The Camden town centre and its multi-layered history are evident in the many different building styles evident as you walk along the main street.
If walls could talk they would tell an interesting story that would immerse you in the past in the present. They would provide a gripping account of the characters that were central to the stories.
Living history is storytelling
Living history allows participants to be able to read the layers of history of an area.
Living history is like peeling off layers of paint from a wall when viewers peel back the layers of history of a site, building or place. Each layer has a special meaning – a special presence.
Lived experience leads to storytelling which is real and authentic.
Storytelling creates the meaning of the past and creates the characters of the past in the present. It allows the past to speak to the present. Storytelling and stories at the essence of place.
The living history movement
Living historian Scott Magelssen maintains that living history museums ‘engage strategies in their performance of the past’, claiming to be ‘real history by virtue of their attention to detail’. (pp. xii-xv)
One of the early influencers of the living history movement in North America was Henry Ford who established his indoor and outdoor living museum experience in the Detroit suburb of Dearbourn in Michigan USA. Henry Ford said of his museum
I am collecting the history of our people as written into things their hands made and used…. When we are through, we shall have reproduced American life as lived, and that, I think, is the best way of preserving at least a part of our history and tradition…
Camden storytellers peel back the layers of the history of the town and district and reveal the tales of local identities, larrikans, characters, rascals, ruffians and ratbags.
There are a number of layers to the Camden story and they are
Pre-European period of the Indigenous Dharawal people when they called the area Benkennie
The Cowpastures were named by Governor Hunter in 1795 and the establishment of the Cowpastures Government Reserve. Under European control the Indigenous Dharawal people dispossession and displacement of their country. The Macarthur family’s Camden Park Estatestarted with the 1805 grant to John Macarthur.
The Camden township was established as a private venture of the Macarthur family in 1840. The streets were named after its founders – Macarthur, Elizabeth, John, Edward.
The Macarthur region (1970s +), named after the famous local Macarthur family, grew as part of Sydney’s rural-urban fringe. It is made up of Camden, Campbelltown and Wollondilly Local Government Areas.
Immerse your imagination in the past at the Camden Museum through living history.
The Camden museum tells the Camden story through displays of artefacts, objects, memoriabilia and other ephemera by using a living history approach.
The displays tell a story of an earlier period and allows visitors to immerse themselves in the past in the present.
Map of the Camden district in 1939 showing the extent of the area with Camden in the east. The silver mining centre of Yerranderie is in the west. (I Willis, 1996)
Walking the past through living history
Visitors to Camden can walk the streets of the town centre and imagine another time. A time past that can be recalled through living history.
The CHN blogger was out and about recently and attended an informative and interesting talk at Belgenny Farm in the Home Farm meeting hall. The presentation was delivered by Peter Watson from the Howell Living History Farm in Lambertville, New Jersey, USA.
Mr Watson, an advocate of the living history movement, was the guest of the chairman of the Belgenny Farm Trust Dr Cameron Archer. Mr Watson was on a speaking tour and had attended a living history conference while in Australia.
Peter Watson and Howell Living History Farm
Peter Watson presented an interesting and far ranging talk about Howell Living History Farm in New Jersey and its programs. He was responsible for setting up the Howell Living History Farm.
Mr Watson said, ‘He initially worked in the US Peace Corps in West Africa and gained an interest in the living history movement through teaching farming methods.’
‘The 130 acre farm was gifted to the community in 1974 by a state politician with the aim of showing how farming used to be done in New Jersey.
Mr Watson said, ‘We took about 10 years to get going and deal with the planning process, which was tenuous for the government authorities who own the farm. Politics is not good or evil but just develops systems that do good for people. New Jersey state government have purchased development rights per acre from land developers.’
Howell Living History Farm is located within a one hour of around 15 million and the far has 65,000 visitors per year and 10,000 school children.
Mr Watson said, ‘The main aim at the farm is the visitor experience. The farm represents New Jersey farming between 1890 and 1910 – a moment in time.’
Mr Watson says, ‘We do not want to allow history to get in the way of an education experience for the visitor. The farm visitors are attracted by nostalgia which is an important value for them.
Most historic farms are museums, according to Mr Watson and he said, ‘At Howell Farm visitors become involved in activities.’
The farm uses original equipment using traditional methods and interpretation with living history.
The living history movement is concerned with authenticity and Mr Watson said, ‘Living history is a reservoir of ideas in adaptive research using comparative farming methods between decades.
Mr Watson illustrated his talk with a number of slides of the farm and its activities. He stressed to the relieved audience that the farm activities used replica equipment, not historic artefacts.
‘This is a different experience for school groups and we do not want to do up all the old buildings. Different farm buildings show a comparative history – 1790, 1800, 1850,’ Mr Watson said.
Stressing how the farm lives up the principles of the living history movement Mr Watson said, ‘The farm is a learning, education and entertainment facility using traditional farming methods that provide an authentic and ‘real’ experience. The farm seeks to preserve the traditional methods which have cultural value.’
Howell Farm’s educational programs engage students in the real, season activities of a working farm where hands-on learning experiences provide the answers to essential questions posed by the New Jersey and Pennsylvania State Standards of Social Studies, Language Arts, Science and the Next Generation Science Standards. The farm’s classic, mixed crop and livestock operations accurately portray the era of pre-tractor systems, creating a unique and inspiring learning environment where history, technology, science converge…and where past and present meet.
‘The farm is a guided experience and there are interpreters for visitors. Story telling at the farm is done in the 1st-person.’
‘The farm has a cooking programme for the farm crops it grows, which is popular with organic producers and supporters of organic farm products. Crops grown using traditional methods include oats, corn and wheat.’
‘The farm sells some its produce and it includes honey, corn meal, maple syrup, used horse shoes, wool, flour.
‘We sell surplus produce at a local market. Activities include apple peeling. There is a sewing guild every Tuesday and the women make costumes.’
‘The farm has an ice house which makes natural ice during winter. Mr Watson made the point that ice making in the US was a multi-million dollar industry in the 1900s.
The promotional information for the farm’s seasonal calendar program states:
Howell Farm’s calendar reflects the cycles of a fully functioning working farm in Pleasant Valley, New Jersey during the years 1890-1910. Programs enable visitors to see real farming operations up close, speak with farmers and interpreters, and in many instances lend a hand. Factors such as weather, soil conditions and animal needs can impact operations at any time, resulting in program changes that reflect realities faced by farmers then and now.
The farm has run a number of fundraising ventures and one of the more successful has been the maze.
Mr Watson said, ‘The farm maize crop has been cut into a dinosaur maze of four acres and used as a fundraiser, raising $35,000 which has been used for farm restoration work.’
‘The farm is a listed historic site with a number of restored buildings, which satisfy US heritage authorities to allow application for government grants,’ said Peter Watson.
‘Traditional farm fences in New Jersey were snake-rail fences which have been constructed using ‘hands-on’ public workshops.’
Mr Watson stressed, ‘The farm is an experience and we are sensitive about where food comes from. Animal rights are a problem and you have to be honest about farming practices.’
The Howell Living History Farm, also known as the Joseph Phillips Farm, is a 130 acres farm that is a living open-air museum near Titusville, in Hopewell Township, Mercer County, New Jersey. WikipediaArea: 53 ha. Operated by the Mercer County Park Commission.
A Camden netting volunteer, Elaine, remembered volunteering for duty at the Camden netting centre when she was 15 years old. She recalled that the netting effort was organised and supervised by Rita Tucker. She stated that she had left school and attended the centre on a weekly basis with a group of friends.
Elaine maintained that Camden men ‘were away and we were doing our bit’ for the war effort. She stated that Camden women ‘all had to do something to help our boys’ and they took up netting as part of their civic and patriotic duty. Elaine reported that, for her, netting was not hard work and she enjoyed going with her friends. She maintained that they worked ‘long hours’ and ‘didn’t really worry about it’.
Another net making volunteer, Ida, recalls that netting was ‘hard work’, but ‘she went with her friends, and it was her bit for the war effort’. She helped at a netting circle located above a shop in Campsie, attending on a Wednesday nights after work, but could not recall who organised it.
Ida maintains that at around eighteen years of age, ‘there was not much else to do’ and all the boys ‘were either too old or too young’. Another netter, Kerry worked during the day as a clerk and attended the Nowra netting centre after work at the age of eighteen. The Nowra centre was located above a shop in the main street and she considered that netting was her ‘patriotic duty’.
Another Nowra netter, Grace, lived at home on a dairy farm. In 1942, when she was seventeen years old, she went with a friend to the Nowra netting centre for ‘a couple of hours’ a week on a Tuesday afternoon. She would catch the train from Berry to Nowra, attend classes at Nowra Technical College, then attend netting where there would be between ’10-15 other women’.
Grace recalls that as the netters had ‘to be careful making [the] knots’, she found them ‘hard and difficult to make… as they had to be stable and couldn’t move’. In hindsight, she ‘didn’t think [that she] ever got very proficient at it’, but she still went along ‘to help the war effort, for company and a chat’. Rita, a volunteer at the Armidale Teacher’s College netting centre in 1941, maintained that ‘we were expected to do our bit for the war effort – it all helped’.
Netting Centres at Campbelltown and Narellan
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. These sub-branches provided a small but steady stream of nets to add to the Camden effort. By February 1942 the Campbelltown News reported that the ‘sub-centres’ were providing ’24 nets a month’ to the ‘urgent’ appeals from the military authorities for nets.
In June 1942 Mrs Una Swan reported that thirty-four nets had been sent from Campbelltown, and Narellan was working well. By late 1942 ‘Campbelltown was [still] keeping our end up’ according to Mrs Swan, and in March 1943 supplied sixteen nets. The Narellan netting effort was under the leadership of Eliza Byrne, who was the wife of the local publican at Narellan, and president of the Narellan Red Cross.
Camden was the largest netting centre in the area, and the only CWA branch, and following directives from the CWA Handicrafts Committee, distributed netting twine to the smaller netting centres at Campbelltown, Narellan and Buxton.
Net making finishes
The enthusiasm in Camden for netting waned and in 1943 the output was ‘negligible’ according to Tucker, but Swan made ‘herself responsible to complete all unfinished nets by the end of the year’. The winding down of netting activity started in September 1943 and Dorothy Inglis of the State Handicrafts Committee advised branches ‘to complete all on hand as quickly as possible’.
Mrs Swan reported at the October CWA meeting that ‘no official word had been received to cease making nets’. In October, Francis Forde, the Minister for the Army announced the end of net making, which sent ‘shock waves’ throughout the CWA. The Camden netting centre eventually closed in February 1944, after operating for over two and half years, with Una Swan finishing the last of the nets.
With the cessation of netting the New South Wales CWA Handicrafts Committee looked for alternative ways to hold the netting groups together. The Army requested that the New South Wales CWA branches assist in the re-conditioning of Army clothing. In November 1943 the Camden CWA received a request from the Army at Liverpool and the women considered the request at their December meeting.
By the end of 1943 no arrangements for sewing had been made with the Liverpool Army Camp authorities, although the women expected to make a start early in 1944. Camden CWA president Rita Tucker felt that the ‘matter… must be discussed thoroughly at a branch meeting, when it will be seen if it is possible to rise to the occasion’.
In the end the Camden CWA did not proceed with the project. According to the New South Wales Women’s Voluntary Services reconditioning military clothing ‘did not attract the same enthusiasm’ as making camouflage nets.
By 1944 women who undertook wartime volunteering started looking ahead to the time after the war when their communities would need their time and effort.
CWA and other conservative women’s organisations in wartime Camden @ UOW research
In October 2016 historian and author Dr Ian Willis addressed a Council Council general meeting. He spoke in support of a motion proposed by Councillor Cagney for the formation of a heritage protection sub-committee.
Dr Willis stated:
Camden Council Public Address
25 October 2016
ORDINARY COUNCIL ORD11
NOTICE OF MOTION
SUBJECT: NOTICE OF MOTION – HERITAGE PROTECTION SUB-COMMITTEE
FROM: Cr Cagney
TRIM #: 16/300825
I would like to thank the councillors for the opportunity to address the meeting this evening.
I would like to speak in support of the motion put by Councillor Cagney.
I think that a section 355 sub-committee on Heritage Protection is long over due in the Camden Local Government Area.
A panel of councillors, experts and community members could give sound and constructive advice to Camden Council on local issues of substance related to local heritage.
This could contribute to the Council’s knowledge of heritage matters within the community.
The proposed Heritage Protection sub-committee could allow stakeholders a platform to voice their concerns around any proposed development that effected any issues concerning heritage in the Local Government Area.
The proposed Heritage Protection sub-committee could seek the view of external experts on contentious heritage matters within the Local Government Area.
The proposed sub-committee could provide considered advice to Council on matters of heritage concern to the community.
Perhaps provide more light that heat on matters of community concern. Such advice might lower the noise levels around proposed development around heritage issues that have arisen in recent months.
In 2010 I wrote an article that appeared in Fairfax Media which I called ‘Heritage, a dismal state of affairs’. It was in response to an article by journalist Jonathan Chancellor about the neglected state of Camden’s heritage lists.
In the article I quoted Sylvia Hales view expressed in the National Trust Magazine that in New South Wales there had been ‘the systematic dismantling of heritage protection’ over the past five years.
I also quoted the view of Macquarie University geographer Graeme Alpin who wrote in Australian Quarterly that ‘heritage listing at the local level does not provide much protection at all’’.
I expressed the view at the time that there needed to be a ‘ thorough and considered assessment of historic houses’. And that
The current political climate in NSW is not conducive to the protection of historic houses. Heritage is not a high priority.
Six years later I have not changed my view.
The proposed sub-committee could give greater prominence to the Camden Heritage Inventory, similar to Campbelltown Council and Wollondilly Council.
In 2015 I wrote a post on my blog that I called ‘Camden Mysterious Heritage List’ in frustration after spending a great deal of time and effort trying to find the heritage inventory on the Council’s website. It is still difficult to find.
In conclusion, the proposed Heritage Protection sub-committee would be a valuable source of advice for council and provide a platform for the community to express their view around heritage issues.
Camden Council approves formation of a Heritage Advisory Committee
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.
Fresh air was the order of the day for patients at the newly opened Carrington Centennial Hospital for Convalescents and Incurables at Camden in 1890. The hospital followed the latest methods in medical practice and building architecture from Victorian England based on the writings and approach advocated by Florence Nightingale.
Victorian England hospitals
By the late 19th century Victorian England had over 300 Convalescent hospital. They were one of a variety of specialist hospitals that appeared in Victorian England. They included consumptive hospitals, fever hospitals, ophthalmic hospitals, lying-in hospitals, venereal disease hospitals, orthopaedic hospitals, lunatic asylums, fistula infirmary, invalid asylums, as well as those catering for different groups of people for instance seamen’s hospitals, German hospital, children’s hospitals and others.
British historian Eli Anders states that in England convalescent homes were built as the seaside or in the countryside away from the dirty polluted cities. They were to be places of rest, nourishment and recuperation where there was plenty of fresh and healthy air. Medical practices dictated that fresh air and exercise were the order of the day.
Camden’s fresh country air
The location of Carrington fitted this model. It was located in the picturesque countryside with views over the Nepean River floodplain on a hill to catch lots of fresh country air. Camden was considered a healthy site away from the pollution and evils of industrial Sydney and the increased public health risks of the urban environment and issues with sanitation.
Carrington Hospital was the first major convalescent facility in New South Wales and followed design principles espoused by Florence Nightingale. Historian Eli Anders states that Nightingale wrote in her Notes on Nursing and Notes on Hospitals that she was an advocate for ventilation and proper site selection. She promoted the ‘healthfulness’ of convalescent hospitals in the countryside and on the edge of towns where they took advantage of fresh country air. Similar advantages could be achieved by a seaside location.
At the heart of this idea was miasma theory which stated that some diseases such as cholera, chlamydia or Black Death were cause by ‘bad air’. The theory stated that epidemics were due to a miasma started from rotting organic matter. The theory originated from the ancients in places like China, India and Europe and was only displaced by germ theory in the 1880s, which stated that germs caused diseases. Despite this popular culture retained a belief in ‘bad air’ and stated the urban areas had to clean up waste and get rid of bad odours. These ideas had encouraged Florence Nightingale’s activities in the Crimean War where she worked to make hospitals sanitary and fresh smelling. These ideas also had a major influence on Sydney and the outbreak of Black Death (bubonic plague) in 1900 after urban renewal process that followed in suburbs like The Rocks and Millers Point.
Convalescent homes were often built by philanthropists and charitable organisations. Carrington Hospital was built by Sydney philanthropist and businessman WH Paling (1825-1895), who immigrated with his family to Sydney in 1853. Paling ran a music business importing pianofortes and sheet music, and was an entertainment promotor and composer during the heyday of the gold rushes. His business success allowed him to pursue his political and philanthropic interests. Paling was an alderman on Petersham Municipal Council and mayor, a member of the Royal Society and a director the Mercantile Mutual Insurance Company. The Australian Dictionary of Biography states
His far-sighted preoccupation with questions of sanitation, health and hospital accommodation culminated in his presentation to the colony on 23 April 1888 of his 450-acre (182 ha) model farm Grasmere at Camden, valued at £20,000, to be used as a hospital for convalescents and incurables; he also donated £10,000 for the erection of suitable buildings. A public committee led by Sir Henry Parkes raised a further £15,000 for equipment and development at the Carrington Convalescent Hospital on the site.
The hospital site was purchased in 1881 from Camden Park by a syndicate of WH Paling, AH McCullock, Benjamin James Jnr and W Stimson containing 5100 acres. It was part of the North Cawdor Farms sale which also included a number of Camden Town blocks. The sale had a number of conditions and was not finalised until 1888. In the meantime Paling developed his Grasmere Estate farms. He established a Deed of Gift in 1888 with Lord Carrington was president of the hospital and chair of the general committees and himself as vice president.
The hospital was named after Lord Carrington, Governor of New South Wales (1885-1890), who served from on the centenary of the foundation of the colony.
Late Victorian Queen Anne Revival
The 89 bed hospital (49 male, 40 female) was designed by Sydney architect HC Kent and constructed by building contractor P Graham. The NSW State Heritage Inventory states:
It is representative of a late Victorian institutional building and is also representative of hospital building techniques (including setting) of the time. Main building of late Victorian eclectic style is brick on concrete foundations with cement dressings in the super structure and tower.
The main building is considered to be an excellent example of a Late Victorian Queen Anne Revival style. There were also additional buildings which included gardeners cottage, Masonic cottage, morgue, and Grassmere Cottage. There were extensive landscape gardens in a general Victorian layout with a carriage loop and flower bed.
In England convalescent facilities were very good and were better than home life conditions for many poor people. The idea with convalescent hospital were that the patients spent weeks recovering away from their home. Rich people who hired their own doctors to treat them during illness or convalescence. They paid to recuperate in a seaside health resort or travel to a spa centre. Convalescent homes were seen as superior to hospitals because they were different from dreary wards. Supporters advocated their calming and home-like qualities with libraries, games rooms and sitting rooms.
Ventilation and fresh air
The Illustrated Sydney News stated that the Carrington Hospital is located on a hill overlooking Camden to take advantage of ‘fresh air’ with ‘ventilation in the sleeping and living rooms’. The ventilation in the buildings was planned by Sir Alfred Roberts and based on Prince Alfred Hospital. The convalescence patients will be able to ‘sit outside and enjoy the lovely view and balmy health giving air’. The garden had ‘comfortable shady seats, where patients can wander about and rest at will, is of great importance, as also the verandahs where they can obtain exercise in wet weather, and the large sitting or day rooms’. There is the pleasant ‘park-like appearance’ of the countryside around Camden which ‘is very English in its character’. Patients will be able to recuperate for ‘two or three weeks’ rest and proper food that would mean so very much to them just at this stage…They are free to revel in the country scenes and sounds and rest awhile from the bustle of life’.
The Sydney press stated that the aims of the hospital
are, that persons recovering from acute illness may benefit by a short residence in the healthful climate of Camden, and a plentiful use of the farm products from the estate ; and further, that persons suffering from incurable diseases may have their lives prolonged and their sufferings alleviated by the above-named advantages. (Illust Syd News)
Lord Carrington lays foundation stone
The Governor of New South Wales Lord Carrington laid a foundation stone in February 1889 in front of a crowd of over 2000 people. A special train came from Redfern and was met at Camden Railway Station by well over 1000 people. The Maitland Mercury and Hunter River Gazette reported that Camden Station was ‘gaily decorated’ with a string of flags. Lord Carrington arrived by train from Moss Vale and he was met at the home by Sydney dignatories who were members of the management committee and trustees. The report noted that hot and cold running water would be laid on throughout the building.
Carrington Convalescent Hospital opened on 20 August 1890 and the first matron was Miss McGahey who resigned in 1891 to take a position as matron at Prince Alfred Hospital in Sydney. She was followed by Matron Kerr, then Matron Blanche Bricknell in 1897 who served until 1907.
The 1898 7th annual report in the Camden News stated that the hospital had treated 1153 in the previous 12 months with the annual cost of each bed being £35/8/9d. The meeting discussed the reluctance of patients to contribute the cost of their stay. During the year Sister Elenita Williams had been succeeded by Sister Edith Carpendale. Nurses Bertha Davidson and Eva Thomson had been succeeded by Nurses Lily BanfieId and Theresa Richardson. Mr JR Fairfax and Major JW Macarthur Onslow were elected the management committee by subscribers.
The 1900 annual report in the Camden News stated that the hospital had treated 1040 patients in the previous year with the average number of patients 75. The average patient stay was 28 days at a cost of £2/10/11d. The hospital shut its emergency section when the Camden Cottage Hospital opened during the year and Camden medical officers acted in an honorary capacity.
First major convalescent hospital
Carrington Hospital was the first major convalescent hospital in New South Wales and its surrounding buildings and gardens are list on the Camden Local Environment Plan Heritage Inventory (Item 118). Carrington Hospital is significance in that it is, along with Thomas Walker Convalescent Hospital, one of only two remaining functional purpose built late 19th century convalescent hospitals in New South Wales.
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..