In these days of fake news and social media hype people have lost trust in many public institutions. Social media is king and the prominence of news can be driven by clicks and algorithms.
Trust is difficult concept to define and measure. It is a fragile belief that people and institutions can be relied upon to be ethical and responsible. Trust is critical in the effective functioning of a democracy.
It is more important than ever that there are sources that are trustworthy and produce credible evidence-based information, particularly around scientific and cultural issues.
Dr. David J. Skorton is the 13th Secretary of the Smithsonian Institute in Washington DC states in reference to recent controversies:
More and more, the trustworthiness of information is based on the perceived trustworthiness of the source. Libraries and museums are considered honest purveyors of information and places for conversation on issues of local and national significance. Today’s museums are dynamic learning hubs, using the power of art and artifacts to engage, teach and inspire. Museums touch lives and transform the way people see the world and each other.
One group of trusted institutions are museums, galleries and libraries, and within these are local community and folk museums, pioneer villages and house museums. They are genuinely authentic.
The landscape of local museums is one of the characteristics of rural and regional Australia. These local museums are managed and conducted by a host of local community organisations. According to the National Museum of Australia there are over 1,000 local and provincial museums across Australia.
Local museums tell local truths and are trusted sources of local stories and histories. Local museums are stores of memory that are built on nostalgia and contribute to well-being of the community. They are sites of volunteerism and strengthening of community. They promote local tourism, local employment, skill enhancement and training opportunities for local people.
Centred on local history local museums are not fake. They are are honest and straightforward. What you see is what you get.
The local museum tells local stories about local identities and local events, and are driven by local patriotism, parochialism and localism. They celebrate local traditions, myths and commemorations.
The local museum can vary from world class to cringingly kitsch, from antiquarian and to professional. Individuals create them from ‘mad ambition’ and shear enthusiasm.
For all their foibles they can build trust within a community. The local museum can help to build resilience through strengthening community identity and a sense of place. Local museums are a trusted local institutions, contribute to a dynamic democracy and active citizenship.
This post was originally published on the ISAA blog.
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.
There is nothing quite like experiencing history in the field to gather a feel for a place. Walking the ground provides a perspective for historians that cannot be gained by staying in the archive. Such is my experience of Goulburn. The inland city Goulburn was one of the most important rural centres in 19th century New South Wales.
The world seems to have passed the town by with its eclectic collection of building style – Victorian, Edwardian, Interwar and post-war. Tucked around every corner there is a new surprise – Catholic and Anglican Cathedrals, the imposing railway station, a grand Victorian post-office and an imposing courthouse that would have certainly made a statement about law and order in 19th century Goulburn. Another world away from the present.
Hidden in plain sight in Auburn Street, Goulburn’s main street, amongst this imposing Victorian grandeur are a number of Interwar buildings. Modernism in the 20th century is represented by the CML building and the small office of the local newspaper. The Goulburn Evening Penny Post building at 199 Auburn Street Goulburn was built in 1935. The newspaper office reflected a confidence in the future of Goulburn. A statement about the town.
The Daniels family, who owned the Penny Post, were part of the country press barons who ruled their rural media empires with an iron fist. Families liked the Sommerlads of the New England, the Sidmans of the Macarthur region, the Shakespeare family of the mid-west, the Robinsons in the Hunter, the Parkers of the mid-west, the Musgraves of Wollongong, the Motts of Albury and a host of others.
The newspaper landscape in Goulburn
Goulburn was a vibrant colonial newspaper landscape reflecting a prosperous colonial pastoral economy. While the Goulburn had a literate population it was still a frontier town. Publishers were self-made men, editors as well. Colonial New South Wales was a rugged and robust publishing environment – a boom and bust cycle.
The first newspaper in the town was the Goulburn Herald in 1848. By the 1920s 21 separate newspaper mastheads had come and gone in Goulburn. The Interwar period appears to have been a prosperous time for the New South Wales country press. According to Rod Kirkpatrick’s Country Conscience, there were 238 titles published in 1920, which was only slightly reduced to 221 in 1930.
The first issue of the Penny Post in 1870 was produced under the cumbersome masthead of the Goulburn Evening Penny Post and Southern Counties General Advertiser as a short tabloid (11 x 14 inches) of 4pp. By 1930 the Goulburn Evening Penny Post was the last standing.
Goulburn society was driven by its religious zeal and the city even had 3 religious publications. They were: The Goulburn Banner (1848 – Presbyterian), the Monthly Paper (1893 – Church of England) and Our Cathedral Chimes (1920s – Roman Catholic).
A special edition celebrates the new office building
The December 1935 edition of the Goulburn Evening Penny Post that celebrated the opening of the new office building. The edition was 36pp with most of the editorial space taken over by recounting the history of the Goulburn township and area. At the time the Post was a daily, Monday to Friday, which incorporated The Goulburn Daily Herald with a cover price of one penny.
Architect LP Burns
The anniversary edition of the ran an article with headline ‘Inside A Modern Country Newspaper Office’. The Sydney architect LP Burns designed an office building which was described as a ‘fine, modern building’ of ‘distinction’ in a ‘modern’ style.
Burns also designed Goulburn’s Elmslea Chambers at 17 Montague Street in 1934. It is described as one of the first buildings in Australia to use coloured polychrome terracotta in its façade which features a fine relief of birds, flowers, leaves and typical Art Deco sunbursts under the windows. The building was designed for wealthy pastoralist FG Leahy.
The front of Goulburn’s Elmslea Chambers was Wunderlich terra cotta polychrome panels and the Building Magazine claimed that ‘Goulburn [had] never before seen a block of offices of such a lavish and commodious nature’. The building interior had Silky Oak panelling with Tasmanian Oak inlay, with chromium light fittings with frosted green glass. The builders were Armstrong and Stidwell.
The newspaper building design
The new building of the Goulburn Evening Penny Post was an example of sleek Art-Deco styling. A stripped back minimalism of the realities of the commercial world – a no-nonsense, business-like, functional and matter of fact. Just like the owners and editors.
Art-deco styling was expression of modernism – sleek, fast, stripped back, not frilly like the Victorian frippery, not tizzy – reminiscent of the world of the railways, movies, motor cars, ocean liners, aeroplanes, consumerism, fashions, wireless. The influences coming down the Hume Highway to Goulburn. The building conveys a powerful statement about the Interwar period in Goulburn.
The Penny Post article on the newspaper office made special mention of the beacon with the lamp on top which made it different from other commercial buildings and with the shopfront Carrara glass. The journalist writing the story was keen to assure the readers that the Carrara glass front was ‘pleasing and harmonious’ and emphasised to the readers that using this type of glass could give a ‘creeping appearance of extravagance’.
Carrara glass was developed in the USA. It was a high-strength coloured glass and used globally in Art Deco and Streamline Moderne buildings. Carrara glass was usually white or blue-gray which resembled the high quality Carrara marble from Tuscany in Italy. The pigmented glass was an acceptable low-cost alternative building material.
The building frontage according to the 1935 press reports was marked by its ‘judicious display’ and ‘would attract attention in any of Sydney’s busiest streets’. The first floor of the building contained the newspaper’s editorial offices and a large strong room where the newspaper archives were kept. The report continued stating that the building was centrally heated by steam including the composing and machinery rooms. This would, it was maintained, be greatly appreciated by the newspapers employees.
The printing presses were at the rear of the building and the newsroom in the centre while the retail shopfront area dealt with advertisers and local folk buying the newspaper. There was a staff of over 20 journalists, compositors, printers, editors, clerical and retail support. These staff were witness to the daily life of the town as it passed through the doors of the newspaper office.
History in plain sight
Today the Goulburn Post building is evocative of a time when print media was king. Walking into the 1935 Penny Post office is like stepping back into the past. Into a world that has disappeared, best illustrated currently by the US movie The Post. The movie explores the buzz of the newsroom at the Washington Post and the publishing of the Pentagon Papers during the heyday of the Vietnam War. When print was king.
While the Goulburn Evening Penny Post was not a large metro daily it is easy to visualize the hive of activity in the newsroom and printing shop. The approaching print deadlines and the smoke-filled rooms amongst the evocative timber paneled rooms throughout the building.
The fabric of the building is still largely intact and retains its integrity, charm and character. The building reveals the layers of history to those who care to take a look. The building has escaped any major renovations and the building structure is as it was in 1935. If these walls could talk they would tell many great yarns of hard-bitten country press barons, editors and journos.
It is easy to image the smell of the printers’ ink; the whir of the printing presses; the buzz of the newsroom; the clacking of typewriters; and babble of conversations at the front desk with advertisers, stock and station agents, and wool merchants. The newspaper was the heartbeat of the town and the ink and newsprint flowed through arteries and veins of the community.
The current Goulburn Post, the offspring of the Goulburn Evening Penny Post, is still is located in the 1935 building. It is the hub for 10 mastheads within the Fairfax Media. Goulburn Post editor Ainsleigh Sheridan says that the newspaper is about creating community history. She would concur with the former president and publisher of the Washington Post, Phillip Graham, who is credited with saying that ‘journalism is the first rough draft of history’ in 1997.
The Goulburn Post is a tri-weekly masthead and is just one of the Fairfax Media group that is produced in the building. The Post is co-ordinated in the Auburn Street office and then sent online to Canberra for printing. In the past printing was done on-site in the back of the Auburn Street building. The current building has issues with fire regulations that did not exist in 1935 and the upstairs area is not currently in use.
The Camden Australia Day celebrations opened with the awards at the Camden Civic Centre where the winners of the Camden Citizen of the Year were announced for 2018. At a national level there has been a debate about the date and the day. What does it mean? When should it be celebrated? Should it be celebrated at all?
The day, the 26th January, is the foundation of the military penal settlement at Sydney Cove in 1788 and the anniversary of the coup d’etat against the Bligh colonial administration popularly known as the Rum Rebellion. By 1804, according to the National Australia Day Council, the day was being referred to as Foundation Day or First Landing Day in the Sydney Gazette. On the 30th anniversary in 1818 Governor Macquarie declared a public holiday. In 1838 the 26th January was celebrated as the Jubilee of the British occupation of New South Wales and the 2nd year of the Sydney Regatta that was held on the day. The annual Sydney Anniversary Regattas started in 1837.
On the centenary of the First Fleet’s arrival at Sydney Cove in 1888 the day was known as Anniversary Day or Foundation Day and festivities were joined by Tasmania, Victoria, Queensland, Western Australia, South Australia and New Zealand. In 1915 Australia Day was shifted to the 30th July to assist fundraising for the Red Cross and other patriotic funds after the commencement of the Gallipoli campaign.
It was not until the Australian Bicentennial that all states agreed to celebrate the 26th as Australia Day rather than as a long weekend. At the time Aboriginal Australians renamed Australia Day ‘Invasion Day’ and there has been debate about it ever since.
In 2018 the Camden town centre there was the annual street parade for the Australia Day celebrations with lots of keen participants. The town crier, Steve Wisby, led the enthusiastic crowd in a rendition of the national anthem and then a rejoinder of Aussie, Aussie, Aussie, OOyy, OOyy, OOyy. The parade included historical groups, school groups, community groups, a number of local bands, and emergency services.
A large crowd lined Argyle Street to watch the parade organised by the Camden Lions Club and the many community groups and businesses that took part in it.
Early in the day celebrations began with the Camden Australia Day Citizen of the Year. The 2018 Camden Australia Day Citizen of the Year was David Funnell. David has been a local businessman for many years and he is a descendant from one of the original European colonial settler families in the Cowpastures area. He was a councillor on Camden Council (1977-1980, 2004-2012) and a member of a number of community organisations.
The other Camden Australia Day Award winners were:
Community Group of the Year — Everyone Can Dance Charity and Camden Lioness
Community Event of the Year — The Macarthur Lions Australia Day Parade
Young Sportsperson of the Year — Amy and Natalie Sligar
Sportsperson of the Year — Maddison Lewis
Young Citizen of the Year — Lubna Sherieff.
These people are true local identities who all have stories to tell that become part of Camden’s sense of place and contribute to the the development of community identity.
The Camden Museum was open for Australia Day and by the end of the day hundreds of visitors had inspected the museum and its wonderful collection of local artefacts and memoriabilia.
The Camden Historical Society volunteer coordinator reports that there were 644 visitors to the museum on the day made up of adults and children. The visitors were looked after by 10 society volunteers who roamed around the museum making sure that the day went smoothly and did a sterling job answering their many questions.
The CHN blogger was out and about at Campbelltown Arts Centre recently on a Friday night at the opening of the 2017 Fisher’s Ghost Art Award.
A packed Campbelltown Arts Centre was filled with keen supporters of the award. They walked around and viewed the art works that had survived the culling process and made it onto the walls and displays.
55 Years of History
2017 is the 55th year of the prize and the finalists had some pretty stiff competition.
There were a diverse range of works. The categories include Open, Contemporary, Traditional, Sculpture, Photography, Primary Students, Secondary Students, Surrealism, Macarthur award for a local artist, Aboriginal, Mentorship Macability award for a work by an artist with a disability.
The Award has a total prize pool of $38000 supported by a range of local sponsors.
Campbelltown Arts Centre is well regarded art institution in the Sydney area under the leadership of director Michael Dagostino.
Camden artist survives cull at the Award
One entrant at this year’s award was Camden artist Sandra Dodds. She survived the cull with her sculpture work Eclipse.
Bringelly artist Brian Stratton had his work Shoalhaven Tapestry hung in the Traditional category.
Brian said about his painting:
‘One of my watercolour paintings of Crookhaven Heads on the south coast of NSW. Over the past three decades I would have painted more than 200 paintings of the north face of this headland. To me this work has more of a feeling of a tapestry, as opposed to a watercolour; hence its title.’
The proceedings on the opening night got under way just after 6.00pm with the official announcements around 7.30pm. The announcement of the winners was introduced by a welcome to country by a local Dharawal elder.
The 2017 judges were curator Tess Allas, artist Dr Daniel Mudie Cunningham and artist Ben Quilty.
In 2017 the carnival was held on Bradbury Oval and was in full swing as the art award winners were announced at the art centre.
The street parade moves along Queen Street and has a variety of community, sporting and business groups with floats and novelties.
Each year the festival has a theme and in the past they have included The Ghost with the Most, The Spirit of Campbelltown, the International Year of the Volunteers, the Centenary of Federation, the National Year of Reading and most recently, the 30th anniversary of the Campbelltown-Koshigaya Sister City relationship.
The Miss Festival Quest, which ran up until the early 90s, was adapted to form The Miss Princess Quest, which has now been running for more than two decades.
The story of the ghost of Fred Fisher
The festival is based around the story of the ghost of Fred Fisher.
The ghost story of Fred Fisher is part of Australian gothic literature and the country’s colonial past. These stories make a statement about the white Australian psyche and the monster within. The landscape is portrayed as a monster in the genry of Australian gothic now and in the past when the early colonials viewed the bush as evil and threatening.
The National Library of Australia outlines the story of Fred Fisher and the songs, stories and legends that flow from it. They claim that it is the most forgotten ghost story in Australia..
At South Camden there was once a favourite restaurant and venue for local weddings and receptions. It was the White House Farm at 451 Hume Highway South Camden. The restaurant was demolished in the 1990s and replaced by a service station. The site of the White House Farm is the location of many fond memories for family and community celebrations and anniversaries.
Mid-20th century modernism
The White House Farm is a local example of mid-20th century modernism influenced by a ranch-style from the West Coast America. It was timber construction, a tile roof and shutters to the windows. Camden had a number of ranch-style houses that was a style of domestic architecture that was popular in Australia in the 1960s. A number have since been demolished, like the White House Farm. The ranch-style architecture is described for its long, close-to-the-ground profile, and wide open layout. The style fused modernist ideas with the wide open spaces of the American west to create an informal and casual approach. One characteristic of many ranch-style buildings were extensive landscape grounds. The unpretentious nature of the style was particularly popular between the 1940s and 1970s. The style lost popularity with a return to more formal and traditional styles of architecture.
Located on the Hume Highway to capture the passing traffic the White House Farm was built in 1966 and run as a restaurant function centre by the owners, Mr and Mrs Henry Hart, until they it sold in 1985 to Alfred and Jennifer Milan. The complex had a large commercial kitchen and could hold two wedding receptions at the same time. It had a seating capacity of 220 in two dining rooms, one of 75 and the other of 130.
In 1984 the restaurant advertised ‘Chicken in the Basket’ for $12.50. Patrons could have a ‘whole tender, spring chicken, old fashioned stuffing, baked to perfection. Served in a basket surrounded with special fries, crumbed onion rings and homemade corn and banana fritters’. This delicacy was accompanied by the ability of patrons to select their ‘sweets’ from a self service area. Complimented with tea and coffee of choice. This ‘tradition’ was proudly introduced by Hart family ‘in the 1950s’.
The restaurant traded five-days a week from Tuesday to Saturday, lunches from 12 to 2.30pm, and dinner from 6pm. Sunday was reserved for private functions. There was the attraction of a half-price children’s menu. Bottles of wine averaging between $5-$6. The restaurant menu had a number of delicacies that are not very common these days. Entrees of prawn cocktail, fruit cocktail, and melon with ham, while the main dishes specialised in steaks and included carpet bag steak and steak diane. There were the poultry specials of chicken southern style and chicken in the basket (whole) and salads which included ham and chicken and cheese and pineapple. On Facebook Susan Vale recalls as a child ‘I remember sleeping in the car parked in front while mum and dad enjoyed a rowdy dinner with friends. It was the place for a nice meal’.
Weddings were catered for with formal or informal reception rooms from two available menus at the exorbitant price of $13.00 and $14.50 per head. The grounds provided award winning ‘beautiful garden style settings’ and the owners could organise music, photographer and cars for the bride and groom. The motel was a two minute walk away a local motel, the Camden Country Club Motel (now also demolished). The wedding party could bring their own drinks and there was no time limit. In 1990 the Camden press claimed that ‘newlyweds are promised a relaxed and special day’. The garden had a ‘relaxed and friendly atmosphere’ and it was like have a ‘home garden wedding’. For those who wanted something a little different the restaurant owners could organise a Scottish Piper ‘in full regalia’ or a ‘Sweep-a-gram’. The restaurant had their own DJ, master of ceremonies and musicians. The brides and grooms were promised ‘romantic weddings in a colonial home atmosphere’ catering for groups between 30 and 130 guests. One of those brides was Marie Larnach who recalls on Facebook that she had her ‘wedding reception there in 1973’. Similarly Brenda Egan had her wedding there as well.
The owners lived in a two-bedroom flatette above the main building. The auction notice for February 1986 said that it was ideal as staff quarters. The notice boasted that the White House Farm was a local ‘landmark’. The restaurant was sold with an adjacent two-bedroom cottage.
The White House Farm had lots of parking space on a lot of 6872 m2 and was an ideal venue for local weddings and large family functions.
The Shell Company of Australia lodged a development application for a service station on the site in April 1992, which proposed the demolition of the White House Farm restaurant. Shell had been prompted to go ahead with the development on the basis that there would be increased local traffic from the Cawdor Resident Release, which never did proceed. The Camden press noted the development of the site was always a possibility after 1989 when Camden Council changed the zoning of land on the fringes of the township. (Camden Crier, 6 May 1992)
The Camden press reported that residents had campaigned for three months against the Shell proposal. There was an initial public meeting held near the site at Easter 1992 with 60 residents. This was followed by a public meeting at the Camden Downs Retirement Village in April attended by 115 residents. Deputy Town Planner Graham Pascoe outlined the legal responsibility of council towards the proposal. Mr John Wrigley for the Camden Residents Action Group called for a show of hands for the no position, with resounding support. Alderman Geoff Corrigan supported the residents’ viewpoint and labelled the development proposal ‘architectural vandalism’ and claimed that the service station had ‘no heart or soul’. (Camden Crier, 6 May 1992)
Over 90 objections were sent to Camden Council from local residents along with a petition of over 200 signatures. Individual submissions against the service station proposal centred on
Incompatibility of the development
Loss of residential amenity
Local of landscape quality
Social and economic effect
Noise and traffic impace
the adjoining residential area and adverse impact from proposed trading hours of 6am to 12midnight. (Camden Crier, 5 August 1992)
The development proposal was raised at a Camden Council meeting in July 1992. Shell Company of Australia was represented by Mr Graham Rollingson of Martin, Morris and Jones real estate developers and spoke in favour of the development application. Several alderman spoke against the proposal including Aldermen McMahon, Hart, Corrigan and Feld. The residents’ interests were represented by spokesman Phil Kosta. The meeting was conducted by Deputy Mayor Frank Booking in the absence of Mayor Theresa Testoni. The council rejected the proposal on the grounds that the development application was not in the public interest. (Camden Crier, 5 August 1992)
In 1993 the Shell Company of Australia won a Land and Environment Court case to allow the construction of a service station on the site, ensuring the demolition of the restaurant and function centre. The local press reported that local residents were appalled with the decision, and Camden Council had initially rejected the proposal after resident objections in July 1992. Shell appealed the decision in the Land and Environment Court in December 1992. Council deputy town planner Graham Pascoe expressed disappointment at the decision. (The Chronicle, 12 January 1993)
Today the site of the White House Farm is occupied by a service station.
I only know that my husband and I had our reception at the White House Farm on 15th September, 1973. It was a lovely place, little bridge out the front for photos etc. The meal was lovely. Not sure what else you need, but I hope this helps. Marie (Larnach) (18 Sept 2017)
Charlene LindsayMy grand parents bought the place in 1965/66. I was around 2 years old. My mum, dad, aunty Angela and uncle Tino run the restaurant between them for over 25+ years. The original building had the living area upstairs. The original kitchen of the restaurant was where the bar area in later years was situated. Before the Sydney/Melbourne freeway was completed greyhound buses used to stop by for lunches. The party room was built by my dad and uncle Tino. The kitchen addition at the rearvof building was built years later with the final extension to the a rea built in the 1970’s. We could have a wedding of 150 odd people in the party room a wedding of 80 or so in the dinning room extension and the restaurant of another 50 odd people going all at once. Seriously busy. Most popular table was ‘lovers corner’. Back in its heyday drivers like Peter Brock Alan Moffitt Colin Bond would dine there after racing at Oran Park. My grand parents also lived in the next to the White House Farm. That house was previously owned by an old lady by name of Mrs May. She used to sell her fruit n veg by the side of road Hume Highway. I miss those days 😊. After my aunty Angela died my grand father didnt have his heart in it anymore – pardon the pun! Later my uncle Tino and his second wife Nelly bought out the rest of the family.
CL: Harry and Sitska Hart they came over from Holland in about 1950. They had identical twin daughters Angela and my mum Charmaine and a son Henri.
Ian Willis: Did your grandparents build the restaurant?
CL: No they built the wedding reception dance floor room and the restaurant addition on north side of the original building also the commercial kitchen and the fish pond.
Katrina WoodsI had the privilege of being neighbors of Charlene Lindsayparents Paul & Charmaine – I worked in the local store at Douglas Park & one day Paul asked me if wanted to work at The White House Farm ? In about 1979 ? I took up his offer – had many enjoyable Saturday & Friday nights – worked the weddings in the restaurant also kitchen – i was blessed to have had my engagement & wedding at this venue .
Fred Borg was also working there in my time & he also was our MC at our reception – Thankyou to Paul Charmaine , Tino & Mr Mrs Hart letting me be a part of Camden History
The annual festival of farming returns the to the Camden Show ground at the end of March again. The show has been the most important country festival in the district for over 100 years. In the early days it was a celebration of agricultural modernism, by the inter-war period it had matured into a permanent part of the local landscape. The Second World War and the poor state of show finances saw the show disappear for the duration of the conflict. It is now strong than ever and not to be missed on Friday 20 March and Saturday 21 March 2015.
There have been two histories produced of the Camden Show. The first was on the centenary of the show in 1986 and written by local identity Dick Nixon from the Camden Historical Society.
The second history of the Camden Show was written by Neville Clissold on the 125 anniversary of the show in 2011.
Camden Show 1890s
The early years of the Camden Show were big community events when everyone came to town.
Guess who you meet at the show, the Premier in 2014
It is amazing who you bump into at the Camden Show. Historical society volunteers John Wrigley OAM, Bettie Small PHF and Len Channell, with Peter Hayward in the background, greeted Premier of New South Wales, the Hon. Barry O’Farrell, the Member for Camden, Mr Chris Patterson, MP, and Camden Mayor, Clr Lara Symkowiak. The dignitaries just walked into the pavilion to look at the arts and crafts put in by competitors and who should they meet but the enthusiastic members of the historical society. The encounter didn’t phase society members one bit and they just took it all in their stride. Usually volunteers just meet friends they have not seen since last years show and this was a real surprise. The historical society has been fortunate to be able to have a stall in the show pavilion for many years. It has been located in amongst the cakes, flowers, sewing, knitting and other rural crafts. The stall sells the latest publications, takes new memberships and renewals and answers lots of local history questions.
Mud and Slush in 2014
The 2014 Camden Show featured mud and storms as a special event. It rained on Friday afternoon with a thunderstorm that arrived around 4.00 pm from the south-west. It caught many people unawares and created a mud bath in many parts of the showground. It dumped about 15 mm in about an hour. On Saturday morning show officials were out and about puting down woodchip over the worst patches and straw on other patches. Patrons who wore boots were well prepared to walk around in the mud. On Saturday there was a steady rain from about 4.00 pm with a short storm that came in over the Burragorang Valley and Southern Highlands, and provided drizzle around right through the fireworks.
2014 Camden Show
The 2014 Camden Show was the usual lively affair and this map of the showground illustrates the range of events and activities.
Show Merchandise 2013
This is the price list for show merchandise in 2013. Did you buy your tie?
Miss Camden Showgirl
The Miss Showgirl competition is in many ways an anachronism from the past. It has survived for over 45 years under the onslaught of feminism, post-modernism, globalization and urbanisation. A worthy feat indeed.
The competition is still popular and the local press are always strong supporters. Show time, the show ball and Miss Showgirl are representative of notions around Camden’s rurality. People use the competition as a lens through which they can view the past, including the young women who enter it. In 2008 Showgirl Lauren Elkins ‘was keen’, she said, ‘to get into the thick of promoting the town and its rural heritage’. Camden people yearn for a past when the primary role of town was to service the surrounding farmers and their needs. Miss Showgirl is part of the invocation of rural nostalgia.
Miss Camden Showgirl
1962 Helen Crace
1963 Helen Crace
1964 Sue Mason
1965 Barbara Duck
1966 Dawn Dowle
1967 Jenny Rock
1968 Heather Mills
1969 Michelle Chambers
1970 Joyce Boardman
1971 Anne Macarthur-Stanham
1972 Kerri Webb
1973 Anne Fahey
1974 Sue Faber
1975 Janelle Hore
1976 Jenny Barnaby
1977 Patsy Anne Daley
1978 Julie Wallace
1979 Sandra Olieric
1980 Fiona Wilson
1981 Louise Longley
1982 Melissa Clowes
1983 Illa Eagles
1984 Leanne Reily
1985 Rebecca Py
1986 Jenny Rawlinson
1987 Jayne Manns
1988 Monique Mate
1989 Linda Drinnan
1990 Tai Green
1991 Toni Leeman
1992 Susan Lees
1993 Belinda Bettington
1994 Miffy Haynes
1995 Danielle Halfpenny
1996 Jenianne Garvin
1997 Michelle Dries
1998 Belinda Holyoake
1999 Lyndall Reeves
2000 Katie Rogers
2001 Kristy Stewart
2002 Margaret Roser
2003 Sally Watson
2004 Danielle Haack
2005 Arna Daley
2006 Victoria Travers
2007 Sarah Myers
2008 Fiona Boardman
2009 Lauren Elkins
2010 Adrianna Mihajlovic
2011 Hilary Scott