Branch and SIG Updates

TAS Branch: How quickly can a fire brigade respond—and what if the horses never forget?

That question (unexpectedly) found its answer during a recent ASA Tasmanian Branch visit to Hobart’s Tasmanian Fire Museum Collection.

Housed within the old Hobart Fire Brigade’s 1911 Head Station—still operational today (and occasionally closing its doors when duty calls)—the Museum traces Tasmania’s firefighting history, from an 1826 hand-drawn fire pump to more modern equipment and records.

Members were guided by long-serving firefighter and volunteer David van Geytenbeek, whose storytelling brought the collection vividly to life. Beyond the uniforms and appliances, it was the human—and animal—stories that stood out. In the days of horse-drawn fire engines, brigade horses were so well trained that, at the sound of the alarm, they would return to their stations and back themselves into harness, ready to respond within moments.

Retirement, however, proved less straightforward. Reassigned to quieter duties such as milk deliveries, one former brigade horse was working near the station when the fire alarm rang out. Old habits kicked in. The horse bolted—cart, milk, and a very startled delivery driver in tow.

A vivid (and amusing) reminder that training—and instinct—runs deep. The visit highlighted not only the evolution of firefighting in Tasmania, but also the importance of preserving the stories behind the records and artefacts.

Thank you to David and all the volunteers at the Tasmanian Fire Museum for a generous and memorable tour.

Drawn to DIVA

Dr Fiona Rothchilds, ACT Branch Member

You missed DIVA? The exhibition was held in Hamer Hall in the Arts Centre Melbourne from December 2025 to April 2026. Australian Museum of Performing Arts and Victoria and Albert Museum (V&A), London UK presented it and some ASA members attended on 21 April out of professional curiosity (aka PD).

The exhibition displayed garments and ephemera celebrating the power and creativity of divas. A diva is at the top of their artistic profession and usually transnational in their geographic reach and audience fandom. DIVA was an Australian exclusive exhibition celebrating some of the performing arts industry’s most powerful and provocative performers.

The quattro skills of singer, dancer, actor and musician filled this passionate, eye-catching exhibition with powerful examples of why female performers’ memorabilia should be preserved for future generations. 

Kate Bailey, V&A’s senior curator is quoted in STAGE, Issue Two, of the Arts Centre Melbourne magazine (November 2025 – October 2026) describing the word “diva” as “pejorative: bossy, demanding, tactless, crudely extravagant or difficult.”  

“How did we get from (worshipping) these extraordinary, exceptional voice artists to a diva being negative”, Ms Bailey is quoted in STAGE. She asserted: “because all of the other artists of the time, the composers, were all men.” ACM’s publicity flyers state that DIVA displayed “more than 250 objects, including 60 spectacular costumes, jewellery, photography, art, and music, drawn from the V&A’s Collection, Arts Centre Melbourne … and loaned treasures from across the world.” 

ASA members gazed in awe at preserved newspaper articles, sketches, photographs and wardrobe items from 19th-century opera goddesses, silent film stars and Hollywood legends. On show was memorabilia of Maria Callas, Judy Garland, Joan Crawford, Grace Jones, Cher, Amy Winehouse, Prince, Tina Turner, Elton John, Madonna, Rihanna, Lady Gaga, Whitney Houston, and Bjork – and Olivia Newton-John’s sequined jacket and blue piano.

DIVA showcased other Australian’s significant contributions to the stage including Dame Nellie Melba, Dame Joan Sutherland, Marcia Hines, Kylie Minogue, Cate Blanchett, Chrissy Amphlett, Dame Edna Everage – and Peter Allen. It took visitors behind the news and advertising headlines to reveal the professional integrity of showstopping performers through displays of preserved memorabilia, curated wardrobe items and publicity posters.

Iconic garments created by legendary designers such as Bob Mackie, Valentino, Vivienne Westwood, and Christian Dior were displayed in mint condition. There was exquisite beading, feathers, diamonds, jewels as well as personal objects, song sheets and handwritten lyrics from divas’ personal collections.

Soundtracks from popular recording hits and musical shows featuring the divas encouraged visitors to stop and remember with child-like wonder.  Black and white films featuring Mae West, Bette Davis, Katherine Hepburn and Marilyn Monroe caught many ASA members’ attention.

DIVA charted the origins and rise of the diva personality over generations of musical theatre and design. It highlighted divas as agents of change and positive forces for female equality in the performing arts industry.

ASA members agreed, during their Yarra-riverside dinner after attending DIVA, that the exhibition’s curated iconic personal items must continue to be preserved for posterity.

Tickets to DIVA Exhibition Melbourne 2026

DIVA Advertising Flyers - Front

DIVA Advertising Flyers - Back

You can find more information about the DIVA exhibition on the Art Centre Melbourne's website.

Arts Centre Melbourne granted permission for the inclusion of the three flyer photographs containing ACM text and images. The Australian Centre for the Moving Image (ACMI) permitted the author to photograph items within the exhibition.
The five exhibition photographs below are © Fiona Rothchilds 2026.
The accompanying text is © Fiona Rothchilds 2026.