Ever wondered who volunteered across New South Wales to support the soldiers overseas in the First World War? Two hard working volunteers from the War Chest Fund, Eleanor Mackinnon and Constance Sly, organised a book that lists thousands of names of these war workers.
Mackinnon and Sly called their project The War Workers’ Gazette. It is a treasure trove for family historians and others interested in the First World War. Two Macarthur region organisations and their volunteers are listed in the book.
Wartime fundraising in New South Wales between 1914 and 1918 was carried in a host of ways by patriotic funds and voluntary organisations and included a host of activities from cash donations, to fetes, fairs, door-knocking and the list goes on.
The use of publications as wartime fundraising projects was not as common. In Great Britain there was The Way of the Red Cross with stories of wartime activities and in Australia there was the ‘trench publication’, the Anzac Book.
Eleanor Mackinnon and Constance Sly envisaged that their project would be a complete list of names of all volunteers of patriotic funds and other organisations that operated in New South Wales during the war. It was to include a short description of the activities of the organisation and their war work.
The gazette was also to include a list of Australian hospitals, field ambulances, and overseas depots. The authors wanted to include the colours of different battalions, regiments, AAMC and artillery. The organisers sent out over 10,000 letters seeking list of volunteers. There was extensive publicity with articles about the gazette in a host of country and city newspapers.
The print run of 10,000 was planned for the first edition and were to be sold at 1/- each for paper back 2/6 for hardback. Volunteers had to contribute 1d to have their names listed in the gazette. On publication the gazette was initially sold for 1/-, and then sold for 2/- and posted to purchasers for 2/3d. It was hoped that the gazette would be published for the 1918 War Chest Day.
Scope of gazette
Amongst the voluntary organisations listed in the Workers’ Gazette included the War Chest, YMCA, Red Cross, St John Ambulance, Repatriation Committee, Universal Service League, War Savings Committee, Lord Mayor’s , Patriotic Fund, Australia Day Committee, Belgian Relief Committee, Italian Red Cross, Patriotic Activities of the Churches, American- Australian League of Help, League off Honor, University Patriotic Committees, Polish Relief Committees, Hospital Entertainment Committees, Chamber of Commerce War Food Fund, Belgian Clothing Committees, Patriotic Musical Societies, VADs Battalions, Baby Kits, French-Australian League, Women’s Clerical War-workers’ League, Salvation Army, Soldiers’ Wives arid Mothers’ Centre, Recruits’ Comforts Fund, Win-the-War League, Sailors Wives’ League, Sock Fund (Mrs. Jopp), Queen Mary’s Sock Fund (Miss Jay), Old Gold and Silver Fund, Blue. Cross Fund. Soldiers’ Club.
Press reports of project
Reports in the Sydney press stated that the gazette served the dual purpose of firstly ‘a comprehensive record of war work’ which was mostly performed by women, and secondly, a fundraiser. The report stated that ‘an enormous amount of trouble’ had been taken in collating the information. (SMH, 14 Feb 1918)
More than this a Brisbane press report stated that the gazette was a permanent record of civilian war work ‘through their organisations’. The editors, Mrs McKinnon and Mrs Sly, observed that a number of wartime organisations had already fulfilled their aims by early 1918, and wound up their operations. Their volunteers moved onto other activities and their voluntary efforts had already been forgotten by the wider community. They noted that as the war effort wound down many other voluntary organisations would cease to exist and the efforts of their volunteers would suffer a similar fate. (Daily Std, 23 Feb 1918)
Shortcomings of publication
The Workers’ Gazette is an important publication from the war period, yet should not be taken at face value. The end result was exclusive to the better off who could pay the 1d to have their name registered, then the cost of buying the published book.
The editors list over 200 Red Cross brancheswho did not supply any names of their volunteers and members (p. 262). The branches who did supply names tended to be those from the more affluent Sydney suburbs and country towns.
Even for the Red Cross branches that were listed only those who could afford the Workers’ Gazette supplied their names and many branches are understated in their membership. For example, the membership list for the Camden Red Cross branch is under-stated by around 20 per cent (p. 160). The are no entries for the Campbelltown area.
Value of Workers Gazette
The Workers’ Gazette is a valuable publication for the war period, despite its shortcomings. It is treasure trove of names for family historians and anyone interested in local history and particularly the First World War.
Publications of this type are rare and its significance has not declined over the years. It is a valuable addition to the historiography of the First World War.
Even the advertisements, which help fund it, are an interesting insight into the war period and particularly 1918.
The Burragorang Valley is one of those lost places that people fondly remember from the past. A place of the imagination and dreaming where former residents fondly re-tell stories from their youth. These places create powerful memories and nostalgia for many people and continue to be places of interest. They are localities of myths and legends and imminent danger yet at the same time places of incredible beauty.
One of these people is artist Robyn Collier who tells her story this way:
The Burragorang Valley is the picturesque valley that was flooded in the 1950s to make way for a permanent water supply for the growing city of Sydney. What was once a thriving valley of guest houses, farms and other small industries no longer exists. Residents were forced to leave their precious valley, livelihoods were lost, people dispossessed with only a small compensation. The homes and buildings were demoloshed the land stripped of vegetation. That Valley is now called Lake Burragorang. I have been fortunate enough to have had a very long history with what is left of this beautiful area – a history I thought I had left behind 30 years ago.
Robyn Collier was taken on a journey back to the valley in recent years and this prompted to create a number of works of arts. She writes that it is a
It has been a journey I never thought I would ever make again – and yet, here it is.
Robyn created an exhibition of her works in 2018 and her memories of the valley.
In 2006 Radio National examined the loss of the valley to the Europeans who had settled there over the decades. The notes that support the radio programme state:
In the 1930s and 40s, NSW was experiencing a bad drought, and during the war years planning began in earnest for the building of Warragamba Dam. The site of the dam meant that the 170 residents who called the Burragorang Valley their home would need to leave, either because their properties would be submerged by the dam’s waters or because they would be cut off from road access.
Although protest meetings, petitions and deputations to local members of parliament called for the dam to be stopped, it went ahead regardless. Throughout the 1950s, the Sydney Water Board bought up properties in the area or resumed land that was needed for the catchment area. Houses were pulled down and the valley cleared of trees and vegetation in preparation for the completion of the dam in 1960.
The Burragorang was also a popular holiday spot and was renowned for its guesthouses, where Sydneysiders could come for a weekend to go horse-riding and bushwalking and attend the many dances that were on offer. However, by the 1940s, city planners were already talking about one of the most pressing issues facing Sydney – the provision of a secure water supply – and the Burragorang Valley was earmarked as the site for a new dam.
The Gothic nature of the Burragorang Valley
Gothic is a term that has been applied to many things from art to landscape to architecture. The Gothic novel is one expression of this genre and Lauren Corona has written that
The Gothic novel was the first emergence of Gothic literature, and was sometimes referred to as the Gothic romance. These kinds of novels were characterized by elements of horror, suspense and mystery. Gothic novels attempted to find understanding through exploring the darker side of life. They often contained ruined old buildings, wild landscapes, good and handsome heroes, terrified heroines and, of course, an evil character. Arguably the most famous Gothic novel is Mary Shelley’s ‘Frankenstein.’
Gothic architecture usually refers to the large medieval cathedrals that were build across Europe between 12th and 16th centuries. These imposing and grand buildings have special religious and spiritual meaning to the history of Christianity. Gothic architecture usually includes abbeys, churches, castles, palaces, town halls, guild halls, universities and smaller buildings. The style appeals to the emotions and the powerful grandeur of these buildings.
Gothic places possess a duality of beauty and grandeur combined with evil and danger. That is their attraction. Mountain areas are typical of this with their soaring grandeur and risk of imminent death.
It is these characteristics that can be drawn out in the wild grandeur of the Burragorang Valley with its soaring cliffs and breath-taking vistas that create a magnificent natural landscape. There is also the sense of danger from frequent floods, secret gorges, isolation and difficulty of access.
The Burragorang Valley has captured the hearts of many folk over the years and stories have been told about the area from the Dreamtime.
Some of the early photographs of the Valley hint at the Gothic nature of the area. Here one image that expresses some of these characteristic of the Gothic – the picturesque and the dangerous:
The many visitors to the Valley were attracted by the Gothic elements within the landscape. One example from 1941:
It is these characteristics that made the area a popular tourist destination during the Interwar years of the 20th century. Many of the Europeans settlers built guesthouses and accommodation for visitors from Sydney and beyond.
One of the largest tourist attractions to the local area in the mid-20th century was a local milking marvel known at the Rotolactor.
The Rotolactor was truly a scientific wonder that captured the imagination of people at a time when scientific marvels instilled excitement in the general public.
In these days of post-modernism and fake news this excitement seems hard to understand.
What was the Rotolactor?
The Rotolactor was an automated circular milking machine with a rotating platform introduced into the Camden Park operation in 1952 by Edward Macarthur Onslow from the USA.
The Rotolactor was part of the process of agricultural modernism that the Macarthur family had implemented on their colonial property of Camden Park Estate to improve their dairying operations in the mid-20th century.
The idea of a rotating milking platform was American and first introduced in New Jersey in the mid-1920s.
The 1940s manager of Camden Park Lieutenant-Colonel Edward Macarthur Onslow inspected an American Rotolactor while overseas on a business trip and returned to Australia full of enthusiasm to build one at Camden Park.
The Menangle Rotolactor was the first in Australia and only the third of its kind in the world.
The rotating dairy had a capacity to milk of 1,000 cows twice a day. It held 50 cows a time and were fed at as they were milked. The platform rotated about every 12 minutes.
The Rotolactor was a huge tourist attraction for the Menangle village and provided a large number of local jobs.
In 1953 it was attracting 600 visitors on a weekend in with up to 2000 visitors a week at its peak. (The Land, 1953Mar27)
Town planning disruption
In 1968 town planning disrupted things. The Askin state government released the Sydney Regional Outline Plan, followed by the 1973 the New Cities of Campbelltown, Camden and Appin Structure Plan, which later became the Macarthur Growth Centre in 1975.
The structure plan did recognise the importance of the Rotolactor and the cultural heritage of the Menangle village. (The State Planning Authority of New South Wales, 1973, p. 84)
These events combined with declining farming profits encouraged the Macarthur family to sell out of Camden Park including the Rotolactor and the private village of Menangle.
The Rotolactor continued operations until 1977 and then remained unused for several years. It was then purchased by Halfpenny dairy interests from Menangle who operated the facility until it finally closed in 1983. (Walsh 2016, pp.91-94)
Community festival celebrates the Rotolactor
In 2017 the Menangle Community Association organised a festival to celebrate the history of the Rotolactor. It was called the Menangle Milk-Shake Up and was a huge success.
The Festival exceeded all their expectations of the organisers from the Menangle Community Association when it attracted over 5000 of people to the village from all over Australia. (Wollondilly Advertiser, 18 Sept 2017)
The Menangle Community Association Facebook page described it this way:
‘A true country event like in the old days. So many visitors came dressed up in their original 50s clothes, and all those wonderful well selected stall holders. It was pure joy.’
Despite these sentiments the event just covered costs (Wollondilly Advertiser 5 April 2018)
The festival’s success was a double-edged sword for the organisers from the Menangle Community Association.
The festival’s success demonstrated to local development interests that Rotolactor nostalgia could be marketized and had considerable commercial potential.
The Menangle Community Association attempted to lift the memory of the Rotolator and use it as a weapon to protect the village from the forces of urban development and neo-liberalism
The success of the festival was also used by Menangle land developers to further their interests.
Developer Halfpenny made numerous public statements supporting the restoration of the Rotolactor as a function centre and celebrating its past. (The Sydney Morning Herald, 22 December 2017).
The newspaper article announced that the owner of the site, local developer Ernest Dupre of Souwest Developments, has pledged to build a micro brewery, distillery, two restaurants, a farmers market, children’s farm, vegetable garden, and a hotel with 30 rooms.
In 2017 the state government planning panel approved the re-zoning of the site for 350 houses and a tourist precinct. Housing construction will be completed by Mirvac.
Mr Dupre stated that he wanted to turned the derelict Rotolactor into a function with the adjoining Creamery building as a brewery, which is next to the Menangle Railway Station.
He expected the development to cost $15 million and take two years. The plan also includes an outdoor concert theatre for 8000 people and a lemon grove.
The Camden story is an ongoing project that aims to tell the untold stories of the Camden, Cowpastures and Macarthur districts. There is the telling, the learning and the showing of the story.
The project is constantly evolving and changing direction. It is centred around the construction of place and the meaning of landscape. These are culturally derived concepts from both Indigenous and European experiences.
There are the natural ecologies that make up the environment as well as atmospheric and geological elements. The natural elements are just as important as the cultural.
Complexities of the Camden story
The Camden story has its own complexities. There is no one single dominant narrative. There are many voices in the story and each has a right to be heard.
There are many threads to the Camden story and when woven together make a coherent story with many voices. The weave of the cloth represents the warp and weft of the daily lives of the actors on the stage. Together they create a vibrant design that can capture the imagination of many and inspire others.
There are many actors in the constantly evolving narrative, each with their own agenda. The story is played on a stage that is located on Sydney’s rural-urban fringe, a dynamic movable frontier on the city’s edge. It is a constantly changing and evolving cultural landscape.
There are many layers to the Camden story each with its own particularities. As each layer is peeled back it reveals memories and meanings from the past that influence the present. Those who are interested can dive into the many layers and help unravel the entangled threads of the web and give some clarity to their meaning within the story.
The Camden story is a journey that is constantly evolving with many signposts along the way. There are a lot of fellow travellers who have their own stories. There are many pathways and laneways to go down, each with its own meaning and memories to the travellers who come along for the journey.
The Camden story has its own road map of sorts with signposts and markers of significant places along the journey for those who want to look. There are many opportunities for those who want embark on this journey and uncover many of the undiscovered mysteries of the Camden story.
It is in the interests of those who want to tell the story that they walk the ground in which the story is embedded. The landscape speaks to those who want to listen. The experience is enriching and fulfilling and shapes the telling of the story.
Some parts of the Camden story
The Camden story has many parts and some are listed below:
This is a short history of the town, which is situated on the floodplain of the Nepean River, on the traditional land of the Dharawal people in an area known as the Cowpastures. The Camden area’s distinctive landscape has moulded the community’s identity and sense of place. From the earliest days of European settlement class and social networks ordered daily life in the village with the local gentry at the top of the social hierarchy.
The Camden district ran from the Main Southern Railway around the estate village of Menangleinto the gorges of the Burragorang Valley in the west. It was a concept created by the links between peoples’ social, economic and cultural lives across the area. The district became the centre of people’s daily lives for well over a century and the basis of their sense of place and community identity.
This short historiography is one of the few that has been attempted to illustrate the construction of the history of a rural community. It is an attempt to examines the broad range of influences that shaped the writing of the Camden community’s history.
Movie makers 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 film makers as a setting for their movies. It coincided was an increasing interest in the area’s Englishness from poets, journalists and travel writers.
The Camden bibliography is an attempt to highlight some of the research that addresses the notion of Camden as a country town and the subsequent urbanisation of the local government area. The sources listed in the bibliography cover the geographic area of the Camden district.
The Cowpastures emerged as a regional concept in the late 18th century starting with the story of the cattle of the First Fleet that escaped their captivity at the Sydney settlement. The region was a culturally constructed landscape that ebbed and flowed with European activity. It grew around the government reserve established by Governors Hunter and King. It then developed into a generally used locality name centred on the gentry estates in the area.
The story of European settlement in the Cowpastures is intimately connected to the story of the convicts and their masters. This story has not been told and there is little understanding of the role of the convicts in the Cowpastures district before 1840. Who were they? What did they do? Did they stay in the district?
Kirkham is a picturesque, semi-rural locality on Sydney’s rural-urban fringe between the historic township of Camden, with its inter-war and colonial heritage and the bustling commercial centre of Narellan. The arrival of the rural-urban fringe at Kirkham in recent decades has created a contested site of tension and constant change, resulting in an ever-evolving landscape. This is an example of a short locality history within the local area published by the Dictionary of Sydney.
Early European settlers were the key actors in a place-making exercise that constructed an English-style landscape aesthetic on the colonial stage in the Cowpastures district of New South Wales. The aesthetic became part of the settler colonial project and the settlers’ aim of taking possession of territory involving the construction of a cultural ideal from familiar elements of home in the ‘Old Country’. The new continent, and particulaly the bush, had the elements of the Gothic with its grotesque and the demonic, and the landscape aesthetic was one attempt to counter these forces. Settlers used the aesthetic to assist the creation of a new narrative on an apparenty blank slate and in the process dispossessed and displaced the Indigenous occupants. The new colonial landscape was characterised by English place-names, English farming methods and English settlement patterns, with only cursory acknowledgement of Indigenous occupation.
The rural-urban fringe is a dynamic frontier, an ever expanding zone of transition on the edges of Australia’s major cities and regional centres. This paper examines the proposition that Sydney’s urban growth has pushed the city’s rural-urban fringe into the countryside and unleashed the contested nature of place-making in and around the
country town of Camden. It will be maintained that the dynamic forces that characterise the rural-urban frontier have resulted a collision between the desires and aspirations of ‘locals’ and ‘outsiders’ and prompted a crisis in the identity of place. Community icons
and rituals have become metaphors for the continuity of values and traditions that are embedded in the landscapes of place. The actors have used history and heritage, assisted by geography and aesthetics, to produce a narrative that aims to preserve landscape identity, and has created a cultural myth based on a romantic notion of an idealised
country town drawn from the past, ‘a country town idyll’.
What’s in a name? Quite a lot if you live in the fringe urban communities of Campbelltown, Camden or Picton in the Macarthur district on Sydney’s rural-urban fringe. In the past these communities have been fiercely parochial country towns with clearly identifiable differences based on history, heritage, traditions, mythology, rituals, demographics, local government and a host of other factors. With the encroachment of Sydney’s urban sprawl they have been wrapped up by the tentacles of the metropolitan octopus and faced challenges on a variety of fronts. The questions that this article raises concern Macarthur regionalism. Is it authentic? How representative is it of the former country towns that are now incorporated within it?
The Nepean River is one of the most important waterways in the Sydney basin and has particular significance for Sydney’s southwestern rural-urban fringe. The Nepean River catchment extends south and east of the Sydney Basin to take in areas near Robertson and Goulburn. West of Wollongong the tributaries includng Cataract Creek, Avon River, Cordeaux River that flow north-west and then into the deep gorges of Pheasants Nest and Douglas Park. The river opens up into a floodplain and flows past Menangle and crosses the Cowpastures and southern Cumberland Plain past Camden and Cobbitty. The river then flows north through the gorge adjacent to Wallacia and enters Bents Basin before it is joined by the Warragamba River and changes its name to the Hawkesbury River.
Camden is a country town whose history and development has been influenced by war. The town was part of Australia’s homefront war effort, and from the time of the Boer War the most important part of this for Camden was volunteering. The Second World War was no exception, and the most influential voluntary organisation that contributed to the town’s war effort was the Womens Voluntary Services [WVS]. The Camden WVS was part of a strong tradition of Victorian female philanthropy in the town, which attracted, and depended on, middle class women socialised in Victorian notions of service, ideals of dependence, a separatedness of spheres, patriarchy, the status quo, and by the inter-war period, modernity.
On 21 October 2004 the former Member for Camden, Dr Elizabeth (Liz) Kernohan, died after suffering a heart attack. She was sixty- five. Thousands of people lined Argyle Street in Camden to see the cortege and pay their last respects, I and compliments flowed from both sides of New South Wales politics. There were over 1850 column centimetres devoted to her death and subsequent funeral in the local press. Kernohan was a popular, larger than life figure in Camden. She held the seat of Camden for the Liberal party for over 11 years in an area that some have claimed is the key to the success of the Howard Government. How was Kernohan able to gain this type of support? This paper will try to address this question, although initially it is useful to give a brief overview of the electorate.
A notable part of Camden modernism that has disappeared is the drive-in movie theatre. The Narellan Gayline Drive-in Movie Theatre was one of the notable attractions in the local area between the 1960s and 1980s located on Morshead Road, Narellan (now Narellan Vale). Along with rock ‘n roll, transistor radios, the bikini, the mini-skirt, it marked the lifestyle of the baby boomers. Always popular with teenagers and young families. The drive-in movie theatre was a defining moment in the district for a 20th century culture that was based around the icons of the period: cars and movies.
Catherine Fields once boasted a national tourist facility which attracted thousands of visitors a year to the local area, the El Caballo Blanco entertainment complex. The El Caballo Blanco complex opened in April 1979 at Catherine Fields. The main attraction was a theatrical horse show presented with Andalusian horses, which was held daily in the large 800-seat indoor arena.
The Camden Country Women’s Association made camouflage nets during the Second World War and was the largest netting centre in the area. The Camden CWA camouflage netting centre was assisted by sub-branches at Campbelltown and Narellan, which were established after the joint CWA-WVS meeting in December 1941.
One of the most popular memories of the Camden area by locals and visitors alike is the Camden branch line and its famous locomotive Pansy. It has a truly dedicated and enthusiastic bunch of supporters who positively drool about it and overlook its foibles. Old timers tell and retell stories to anyone who wants to listen, all laced with a pinch of exaggeration and the romantic. A part of local nostalgia. The Camden branch line was operated by the New South Wales Railways from 1882 to its closure in 1963.
Oran Park Raceway was doomed in 2008 to be part of history when it was covered with houses in a new suburb with the same name. It was also the name of a former pastoral property that was part of the story of the settler society within the Cowpastures. The locality is the site of hope and loss for both locals and new arrivals. The Oran Park Motor Racing Circuit was located in the south-western and western part of the original Oran Park pastoral estate. The main grand prix circuit was 2.6 km long with a mixture of slow, technical and fast sweeping corners as well as changes in elevation around the track.
This post was prompted by an item in the Oran Park Gazette, an A4 newsletter newspaper. Gazette journalist Lisa Finn-Powell asked: What is the future of the community newspaper? The local ‘rag’ in our suburb is a free tabloid newspaper thrown onto our front driveway each week. Actually there are two of them, the Camden Narellan Advertiser and the Macarthur Chronicle. Where I live some of these newspapers stay on the neighbour’s driveway for weeks and disintegrate into a mess. Other neighbours just put them in the bin. So not everyone is a fan of the local ‘rag’ in the age of Snapchat, Instagram and Facebook.
The members of 32 Squadron arrived in Camden Airfield in September 1942 after seven months of hazardous operational duties supporting Allied Forces in New Guinea and the surrounding area, including New Britain. The squadron had been ‘hastily formed in the field’ in February 1942 with personnel drawn from other units. The squadron’s operational duties at Camden Airfield included reconnaissance and sea patrols off the east coast of Australia.
Once the army moved into Narellan Military Camp it commenced operation and became part of the wartime scene during WW2. Men were seen marching all over the district, there were mock raids and the men practiced firing small arms. The camp is an important part of the story of Narellan during war as thousands of men, and some women, moved through the camp on their way to somewhere in the theatre that was the Second World War.
Supermarkets are one of the ultimate expressions of modernism. The township of Camden was not isolated from these global forces of consumerism that originated in the USA. The Camden community was bombarded daily with American cultural influences in the form of movies, motor cars, drive-in, motels, TV, and radio. Now consumerism was expressed by the appearance of self-service retailing and the development of the supermarket.
The local milk bar is a largely unrecognized part of Camden modernism where the latest trends in American food culture made their way into the small country town by Australian-Greek immigrants. The design, equipment and fit-out of local cafes and milk bars was at the cutting edge of Interwar fashion. The cafes were a touch of the exotic with their Art Deco style interiors, where fantasy met food without the social barriers of daily life of the Interwar period. Camden milk bars rarely just sold milk shakes unlike their counterparts in the city. To make a living and ensure that their businesses paid their way the cafes and milk bars also sold fruit and vegetables, meals, sandwiches, lollies, sweets and chocolates.
The interwar period in Camden was a time of economic development and material progress. The prosperity of the period was driven by the local dairy industry and the emerging coal industry. During the interwar period one of the most important economic arteries of the town was the Hume Highway (until 1928 the Great South Road). For a country town of its size the town had modern facilities and was up-to-date with the latest technology. The interwar years were a period of transition and increasingly the motor car replaced the horse in town, and on the farm the horse was replaced by the tractor, all of which supported the growing number of garages in the town.
Movie makers 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 film makers 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 un-noticed 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 race horse. The movie showed a host good looking racing blood-stock. There was much excitement, according to Annette Onslow, when an airplane 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 release 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 of 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 directored 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 were 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 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 divulge 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 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 were filmed at Camden and near Brownlow Hill.
In 2010 filmmaker Sandra Pyres of Why Documentaries produced a number of 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 a number of 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 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 are 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 was 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 a number of 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 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 overlook 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 cup cakes. 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 siting 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 because 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 area continues with the 4th series of Doctor Doctor. Wikipedia states of the plot line:
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.
Thousands of young single Australian born women travelled to London and beyond from the mid-to-late 19th century. This pilgrimage, as historian Angela Woollacott has called it, was a life-changing journey for these women. They were both tourist and traveller and many worked their passage throughout their journey.
Their travels illustrate the links between metropole and the periphery, between the settler societies and the imperial centre that have been little explored by scholars of history. These young women were both insiders and outsiders, both colonials and part of the heritage of colonizers. The dichotomy of their position provides an interesting position as they explored the transnational relationship between Australia and the UK.
These women occupied a space between metropolitan centre of London and their shared British heritage and notions of England as ‘home’ yet at the same time they were outsiders in England and other parts of the British Empire that they visited in Colombo and Aden.
There has been some recent scholarship that explores the Australian diaspora in the United Kingdom around issues of imperialism, expatriation, globalisation, national identity and overseas citizenship.
In the 19th century colonial born women from well-off families went husband-hunting in England. By the early 20th century the list of women travelling to the United Kingdom started to include creative-types including actors, writers, artists, musicians, and singers. One of the most famous being Dame Nellie Melba.
In the mid-20th century following the Second World War young working women from modest backgrounds started to explore the world and head for London. There were a number of Camden women who undertook this journey during the 1950s that are the subject of a history project.
38th Australian Historical Association Conference 2019, Local Communities, Global Networks, University of Southern Queensland, Toowoomba, 8-12 July 2019.
Title of Paper
Tourist or traveller: the journey of an Australian country girl to London in 1954.
In 1954 Shirley Dunk, a young country woman from the small community of Camden in New South Wales, exercised her agency and travelled to the United Kingdom with her best friend and work colleague, Beth Jackman. This was a journey to the home of their forefathers and copied the activities of other Camden women. Some of the earliest of these journeys were undertaken by Camden’s elite women in the late 19th century when they developed imperial networks that functioned on three levels – the local, the provincial and the metropole.
This research project will use a qualitative approach where there is an examination of Shirley’s journey archive complimented with supplementary interviews. The archive consisted of personal letters, diaries, photographs, scrapbooks, ship menus and other ephemera and was recently presented to me. It was a trove of resources which documented Shirley’s 12 months away from home and, during interviews, allowed her to vividly relive her memories of the journey. Shirley nostalgically recalled the sense of adventure that she and Beth experienced as they left Sydney for London by ship and their travels throughout the United Kingdom and Europe.
The paper will attempt to address some of the questions posed by the journey and how she reconciled these forces as an actor on a transnational stage through her lived experience as a tourist and traveller. Shirley’s letters home were reported in the country press and were reminiscent of soldier’s wartime letters when they acted as tourists in foreign lands.
The narrative will show that Shirley was exposed to the cosmopolitan nature of the metropole, as were earlier generations of local women who journeyed to London. The paper will explore how Shirley was subject to the forces of urbanism, modernity and consumerism at a time when rural women were presented with representations of domesticity and other ‘ideal’ gender stereotypes.
2nd Biennial International Conference on Redefining Australia and New Zealand, Changes, Innovations, Reversals, University of Warsaw, Warsaw, Poland, 16-17 September 2019.
Title of Paper
An Australian country girl goes to London.
In 1954 a young country woman from New South Wales, Shirley Dunk, exercised her agency and travelled to London. This was a journey to the home of their forefathers and copied the activities of other country women who made similar journeys. Some of the earliest of these journeys were undertaken by the wives and daughters of the rural gentry in the 19th century when they developed imperial networks that functioned on three levels – the local, the provincial and the metropole.
This research project will use a qualitative approach where there is an examination of Shirley’s journey archive complimented with supplementary interviews. The archive consisted of personal letters, diaries, photographs, scrapbooks, ship menus and other ephemera and was recently presented to me. It was a trove of resources which documented Shirley’s 12 months away from home and, during interviews, allowed her to vividly relive her memories of the journey. Shirley nostalgically recalled the sense of adventure that she experienced as she left Sydney for London by ship and her travels throughout the United Kingdom and Europe.
The paper will attempt to address some of the questions posed by the journey and how she reconciled these forces as an actor on a transnational stage through her lived experience as a tourist and traveller. Shirley’s letters home were reported in the country press and were reminiscent of soldier’s wartime letters home that described their tales as tourists in foreign lands.
The narrative will show that Shirley, as an Australian country girl, was exposed to the cosmopolitan nature of the metropole, as were earlier generations of women. The paper will explore how Shirley was subject to the forces of urbanism, modernity and consumerism at a time when rural women were presented with representations of domesticity and other ‘ideal’ gender stereotypes.
In Camden the local non-going church community has resisted the sale by the Anglican Church of a horse paddock between St John’s Anglican Church and the former Rectory, all part of the St John’s Church precinct.
Community angst has been expressed at public meetings, protests, placards, and in articles in the press.
The purpose of this blog post is to try and unravel some of the broader issues underpinning community angst around the sale of church property. The post will look at the case study of the sale of churches in Tasmania and the resultant community anxiety.
The local church in place
The local church is an important part of a local community. It has a host of meanings for both churchgoers and non-churchgoers alike.
The local church is a central part of the construction of place and people’s attachment to a cultural landscape and locality.
Place is about a sense of belonging and a sense of groundedness. It is expressed by cultural heritage, memory, nostalgia, customs, commemorations, traditions, celebrations, values, beliefs and lifestyles.
Belonging is central to placeness. It is home. A site where there is a sense of acceptance, safety and security. Home as a place is an important source of stability in a time of chaos. Home is part of a community.
LM Miller from the University of Tasmania states that people are involved fundamentally with what constitutes place and places are involved fundamentally in the construction of persons. Place wraps around and envelopes a person. People are holders of place (Miller: 6-8)
There is a shared sense of belonging in a community where being understood is important and part of a beloved collection. A sense of belonging acts as an all encompassing set of beliefs and identity. . It enriches our identity and relationships and leads to acceptance and understanding.
A church is one of these communities.
When a person’s sense of place is threatened then their sense of self, identity, safety, stability, and security are challenged. Where there is a loss of a person’s sense of place and belonging to a place they go through a grieving process.
The closure, sale and de-consecration of the local church are a threat to a person’s sense of place.
Local churches are part of a community’s cultural heritage.
Cultural heritage consists of two parts. Firstly, tangible heritage which is made up, for example, buildings, art, objects and artefacts.
Secondly there is intangible cultural heritage which includes customs, practices, places, objects, artistic expressions and values. This can be extended to include traditional skills and technologies, religious ceremonies, performing arts and storytelling.
Churchgoers and a sense of place
The link between local churches and a community’s sense of place has been explored by Graeme Davison in his book The Use and Abuse of Australian History. He says that churchgoers are often faced with unsustainable maintenance costs for a church. Eventually when churchgoers are forced to sell the property they:
‘often seemed less reluctant to give up their church than the rest of the community…and faced with the prospect of its loss, [the non-churchgoers] were often prepared to fight with surprising tenacity to save it.’ (Davision:149)
These churches have a strong emotional attachment for their communities. These churches are loved places for their community and Davison suggests:
It is in losing loved places, as well as loved persons, that we come to recognise the nature and depth of our attachment to our past. (Davison: 150)
Davison argues that churchgoers often have a loyalty to their local place well beyond their sense of faith in Christianity.
Sale of churches in Tasmania
These issues came to the fore in Tasmania in 2018 when there was public outrage around the sale of local churches in Tasmania.
The Hobart press ran a story with the headline ‘Emotions run high, communities vow to fight after Anglican Church votes to sell off 76 churches’. (Sunday Tasmanian, 3 June 2018)
The Anglican Church in Tasmania was attempting to fund the ‘redress commitment’ to the victims of clerical abuse by selling church property.
In response Central Tasmanian Highlands churchgoer Ron Sonners said that ‘his ancestors [were] buried in the graveyard associated with St Peter’s Church at Hamilton’…and he ‘struggled with his emotions as he dealt with the fallout from his community church being listed for sale’. (Sunday Tasmanian, 3 June 2018)
Tasmania Anglican Bishop Richard Condie says that most of opposition to the sale of churches
is primarily people in the broader community who oppose the sales, with the potential loss of heritage and family history, including access to graveyards, their main concern. (The Mercury, 15 September 2018)
There have been protest meetings and some effected parishes started fundraising campaigns to keep their churches. The Hobart Mercury reported that
The Parish of Holy Trinity Launceston, which wants to keep St Matthias’ Church at Windermere, has raised the funds, with the help of its local community, to meet its redress contribution. (The Mercury, 15 September 2018)
Cultural historian and churchgoer Dr Caroline Miley said that:
the churches are an important part of Australian history… It is unconscionable that such a massive number of buildings, artefacts and precincts should be lost to the National Estate in one fell swoop…These are buildings built and attended by convicts and their jailers. They were built on land donated by early state governors, notable pioneers and state politicians, with funds donated by these colonials and opened by the likes of Sir John Franklin…As well, she says, they contain the honour boards, memorials and graves of those who fought and died in conflicts from the 19th century onwards…Some are in the rare (in Australia) Georgian style or in idiosyncratic Tasmanian Carpenter Gothic. (The Mercury, 15 September 2018)
Amanda Ducker of the Hobart Mercury summarises of the whole fuss surrounding the sale of churches in Tasmania this way:
Condie’s use-it-or-lose-it approach clashes with the keep-it-at-all-costs mentality. But while some opponents of the bishop’s plan refuse to sell their church buildings, neither do they want to go to church regularly. They rather prefer just to gather on special occasions: baptisms, weddings, funerals and perhaps at Christmas and Easter if they are leaning towards piety. But the rest of the year? Well, a sleep-in, potter at home or cafe brunch of eggs benedict (but sans ministering) are pretty tempting on Sunday morning. (The Mercury, 15 September 2018)
Others Anglicans in Tasmania see the whole argument differently. Emeritus Professor and Anglican Peter Boyce AO see it as fight over the spiritual traditions linked to the low and high Anglican traditions in Tasmania. (The Mercury, 15 September 2018)
All these arguments are characteristic of how people, their traditions, their values, their past, their memories are all rooted in a location and in particular a building like a church.
Other dimensions to the argument
The dualism expressed in the sale of church land and buildings can be likened to the difference between sacred and secular. These two polar opposites are explored in popular culture in the form of music by Nick Cave and others on The Conversation.
Another perspective on this area was aired on ABC Radio Local Sydney in December 2018 by Dr David Newheiser. In the discussion he examined the differences between Christians and aethiests. He maintained that there are strong sentiments in the community around tradition and ritual in the community and if you lose a church you lose all of this.
The binary position of churchgoers and non-churchgoers can also be expressed in ethical terms as the difference between good and evil, or right and wrong, or moral and immoral, just and unjust and so on. This dichotomy has ancient roots dating back to pre-Biblical times across many cultures.
So what does all this mean?
Churches have an important role to play in the construction of place in communities. This role is played out in different ways for different actors in the story.
As far as the dichotomy presented here in the story of the sale of church property and land, there is really no conclusion that satisfies all stakeholders.
There is no right or wrong position to the opposing views between churchgoers and non-churchgoers. The differences remain an unresolved ethical dilemma.
An iconic Camden image of St Johns Anglican Church in the 1890s.