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A funny little dunny draws controversy

Development proposal for 80 John Street and dunny demolition

In the backyard of an historic cottage at 80 John Street there is a funny little dunny that dates from the 1890s. In 2011 it created a great deal of fuss when there was a proposal for a two-storey commercial development at the rear of the cottage site and the demolition of the dunny for parking.

This is a view of the little 1890s outhouse in the backyard of 80 John Street with work going on around in 2021. This is the same outhouse that caused all the fuss in 2011 when a two-storey commercial building was proposed for this site. (I Willis, 2021)

A funny little dunny goes by a host of names

The funny little dunny is an example of a building that has gone by a host of names over the years. According to Margaret Simpson from the Powerhouse Museum they have variously been called a

Lav, privy, loo, thunderbox, WC, outhouse, toot, throne, restroom, powder room, washroom, john, kharsi, bog, comfort station, and even twinkle-palace, are just some of the euphemisms used for toilets. If you were in the military you’d be using the latrines, on a sailing ship going to the heads, but in country Australia it’d be the dunny.

(https://maas.museum/inside-the-collection/2018/07/18/present-and-past-family-life-toilets/)

A big fuss for a little dunny

The little outhouse created quite a storm and any development proposal in upper John Street below St John’s Church was destined to create some sort of controversy.  

The is a view of the row of Victorian Workman’s cottages in upper John Street (76-78 John Street) that are just below St John’s Church (I Willis, 2018)

Upper John Street has a row of historic Victorian workman’s cottages that the State Heritage Inventory’s Statement of Significance describes this way:

This line of simple, neat, and pleasing four cottages (74-80 John Street) along the eastern side of John Street, leading up to the view of St Johns Church spire, are representative of late nineteenth-century country town cottages. They are remarkably consistent in quality and form a good group.

(State Heritage Inventory Database No 1280026)

The cottage at No 80 where the loo is located is  described as a weatherboard cottage had a ‘corrugated iron hipped roof’ with a ‘brick chimney, timber-posted corrugated-iron bullnose verandah and four-pane double-hung windows with timber shutters’ enclosed by a front picket-fence.   

(State Heritage Inventory Database No 1280026)

This view of John Street is taken from the St John’s Church steeple in 1937 and shows the row of workman’s cottages on the right hand side of the street. (Camden Images)

The development drew community concern at a number levels: obstructed views from Broughton Street;  the bulk and height of the proposed new building; and  the demolition of the loo.

Objections abound

The Camden Historical Society lodged an objection with the consent authority, Camden Council, and then  published an article in the 2011 Winter Newsletter.

This was followed by a front-page story in the Macarthur Chronicle under the headline DE-THRONED, with a full-page picture of society member Robert Wheeler with the loo in the background.

This is the front-page story in the Macarthur Chronicle for 28 June 2011. Camden Historical Society member Robert Wheeler takes centre stage in the page with the loo from 80 John Street in the background. (I Willis)

The report stated that the loo was

One of the few in remaining buildings in the town area which were common before the town was connected to the sewer in 1938.

The Chronicle reported that ‘former Camden town planner Robert Wheeler [was] leading calls for the loo to be preserved due to its historic significance.

‘Mr Wheeler said the proposed building was not ‘sympathetic’ to the heritage of the surrounding area and the outdoor toilet should not be demolished’.

 (Macarthur Chronicle, 28 June 2011).

[Camden Historical Society] vice-president John Wrigley said,The society was concerned about the ‘block-like’ look to the new building and the demolition of the outside toilet’.   

The little dunny is special

The Macarthur Chronicle posed the question:

‘Is this Camden’s oldest toilet?’

 (Macarthur Chronicle, 28 June 2011).

The Development Conservation and Landscape Plan noted the special architectural feature of the outhouse. It had a ‘custom-rolled roof’ that ‘mayhave been by half a water tank’, unlike standard outhouse roofs which were ‘gables or skillion’.  

(Source: Stedinger Associated, 78-80 John St, Camden, Conservation Schedule of Works and Landscape Plan, Unpublished, 2011, Camden).

This is a typical country town outhouse that is no longer in use in Berry NSW. This outhouse has a gable roof which is more typical of those found in country towns across Australia. This particular example would have probably have housed a pan system toilet before the Berry sewerage system was connected to town properties. (I Willis, 2021)

The pan system

The Landscape Plan detailed how the ‘outhouse, which dated from the 1890s, was part of the Camden’s pan toilet system. Cottage residents who used the outhouse  walked along a narrow path leading from the loo to the cottage kitchen.

This is a pan toilet that was used in the mid-20th century and is similar to what was used in the John Street outhouse in the early 20th century. This example is at the Camden Museum and has a deodoriser in the toilet lid . (I Willis, 2021)

The toilet had a pan for ‘nightsoil’ which was collected by a Camden Council contractor. The contractor accessed the pan through a small opening in the rear wall of the outhouse, and replaced the full pan with an empty can.

The cottage outhouse was not built over a pit or ‘long drop’ for the excrement and urine like those built on local farms.  

(Source: Stedinger Associated, 78-80 John St, Camden, Conservation Schedule of Works and Landscape Plan, Unpublished, 2011, Camden).

A vivid description of the experience of using a pan system has been provided by Margaret Simpson from the Powerhouse Museum.

I grew up in a small New South Wales rural town before the sewer was connected. Ours was an outside toilet in the backyard. Underneath the seat plank was a removable sanitary pan (dunny can). About once a week the full pan was taken away and replaced with a clean empty one. This unfortunate task was the job of the sanitary carter (dunny man) with his horse and wagon and later a truck. Going to the dunny, especially in summer towards the end of the collection week, was a breath-holding, peg-on-nose experience.

Modern commercial toilet paper was not part of the pan system experience.  She says:

In Australia, newspapers were cut into sheets by the householder and held together with a piece of fencing wire or string and hung on a nail inside the dunny. Another source of paper were the thick department store catalogues like Anthony Horderns sent out to householders.

(https://maas.museum/inside-the-collection/2018/07/18/present-and-past-family-life-toilets/)

Controversy rages over the pan and the sewer

The pan system installed in the John Street outhouse was quite common in the late 19th and early 20th centuries in New South Wales.

In the late 19th century controversy raged over the benefits or lack of them between the pan system and water carriage systems. Flush toilets and water carriage of sewerage dates back to 2500BC.  

Sharon Beder argues in her article ‘Early Environmentalists and the Battle Against Sewers in Sydney’ that

Sewer gas was a big problem in the nineteenth century when knowledge of how to trap the gas and prevent its return back into homes and city streets was scarce and workmanship in sewer construction often cheap and shoddy.

Air pollution was a particularly damning accusation since it was believed that ‘miasmas’ were responsible for many of the life-threatening diseases around at that time.

 (https://documents.uow.edu.au/~/sharonb/sewage/history.html)
This is a simpler pan toilet used in the mid-20th century similar to what would have been used at John Street outhouse. A nightsoil pan is inserted below the toilet seat. This example is at the Camden Museum. (I Willis, 2021)

A 1914 advertisement for a contract to collect nightsoil (excrement) at Picton gives an idea of how nightsoil was disposed of in our local area. The contractor used a sanitary cart pulled by a horse to collect the pans from outhouses in the town area. The contractor was then expected to dispose of the nightsoil by dig trenches at the depot which was one mile from the town centre. At the time there were 270 pans in the Picton town area.

(Camden News, 2 April 1914).

The town finally connected to sewer

Before World War One Camden Municipal Council had considered the installation of a septic tank sewerage system for the town area. (Camden News, 24 August 1911)

In 1938 the council was given permission to proceed with a sewerage scheme for the town managed by Sydney Metropolitan, Water, Sewerage and Drainage Board and town sewerage scheme was completed in 1939. (Camden News, 29 June 1939)

This is an example of a nightsoil pan that was inserted below the toilet seat. The pan was collected by the nightsoil service contractor and a lid secured on top. This example is at the Camden Museum and is similar to the type of pan that would have been used in the John Street outhouse. (I Willis, 2021)
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New exhibition at Alan Baker Art Gallery

FACE to FACE

Live Sittings

1936 – 1972

On a recent evening in Camden there was the launch of a new exhibition at the Alan Baker Art Gallery in the heritage listed building Macaria in John Street.

The exhibition, FACE to FACE: Live Sittings 1936 – 1972, celebrates Alan Baker’s achievement of entering the Archibald prize 26 times with 35 artworks between 1936 and 1972. Despite his persistence he never won a prize.

The cover of the FACE to FACE Live Sittings 1936-1972 Exhibition programme at the Alan Baker Art Gallery held in Macaria, John Street, Camden. (ABAG)

The exhibition programme states that Alan Baker was studying at JS Watkins Art School alongside future Archibald winners Henry Hanke in 1934 with his Self Portrait, William Pidgeon who won in 1958, 1961 and 1968, and his brother Normand Baker in 1937 with his Self Portrait.

The programme provides a timeline of Baker’s paintings with images that illustrate his works.

The Sydney.com website states

  the exhibition will feature Baker’s first 1936 Archibald Prize entry painted at the age of 22, a self-portrait study painting by Normand Baker for his 1937 winning Archibald Prize entry, and Baker’s 1951 portrait of Australian Filmmaker Charles Chauvel (courtesy of the Royal Geographical Society of Queensland).

The FACE to FACE Live Sittings 1936-1972 exhibition runs from April to September 2021.

The feature wall in the entry of the Alan Baker Art Gallery in Macaria, John Street Camden for the FACE to FACE Live Sittings 1936 -1972. The image was taken on the opening night of the exhibition on 17 April 2021. (I Willis)

The Archibald

The Archibald Prize is one of the pre-eminent portraiture prizes in Australia held yearly at the Art Gallery of New South Wales. First awarded in 1921 this prestigious art prize is a sought after award by artists generating publicity and public exposure. Traditionally portraitists were mostly restricted to public or private commissions.

The Art Gallery of NSW states that:

 The Archibald Prize is awarded annually to the best portrait, ‘preferentially of some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australasia’.

The Archibald has never been far from controversy and turning points have been William Dobell’s prize-winning portrait of fellow artist Joshua Smith in 1943 and in 1976, Brett Whiteley winning  painting Self portrait in the studio.

Macaria, the gallery building

The Alan Baker Gallery website outlines a short history of the Macaria building.

An exterior view of Macaria showing the Gothic influence in the roof line and window detail. The verandah was an addition to this style of building in the Australian colonies. (I Willis, 2018)

The website states:

Macaria was originally built in 1859-1860 as a school house by Henry Thompson, the building has since been used for many things; including a private home; the Camden Grammar School; the residence and rooms of doctors and dentists including popular local physician Dr Francis West. In 1965 Macaria was purchased by Camden Council and used as Camden Library and later, offices for the Mayor, Town Clark and staff.

Macaria is a fine example of an early Victorian Gentleman’s Townhouse. Designed and built in the Picturesque Gothic, Renaissance Revival style, Macaria features gabled windows, high chimneys, stone trims and a wooden porch. Sympathetically renovated and restored in 2017, the historical features including the oregon timber flooring, Australian cedar architraves and mahogany skirting boards have been retained.

https://www.camden.nsw.gov.au/community/alan-baker-art-gallery-at-macaria/

FACE to FACE Exhibition at Alan Baker Art Gallery

 37 John Street, Macaria, Camden, NSW, 2570. Australia

(02) 4645 5191

alanbakerartgallery@camden.nsw.gov.au

http://www.alanbakerartgallery.com.au

Entry is free.

Macaria is a substantial Victorian gentleman’s townhouse and residence from the mid-Victorian period that was influenced by the Picturesque movement and Gothic styling. The building is now the home of the Alan Baker Art Gallery. (I Willis, 2017)

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Crazy Colourful Koalas on the Prowl

Hello Koalas Sculpture Trail

Prowling crazy colourful koalas are on the loose in the Australian Botanic Gardens in Mount Annan and other notable spots in Campbelltown.

The cute one-metre-high fibreglass sculptures, called Hello Koalas, are loose across the garden landscape. They are a sight to behold after being a  hit at the Royal Botanic Gardens in Sydney in 2019.

The artworks are part of the Hello Koalas Sculpture Trail, jointly hosted by The Australian Botanic Garden (ABG), Mount Annan and Campbelltown City Council. Running from April 1 to April 30, the art installation is on loan from the Port Macquarie area.   

This is Wollemia The Vital Scientist by artist Lisa Burrell for the 2021 Hello Koala Sculpture Trail at The Australian Botanic Gardens Mount Annan. Wollemia will make sure that the Garden scientists are growing new Wollemi trees for the future. (I Willis)

Engaging public art installation

On a visit to the ABG this week, I watched how the sculptures touched the hearts of everyone who walked past them.

The Hello Koalas seemed to immediately grab the attention of everyone who walked past them, from the very young to the very young at heart. The koala characters appeared to melt the coldest heart with their bright colours and crazy artwork.

 There is an element of surprise to the sculptures, and there is an immediately identifiable joy in people’s reactions. Young and old pose for selfies and family pics with the koala characters.

Families sought out the elusive koala characters across the ABG after picking up the free trail map.  The kids were making sure that they found all of the 22 koalas in the garden.

The cover of the 2021 Hello Koala Sculpture Trail at The Australian Botanic Garden Mount Annan. Inside the brochure was a map with all of the 16 Hello Koalas scattered across the garden with the location. (I Willis)

According to the trail map, families can be helped in the koala hunt by downloading the ‘Agents of Discovery’ by using the ABG QR code and then seeking out the koala characters.

A public art trail

The outdoor art installation trail is strategically placed across the garden landscape to ensure an exciting and wonderful experience of these ‘living sculptures’.

Each of the Hello Koalas has a name and is themed around culture, heritage and environmental issues. There is Captain Koala, Bushby, Flying Fire, Topiary and a host of others.

The trail map provides a host of information about the Hello Koalas location, their names, and the artist who created them.

The ABG art installation was ‘conceived and created in Port Macquarie by Arts and Health Australia’, which aims ‘to promote and develop the application of creativity and the arts for health and quality of life’.

This is Scoop the busy news reporter who spreads the word about the importance of looking after native animals. He is part of the Hello Koalas at the ABG Mount Annan 2021. Scoop is by artist Rebekah Brown. (I Willis)

Project director Margaret Meagher described the Hello Koalas as Wildlife Warriors and said, ‘The project aims to spread the message that we must care for our koalas and all native fauna and flora’.

Toads and Koalas

The individual Hello Koalas were designed and hand-painted by artists from Port Macquarie, Taree, Kempsey and Coffs Harbour. They are part of a larger public art installation [IW1] in the Port Macquarie area, where 77 Hello Koalas are located across the region. They recently featured in Port Macquarie’s  Summer 2021 Hello Koalas Sculpture Trail, and later on, this year will be part of the  5th Annual Hello Koalas Festival between 25-26 September.

Director Margaret Meagher was inspired to create the Hello Koalas by an animal trail that was part of the 2010 Hull arts festival in England. The trail celebrated the life and times of local poet Philip Larkin and his poem Toads. Festival organisers created the Larkin with Toads sculpture trail. After initial scepticism, the toads have been a huge hit winning tourist awards, gaining national press coverage and increased local tourism.

The Port Macquarie Hello Koalas Public Sculpture Trail was launched in 2014 at the Emerald Downs Golf Course and has experienced continued success.

Public art engages people

The Hello Koalas Sculpture Trail is just one type of public art.

Public art installations are a vital part of a vibrant community and add to its cultural, aesthetic and economic vitality. Public art promotes

‘a sense of identity, belonging, attachment, welcoming and openness, and strengthen community identification to place. [It creates] a tangible sense of place and destination’.

Director Margaret Meagher argues that public art fosters cultural tourism and community cultural development.  

Public art is an opportunity to showcase artist talent differently and generate broader community interest. This type of art installation can ferment interest in issues and engage the media, the public and the creative sector. Public art appeals to the imagination of adults and children and can bring the community together.

Successful public art encourages public engagement with art and can create a sense of ownership within the community. There can be increased visitation increase tourism that brings money into the area. It can contribute to placemaking, shaping community identity and a sense of belonging.  

Not a balmy idea

The Hello Koalas Sculpture Trail, at first glance, may be considered a balmy idea. In reality, it is a clever idea that on initial observations seems to have engaged people’s interest and imagination and created a unique art experience.

The ABG Hello Koalas brochure states:

Effectively, each Hello Koalas sculpture provides a blank canvas to convey evocative messages that celebrate the existence of native plants and animals and raise public awareness, across generations, of the importance of caring and preserving our natural world.

Royal Botanic Gardens chief executive Denise Ora is quoted as saying, ‘When we did this exhibition in Sydney in 2019, it was a huge success. There’s a really fun aspect and a real educational aspect’.

Camden Narellan Advertiser 7 April 2021

More public art in the Macarthur area

1. Camden Pioneer Mural, Camden

2. The Cowpastures Cows, Perich Park, Oran Park

3. Campbelltown Arts Centre

4. The Boys, Emerald Hills Shopping Centre

5.  Sculpture Park, Western Sydney University, Campbelltown.

6. Art Installation, Oran Park Library, Oran Park.

7. Forecourt, Narellan Library, Narellan

8. Food Plaza Forecourt, Narellan Town Centre.

Agricultural heritage · Agriculture · Attachment to place · Camden Show · Cultural Heritage · Festival · Heritage · history · Lifestyle · Living History · Local History · Local Studies · Macarthur · Miss Showgirl · Modernism · myths · Pageant · Ruralism · sense of place · Stereotypes · Storytelling · Uncategorized · Volunteering · Volunteerism · Women's history

The enduring appeal of a rural pageant

Miss Showgirl

 Once again, country show societies are gearing up for the annual New South Wales Miss Showgirl competition. In 2008 500 young women entered the pageant at a local level representing 120 show societies, with the Sydney Royal Easter Show finals. The 2011 Camden Miss Showgirl has attracted seven young local women – four of the seven are university students, two business owners and one business manager.

The competition has come a long way since its beginnings in 1962. It has seen off a variety of other pageants and successfully competes with several others. In these days of television celebrity fashion competitions, the Miss Showgirl competition is a bit of an anachronism.  Rather quaint, yet with an underlying strength that is endearing to supporters.

Miss Showgirl is a complex mix of paradoxes and apparent contradictions, just like other aspects of rural life: it is very traditional while accommodating the aspirations of young women; it is staid yet has had an underlying strand of commodification of young women as objects of display; it is conservative yet encourages sexualisation of young women through good times at balls and the like; it avoids the stereotypes of other beauty pageants, yet it promotes a version of a stereotypical young rural woman;  it is part of the town and country divide yet brings the country to the city; and more.

The showgirl competition is a relic of a time when rural women were confined by home and family. The foundation sponsor was the racy tabloid, The Daily Mirror, which commodified womanhood images on page three. Later competition sponsors, The Daily Telegraph and then The Women’s Weekly, used different representations of womanhood, and today The Land newspaper takes a newsworthy approach to rural affairs.

The RAS Miss Royal Easter Showgirl for 1978 in the Australian Women’s Weekly. The winner is an 18-year-old trainee nurse from Mungindi in rural New South Wales. (AWW 29 March 1978)

The values expressed in the Royal Agricultural Society Guide for Showgirl entrants prepared by 2009 Camden Showgirl Lauren Elkins are a little bit old fashioned. The guide stresses etiquette, grooming, manners, dress sense, presentation and socialising skills – a solid list of skills for any aspiring job applicant. The competition even offers deportment lessons for entrants – An echo from the past.

While the aims of the competition have not changed, part of its resilience has been its ability to cope with changes in the representation of rural life and rural women themselves. It expresses the agency of the young women who enter, whether they are university students or shop assistants, and provides personal development opportunity.  

Showtime, the show ball and Miss Showgirl, are representative of notions of rurality. Miss Showgirl is part of the invocation of rural nostalgia.  People use the competition as a lens through which they can view the past, including the young women who enter it.   In 2009 Camden Showgirl Lauren Elkins ‘was keen’, she said, ‘to get into the thick of promoting the town and its rural heritage’.  

Organising committees select entrants who have a sense of belonging to and identify with the local area. According to Suzie Sherwood, a member of the 2004 Camden organising committee, the winning showgirl projects the values and traditions of the local community.. 

In a historical analysis by Kate Darian-Smith and Sara Wills (2001), they see the current response to Miss Showgirl as ‘an embodiment of meaningful and rural belonging’. Miss Showgirl entrants indeed embrace parochialism and the interests of local show societies as part of the competition. These forces have long shaped rural identity and its response to city-based decision making.

Miss Camden Showgirl for 2018 in the Australia Day Parade on the float for the Camden Show. (I Willis)

Rural New South Wales faces constant challenges, and Miss Showgirl’s success is a rural showcase in the ‘big smoke’. The competition embraces the experience of showtime in Sydney when the country comes to town, and there are social engagements, cocktail parties and pictures in the social pages.  Miss Showgirl draws on rural traditions surrounding debutante balls, bachelor and spinsters balls and similar community gatherings that express a sense of place. The essence of localism.

Glamour and style are back, and Miss Showgirl has an element of ‘fashions on the field’. Young women have an opportunity to ‘frock up’. Something authentic. It harks back to the days of the country race meeting and the local polo match. The exclusivity that was once the rural gentry’s domain when deference and paternalism ruled the bush. Press photographs of ‘glammed up’ Miss Showgirls sashing 1st place in the dairy-cow-section recall days of the ‘Lady of the Manor’ and the English village fair. 

2011 Camden Show Girl and Camden’s first Sydney Royal Showgirl, Hilary Scott. (The District Reporter 3 October 2011)

Miss Showgirl competitions have not been without their critics. The competition has survived in New South Wales and Queensland while not in Victoria. Understandably entrants passionately defend the competition.

None of these issues have been a problem for 2011 Camden Showgirl winner Hilary Scott, a 22-year-old horse-loving university student from The Oaks.  She appeared on the front page of The District Reporter, all glammed up in the paddock, under the banner headline ‘Showgirl Hilary supports agriculture’. Hilary is a confident young rural woman that projects the contemporary vibrancy and complexities of Miss Showgirl.

Camden Showgirl Winners

1962 Helen Crace 1963 Helen Crace 1964 Sue Mason 1965 Barbara Duck 1966 Dawn Dowle 1967 Jenny Rock 1968 Heather Mills 1969 Michelle Chambers 1970 Joyce Boardman 1971 Anne Macarthur-Stanham 1972 Kerri Webb 1973 Anne Fahey 1974 Sue Faber  1975 Janelle Hore 1976 Jenny Barnaby 1977 Patsy Anne Daley 1978 Julie Wallace 1979 Sandra Olieric 1980 Fiona Wilson 1981 Louise Longley 1982 Melissa Clowes 1983 Illa Eagles 1984 Leanne Reily 1985 Rebecca Py 1986 Jenny Rawlinson 1987 Jayne Manns  1988 Monique Mate 1989 Linda Drinnan 1990 Tai Green 1991 Toni Leeman 1992 Susan Lees 1993 Belinda Bettington 1994 Miffy Haynes 1995 Danielle Halfpenny 1996 Jenianne Garvin 1997 Michelle Dries 1998 Belinda Holyoake 1999 Lyndall Reeves 2000 Katie Rogers  
2001 Kristy Stewart 2002 Margaret Roser 2003 Sally Watson 2004 Danielle Haack 2005 Arna Daley 2006 Victoria Travers 2007 Sarah Myers  2008 Fiona Boardman 2009 Lauren Elkins 2010 Adrianna Mihajlovic 2011 Hilary Scott 2012 April Browne 2013 Isabel Head 2014 Jacinda Webster  2015 Kate Boardman 2016 Danielle Rodney 2017 Tess Madeley 2018 Corinne Fulford 2019 Nicole Sandrone 2020 Tiarna Scerri  

These women have come from diverse backgrounds and acted as a rural ambassador for the Camden Show.

The Land Sydney Royal Show Girl Competition for 2022 website states:

The Competition aims to find a young female Ambassador for rural NSW and the agricultural show movement.

The Showgirl Competition is definitely not a beauty pageant. Entrants must have a genuine interest in, and knowledge of, rural NSW. The Competition encourages the participation and awareness of issues faced by women in rural NSW.

https://www.camdenshow.com/members/itemlist/category/133-show-ball

Originally published as ‘Miss Showgirl, an enduring anachronism’ in The District Reporter 3 October 2011

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Camden’s carpenters

A local traditional trade

Carpentry was an essential craft in all communities and has been practised for centuries. In the Camden area, the traditional trade of carpentry as it was practised had a variety of forms.  Traditional trades were part of the process of settler colonialism on the colonial frontier in the Cowpastures.

In pre-settlement times, the first form of bush carpentry was practised by the Aborigines. They stripped bark from trees and used it for shelters that kept them from the natural elements and made weapons.

At the time of European settlement, many on the frontier had no formal trades skills and learnt bush carpentry from watching the Aboriginal people or experimenting themselves. The bush carpenter was a practical make-do pioneer who innovated with naturally occurring products from their local environment. They practised sustainability in a period when it was a necessity for their very survival and relied on their ingenuity, adaptability and wit.

A rudimentary vernacular domestic style architecture typical of frontier settlement constructed from available local materials. The farmhouse Illustrated here is the home of V Kill and his family in the Burragorang Valley in 1917 with some intrepid bushwalkers. The cottage is slab construction with a dirt floor and no electricity. The cottage is surrounded by the vegetable garden which is carefully tended by the family. (Camden Images)

Some of the bush carpenter’s spirit and tradition arrived with the early European settlers and owed some of its origins to the English tradition of green woodworking. This traditional practice dates back to the Middle Ages and is linked with coppicing, a traditional form of woodland management.  The craftsmen led a solitary existence in the woods and made a host of items from unseasoned green timber, including furniture, tools, fencing, kitchenware and other things.

The bush carpenters were amongst the first in the Camden area to erect building structures. Like other rural areas of Australia, the Camden area’s landscape has been defined by the bush carpenter’s huts and sheds. One example was illustrated in Peter Mylrea’s Camden District (2002), the so-called Government Hut erected at the Cowpastures in 1804.

This view of the Government Hut in the Cowpastures at the Nepean River crossing illustrates the rudimentary form of construction on the colonial frontier in 1804. (State Library of NSW SSV1B / Cowp D / 1)

The early settlers who built these basic shelters did so without the manufactured products of the Industrial Revolution. Either through cost or just a make-do attitude, they built rudimentary vernacular buildings that lasted for decades. In later times settlers’ structures were improved with the introduction of galvanised iron after the 1820s.

There were many examples of huts and farm sheds being erected in other parts of the Camden district, remote from major centres, like the Burragorang Valley. Post-and-rail fencing and a host of other structures put a defining character on the rural landscape. There is still evidence of bush carpentry in and around Camden.

The former farm shed c1900-1910 apply renamed the barn is popular with weddings and other activities at the Camden Community Garden. This farm shed illustrates the rudimentary type of construction practiced as a form of bush carpentry in the local area. (I Willis, 2018)

The bush carpenter’s tool kit usually did not have specialised tools and would have included saws, axes, adze, chisels, augers, hammers, wedges, spade, and other items. Their kit was meant to cope with all the contingencies of the rural frontier that were typical of the remote parts of the Camden district.

The formal trade of carpentry and joinery has a long history going back centuries centred on the guilds. Guilds appeared in England in the Middle Ages, and according to the website London Lives 1690-1800, their purpose was to

 defend the interests of the trade, regulate the quality of workmanship and the training of new members, and provide support and welfare for their members.

https://www.londonlives.org/static/Guilds.jsp

In London, they were established by charter and regulated by the City authorities. Guilds in London had considerable political power and were one of the largest charitable institutions in the City. Carpenters were organised in the Carpenter’s Company, one of 12 powerful London guilds. Guilds were a mixture of apprentices, journeymen and master craftsmen, with no women.

In the colony of New South Wales, carpenters were formally trained artisans have examples of their work in colonial mansions of the grand estates and the many local towns and villages across the Camden district. These artisans used milled timber and other manufactured products of the Industrial Revolution that were readily available and that their clients could afford.

Camden’s carpenters were a mixture of journeymen and master craftsmen, who had served their apprenticeship in Camden and elsewhere. John Wrigley’s Historic Buildings of Camden (1983) lists 38 carpenters/builders who worked in Camden between the 1840s and 1980s.

The pre-WW2 tradesmen used hand tools and traditional construction methods, which is evident in any of the town’s older buildings and cottages. Take particular notice when you walk around central Camden of the fine quality of artistry that has stood the test of time from some of these traditional tradesmen.

The hand tools used by the Camden carpenter changed little in centuries of development and refinement. The tool kit of the mid-1800s would have included hammers, chisels, planes, irons, clamps, saws, mallet, pincers, augers and a host of other tools. It would be very recognisable by a 21st-century tradesman. Master carpenter, Fred Lawton’s tool kit, is on display at the Camden museum (TDR 19/12/11)

A display of hand tools at the Camden Museum. This display illustrates the range of tools that made up the carpenter’s toolkit for his job. Shown here is a range of saws, hammers, augers, planes, adze, and other tools. (2021 KHolmquist)

Hand tools were utilitarian, and some had decorated handles and stocks, particularly those from Germany and British makers. By the early 19th century, many hand tools were being manufactured in centres like Sheffield, UK, and these would have appeared in the Camden area. Carpenters traditionally supplied their own tools and would mark on their hand tools to clearly identify them. Many of the hand tools became highly specialised, especially for use by cabinet-makers, joiners and wood-turning. 

The Camden carpenters listed in the 1904 New South Wales Post Office Directory were JP Bensley, John Franklin, Joseph Packenham and Thomas Thornton, while at Camden Park, there was Harry ‘Herb’ English.  According to Herb’s nephew Len English, Herb English was one of a number of generations of the English family who were carpenters in the early years of the 20th century in the Camden area. It was a family tradition for the sons to be apprenticed in the trade to their father and work at Camden Park.  This practice followed the training principles of English carpentry guilds under a system of patrimony.

Camden carpenter Herbert English working at Camden Park in the 1920s. This image illustrates the use of hand tools here showing the use of the chisel, mallet, handsaw and square. English is cutting a rebate with the chisel after marking the cut out with his square. He would have supplied his own tools and kept them sharpened at the end of the working day. (Camden Images)

Len English’s grandfather, William John English,e was apprenticed to his father, James, and worked at Camden Park between the 1890s and 1930s. William lived in Luker Street, Elderslie, where he built his house and had his workshop, where Len recalls playing as a lad. William’s son, Jack Edward English, was apprenticed to his father (William) in the family tradition, also worked at Camden Park and later in Camden and Elderslie during the 1930s and 1940s. During this period, Jack and his brother, Sidney, both worked with local Camden builders Mark Jenson and Mel Peat (TDR19/12/11).

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Camden’s heritage inventory

Camden heritage mysteries solved

In 2015 I posted an item called ‘Camden’s mysterious heritage list’. In it I complained about the travails of trying to navigate Camden Council’s website to find the Camden heritage inventory. I wrote:

Recently I needed to consult Camden’s heritage inventory list for a research project. I also consulted similar lists for Campbelltown and Wollondilly LGAs. They were easy to find. Camden’s list was mysteriously hiding somewhere. It had to exist. The council is obliged to put one together by the state government. But where was it? Do you know where Camden Council’s heritage inventory is to be found? I did not know. So off I went on a treasure hunt. The treasure was the heritage list.

I am very happy to report that many things have changed since 2015.

Camden Council Heritage Advisory Committee

Today Camden Council has a Heritage Advisory Committee which has taken a lead in promoting heritage in a number of areas.

The committee held its first meeting in August 2018 and the minutes of all meetings are located on the committee website.

Committee member LJ Aulsebrook has written about the activities and role of the committee in Camden History, the journal of the Camden Historical Society.

The Camden Historical Society has an ex-officio position on the Heritage Advisory Committee and the president is the nominee of the society.

One of the outstanding activities of the committee was the 2019 Unlock Camden held during History Week run by the History Council of New South Wales. The Camden event was co-ordinated by LJ Aulesbrook.

Cover of 2019 Unlock Camden Flyer for the event (Camden Council)

The aim of the Heritage Advisory Committee are outlined in the Terms of Reference. The ToR states that the HAC aims :

To promote heritage and community education by:
a) Generating a wider appreciation of heritage through public displays,
seminars, participation in the annual National Trust Heritage festival &
history week;
b) Promoting and coordination of heritage open days;
c) Generating a greater understanding and appreciation of Aboriginal
heritage in Camden Local Government Area;
d) Actively encouraging conservation and maintenance of heritage items
and heritage conservation areas to owners and the general public;
e) Investigating grant opportunities;
f) Investigating opportunities for Council run awards/recognition in
response to good heritage work;
g) Developing a register of local heritage professionals and tradespeople;
and
h) Assisting in developing education packages for information, school
education, and best heritage practices.

https://www.camden.nsw.gov.au/assets/pdfs/Planning/Heritage-Advisory-Committee/18-181181-ADOPTED-Heritage-Advisory-Committee-Terms-of-Reference.pdf

What is Camden heritage?

Camden Council defines heritage as

Heritage is something that we have inherited from the past. It informs us of our history as well as giving us a sense of cultural value and identity. Heritage places are those that we wish to treasure and pass on to future generations so that they too can understand the value and significance of past generations.

Heritage makes up an important part of the character of the Camden Local Government Area (LGA). Camden’s heritage comprises of a diverse range of items, places, and precincts of heritage significance. Items, places or precincts may include public buildings, private houses, housing estates, archaeological sites, industrial complexes, bridges, roads, churches, schools, parks and gardens, trees, memorials, lookouts, and natural areas. Heritage significance includes all the values that make that item, place or precinct special to past, present and future generation.

https://www.camden.nsw.gov.au/planning/heritage-conservation/

Camden Heritage Inventory

The Camden Heritage Inventory is found on an easily accessible file on the Camden Council webpage here.

The cover of the Camden Heritage Inventory PowerPoint file (2020)

There are links within the PPT to the New South Wales State Heritage Register, the NSW Department of Planning Portal and NSW primary spatial data.

The State Heritage Register has a complete listing of local items and those of state significance on the State Heritage Register.

List of 15 Camden properties of state significance on the New South Wales State Heritage Register in 2021 (NSW Government)

In addition Camden Council has set out for general environmental heritage conditions on its website here.

Camden Council has recently offered advice on for owners who want to restore their residential properties along heritage lines. The advice covers materials, colours, and finishes for Victorian, Edwardian and Mid-century residential architectural styles in the Camden Town Conservation area.

Camden Council heritage advice fact sheet for residential properties in Camden Town Centre Conservation Area. (2020, Camden Council)

The Camden Town Centre conservation area was proclaimed by the state government in 2008 and is subject to a range of development conditions.

This is a map for the Camden Town Centre Conservation Area that was proclaimed by the New South Wales government in 2008 (Camden Council)
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Camden Show Sponsors’ Night

A grand exhibit for a pandemic

This time of the year usually is show week in Camden when the festival rolls into town.

2021 is a bit different. Not normal at all. In the middle of a pandemic, there is no show for the second year in a row.

That has not stopped the Camden Show society from getting into action and the spirit of the event. 

Committee member Jason Sharpe provided a taste of the show with a colourful temporary display at the recent sponsors’ night.

I was lucky enough to attend the sponsors’ night as the guest of Ian Johnson, the principal at IJ Ag Services.

Better known as a horseman and a sometimes renowned bush-poet Jason Sharpe turned his hand to constructing a sample show display for the assembled guests.

Some of the local produce used in the temporary display created by Jason Sharpe for the 2021 sponsors’ event. At the rear of the display are some perpetual trophies used by some show categories. (I Willis)

Jason out-did himself and blew everyone away with his creativity. His artistic work with pumpkins, corn, hay, chooks, and other produce to be seen to be believed.

If you want to learn how to make a pumpkin look classy beside a handsome bale of hay surrounded by a chorus of chooks, have a chat with Jason.

Jason observed that ‘you cannot understand where you are going without knowing where you have come from’. He used this philosophy in his construction of the temporary display and his acknowledgement of the rich history of the Camden Show.

It was a real shame that it was only a temporary display. I am sure it would have appealed to lots of others in the absence of the 2021 show.

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Pumpkins, eggs, wool fleeces, hay bales and chooks in the temporary display created by Jason Sharpe for the 2021 Camden Show sponsors’ event (I Willis)

A sponsors’ night in the middle of a pandemic

The show committee regularly holds a sponsor’s event each year to say thank you for their support. Without the sponsor’s support, the show would be unlikely to happen.

The current sponsors are listed on the show society website.

Camden Show President Greg Wall with signage from 2019 Camden Show within Jason Sharpe’s temporary display for the 2021 sponsors’ night (I Willis)

Show president Greg Wall gave a stirring speech drawing from Eddie Jaku’s The Happiest Man on Earth. Jaku uses a quote attributed to French philosopher and Nobel Prize winner (1957) Albert Camus that Greg finds inspirational for life. Camus said:

Don’t walk behind me; I may not lead.
Don’t walk in front of me; I may not follow.
Just walk beside me and be my friend.

President Wall said that sponsors followed Camus’s philosophy and walked beside the committee, and were friends of the Camden Show.

What is sponsorship, and why have it?

Larry Weil, from the website The Marketing Guy, defines sponsorship as:

  a form of affinity marketing that provides certain rights and benefits to the buyer or “sponsor”.   Sponsorship is particularly effective when the sponsor and the property have similar goals, values and vision. Properly activated, this affiliation casts a “halo” or conveys certain characteristics to the sponsor as a result of the strong recognition or fan base of the property.

Weil argues that sponsorship  

 provides business access, connections, hospitality, affinity, audience access, data, and helps to shape public perception in a way that can be hard to achieve using your own marketing and branding efforts alone. 

 Others argue that sponsorship uses the notion that

a brand (sponsor) and event (sponsoree) become linked in memory through the sponsorship, and as a result, thinking of the brand can trigger event-linked associations. 

A variety of items including ribbons, newspaper publicity and trophies indicating the breadth of awards used to acknowledge excellence at the show. All part of the temporary display created by Jason Sharpe at the 2021 Camden Show sponsors’ event. (I Willis)

Camden Show sponsorship

The NSW Government Office for Sport states that

It is good business practice to create a sponsorship policy within the organisation before you apply for sponsorship. 

The Camden Show committee following this principle on its webpage called ‘Why Be a Sponsor?‘ Here the committee maintains that show sponsorship offers:

opportunities available offer your brand an unparalleled opportunity to reach, connect and engage with an average of 45,000 people over two days at the show. This is in addition to the people we reach through our media campaigns across digital, radio, TV and print avenues.

The Camden Show committee argues that the show allows a sponsor to:

• Generate brand awareness • Showcase products and services • Connect with the community • Engage with consumers face-to-face • Generate immediate sales • Capture Data

Camden Show sponsorship is broken into seven levels ranging from supreme to green to allow large and small sponsors to support this marvellous community event.

A pumpkin that was part of the temporary display created by Jason Sharpe for the 2021 Camden Show sponsors’ night (I Willis)

Huge community event

The Camden Show is one of the most significant community events in the Macarthur region and one of southwestern Sydney’s largest festivals. The last show in 2019 attracted nearly 45,000 people.

The show has made a considerable contribution to the construction of place and community identity in the local area. Along with other country festivals, the show integrates cultural identity, belonging, volunteering and paid employment.

The Camden Show is far from unique either in concept or history. The history of agricultural shows goes back to the early 19th century when they copied similar events in Europe. Historian Helen Doyle argues that the early shows were primarily ‘a means of promoting new agricultural technology and were used to teach farmers and display the latest farming innovations. Prizes were awarded, and one of the earliest contests were ploughing contests.

Framed portraits of past Camden Show presidents normally housed on display at the rear of the Camden Show office not generally accessible to the public. These portraits were part of the temporary display created by Jason Sharpe at the 2021 Camden Show sponsors’ event. These images acknowledge the rich history of the show. (I Willis)

 Geoff Raby’s Making Rural Australia details that Australia’s first agricultural show was in Hobart in 1822, organised by the Van Diemen’s Agricultural Society.  The same year several leading colonial ‘gentleman’ formed the Agricultural Society of New South Wales.

Kate Darian Smith argues that the Agricultural Society of New South Wales was formed

  with the aim of encouraging profitable cultivation techniques and livestock production suited to the local environmental and climatic conditions.  A key activity of the new Society was the organisation of an annual competitive display of animals and produce, thus providing agricultural education to the public and enabling its members to meet and conduct business. The first show was held at Parramatta in 1823 and included prizes for high performing servants as well as the ‘best’ rams, cheeses, and beer. 

The cover of Neville Clissold’s Camden Show 1886-2011 The People The Stories (2011) which outlines the history of the Camden Show from its origins in 1886 to 2011 anniversary show.

The original Camden Show in 1886 followed these traditions. The first show was organised by a committee formed in 1885 with the grand title of the Camden Agricultural, Horticultural and Industrial Society. The AH&I Society was a ‘gentlemen’s club’ made up of the local landed gentry headed by president JK Chisholm of Gledswood and a committee of other ‘local notables’.

The 1886 show held competitive farming displays for stock and produce with the best exhibits awarded prizes. The show had a section for the ‘colonial’ red and white wines reflecting the importance of the area to the foundation of the Australian wine industry. Camden women were encouraged to supervise their children’s efforts and entries in the domestic arts of sewing, cooking and artwork.

The 1886 Camden Show schedule that was part of the temporary display created by Jason Sharpe at the 2021 Camden Show sponsors’ event (I Willis)
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The Camden News affronted by Sydney ‘flappers’ and the appearance of the modern girl.

Effrontery and the ‘flapper’

Flappers of the 1920s were young women known for their energetic freedom, embracing a lifestyle viewed by many at the time as outrageous, immoral or downright dangerous’, says the History.com website.

If you read the pages of the Camden News you might have agreed.

In 1920 the Camden News reported ‘flappers’ were ‘running wild’ on the streets of Sydney, or so it seemed to the casual reader.  The press report stated:

A straggling procession of boisterous, well dressed young fellows, with pipe or cigarette in hand, and headed by a number of bold looking females of the ‘flapper’ type, paraded George and Pitt streets on Thursday (last week). (Camden News, 25 November 1920)

The same event was reported in Sydney’s Daily Telegraph and other Sydney newspapers with less colourful language. Apparently there had been a lunchtime march of office workers along George Street numbering around 3000, with ‘200 ladies’, supporting the basic wage case in Melbourne.

The news story that appeared in the Camden News had originally been run in the Crookwell Gazette.  (Crookwell Gazette, 17 November 1920) and then re-published by the News the following week. The News and the Gazette were the only New South Wales newspapers that that ran this particular account of the Sydney march, where female office workers were called ‘flappers’.

The modern family of Dr Francis West following the christening of Lydia West’s daughter in 1915. This photograph was taken in the backyard of Macaria where Dr West had his surgery and where the West family called home. (Camden Images Past and Present)

The correspondent for the Gazette and News was offended by the effrontery young female office workers being part of an industrial campaign march. In the years before 1920 there had been a number of controversial industrial campaigns taken across New South Wales taken by workers. The Camden News had opposed these actions.

The editorial position of the Camden News was that these young women should fit the conservative stereotype of women represented by the Mothers’ Union. Here women were socialised in Victorian notions of service, ideals of dependence, and the ideology of motherhood where mothering was seen as a national imperative. (Willis, Ministering Angels:20-21)

The modern girl

The Sydney ‘flappers’ were modern girls who participated in paid-work, dressed in the latest fashions, cut their hair short, watched the latest movies, bought the latest magazines and used the latest cosmetics.

Just like modern girls in Camden.

Country women wanted to be modern in the 1920s

 As early as 1907 in Australia the term ‘flapper’ was applied to a young fashionable 20 year-old women ‘in short skirts’ written about the Bulletin magazine.

Australian women were considered modern because they had the vote and they were represented in literature as a young and athletic stereotype  as opposed the colourless and uninspiring English girl.  

The flapper

The ‘flapper’ is one representation of young women from the 1920s that appeared all over the world, and Camden was not remote from these international forces.

American author F. Scott Fitzgerald is acknowledged as the creator of the flapper and published his Flappers and Philosophers in 1920. (History.comOther female equivalents were Japan’s  moga, Germany’s neue Frauen, France’s garçonnes, or China’s modeng xiaojie (摩登⼩姐).

The term flapper linked Camden to international trends concerned with fashion, consumerism, cosmetics, cinema – primarily visual media. 

The modern girl in Camden

The ‘modern girl’ in Camden appeared in the early 1920s and was shaped by fashion, movies, cosmetics and magazines.

These two photographs illustrate that young women in Camden were modern.

Young Camden women in Macarthur Park in 1919 in a ‘Welcome Home’ party for returning servicemen (Camden Images)

The young women in this 1919 pic have short hair sitting next local returned men from the war.

Another group of the young modern women appeared in Camden in 1920s. Trainee teachers shown in the photograph taken by local Camden photographer Roy Dowle. The group of 49 young single women from Sydney stayed at the Camden showground hall in 1921 along with 15 men. In following years hundreds of young female teachers stayed at the Camden showground and did their practical training at local schools.

The group photograph of the trainee teachers from Sydney Teachers College at Onslow Park adjacent to the Show Hall in 1924. These modern young women and men from Sydney started coming to Camden in 1921. (Camden Images Past and Present) This image was originally photographed by Roy Dowle of Camden on a glass plate negative. The Dowle collection of glass plate negatives is held by The Oaks Historical Society (Roy Dowle Collection, TOHS)

The flapper at the movies

The most common place to the find the ‘flapper’ in Camden was at the movies – the weekly picture show at the Forrester’s Hall in Camden main street. The world on the big screen. 

The movies were a visual medium, just like fashion, cosmetics, advertising, and magazines, that allowed Camden women to embrace the commodity culture on the Interwar period.

The Camden News used the language of latest fashions and styles when it reported these events or ran advertisements for the local picture show. 

One example was the advertisement for the ‘Selznick Masterpiece’ the ‘One Week of Love’ in 1923. The was first time that the term ‘flapper’ appeared in a Camden movie promotion and it was  announced it to the world this way:

‘Every man, woman, flapper, bride-to-be and eligible youth in Australia is crazy-to-see its stupendous wreck scene, thrilling aeroplane crash, strong dramatic appeal, lifting humour, intoxicating love scenes, bewildering beauty, lavishness, gripping suspense, heart-toughing pathos, which all combing to make it the biggest picture of the year’. (Camden News, 9 August 1923)

According to country press reports the movie was the ‘passion play of 1923’ and showed at PJ Fox’s Star Pictures located in the Foresters’ Hall, which had opened in 1914. Starring silent film beauty Elaine Hammerstein and female heart-throb Conway Tearle the movie had enjoyed ‘a sensational long-run season’ at Sydney’s Piccadilly Theatre. (Kiama Reporter and Illawarra Journal, 7 March 1923)

Foreign movies blew all sorts of ideas, trends and fashions into the Camden district including notions about flappers.

Young Camden women were influenced by images and trends generated by modernism at the pictures, in magazines, in advertising, in cosmetics, and in fashion.

While Camden could be a small closed community it was not isolated from the rest of the world.

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Fiona’s story

Memories of hope

These memories are a moving personal account of a childhood growing in Airds in the 1970s and 1980s.

This story from former Airds’ resident Fiona Woods acts a counterpoint to stories of despair and loss from these suburbs. In many ways, Airds was a suburb on the fringe of the world. Many residents were living on the edge and faced many challenges.

Airds Fiona Woods School sisters
Airds Fiona Woods School sisters (F Woods)

 

At the moment many Australian’s have felt a heightened sense of anxiety and need a little hope. Since the bushfires on Australia’s East Coast from September 2019 there are many grim stories.

The uncertainty and lack of control have continued into the Covid crisis, and many feel despair and at a loss.  Fiona’s story provides a ray of sunshine in today’s shadows.

Fiona uses memory as a way of explaining the meaning of past events and peoples involvement in them. She has not created a meaningless collection of unrelated facts.

There are linkages between memory and storytelling.  Each is full of meaning.

Fiona says, ‘Everyone has a story. It’s easy to think of our ancestors as names on a page or a black and white photograph of well-dressed, ‘serious people’.

‘But behind those images is a life that has been lived through both adversity and celebration. With love and pain and all that goes with being human. So many stories that have been untold’.

Fiona’s memories are about a suburb where some residents succeeded and others did not.

This is Fiona’s story and how hope can win through in the end.

Growing up in Airds

Fiona Woods

Growing up in a housing commission estate is not something that traditionally elicits feelings of pride and success. But for me, it does just that. I moved into Airds in 1977, when I was three years old.

My dad had suffered a traumatising work accident, one that would leave him with debilitating, lifelong injuries. My parents already had three small children and were expecting a fourth.

Airds Fiona Woods and brother
Fiona Woods and brother (F Woods)

 

I can only imagine how difficult it would have been for them – Dad was in and out of the hospital, and Mum didn’t drive. Here was where their neighbours stepped in, and my earliest memories of the community began.

Back then, neighbours weren’t just people you waved to from the driveway. They were people you could count on, whether it be for food or childcare or even a simple chat over a cup of tea.

I grew up as part of a village, where a lady in my street took my sisters and me to our first gymnastics lessons.  I developed friendships that have stood the test of time. I have even taught alongside my closest childhood friend, an experience that is something I treasure.

Airds Fiona Woods Kids Airds
Fiona Woods Kids Airds (F Woods)

 

I laugh with my siblings that we can never shop with Mum in Campbelltown – she remembers everyone who lived remotely near us. But for her, it was the friendship she struck up with her new neighbour the day they both moved in that is the most special.

A friendship that has lasted for over 43 years. It still involves daily coffee catch-ups and phone calls.

I started Kindergarten at John Warby Public School, where I learned more than just academics. It was during this time that I experienced how the love of a teacher extends beyond the classroom.

I truly believe it was these experiences that led me to join the profession. I had so much to give back. I remember some of these teachers visiting our home to check in on our parents and even drive them to appointments.

They really took the home-school connection to a new level! I will be forever grateful for the investment they made in us and their belief that we would all succeed.

Living in Airds during the late 70s and early 80s was a time where friendships were built, and people stuck together. It was the freedom of riding bikes with friends until the street lights came on, building makeshift cubbies and performing concerts for the neighbours.

I can still remember the excitement of walking to the local shops with my sisters to buy a few groceries for Mum. The constant search for ‘bargains’ in the hope there would be twenty cents leftover to buy some mixed lollies.

To this day, I still can’t resist a markdown and resent paying full price for anything. Lollies aside, the mere act walking to the shops was an adventure. Teetering along with the giant concrete snake and pretending we were on a secret journey.

Our simple life ensured we had opportunities to use our imagination and explore the world around us, creating memories with our neighbours and friends.

Airds Shopping Centre Interior3 2020 Aust247
Airds Shopping Centre 2020 (I Willis)

 

But life wasn’t always easy. I remember eating dinner and seeing my parents eat toast because there wasn’t enough to go around.

By this stage, they were raising five children, including my youngest brother, who rarely slept for more than an hour each night. He became a case study for professors looking into hyperactivity disorders.

That was little comfort to my mum, who was also Dad’s primary carer, living on minimal sleep and a frugal budget. Yet she showed up every day, always reminding us about the power of education and instilling a true love of learning in us all.

What we lacked for in material possessions was made up by so much more. We learned to be resilient and grateful, and we learned to be kind. We continue to work hard in our chosen fields, always considering how we can help others.

One of the proudest moments for our parents was seeing all five children graduate from university. That and the ongoing pride they feel for their thirteen grandchildren, who love their Nan and Pop like no one else.

Airds Fiona Woods Family pic
Airds Fiona Woods Family pic (F Woods)

 

The roots that were planted back in those early days have been tended with such love and care.

Those trees continue to flourish, branching out into wonderful opportunities. I am forever grateful for the foundations my childhood was built upon.

And I proudly tell everyone about where it is I came from.


Comments to re-publication of the post on South West Voice Facebook page  5 May 2020

  • Daniel Draper Fantastic story Eric Kontos, I am also a Proud Airds Boy moving their in 1977. My mother still lives in the same house. I always said growing up in Airds built character. We had a fantastic childhood and explored every part of the George’s River bushland. They where great days!
  • Frank Ward What a great story and I have come across so many great similar accounts of growing up in Campbelltown and the estates.
    Noting Fiona’s record that she and all her siblings got to go to University makes me particularly proud of the work my late sister Joan M Bielski AO AM who was a teacher but she devoted her life to the promotion of equal opportunity for women in education, politics and society. Her main work was to change the education system so that women got access as when she started at Uni only 25% of women got to Uni and then mainly in teaching now ove 56% of all graduates are women and more women are in political powerful positions This pandemic has been another example of the value of an educated female workforce as they have been on the frontline of this war on the virus so we can only hope that the government will give them equal pay instead of empty words that usually flow from the PM
  • Sam Egan Love this, my family moved to airds in the late 70s, I started at John warby public, we moved when I was 7 or 8 to St Helens park, changed schools. 30+ years later after ending a long relationship i was set up on a date, who just so happened to be the boy who lived across the road from us at airds, who I used to walk to school with every day. His mom still lives in the same street. 15 years later and our own little boy we love going to visit, after all those years you realize how strong that little community is.
    1 reply
  • Leonie Chapman What a fabulous article and account of the old days.
    I grew up there from about 1978 and went to Briar Rd PS and then St Pats.
    I have so many fond memories and close bonds that I made back then and still am lucky to have today

Comments on Fiona’s Facebook page

Fiona Woods  writes

30 April

I have always been proud of my roots, especially the early beginnings of growing up in housing commission. You don’t need riches to be surrounded by love, hope and a desire to succeed.

I am honoured that my story was shared on the blog of local historian, Dr Ian Willis. I thought I’d share it with you all 

Comments

Tracey Seal Wagstaff Thank you for sharing this beautiful story Fiona Woods. I also grew up in Airds in the 70’s & 80’s I can honestly say that your story is just the same as many of us. Your words reflect the same community spirit of my upbringing in Airds where everyone had each others back. My mums house was like a halfway house everyone was welcome and the front door was always open to all. Those where the days. Riding in the streets, building jumps, having dance concerts, this was the way of life. We still have longtime friends from our neighbourhood that we still have contact with today after 40 years…

Wilfred J Pink Great story and well deserved recognition Fi. Congratulations mate.

Linda Hunt Oh Fiona. This bought a tear to my eye. Beautiful words that ring so true. Life growing up in this neighbourhood is truly one to remember. Thank you. I’m happy I was able to read this on this day.
Congratulations. X

Jowen Hillyer How clever are you? Gorgeous words xx
Patricia O’Brien Absolutely gorgeous. What an outstanding view of the many children grew up in Airds. Two of my own children were brought up in Airds and also went to John Warby and they are both school teachers. So proud of how all my children grew up to be people who respect their families and friends.
Stephen Chomicz Inspiring
Jen Nay Beautiful story Fiona Woods
Jowen Hillyer Aww lovely. Great job xxx
Deborah Littlewood Oh Fiona, what an amazing story. Brings back so many wonderful memories with your beautiful family. I love so much that our friendship is as close as it was all those years ago. Us ‘Airds chicks’ certainly did ok for ourselves.
Deborah Littlewood Fiona Woods my favourite part of your story ❤️.
I always remember your mum did so much for everyone else and now you and your daughters are exactly the same. Always putting everyone else before yourselves.
Raylene Neville Naw, that was beautiful x
I was a housing commission kid too! I remember that we had a blue fridge!
Merrideth McGregor Beautifully written ❤️ love it x
Jeff Williams Pretty good writing for a teacher! 🙂 I love waiting for people bagging out housing commission and then letting it be known I grew up there!
Valeska Spratford Jeff Williams the classic old John Warby PS uniform. Little do people know that this low-socioeconomic school gave us free dental and some of the best memories of our lives. C’town represents. . . . .Airds 4Eva 😉
Judi Wood Wonderful story; thanks for sharing 🏆
Ann Hawkins Beautiful Fiona
Cass Bien Beautiful! I also grew up in Housing Commission, we had great neighbours too and I met my best friend at 8 yrs old, still besties today. So grateful for these times. xx Your story is lovely. 😊
Caf Airs Great story showing what family, community and education can achieve.
Melissa Salter Beautiful words Fiona, it is a true depiction of many of us “Airds” kids of that era, great community and John Warby was definitely a major part of all of our success
Jeffrey R Williams Well done. Mum and I are so proud 😤 of you. Love 😍 ya heaps.
Fiona Woods Jeffrey R Williams thanks Dad. And thanks for always believing in us and for never giving up on us, even when we made mistakes and stupid decisions in our lives.
We knew we could always count on you and Mum.
I can even laugh now about how you joked about karma when I cried to you about the horror of having 3 teenage girls 😂
Kim Pike Inspiring and great story 🏅👏
Noleen Spencer Great job , we also came from humble beginnings, not much money but plenty of love to go around , we appreciated every little blessing and was always taught it cost nothing to smile and to lend a helping hand. I’ve always said to my children , you don’t have to be the best , you just have to try your best .
Christine Quensell Loved reading your story Fiona. Thank you for sharing.
Shane Campbell Great story and great family …
Bec Brown This is wonderful Fi. Beautifully told and very inspiring. Love you my friend x
Kristy Sorouni Awesome. 👏
Very powerful and inspiring, love you xx
Cam Maber Beautiful story Fiona. Thankyou so much for sharing..♥️
Julie Douglas Love this, Fiona ❤️
Louise Counsell That was moving. Your family was so rich in the things that mattered
Cathy Harle Fiona, you had the very great privilege of growing up in a home full of love and values with your sisters and brothers, and each one of you have instilled those values in your own children – you can all be very proud of yourselves 💕
Harder Karen Ian Beautiful and well written Fiona and as auntie Noleen said, we also come from a large family, one income earner, little money and a lot of bad health issues but there was also plenty of love and we always appreciated what little we had. I am so grateful for everything and for how all of our beautiful children turned out, I am I only very sad our dear mum and dad didn’t live long enough to see how all their beautiful grandchildren turned out. Your mum and dad did such a good job raising such a beautiful family and I can clearly see you are all doing the same with your own families. Much love 😘😘
Salome Mariner Borg I love this so much! 💙
So well articulated that I could just feel the love and could picture everything as if it were a movie..actually, why not turn it into a movie ☺️👌
Thanks for sharing xx
JoJo Axe Will always be thankful for our humble beginnings and everything our families have done for each other. That beautiful special friendship like no other that our Mum’s have, the joy and support they give to one another is amazing. Something to be very grateful for 😘
Amy Lou Thank you for sharing this. An inspiring story with some aspects that remind me of my own childhood. ❤️
Michelle Halloran Love your story Fiona. Thank you so much for sharing! Eplains why you are such an amazing teacher and person 🤗 We moved into a housing commission place at Ambarvale in 1981 when I was 6, the neighbours were awesome their too! So many great memories growing up there. Freedom to roam the neighbourhood on our bikes, visiting 5 or 6 friends on a Saturday, Mum and Dad having no idea where I was until I arrived home before dark! Sadly it’s a different world now.
Stephanie Compton That story is beautifully written. I can really feel your heat’s journey and the feel of family and community… which has helped make you the amazing woman and mother you are today! xoxo
Fiona Maureen That was such a nice read. Good to get to know you more. ☺️
Yvette Underwood Torr That is wonderful. Your parents did an amazing job.

Originally posted 30 April 2020

Updated 19 June 2020
Aesthetics · Agriculture · Attachment to place · Australia · Australian Historic Themes · Belonging · Camden · Camden Town Farm · Colonial Camden · community identity · Cowpastures · Cultural Heritage · Cultural icon · Dairying · Dharawal · Economy · Education · Farming · Heritage · Historical consciousness · Historical Research · Historical thinking · history · Landscape · Landscape aesthetics · Leisure · Lifestyle · Living History · Local History · Local Studies · Macarthur · Nepean River · Place making · Recreation · Ruralism · sense of place · Settler colonialism · Storytelling · Tourism

A walk in the meadows of the past

Walkway at the Camden Town Farm

I was recently walking across the Nepean River floodplain past meadows of swaying waist-high grass on a local walkway that brought to mind the 1805 description of the Cowpastures by Governor King. Atkinson writes

The first Europeans looked about with pleasure at the luxuriant grass that covered both the flats and the low hills. The flats seemed best for cattle…the trees were sparse.

The trees were certainly sparse on my walk, yet the cattle in the adjacent paddock proved the fulfillment of the observations of the early Europeans.

Black cattle graze on the waist-high grass just as the wild cattle of the Cowpastures did over 200 years ago. Camden Town Farm Miss Llewella Davies Pioneers Walkway 2020 (I Willis)

The cattle I saw were polled hornless black cattle which were markedly different from the horned-South African cattle which made the Nepean River floodplain their home in 1788 after they escaped from Bennelong Point in Sydney Town. They became the wild cattle of the Cowpastures.

The beauty of the landscape hints at the management skills of the original inhabitants the area -the Dharawal – who understood this country well.

This is the landscape that characterises the recently opened Miss Lewella Davies Memorial Walkway which weaves its way across the Nepean River flats on the western side of Camden’s township historic town centre.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Pond fog 2020 IW lowres
The aesthetics of the Nepean River floodplain caught the attention of the early Europeans in a landscape managed by the local Dharawal people for hundreds of years. Camden Town Farm Miss Llewella Davies Pioneers Walkway Pond (2020 I Willis)

Layers of meaning within the landscape

Walking the ground is an important way for a historian to empathise the subtleties of the landscape and the layers of meaning that are buried within it.

The walkway is located in the original Cowpastures named Governor Hunter in 1796, which was then declared a government reserve in 1803 by Governor King. Just like an English reserved King banned any unauthorised entry south of the Nepean River to stop poaching of the wild cattle. Just like the ‘keep out’ signs in the cattle paddocks today.

According to Peter Mylrea, the area of the town farm was purchased by colonial pioneer John Macarthur after the government Cowpasture Reserve was closed and sold off in 1825. It is easy to see why John Macarthur wanted this part of the country for his farming outpost of Camden Park, centred at Elizabeth Farm at Parramatta.

Although this does not excuse European invaders displacing and dispossessing the Indigenous Dharawal people from their country.  Englishman and colonial identity John Oxley and John Macarthur were part of the colonial settler society which, according to LeFevre, sought to replace the original population of the colonized territory with a new society of settlers.

Today all this country is part of the Camden Town Farm, which includes the walkway.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Nepean River Rest Stop 2020 IW lowres
A rest stop on the walkway adjacent to the Nepean River. Camden Town Farm Miss Llewella Davies Pioneers Walkway Nepean River (2020 IW)

Llewella Davies – a colourful local character

Llewella Davies was a larger than life colourful Camden character and a truly notable Camden identity. On her death in 2000 her estate bequeathed 55 acres of her family’s dairy farm fronting Exeter Street to the Camden Council. Llewella wanted the site was to be used as a functional model farm for educational purposes or passive recreational use.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Information Sign 2020 IW lowres
An information sign at the beginning of the walkway explains the interesting aspects of the life of Miss Llewella Davies. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

The Davies dairy farm

The Davies family purchased their farm of 130 acres in 1908. They appeared not to have farmed the land and leased 20 acres on the corner of Exeter and Macquarie Grove Road to Camden Chinese market gardener Tong Hing and others for dairying.

Llewella was the youngest of two children to Evan and Mary Davies. She lived all her life in the family house called Nant Gwylan on Exeter Street, opposite the farm. Her father died in 1945, and Llewella inherited the house and farm on her mother’s death in 1960.

The house Nant Gwylan was surrounded by Camden High School which was established in 1956 on a sporting reserve. Llewella steadfastly refused to sell-out to the Department of Education for an extension to the high school despite being approached on several occasions.

Llewella, who never married, was born in 1901 and educated at Sydney Church of England Girls’ Grammar School (SCEGGS) in Darlinghurst. The school educated young women in a progressive liberal curriculum that included the classics, scientific subjects as well as female accomplishments.

Llewella undertook paid work at the Camden News office for many years and volunteered for numerous community organisations including the Red Cross, and the Camden Historical Society. In 1981 she was awarded the Order of Australia medal (OAM) for community service.

The Camden Town Farm

In 2007 Camden Council appointed a Community Management Committee to examine the options for the farm site that Llewella Davies had gifted to the Camden community. The 2007 Camden Town Farm Masterplan outlined the vision for the farm:

The farm will be developed and maintained primarily for agricultural, tourism and educational purposes. It was to be operated and managed in a sustainable manner that retains its unique character and encourages and facilitates community access, participation and visitation.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Shoesmith Yards 2020 IW lowres
The walkway has several historic sites and relics from the Davies farm. Here are the Shoesmith Cattle yards… Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

The masterplan stated the farm was ‘ideally place to integrate itself with the broader township’ and the existing Camden RSL Community Memorial Walkway that had been established in 2006.

It is against this background that the Camden Town Farm management committee moved forward with the development of a walkway in 2016.

The Miss Llewella Davies Pioneers Walkway

The walkway was constructed jointly by Camden Council and the Town Farm Management Committee through the New South Wales Government’s Metropolitan Greenspace Program. The program is administered by the Office of Strategic Lands with funding for the program comes from the Sydney Region Development Fund and aims to improve the regional open space in Sydney and the Central Coast. It has been running since 1990.

Camden Mayor Theresa Fedeli opened the walkway on 17th August 2019 to an enthusiastic crowd of locals. The walkway is approximately 2.4 kilometres and it has been estimated that by January 2020 around 1000 people per week are using it.

Invite for Miss Llewella Davies Walkway 2019Aug17

The walkway is part of Camden’s Living History where visitors and locals can see, experience and understand what a farm looks like, what it smells like and its size and extent. Located on Sydney’s urban fringe it is a constant reminder of the Indigenous Dharawal people and the area’s farming heritage of grazing, cropping, and dairying

If the walker is patient and perceptive the path reveals the layers of the past, some of which have been silenced for many years.

Camden Town Farm Miss Llewella Davies Pioneers Walkway Walkers 2020 IW lowres
Some enthusiastic walkers on the path getting in some exercise on the 2.4 km long track. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

Miss Llewella Davies Pioneers Walkway Highlights   (on map)

  1. Chinese wishing wells
  2. Seismic monitoring station
  3. Views of Nepean River
  4. Views to Macquarie House
  5. Shoesmith livestock yard.
  6. Heritage precinct
Camden Town Farm Miss Llewella Davies Pioneers Walkway Seismic Instruments 2020 IW lowres
The seismic station is adjacent to the walkway path on the Nepean River floodplain. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

 Additional highlights

  1. Nepean River floodplain
  2. Dam
  3. Camden Community Garden
  4. Camden Fresh Produce Markets
  5. Worker’s cottage
  6. Onslow Park and Camden Showground
  7. Bicentennial Equestrian Park
  8. Camden Town Centre Heritage Conservation Area
  9. Camden RSL Community Memorial Walkway
Camden Town Farm Miss Llewella Davies Pioneers Walkway Warning Do Not Sign 2020 IW lowres
There are information signs at the beginning and the end of the walkway. This one highlights the warnings and the things that walkers and visitors are not allowed to do. Camden Town Farm Miss Llewella Davies Pioneers Walkway (2020 I Willis)

The value of the walkway

  1. Tourism
  2. Education
  3. Memorial
  4. Commemoration
  5. Fitness and wellbeing
  6. Ecological
  7. Sustainability
  8. Working farm
  9. Living history
  10. Community events and functions
  11. Commercial business – farmers markets
  12. Aesthetics and moral imperative
  13. Storytelling
  14. Community wellness
  15. Food security
Camden Town Farm Walkway Signage No Dogs2 2020 lowres

Australian Historic Themes

The Miss Llewella Davies Pioneers Walkway fits the Australian Historic Themes on several levels and the themes are:

  1. Tracing the natural evolution of Australia,
  2. Peopling Australia
  3. Developing local, regional and national economies
  4. Building settlements, towns, and cities
  5. Working
  6. Educating
  7. Governing
  8. Developing Australia’s cultural life
  9. Marking the phases of life

Updated on 17 April 2021; Originally posted on 14 April 2020