAL AND NATIONAL ECONOMIES

2. PEOPLING AUSTRALIA

1. TRACING THE EVOLUTION OF THE AUSTRALIAN ENVIRONMENT

STATE THEMES

Leisure

Social institutions

Persons

Education

Events

Environment – cultural landscape

Commerce

Aboriginal cultures and interactions with other cultures

LOCAL THEMES

Having fun in Bega Valley Shire

Activities associated with recreation and relaxation

Sociality in Bega Valley Shire

Neilma Gantner Patricia Kennedy Rodney Hall Carillo Gantner

Remembering and Honoring the people of Bega Valley Shire

Education and learning institutions within Bega Valley Shire

Activities associated with teaching and learning by children and adults, formally and informally

Living in Bega Valley Shire

Activities and processes that mark the consequences of natural and cultural occurrences

Cultural landscapes within Bega Valley Shire

Economic survival in Bega Valley Shire

Aboriginal People’s Cultural Heritage and Connections to Bega Valley Shire

Natural Heritage of Bega Valley Shire


Thematic storylines:

Pursuing excellence in the arts and sciences Making music Creating visual arts Creating literature Designing and building fine buildings Living in the country and rural settlements Pursuing common leisure interests Remembering the dead Educating people in remote places Educating Indigenous people in two cultures Catering for tourists Altering the environment Marketing and retailing Encouraging fringe and alternative businesses Places of reconciliation Appreciating the natural wonders of Australia

Geographically associated places / sites:

Myer Music Bowl, Melbourne The Halls, Myer family, Caldicotts, Ellingworths and Brimers all lived to the south of Bermagui Grounds/Myer connection at Wapengo Lake: Penders

Associated / linked places / sites / items / people:

Myer Music Bowl, Melbourne Actress Patricia Kennedy OBE Author and Actor Rodney Hall OAM Bet Hall OAM Neilma Gantner Carillo Gantner AC Rolley and Shirley Eggleton John and Zoe Ellingworth


Michael and Judith Brimer Rita Hunter, Soprano Bill Caldicott Sheena Boughen Georgie Adamson Eric and Lorraine Naylor Lois and Terry Urwin Naino Groen Arthur Gattley Hans Hallen, Architect Professor Phillip Cox, Architect Clinton Murray, Architect


Artistic Directors

• 1992, 1993, 1995, 1996, Michael Brimer

• 1997, 2000, 2002, 2004, Carrillo Gantner & Rodney Hall

• 2006-2008, Christopher Latham

• 2010-2012, Genevieve Lacey

• 2014, Paul Kildea

• 2016, Paul Dean Festival Patrons

• Sir William Deane – Patron-in-Chief

• Louise Cox

• Philip Cox

• Lady Grounds

• Daryl and Kaye Jackson

• Jonathan Mills

• Mirka Mora

• Carl Vine

• Gough Whitlam


Heritage listings (statutory and non-statutory):

None

Further information:

Contributors to this ‘library’:

Original library compiled by Trevor King using source documents (see references), oral and recorded interviews and photographs.

Acknowledgements, Rights and Permissions:

Text and contemporary photographs ©Trevor King. All rights reserved.


References and bibliography:


Davidson, B. (1982): History of Bermagui and District researched by Bertha Davidson in Tales of the Far South Coast Volume 1 November 1982. pg. 21

State Heritage Database: Penders https://www.environment.nsw.gov.au/heritageapp/ViewHeritageItemDetails.aspx?ID=5053623

King, T. (2019): Record of Interview, Rodney and Bet Hall. Conducted on Monday 18th March 2019 at Bermagui.

Mead, S. (1982): Bermagui from 1938 in Tales of the Far South Coast Volume 1 November 1982 pp. 58 – 59


Images

Image of Patricia Kennedy OBE sourced from Obituary, The Saturday Age 26/01/2013.

Hans Hallen’s Original Stage design: Retrieved from http://fourwinds.com.au/wp- content/uploads/Screen-Shot-2015-10-09-at-10.46.10-am.png

Performers of traditional Indian music: Retrieved from http://fourwinds.com.au/wp- content/uploads/Screen-Shot-2015-10-09-at-10.46.20-am.png

Historic images of Soundshell 1, 2 and 3: http://pandora.nla.gov.au/pan/24391/20020402- 0000/www.fourwindsfestival.org.au/home.htm

Soundshell 4: http://pandora.nla.gov.au/pan/24391/20060128- 0000/www.fourwinds.com.au/index.html

Windsong Pavilion Interior 1: Sourced from Fresh Salt catalogue. Photograph by Trevor Mein

Windsong Pavilion Interior 2: Sourced from Fresh Salt catalogue. Photograph by Marg Hansen

economy.

Photos courtesy of Marg Hansen, Trevor Mein and Trevor King



Text and contemporary photographs ©Trevor King. All rights reserved.

This Bega Shire Hidden Heritage project has been made possible by the NSW Government through its Heritage Near Me program.

Any further information about Four Winds and any associated histories will be GREATLY welcomed and will be added to the above library of information. Please email your contribution to southcoasthistory@yahoo.com


Location

17 Four Winds Road, Barraga Bay NSW 2546