bundaberglibrary.bundaberg.qld.gov.au/sites/default/files/files/ab_v4_n3.pdf · Bundaberg Library....

volume 4 no. 3 - APRIl 08 to JulY 08

bundabergin this issueMarcus goddefroy p5 Childers Festival of Cultures p8Moor hall p12Wild scotchman Festival p20

above: Garth Lena, Porcupine, 2005, porcelain and wood, 38 x 50 x 47cm from Converge: Northern Rivers

Touring Ceramic exhibition 2006 – 2008

seCtion Page no.

EDITORIAL 4Ray McInnerney

LOCAL ARTIST 5Marcus Goddefroy

COMMUNITY FOCUS 8Childers Festival of Cultures

PICTURE BUNDABERG 11Childers Historical Society

LOCAL HISTORY FEATURE 12Moor Hall

ARTS FOCUS 18Bundaberg Festival of Dance

COMMUNITY FOCUS 20Wild Scotchman Festival

LITERATURE FEATURE 24Little Golden Books

COMMUNITY EVENTS 27WriteFest and Get BookedBundaberg Library/Rotary Book Sale

DVD REVIEW 28Agatha Christie: a life in pictures

BUNDABERG ARTS CENTRE 29Beyond the Purchase

EXHIBITION NOTES 31

ACKNOWLEDGEMENTS 35

t a b l e o f c o n t e n t s

TABLE OF CONTENTS �

� EDITORIAL

E D I T O R I A L

This is the first issue of Arts Bundaberg since the amalgamation that has resulted in the formation of the Bundaberg Regional Council. There is now a much bigger area for the contributors to Arts

Bundaberg to cover. Future issues will continue the new mix and I am sure readers will appreciate this exposure to the cultural and historical delights of the Bundaberg region.

What is now known as the Childers Festival of Cultures began in 1996 with an attendance of about 5000. It has now grown to become one of the most significant regional festivals, attracting around 55,000 to 60,000 visitors. Festival Director, Nancy Calder explains how this kaleidoscope of sounds, sights and aromas evolved to become such a successful regional event.

Further north, we visit the Wild Scotchman Festival and learn about James McPherson, Queensland’s only bushranger. Our popular local history features continue with a focus on Moor Hall - another home of character saved from destruction by keen restorers. Moor Hall’s story has an intriguing twist at the end - one that gives new meaning to the spirit of place.

The events of childhood are never far removed as we gain an insight into the puppetry of Marcus Goddefroy. Marcus is our Local Artist feature, and a skilled exponent of an old craft which appeals to children of all ages. This leads to the feature on Little Golden Books. There must be millions of homes around the world which have housed collections of these much loved books – find out how it all began.

If you enjoy dance in all its forms, then don’t miss the Bundaberg Festival of Dance, back after a ten year absence and bigger than ever. And if you wish to know about galleries and collecting, read how the Arts Centre approaches the task.

Future editions of Arts Bundaberg will provide more informative stories about our growing region.

Ray McInnerneyBundaberg Library

LOCAL ARTIST �

M A R C U S G O D D E F R O Y

Life

L O C A L A R T I S T

There’s no other word in the English language quite like “hunky dory” to sum up a situation that’s going well, well

at least that’s what Dutch born Marcus Goddefroy thought when he heard it for the first time in New Zealand 23 years ago. In fact he liked it so much, in time he named his future puppet company after it. Hunky Dory Puppets now in its 13th year operates with wife Carolyn and young son Haley, and has provided puppet shows, instrumental folk music, magic, clowning, story telling, hand and marionette puppet entertainment to thousands of people.Marcus’s creative talents were nurtured at

a young age as he was born into an artistic and musical family. He recalls performing with his father as a street entertainer and when he was old enough he travelled all over Europe making his living as a musical performer.

As a young boy one of Marcus’s earliest memories was watching a puppet show organised by his parents friends. He was spellbound by the colour and drama of it all and it made a lasting impression on him. Although it would be years before Marcus saw another puppet show little did he know that this would be the spark of something bigger to come.


Marcus travelled from The Netherlands to New Zealand at age 21 where he shared his passion for the performing arts as a busker, street performer and musician. Always wanting to challenge himself further Marcus created a puppet which when strung between his leg and a light post would dance while Marcus played music. The response to the puppet was overwhelming and its popularity encouraged Marcus to return to a traditional artform.

After meeting wife Carolyn who shared a similar dream to provide educational theatre, they undertook a Performing Arts Course where they learned professional performance training and how to build on their creative skills from industry experts. With this knowledge behind them Hunky Dory Puppets was born with Carolyn identifying as the “Dory” and Marcus being the “Hunky” in Hunky Dory! After 9 years they decided to leave behind their gypsy lifestyle in New Zealand and settle in Gin Gin, Queensland.

Marcus’s training as a cabinet maker put him in good stead when he started to design his own puppet booths, marionettes, costumes and musical instruments, and is proud to say that all but a

few of the puppets were made by his hands.

Hunky Dory Puppets has since travelled throughout Queensland, Victoria, Tasmania, Canberra, New Zealand and Europe.

Marcus has now added another dimension to his performances by composing and recording traditional music on CD of the music that is played during their shows. Amongst the various traditional instruments that Marcus plays (there were 17 at last count!), is one called the Keyfiddle (Nyckelharpa). Its claim to fame

� LOCAL ARTIST

“Hunky Dory Puppets is all about good old fashioned honest entertainment.”

LOCAL ARTIST �


is as the national instrument of Sweden. This curious instrument is described by Marcus as a

violin with keys. “It hangs across your chest and is like

holding a guitar; you play it by using the wooden keys while at the same time bowing it like a violin in the other hand.”

Marcus lists Peter Pan as his childhood hero, sparking his dream to put smiles on people’s faces and promote non-violent ethical entertainment. As Marcus says “Hunky Dory Puppets is all about good old fashioned honest entertainment”.

Their young son Haley enjoys helping with the shows, and playing with the many and varied props his dad is always making, as well as learning to play a small fiddle and can now operate his own Puss in Boots marionette puppet.

Hunky Dory Puppets have performed for senior citizen groups, schools, kindergartens, children’s birthday parties, agricultural shows, and at festivals and functions,

including several community events at the Bundaberg Arts Centre where their shows have been eagerly received. Marcus and Carolyn pride themselves on being able to design programs to suit the needs of the group, with their shows ranging from pirate stories to literacy, art appreciation and robots.

With a grin on his face Marcus enthuses “follow your passion and you’ll always succeed” - Hunky Dory puppets are definitely living proof of that.

To contact Marcus and Carolyn Goddefroy of Hunky Dory Puppets for a booking or further information:

Website http://www.hunkydorypuppets.com.auPhone: (07) 4157 2846Email: [email protected]: 0422 549907

Roana O’Neill- Bundaberg Arts Centre

� COMMUNITY FOCUS

C H I L D E R S F E S T I V A L O F C U L T U R E S

Held annually at the end of July, the Childers Festival of Cultures celebrates the rich diversity of the Bundaberg Region and

beyond. Known as ‘the friendliest festival’ by its regular visitors, the festival sets out to create an atmosphere of openness and warm hospitality in which attendees can listen to music from around the world, eat exotic foods and shop until they drop at the 450 stalls which are set up along tree lined Churchill Street.

Originally known as the Childers Multicultural Festival, the event started in 1996. The attendance that first year was around 5000. The following year the

visitor numbers doubled and from there the Festival has grown into one of the most significant regional festivals with current attendance around the 55,000 – 60,000 mark.

The Festival of Cultures is a free event with no entry fee.

As the Festival grew organizers decided to close the Bruce Highway and re-route the traffic through side streets to allow for safety through the Festival area. This was done in conjunction with Queensland Main Roads and Police. The Festival relies on the local police force, SES and volunteers from community groups to make it such a well

COMMUNITY FOCUS �


run event. The Council and the community invest time, money and energy in the event because it brings great economic and social benefits to the whole area.

In 2002 the festival was rebadged to become the Childers Festival of Cultures. This opened up more opportunities for the scope of performances. Now Indigenous and Torres Strait Islander cultures could be included and different musical styles from gospel to folk could find a place on the program.

Each year the Committee comes up with a theme or a new idea to revitalise the event. For example in 1998 we had a large Japanese contingent of artists come to

Childers for 10 days and perform workshops for all ages from Kindergarten and Primary School students to Adult Art Workshops along with an Exhibition brought out from Japan and held in the Childers Regional Gallery.

In 2007 the entertainment was themed “The Beat on the Street”, and performed on seven stages throughout the main street of Childers, with groups from Africa, the Caribbean, Mexico, Ireland, Ghana and Tibet. Music rang out from the Pan Pipes of the Andes and Tibetan Throat Singers. The beat was picked up by Middle Eastern belly dancers and the rock ‘n’ rollers and line dancers from closer to home!

10 COMMUNITY FOCUS


2007 also saw a visit to Childers by Tibetan Monks of His Holiness the Dalai Lama. They performed their haunting chanting during Festival Day in the Cultural Centre and created the Sacred Sand Mandala. Hundreds visited during the day to listen to the meditation sessions and to watch the magnificent process of mandala construction using coloured sand brought to Australia from Tibet. This was the first time that a ‘quiet’ space had been created in the festival and it was a popular move.

The children and youth of the community are never forgotten in festival planning. Children’s entertainment is provided by many first class artists from all over Queensland who engage young people in street theatre. Then there are always the rides and slides! The best connection for this younger age group however is in the workshops planned for the week before the Festival. Visiting artists go around all the local primary and high schools and work directly with the classes. One year they will be learning African dance or hip hop, another they will be singing or learning to make objects with lawyer cane.

Seasoned Festival attendees find the best way to sample the cuisine of the Festival of Cultures is to adopt a ‘grazing’ approach to the day. For several years the Festival Committee has held Gourmet Cooking Classes with Guest Chefs. These are always

popular and have included Italian, Thai, sushi making and cheesemaking. Winery stalls are dotted throughout the Festival area and patrons are able to enjoy wines from across Queensland.

While you may have to park along the highway if you come later in the morning, a Shuttle Bus service is provided to ensure ease of access to the Festival area. Disabled parking is also available in a designated and supervised area. Visiting coaches have an allocated parking area with the service of a connecting shuttle bus to the Festival site.

Emergency Services including Police, Ambulance and Fire Brigade and SES are on hand to assist if the need arises.

The 2008 Festival will be held on the weekend of Saturday 26 and Sunday 27 July – with Sunday 27 being the main festival day. Stage programs start at 9.00am and go through to 3.30pm. The rhythmic sounds this year will lead you into “Salsa City”. That red hot salsa movement will have you dancing in the streets. So, feel the rhythm, follow the aroma and find your way there!

For further info contact Festival Director Nancy Calder, 4126 2827 or Childers Visitors Centre, 4126 1994.

Nancy Calder- Director, Childers Festival of Cultures

C H I L D E R S H I S T O R I C A L S O C I E T Y

Picture Bundaberg welcomes both Childers Library and Childers Historical Society as new contributors to our collection of digitised images of Bundaberg region. With the amalgamation of our shires has come the opportunity to broaden the area covered by Picture Bundaberg to areas such as Woodgate, Childers and Gin Gin.

Childers residents have already responded to calls for photos from Childers Library Co-Ordinator Denise Rapkins, and some of those early photos are shown here for the first time.

Lynne Smith, of the Childers Historical Society, has delivered the first collection of images to be digitised, and plans are underway to focus on some of the more intriguing images from the Museum in upcoming issues of Arts Bundaberg.

Picture Bundaberg will be launched at the end of 2008, and collected images will be catalogued and displayed on both the Bundaberg Regional Library OPAC, and the Picture Queensland and Picture Australia websites.

If you have photos, slides or film strips of the Bundaberg region that show some aspect of our history, we are interested in scanning and digitising a copy for our historical records. For further information, contact Sue Gammon at Bundaberg Library, or Denise Rapkins at Childers Library.

Sue Gammon- Bundaberg Library

Clockwise from top: Shark caught at Woodgate Beach, On the beach at Woodgate, First Motor Buggy in Childers, Isis District Hospital.

11

M O O R H A L L

12 LOCAL HISTORY FEATURE

LocaL History Feature Moor Hall

LOCAL HISTORY FEATURE 1�

M O O R H A L L

The story of Moor Hall is one which encompasses many aspects of Bundaberg history, from the Payne family to Alexander Walker and

his purchase of the Bingera cattle station. It is also the story of a family who moved to Bundaberg from Brisbane, and found themselves caught up in the history and tradition of a beautiful house.

Greg Callaghan and his family saw an advertisement in the Courier-Mail in October 1996 for a home for sale near Bundaberg. The real estate advertisement mentioned a Queenslander near Bundaberg, backing onto the river with 60 acres of land.

F.W. Payne

The house purchased by the Callaghan family in 1997 was in fact Moor Hall, one of Bundaberg’s oldest homesteads, which was built in the 1890s. Frederick William Payne was born in Essex, England, and emigrated to Australia as a young man in search of adventure, after obtaining a degree of Master of Laws and being admitted to the Inner Temple in London as a barrister. He was

readmitted as a barrister in Queensland, and settled in Bundaberg to practice as a solicitor in 1887.

Frederick Payne bought land on 307 Bourbong Street across from the old Mater Hospital, built a house and named it after his home in England. Moor Hall was set in beautiful gardens, with immaculate lawns and a fountain as a centerpiece. According to the Bundaberg Daily News of 1931, “…Mr Payne was an enthusiastic gardener and the grounds at his home in West Bundaberg were one of the showplaces of the city. Every morning, with his son Mr J.C. Payne, he was out doing the work so essential to the maintenance of a well-ordered garden.”

Mr Payne was a well-respected member of the Bundaberg community and served many years as the Bundaberg City Council’s City Solicitor. In later years, the legal firm of F.W. Payne became Payne and Payne His company F.W.Payne, was renamed Payne & Payne after he was joined in the practice by his son Jack Payne. After retirement Frederick Payne became a member of the committee of the School of Arts, and was an enthusiastic

M O O R H A L L

1� LOCAL HISTORY FEATURE

supporter of Christ Church Anglican Church and Parish. Some years prior to his death, F.W.Payne purchased virgin land near the Elliott River, turning it into two cane farms – Alloway and Calavos. While many local farmers thought farming in scrub was a foolish venture, as the land was not considered suitable for cane, Alloway and Calavos became two of Millaquin’s best producing cane farms. J.C. Payne

Moor Hall was the residence of the Payne family for many years, with son John (Jack) C. Payne taking over the family business until his sudden and tragic death in 1954. Jack Payne was awarded the Military Medal in World War I after being badly wounded in the face while saving an officer under fire. Like his father, Jack was an enthusiastic gardener, working in the gardens of Moor Hall every morning before going to the office. After World War II, grandson Fred Grose joined the firm, which became Payne & Grose, then in 1969, with the arrival of Graham Redhead, it changed

to Payne, Grose & Redhead. According to the Bundaberg News-Mail of 6 December 1954, Jack Payne was found by a neighbour next to his lawnmower at 3pm the previous day. It appeared that he had almost completed mowing the lawns of Moor Hall when his electric mower severed the power cord, which was lying in a pool of water.

Like his father, Jack Payne was respected and loved by the Bundaberg community. Mayor Fred Buss commented, “The people of Bundaberg and district are very much the poorer for Mr Payne’s passing. In countless homes a deep sense of sorrow will be felt by those who honoured and admired his character and personality. His memory in this city will endure for generations as a Christian gentleman, gallant scholar, orator, wise counselor and loving friend to so many.”

Changes

Jack Payne’s widow lived in Moor Hall for a number of years after his death, maintaining


M O O R H A L L

the homestead and gardens, then moved away from Bundaberg. The house was sold to Bundaberg Broadcasters, then in 1986, Stencraft Pty Ltd bought the homestead for $10,000 and dismantled it by cutting it into 3 sections. The house was moved at a cost of $21,000, to its present location on Bingera Station and reassembled.

One of the Directors of Stencraft, Mr Dan Murphy told the News-Mail that “the house had been in an appalling condition when purchased, but its full potential was gradually being realized. Anything which is in any way faulty or damaged is being replaced, although the house still contains some beautiful red cedar paneling. The front door alone, which is red cedar, would be worth between $1,000-$5,000.”

Stencraft had plans to restore Moor Hall to its former glory - a 60 square weatherboard and pine house with 14 rooms and a ballroom - with an allocated budget of $100,000 for

restoration work. It would then be used for either a private residence or for other ventures. The new location lent itself to a wide variety of possibilities, with the

property having river frontage and surrounded by 180 acres of gentle hills. The land on which Moor Hall is now situated is part of the historic Bingera Cattle Station.

alexander Walker and bingera station

Alexander Walker was one of the earliest settlers in the Bundaberg area, having established himself as both proprietor of the first hotel in Gayndah, and a successful businessman around the town. He had emigrated from Scotland to NSW in 1848, employed as a Doctor’s assistant on board the ship “Emperor”, which also carried Bundaberg pioneers John and Gavin Steuart.

Richard Purves Marshall had originally leased Bingera 1, 2 and 3 in 1854, but had never stocked the runs and paid only one year’s rent. Alexander Walker then bought the Bingera runs as they overlapped his existing property

right: Pram in nurseryFacing page left: Ceiling detail,Facing page middle: Chandelier, Facing page right: Table in foyer.

1� LOCAL HISTORY FEATURE

M O O R H A L L

Branyen (now Branyan), and stocked and settled Bingera Station in 1859. After his death from a fall from a horse in 1879, Bingera Station was inherited by his son Alexander Christie Walker and subsequently remained in the Walker family until the 1980s.

Moor hall resold

The Walker family sold the land along Walkers Road in 1985, and Stencraft split the property into large blocks of land between 60-180 acres, for residential sale. Shortly after the restoration of Moor Hall, it was sold privately and used as a Waterski School for about a year. The advertisement in the Sunshine Coast newspapers described it as: “...four large bedrooms, formal lounge and dining room area,

sunroom and family casual dining, office and feature kitchen...also a separate self-contained

caretaker’s cottage, and 180 acres with river frontage”

This description would change very shortly, when the house was sold again and purchased by Ray Shadbolt, who split the property into 3 sixty acre allotments. Moor Hall remained on the old homestead site overlooking the Burnett River and once more came up for sale in 1996, when the Callaghan family purchased the property.

Greg and Rosemary Callaghan moved from Brisbane to Bundaberg in 1999, after letting Moor Hall to several tenants over the intervening years. The house was cleaned, and the gardens extensively landscaped, with an avenue of trees planted leading up to the property. The original iron roof vent was found abandoned in one of the paddocks with other rubbish, and carefully transported to Cooroy to be restored, then refitted on the roof of the house. This roof vent can be seen clearly in the sketch of Moor Hall which appeared in From Two Pens.

In the years since the Callaghans moved here and opened the Tradewinds Bakery on Woondooma Street, they have become used to odd coincidences and stories regarding Moor Hall.

M O O R H A L L


Charles hazzard

Greg Callaghan recalls attending his first auction in Bundaberg at Ray Whites to buy some car parts, only to be told by his wife and son that there was a picture of Moor Hall on display. Inside the auctioneers was a collection of seven Charles Hazzard paintings being sold as a job lot, and one of the paintings was of Moor Hall shortly after its restoration.

According to Bundaberg Arts Centre’s Exhibitions Officer Bianca Acimovic, Charles Hazzard is a Bundaberg painter of some significance, and became a member of the Bundaberg Art Society in 1948. Charles was a skilled draftsman, and became a passionate watercolourist, spending many weekends driving around in his Austen 7 painting local scenery.

Presumably Charles Hazzard was commissioned at some stage to paint Moor Hall, as locals remember seeing the painting in the front living room at Moor Hall. The Callaghans bid on the painting individually but were not initially successful, although managed to buy it some time later privately. The painting is back on the wall in the living room at Moor Hall now, after many years absence.

ghosts?

Many would agree that an historic home is not really historic unless it comes with a ghost or two. Whether you are a believer or not – and Greg and Rose were in the latter group – many odd incidents over the years have yet to be explained.

Unexplained incidents around the house over the years have mystified the owners –

cupboard doors too high to reach in the kitchen are regularly found open after being shut tightly with brooms.

pots and pans are heard rattling in the

kitchen in the middle of the night, with no-one there when investigated.

music from the 20s and 30s is heard playing faintly through the house on quiet nights.

the side doors to the house, with barrel bolts, are found unlocked when the owners return home.

The Callaghans have no firm thoughts on their extra guest in the house – they believe it adds character to the old homestead, and after all, there’s plenty of room for everyone in Moor Hall.

Over the years they have researched the origins of the house and the Payne family, as well as scouring sales and yards for furniture that will enhance the interior. Moor Hall and its history has become an interest and a passion, and Greg believes it is important to preserve the house, not just for their family, but as a significant piece of Bundaberg’s heritage.

Many thanks to Greg and Rosemary Callaghan for sharing their story of Moor Hall, and allowing photographs to be taken. Thanks also to Fred Grose for photos and information regarding the Payne family, and the Bundaberg Arts Centre and Bundaberg Historical Museum for additional information.

The illustration of Moor Hall is from the book From Two Pens, by Trevor Lyons and N. Rackemann, published by Glovers Printing Works. This book is now out of print.


ReferencesBundaberg News Mail, various issues, 1931-1986.Lyons, Trevor. 1984. From Two Pens.Walker, J.Y. 1890. The History of Bundaberg.

bundaberg festival of

Dance

What do the names Anna Pavlova, Rudolph

Nureyev, Fred Astaire and Ginger Rogers bring to mind? You got it…. Dance!

Each Easter for the past 30 years, the Bundaberg Festival of

Dance has been an important event on the regional dance calendar.

Thousands of eager young dancers have strutted, tapped, leaped and

shimmied across the stage. This is a big year for the dedicated committee

as they will play host to the prestigious 115th Annual Queensland Eisteddfod of

Dance, an event which occurs here every 10 years. Bundaberg is popular throughout

Queensland as attested with 1400 entries, from Brisbane in the south to Ayr in the North.

This is largely due to the ethos adopted by the festival committee: To foster a relaxed and friendly

atmosphere thereby promoting a more enjoyable experience.

Committee President Kathy Robinson said the professional adjudicators were always complimentary on

the standard of the local dancers – “Not only their dance skills but the overall effect with costumes and grooming.

This reflects on the high standards of the local dance schools.” Kathy went on to say that “Dance is an important

part of the arts, not only does it allow freedom of expression and interpretation it also encompasses the art of story telling and gives

a visibility to the accompanying music.”

‘Master technique and then forget about it

and be natural’. Anna Pavlova.

1� ARTS FOCUS

B U N D A B E R G F E S T I V A L O F D A N C E

bundaberg festival of

DanceIn this year’s Queensland Dance Eisteddfod there are 8 main facets of dance being performed: classical ballet, tap, modern, acrobatic, cabaret, national, character and of course song and dance. Children as young as four start learning skills, techniques, poise and importantly confidence - qualities to help them embrace life.

The introduction of acrobatics in more recent years has added another aspect to the dance genre, and Bundaberg has some outstanding acrobats. Dianne Smith, an Australian Acrobatic Judge, said “The Melbourne based NCIA: National Institute of Circus Arts, has accepted three Bundaberg girls to attend their facility in past 4 years. There is no other facility like it in Australia and vacancies are extremely limited.”

Bundaberg has never been short on talent. Vince Lombard once said “Hard work is the price we must pay for success”. Darren Smith, Darren Anderson, and Kristy Lee can well attest to that. They have each trodden the boards at the Bundaberg Festival of Dance as they grew up, and have gone on to achieve their dreams.

Darren Smith: joined the Australian production of Cats in 1994 playing the role of Tumblebrutus. He accepted a 12 month contract with Cats in Hamburg, Germany

and also toured Singapore, Seoul, Hong Kong and Antwerp. He then joined the cast of Miss Saigon in Holland. Darren is currently performing in Cirque Du Soleil’s new show KA in Las Vagas.

Darren Anderson: studied dance at QUT in Brisbane then did an Honours Degree in Contemporary Dance in Perth. In 2005 he toured with Vincent Dance Theatre in Broken Chords, travelling throughout Europe and New York. He was also in Opera North’s Dido & Aeneas /Les Noces. Darren is currently performing in To Die For, with H2 Dance touring the UK, Norway and Sweden.

Kristy Lee: has been working in the Tokyo production of Disneysea in the role of Ariel. In the show Kristy Lee uses aerial ballet as she is harnessed to perform high above the audience. Kristy Lee is now based in Las Angeles and freelances with her dancing and modeling. She recently completed a gig with Britney Spears.

If you are looking for something to do during April 5 – 12 come along to the Bundaberg Festival of Dance Queensland Eisteddfod… three sessions daily very reasonably priced for the quality of entertainment you receive.

Maria Achurch- Moncrieff Theatre

ARTS FOCUS 1�

left: Darren Anderson, right: Holly Lee Pitt, Sarah McLellan and Darren Anderson.

Annually, around the end of March, the Kolan Shire celebrates a piece of their history with the Wild Scotchman Festival. ‘Queensland’s

only bushranger’1, James McPherson (aka the Wild Scotchman), was captured on Monduran Station, outside Gin Gin, on 30 March 1866.

‘sCotChMan’ or ‘sCotsMan’

While many have said that ‘Scotchman’ is incorrect, this spelling is used by festival organisers because it is how James McPherson signed his own name in a letter he wrote to the Burnett Argus in 1865.

20 COMMUNITY FOCUS

Queensland's only bushranger

W I L D S C O T C H M A N F E S T I V A L


COMMUNITY FOCUS 21

Festival beginnings

The Festival was developed to promote the Kolan Shire by the Gin Gin and District Historical Society and the Gin Gin Business and Tourism Council. The first Wild Scotchman Festival was held in 1990. It was held in April that year to coincide with Queensland Heritage Week. However,the following year it was moved to the end of March to coincide with the anniversary of the bushranger’s capture.

The Festival has been held as both a weekend and week-long celebration. In its inaugural year, it was the Wild Scotchman Week, and events included a golf carnival, Gin Gin Pony Club display, SES display, flea market, fun run, and a re-enactment of the Wild Scotchman’s capture. Through the years events have variously been held in Gin Gin, at Monduran Station (where there is a plaque commemorating the capture), and at Gin Gin Station.

desCendants

While it is not believed that any descendants of James McPherson currently reside in Gin Gin, many descendants have travelled to Gin Gin over the years

to participate in the festival. In 1991, 42 descendants took part in a ‘reunion’ barbecue at the Gin Gin Historical Museum.

Mrs Edna McPherson Sabato of Maryborough, the Wild Scotchman’s great-great niece, regularly attends the festival. In 2000 she suggested that Scottish McPherson clan chief, Sir William Alan McPherson, combine a trip to Australia with the festival. He and his wife Lady

McPherson attended the festival and were very impressed with the activities and the people they met – many of them McPherson clan members.

reCent Festivals

In more recent years the traditions have continued with a weekend of activities which the whole family can enjoy. The Festival has expanded to include as many community groups as possible, and displays and activities over the last few years have included highland dancing, cloggers, horse sports, art competitions, the Gympie Lighthorse, and a Scottish band. And, as has become one of the main highlights, the capture of the Wild Scotchman is


re-enacted, much to the crowd’s delight.

the Wild sCotChMan

James McPherson was born on 27 August 1841 in Scotland. The McPherson family emigrated to Australia, landing in Brisbane in

January 1855. They initially settled on Cressbrook Station and it was here James first began to learn horsemanship and gunmanship.

Well-educated and very literate, the 18 year old James was apprenticed to the builder John Petrie, who in 1859 became Brisbane’s first Mayor. McPherson was also active in the local Debating Society and was a member of the Municipal Library.

Apparently unhappy in his apprenticeship, he suddenly left this employment to take up shearing in North Queensland with two mates. After being refused payment, they left the Station and held up a hotel near Bowen in March 1864. The Publican was accidentally shot in the face by McPherson.

MCPherson’s Wit

He was eventually captured in New South Wales and extradited to Queensland but escaped by jumping ship in Mackay. After his escape he made his way through Queensland and began robbing the mail. McPherson was polite and conversant during these incidents and was renowned for not being violent.

On 27 November 1865 McPherson held up the Gayndah-Maryborough mail twice. Gayndah police caught up with him the next day but the Wild Scotchman laughed and continued on his way.

After reading an account of his exploits in the Burnett Argus, McPherson wrote to the paper to put forth his own views. He said, rather wittily, of Policeman Bligh:“…the chance which he had of my capture arose from a sudden fit of generosity on my part, as from the shaking, oscillating tendency of his knees and the pallor of his countenance, I thought he had been suddenly attacked with the fever and ague.”2

McPherson didn’t confine his literary expression to letters to the editor. He was also a poet. During his time in prison and up until the time of his death McPherson wrote poetry. Many of his poems were printed in the Charters Towers newspaper The Eagle under the name “Poor Jim”. McPherson was also apparently set to pen his life story for The Eagle but passed away before this was completed. Some of his poems may be found on the Wild Scotchman web site (see reference at the end of this article).

CaPture at Monduran station

The Wild Scotchman was around Gin Gin Station on 30 March 1866. He was looking for fresh horses (which he didn’t find) and an opportunity to rob the mail. Somewhat audaciously, he went up to the homestead to ask when the mail would be passing through and how far it was to Kolonga (west of Monduran).

above: James McPherson

22 COMMUNITY FOCUS

COMMUNITY FOCUS 2�


McPherson then headed towards Monduran. As those at Gin Gin had recognised him, one of the Station’s stockmen escorted the mail to Monduran in order to warn others. The Monduran Superintendent gathered a party to pursue the bushranger. They caught up with him and McPherson tried to outrun them, but his horse was too fatigued. Overnight he was chained to a tree outside the homestead. The next morning McPherson was taken to Gin Gin Station to await the arrival of police from Maryborough.

At his trial he was found guilty of two counts of robbery under arms. The sentence imposed was 25 years in prison which he was to serve on St Helena Island, Moreton Bay. McPherson once attempted escape, but it was unsuccessful, and it wasn’t until a petition was sent to the Governor that he was released from prison on 22 December 1874 after serving 8 years.

Post bushranging years

Upon his release McPherson worked as a stockman. He met his wife Elizabeth Ann Hoszfeldt and they married on 21 December 1878. They moved to Hughenden and then Burketown and had seven children (one of whom died in

infancy). He was well-regarded despite the locals knowing of his past.

Soon after attending the funeral of a friend on 20 July 1895, McPherson fell from his horse which then landed on top of him. He suffered a fractured skull and internal injuries and never regained consciousness. James McPherson, the Wild Scotchman, died on 23 July 1895, and was buried in an unmarked grave in Burketown cemetery.

Peta Browne- Bundaberg Library

Many thanks to Monika Longbottom and Barry Johnson for sharing information and photos for this article.

Keep an eye on local media for the dates of future festivals.

References:1Bundaberg News Mail, 21 Apr 1990.2 http://www.sabatech.net/Scotchman/ArgusLet.htmlhttp://www.sabatech.net/Scotchman/ws-wspoem.htmlMcCarthy, P. H. 1975. The Wild Scotsman.Bundaberg News Mail, various issues, 1990-2006.

Most of us would agree that Golden Books definitely have a fond place in our memories of childhood – after all, titles such as Tawny Scrawny

Lion, Three Little Kittens and The Poky Little Puppy, have remained favourites for generations of children. In fact, The Poky Little Puppy was listed by Publishers Weekly as the top children’s hardcover bestseller, with 15 million copies sold since its publication in 1942. But would we believe that they changed

publishing forever? That’s a big statement, and, as it turns out, absolutely accurate.

Before Golden Books, the concept of supermarket retailing of books was an unknown, at least until an enterprising salesman by the name of Samuel Lowe approached a five and ten cent retail chain in 1918 and persuaded them to sell cheaply printed books printed by his company.

The company was then known as Whitmans, and based in Racine, Wisconsin. Major retailers such as Woolworths not only made space for children’s books next to the household items they usually sold, they also agreed to sell the books year round, instead of only at Christmas. Market research discovered that parents were happy to buy books in April and June as well as December, as long as the price was cheap. Over the next few years, a number of novelty lines were introduced by Whitmans, including small square novelty books called Big Little Books. These were created by Sam Lowe and based on comic strip, radio and motion picture characters, and were a triumph of book design and marketing know-how. They generated so many imitations by other publishers, that Lowe renamed them Better Little Books in 1938.

In 1933, Lowe approached the most attractive licensing group of all time – Walt Disney. With sales of over 500,000 of the first two Big Little Books, Disney was keen to publish a Mickey Mouse book with the Whitman Publishing Co. As it turned out, the Disney Company was so happy with the results, they

L I T T L E G O L D E N B O O K S

Golden Books LITERATURE FEATURE

– American Icon and Publishing Innovator

2�

LITERATURE FEATURE 2�

signed an exclusive licensing agreement with parent company Western, covering all their characters in all book formats, and this agreement lasted well into the 1980s.

In 1942, Western, in partnership with Simon & Schuster, published the first 12 titles in a new line of 25c children’s books called Little Golden Books. Many traditional booksellers passed on the opportunity to stock these books, believing that customers would assume the price indicated inferior quality books, and the price of the books would not generate enough profit, no matter how many copies they sold. They did regret this decision.

Bookbuyers from some of the nation’s biggest department stores (Macy’s, Gimbels, Marshall Field’s) snapped up the catalogue, and ordered in huge quantities. The first day of release of the Little Golden Books, 600,000 titles sold out, and Western could not keep up with reprint orders. Stores were reporting that customers didn’t pick and choose titles – they bought them all.

Reaction from professionals was very negative – libraries refused to stock Golden Books, placing them in the same basket as the mass-produced Stratemeyer titles such as Nancy Drew and The Bobbsey Twins. As

a result, staff at Golden Books made sure their product had immediate visual impact to encourage purchase.

The early Little Golden Books only displayed the title on the front cover, no author or illustrator. They were numbered, to encourage collection, and in a stroke of genius, a name plaque was printed on the inside cover for the owner. Advertising emphasized the visual appeal of the books, as the company believed that while text mattered, the books would succeed or not on the strength of their graphics. And the company was proved correct - even though America was in the middle of World War II, with paper shortages and rationing, Little Golden Books went into a third reprint of their first 12 titles, with 1.5. million copies sold. The list of authors who contributed stories and illustrations to Little Golden Books is a Who’s Who of American and European talent. From Margaret Wise Brown, Garth

Williams, Anita Lobel and James Marshall to

Richard

Scarry and Tibor Gergely, and illustrators such as Gustaf Tenggren who went on to work for Disney Studios.

Over the years, ownership of Little Golden Books has changed several times, and in 2001, Random House bought Golden Books for 85 million dollars. The same year, the Little Golden Books Classic Line was launched, reprinting old favourites that were in demand, including The Saggy Baggy Elephant, The Little Red Caboose and Scuffy the Tugboat.

For the complete Little Golden Books story, with interviews with many of the original illustrators, have a look at Golden Legacy, by Leonard S.Marcus, with a foreword by Eric Carle. This beautifully illustrated book chronicles the complete history of Western and LGB over the last 65 years, and is a must for anyone who still has a favourite Little Golden Book tucked away somewhere in a bookshelf at home.


Referenceshttp://childrensbooks.about.com/cs/

publishers/a/goldenbooks.htmlhttp://en.wikipedia.org/wiki/Little_Golden_Books.html

http://www.randomhouse.com/golden/lgb/story.htmlMarcus, Leonard S. 2007.

Golden Legacy.

L I T T L E G O L D E N B O O K S

2� LITERATURE FEATURE

Bundaberg’s annual writers festival, WriteFest, will be held on Saturday 17th May at Central Queensland University. This full day of

workshops and panels by industry professionals (authors, editors and agents) is essential for aspiring to advanced writers who wish to further their skills and knowledge.

Workshops cover a wide variety of genres and due to the hands-on nature of some, have a limit to the number of participants.

For the first time, the Bundaberg Writer’s Club (BWC) is offering a second day for readers as well, so ‘berry’ yourself in books at Get Booked On Sunday at Bargara Berries on Sunday 18th May at 10am. You don’t have to be a writer to get involved – just be interested in books and authors. This free event offers author talks and a demonstration of Iaido, the martial art of the samurai sword.

Order yourself a coffee and some food, and enjoy the panel discussions.

Book signings also available with selected authors. Full details can be found at www.bundywriters.com or email [email protected]

COMMUNITY EVENTS 2�

C O M M U N I T Y E V E N T S

WRITEFEST AND GET BOOKEDCOMMUNITY EVENTS

bundaberg library/ rotary Club oF bundaberg eastbook sale

Due to community demand, the Bundaberg Library Annual Book Sale is back and bigger than ever! The Rotary Club of Bundaberg East has been diligently collecting old books and unwanted donations from the Library for the last year, and has thousands of items from books and magazines, to children’s games and posters, with prices starting at 20c.

The Book Sale will be held at the Civic Centre Auditorium on Saturday July 5, from 8:00am until 2:00pm. All proceeds raised will go to Bundaberg Friends of the Library, and Rotary Literacy programmes, which include the Rotary Readers.


A G A T H A C H R I S T I E : A L I F E I N P I C T U R E S

2� DVD REVIEW

DVD REVIEW

Agatha Christie: a life in pictures(ABC: 2005, 90 minutes)

Almost everyone has heard of Agatha Christie, the “Queen of Crime”. There are over 2 million of her books in print and she is the

highest selling author of all time (after the Bible and Shakespeare). Her two best known characters, the Belgian Hercule Poirot, and Miss Jane Marple, have been portrayed in successful TV series.

Agatha Christie: a life in pictures opens with an older Agatha Christie attending a function for the 10 year anniversary of her play The Mousetrap. The narrative then swaps between the older Agatha being interviewed about her writing by a succession of journalists, and a younger Agatha under hypnosis at her psychiatrist’s office where we learn more of her personal life. This is quite an effective method for telling Christie’s story, and authenticity is added by the fact that the filmmakers have based the story on “…documented accounts and the actual words of Agatha Christie.”

While we learn much about Christie’s writing the focus of the film is on her mysterious 10 day disappearance in 1926. The real reasons for the disappearance have never been told but Christie was certainly upset over her mother’s death, and her husband’s revelation of an affair and request for a divorce. The

case received very wide and concentrated media attention and there were many who thought it may have been a publicity stunt.

Actress Olivia Williams very ably portrays Agatha, while Anna Massey plays Agatha in her more senior years. Interestingly, the young actress portraying Agatha Christie as a child is none other than Bonnie Wright, who plays Ginny Weasley in the Harry Potter films. Also look out for the character of ‘the gunman’, a frightening presence with the most amazing eyes.

Although you never really feel you’ve quite got a handle on who Agatha Christie really was, Agatha Christie: a life in pictures provides very interesting insight into this most famous of authors.

See the official web site at http://uk.agathachristie.com/site/home/ for more information on Agatha and her works.

Peta Browne- Bundaberg Library

BUNDABERG ARTS CENTRE 2�

BUNDABERG ARTS CENTRE FEATURE

Beyond the Purchase

Walking into an art gallery, you are guaranteed to see art of some form, but beyond the walls and spaces that are publicly

accessible, lie stores and rooms that house the gallery’s permanent collection. On average, only 2% of collections are on display at any one time, leaving most of the permanent collection stored within the bowels of the gallery.

Considering these figures it seems relevant to ask:

what is the purpose of collections? what is the significance of the action of

collecting? what happens to the artworks after they have

been collected?

Art galleries tend to consider collections as significant aspects of their operations, and indeed they are. Collections are a key component to galleries’ overall operations. They form the basis for other functions that galleries undertake, including research, developing exhibitions and fulfilling an education and outreach capacity.

Through collections, galleries undertake the role of a safe house by providing both space and environmental conditions to enhance the longevity of the artworks. As a result of this process, galleries assist societies and cultures to preserve what is significant, to both their history and future. In preserving significant material, the act of collecting is undertaken with the intent for this material to last beyond the lifespan that it was probably designed to have.

above: White cotton gloves worn when handling artworks, adhesive felt pads placed

on the back corners of framed works, tape measure to record measurements and a spirit level to ensure the works are level

above: 24hr thermometer to record maximum and minimum temperatures, dust tape use to

seal the back of framed work, adjustable air-conditioning controls

above: 24hr thermometer to record maximum and minimum temperatures,

white cotton gloves worn when handling artworks, acid conservation tape use to

adhere two surfaces

B E Y O N D T H E P U R C H A S E

T H E C L U BB E Y O N D T H E P U R C H A S E

Due to the long term commitment involved in the decision to collect, the process of collecting is extensive. The process takes into account a broad range of factors including that of ‘the social history of the area, its condition and how it could sit within the established collections’ (Kavanagh; 1999).

The established collections of the Bundaberg Arts Centre are comprised of the Dr Egmont Schmidt Collection, the Bundaberg City Council Corporate Collection, the Bundaberg Arts Centre Collection and the Bundaberg Public Art Collection. All acquisitions by the Bundaberg Arts Centre are placed within

these identified collections.Preservation forms the nucleus of the role of the Conservator, who works closely with (or in some cases is the same person as) the Registrar and/or Collection Officer. At the Bundaberg Arts Centre, it is part of the position of the Exhibitions Officer. With conservation being a specialised area, the Arts Centre has contractors who also assist with the preservation of the collection. All people associated with collections in galleries attempt to pause the ‘biological clock’ of artworks. The process of conservation is an ongoing one, as all artworks are vulnerable to physical deterioration. This deterioration can be caused by an endless array of possibilities but is controlled and limited by the implementation of procedures and industry

standards. The following procedures and standards are concerned with ensuring appropriate environmental conditions:

handling and maintenance procedures for storage;

exhibition, packaging, transport, and use integrated pest management; and emergency preparedness and response.

As Bundaberg grows as a city, so too does the Bundaberg Arts Centre Collection as it strives to capture and represent visual arts through its ongoing history. This growth is achieved through acquisitions, donations and commissions. Collecting artworks is a combination of knowledge and foresight - what is decided to be collected today will be the material and traces of what has come before.

The Bundaberg Arts Centre holds almost 250 artworks in the collection, under one overarching collection policy. The Bundaberg Arts Centre also collects a diverse range of fine arts. Works from the local community, the Bundaberg region and Queensland are being safely held and cared for behind the solid walls of the Collection Storage rooms, for future generations to enjoy.

Bianca Acimovic- Bundaberg Arts Centre

ReferencesKavanagh, G. 1999. ‘Collecting from the era of memory, myth and delusion’, in S. Knell (ed), Museums and the future of collecting, Ashgate Publishing, Aldershot, Hampshire.

As Bundaberg grows as a city, so too does the Bundaberg Arts Centre Collection as it strives to capture and represent visual arts

through its ongoing history.

�0 BUNDABERG ARTS CENTRE

E X H I B I T I O N N O T E S

EXHIBITION NOTES �1

Exhibition notEsbundaberg Arts Centreapril 200� – July 200�

April 2 – March 11 2008

THE FARMER REMEMBERS THE SOMMEbundaberg art societyGALLERY ONE

The Farmer Remembers the Somme is a poem written by novelist Vance Palmer, who was born in Bundaberg. The poem describes the memories of one of the bloodiest battles in history which was fought on the Somme River in France. Members of the Society have created artworks based on their interpretation of this poem.

BUILDING BUNDY: A COLLABORATION FROM THE COLLECTIONS OF THE BUNDABERG ARTS CENTRE AND THE BUNDABERG AND DISTRICT HISTORICAL MUSEUM INCGALLERY ONE

Building Bundy examines the development of Bundaberg as a city by drawing on the collections of the Bundaberg Arts Centre and the Bundaberg and District Historical Museum Inc.

1: Cilinda Drakin, Image of Turmoil, 2008, acrylic 2: Dawn Bates, Hotel Bundaberg, 1980,

watercolour and pencil on paper, Bundaberg Arts Centre Collection

�: Sugar cane juicer from the collections of the Bundaberg and District Historical Museum Inc

�: Jenny Neubecker, Harry and Grandma K, 2008, mixed media collage

1

2

�

�

�2 EXHIBITION NOTES

WHERE DID I COME FROM MUM?Jenny Neubecker and Orinda MartinGALLERY TWO

This exhibition of collage and mixed media works is a symbolic story about what children inherit from family members. Bundaberg artists Jenny and Orinda examine how we can connect our children with their ancestors by sharing memories of small personal objects we have inherited.

SWEETEST THINGBianca AcimovicTHE VAULT

In the Sweetest Thing Bianca focuses on the teaspoon as a mundane but functional object and its association with serving sugar. The installation encourages the viewer to reconsider this object and to consider trace materials.

top: Orinda Martin, A Walk for Joseph Series 4, 2008, mixed media collage bottom: Bianca

Acimovic, Sweetest Thing, detail, 2007, various sugars and cell mix



EXHIBITION NOTES ��


May 14 – June 29 2008

MYTH TO MODERN: BRONZES FROM THE QUEENSLAND ART GALLERY COLLECTIONGALLERY ONE

Explore bronze sculptures from the Queensland Art Gallery’s collection covering the themes of myth, legend, portraiture and modernism.

FLOPCharles RobbTHE VAULT

In this unusual sculptural installation, Charles uses a life sized plaster bust of himself, to explore the tensions in creating self-portraiture.

above top: Henry Moore, England 1898-1986, Reclining figure: Prop 1975, Bronze maquette, prop.

Ed. 6/9, 12.7 x 28 x 15cm, Purchased 1976above bottom: Liam Mathers, Still Single, 2006,

custom made mattress cover, mattress left: This artwork featured in the installation at

Unplace Project, Brisbane. Charles Robb, Yawn, 2006, Gypsum-based acrylic resin fibreglass and lead

shot, synthetic polymer paints


�� EXHIBITION NOTES

July 2 – August 3 2008

CONVERGEArts Northern RiversGALLERY ONE

Converge is a touring exhibition showcasing the work of the finest ceramic artists, both emerging and established, from the Northern Rivers region of NSW.

SNAP, CRACKLE, POTBundaberg Pottery GroupGALLERY TWO

Explore the originality or “Snap”, the variety of clay and glaze surfaces or “Crackle” and the resulting pieces or ”Pot” in this fun exhibition of works from traditional pottery through to more contemporary forms.

TOTAL LIVABILITYSebastian MoodyTHE VAULT

What’s your idea of the perfect lifestyle? Have your say and help shape the installation by completing a survey. Opinions will be compiled into vinyl signage and a video work to highlight what our local community believes the ideal lifestyle looks like. Come and watch it grow!

Roana O’Neill- Bundaberg Arts Centre

top: Garth Lena, Porcupine, 2005, porcelain and wood, 38 x 50 x 47cm from Converge: Northern

Rivers Touring Ceramic exhibition 2006 – 2008middle: David Sinclair, detail of collaborative work

for Snap, Crackle, Pot the Bundaberg Pottery Group’s upcoming exhibition at the Bundaberg Arts

Centre, 2008, high fired ceramic with underglaze colours bottom: Sebastian Moody, Images

purchased 2007 from Getty Images

a r T S B U N d a B E r g

ACKNOWLEDGEMENTS ��

A R T S B U N D A B E R G

text

Bundaberg Arts Centre, Bundaberg Library, Moncrieff Theatre, individual artists and acknowledged authors

designer

Worldwide Online Printing—Katie Luxton

Printer

Worldwide Online Printing—Bundaberg

CoPyright

©Bundaberg City Council, individual artistsPublished by the Bundaberg City CouncilVolume 4 No.3 Edition of 3000

bundaberg arts Centre

An Arts and Cultural Initiative of the Bundaberg City Council1 Barolin St (Cnr Quay St)PO Box 538 Bundaberg Qld 4670 Australia

Phone: 07 4152 3700Fax: 07 4151 2725Email: [email protected]: http://bundaberg.qld.gov.au/arts

OPEN HOURS

Monday to Friday 10am-5pm Saturday, Sunday and most public

holidays 11am-3pm Closed between Christmas and New

Year, Good Friday, Easter Sunday Closed for 3 days prior to each exhibition

opening, for the installation of exhibitions

SPONSORS

The Bundaberg Arts Centre is proudly sponsored by: WIN Television, Lonnies Floral Art Studio and Bundaberg Radiology.

bundaberg library

49 Woondooma St (opp. Central State School)PO Box 885 Bundaberg Qld 4670 Australia

Phone: 07 4153 9253Fax: 07 4151 0855Email: [email protected]: http://bundaberg.qld.gov.au/library

OPEN HOURS

Monday, Tuesday, Wednesday & Thursday 9:30am-6pm

Friday 9:30am-5pm Saturday 9am-1pm

SPONSORS

Bundaberg Library special events are proudly sponsored by: Ian McColl Real Estate, Friends of the Library & Dymocks Booksellers Bundaberg.

MonCrieFF theatre

Your local entertainment centre in the heart of the city.177 Bourbong StPO Box 538 Bundaberg Qld 4670 Australia

Phone: 07 4153 1985Fax: 07 4153 2264Email: [email protected]: http://bundaberg.qld.gov.au/moncrieff

OPEN HOURS

Monday,Tuesday,Thursday & Friday 9am-3pm and 5-7pm

Wednesday 9am-7pm Saturday 6-8pm

SPONSORS

Moncrieff Theatre is proudly sponsored by: The Old Bundy Tavern and Classic Hits 4BU.

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