Interwar Camden directly connects to a noted architect of Interwar Sydney and its architecture.
Aaron Bolot, a Crimean refugee, was raised in Brisbane and worked with Walter Burley Griffin in the 1930s. He designed the 1936 brick extensions on the front of the 1890s drill hall at the Camden showground.
Bolot worked for Sydney architect EC Pitt, who supervised the construction of the new showground grandstand in 1936 and agricultural hall extensions (Camden News, 19 September 1935).
The work of Aaron Bolot and many other Sydney architects are found in photographer Peter Sheridan’s Sydney Art Deco. Sheridan has created a stunning coffee table book highlighting Sydney’s under-recognised Art Deco architectural heritage. The breadth of this Interwar style covers commercial and residential buildings, cinemas and theatres, hotels, shops, war memorials, churches, swimming pools and other facets of design.
Bolot’s work at Camden was a simple version of the more complex architectural work that he was undertaking around the inner Sydney area, for example, The Dorchester in Macquarie Street Sydney (1936), The Ritz Theatre in Randwick (1937), the Ashdown in Elizabeth Bay (1938) and other theatres.
The 1936 extensions to the agricultural hall
The brick extensions to the agricultural hall were part of general improvements to the showground, and works were finished in time for the 1936 jubilee show. The report of the show stated:
The new brick building in front of the Agricultural Hall, erected in commemoration of the jubilee, proved a wonderful acquisition, and its beautiful external appearance was, only a few days before the show, added to ‘by the erection of a neat and appropriate brick and iron fence joining that building with the Memorial Gates, * and vastly, improving the main pedestrian entrance to the showground. The fitting of this new room withstands and fittings for the exhibition of ladies’ arts and crafts, was another outlay that added to the show’s attraction. (CN, 2 April 1936)
The hall extensions were designed in a style similar to the memorial gates erected in 1933 in memory of GM Macarthur Onslow (d. 1931) and paid for by public subscription. It was reported that they would add ‘attractively to the Showground entrance’. (CN, 19 Sept 1935)
The hall extensions were 50 feet by 23 feet, after 5 feet were removed from the front of the former drill hall. A central doorway was to be a feature, and there would be a ‘main entrance porch leading direct to the big hall on the Onslow Park side of building’. (CN, 19 Sept 1935)
The hall extension cost £400 (CN19Mar1936) and was to be built to mark the 1936 Jubilee Show (50th anniversary). It was anticipated that the new exhibition space could be used for the
ladies’ arts and crafts section, such as needlework, cookery; be used for the secretary’s office prior to the show; a meeting place for committees; and in addition provide a modern and up to date supper room at all social functions. (CN, 19 Sept 1935).
The approval of the scheme was moved at the AH&I meeting by Dr RM Crookston, seconded by WAE Biffin, and supported by FA Cowell. The motion was unanimously carried out by the meeting. The committee agreed to seek finance from the NSW Department of Labour and Industry at 3% pa interest. (CN, 19 Sept 1935)
The CHN blogger was out and about in southern Queensland recently and investigated some of the local aspects of living history.
The CHN blogger was drawn to southern Queensland by the Australian Historical Association Conference held at Toowoomba in early July. The conference was stimulating and challenging and the hosts provided a great venue at the Empire Theatre complex.
The Toowoomba area provided a number of examples of living history starting with the Cobb & Co Museum complex. Apart from the displays there is training in traditional trades for the more than curious and there are a number of special days during the year. The blogger was there during the school holidays and there was a motza of stuff for the littlies to do – all hands on. The kids seemed to be having lots of fun, followed around their Mums and Dads. The coffee was not bad either.
The generous conference hosts organised some activities for conference goers. I tagged along on a town tour one evening led by the president of the local historical society – very informative. ‘Town by night’ was a great way to see the sights of the city centre from a new perspective.
One property that particularly took the fancy of this blogger was the Federation Queen Anne style Harris House. The cottages was bequeathed to the National Trust of Australia (Queensland) in 2017. The 1912 Edwardian villa residence demonstrates the development of Toowoomba in the early 20th century and the place wealthy members of the local society within it.
The single storey red brick dwelling has a Marseilles tiled roof and wide verandahs with bay windows. The concrete ornamentation contrasts with the face red brick and the hipped-roof has decorative finials and ridge capping. The house is in a visually prominent position on a corner block and is described by the Queensland Heritage Register as ‘a grand, Federation-era suburban villa residence’. It is quite an asset to the area.
After the conference this nerdy blogger found himself at The Woolshed at Jondaryan. Originally built in 1859 the woolshed is one of the largest in Australia and today is an example of an extensive living history attraction. The European history of the woolshed illustrates the frontier story of the settler society of southern Queensland and the Darling Downs.
Moviemakers have always had an eye on the Camden district’s large country houses, rustic farm buildings, quaint villages and picturesque countryside for film locations.
From the 1920s the area has been used by a series of filmmakers as a setting for their movies. It coincided was an increasing interest in the area’s Englishness from poets, journalists and travel writers. They wrote stories of quaint English style villages with a church on the hill, charming gentry estates down hedge-lined lanes, where the patriarch kept contented cows in ordered fields and virile stallions in magnificent stables. This did not go unnoticed in the film industry.
One of the first was the 1921 silent film Silks and Saddles shot at Arthur Macarthur Onslow’s Macquarie Grove by American director John K Wells about the world of horse racing. The film was set on the race track on Macquarie Grove. The script called for a race between and aeroplane and racehorse. The movie showed a host good looking racing blood-stock. There was much excitement, according to Annette Onslow, when an aeroplane piloted by Edgar Percival his Avro landed on the race course used in the film and flew the heroine to Randwick to win the day. Arthur’s son Edward swung a flight in Percival’s plane and was hooked on flying for life, and later developed Camden Airfield at Macquarie Grove.
Camden film locations were sought in 1931 for director Ken G Hall’s 1932 Dad and Dave film On Our Selection based on the characters and writings of Steele Rudd. It stars Bert Bailey as Dan Rudd and was released in the UK as Down on the Farm. It was one the most popular Australian movies of all time but it was eventually shot at Castlereagh near Penrith. The movie is based on Dan’s selection in south-west Queensland and is about a murder mystery. Ken G Hall notes that of the 18 feature films he made between 1932 and 1946 his film company used the Camden area and the Nepean River valley and its beauty for location shooting. The films included On Our Selection (1936), Squatter’s Daughter (1933), Grandad Rudd (1934), Thoroughbred (1935), Orphan of the Wilderness (1936), It Isn’t Done (1936), Broken Melody (1938), Dad and Dave Come to Town (1938), Mr Chedworth Steps Out (1938), Gone to the Dogs (1939), Come Up Smiling (1939), Dad Rudd MP (1940), and Smith, The Story of Sir Charles Kingsford Smith (1946).
The Camden district was the location of two wartime action movies, The Power and The Glory (1941) and The Rats of Tobruk (1944). The Rats of Tobruk was directed by Charles Chauvel and starred actors Chips Rafferty, Peter Finch and Pauline Garrick. The story is about three men from a variety of backgrounds who become mates during the siege at Tobruk during the Second World War. The movie was run at Camden’s Paramount movie palace in February 1945. The location for parts of the movie were the bare paddocks of Narellan Vale and Currans Hill where they were turned into a battleground to recreated the setting at Tobruk in November 1943. There were concerns at the time that the exploding ammunitions used in the movie would disturb the cows. Soldiers were supplied from the Narellan Military Camp and tanks were modified to make them look like German panzers and RAAF Camden supplied six Vultee Vengeance aircraft from Camden Airfield which was painted up to look like German Stuka bombers. The film location was later used for the Gayline Drive-In. Charles Chauvel’s daughter Susanne Carlsson who was 13 years old at the time reported that it was a ‘dramatic and interesting time’.
The second wartime movie was director Noel Monkman’s The Power and The Glory starring Peter Finch and Katrin Rosselle. The movie was made at RAAF Camden with the co-operation of the RAAF. It is a spy drama about a Czech scientist who discovers a new poison-gas and escapes to Australia rather than divulges the secret to the Nazis. Part of the plot was enemy infiltration of the coast near Bulli where an enemy aircraft was sighted and 5 Avro-Anson aircraft were directed to seek and bombed the submarine. The Wirraway aircraft from the RAAF Central Flying School acted as fighters and it was reported that the pilots were ‘good looking’ airmen from the base mess. There was a private screening at Camden’s Paramount movie theatre for the RAAF Central Flying School personnel.
Camden Park was used as a set for the internationally series of Smiley films, Smiley made in 1956 and in 1958 Smiley Gets a Gun in cinemascope. The story is about a nine-year-old boy who is a bit of rascal who grows up in a country town. They were based on books by Australian author Moore Raymond and filmed by Twentieth Century Fox and London Films. Raymond set his stories in a Queensland country town in the early 20th century and there are horse and buggies and motor cars. The town settings were constructed from scratch and shot at Camden Park, under the management of Edward Macarthur Onslow. The movies stars included Australian Chips Rafferty and English actors John McCallum and Ralph Richardson. Many old-time locals have fond memories of being extras in the movies. Smiley was released in the United Kingdom and the United States.
In 1999 Camden airfield was used as a set for the television documentary The Last Plane Out of Berlin which was the story of Sidney Cotton. Actor Geoff Morrell played the role of Cotton, who went to England in 1916 and became a pilot and served with the Royal Naval Air Service during the First World War. He is regarded as the ‘father of aerial photography’ and in 1939 was requested to make flights over Nazi Germany in 1939. Camden Airfield was ‘perfect location’ according to producer Jeff Watson because of its ‘historic’ 1930s atmosphere.
In 2009 scenes from X-Men Origins: Wolverine was filmed at Camden and near Brownlow Hill.
In 2010 filmmaker Sandra Pyres of Why Documentaries produced several short films in association for the With The Best of Intentions exhibition at The Oaks Historical Society. The films were a montage of contemporary photographs, archival footage and re-enactments by drama students of the stories of child migrants. The only voices were those of the child migrants and there were many tears spilt as the films were screened at the launch of the exhibition.
In 2011 scenes from director Wayne Blair’s Vietnam wartime true story of The Sapphires were filmed at Brownlow Hill starring Deborah Mailman, Jessica Mauboy and Chris O’Dowd. This is the true story of four young Aboriginal sisters who are discovered by a talent scout who organises a tour of American bases in Vietnam. On Brownlow Hill, a large stage was placed in the middle of cow paddock and draped with a sign that read ‘USC Show Committee presents the Sapphires’ and filming began around midnight. The cows were herded out of sight and the crew had to be careful that they did not stand of any cowpats. Apparently, Sudanese refugees played the role of African American servicemen of the 19th Infantry Division.
The romantic house of Camelot with its turrets, chimney stacks and gables, was built by racing identity James White and designed by Horbury Hunt was the scene of activity in 2006 and 2007 for the filming of scenes of Baz Luhrman’s Australia, starring Nicole Kidman and Hugh Jackman. The location shots were interior and exterior scenes which involved horse riding by Kidman and Jackman. The film is about an aristocratic woman who leaves England and follows her husband to Australia during the 1930s, and live through the Darwin bombing by the Japanese in the Second World War.
Camelot was a hive activity for the filming of the 1950s romantic television drama A Place to Call Home produced by Channel 7 in 2012. Set in rural Australia it is the story of a woman’s journey ‘to heal her soul’ and of a wealthy family facing changes in the fictional country town of Inverness in the Bligh family estate of Ash Park. Starring Marta Dusseldorp as the mysterious Sarah and Noni Hazlehurst as the family matriarch Elizabeth, who has several powerful independently wealthy women who paralleled her role in Camden in time past on their gentry estates. The sweeping melodrama about hope and loss is set against the social changes in the 1950s and has close parallels to 1950s Camden. The ‘sumptuous’ 13 part drama series screened on television in 2013 and according to its creator Bevin Lee had a ‘large-scale narrative’ that had a ‘feature-film feel’. He maintained that is was ‘rural gothic’, set in a big house that had comparisons with British television drama Downton Abbey.
The 55-room fairytale-like mansion and its formal gardens were a ‘captivating’ setting for A Place to Call Home, according to the Property Observer in 2013. Its initial screening was watched by 1.7 million viewers in April 2013. The show used a host of local spots for film sets and one of the favourite points of conversation ‘around the water-cooler’ for locals was the game ‘pick-the-place’. By mid-2014 Channel 7 had decided to axe the series at the end of the second series. There was a strong local reaction and a petition was circulating which attracted 6000 signatures to keep the show on the air. In the end, Foxtel television produced a third series with the original caste which screened in 2015.
Camden airfield was in action again and used as a set for the Australian version of the British motoring television show Top Gear Australian in 2010. Part of the show is power laps in a ‘Bog Standard Car’ were recorded on parts of the runways and taxiways used as a test track.
Camden Showground became the set for Angelina Jolie’s Second World War drama Unbroken in 2013. The main character Louis Zamperini, a former Olympic runner, and Onslow Park were used as part of the story of his early life as a member of Torrance High School track team. The movie is about Zamperini’s story of survival after his plane was shot down during the Pacific campaign. The filming caused much excitement in the area and the local press gave the story extensive coverage, with the showground was chosen for its historic atmosphere. Camden mayor Lara Symkowiak hoped that the movie would boost local tourism and the council was supportive of the area being used as a film set. The council had appointed a film contact officer to encourage greater use of the area for film locations.
Edwina Macarthur Stanham writes that Camden Park has been the filming location for several movies, advertisements and fashion shoots since the 1950s. They have included Smiley (1956), Smiley Gets a Gun (1958), Shadow of the Boomerang (1960) starring Jimmy Little, My Brilliant Career (1978) was filmed in Camden Park and its garden and surrounds, and The Empty Beach (1985) starring Bryan Brown, House Taken Over (1997) a short film was written and directed by Liz Hughes which used lots of scenes in the house. In the 21st century, there has been Preservation (2003) described a gothic horror movie starring Jacqueline Mackenzie, Jack Finsterer and Simon Bourke which used a lot of the scenes filmed in the house.
In 2005 Danny De Vito visited Camden Park scouting for a location for a movie based on the book “The True Confessions of Charlotte Doyle”. In Sleeping Beauty (2010) an Australian funded film was shot at Camden Park and the short film La Finca (2012). In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In 2015 the Camden Historical Society and filmmaker Wen Denaro have combined forces to telling the story of the Chinese market gardeners who settled in Camden in the early twentieth century. The project will produce a short documentary about the Chinese market gardeners who established vegetable gardens along the river in Camden and who supplied fresh product to the Macarthur and Sydney markets.
In 2015 an episode of the Network Ten TV show of The Bachelor Australia was filmed at Camden Park in August 2015. They showed scenes of the Bachelor Sam Wood taking one of the bachelorette Sarah on a romantic date to the colonial mansion Camden Park. There were scenes of the pair in a two-in-hand horse-drawn white carriage going up and down the driveway to the Camden Park cemetery on the hill overlooking the town. There were scenes in the soft afternoon sunlight of the couple having a romantic high-tea on the verandah of Camden Park house with champagne and scones and cupcakes. In the evening there were floodlit images of the front of Camden Park house from the front lawn then scenes of the couple in the sitting room sitting of the leather sofa sharing wine, cheese and biscuits in front on an open fire and candles. Sarah is gobsmacked with the house, its setting and is ‘amazed’ by the house’s colonial interior.
In 2018 a children’s film Peter Rabbit was been filmed in the Camden district. The movie is based on Beatrix Potter’s famous book series and her iconic characters. The special effects company Animal Logic spent two days on the shoot in Camden in January 2017. The first scene features the kidnap of the rabbit hero in a sack, throwing them off a bridge and into the river. For this scene, the Macquarie Grove Bridge over the Nepean River was used for the bridge in the movie. According to a spokesman, the reason the Camden area was used was that it fitted the needed criteria. The movie producers were looking for a location that screamed of its Englishness. Camden does that and a lot more dating back to the 1820s. The movie is set in modern-day Windermere in the English Lakes District. The location did not have to have too many gum trees or other recognisable Australian plants. John and Elizabeth Macarthur would be proud of their legacy – African Olives and other goodies. Conveniently the airport also provided the location for a stunt scene which uses a bi-plane. The role of the animators is to make Australia look like England.
In August 2018 the colonial Cowpastures homestead of Denbigh at Cobbitty was the set for popular Australian drama series Doctor Doctor. The series is about the Knight family farm and the show star is Roger Corser who plays doctor Hugh Knight. He said, ‘
The homestead is a real star of the show. The front yard, the dam and barn brewery on the property are major sets – I don’t know what we would do without them.
The show follows the high-flying heart surgeon and is up to season three. Filming lasted three months and the cast checked out the possibilities of the Camden town centre. Actor Ryan Johnson said that Denbigh ‘made the show’.
Denbigh homestead was originally built by Charles Hook in 1818 and extended by Thomas and Samuel Hassell in the 1820s.
In late 2018 the TV series Home and Away has been using the haunted house at Narellan known as Studley Park as a set for the program. The storyline followed three young characters going into the haunted house and staying overnight. They go into a tunnel and a young female becomes trapped. Tension rises and the local knock-about character comes to their rescue and he is a hero. The use of the set by the TV series producers was noted by Macarthur locals on Facebook.
Studley Park has recently been written up in the Camden-Narellan Advertiser (4 August 2017) as one of the eight most haunted places in the Macarthur region. Journalist Ashleigh Tullis writes;
Studley Park House, Camden
This impressive house was originally built by grazier William Payne in 1889. The death of two children has earned the house its haunted reputation.
In 1909, 14-year-old Ray Blackstone drowned in a dam near the residence. His body is believed to have been kept at the house until it was buried.
The son of acclaimed business man Arthur Adolphus Gregory died at the house in 1939 from appendicitis. His body was kept in the theatrette.
In 2019 movie-making in the area continues with the 4th series of Doctor Doctor. Wikipedia states of the plotline:
Doctor Doctor (also known outside of Australasia as The Heart Guy) is an Australian television drama that premiered on the Nine Network on 14 September 2016. It follows the story of Hugh Knight, a rising heart surgeon who is gifted, charming and infallible. He is a hedonist who, due to his sheer talent, believes he can live outside the rules.
Camden was used as one location along with the historic colonial property of Denbigh. Mediaweek stated in 2016 (Sept 9):
The regional setting for the series has proven to be a benefit for narrative and practical production reasons. While all of the hospital scenes were filmed in a hospital in the Sydney inner-city suburb of Rozelle, exterior shooting took place in Mudgee, with filming of Knight’s home was shot in Camden. In addition to $100,000 worth of support from the Regional Filming Fund, the regional setting delivers a unique authenticity to the series that it would otherwise lack.
Sometimes the local area is used a set for an advertising campaign by a fashion label or some other business. The owners of Camden Park House posted on Facebook in August 2019 that the house and garden were used as a set by the Country Road fashion brand.
While no specific details about plotlines or particular actors were given away, the spokesman said the production was filming on August 7 at the Narellan Jets Football Club and Grounds, Narellan Sports Hub.
A historian rarely gets a window into the past in real-time through the lens of a camera. I did this in Camden, New South Wales, recently at a photo shoot for the History Magazine for the Royal Australian Historical Society.
Photographer Jeff McGill and author Laura Jane were the participants in this activity. We all walked along Camden’s historic main thoroughfare, Argyle Street, which still echoes the Victorian period. Our little group made quite a splash and drew the attention of local women who swooned over the ‘gorgeous’ vintage dress Laura Jane wore.
Mid-20th century enthusiast Laura Janes lived the lifestyle in dress, makeup and hairstyle. They made the perfect foil for her History article on Sydney fashion, the David Jones store and their links to Dior’s fashion house. Laura Jane modelled her 1950s Dior style vintage dress in front of Camden’s storefronts that were reminiscent of the period. With a matching handbag, gloves, hat, hairstyle, stiletto heels, and makeup, she made a picture to behold captured by Campbelltown photographer Jeff.
Laura Jane encompasses the experience of the country woman going to town when Camden women would dress up in their Sunday best to shop in Camden or catch the train to the city.
A city shopping expedition would entail catching the Pansy train at Camden Railway Station, changing steam trains at Campbelltown Railway Station, and another change at Liverpool Railway Station from steam train to the electric suburban service for Central Railway Station in Sydney. The suburban electric trains did not arrive at Campbelltown until 1968.
City outings for country women often happened around the Royal Easter Show when the whole family would go to the city. The family would bring their prized horses and cattle to compete with other rural producers for the honour and glory of winning a sash. While the menfolk were busy with rural matters, their women folk would be off to town to shop for the latest fashions for church and show balls or to fit out the family for the upcoming year.
Country women from further away might stay at swish city hotels like the up-market elegant Hotel Australia near Martin Place. These infrequent city outings were a treat and a break from the drudgery of domesticity, and women would take the opportunity to combine a shopping trip with a visit to see a play or the Tivoli theatre.
The Sydney street photographers captured the intrinsic nature of the city outings for country women. They operated around the Martin Place, Circular Quay, Macquarie and Elizabeth Street precincts and are depicted in an current photographic exhibition at the Museum of Sydney.
The images of the Sydney street photographer captured moments in time, and their most prolific period was during the 1930s to the 1950s. The country woman would be captured on film as she and a friend wandered along a city street. They would be given a token, and they could purchase a memento of their city visit in a postcard image that they could purchase at a processing booth in a city arcade. The Sydney street photographer captured living history and has not completely disappeared from Sydney street.
Laura Jane, whose lifestyle encompasses the mid-20th century, expresses the living history movement in motion. The living history movement is a popular platform for experiencing the past. It incorporates those who want to live the past in the present, aka Laura Jane, or relive it occasionally as re-enactors who relive the past for a moment. There are many examples of the latter at historic sites in Australia, the USA, and the UK.
The Camden photo shoot was an example of how a moment in time can truly be part of living history, where the photographer captures a glimpse of the past in the present. An example of how the present never really escapes the past.
The CHN blogger attended an informative and interesting talk at Belgenny Farm in the Home Farm meeting hall. The presentation was delivered by Peter Watson from the Howell Living History Farm in Lambertville, New Jersey, USA.
Mr Watson, an advocate of the living history movement, was the guest of the chairman of the Belgenny Farm Trust Dr Cameron Archer. Mr Watson was on a speaking tour and had attended a living history conference while in Australia.
Mr Watson said, ‘The 130 acre farm was gifted to the community in 1974 by a state politician with the aim of showing how farming used to be done in New Jersey.
Howell Living History Farm is located within a one hour of around 15 million and the far has 65,000 visitors per year and 10,000 school children.
Mr Watson said,
‘We took about 10 years to get going and deal with the planning process, which was tenuous for the government authorities who own the farm.
Mr Watson said,
‘The main aim at the farm is the visitor experience. The farm represents New Jersey farming between 1890 and 1910 – a moment in time.’
Mr Watson says,
‘We do not want to allow history to get in the way of an education experience for the visitor. The farm visitors are attracted by nostalgia which is an important value for them.
Most historic farms are museums, according to Mr Watson and he said, ‘At Howell Living History Farm visitors become involved in activities.’
The farm uses original equipment using traditional methods and interpretation with living history.
The Living History Movement
Historian Patrick McCarthy considers that living history is concerned with (1) ‘first person’ interpretation or role play (2) adopting authentic appearance (3) re-creating the original historic site of the event.
Living historian Scott Magelssen maintains that living history museums ‘engage strategies in their performance of the past’, claiming to be ‘real history by virtue of their attention to detail’. Living history museums ‘do not merely represent the past; they make historical ‘truth’ for the visitor’. (pp. xii-xv)
According to Magelssen living history museums ‘produce history’ like textbooks, films or a lecture. Under the influence of post-modernism history ‘is on longer to be seen as the reconstruction of the past through scientific analysis’. Living history is a research tool. (pp. xii-xv) There are various interpretations on the way this is constructed, configured and delivered amongst the theorists.
Origins of living history museum movement
One of the early influencers of the living history movement in North America was Henry Ford who established his indoor and outdoor living museum experience in the Detroit suburb of Dearbourn in Michigan USA. It is the largest indoor-outdoor museum complex in the USA and attracts 1.6 million visitors. Ford opened the Greenfield Village to the public in 1933 as the first outdoor living museum in the USA and has over 100 buildings moved to the site dating from the 1700s. Henry Ford said of his museum
I am collecting the history of our people as written into things their hands made and used…. When we are through, we shall have reproduced American life as lived, and that, I think, is the best way of preserving at least a part of our history and tradition…
Living history @ Belgenny
Belgenny Farm is an authentic collection of colonial farm buildings that were once part of the Macarthur family’s Camden Park Estate.
The Belgenny Farm website states that its education program adopts the principles of the living history movement. It states:
Schools enjoy a diverse range of hands-on curriculum based programs including the new Creamery Interpretative Centre. The Creamery showcases the dairy industry over the last 200 years and is supported by a virtual tour and online resources.
And more to the point:
Belgenny Farmwas established by John and Elizabeth Macarthur in 1805 and contains the earliest collection of colonial farm buildings in Australia. The property is a major educational centre with direct links to Australia’s agricultural history.
Sydney Living Museums
Sydney Living Museums is part of the living history museum movement and manages 12 historic properties across NSW. The stated role of SLM is to:
enrich and revitalise people’s lives with Sydney’s living history, and to hand the precious places in our care and their collections on to future generations to enjoy.
to refresh and unify our diverse range of properties and highlight our role and relevance for current and future generations.
Living history is storytelling
Living history is walking the ground of an historical event or place or building. Walking the ground shows the layers of meaning in history in a place or building.
Walking the ground is an authentic real experience.
Participants absorb the past that is located in the present of a place or a site. The past is the present and the past determines the present. It shapes, meaning and interpretation. It is the lived experience of a place.
Living history allows participants to be able to read: the layers of history of an area; the layers of meaning in a landscape; or the layers of history in a building.
It is like peeling off layers of paint from a wall when viewers peel back the layers of history of a site, building or place. Each layer has a special meaning – a special presence.
Lived experience leads to storytelling which is real and authentic.
Storytelling creates the meaning of the past and creates the characters of the past in the present. It allows the past to speak to the present.
The book is a fresh look at a community through local eyes and shows the community’s vibrancy, enthusiasm and strength. It illustrates how the community has endured many challenges from the dreamtime to the present.
McGill’s use of images peels back the layers of meaning and reveals the heart of the city. Photographs demonstrate the dynamic nature of the community and how it has changed over time.
Historical photographs are a window into the past and provide a form of expression materially different from the written or oral record. Photographs are accessible and immediate to the viewer. They are unfiltered and provide a meaning to the setting of the subject.
Historical photographs show an immense amount of detail and are an archive of meaning about the past. Quite often the viewer feels that they are intruding on a private event or function.
While photographic images capture a moment in time they also have deeper meanings. Just like the writer the photographer is trying to say something in their formatting, structure and composition of the image. What is the message that the photographer is trying to the tell the viewer?
Sometimes the photograph poses a host of other questions. Why is the street not paved? Why is the women’s dress that long? Why are people wearing those funny clothes? Why are there cows in the paddock? Why are their no electricity poles? These are all part of the composition of the photographs in this pictorial history.
Jeff McGill provides a perspective of the lived local experience of Campbelltonian and a journalist’s nose for a good story. McGill has published a number of local histories that show the hand of someone who understands the nuances of small communities.
After growing up in Campbelltown, going to school in the city McGill worked for the large metropolitan dailies. He then returned to Campbelltown so he could write stories about interesting people rather than those based on hard bitten sensationalist attitude to journalism in the big smoke.
It is this attitude that shone when the Macarthur Advertiser, under McGill’s editorship, took out two national awards for the best local newspaper in Australia. He has been praised for being a passionate Campbelltonian and it shows in Pictorial History Campbelltown & District.
The images that McGill has chosen for the book show the same characteristics that are part of successful journalism in the provincial press. Each image tells a story about local characters and identities and capture a snapshot of a time long past. McGill’s deft eye for composition and impact as a photographer is clearly demonstrated in his layout work in the book.
The images are drawn from a range of archives – Campbelltown City Library, the Campbelltown & Airds Historical Society, many private collections, individual photographers and the author. Many of these images are not accessible to the general public in any form and this publication breaks ground in this area. The book is complemented by a select bibliography and index.
Some of the images show important events which had repercussions on the national stage like the election of the Whitlam government (p. 123), and the First (pp. 54-61) and Second World Wars (pp. 81-87).
More that just a narrative Pictorial History Campbelltown & District is an entry point to the daily lives of those living in Campbelltown. The images are accompanied by a lively story about the characters and events from Campbelltown’s past.
The city has not always received a good press in the Sydney metropolitan dailies and this publication challenges these stereotypes. This collection of images provides a human side to the local story about real people with real lives who create a vibrant community.
The gathering was introduced by past president Kay Hayes, followed by publisher Catherine Warne from Kingsclear Books. Catherine outlined the history of her firm over 30 years of publishing. She said that Campbelltown pictorial history was one of the last pieces of the jigsaw of the Sydney area for her firm. She had been trying to complete her coverage of the metropolitan area for many years and this book was the first time that she has had an author take over the design work.
Jeff McGill then spoke about the gestation of the book, its development and fruition with the support of many people and organisations. Jeff outlined how there were lots of images that were considered for the book and a culling process narrowed down the selection. The chosen were those which told a story or provided the greatest meaning to the Campbelltown story.
McGill made the point that quite a number of the images came from family photograph albums that he had been given access to over many years. This was the first time that they have been published. Jeff would visit local families be given afternoon tea and he would copy the images from the family album.
Jeff McGill’s Pictorial History Campbelltown & District provides a human side to the local story about real people with real lives who create a vibrant and wonderful community. The city has broken free of many of its stereotypes and ghosts, yet it still continues to face many challenges with a positive outlook to the future.
The Camden Theatre Group was one of a number of community organisations that existed in the Camden area in the post-war period. It mounted a host of productions over 20 years, mostly by non-professional members of the community.
The term community theatre refers to theatrical performance within and by the community. It can fit within the area of community arts which is wide and varied. Sometimes the community group works with professional actors and production teams. Community theatre helps build community development and community participation and engagement, which all contributed to the development of social capital.
Arts historian Katherine Knight reports that other active community theatre groups were the Castle Hill Players (1954) and the Henry Lawson Players (1969), both still active. In the local area the Campbelltown Theatre Group started in 1976 and is still very active.
The Camden Theatre Group was originally formed in Camden in 1953 and was extremely active from the beginning. In its first year the company staged three shows. It launched its first season 1954 with ‘Fresh Fields’, followed later in the year with ‘Gypsy Story’ and ‘Trial By Jury’. This was followed up in 1955 with ‘Arsenic and Old Lace’ and ‘Maid of the Mountain’, with the highlight of 1956 ‘The Importance of Being Ernest’ and ‘Our Miss Gibbs’.
One of the early presidents was local novelist and dramatist Charles Inglis.
Productions were held in the AH&I Hall in Central Camden and in 1966 the company mounted Irving Berlin’s famous musical ‘Annie Get Your Gun’ in October. The leading roles for Annie was played by Christine de Looze and Frank Butler by Frank Armstrong. Christine de Looze debuted for the theatre group in ‘The Drunkard’ in 1965, and followed this up in 1966 playing the part of ballet dancer Essie Sycamore in ‘You Can’t Take it with You’. Frank Armstrong was one of the most experienced members of the company and had experience with JC Williamsons for some years appearing in a variety of musicals including ‘Oklahoma’ and ‘Kiss Me Kate’. In 1964 he entertained Camden audiences as Curly in ‘Oklahoma’.
In early 1968 the Camden press reported that Liz Kernohan was elected president at the AGM of the theatre group with co-patrons Dr RM Crookston, W Clifton, EC Britton, B Ferguson and W Sidman. The secretary was M Ferguson and B Clark, with vice-presidents C Manners and C Inglis, supported by general committee of eleven. It was reported that the group looked forward ‘to a full and rewarding programme with increased social activities and many opportunities for people who may be afraid of the footlights’.
Joyce Thorn recalled that Liz Kernohan was Bloody Mary in the company’s 1962 musical ‘South Pacific’ and says that she was ‘really spot on and the best Bloody Mary I’ve ever seen’. Joyce remembers that ‘she had confidence that she could do it’. Joyce and two car loads of friends would regularly come into Camden for theatre group productions and felt that the ‘theatre group did quite well’.
In 1969 the committee under the direction of president Liz Kernohan stated the theatre group enjoyed bringing forward their production and appealed for audience support by telling their friends. Local supporters could become an associate member for one dollar that entitled the holder to preferential bookings and inclusion in theatre parties. Productions were moved to the Camden High School hall in John Street, Camden.
The company kept up a busy production schedule from its foundation and between 1953 and 1971 there were 29 separate productions, and from 1972 and to 1981 there were 21.
In early 1974 the Stables Theatre Group got under way when the Camden Theatre Group signed an eight year lease on The Stables at Camden Park Estate. The signatories were the president Liz Kernohan, secretary Richard Echin and Quentin Macarthur Stanham of Camden Park.
In 1975 the theatre group was re-structured as the Camden Theatre Group Co-operative Society Ltd. The aim of the re-structuring was the establishment of the Stables Theatre under the chairmanship of Camden Mayor Bruce Ferguson. The co-ordinator of the Stables Theatre Group was Jean Burton, and secretary Janice McDonnell. The co-operative’s board was made up of 14 representatives made up of eight directors from shareholders and six representatives from the organisations. Amongst board members were representatives from a number of community groups which were the Arts Society, Chamber of Commerce and Macarthur Apex. The chairman of the board was F Hibble from Tahmoor.
In 1980 the theatre group was suffering financial difficulties and had revival plans in place. The restoration of The Stables had put the company under financial pressure.
The last production mounted by the theatre group at The Stables was the three act ‘Summer of the Seventeenth Doll’ was put on in 1981 in the round. Diana Sharpe played Burra, Sally Hogan took the role of Pearl, Jeff Ballinger played Barney, ably supported by a number of other local identities.
Joyce Thorn, Interview with Ian Willis, Camden, 7 September 2014
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