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The Camden story, an evolving project

The Camden story

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.

Camden Aerial 1940 CIPP
An aerial view of Camden township in 1940 taken by a plane that took off at Camden airfield. St John’s Church is at the centre of the image (Camden Images)

 

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:

Camden, the town

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.

camden st johns vista from mac pk 1910 postcard camden images
Vista of St Johns Church from Macarthur Park in 1910. Postcard. (Camden Images)

 

A field of dreams, the Camden district, 1840-1973

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.

Making Camden History, a brief historiography of the local area

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 making Camden style

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.

Smilie Movie Cover
Smilie Gets A Gun Movie Cover

 

Camden Bibliography a biography of a country town

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 Project

This is a summary of the blog posts from Camden History Notes on the Cowpastures.

The Cowpastures Region 1795-1840

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.

On-the-Cowpasture-Road-Chrisr-Bunburys
On the Cowpasture Road / Chrisr: Bunbury’s. from Views of Sydney and Surrounding District by Edward Mason, ca. 1821-1823; 1892. State Library of NSW PXC 459

 

Convicts in the Cowpastures

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, a locality history

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.

Camelot
Camelot House (formerly known as Kirkham) located in the Kirkham area in the early 1900s (Camden Images)

 

‘Just like England’, a colonial settler landscape

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.

Townies, ex-urbanites and aesthetics: issues of identity on Sydney’s rural-urban fringe

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’.

St Johns Church
St Johns Church Camden around 1900 (Camden Images)

 

Westies, Bogans and Yobbos. What’s in a name?

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?

Nepean River more than a water view

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.

Nepean RiverCHS0137
The Nepean River in the early 1900s just below the Cowpasture Bridge during a dry spell. Postcard. (Camden Images)
 

The Women’s Voluntary Services, A Study of War and Volunteering in Camden,  1939-1945

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.

The Member for Camden, Dr Elizabeth Kernohan

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.

Narellan ‘Gayline’ Drive-In Movie Theatre

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.

Signage from the Gayline Drive-In Movie Theatre at Narellan (I Willis)
Signage from the Gayline Drive-In Movie Theatre at Narellan (I Willis)

 

El Caballo Blanco, A Forgotten Past

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.

CWA Camouflage Netting Volunteers

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.

The Camden Branch Railway Line

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.

Pansy Camden train crossing Hume Hwy L Manny Camden Images
Pansy Camden train crossing Hume Hwy at Narellan in the early 20th century (L Manny Camden Images)

 

New horizons open up for the new community of Oran Park and the finishing line for the former Oran Park Raceway

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.

The local ‘rag’, the future of local newspapers

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.

32 Squadron RAAF, Camden Airfield, 1942-1944

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.

The army in camp at Narellan in WW2

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.

Narellan Army Camp 1940s CIPP
Aerial View Narellan Military Camp c.1941 (Camden Images CHS)

 

Modernism and consumerism, supermarkets come to Camden

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.

Camden Cafes and Milk Bars

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.

Interwar Camden

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.

Camden AH&I Hall 1997 JKooyman Camden Images
Camden AH&I Hall  brick frontage was added in 1936 to celebrate  the Jubilee Show and designed by Sydney architect A Bolot (1997 Photographer JKooyman, Camden Images)
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Movie making Camden style

Smilie Gets A Gun Movie Cover
Smilie Gets A Gun Movie Cover

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.

Camden Park Publicity

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).

Camden Airfield 1930s Camden Images
Camden Airfield 1930s Camden Images

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.

Camelot House early 1900s Camden Images
Camelot House early 1900s Camden Images

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.

The Daughter Movie Set Camden Park 2014 E Stanham
The Daughter Movie Set Camden Park 2014 E Stanham

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.

denbigh-2015-iwillis
Denbigh Homestead Open Day 2015 has been used as a film set in 2018 for the TV series Doctor Doctor (I Willis)

 

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 at Night spooky 2017 CNA
Spooky Studley Park House is claimed to be one of the most haunted locations in the Macarthur region. The TV series Home & Away on 3 & 4 October 2018 certainly added to those stories by using the house as a set location. (CN Advert)

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.

 

denbigh-2015-iwillis
Denbigh Homestead Open Day 2015 IWillis

In 2019 movie-making in area continues with the 4th series of Doctor Doctor. Wikipedia states of the plot line:

Doctor Doctor (also known outside of Australasia as The Heart Guy[1]) is an Australian television drama that premiered on the Nine Network on 14 September 2016.[2] 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.

 

1920s · Aesthetics · Attachment to place · Belonging · Camden · community identity · Cultural Heritage · Cultural icon · Dress history · Entertainment · Fashion · Heritage · Historical consciousness · history · Interwar · Leisure · Lifestyle · Local History · Local Studies · Memory · Modernism · Place making · sense of place · Women's history

A little black ball dress

A little black dress at the hospital ball

This little black dress dating from the 1920s is an attractive item from the Camden Museum dress collection.

Camden Museum Mrs Wilsons black dress mid-1920s IW 2019
Mrs Wilson’s black dress from the mid-1920s on exhibition at the Camden Museum (IWillis 2019)

 

The 1920s was a period of cultural change after the First World War destroyed the old European orders and women discovered a new sense of freedom.

The 1920s were part of the age of modernity with jazz, the bob, and the flapper. It was a time of modern industrial design, movies and consumerism. Being ‘chic’ was made popular in Anita Loos book Gentlemen Prefer Blondes (1925).

Modernity expressed itself in Camden with the wireless, telephone, telegraph, motor car, newspapers, railway, refrigeration, electricity, electric light, gas, sewerage, reticulated water. All these developments came down the Great South Road (in 1923, the Hume Highway) on the way to Melbourne.

Everyone went to the movies and watch the world presented to them on the screen. Hollywood and fashion marketing gained attention and The Clamour Daze blogger says that

The rise of consumerism promoted the ideals of fulfillment and freedom.

Camden Museum Mrs Wilsons black dress beading on shoulder mid-1920s IW 2019
Mrs Wilson’s black dress showing the hand-sewn beading on the shoulder. The dress dates from the mid-1920s and is on exhibition at the Camden Museum (I Willis 2019)

 

The provenance of the little black dress

The little black dress illustrates the fashion style of the time and was owned by Mrs Mary Wilson, the maternal grandmother of the donor, Mrs Winifred Stuckey. Mrs Stuckey was the daughter of the Camden Methodist minister, and married into the Stuckey family of bakers. The Stuckey brothers ran a bakery in Argyle Street Camden for many years. Their story has been told  in Frank Stuckey’s Our daily bread: the story of Stuckey Bros, bakers and pastrycooks of Camden, NSW, 1912-1960. (1968)

 

The little black dress is a cocktail outfit and dates from the mid-to-late 1920s and drew its inspiration from the styles of the period including the chemis and flapper designs.

The Clamour Daze blogger says of the chemise dress style:

Costume Chemise Dress 1920s
1920’s fashion – Evolution of the 1920’s Chemise Dress

First appearing as an outerwear item in 1916 from designers such as Jeanne Lanvin , Callot Seours and Coco Chanel. By 1920, the chemise or shift dress, was to become the dominant line for day and evening wear. The dress hung from shoulder to just below the knee. Waists dropped to the hips. Back in the 1910’s, loose belts had often been worn over middy blouses and chemise dresses. It is quite possible the drop waist evolved from that style.

 

Mrs Wilson’s little black dress is black georgette with black glass or jet hand-beading on the front and back.

Georgette (from crêpe Georgette) is a sheer, lightweight, dull-finished crêpe fabric named after the early 20th century French dressmaker Georgette de la Plante. Originally made from silk, Georgette is made with highly twisted yarns. (Wikipedia)

The Vintage Dancer blog says that:

Solid colors were preferred over prints for most of the 20s. A solid color showed off beads, embroidery and ribbon decorations better than patterns.  

The Clamour Daze blogger says:

Costume Little Black Dress 1920
Little Black Dress by Coco Chanel

Published in Vogue on October 1st 1926 and immediately dubbed the ‘Ford Dress’ by Vogues editor – a suggestion that it would become as popular as the Ford car. Its flattering silhouette suited just about any shape of a woman and it heralded a new Parisian ‘economy style’ or ‘poverty de luxe‘ as Chanel herself described it; an expensive interpretation of a simple design made of modest materials.

 

Mrs Wilson’s dress has a rosette on the left hip and a sash from the lower hip on one side. There are hand-made tucks with machine stitching and the dress is cut on the bias.

 

The 1926 Camden District Hospital Ball

The Camden Museum’s little black dress was the type of fashion Camden women wore to the biggest social event of the year in 1926 – the Camden District Hospital Ball  attended by 750 people and held at the Camden AH&I Hall. It is fortunate for today’s budding fashion historians that the local press described the dress worn by every woman at the ball.

Camden AH&I Hall 1997 JKooyman Camden Images
Camden AH&I Hall in 1997 Photographer JKooyman (Camden Images)

 

Popular dresses at the ball included those made of georgette, velvet, satin, crepe-de-chene, moracain and mousseline. Colours varied from peach, to white, apricot and black with many featuring beading.

Those listed that were similar to the Camden Museum’s little black dress included one worn by Mrs RC Stuckey described as beaded morocain. Mrs S Rae wore a black crepe-de-chene dress with silver trimmings, while Miss D Holz wore a black morocain dress that was heavily beaded. Miss L Hemmens wore a dress of black chemille georgette while Miss Gladys Rae wore a black georgette dress with bead trimming and Miss Willmington wore a black georgette outfit.

So was the Camden Museum’s little black dress worn at the 1926 Camden District Hospital Ball?  No-one will really know but it exciting to speculate about it.

Check out the Camden Museum’s little black dress upstairs in the entertainment display section or on Instagram in the outfit of the day https://www.instagram.com/p/ByMGiF3BYfk/.

 

Things to note about Mrs Wilson’s little black dress

There is a tear on one cape sleeve. The dress may have been lengthened as the hem has been added. The dress was donated to the Camden Museum in 2003 donated by Mrs Winifred Stuckey.

Source: Object Record Camden Museum

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Anzac contradictions

Boer War Memorial in Belmore Park Goulburn 2017 (I Willis)

Public Lecture: UOW historian grapples with the meaning of Anzac?

 

Men, myth and memory | Dr Jen Roberts

UOW Alumni Knowledge Series | UOW | 20 April 2017

The Anzac story has been a central part of the Australian cultural identity for over a century and the contradictions that emerged around it have shown no sign of going away. Historians have been unpacking the meaning of Anzac for decades and seem to no closer to any definitive meaning.

 

Yet for one old gentlemen at the inaugural lecture in Knowledge Series of the University of Wollongong Alumni Dr Jen Roberts was ‘a brave lady’ to ‘present the truth’ about the Anzac story in her evocative lecture ‘Men, myth and memory’.  The Alumni audience was a mix of ages, and interests and included past military personnel.

The camp administration block  at the Narellan Military Camp in 1942 A Bailey

 

Robert’s powerful presentation left none of the alumnus present in any doubt about the contested nature of  Anzac and that there is far from just one truth.  Anzac is a fusion of cultural processes over many decades and it has been grown into something bigger than itself.

 

The Anzac acronym, meaning Australian and New Zealand Army Corps, was first used by General Sir William Birdwood and its legal status was confirmed by the Australian Government in 1916. Anzac has survived its 1914 imperial connotations, the 1960s social movements and its supporters have successfully broadened its meaning  to embrace all Australian conflicts, including peace missions. Some argue that this has created a dark legacy for current serving military personnel, while others choose to take cheap pot shots at those who question the orthodoxy. The Anzac story needs to be inclusive and not exclusive, and while the current service personnel are the custodians of the Anzac story it can sometimes be a heavy responsibility.

The tented lines at the  Narellan Military Camp in 1941 (AB)

 

The Anzac story is ubiquitous across Australia  and is embedded in the heart and soul of every community in the country, especially in the first half of the 20th century. Yet within this narrative there are contradictions and tensions and one of those is related to modernism. The war that spawned Anzac was a product on industrial modernism, yet at the same time causing the catastrophic destruction. Anzac shrines of commemoration and remembrance are a product of Interwar modernism, particularly the work of Rayner Hoff. Yet these same artists were supporters of  Sydney bohemianism with its anti-war sentiments, complicated by tensions created by other forms of global modernism particularly in Europe. Other contradictions range across issues related to gender, militarism, nationalism, racism, homophobia, and a host of other areas.

 

Roberts makes the point that the Anzac mythology and iconography points to Australian exceptionalism and then neatly outlined how this is not the situation. She analysed the horrors of war and how this is played out within the Anzac story.

WW1 Memorial Gates at Macarthur Park erected in 1922 and funded by public subscription with the cenotaph in the rear (Camden Remembers)

 

The tension within the meaning of Anzac, according to Roberts, is represented by the official state driven narrative stressing the honour, duty and sacrifice through commemoration, remembrance and solemnity, while on the hand there is the unofficial story of the digger mythology. The digger is not a professional soldier, he is egalitarian, loyal to mates and a larrikin – a good all-round Aussie bloke.

 

The official/digger binary highlights the contradictions with the Anzac tradition and its meaning for the military personnel, past and present. In 1941 an 18 year old country lad called Bruce Guppy from the New South Wales South Coast volunteered for service with the 7th Australian Light Horse. Guppy volunteered because his brothers had joined up and the military looked to have better prospects than working as a dairy hand. Gunner BW Guppy had little time for jingoism or nationalism as a laconic sort of fellow and stated ‘life is what you make it’. He was a yarn-spinning non-drinking, non-smoking, non-gambling larrikin, who saw action in the 1942 Gona-Buna Campaign in New Guinea and later trained as a paratrooper. His anti-war views in later years never stopped him from attending every Sydney Anzac Day March with his unit, 2/1 Mountain Battery, and the camaraderie they provided. A lifetime member of the RSL he never discussed his wartime service with his family, until I married his daughter.

Bruce Guppy and his unit at the 2003 Sydney Anzac Day March (I Willis)

 

Guppy had five brothers who saw active service in the Pacific conflict, with one brother’s service in BCOF in Japan cited in Gerster’s Travels in Atomic Sunshine. Guppy would not call himself a hero, yet willing participated in Huskisson’s Community Heroes History Project in 2007. Guppy was something of a bush poet and in 1995  wrote in a poem called ‘An Old Soldier Remembers’, which in part says:

 

‘Memories of those dark days

Come floating back through the haze.

My memory goes back to my mother’s face

Saddened, yes – but filled with grace.

The heartache for mothers – we will never know

For it was for them we had to go.’

 

So it surprised no-one when Bruce Guppy made the national media in 2013 when he handed Alice Guppy’s Mother’s Badge and Bar to the Australian War Memorial.  Australian War Memorial director Brendan Nelson was moved on his death in 2014 and personally thanked the family for his ‘wonderful’ contribution to the nation.

 

For Guppy Anzac Day embraced both meanings expressed by Roberts: The official commemorative remembering; and the larrikin enjoying the company of his mates. The meaning of the Anzac story has changed during Bruce Guppy’s lifetime and the experiences of his digger mates who served in the Second World War.

Red Cross poster used for fundraising purposes in 1918 (ARCS)

 

While many lay claim ownership of the cultural meaning of Anzac, Roberts contends that the organic growth of the Dawn Service is an example of the natural growth of Anzac and its sensibilities for different parts of Australian society.

 

Roberts examined the two aspects of the Anzac mythology – the site and the myth. She maintained that many lay claim ownership of the cultural meaning of Anzac and pondered the meaning of the slaughter on the Western Front. She asked the audience to reflect on the words of Eric Bogles song And the Band Played Waltzing Matilda covered by an American Celtic band the Dropkick Murphys. This contrasted with the opening statement by an Alumni organiser, who was ex-military, that the  outstanding achievements of the 1/AIF which are celebrated in military training in Australia are: the withdrawl at Gallipoli; and the last mounted cavalry charge at Beersheba. While recent research about Gallipoli POWs from Turkish sources has shown a different side of the story of the conflict.

Camden Airfield was used a training ground for the early years of the Empire Training Scheme and used  Tiger Moth aircraft  1942 LG Fromm

 

The Gallipoli peninsula is a site of pilgrimages from Australia, while  being the only locality in modern Turkey with an English name.  Roberts compared the small group who went to the 1965 50th anniversary with the lavish all expenses tour of the 1990 75th anniversary sponsored by the Hawke Labor Federal Government. She maintains this was the start of the contemporary pilgrimage industry. Roberts drew on personal experience and related anecdotes from her five visits to Gallipoli peninsular with UOW students who took the UOW Gallipoli Study Tour, with her mentor, friend and sage UOW Associate-Professor John McQuilton (recently retired).

 

Gallipoli pilgrimages have grown as popular interest in the First World War increased as family historians started searching for own digger-relative, hopefully finding the cache derived from finding a connection with the Gallipoli campaign.  The Howard Government promoted soft patriotism, and this was followed by later conservative governments which promoted official celebrations of the Centenary of Anzac. The official involvement of government has increased the jingoism of these anniversaries and the noise around the desire for the cultural ownership of the Gallipoli site, to the point where the Howard Government attempted to direct the Turkish Government how to do civil engineering roadworks at Gallipoli.

 

Brand Anzac, which Roberts dislikes, has been used to solidify national identity and spawned Anzacary and the commodification of the Anzac spirit, with souvenirs and other ephemera, as well as jingoism and Australian exceptionalism from the national to the local community level. Anzac mythology and memory tends to forget the grotesque side of war and its effects. First World War servicemen suffered shell shock (PTSD), and took to alcohol, gambling, domestic violence, divorce and suicide, and became the responsibility of those on the homefront.

 

The Anzac mythology disempowers and marginalises people, it is about nationalism, jingoism, racism, and stereotypes, while offering hope, glory and answers for others. The Guppy brothers and their comrades felt they understood the meaning of Anzac. Roberts maintains that the ideas around the Anzac story belong to everyone and, while offering contradictions for some and realities for others, it is these members of the Australian community who  need to make a choice about the meaning of Anzac.

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Living history at a country festival

Camden’s European living history on show

An example of living history has been on display recently at the Camden Show, the annual celebration of the rural heritage of the Camden district.

The show is an immersive experience for participants and observers alike in the real smells, sounds and sights of a sample of the farm in rural Australia.

Camden Show collage 2019 IW
The 2019 Camden Show provided an immersive experience for participants and observers alike in a host of farming activities. The authentic sights, sounds and smells of the show ring and surrounds enlightened and entertained in a feast for the senses. (I Willis, 2019)

 

The show represents the authentic real life of country people. It is a performance bringing history to life by storytelling through a host of demonstrations, events and displays.

The show is historical representation of the past in the present  illustrating a host of aspects of rural heritage through experiential learning.

Living history reveals layers from the past

The show reveals itself in a multi-layered story of continuity and change on the edge of the Camden township. What was once a small isolated rural village at the Nepean River crossing and is now a thriving Sydney suburb on the city’s metropolitan fringe.

Competitive sections of the show have come and gone with changes in the farming economy. Livestock, produce, craft and cooking sections each tell a story of different aspect of rural life. What was once an integral part of the rural economy is now a craft activity and completely new sections have appeared over the decades.

Camden Show Sandra Dodds 2019 IW
Camden resident and artist Sandra D entered her creation in the Bush Cuppa Tray competition and won first prize. Her entry provided a feast for the sense with scones, cup of tea, a copy of the Bulletin magazine, a story of painting ‘en plein air’ in the 1890s, gum leaves. All this activity taking place on 21 December 1889 at Montrose in Victoria. (I Willis, 2019)

 

Where once rural artisans were part of the local economy their activities are now demonstrations of heritage and lost trades. Show patrons once used to arrive in a horse and cart today’s show-goers watch competitive driving of horse and sulkies in the show ring.

Camden Show Marily Willis 2019 IW
This excited first timer won second place for a group of zucchinis in the produce section of the 2019 Camden Show. Marilyn Judith W grew her entry on her plot at the Camden Community Garden where a number of other gardeners also entered their produce. Marilyn had an immersive experience at the show and volunteered her time at the community garden stall giving away seedlings to adults and children alike. (I Willis, 2019)

 

Sideshows and carnies continue show  traditions that have their origins in English village fairs and carnivals of the past and even a hint of the Roman Empire and their circuses.

The success of the show illustrates a yearning by those attending to experience and understand elements of the traditions of a rural festival in the face of urban growth and development.

History

The Camden Show is a rural festival that is part of the modern show movement that emerged from the Industrial Revolution.  The first series of agricultural shows in the early 19th century demonstrated modern British farming methods and technology.

The first agricultural shows in New South Wales were in the early 19th century and the first Camden Show in 1886. The 19th century agricultural show movement set out to  demonstrate the latest in British Empire know-how and innovation in farming.

The site of the show on the Nepean River floodplain is one of the first points of contact between European and Indigenous people and the cows that escaped from the Sydney settlement in 1788 former the Cowpasture Reserve in 1795. For living history it is material culture which grounds the audience in time and place.

Camden Show 2019 IW
All good farmers had a reliable truck to cart stock and hay to the market from the farm and to take trips into town. This one dates from the mid-20th century at Bringelly NSW on display at the Camden Show with a friendly passenger. (I Willis, 2019)
Architecture · Attachment to place · Camden · Cultural Heritage · Cultural icon · Heritage · Historical consciousness · history · Interwar · Local History · Local Studies · Memory · Modernism · Motoring History · Moveable Heritage · Narellan · Place making · Retailing · sense of place · Transport

Motoring, modernism and a new car showroom.

A new era in Camden motoring

The beginning of a new phase of Camden’s motoring history created much excitement and anticipation in March 1948 with the opening of the new ultra-modern car showroom for Clintons Motors at 16 Argyle Street.

Camden Clintons Motor Dealers building collage 2019 IW
A collage of the former Clintons Motors car showroom. The style building is influenced by Art Deco streamline detail to the exterior. (I Willis, 2019)

 

The year 1948 was a landmark in Australian motoring history with the launch of first Australian made mass produced motor car – the FX Holden sedan – in November. The National Museum of Australia states that

The Holden transformed suburban Australia, boosted national pride and quickly become a national icon. The car was economical, sturdy and stylish and was immediately popular with the public.

Camden Clintons Motors New Holden on display CN1948Dec2
Clintons Motor promoted the new FX Holden motor car in 1948. The new car was highly anticipated by the Camden community. (Camden News, 2 December 1948)

 

Clinton Motors announced in September 1948 that it would sell the new Holden motor car (Camden News, 23 September 1948). The first Holden car was displayed in the new streamlined showroom in  December 1948 and sold for £675. (Camden News, 16 December 1948)

Camden Clinton Motors New Holden CN1948Dec16
The arrival of the new Holden as it was just called was highly anticipated by the Camden community. (Camden News, 16 December 1948)

 

The new showroom displays motoring modernism

The former Clintons Motor building was an iconic stylish Art Deco Interwar influenced building with its clean streamlined appearance drawn from  American and French influences.

Camden Shirley Rorke Beth Jackman 1953 Clintons SRorke_adjusted
Clintons Motors Showroom with sales assistants Shirley Dunk and Beth Jackman in 1953. The business sold electrical goods as well as motor cars, accessories and tyres. (S Rorke)

 

The new showroom was described on the opening as ‘the most modern department store’ in Camden.

A blue and white building with modernistic streamlined front and wide plate glass fittings. Inside, behind imposing doors set between giant white pillars, are to be seen a range of colourful displays that glistened beneath batteries of flourescent lights. Big placards mounted on plastic coated display stands illustrate the advice which Goodyear gives motorists in obtaining tyres. Other plastic and glass tables hold an unexpectedly large variety of accessories for cars and trucks. (Camden News, 18 March 1948).

The new premises were constructed by Camden builder Jim Bracken on the former site of the Camden tweed mill which burnt down in 1899 and left a standing chimney for many years. During the Interwar period the site was used a horse paddock.

The new premises sold tyres, motor accessories and electrical goods including refrigerators. The showroom  ‘combined all the features that modern merchants in America have developed to improve their service to their customers’. (Camden News, 18 March 1948).

Holden FX 1948 Cover Sales brochure Wikimedia
The cover of the sales brochure for the new Holden motor car in 1948. The new FX Holden created a great deal of excitement throughout the community on its release. (Wikimedia)

 

Tourism and motoring modernism

The former Clintons Motors showroom is one of the first buildings that visitors encounter as they enter the town centre after crossing the Cowpastures Bridge and  the Nepean River floodplain on the former Hume Highway (now Camden Valley Way).

Camden Clinton Motors 1983 JWrigley CIPP

Clintons Motors at 16 Argyle Street Camden in 1983. The business was the Holden dealership for the Camden area. The premises opened in 1948. (Camden Images)

 

The former car showroom is just one of a number of Interwar buildings that visitors can find in the charming town centre. There is the former Bank of New South Wales (Westpac) building, the brick front of the show hall pavilion, the Dunk building car showroom, the former Rural Bank building, the former Stuckey Bakery building, the milk depot. Tucked around the corner is the former Paramount Movie palace and the Presbyterian church. Scattered in and around the town centre are a number of Californian bungalows which add to the atmospherics of the former country town.

 

The Clinton Group has a long history

The Clinton group  has a long history in the Macarthur region starting out a mobile theatre then moving into the Burragorang coalfields. In the 1930s they had a transport business moving coal from the valley to the Camden and Narellan railhead. The family formed Clinton Distributions which became an agent for General Motors Holden on 8 March 1945. Trading at Clinton Motors on the Hume Highway at Narellan the business sold Chevrolets, Pontiacs, Oldsmobiles, Vauxhalls, Bedfords and Maple Leaf trucks. The family incorporated the business in 1946 (Clinton Motor Group) and moved into Camden in February, (Camden News, 21 February 1946) opening the new showroom in 1948. The business operated on this site until 1992 then moved to the former site of Frank Brooking car yard and motor dealership at the corner of Cawdor Road and Murray Streets.

Camden Clintons Motors GMH Dealer CN1945Mar8
Clintons Motors opened for business at its Narellan Hume Highway site  in 1945. (Camden News, 8 March 1945)
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Living history on your doorstep

There is the opportunity to experience real living history on your own doorstep.

Living history is all around you. You just need to take a deep breath, pause for a moment and listen to the history around speak to you.

camden st johns vista from mac pk 1910 postcard camden images
Vista of St Johns Church from Macarthur Park in 1910. Postcard. You can still view this vista from the town’s fringe near the showground. (Camden Images)

 

Camden living history

In the town centre of Camden the buildings and the ambience of the historic precinct speak to you if you pause and listen.

They are all part of the Camden story.

The Camden living history reveals the intricacies of telling the Camden story.

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.

Camden CHS 231 Macaria c. 1890
The Camden Grammar School which was located in Macaria in the 1890s.  Macaria is open to the public and is the home of the Alan Baker Art Gallery located at 37 John Street, Camden. (Camden Images)

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 st_johns_church02
St Johns Anglican Church Camden 2018. You can visit the historic St John’s church and precinct in central Camden. The church was built in the 1840s and funded by the Macarthur family. (I Willis)

 

The Camden story

The Camden story is the tale of the local area.

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 English-style Camden town centrehas evolved and is represented by a number of historical architectural styles since 1840 – Victorian, EdwardianInter-war, Mid-20th century. The town was the hub of the Camden District between 1840 and 1970s
  • 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.
Camden Show Bullock Team 2018 MWillis
The bullock team walking up John Street for the 2018 Camden Show. Bullock teams were once a common sight in the Camden area before the days of motorised transport. The teamster monument in John Street celebrates their role in the history of the district. Visit the Camden Show. (M Willis)

 

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 Camden District 1939[2]

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.

A self-guided walking tour lets visitors explore the living history of the Camden town centre. There is a pdf brochure here. 

Check out Camden’s main street with its Victorian, Edwardian and interwar ambience and charm. See where the local met on sale day at the Camden saleyards or the annual country festival at the Camden show.

Camden Show 2018 promo
The Camden Show is an annual celebration of things rural in the township of Camden for over 100 years. The show is held each year in the Onslow Park precinct. (Camden Show)

 

The Heritage Tourism website boasts that Camden – The best preserved country town on the Cumberland Plain NSW.

The mysteries of the cute little locomotive that used to run between Camden and  Campbelltown via Currans Hill, Narellan, Elderslie, Kirkham and Graham’s Hill are also explored in a post called  The glory of steam, Pansy, the Camden tram.

Maybe you would like to revisit the farming glory days of the 1800s at one of Australia’s most important living history farms at Belgenny Farm.

Camden Belgenny Farm 2018 sign
The signage at the entrance to the Belgenny Farm complex at Camden NSW. Visitors are welcome.  (I Willis, 2018)