The Camden district can be hard to define and has changed over time. Dr Ian Willis conducted research in the mid-1990s to determine the extent of the Camden district at the outbreak of the Second World War. This was part of his post-graduate studies at the University of Wollongong on the effect of the Second World War in Camden.
The boundary of the Camden district could be: an arbitrary line on a map based on a political decision; a natural region; an idea in someone’s mind; the delivery round of a Camden business; the geographic circulation area of a Camden newspaper; the emotional attachment of a person to a general area called Camden; the catchment area of a special event in Camden; the membership of a Camden organisation; the social networks of people who live in the Camden area; or any combination of these.
From historical research I have conducted I have found the boundary of the Camden district to a moveable feast. By the 1930s it took in an area of 1180 square kilometres and a population of around 5000. The result is on the attached map. It is a combination of the factors outlined above.
Origins of the Camden district
The concept of the Camden district was set in motion by 1827 when the early pattern of the early land grants had determined the road network. This process was re-enforced by the arrival of the tramway in 1882, the road traffic along the Hume Highway going to Goulburn, and the movement of silver from Yerrandarie and coal from the Burragorang Valley to the Camden railhead. As a result, the town became an important transport interchange and centre for economic activity for a district, which extended out to Burragorang Valley and Yerrandarie.
By the 1930s the growth of the town had attracted additional businesses and the town had become the centre for government services and community organisations. The town was a meeting place for local people and acted as a stepping off point to the rest of the outside world.
The district’s population came together on Sale Day (still Tuesdays) to meet and do business. The livestock sales were the town’s busiest day of the week The annual Camden Show was (and still is) always a popular attraction and people came from a wide area to compete and exhibit their crafts, produce and livestock.
Daily life in the Camden district is recorded in the two local newspapers
District life was reported in detail in Camden’s two newspapers, the Camden News and the Camden Advertiser, which were widely circulated in the area. Camden businesses had customers from all over the local area. Some had regular delivery runs that reached to Burragorang Valley and beyond.
Since the 1930s many things have happened. The largest change has been the growth in population, and the town and district are now part of the Greater Metropolitan Area of Sydney. Despite this, the district still has a discernable identity in the minds of local people.
1973 New Cities Plan
The creation of The new cities of Campbelltown, Camden, Appin: structure plan(1973) was one of the most profound changes to the Camden district. The New Cities proposal was part of the 1968 Sydney Region Outline Plan developed by the State Planning Authority of the Askin Liberal government and became a developers’ dream.
Current planners, bureaucrats, businesses, and residents need to have an understanding of this local identity and build on the opportunities that it presents.
Today the Camden district is part of the Macarthur region.
A popular TV drama ‘A Place to Call Home’ on Channel 7 has been set in and around the Camden district. Amongst the characters is the fictional 1950s matriarch of the Bligh family, Elizabeth (Noni Hazlehurst). This figure has a number of striking parallels with Camden’s own 20th century female patrician figures.
Camden’s matriarchs, just like Elizabeth, were formidable figures in their own right and left their mark on the community. The fictional Elizabeth Bligh lives on the family estate Ash Park (Camelot, formerly Kirkham) in the country town of Inverness during the 1950s.
Frances Faithful Anderson
Kirkham’s own Elizabeth Bligh was Frances Faithful Anderson, who moved to the Camden area with her husband, William, in the 1890s. She renamed James White’s fairytale castle Kirkham, Camelot, in 1900 after being reminded of the opening verse of Tennyson’s The Lady of Shalott. Frances (d. 1948) lived in the house, with her daughter Clarice, until her death. Both women were shy and retiring and stayed out public gaze in Camden, unlike the domineering fictional character of Elizabeth Bligh. The Anderson women were supporters of the Camden Red Cross, Women’s Voluntary Services, the Country Women’s Association, Camden District Hospital and the Camden Recreation Room during the Second World War (DR, 29/3/13). Clarice willed Camelot to the NSW National Trust, according to Jonathan Chancellor. The NSW Supreme Court rule in 1981 that her mother’s 1938 will took precedence. Frances wanted the house to become a convalescent home, but this clashed with zoning restrictions.
Camden’s Edwardian period was dominated by the figure of Elizabeth Macarthur Onslow of Camden Park. She took control of Camden Park in 1882 when her husband Arthur died. Under her skilful management the family estate was clear of debt by 1890 and she subsequently re-organised the estate. She established the pastoral company Camden Park Estate Pty Ltd, with her children as shareholders. Heritage consultant Chris Betteridge states that she organised the estates co-operative diary farms, built creameries at Camden and Menangle, orchards and a piggery. Elizabeth was a Victorian philanthropist, a Lady Bountiful figure, and according to Susanna De Vries was a strong supporter of a number of local community organisations including the fore-runner of the Camden Show Society, the Camden AH&I Society. She died on one of her many trips to England and has dropped out of Australian history.
Sibella Macarthur Onslow
Elizabeth’s daughter, Sibella, was a larger than life figure during Camden’s Inter-war period and was quite a formidable figure in her own right. She grew up at Camden Park and moved to Gilbulla in 1931, which had been the home of her sister-in-law, Enid Macarthur Onslow. Sibella never married and fulfilled the role of a powerful Camden patrician figure. She was a true female matriarch amongst her brothers who took public positions of power in the New South Wales business community. She was one of the most powerful female figures in New South Wales and her personal contact network included royalty, politicians and the wealthy elite of Sydney and London. Macarthur Onslow possessed strong conservative Christian values and was an active figure in the Sydney Anglican Archdiocese. She was a Victorian-style philanthropist and was president of the Camden Red Cross from 1927 until her death in 1943.
The power vacuum in Camden’s women’s affairs left by the death of Sibella Macarthur Onslow was filled by Rita Tucker of The Woodlands, at Theresa Park. She had a high community profile in 1950s Camden and was well remembered by those who dealt with her. She became president of the Camden Country Women’s Association in 1939 and held the position until her death in 1961. She was a journalist and part-time editor of the North West Courier at Narrabri before she moved to Camden with her husband Rupert in 1929. She was an active member of the Camden Liberal Party in the 1950s, holding a number of positions, and was New South Wales vice-president of the CWA between 1947 and 1951. She was an accomplished musician and played the organ at the Camden Presbyterian Church in the early 1940s.
A contemporary of Tucker was Zoe Crookston, the wife of Camden surgeon, Robert Crookston. A shy retiring type, she lived in grand Victorian mansion at the top of John Street and was the wartime president of the Women’s Voluntary Services. She was a Presbyterian, a liberal-conservative and an active committee member of the United Australia Party in the 1930s. According to her daughter Jacqueline, ‘her mother was a no-nonsense person who always liked to get on with the job at hand’. She was a foundation member of the Camden Red Cross and was actively involved until 1949. Other community organisations occupied her time including being on the committee of the Camden District Hospital Women’s Auxiliary from 1933 to 1945.
On a balmy late spring afternoon in central Camden a group of local people were conducting a photoshoot.
The late afternoon provided a deep even light that was ideal for the whole venture.
None were professional filmmakers. But that did not stop anyone.
The filming dodged pedestrians and was occasionally drowned out by local buses.
Historic John Street precinct
The project centred around the historic John Street precinct.
The film venture involved storytelling, great yarns, interesting characters, old buildings and lots of making do.
The location provided a rich collection of old buildings that speak about the past for those who want to listen. History enthusiasts can immerse themselves in the past in the present by walking the ground – the same streets as local identities and characters have done for decades.
This motley group wandered around a number of Camden’s old buildings – Laura Jane acted as storyteller for the 1-2 minutes historic grabs. LJ was full of passion in her completely ad lib performances. Ian listened for any gaffs – which were few and far between.
Debbie followed Laura Jane around with her handheld – tripod held – iphone camera. If she was lucky a bus didn’t drown LJ’s monologue. The roadies held all the bits and pieces – then reviewed the take and ably provided all sorts of advice – most it wisely ignored by the camera operator and storyteller.
The most challenging story was that of Henry Thompson’s Macaria from the 1870s, the ghosts and Henry’s 16 children. This is next door to the 1840s Sarah Tiffin’s cottage, one of the oldest buildings in the local area and one time lockup.
The Cawdor court house ended up in Camden in 1841 much to chagrin of Picton and Campbelltown which missed out. Next door is the 1878 police barracks which was always a site of plenty of action where miscreants were locked up in the cells to cool off.
The 1916 fire station which was really opened in 1917 was an improvement from the pig-sty in Hill Street. Next door is the modern library once the centre of learning and speeches in the town as the 1866 Camden School of Arts set up by James Macarthur.
Our storyteller and camera operator filmed a street walk outside the 1936 Bank of New South Wales building and its neighbor the 1937 banking chamber for the Rural Bank – interwar masterpieces.
The festival draws on a rich history of community festivals in the local area going back into the 1800s. The heritage of festivals is drawn from the English tradition of the village fair that came with the European settlers.
The origins of these festivals, according to Peter Hampson Ditchfield’s Old English Sports (2007), lies in ancient Saxon customs, particularly in Devonshire and Sussex, associated with ‘wassailing’ (carousing and health-drinking) to ensure the thriving of orchard trees (mainly apples) and exchanging presents.
On New Years Day village youths undertook indoor and outdoor sport to keep out the cold by ‘wholesome exercise and recreative games’. Sports included bat-and-ball, wrestling, skittles, blind-man’s-bluff, hunt the slipper, sword dancing and mumming (play acting).
In the financial year 2017–18 Australia generated $57.3 billion in direct tourism GDP representing growth of 7 percent over the previous year – three times the national GDP growth of 2.3%. Tourism also directly employed 646,000 Australians (1 in 19) making up 5.2% of Australia’s workforce.
In Australia and around the world, cultural tourism is growing. In 2015 NSW hosted over 11.4 million ‘cultural and heritage visitors’,1 both international and domestic, who spent an estimated $11.2 billion in the state, an increase of 15.4% on the previous year.
The CHN blogger was out and about in southern Queensland recently and investigated some of the local aspects of living history.
The CHN blogger was drawn to southern Queensland by the Australian Historical Association Conference held at Toowoomba in early July. The conference was stimulating and challenging and the hosts provided a great venue at the Empire Theatre complex.
The Toowoomba area provided a number of examples of living history starting with the Cobb & Co Museum complex. Apart from the displays there is training in traditional trades for the more than curious and there are a number of special days during the year. The blogger was there during the school holidays and there was a motza of stuff for the littlies to do – all hands on. The kids seemed to be having lots of fun, followed around their Mums and Dads. The coffee was not bad either.
The generous conference hosts organised some activities for conference goers. I tagged along on a town tour one evening led by the president of the local historical society – very informative. ‘Town by night’ was a great way to see the sights of the city centre from a new perspective.
One property that particularly took the fancy of this blogger was the Federation Queen Anne style Harris House. The cottages was bequeathed to the National Trust of Australia (Queensland) in 2017. The 1912 Edwardian villa residence demonstrates the development of Toowoomba in the early 20th century and the place wealthy members of the local society within it.
The single storey red brick dwelling has a Marseilles tiled roof and wide verandahs with bay windows. The concrete ornamentation contrasts with the face red brick and the hipped-roof has decorative finials and ridge capping. The house is in a visually prominent position on a corner block and is described by the Queensland Heritage Register as ‘a grand, Federation-era suburban villa residence’. It is quite an asset to the area.
After the conference this nerdy blogger found himself at The Woolshed at Jondaryan. Originally built in 1859 the woolshed is one of the largest in Australia and today is an example of an extensive living history attraction. The European history of the woolshed illustrates the frontier story of the settler society of southern Queensland and the Darling Downs.
The Camden story is an ongoing project that aims to tell the untold stories of the Camden, Cowpastures and Macarthur districts. There is the telling, the learning and the showing of the story.
The project is constantly evolving and changing direction. It is centred around the construction of place and the meaning of landscape. These are culturally derived concepts from both Indigenous and European experiences.
There are the natural ecologies that make up the environment as well as atmospheric and geological elements. The natural elements are just as important as the cultural.
Complexities of the Camden story
The Camden story has its own complexities. There is no one single dominant narrative. There are many voices in the story and each has a right to be heard.
There are many threads to the Camden story and when woven together make a coherent story with many voices. The weave of the cloth represents the warp and weft of the daily lives of the actors on the stage. Together they create a vibrant design that can capture the imagination of many and inspire others.
There are many actors in the constantly evolving narrative, each with their own agenda. The story is played on a stage that is located on Sydney’s rural-urban fringe, a dynamic movable frontier on the city’s edge. It is a constantly changing and evolving cultural landscape.
There are many layers to the Camden story each with its own particularities. As each layer is peeled back it reveals memories and meanings from the past that influence the present. Those who are interested can dive into the many layers and help unravel the entangled threads of the web and give some clarity to their meaning within the story.
The Camden story is a journey that is constantly evolving with many signposts along the way. There are a lot of fellow travellers who have their own stories. There are many pathways and laneways to go down, each with its own meaning and memories to the travellers who come along for the journey.
The Camden story has its own road map of sorts with signposts and markers of significant places along the journey for those who want to look. There are many opportunities for those who want embark on this journey and uncover many of the undiscovered mysteries of the Camden story.
It is in the interests of those who want to tell the story that they walk the ground in which the story is embedded. The landscape speaks to those who want to listen. The experience is enriching and fulfilling and shapes the telling of the story.
Some parts of the Camden story
The Camden story has many parts and some are listed below:
This is a short history of the town, which is situated on the floodplain of the Nepean River, on the traditional land of the Dharawal people in an area known as the Cowpastures. The Camden area’s distinctive landscape has moulded the community’s identity and sense of place. From the earliest days of European settlement class and social networks ordered daily life in the village with the local gentry at the top of the social hierarchy.
The Camden district ran from the Main Southern Railway around the estate village of Menangleinto the gorges of the Burragorang Valley in the west. It was a concept created by the links between peoples’ social, economic and cultural lives across the area. The district became the centre of people’s daily lives for well over a century and the basis of their sense of place and community identity.
This short historiography is one of the few that has been attempted to illustrate the construction of the history of a rural community. It is an attempt to examines the broad range of influences that shaped the writing of the Camden community’s history.
Movie makers have always had an eye on the Camden district’s large country houses, rustic farm buildings, quaint villages and picturesque countryside for film locations. From the 1920s the area has been used by a series of film makers as a setting for their movies. It coincided was an increasing interest in the area’s Englishness from poets, journalists and travel writers.
The Camden bibliography is an attempt to highlight some of the research that addresses the notion of Camden as a country town and the subsequent urbanisation of the local government area. The sources listed in the bibliography cover the geographic area of the Camden district.
The Cowpastures emerged as a regional concept in the late 18th century starting with the story of the cattle of the First Fleet that escaped their captivity at the Sydney settlement. The region was a culturally constructed landscape that ebbed and flowed with European activity. It grew around the government reserve established by Governors Hunter and King. It then developed into a generally used locality name centred on the gentry estates in the area.
The story of European settlement in the Cowpastures is intimately connected to the story of the convicts and their masters. This story has not been told and there is little understanding of the role of the convicts in the Cowpastures district before 1840. Who were they? What did they do? Did they stay in the district?
Kirkham is a picturesque, semi-rural locality on Sydney’s rural-urban fringe between the historic township of Camden, with its inter-war and colonial heritage and the bustling commercial centre of Narellan. The arrival of the rural-urban fringe at Kirkham in recent decades has created a contested site of tension and constant change, resulting in an ever-evolving landscape. This is an example of a short locality history within the local area published by the Dictionary of Sydney.
Early European settlers were the key actors in a place-making exercise that constructed an English-style landscape aesthetic on the colonial stage in the Cowpastures district of New South Wales. The aesthetic became part of the settler colonial project and the settlers’ aim of taking possession of territory involving the construction of a cultural ideal from familiar elements of home in the ‘Old Country’. The new continent, and particulaly the bush, had the elements of the Gothic with its grotesque and the demonic, and the landscape aesthetic was one attempt to counter these forces. Settlers used the aesthetic to assist the creation of a new narrative on an apparenty blank slate and in the process dispossessed and displaced the Indigenous occupants. The new colonial landscape was characterised by English place-names, English farming methods and English settlement patterns, with only cursory acknowledgement of Indigenous occupation.
The rural-urban fringe is a dynamic frontier, an ever expanding zone of transition on the edges of Australia’s major cities and regional centres. This paper examines the proposition that Sydney’s urban growth has pushed the city’s rural-urban fringe into the countryside and unleashed the contested nature of place-making in and around the
country town of Camden. It will be maintained that the dynamic forces that characterise the rural-urban frontier have resulted a collision between the desires and aspirations of ‘locals’ and ‘outsiders’ and prompted a crisis in the identity of place. Community icons
and rituals have become metaphors for the continuity of values and traditions that are embedded in the landscapes of place. The actors have used history and heritage, assisted by geography and aesthetics, to produce a narrative that aims to preserve landscape identity, and has created a cultural myth based on a romantic notion of an idealised
country town drawn from the past, ‘a country town idyll’.
What’s in a name? Quite a lot if you live in the fringe urban communities of Campbelltown, Camden or Picton in the Macarthur district on Sydney’s rural-urban fringe. In the past these communities have been fiercely parochial country towns with clearly identifiable differences based on history, heritage, traditions, mythology, rituals, demographics, local government and a host of other factors. With the encroachment of Sydney’s urban sprawl they have been wrapped up by the tentacles of the metropolitan octopus and faced challenges on a variety of fronts. The questions that this article raises concern Macarthur regionalism. Is it authentic? How representative is it of the former country towns that are now incorporated within it?
The Nepean River is one of the most important waterways in the Sydney basin and has particular significance for Sydney’s southwestern rural-urban fringe. The Nepean River catchment extends south and east of the Sydney Basin to take in areas near Robertson and Goulburn. West of Wollongong the tributaries includng Cataract Creek, Avon River, Cordeaux River that flow north-west and then into the deep gorges of Pheasants Nest and Douglas Park. The river opens up into a floodplain and flows past Menangle and crosses the Cowpastures and southern Cumberland Plain past Camden and Cobbitty. The river then flows north through the gorge adjacent to Wallacia and enters Bents Basin before it is joined by the Warragamba River and changes its name to the Hawkesbury River.
Camden is a country town whose history and development has been influenced by war. The town was part of Australia’s homefront war effort, and from the time of the Boer War the most important part of this for Camden was volunteering. The Second World War was no exception, and the most influential voluntary organisation that contributed to the town’s war effort was the Womens Voluntary Services [WVS]. The Camden WVS was part of a strong tradition of Victorian female philanthropy in the town, which attracted, and depended on, middle class women socialised in Victorian notions of service, ideals of dependence, a separatedness of spheres, patriarchy, the status quo, and by the inter-war period, modernity.
On 21 October 2004 the former Member for Camden, Dr Elizabeth (Liz) Kernohan, died after suffering a heart attack. She was sixty- five. Thousands of people lined Argyle Street in Camden to see the cortege and pay their last respects, I and compliments flowed from both sides of New South Wales politics. There were over 1850 column centimetres devoted to her death and subsequent funeral in the local press. Kernohan was a popular, larger than life figure in Camden. She held the seat of Camden for the Liberal party for over 11 years in an area that some have claimed is the key to the success of the Howard Government. How was Kernohan able to gain this type of support? This paper will try to address this question, although initially it is useful to give a brief overview of the electorate.
A notable part of Camden modernism that has disappeared is the drive-in movie theatre. The Narellan Gayline Drive-in Movie Theatre was one of the notable attractions in the local area between the 1960s and 1980s located on Morshead Road, Narellan (now Narellan Vale). Along with rock ‘n roll, transistor radios, the bikini, the mini-skirt, it marked the lifestyle of the baby boomers. Always popular with teenagers and young families. The drive-in movie theatre was a defining moment in the district for a 20th century culture that was based around the icons of the period: cars and movies.
Catherine Fields once boasted a national tourist facility which attracted thousands of visitors a year to the local area, the El Caballo Blanco entertainment complex. The El Caballo Blanco complex opened in April 1979 at Catherine Fields. The main attraction was a theatrical horse show presented with Andalusian horses, which was held daily in the large 800-seat indoor arena.
The Camden Country Women’s Association made camouflage nets during the Second World War and was the largest netting centre in the area. The Camden CWA camouflage netting centre was assisted by sub-branches at Campbelltown and Narellan, which were established after the joint CWA-WVS meeting in December 1941.
One of the most popular memories of the Camden area by locals and visitors alike is the Camden branch line and its famous locomotive Pansy. It has a truly dedicated and enthusiastic bunch of supporters who positively drool about it and overlook its foibles. Old timers tell and retell stories to anyone who wants to listen, all laced with a pinch of exaggeration and the romantic. A part of local nostalgia. The Camden branch line was operated by the New South Wales Railways from 1882 to its closure in 1963.
Oran Park Raceway was doomed in 2008 to be part of history when it was covered with houses in a new suburb with the same name. It was also the name of a former pastoral property that was part of the story of the settler society within the Cowpastures. The locality is the site of hope and loss for both locals and new arrivals. The Oran Park Motor Racing Circuit was located in the south-western and western part of the original Oran Park pastoral estate. The main grand prix circuit was 2.6 km long with a mixture of slow, technical and fast sweeping corners as well as changes in elevation around the track.
This post was prompted by an item in the Oran Park Gazette, an A4 newsletter newspaper. Gazette journalist Lisa Finn-Powell asked: What is the future of the community newspaper? The local ‘rag’ in our suburb is a free tabloid newspaper thrown onto our front driveway each week. Actually there are two of them, the Camden Narellan Advertiser and the Macarthur Chronicle. Where I live some of these newspapers stay on the neighbour’s driveway for weeks and disintegrate into a mess. Other neighbours just put them in the bin. So not everyone is a fan of the local ‘rag’ in the age of Snapchat, Instagram and Facebook.
The members of 32 Squadron arrived in Camden Airfield in September 1942 after seven months of hazardous operational duties supporting Allied Forces in New Guinea and the surrounding area, including New Britain. The squadron had been ‘hastily formed in the field’ in February 1942 with personnel drawn from other units. The squadron’s operational duties at Camden Airfield included reconnaissance and sea patrols off the east coast of Australia.
Once the army moved into Narellan Military Camp it commenced operation and became part of the wartime scene during WW2. Men were seen marching all over the district, there were mock raids and the men practiced firing small arms. The camp is an important part of the story of Narellan during war as thousands of men, and some women, moved through the camp on their way to somewhere in the theatre that was the Second World War.
Supermarkets are one of the ultimate expressions of modernism. The township of Camden was not isolated from these global forces of consumerism that originated in the USA. The Camden community was bombarded daily with American cultural influences in the form of movies, motor cars, drive-in, motels, TV, and radio. Now consumerism was expressed by the appearance of self-service retailing and the development of the supermarket.
The local milk bar is a largely unrecognized part of Camden modernism where the latest trends in American food culture made their way into the small country town by Australian-Greek immigrants. The design, equipment and fit-out of local cafes and milk bars was at the cutting edge of Interwar fashion. The cafes were a touch of the exotic with their Art Deco style interiors, where fantasy met food without the social barriers of daily life of the Interwar period. Camden milk bars rarely just sold milk shakes unlike their counterparts in the city. To make a living and ensure that their businesses paid their way the cafes and milk bars also sold fruit and vegetables, meals, sandwiches, lollies, sweets and chocolates.
The interwar period in Camden was a time of economic development and material progress. The prosperity of the period was driven by the local dairy industry and the emerging coal industry. During the interwar period one of the most important economic arteries of the town was the Hume Highway (until 1928 the Great South Road). For a country town of its size the town had modern facilities and was up-to-date with the latest technology. The interwar years were a period of transition and increasingly the motor car replaced the horse in town, and on the farm the horse was replaced by the tractor, all of which supported the growing number of garages in the town.
Moviemakers have always had an eye on the Camden district’s large country houses, rustic farm buildings, quaint villages and picturesque countryside for film locations.
From the 1920s the area has been used by a series of filmmakers as a setting for their movies. It coincided was an increasing interest in the area’s Englishness from poets, journalists and travel writers. They wrote stories of quaint English style villages with a church on the hill, charming gentry estates down hedge-lined lanes, where the patriarch kept contented cows in ordered fields and virile stallions in magnificent stables. This did not go unnoticed in the film industry.
One of the first was the 1921 silent film Silks and Saddles shot at Arthur Macarthur Onslow’s Macquarie Grove by American director John K Wells about the world of horse racing. The film was set on the race track on Macquarie Grove. The script called for a race between and aeroplane and racehorse. The movie showed a host good looking racing blood-stock. There was much excitement, according to Annette Onslow, when an aeroplane piloted by Edgar Percival his Avro landed on the race course used in the film and flew the heroine to Randwick to win the day. Arthur’s son Edward swung a flight in Percival’s plane and was hooked on flying for life, and later developed Camden Airfield at Macquarie Grove.
Camden film locations were sought in 1931 for director Ken G Hall’s 1932 Dad and Dave film On Our Selection based on the characters and writings of Steele Rudd. It stars Bert Bailey as Dan Rudd and was released in the UK as Down on the Farm. It was one the most popular Australian movies of all time but it was eventually shot at Castlereagh near Penrith. The movie is based on Dan’s selection in south-west Queensland and is about a murder mystery. Ken G Hall notes that of the 18 feature films he made between 1932 and 1946 his film company used the Camden area and the Nepean River valley and its beauty for location shooting. The films included On Our Selection (1936), Squatter’s Daughter (1933), Grandad Rudd (1934), Thoroughbred (1935), Orphan of the Wilderness (1936), It Isn’t Done (1936), Broken Melody (1938), Dad and Dave Come to Town (1938), Mr Chedworth Steps Out (1938), Gone to the Dogs (1939), Come Up Smiling (1939), Dad Rudd MP (1940), and Smith, The Story of Sir Charles Kingsford Smith (1946).
The Camden district was the location of two wartime action movies, The Power and The Glory (1941) and The Rats of Tobruk (1944). The Rats of Tobruk was directed by Charles Chauvel and starred actors Chips Rafferty, Peter Finch and Pauline Garrick. The story is about three men from a variety of backgrounds who become mates during the siege at Tobruk during the Second World War. The movie was run at Camden’s Paramount movie palace in February 1945. The location for parts of the movie were the bare paddocks of Narellan Vale and Currans Hill where they were turned into a battleground to recreated the setting at Tobruk in November 1943. There were concerns at the time that the exploding ammunitions used in the movie would disturb the cows. Soldiers were supplied from the Narellan Military Camp and tanks were modified to make them look like German panzers and RAAF Camden supplied six Vultee Vengeance aircraft from Camden Airfield which was painted up to look like German Stuka bombers. The film location was later used for the Gayline Drive-In. Charles Chauvel’s daughter Susanne Carlsson who was 13 years old at the time reported that it was a ‘dramatic and interesting time’.
The second wartime movie was director Noel Monkman’s The Power and The Glory starring Peter Finch and Katrin Rosselle. The movie was made at RAAF Camden with the co-operation of the RAAF. It is a spy drama about a Czech scientist who discovers a new poison-gas and escapes to Australia rather than divulges the secret to the Nazis. Part of the plot was enemy infiltration of the coast near Bulli where an enemy aircraft was sighted and 5 Avro-Anson aircraft were directed to seek and bombed the submarine. The Wirraway aircraft from the RAAF Central Flying School acted as fighters and it was reported that the pilots were ‘good looking’ airmen from the base mess. There was a private screening at Camden’s Paramount movie theatre for the RAAF Central Flying School personnel.
Camden Park was used as a set for the internationally series of Smiley films, Smiley made in 1956 and in 1958 Smiley Gets a Gun in cinemascope. The story is about a nine-year-old boy who is a bit of rascal who grows up in a country town. They were based on books by Australian author Moore Raymond and filmed by Twentieth Century Fox and London Films. Raymond set his stories in a Queensland country town in the early 20th century and there are horse and buggies and motor cars. The town settings were constructed from scratch and shot at Camden Park, under the management of Edward Macarthur Onslow. The movies stars included Australian Chips Rafferty and English actors John McCallum and Ralph Richardson. Many old-time locals have fond memories of being extras in the movies. Smiley was released in the United Kingdom and the United States.
In 1999 Camden airfield was used as a set for the television documentary The Last Plane Out of Berlin which was the story of Sidney Cotton. Actor Geoff Morrell played the role of Cotton, who went to England in 1916 and became a pilot and served with the Royal Naval Air Service during the First World War. He is regarded as the ‘father of aerial photography’ and in 1939 was requested to make flights over Nazi Germany in 1939. Camden Airfield was ‘perfect location’ according to producer Jeff Watson because of its ‘historic’ 1930s atmosphere.
In 2009 scenes from X-Men Origins: Wolverine was filmed at Camden and near Brownlow Hill.
In 2010 filmmaker Sandra Pyres of Why Documentaries produced several short films in association for the With The Best of Intentions exhibition at The Oaks Historical Society. The films were a montage of contemporary photographs, archival footage and re-enactments by drama students of the stories of child migrants. The only voices were those of the child migrants and there were many tears spilt as the films were screened at the launch of the exhibition.
In 2011 scenes from director Wayne Blair’s Vietnam wartime true story of The Sapphires were filmed at Brownlow Hill starring Deborah Mailman, Jessica Mauboy and Chris O’Dowd. This is the true story of four young Aboriginal sisters who are discovered by a talent scout who organises a tour of American bases in Vietnam. On Brownlow Hill, a large stage was placed in the middle of cow paddock and draped with a sign that read ‘USC Show Committee presents the Sapphires’ and filming began around midnight. The cows were herded out of sight and the crew had to be careful that they did not stand of any cowpats. Apparently, Sudanese refugees played the role of African American servicemen of the 19th Infantry Division.
The romantic house of Camelot with its turrets, chimney stacks and gables, was built by racing identity James White and designed by Horbury Hunt was the scene of activity in 2006 and 2007 for the filming of scenes of Baz Luhrman’s Australia, starring Nicole Kidman and Hugh Jackman. The location shots were interior and exterior scenes which involved horse riding by Kidman and Jackman. The film is about an aristocratic woman who leaves England and follows her husband to Australia during the 1930s, and live through the Darwin bombing by the Japanese in the Second World War.
Camelot was a hive activity for the filming of the 1950s romantic television drama A Place to Call Home produced by Channel 7 in 2012. Set in rural Australia it is the story of a woman’s journey ‘to heal her soul’ and of a wealthy family facing changes in the fictional country town of Inverness in the Bligh family estate of Ash Park. Starring Marta Dusseldorp as the mysterious Sarah and Noni Hazlehurst as the family matriarch Elizabeth, who has several powerful independently wealthy women who paralleled her role in Camden in time past on their gentry estates. The sweeping melodrama about hope and loss is set against the social changes in the 1950s and has close parallels to 1950s Camden. The ‘sumptuous’ 13 part drama series screened on television in 2013 and according to its creator Bevin Lee had a ‘large-scale narrative’ that had a ‘feature-film feel’. He maintained that is was ‘rural gothic’, set in a big house that had comparisons with British television drama Downton Abbey.
The 55-room fairytale-like mansion and its formal gardens were a ‘captivating’ setting for A Place to Call Home, according to the Property Observer in 2013. Its initial screening was watched by 1.7 million viewers in April 2013. The show used a host of local spots for film sets and one of the favourite points of conversation ‘around the water-cooler’ for locals was the game ‘pick-the-place’. By mid-2014 Channel 7 had decided to axe the series at the end of the second series. There was a strong local reaction and a petition was circulating which attracted 6000 signatures to keep the show on the air. In the end, Foxtel television produced a third series with the original caste which screened in 2015.
Camden airfield was in action again and used as a set for the Australian version of the British motoring television show Top Gear Australian in 2010. Part of the show is power laps in a ‘Bog Standard Car’ were recorded on parts of the runways and taxiways used as a test track.
Camden Showground became the set for Angelina Jolie’s Second World War drama Unbroken in 2013. The main character Louis Zamperini, a former Olympic runner, and Onslow Park were used as part of the story of his early life as a member of Torrance High School track team. The movie is about Zamperini’s story of survival after his plane was shot down during the Pacific campaign. The filming caused much excitement in the area and the local press gave the story extensive coverage, with the showground was chosen for its historic atmosphere. Camden mayor Lara Symkowiak hoped that the movie would boost local tourism and the council was supportive of the area being used as a film set. The council had appointed a film contact officer to encourage greater use of the area for film locations.
Edwina Macarthur Stanham writes that Camden Park has been the filming location for several movies, advertisements and fashion shoots since the 1950s. They have included Smiley (1956), Smiley Gets a Gun (1958), Shadow of the Boomerang (1960) starring Jimmy Little, My Brilliant Career (1978) was filmed in Camden Park and its garden and surrounds, and The Empty Beach (1985) starring Bryan Brown, House Taken Over (1997) a short film was written and directed by Liz Hughes which used lots of scenes in the house. In the 21st century, there has been Preservation (2003) described a gothic horror movie starring Jacqueline Mackenzie, Jack Finsterer and Simon Bourke which used a lot of the scenes filmed in the house.
In 2005 Danny De Vito visited Camden Park scouting for a location for a movie based on the book “The True Confessions of Charlotte Doyle”. In Sleeping Beauty (2010) an Australian funded film was shot at Camden Park and the short film La Finca (2012). In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In 2015 the Camden Historical Society and filmmaker Wen Denaro have combined forces to telling the story of the Chinese market gardeners who settled in Camden in the early twentieth century. The project will produce a short documentary about the Chinese market gardeners who established vegetable gardens along the river in Camden and who supplied fresh product to the Macarthur and Sydney markets.
In 2015 an episode of the Network Ten TV show of The Bachelor Australia was filmed at Camden Park in August 2015. They showed scenes of the Bachelor Sam Wood taking one of the bachelorette Sarah on a romantic date to the colonial mansion Camden Park. There were scenes of the pair in a two-in-hand horse-drawn white carriage going up and down the driveway to the Camden Park cemetery on the hill overlooking the town. There were scenes in the soft afternoon sunlight of the couple having a romantic high-tea on the verandah of Camden Park house with champagne and scones and cupcakes. In the evening there were floodlit images of the front of Camden Park house from the front lawn then scenes of the couple in the sitting room sitting of the leather sofa sharing wine, cheese and biscuits in front on an open fire and candles. Sarah is gobsmacked with the house, its setting and is ‘amazed’ by the house’s colonial interior.
In 2018 a children’s film Peter Rabbit was been filmed in the Camden district. The movie is based on Beatrix Potter’s famous book series and her iconic characters. The special effects company Animal Logic spent two days on the shoot in Camden in January 2017. The first scene features the kidnap of the rabbit hero in a sack, throwing them off a bridge and into the river. For this scene, the Macquarie Grove Bridge over the Nepean River was used for the bridge in the movie. According to a spokesman, the reason the Camden area was used was that it fitted the needed criteria. The movie producers were looking for a location that screamed of its Englishness. Camden does that and a lot more dating back to the 1820s. The movie is set in modern-day Windermere in the English Lakes District. The location did not have to have too many gum trees or other recognisable Australian plants. John and Elizabeth Macarthur would be proud of their legacy – African Olives and other goodies. Conveniently the airport also provided the location for a stunt scene which uses a bi-plane. The role of the animators is to make Australia look like England.
In August 2018 the colonial Cowpastures homestead of Denbigh at Cobbitty was the set for popular Australian drama series Doctor Doctor. The series is about the Knight family farm and the show star is Roger Corser who plays doctor Hugh Knight. He said, ‘
The homestead is a real star of the show. The front yard, the dam and barn brewery on the property are major sets – I don’t know what we would do without them.
The show follows the high-flying heart surgeon and is up to season three. Filming lasted three months and the cast checked out the possibilities of the Camden town centre. Actor Ryan Johnson said that Denbigh ‘made the show’.
Denbigh homestead was originally built by Charles Hook in 1818 and extended by Thomas and Samuel Hassell in the 1820s.
In late 2018 the TV series Home and Away has been using the haunted house at Narellan known as Studley Park as a set for the program. The storyline followed three young characters going into the haunted house and staying overnight. They go into a tunnel and a young female becomes trapped. Tension rises and the local knock-about character comes to their rescue and he is a hero. The use of the set by the TV series producers was noted by Macarthur locals on Facebook.
Studley Park has recently been written up in the Camden-Narellan Advertiser (4 August 2017) as one of the eight most haunted places in the Macarthur region. Journalist Ashleigh Tullis writes;
Studley Park House, Camden
This impressive house was originally built by grazier William Payne in 1889. The death of two children has earned the house its haunted reputation.
In 1909, 14-year-old Ray Blackstone drowned in a dam near the residence. His body is believed to have been kept at the house until it was buried.
The son of acclaimed business man Arthur Adolphus Gregory died at the house in 1939 from appendicitis. His body was kept in the theatrette.
In 2019 movie-making in the area continues with the 4th series of Doctor Doctor. Wikipedia states of the plotline:
Doctor Doctor (also known outside of Australasia as The Heart Guy) is an Australian television drama that premiered on the Nine Network on 14 September 2016. It follows the story of Hugh Knight, a rising heart surgeon who is gifted, charming and infallible. He is a hedonist who, due to his sheer talent, believes he can live outside the rules.
Camden was used as one location along with the historic colonial property of Denbigh. Mediaweek stated in 2016 (Sept 9):
The regional setting for the series has proven to be a benefit for narrative and practical production reasons. While all of the hospital scenes were filmed in a hospital in the Sydney inner-city suburb of Rozelle, exterior shooting took place in Mudgee, with filming of Knight’s home was shot in Camden. In addition to $100,000 worth of support from the Regional Filming Fund, the regional setting delivers a unique authenticity to the series that it would otherwise lack.
Sometimes the local area is used a set for an advertising campaign by a fashion label or some other business. The owners of Camden Park House posted on Facebook in August 2019 that the house and garden were used as a set by the Country Road fashion brand.
While no specific details about plotlines or particular actors were given away, the spokesman said the production was filming on August 7 at the Narellan Jets Football Club and Grounds, Narellan Sports Hub.
The paper will tell the story of Camden girl Shirley Dunk on her first visit to London with her travelling companion Beth. Both young women had the adventures of their lives and Shirley recalls the journey with great fondness and nostalgia. The journey was a life changing experience for both your women from an Australian country town.
The title of the presentation is An Australian country girl goes to London.
In 1954 a young country woman from New South Wales, Shirley Dunk, exercised her agency and travelled to London. This was a journey to the home of their forefathers and copied the activities of other country women who made similar journeys. Some of the earliest of these journeys were undertaken by the wives and daughters of the rural gentry in the 19th century when they developed imperial networks that functioned on three levels – the local, the provincial and the metropole.
This research project will use a qualitative approach where there is an examination of Shirley’s journey archive complimented with supplementary interviews. The archive consisted of personal letters, diaries, photographs, scrapbooks, ship menus and other ephemera and was recently presented to me. It was a trove of resources which documented Shirley’s 12 months away from home and, during interviews, allowed her to vividly relive her memories of the journey. Shirley nostalgically recalled the sense of adventure that she experienced as she left Sydney for London by ship and her travels throughout the United Kingdom and Europe.
The paper will attempt to address some of the questions posed by the journey and how she reconciled these forces as an actor on a transnational stage through her lived experience as a tourist and traveller. Shirley’s letters home were reported in the country press and were reminiscent of soldier’s wartime letters home that described their tales as tourists in foreign lands.
The narrative will show that Shirley, as an Australian country girl, was exposed to the cosmopolitan nature of the metropole, as were earlier generations of women. The paper will explore how Shirley was subject to the forces of urbanism, modernity and consumerism at a time when rural women were presented with representations of domesticity and other ‘ideal’ gender stereotypes.
Read more about Australian expatriates in London in the 1950s who were made up of artists, writers, actors and musicians.
Supermarkets are one of the ultimate expressions of modernism. The township of Camden was not isolated from these global forces of consumerism that originated in the USA. The Camden community was bombarded daily with American cultural influences in the form of movies, motor cars, drive-in, motels, TV, and radio. Now consumerism was expressed by the appearance of self-service retailing and the development of the supermarket.
Retailing in Camden took its lead from England. At the village level the market stall turned into the high street shop. All goods were kept behind the counter, customers were served by male shop assistants and goods were delivered to the customer’s home.
Shopping in Camden was a rather dull affair by all accounts. The methods of retailing in Camden had changed little from the 19th century.
Camden women fronted up to the counter and handed their list of needs to the male shop assistant who filled the order for her. There were several choices from those owned by the Whitemans, the Cliftons, the Furners and others.
The winds of change were about to descend on the Camden shopping experience. The old fashioned general stores were about to find out what real competition with a global presence meant in a small country town.
According to Ann Satterthwaite’s Going Shopping self-service was the industrialisation of retailing along with the chain store. These stores featured cash and carry, no delivery and shelving displaying pre-packaged goods. In the USA there were an array of stores from Niffy Jiffy, Help Selfy, Handy Andy to Clarence Saunders Piggly Wiggly stores in Memphis in 1916 which was a type of cafeteria retailing. Piggly Wiggly was allegedly the first self-serve outlet for groceries. Self-service retailing emerged after the American civil war in response to labour shortages. For others like Edison’s Samaritan Market it was an attempt to make shopping more efficient.
The first time that groceries were sold in Australia using self-service in occurred in Brisbane in 1923. The Brisbane Courier reported that the first exclusive cash and carry grocery store started in Brisbane under the name Brisbane Cash and Carry Store. The proprietor Mr CA Fraser had opened three stores by 1927. The press report maintained that
The system was practically a novelty in Brisbane, but some idea of what success can be obtained through an honest endeavour to give self-service to the public in a courteous and efficient manner can be gauged by [its success].
The news report suggests that lower costs were obtained by the customer paying in cash and thus eliminating store credit. The customer serving ‘herself and so eliminating the necessity of salesman effects further savings’. It was claimed that the three stores served over a half a million people each year and the stores were ‘a model of neatness, cleanliness and efficiency’.
The first cash and carry store that opened in Camden occurred in 1933 and was owned by Mr Joe B Roberts at 110 Argyle Street. The Camden News stated that Roberts had obtained the premises that had been previously occupied by Mr Green next door to Mr Fred Boardman’s butchery. The report stated that ‘the shop has been specially fitted for Mr Roberts, who [would] personally conduct the store’. By 1936 Mr Roberts store was adjacent to Mr Green’s Drapery store. His Christmas special was a free beach towel with five purchases from the advertisement in the Camden News.
A recent article on JStor on Sex and the supermarket by researchers Tracey Deutsch and Adam Mack claims that supermarkets were places where gender and sexuality collided for American women. Supermarkets were one of the mid-20th century most important suburban sites for the important weekly ritual of shopping for the modern family. The supermarket was both aspirational and practical. In a weekly ritual the modern housewife could get lost is a sea of idealised dreams created by marketing gurus around an overwhelming splash of colour, perfectly merchanised products and an endless supply of brands that promised to make life easier for modern housewife.
In the USA a parallel development occurred in the kitchen. There was the development of refrigerators, the gas stove and products started to be promoted in cans. As the US economy developed fewer women went into domestic service and wealthier middle class women started going shopping in these new supermarkets.
The design of the supermarket was based on making them feminised spaces based on the latest psychological theories. Sex appeal made its way into shopping. Supermarkets were brighter, more colourful, cleaner, and sexier than the dingy general stores. The new aesthetic meant that these spaces were made to titillate and fascinate women. Supermarkets were clean and efficient with modern fluorescent lighting and carefully selected colours.
One of the earliest feminist authors Betty Friedan wrote about how women were shackled through shopping to their domesticity in 1963 in her book The Feminine Mystique.
Supermarkets are sites where gender roles are re-enforced where women’s sexuality is ‘contained and re-directed’ to consumption.
In 1941 press reports from Los Angeles stated that the hype surrounding the opening of the latest supermarkets ranked with the opening of the latest blockbuster Hollywood movies. The Southern Californian housewife went on the hunt for the latest bargains. The supermarkets operated with huge carparks, large neon signs, with some staying open 24 hours 7 days a week. They traded under names like Bi-Best Market, Sel-Rite Market, The Stop-and-Save, Thriftmart, and Wundermart.
In the post-war years elf-service retailing gained momentum in the Sydney area. Kings Cross grocer Mr Jack Greathead was the owner of a small self-serve store, and in 1950 cut the price of his butter and triggered a price war. Chain stores joined the price war. Mr FC Burnard the grocery buyer for David Jones predicted after a visit to the USA that self-service and other retailing innovations would soon be implemented in Australia. He was particularly impressed with the use of trolley-carts and pre-packaged hosiery and frozen goods.
In Camden Woolworths came to town in 1963. Woolworths opened the first stand-alone self-service store with a modern design, that was clean and made shopping more efficient. With modern lighting, wide isles, bright colours and lots of appealing merchandise to choose from with nationally advertised well-known brands. Some of the brands were American re-enforcing the international and cosmopolitan nature of the new shopping experience.
The new Woolworths store at 166-172 Argyle Street Camden was light and airy compared to the local general stores up the road which appeared old-fashioned and stodgy in comparison. The new supermarket encouraged local women to experience the thrill and titillation of going shopping. Slick brand marketing created dreams in the minds of the shoppers. Shoppers were encouraged to immerse themselves in the dream. Shopping became sexy. Shopping stimulated the sense with bright colours, in-store music and excitement of the new experience. Shopping became exciting. Shopping was sensual as much as it was practical.
The Woolworths supermarket consolidated a number of lots in Argyle street that was occupied by W Ward the butcher, Monica Ray and Beaton and Wylie.
The story of the construction of the history of the Camden area.
There are many versions and they are all correct. They all put their own spin on the way they want to tell the Camden story. Some good, some indifferent, some just plain awful
The official story of the township as told to tourists is shared in the brochure for an historic walk around the Camden town centre published by Camden Council. It is reflective of the pioneer legend that has pervaded the Camden story and the legitimising narrative that is part of the nation building story of a settler society. In many ways it hides as much as it reveals. It states:
The historic town of Camden, less than an hours drive south-west of Sydney, is the cultural heart of a region that enjoys a unique place in our nation’s history.
The earliest developments of the Australian wool, wheat and wine industries are associated with the town following the original land grant from Lord Camden to John Macarthur in 1805.
The town is home to a large number of heritage listed attractions that reflect its strong links with the history of colonial settlement in Australia. Camden is rich in rural heritage with live stock sale yards, vineyards, Equestrian Park and dairy facilities.
The township reveals in its built heritage an interesting and varied range of architectural styles that reflect the town’s evolution from the earliest days of European settlement through to the modern era.
The walking tour brochure portrays Camden’s rich historical and cultural legacy and affords a valuable opportunity to both visitors and the local community to experience the town’s unique character and charm and appreciate some of its history first hand.
A similar heritage walking brochure exists for Narellan area, which tells the story of European settlement of a planned government village that pre-dates Camden. Here there is also a silence on many aspects of the past that are yet to be revealed to readers.
This short historiography is one of the few that has been attempted to illustrate the construction of the history of a rural community. One that has been recently published is included in the history of the gold-mining community of Linton in Victoria (2015). The author, Jill Wheeler, examines the broad range of influences that shaped the writing of that community’s history.
This paper should be read in conjunction with the Camden Bibliography, which is list of published and other sources on the Camden District. It was my first attempt at compiling an authoritative list of sources on the local area and it has been pleasing to note that a host of researchers have found it to be a useful start.
This construction of the story of Camden history can be divided into a number of identifiable stages. Each stage reflects the values and attitudes of those who created the writing of the period, and the social and cultural filters that shaped their version of the story.
The Cowpastures frontier
From the beginning of European settlement in Australia curiosity drew those with an interest in wider issues to the local area. The first expeditionaries were naval and military officers who were trained to observe the landform and surroundings and record the detail in their logs and diaries. While providing a detailed account of their journeys they also recorded their observations and contact with Indigenous people. They recorded their observations of a managed landscape that was regularly burnt by the local Indigenous people. Prominent amongst these were Englishmen Watkin Tench (1790), Governor John Hunter (1795), David Collins (1795), George Bass (1796) and Lachlan Macquarie (1810, 1815, 1820), and Frenchmen Francis Louis Barrallier (1802) and Louis Antoine de Bougainville (1826).
Then there are the letters of settlers like John Hawdon of Elderslie in the 1820s who wrote back to England of his experiences in the Cowpastures and dealing with ‘the government men’. [convicts]
Amongst other writings of there are the reminiscences of Barron Field (1825), Thomas Mitchell (1836) and William Pridden (1843), while there are the journals of colonial women such as those of Annabella Boswell (1848).
Naming landform features gave the new arrivals a legitimacy of possession. For example on Governor King’s excursion to the area he named the locality the Cowpastures because of the escaped cattle.
Villages and beyond
The earliest records of settlement in the Cowpastures describe the conditions in the villages that were scattered across the area – Cawdor, Cobbitty, Elderslie, Narellan and then later Camden (1840)
The earliest accounts of Camden village its planning, its establishment and development are carried in the Sydney newspapers – particularly The Sydney Morning Herald. During the 1840s the Camden Clerk of Petty Sessions Charles Tompson was a regular correspondent to the newspaper.
Even by the 1880s the changing nature of the Camden village and the district prompted a nostalgia for the pioneering days of the early colonial period. The Camden Times and Camden News printed reminiscences of the town and district of JB Martin in the early 1880s and 1890s and RH Antill in the late 1890s, Richard Todd (1895 and 1896) as well as the stories from Obed West in the 1884 and 1885 in The Sydney Morning Herald. These stressed the progress and development of the town. Martin, the Camden Clerk of Petty Sessions for a period, made the point in his 1883 (Camden Times) reminiscences that the history of several English counties had been written by local history associations and he felt that a similar venture was worthwhile in the Camden district.
Further reminiscences were Thomas Herbert (1909) in the Town and Country Journal and Samuel Hassall’s (1902) In Old Australia and there are the unpublished reminiscences of Camden businessman Samuel Thompson (1905).
The Boer War, then the First and later the Second World Wars provide a period of reflection for local folk who are away soldiering in foreign lands. They are amongst the first to write about the Camden District as home in nostalgic terms from far away places where they are under traumatic conditions.
These letters were published in the Camden News and during the Second World War the Camden Advertiser. Some have found their way into recent publications particularly on the centenary of the First World War.
An important theme in the Camden story is the development of a Camden aesthetic based on romantic notions surrounding the colonial properties of the landed gentry and the landscapes that were created by the Cowpasture patriarchs.
This first appeared in Andrew Garran’s highly successful Picturesque Atlas of Australasia (1886) and portrayed an idyllic English village at Camden surrounded by an ordered farming landscape. The engraving was accompanied by GB Barton’s account of the exploits of John Macarthur and the foundation of the colonial wool industry. This was a narrative that evolved into a local and national mythology and was further advanced by Sibella Macarthur Onslow’s Some Early Records of The Macarthurs of Camden (1914), a collection of family papers.
The legend of John Macarthur gained further momentum in the 1930s on the centenary of John Macarthur’s death in 1934 when Australia was in search of national heroes. He was the subject of stories in Journal of the Royal Australian Historical Society (1929) and biographies. His image appeared on a series of postage stamps and later on the new decimal currency in the 1960s. His character was the subject of a novel (1941) and a new Federal electorate of Macarthur (1949) was named after him. In 1960 the Camden community held a four-day celebration of the legend of the John Macarthur and 150th anniversary of wool production in Australia called the Festival of the Golden Fleece (22-30 October).
The early 20th century also witnessed a shift in history writing identified by Graeme Davison from ‘pioneer’ to ‘patriarchal’ history writing and the development of the Camden aesthetic was part of that agenda.
There was William Hardy Wilson’s The Cow Pasture Road (1920) and Ure Smith’s water colours and etchings in his Old Colonial By Ways (1928). Whimsical descriptions of Camden’s Englishness were published in Eldrid Dyer’s ‘Camden, The Charm of an Old Town’ (1926) and articles in The Sydney Morning Herald like ‘The Beauty of Age’ (1934).
The journal of the Royal Australian Historical Society published articles on the Camden District. The first appeared and in 1928 on the Cowpastures, Cawdor and Cobbitty, which were followed by the Burragorang Valley (1934), Camden (1935), Narellan (1936), and the Cowpastures again in 1939.
Newcastle based journalist JJ Moloney, a former Menangle resident, published his reminiscences of Early Menangle in 1929. In Camden two local journalists, George Sidman and Arthur Gibson, each separately marked the golden jubilee of the foundation of the Municipality of Camden (1889). Sidman, owner of the Camden News, published the memoirs of J. B. Martin in a series of newspaper columns. While Gibson, owner of the Camden Advertiser, commissioned James Jervis from the RAHS to write The Story of Camden.
The end of the Second World War created an air of confidence in the Camden District, which by this stage was prospering from the wealth created by the Burragorang Valley coalfields. In 1948 the newly formed Rotary Club and Camden Community Centre commissioned the University of Sydney to conduct a sociological survey of the town to provide a foundation for ‘future development’. This was followed up in 1952 by an American sociologist from the University of Kansas City, ML ‘Jack’ Mason and his wife Elizabeth ‘Beth’. They surveyed the town and established that there was a five-tier social structure, which had its origins in the colonial period and the Cowpasture patriarchs. Both studies were suppressed from public gaze by vested interests until recent times.
Memorials of loss
As historians Graeme Davison and Gail Griffiths have noted loss of local icons and ‘loved places’ creates a deep sense of insecurity and a desire by some for the ‘good old days’. The grieving process was triggered in the Camden District community from the loss of Burragorang Valley, after the state government decided to build a dam in the 1930s. In the early 1960s the New South Wales Government closed the Campbelltown to Camden rail link as part of a state-wide rationalisation process.
There were five seminal events during this period, firstly, in 1957 the number of teachers from the newly established Camden High School formed the Camden Historical Society and held lectures, conducted field trips and outings.
Secondly there was the erection of civic monuments celebrating the Burragorang Valley. The first monument, erected in 1962, was the Camden Rotary mural at the southern entrance to the town. The mural has designs celebrating Indigenous culture as well as the area’s farming and mining heritage. The stone for the wall came from the St Paulinos Catholic Church in ‘the Valley’.
Thirdly, a wagon wheel was erected by the Camden Historical Society outside the council chambers in 1977 to celebrate the teamsters who brought silver ore from Yerranderie through ‘the Valley’ to the Camden railhead. A heavy horse-drawn farm wagon was located outside the council chambers in 1978 to memorialise farmer workers and the horse. Each of these monuments recalled the values of the frontier; tenacity, stoicism, ruggedness, individualism, adaptability and Britishness. An 1899 water trough was added to these civic monuments in 1979 celebrating the town’s modernity when the town was connected to reticulated water; a sign of progress and development.
In 1970 the Camden Historical Society opened a folk museum in a room in the old council chambers encouraged by the RAHS. The museum used simple displays of local ephemera, artefacts and other collectables supplemented with rudimentary signage to tell the Camden story.
The memorials of loss across the district extended to the numerous war memorials scattered throughout the Camden District that mourned the loss of men who never came home after the Great War. These monuments were added to after the Second World War and in recent times with the centenary of the First World War, and have shaped and re-shaped the Camden story in ways that are still hard to identify. Their meaning is a statement of collective memory that is expressed in April and November every year by local communities.
Elsewhere in the district The Oaks Historical Society was formed up in 1979. It has contributed much material to the story telling of the western part of the Camden District, particularly the Burragorang Valley and the silver mining fields of Yerranderie.
The rural-urban fringe and other threats
The role of loss in the Camden story acquired new meaning after 1973 when there was an identifiable shift in the interpretation and representation of ruralness in Camden. The release in 1973 of the ‘Three Cities Plan’ as part of the 1968 Sydney Regional Outline Plan triggered a wave of invaders from the city. Urban planners envisaged three regional centres on Sydney’s outskirts at Camden, Campbelltown and Appin with the ambitious idea of stopping the city’s urban sprawl.
These events strengthened the role of the Camden aesthetic. There was the re-making of place centred on the decline of the country town of Camden as the hub of a thriving rural economy to an idealised country town, a country town of the imagination.
Romantic representations of Camden’s rurality, especially St John’s church, became an important part of the contemporary consciousness. They found their way into official council policy, and been used in literature, publications, tourist and business promotions, websites, artwork, music, museum displays and a host of other places. In 1999 Camden Council’s strategic plan Camden 2025 adopted the language and imagery of Camden’s rurality when it outlined ‘the traditional qualities of a rural lifestyle’, ‘the historic nature’ of the area and the ‘unique rural landscapes and vistas’ in a country town atmosphere.
There was also the influence of the national bicentennial celebrations in 1988 and the publication in the same year of Alan Atkinson’s Camden, Farm and Village Life in Early New South Wales (1988) which examined the early decades of the township. The dust jacket used a romantic watercolour (1850s) attributed to Emily Macarthur which looks ‘across Camden Park to the north-west, with St John’s Church and the distant Blue Mountains closing the view’, with the Nepean River flowing across the vista, similar to the 1886 Garran engraving.
This period also the emergence of the local histories of the area written by keen amateurs with the most notable example being John Wrigley, who has put together several publications the first published in 1980 called A History of Camden. The Camden Historical Society started a small journal in 2001 called Camden History, which the society continues to successfully published specialist local histories for a local audience.
The 21st century saw the evolution in the Camden story to a new generation of writers, most notable amongst them was this author. My work started with a local wartime study of a women’s voluntary organisation and has extended across a range of local themes including the rural-urban fringe, urban history, place, identity, philanthropy, the wartime homefront and local government. Most recently I have told the Camden story in a publication of a pictorial history of the district.