Book Launch: The First Wave

Gillian Dooley is an Honorary Senior Research Fellow at Flinders University, South Australia. Gillian is also a journal editor and the author of books and articles on literary subjects from Jane Austen to J.M. Coetzee. In this guest post she writes about the launch of The First Wave: Exploring early coastal contact history in Australia, and the book’s importance in our understanding of Australian history.

On 20 June, The First Wave: Exploring Early Coastal Contact History in Australia, edited by The First Wave coverDanielle Clode and myself, was launched in London. This was the result of a happy convergence of circumstances: I was in the UK on an extended visit, presenting at several conferences and giving the odd lecture and seminar, and Flinders University was looking for an excuse to hold an alumni event in London. The Alumni Office at Flinders organised a splendid event in the sumptuous Downer Room at Australia House, with help from the South Australian Agent-General’s office. The Vice-chancellor, Professor Colin Stirling, flew in for the occasion, and nearly 100 people, including Flinders Alumni and many UK-based friends and colleagues, were present to see The First Wave launched into the world – a few weeks before it was even published in Australia – by the incomparable Elleke Boehmer, Fellow of the Royal Society of Literature, Professor of World Literature at Oxford, novelist, prominent and prodigious scholar of the South and of colonial and post-colonial encounters.

The First Wave draws together 26 essays, stories, and poems from a range of authors, some of Aboriginal heritage – poets, novelists, historians, literary scholars, art historians, anthropologists, musicologists, linguists, ecologists. We wanted to include multiple perspectives on multiple encounters, in a variety of genres – concentrating on meetings with explorers – temporary visitors, rather than the settlers or invaders who came later, though it’s not so easy to draw these kinds of boundaries.

Elleke spoke at the launch with even more than her customary grace and acuity. She read some passages, including an extract from Kim Scott’s That Deadman Dance and a poem by Ali Cobby Eckermann. Referring to the genesis of the book in my exploration of the encounters described in Matthew Flinders’ accounts of his voyage, she noted

the complex fractal pattern of perspectives, observations and silent sight-lines both Indigenous and European that the co-editors Dooley and Clode had delicately constructed around Flinders’ 1801-3 journey of Australian circumnavigation. Many of these observations crystallised out from the crucial meeting on the beach, that classic zone of colonial encounter, yet at a fragile time before that encounter became violent and destructive. The First Wave also beautifully demonstrates how those observations were then recorded not only in the explorers’ journals and logbooks but also in Indigenous song and dance, so making a very different yet equally telling historical record. Dooley and Clode had achieved this fine balance by drawing together an extensive generic range of writings including some resonant contemporary poetry and were to be especially congratulated about this.

Elleke’s speech made me see the work we had done in a new light, not as merely a heterogenous collection of a variety of perspectives – which it undoubtedly is, and which was our intention – but as something which appeared, in a way, complete – which had an integrity of its own, perhaps beyond the sum of its parts. I found her words extraordinarily moving and extremely gratifying.

Alastair Niven, LVO, OBE, formerly Director of Literature at the both the British Arts Council and the British Council, now of Harris Manchester College, Oxford, kindly agreed to make some closing remarks:

‘It is a genuine privilege to take part in the launch of The First Wave. That’s the sort of politely conventional thing one says on this sort of occasion, but tonight it is really true. This is a monumental book, and I don’t just mean in terms of weight. It is an essential work of true scholarship. This book matters, re-visiting old episodes and in the process re-visioning them.’

There is a crucial if brief sentence in Gillian Dooley’s and Danielle Clode’s excellent introduction. ‘What were the Europeans NOT seeing?’ These essays examine the not seen, which includes how they were themselves viewed by the indigenous peoples they found on arrival in Australia. I don’t usually spatter my talks with Biblical references, but it’s hard not to be reminded of words we have all grown up with and know as evidence of what we define as our civilisation: ‘Now we see through a glass darkly, but then face to face; now I know in part, but then shall I know even as also I am known.’ This book helps us clarify our opaque vision.

‘Throughout The First Wave words are given new shades of meaning as a consequence of their post-colonial interrogation.  Take as an example Valerie Munt’s essay ‘Sense or Sensibility? Encountering a “Savage” Land in a Romantic Era’, where every word of her title is ironic or nuanced: ‘sense’, ‘sensibility’, ‘encountering’, ‘”savage”‘ (placed in inverted commas), ‘land’, ‘Romantic’, ‘era’, even ‘or’.   This is a book full of such upendings. Encounters and exchanges, footprints and landing parties are all seen afresh. Books like Robinson Crusoe, Coral Island and Lord of the Flies will never seem the same again.’

Once again, I was touched, flattered and surprised by Alastair’s kind words. I have learned a huge amount during this project. When I first conceived of this book project, I knew I’d need a co-editor and the multi-talented Danielle Clode was my first choice, given her expertise on the French voyages to Australia and her wide and varied experience in writing and publishing. Luckily she agreed despite her overflowing schedule and she has been a wonderful partner in this enterprise, in addition to contributing her own beautifully crafted and carefully researched story about whaling on Australia’s east coast. I am grateful to every single one of the contributors for their unique accounts of a myriad of meetings, sightings and exchanges. Only one of them, Patrick Kaye, was able to be present at the London launch, but we look forward to celebrating its publication with many of the others in Adelaide soon – watch this space.

The First Wave, at over 450 pages, has turned out to be a big book, but I hope you will agree with me that its size is justified by the richness of the insights it provides.

Many thanks to Flinders University, Australia House, Elleke Boehmer, and Peter Livingstone, photographer, for their involvement in this wonderful evening.

To purchase a copy of the book, give us a call on (08) 8352 4455, visit us at our Mile End Bookshop, or find it in our online web store.

Extract: The Australian War Memorial

In The Australian War Memorial: A century on from the vision, Steve Gower, the highly successful director of the Australian War Memorial from 1996 to 2012, gives a comprehensive account of the development of the Memorial from its inception just over a century ago.

Australian War Memorial, Steve GowerThe book recounts the many challenges in establishing the Memorial and then in developing further its galleries and displays, the extensive collection, associated events and the overall supporting facilities. It also goes behind the scenes to provide insights into the many facets of a major, modern cultural institution.

In this extract from the final chapter of the book, Gower reflects on the importance of the Memorial, as well as the way the Australian people. have interacted with the Memorial over the years; some with disdain and contempt, others with a sense of solemn pride. He notes that directors past, present and future have always had the betterment and preservation of the Memorial at the front of their mind.

Reflections

It seems relevant to ask why so many people are interested in what happens at the Australian War Memorial and why such passion is aroused at different times. I would suggest the reason is that the Memorial deals unmistakably with an agreed, major Australian narrative, not the only one but. arguably the principal one, which had its origins in the Gallipoli campaign and which has resonated with successive generations. That narrative has been challenged and dismissed by some: others demand that it be interpreted their way. Minorities have attached what they believe it stands for and have confidently predicted its imminent demise. Notwithstanding, the narrative has survived and is probably stronger now than it has ever been. It belongs to the Australian people, with all their strengths, weaknesses, pride, foibles. and innate decency, who by their support have expressed their satisfaction with its very essence. it comes from the people voluntarily, not imposed from above.

The Australian War Memorial, as a custodian of the narrative, belongs to all Australians. It’s not owned by the defence force, whose members carry the burden of the nation’s expectations that they live up to the values implicitly recorded there. I have no doubt that can be a source of strength and resolution for them in fulfilling their duty. The .institution is not owned by veterans, despite their service and sacrifice and the fact that some regard it as the sacred cathedra of a secular Anzac religion. And it’s certainly not owned by the staff of the Memorial, the Director, historians, curators, or the like. Having said that, every Director and staff member down the ages has believed strongly in the Memorial and had its interests and advancement to the forefront of their minds.

The greatest privilege conferred on all staff is holding temporary stewardship of the narrative. and its contemporary meaning. In accepting this task, it’s their challenge to meet the collective high expectations the general public has of this great. and uniquely Australian institution. This sometimes requires a degree of resilience and fortitude not usually associated with museums and a sensitivity to nuances and subtleties.

In 2015 I asked Peter Burness, that long-serving. servant of the Memorial, what he thought Bean’s reaction would be were he to come back now. Burness thought he’d be thrilled. Bean’s vision had not only blossomed. but flourished, perhaps well beyond his original dreams. he might even be a little surprised by. the esteem with which it is held by the public, and its prominence as the central repository of .Australia’s remembrance of war. The Memorial is a great tribute to his. determination, persistence, and powers of persuasion in seeking the fulfilment of his vision.

As for Treloar, I believe he, too, would be pleased, but as an undemonstrative, hard-working, self-contained man, it is probable that he would suppress any satisfied smile. But inwardly, he’d be very proud of seeing how the place to which he’d devoted his life had progressed. His life’s work has become a lasting legacy, as he had hoped.

Both would be well pleased with how the record has been guarded over the last century. And so should anyone else who has been associated with the Memorial, in whatever capacity.

Steve Gower was Director of the Australian War Memorial between 1996 and 2012. He is a Duntroon graduate and Vietnam veteran who gained an Honours degree in Engineering from the University of Adelaide, followed by a Masters degree by research. He spent 37 years in the Australian Army, attaining the rank of major general before resigning to become the ninth Director of the Australian War Memorial, a position he held for over 16 years.

To purchase a copy of The Australian War Memorial: A century on from the vision, visit us in our Mile End bookshop, give us a call on (08) 8352 4455, or find the book in our online web shop.

ANZAC Day titles for the historian in us all

ANZAC Day is a solemn reminder to generations young and old of the pain and loss of war. But with the number of surviving veterans declining, it’s important for younger generations to keep their memory alive. With that in mind, here are five historical titles to read this ANZAC Day.

 

Don Longo, Pens and Bayonets: Letters from the Front by soldiers of Yorke Peninsula during the Great WarPens and Bayonets, Don Longo

Pens and Bayonets gives voice to the young Australia soldiers who volunteered to fight for our freedom in the Great War. They answered the call willingly, with many thinking it may be all over before they got there. How wrong they were. Author Don Longo gathered many of the moving letters sent to the fronts, and set them in their historical context, to bring these soldiers back to life.

 

 

Allison Reynolds, Anzac Biscuits: The power and spirit of an everyday national icon

Anzac Biscuits, Allison ReynoldsAnzac biscuits, baked in Australia and New Zealand for over a century, have a powerful connection to the national identity and culture of both countries. But what is the story of this national icon? Were they eaten by troops during the First World War? When did coconut make an appearance?

Author Allison Reynolds traces the origins of the humble Anzac Biscuit, delving into war files and family cookbooks to investigate the provenance of this extraordinary everyday biscuit.

 

 

Cheryl Williss, Miss Marryat’s Circle: A not so distant past

Miss Marryats Circle, Cheryl WillissIn 1915, the second year of the Great War, Mabel Marryat joined the newly-formed League of Loyal Women. Mabel was active in the League’s emergency corps, ‘women who are prepared to give their service in any need that may arise’.

This book gives voice to the women of South Australia’s first 110 years of European settlement and opportunity to reflect on the changing position of women in society. But the spotlight shines on Mabel. Her long and devoted community service – particularly to her ‘Diggers’ – was extraordinary.

 

Sharon Cleary and Robert Kearney, Valour and Violets: South Australia in the Great War

Valour & Violets, Sharon Cleary and Robert kearneyClose to 35,000 South Australians enlisted for service overseas during the Great War. Around 5500 never came back. Countless more returned with physical and psychological injuries that would affect them for the rest of their lives.

Drawing on the work of the many who have written on the subject previously, Valour and Violets provides a wholly South Australian perspective on the impact of the Great War on individuals, on families and on our state’s coastal, regional, and outback communities.

 

Melanie Oppenheimer, Margaret Anderson, and Mandy Paul, South Australia on the Eve of War

Sa on the Eve of War, multipleIn August 1914 South Australians – much like their fellow Australians around the country – enthusiastically displayed their patriotism when war was announced. It’s a story we know well, but what do we know of South Australia in the lead up to the First World War? What was it like to live there at the time? What were South Australians talking about?

South Australia on the Eve of War considers unique aspects of the state in this pre-war period, including the political reverberations of Federation, the town planning of what was then Australia’s third-largest capital, Adelaide, and the shifting social positions of women, Indigenous Australians and minority groups.

lest we forget

 

To read more about any of these books, or to find other related titles, find our entire history list here on our website.

To purchase copies of any of these books, visit us in our Mile End bookshop, give us a call on (08) 8352 4455, or find them in our online web shop.

An Interview with: Claire Morey, Intern

Meet our wonderful intern, Claire, who recently completed her Honours degree in history (and then plunged right into a two-week stint at Wakefield Press!). Claire talks about the importance of self-aware history writers and the impact university has on reading habits.

 

What is the first book you ever read?

One of the first novel-sized books I can remember reading is probably Charlie and the Chocolate Factory by Roald Dahl. It seems to be the most memorable, maybe because I loved the edition and Quentin Blake’s illustrations so much.

What attracted you to doing your internship at Wakefield Press?

I’ve wanted to work in publishing for quite a long time but I hadn’t really thought to pursue it while I was studying. Now that I’ve graduated and have a lot more spare time I thought it would be a great opportunity to get involved with the publishing industry.

At the end of your internship, what are your thoughts about working in publishing?

I really enjoyed the internship! It’s helped me to solidify my interest in editing and proofreading, but it was also very interesting learning about other roles and how things operate behind-the-scenes.

You’ve done an Honours degree in history, so you must have read a few history books. What makes a history book engaging? And do you think history can tell us about the present as well as the past?

I really enjoy history books and historians that acknowledge their subjectivity and their inability to present a set of complete truths. In particular, history books that really cleverly weave together narrative and history with the past and present are the most engaging to me. A good example of this is Slicing the Silence by Australian historian Tom Griffiths. He is really fantastic at communicating history through interconnecting stories and historical figures in a constant conversation between past and present. Engaging historical writing can often read much like a novel.

What’s the last book you read and loved? What did you love about it?

Mary Lee: The life and times of a ‘turbulent anarchist’ and her battke for women’s rights by Denise George (published by Wakefield Press)! I really loved learning about a woman who, despite being so integral to the women’s suffrage movement of both South Australia and Australia as a whole, is hardly remembered or talked about in schools or general society. Reading such a captivating book has me thinking that primary and secondary school history could be far more interesting if we focus on incredible local historical events, such as women’s suffrage in South Australia and the women who fought so hard for it, rather than learning about the First Fleet over and over again.

What’s the last book you read and hated? what did you hate about it?

I don’t think I ever really hate books! It’s possible I only pick things up that I think I will like at least a little bit, so maybe I’m not that experimental in my reading choices. One book that I remember really struggling with was The Crying of Lot 49 by Thomas Pynchon. Perhaps it was a bit too postmodern for me back in first year university, I think I could handle it a bit better now (maybe).

How do you find out about books you want to read?

I get a lot of recommendations through friends, family, my boyfriend and uni. I also follow a YouTuber (Leena Norms) who works in publishing in London, so that has been a great way to discover contemporary titles that are being published.

Where do you buy your books? (In a bookshop, online, second-hand … Or do you use libraries?)

A combination of all of them! If there’s a book I really want then I’ll buy it, and if it’s a lot cheaper online then I am a bit guilty of buying books from Book Depository. I do like finding second-books and recently I’ve been trying to use libraries more often, but I do enjoy owning books, especially if I’ve really enjoyed it and want to reread it.

Does studying influence the kinds of books you read? (Other than set texts, of course!) If so, how? 

Yes, I did English and History at uni so studying English got me very interested in a lot of classics as well as postcolonial literature.

Only in the last few years have I read many history books, which I never would have known about if it weren’t for studying history at uni. Studying history has also given me a far greater understanding and interest in Australian history.

How do you feel about reading on-screen? Do you read e-books as well as print books? (And if you do both, what’s the split, time-wise?)

I much prefer reading print books, I only really read e-books if a print book isn’t available.

If you were banished to a desert island and could take three books with you, what would they be and why?

This is very hard! First I think I’d pick The Art of Time Travel  by Tom Griffiths because it’s a great compilation of Australian and Indigenous history and it’s really well written. Next maybe The Story of Art by EH Gombrich because it is so incredibly packed with information so would use up a lot of time while stuck on an island. The last one would probably be Jane Eyre by Charlotte Brontë as it is such a lovely, easy read that never gets old.

Claire recently reviewed Mary Lee: The life and times of a ‘turbulent anarchist’ and her fight for women’s rights by Denise George. Lauded by Natasha Stott Despoja as a book that should be in all schools, click here to find out what Claire thought!

An introduction to Ashton’s Hotel

Rhondda Harris came across something fascinating when researching in the State Records of South Australia at Gepps Cross for an archaeological dig at the old Adelaide Gaol: a long-lost journal written by the gaol’s first governor, William Baker Ashton. But we’ll let Rhondda introduce the journal herself through this short preamble from her book, Ashton’s Hotel. This includes an excerpt from the journal itself which, yes, may contain some ‘mistakes’. As Rhondda says in the book, ‘I have turned off the autocorrect and transcribed it just as it is in the original. It is an editor’s nightmare but an authentic read.’

 

June 11 Wednesday: A Poor Woman Named Wilkinson Supposed to be Insane was found at 71/2 this Morning with 2 Small Children Nearly Dead from wet and Cold at the end of the ditch Near the Gaol the Poor Children were in a Dreadful State their Arms and legs being quite Stiff from the Wet & Cold I had the Woman & Children brot into the TurnKeys lodge by a good fire and Mrs. Ashton and Mr Perry took their Wet Clothes off and put warm Blankets on them and they Soon got better . . .
– Sheriff Visited the Gaol Saw the Prisoners and Saw the poor woman & children found in the Water this Morning, wished her to Remain in the Gaol and he would Report the Circumstances to the Government her Husband was for some years in the Government Employ at the port but have left the Colony Since and this Poor woman has no home for herself or Children.
June 12 Thursday: Mrs Wilkinson Still in Gaol and her children Supplied from the Gaol Rations by order of the Sheriff.

 

This story is from an old journal, written in Adelaide, South Australia. The date was 1845, in the sixth year of this extraordinary journal and in the ninth year of the South Australian colony. This incident, so briefly recorded, is in itself an ordinary story, yet it hints at the far-from-ordinary character of the writer, William Baker Ashton, first governor of the Adelaide Gaol.

There are many such stories in his journal. They provide entry into the little-known underclass of early Adelaide, a world where many of the poor, the inebriates, the prostitutes, the debtors, as well as many Aboriginal people, mentally ill people, children who stole or absconded from their masters, sailors, runaway convicts, petty criminals and serious criminals, including bushrangers and murderers, were collected in the confines of the first Adelaide gaols. Some of these people escaped and were recaptured. Some were hanged. Many were transported by sea to be punished in the penal colonies of Sydney and Van Diemen’s Land, out of Adelaide’s sight. They were all looked after for a time by the governor of the gaol, William Ashton; his wife Charlotte; the guards and turnkeys and sometimes their wives; and by visiting officials – doctors, nurses, the protector for the Aboriginal people, the sheriff, religious ministers, and the colonial governor. It is a fascinating journal, a real treasure, and now that it is known, it is a fabulous addition to the story of early Adelaide.

The cover of Ashton's Hotel, by Rhondda Harris

Find out more about Ashton’s Hotel here.

South Australia on the Eve of War

May marks the annual South Australia’s History Festival. South Australia on the Eve of War was launched on Tuesday as part of the festival.  Here we have an excerpt from book’s introduction, written by Melanie Oppenheimer and Margrette Kleinig.

 

Three individuals – David Unaipon, Catherine Helen Spence and Douglas Mawson – encapsulate the spirit of South Australia in the years between Federation in 1901 and the eve of war. All, too, have graced our paper currency at one point or another, an indication of their national importance. Catherine Helen Spence, who died in Adelaide in 1910, was described as ‘the leading woman in public affairs at the turn of the century in Australia’: South Australia’s Chief Justice further described her as ‘the most distinguished woman they had had in Australia’. At the forefront of the first-wave feminist movement, which included ensuring South Australia was the first Australian state to secure voting rights for women in 1894, Spence became Australia’s first female political candidate, standing unsuccessfully for election as a delegate to the 1897 Australasian Federal Convention.

‘Preacher, author and inventor’ David Unaipon was once described as the ‘best-known Aborigine in the Commonwealth’ in the early twentieth century. Born in 1872 at the Point  McLeay Mission (now Raukkan) on the edge of the River Murray Lower Lakes, Unaipon was, on the eve of war, in his early forties. Interested in ‘philosophy, science and music’ and in recording his people’s oral stories and traditions, Unaipon had ‘led a deputation urging government control of Point McLeay Mission’ in 1912, and the following year gave evidence to a state government Royal Commission into Aboriginal matters.

In early 1914 Douglas Mawson triumphantly returned from the Antarctic, where he had led Australia’s ‘first scientific exploring endeavour beyond the Australian continent’. Lecturer in mineralogy and petrology at the University of Adelaide, Mawson was physicist on the Shackleton expedition (1907–1909) that aimed to reach the South Geographic Pole. While leading the Australasian Antarctic Expedition of 1911–1914, he made scientific advances in ‘cartography, geology, meteorology, aurora, geomagnetism, biology and marine science’.

These three remarkable people, who pushed the boundaries in their own particular spheres in unexpected and very different ways, point to important social, political and cultural developments in late nineteenth- and early twentieth-century South Australia that had an impact both nationally and internationally.

Find out more about South Australia on the Eve of War here.

Australia’s Muslim Cameleers

Australia’s Muslim Cameleers is back in stock (and on its way to Canberra to be gifted by the Prime Minister to some special visiting guests). Between 1870 and 1920 as many as 2000 cameleers and 20,000 camels arrived in Australia from Afghanistan and northern India; each has their own fascinating story.

Dost Mahomed

Dost Mahomed was the son of Mullah Mohamed Jullah of Gaznee. A Pashtun, he served as a ‘Sepoy’ in the British-Indian army before being recruited by George Landells. At 45 years he was the oldest cameleer in the Burke and Wills exploration party. Burke included Dost Mohamed in his advance from Menindee to the Cooper Creek but left him there with Brahe’s party while taking some camels on his desperate dash to the Gulf of Carpentaria. Dost helped supplement the waiting party’s diet with ducks and fish and accompanied Brahe’s party when it left for Menindee on the very morning of Burke’s longoverdue return to the Cooper depot. During Howitt’s Victorian Relief Expedition, which recovered the bodies of Burke and Wills, Dost Mohamed was bitten by a bull camel. It ‘lifted him off the ground and shook him with great ease, as a cat would shake a mouse’. He permanently lost the use of his right arm, and was later awarded 200 pounds by the Victorian Government. After the expedition he worked in William Ah Chung’s market garden in Menindee, where he died in the early 1880s. [William Strutt album, State Library of New South Wales]

Abdul Wahid

Abdul Wahid or Wade, a major camel entrepreneur. Originally from Quetta, he arrived in Australia in 1879. In 1895 he established the Bourke Carrying Company, importing his own camels and cameleers. He helped fund the construction of the Adelaide mosque. Abdul Wade was known for his adoption of western clothes, and later built a large house on Sydney Harbour. Photographed at the Mount Garnet mine, Queensland, 1890s. [13127, State Library of Queensland]

Juma Khan

Under the Commonwealth’s Immigration Restriction Act 1901, intending or returning immigrants faced a dictation test (set in any language), established as a means of keeping Australia’s population ‘white’. [Juma Khan, 53 years, Afghan (1924) was one of the many cameleers who] obtained exemptions from the dictation text, enabling them to visit their homelands and return to Australia.

Find out more about Australia’s Muslim Cameleers here.

Adelaide Entertainment Royalty

While most of Adelaide has settled down for a well-deserved nap following the end of festival season, one favourite festival venue has no time to rest. Her Majesty’s Theatre is continuing its campaign to raise funds for its major upgrade, due to be completed in 2019. In 2013 Her Majesty’s Theatre celebrated its centenary with a beautiful book, Her Majesty’s Pleasure. What better time to look back on Adelaide’s beginnings as a ‘theatre town’ and the birth of what was originally to be called the Princess Theatre?

 

In 1913 Adelaide was home to around 200,000 people; another 210,000 lived elsewhere in the state. Electricity had lit the city’s streets since 1900 and, from 1909, powered the city’s tram network. In show business jargon, Adelaide was ‘a theatre town’. The city’s long theatrical history had begun in 1838 when the ballroom of the Adelaide Tavern in Franklin Street was transformed into a cramped but convivial playhouse. Many other theatres came and went until the city’s first major theatre, the opulent Royal in Hindley Street, opened in 1878, replacing two earlier, smaller theatres on that site. It established Hindley Street as the city’s main entertainment hub.

The Royal catered for the city’s thirst for ‘legitimate’ fare, hosting touring productions of drama, light opera, grand opera and pantomime. Meanwhile, minstrel shows and vaudeville found a home in what had originally been White’s Rooms in King William Street. In 1900 the Sydney-based vaudeville entrepreneur Harry Rickards transformed the 44-year-old venue into Adelaide’s first Tivoli Theatre, presenting there the same parade of international stars and upand- coming locals that were a staple of the other theatres on his busy Australia-wide circuit.

At the same time, Adelaide was quickly falling in love with the movies. Soon flickering films – silent, of course – were unreeling in any available hall, in tents, skating rinks or, in the warmer months, in the open air. One of the first al fresco venues was the Hippodrome in Grote Street, where movies were supplemented with vaudeville acts. Situated next to the markets, it was operated by entrepreneurs Lennon, Hyman and Lennon. In 1908 the American showman T.J. West leased the Cyclorama and transformed it into West’s Olympia, with seating for 2248 patrons. It was reborn in 1913 as the Wondergraph, the first of Adelaide’s grand picture palaces. It dominated Hindley Street, providing a provocative challenge to the Theatre Royal across the road.

There were new live theatres, too. In 1909 Lennon, Hyman and Lennon replaced their open air Hippodrome with a vaudeville theatre, the Empire, though it soon concentrated on films. Another vaudeville venture, the King’s in King William Street, opened in 1911, but it was an uncongenial venue, plagued by poor sightlines and inadequate ventilation. Meanwhile, the venerable Theatre Royal was looking decidedly shabby.

A spread from ‘Her Majesty’s Pleasure’ shows some of Adelaide’s theatres in 1910.

Clearly the entertainment business was booming – a fact not lost on Edwin Daw, a local identity best known as the man behind the city’s fish market and the associated ice-works. Mr Daw was the lucky owner of a large vacant site on the corner of Grote and Pitt Streets, directly opposite the markets and the Empire Theatre. A small stream meandered through the property, which became a favourite place for market stallholders to tether their horses and park their carts. In even earlier times a certain Richard George (better known rather unfortunately as ‘Flash Dick’) lived in a two-storey house on the site, and had stables there.

In those days the market didn’t just sell produce. There were amusements such as shooting galleries, hoop-la stalls and dart competitions, and a handsome first floor assembly room for weddings, balls and community gatherings. The market not only drew large crowds, it also attracted more shops, hotels and cinemas to the area. Canny Mr Daw realised that his empty block was an ideal site for a grand picture palace.

Daw discussed the idea with Albert (‘Bert’) Lennon, one of the trio running the Empire. Business there was booming, and the ‘House Full’ sign was out front most Friday and Saturday nights. A couple of years before, Lennon had gone into a new partnership with another showman, Bert Sayers. Sayers and Lennon Ltd were running successful shows in Broken Hill and were keen to expand to Adelaide. Daw offered the partnership a 30-year lease of the Grote Street site for the development of what was to be Adelaide’s finest cinema. The deal was signed in May 1912.

Three months later there was a change of plans. In August Adelaidians learned that the site was not to be used for a 2500-seat cinema, but for a 3000-seat live theatre to be built, they were assured, ‘on an elaborate scale’.

After that, things moved rapidly. By early October the partnership had commissioned designs from the prominent Adelaide architects David Williams and his brother-in-law Charles Thomas Good. Both South Australian born and trained, they designed everything from private homes to offices and warehouses – and the Majestic and King’s Theatres. Their other notable commissions included part of the Queen Adelaide Club in North Terrace, and St Stephen’s Lutheran Church in Wakefield Street. William Essery and John Hennessy were appointed contractors.

On 14 October 1912 Mrs Bert Sayers laid the foundation stone for Adelaide’s grand new theatre. She proudly announced that it was to cost £31,000, and that it was to be christened the Princess.

The architects’ elevation for what was originally to be called the Princess Theatre. A century later, the elegant Edwardian façade remains virtually unchanged. [Performing Arts Collection of South Australia]

Her Majesty’s Theatre is looking to raise $3 million to complete it’s renewal; you can donate here. Find out more about Her Majesty’s Pleasure here.

Jetties in the Eyre Peninsula

The wild weather last week was nothing more for many of us than an excuse to play cards by candlelight for a few hours. For some people, especially on the Eyre Peninsula, the storms were much more destructive. After seeing pictures of the battered Port Germein jetty on the news, we’ve been thinking about Jill Roe’s memories of the area from Our Fathers Cleared the Bush

 

Jetties have played an important role in the history of Eyre Peninsula. Between the 1860s and the 1920s, some 39 jetties were built along the Peninsula’s estimated 3200 kilometres of coastline, from as far west as Fowlers Bay to Port Pirie on the eastern side of Spencer Gulf and on nearby islands. This may not sound a lot, but, as will be evident from a glance at a map of the peninsula, by the early 20th century the region was well served by coastal shipping – mainly ketches and schooners – and it should be remembered that some stretches of the coastline, especially the majestic limestone cliff faces of the west coast but also some of the sandy eastern bays, were not suited to jetty building, or necessitated the building of very long jetties, as at Port Germein – until recently the longest jetty in South Australia. A telling instance of how tricky the approaches could be is the early pastoral port of Elliston, halfway up the west coast, where it was sometimes impossible for ships carrying essential supplies to enter Waterloo Bay, with its narrow entrance and uncertain tides. The misery that attended the turning back of ships is only too easily imagined.

Our Fathers Cleared the Bush

Many older residents of Eyre Peninsula can recall when the arrival of ‘the boat’ was a main event of the week. At Tumby Bay, where I watched it most frequently, you had to be there at the right moment to see it come in. This meant on a Tuesday at about 2 pm, and thus for me in the early 1950s, during school holidays. There I’d be on the beach, with the small east-coast township at my back, squinting towards Port Lincoln, past the estuary of a mangrove-fringed creek and a then uninhabited rocky headland, hoping to see the Adelaide Steamship Company’s MV Morialta appear on the horizon and watch it berth at the town’s main jetty. There was something exciting about the way it suddenly bore down on you, and the Scottish-built ship had a certain style, due in part to a painted funnel.

There were always people on the jetty to welcome the Morialta, in addition to the wharfies busy loading and unloading cargo. Indeed, on most days you would find people scattered along the jetty, fishing, chatting, and otherwise relaxing. For them, as for many people living on Eyre Peninsula, jetties had become an integral part of life by the 1950s. The regular arrival of shipping at the small ports along the coast provided a focal point for town and country folk alike.

There were two jetties at Tumby Bay at that time. The older, shorter one, which was finally demolished in the 1990s, dated back to the 1870s, when it was built to serve various mining ventures in the hills to the west of the town, and it was still being used a century later for recreation and shade on hot days. It even had a diving board. The main jetty, a longer and stronger construct a few hundred metres to the south, dates from the early 1900s and thankfully still survives. Only just, however. In 1972 the body responsible for the state’s jetties decided that Tumby’s days as a port were over and, with costly maintenance needed on one section of the jetty, prepared to demolish it. When work was about to begin, appalled residents formed a picket line at the town end of the jetty, and the demolition was called off. Since then, with extra funding from local sources, the jetty has been strengthened and is as popular as ever. It features in all the town’s advertising, and is part of its not inconsiderable tourist appeal.

It is no wonder jetties were popular. They enlivened many small coastal settlements and, with many parts of the wheat-growing areas far from the coast, were a godsend to farmers. Prior to the building of jetties, farmers had had to get their grain harvest to the beaches by horse and cart, load it onto small boats and row the boats out to deeper water to be re-loaded onto the waiting ketches – when they turned up, that is. Even after the coming of rail, it was still cheaper in some places to use what was called the ‘mosquito fleet’ in the 1930s. (As a student at the University of Adelaide in the mid-1930s, the historian Russel Ward once worked on ‘the mosquito fleet’ during the long vacation.) With the jetties in place, produce could be brought to storage sheds at the base of the jetty, sent on trolleys up the jetties and loaded straight into holds.

Windjammers at Port Germein

By now, however, the future of these historic constructs is far from secure because, as the story of the Tumby jetty may suggest, they are costly to maintain. In an attractive publication entitled Jetties of South Australia: Past and present published in 2005, compiler Neville Collins warns that, while major bulk-handling ports such as Port Lincoln and Thevenard are flourishing, as maybe some recreational sites are also, the smaller jetties are under threat. Indeed, some have already gone, such as the jetty at the historic port of Lipson near Tumby, which was demolished as early as 1935. Collins does not spell it out, but it seems clear from his outline that the economic underpinning is slipping away and that there will need to be strong community support and a profitable tourist industry to sustain them.

It must have been some subliminal awareness of this situation that caused me to decide, on a journey back to the Peninsula in January 2007 as a preliminary to this project, that I would walk the surviving jetties. And, with a couple of regrettable omissions – of the tiny village of Haslam on Anxious Bay, south of Ceduna, of which I was unaware at the time, and Port Neill, north of Tumby Bay, where I missed the turnoff – I more or less did just that: from Fowlers Bay, baking in the hot sun way out west, to as far as the fish nets piled up on the Cowell jetty at Franklin Harbour, halfway up Spencer Gulf. Admittedly I was not brave enough to walk the entire length of the narrow jetty at Elliston on a chilly Sunday morning by myself, and it seemed enough at the time to find that the now somewhat shortened jetty at the lovely but solitary Louth Bay was still there, but overall it was an enriching experience, and one to be recommended to visitors.

Perhaps it was on one of the jetties fronting Spencer Gulf that I was reminded of the once-ubiquitous advertising slogan, accompanied by the ringing of ships’ bells, ‘It’s time YOU went on the Gulf Trip’. Introduced before World War I by one of the three shipping companies then competing for the coastal trade, the Gulf Trip became a standby of the Adelaide Steamship Company, which had gained a monopoly on the coastal trade by 1915, and proved popular in the interwar years. There were two main variants on offer: a short trip from Port Adelaide to Port Lincoln with a brief stay there (three to four days), and a longer trip from Port Adelaide to Port Augusta with calls at Port Lincoln, Cowell, Whyalla, Port Pirie and the old copper port of Wallaroo (six days). Travel up the west coast was never such an enticing prospect, with long stretches of towering cliffs and some dangerous bays along the way. The most worrisome was surely Elliston, where bad weather and rough seas meant shipwrecks sometimes occurred. Safer harbours further west, at Ceduna in Denial Bay for instance, made things easier, but these remote and not especially productive parts had their own problems. There was even an occasional mishap in the normally placid waters off Tumby Bay, and the waters near ‘the Althorpes’ between Kangaroo Island and the western tip of Yorke Peninsula had a reputation for roughness.

It may sound as if the maritime history of Eyre Peninsula is an uncertain story, for all its variety and interest. It was undoubtedly rough-and-ready at times, and it is true that its most colourful aspect – the great grain races that saw mighty sailing ships arrive in Spencer Gulf from Europe until as late as 1949 – was already becoming a thing of the past by the onset of World War II. But local and coastal shipping still seemed sound after the war, with several larger passenger/cargo ships in operation in the 1950s. MV Moonta, built in Denmark in 1931, lasted until 1955, when its cargo side became unprofitable and it was sold off; it had offered six-day trips from Port Adelaide to Port Augusta and back which took in Kangaroo Island. It ended up being used as a casino on a beach on the South Coast of France. The Morialta, purpose-built pre-war but not brought into service until after World War II, lasted only a year longer, until 1956; a comfortable ship, it was advertising cruises to the smaller ports of the lower Gulf, from Adelaide to Cowell and back via Tumby Bay, Port Neill and Arno Bay in 1950. Three years later, in 1960, the queen of them all, the MV Minnipa – another Danish-built ship which began its 33-year service to Eyre Peninsula in 1927 – was finally withdrawn from service, due to a decline in patronage. With that, the coastal shipping that dated back to 1839 seemed to come to an end.

Read more from Our Fathers Cleared the Bush by purchasing the book here.

So, you want to build a dry-stone wall?

Those Dry-stone Walls 01

Beautiful stone was nature’s gift to South Australia, and an irresistible building material for early settlers. Many stone walls, without mortar or with no more than mud as glue, have defied gravity and the elements all these years. Or did gravity combine with deft balance to sustain them?

In Those Dry-stone Walls: Stories from South Australia’s stone age, author Bruce Munday takes us on a journey across the state, exploring the history of SA’s dry-stone walls, and giving an insight into rural life. Hot off the press, this book is not just for history and nature buffs – it contains a comprehensive chapter (‘So, you want to build a wall!’) on DIY dry-stone walling, for those who are keen to have a crack.

Click here for further information, and to order your own copy!

Those Dry-stone Walls

Below, author Bruce is hard at work on his own dry-stone wall (picture by Kristin Munday).

Bruce Munday_Those Dry-stone Walls