Category Archives: Jo’s Diary

Changing Cairns: farewell to a gifted storyteller, and friend

Spend long enough being an MDO and you soon learn that the communities you work in are where you find some of your closest colleagues. In Cairns, where the MDO works in an independent office, this is doubly true, and many of these people also become friends.  So, when someone you’ve worked with closely for more than a decade decides to leave, well… it makes a bit of an impact.

Many of you will know Suzanne Gibson at Cairns Historical Society and Museum. For the last year she’s been working as the curator, but her legacy is as the manager who oversaw the building and museum renovation.  And for good reason. Driven and determined, she championed change in a volunteer organisation and led the creation of an award-winning museum that has transformed the way people see the value of museums in far north Queensland.

People and relationships have been front and centre to Suzanne’s work. She’s always quick to acknowledge the significant contribution that volunteers, other colleagues and communities can contribute to the organisations development. Her desire to create a safe and inclusive space to explore the region’s diverse stories has succeeded. Since opening in 2017, the temporary exhibition space has staged a variety of exhibitions that reflect her convictions and ethics.  This includes strong advocacy for First Nations voices and stories in the museum through collaborative exhibitions like Percy Tresize (2021), Reef Productions (2021) and the Djabu Gilga Yigan Land Sea Sky (2018) exhibition with students from Yarrabah state school. Her interest in Cairns’ Chinese and PNG community is enduring, as is her commitment to using the Cairns Historical Society’s spectacular photographic collection whenever there is a chance.

To make any of this work possible, however, Cairns Historical Society and Museum has undergone significant change. And Ms Gibson has been a key player in that transformation.

Before the refurbishment – the journey to the new museum

I first met Suzanne when she started work at the Cairns Historical Society and Museum in 2009. That was before I became the FNQ MDO – yep, almost a lifetime ago. I was struck by her passion, humour and her ability to speak like a radio host – short, sharp and direct! I also saw a kindred spirit – a lover of history and stories, and someone who was on the right side of crazy too! What we needed, we mused, was place where we could do the type of museum work we wanted to. Not long after this, Suzanne took over as the volunteer manager of Cairns Museum. We would often discuss our ideas for projects, stories we wanted to tell and ponder where the money might come from to do them. When I became MDO in 2012, she’d lead the project and I’d gallop in and provide advice, support or become actively involved – depending on what was needed.

One of our first projects at Cairns Museum was Cairns 1942, an exhibition that explored a critical year in Cairns’ World War Two history. It was the first major change to displays at the museum and I remember Suzanne’s concern about the impact this would have on volunteers as she led the installation of the work.

Team Gibson and Wills followed up with the Where are you from? project, which focused on the types of characters who have migrated to Cairns over time. This small show ended up in the entry foyer windows of Cairns City Library. Daringly, we branched out to pay a local graphic designer and cajoled our partners into helping us install the exhibition. My enduring memory, however, is both of us gasping as we realised, halfway through the project, that we’d asked the wrong question. Another salutary experience, and one that taught us both the value of critical reflection without blame or acrimony.

Suzanne’s application for a sustainability grant from Cairns Regional Council in 2012 was the beginning of significant change. She engaged museum guru, Kylie Winkworth, to develop a collection significance assessment and prepare a strategic plan. Cairns Museum’s vision to present “Cairns as a Tropical City” emerged from this work, and led to Suzanne and I teaming up again to work on concept and interpretation plans for new exhibitions and test our ideas with stakeholders.

Armed with this information, and refusing to take no for an answer, Suzanne played a central role in convincing Cairns Regional Council to support the redevelopment of the School of Arts Building, and upgrade Cairns Historical Society and Museum.  And from there the redevelopment project suddenly became real. How that unfolded for Suzanne is, of course, another story entirely – and one for her to tell.

I’ll miss her drive, curiosity, ethics, love of the absurd, and her enduring acceptance of my own shortcomings. I’ll take my cue from the rationale that guided the development of the Changing Cairns gallery in closing. New curators could consider including Suzanne Gibson as a character in that gallery: as a leader, a personality and as a force that initiated significant change.

Suzanne finishes at Cairns Historical Society and Museum this week to pursue a curatorial role with the National Museum of Australia.

Relaxing the tapa: preparing for Mapoon’s new Cultural Keeping Place

Tapa cloth held at Mapoon Cultural Keeping Place.
Image courtesy Geoff Wharton, OAM.

Mapoon Aboriginal Shire Council holds a piece of tapa (bark cloth) that is believed to date from the 1900s. It was one of several items bought back to Mapoon in 2015 by Mrs Liz Ashton, granddaughter of Mapoon missionary, Reverend Nicholas Hey. Although the exact provenance of the cloth is unknown, it was thought to have been made by South Sea Islanders living in the area, and was a gift to Reverend Hey’s wife, Minnie. The Heys, along with Superintendent Reverend James Gibson Ward and Mrs Matilda Hall Ward, were the founding missionaries of the Batavia River Presbyterian Mission at Mapoon.

The tapa will soon be exhibited at Mapoon’s new Cultural Keeping Place which is part of a new cultural facility scheduled to open later this year.

In April, Queensland Museum’s northern MDOs, Dr Jo Wills and Ewen McPhee, traveled to Mapoon to work with Cultural Heritage Officer, Jason Jia, and provide hands on assistance and advice for collections and displays.

Relaxing the tapa

One of the tasks was to help ‘relax’ the tapa after it had been folded for a number of years. Following advice from QM conservators, a table was lined with paper towels and these were moistened with water. These were then covered with pH neutral blotting paper and the tapa was placed on top. Another layer of dry blotting paper was then placed over the tapa and, finally, another layer of moistened paper towels. This ‘sandwich’ effect allowed the moisture to ‘relax the folds’ without overtly impacting on the item and the dyes.

After a few days, the folds ‘relaxed’ sufficiently for the tapa to be rolled for storage. The cloth was placed between sheets of acid free tissue and then rolled onto a tissue covered tube. It will be transported to Cairns where it will be carefully framed in readiness for the new display. Thanks to QM conservators for their professional advice and interest.

Preparing for displays and collections

The new Keeping Place will house displays, a community database and a secure storage room. An overall layout plan was developed, taking into consideration visitor access, staff operations, cultural requirements and database access. This database allows users to explore the region’s resources, wildlife, flora, culture and language and is an important part of the centres cultural work.

To ensure new displays help visitors understand the history and culture of the region, key themes and events were identified. Banners will explore these themes, and make use of the photographic and archival collections held by the council, Cape York Collection in Weipa and at State Library of Queensland. They will explore culture and country, maritime exploration, the missionary era, the 1963 removals and the return to community. Objects, where available, will accompany these displays.

Contemporary cultural artefacts and stories will also be displayed to acknowledge the ongoing nature of cultural production. This means items such as the delightful ghostnet magpie geese created by local artist and resident, Zoe de Jersey and her husband Stan, can be included and exhibited. Follow this link to find out how they created these scultures from ghostnets collected from the region’s beaches.

The keeping place is just one part of Mapoon’s new cultural facility that recognises the importance of culture and identity: it also includes an arts studio, a gallery and coffee shop and an Indigenous Knowledge Centre/ library.

Acknowledgement:  The Cape York Collection in Weipa holds a significant collection of Mapoon-related material, including photographs, and missionary diaries and archives. The collection’s honorary curator, Geoff Wharton OAM, has generously shared his knowledge and information with the MDOs and Jason as they work on this project.

150ZK: Truth Telling and the Coming of the Light

Two new exhibitions at Gab Titui Cultural Centre, THURSDAY ISLAND

Nancy Kiwat’s artwork ‘Papa Dabad’, 2016.

On June 17, Gab Titui Cultural Centre opened two new exhibitions to commemorate 150 Years of Coming of the Light. One explores the history and impact of Christianity on the community through an historic timeline. In the other, artists from three Torres Strait Art Centres have created works that represent truth telling: their understanding and response to this particular topic.

EXHIBITION PLANNING

MDOs Jo Wills and Ewen Mcphee worked with staff in March and then again in June to ensure the project was ready for opening. Exhibition training workshops in March included research, object analysis, interpretation and conservation, and ensured that new staff understood and contributed to the exhibition development process. There are multiple perspectives within the TSI community about what ‘Coming of the Light’ has meant, and continues to mean. By using the topic as the basis for the workshop, we were able to deliver applied training and help shape an exhibition plan.

Prior to the MDO workshops, lead curator, Leitha Assan, had already run engagement workshops with the three participating art centre communities (Erub Ewer Meta – Erub Arts; Moa Arts – Ngalmun Lagau Minaral Torres Strait Islander Corporation; Badu Art Centre | Torres Strait Islander Art from Badu Island). Her challenge was to bring all the components together and curate displays that creatively honored diverse viewpoints. Not an easy task, or in such a compressed time frame.

Between March and June, Gab Titui staff were busy with research, planning, community engagement, and content preparation. This included liaising with AIATIS, travelling to the islands to record interviews and collect items from the community for the displays. Staff also had to coordinate the transportation of artworks and production and printing of all material (labels, text panels, decals) back to Thursday Island – no mean feat when you’re living a remote community! MDOs assisted with ongoing advice and purchasing of materials and equipment.

Hands on installation training

When Ewen and Jo returned in June to assist with the installation, they were joined by freelance photographer and exhibition designer, Michael Marzik. Leitha was also keen for artists Jimmy K Thaiday (Erub), Fiona Mosby and Paula Savage (Moa) and Matilda Nona (Badu) to get some exhibition installation experience. With two large projects to install, it was all hands on deck, and wonderful to have additional people working across the two galleries.

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Each artist bought their own skills, understanding of materials and expertise to the process, and oversaw the installation of their own works, their colleagues’ works as well as other exhibition components. It was all hands on deck for the installation of decal signage, mannequin dressing and one of the large charcoal pieces from Erub Island.

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Opening night at Gab Titui

Exhibition openings at Gab Titui are a special, community event. This year was the first opening for a few years, and people from around the region, and state, were in attendance. This included QM’s Head of Cultures and Histories, Christopher Salter. Openings comprise a curated outdoor program of prayer, speaches, dance and song. After that, the galleries are opened to the community. This year, the Saibai Island Dancers performed took the stage, accompanied by a choir.

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More than just tea towels: the migrants, makers and merchandise of Reef Productions

Reef Productions Exhibition, Cairns Museum, 2021

A new exhibition for Cairns Museum

On Friday 28 May, Cairns Museum opened a new temporary exhibition called Reef Productions: migrants, makers and merchandise.  Timed to coincide with Reconciliation Week, the exhibition explores the story of a Cairns-based screen printing company that began in the 1970s. Running for almost 20 years, the owners hand printed and manufactured souvenirs using licenced designs from established Indigenous and non-Indigenous artists. The result is an extraordinary array of works on linen and paper, and a multilayered story that has been a pleasure to explore.

The exhibition showcases only a small selection of works due to the size of the gallery. Featured, however, are items from each era of ownership, and works by as many artists as possible. Also included is a recreated trade stand, based around photographs from the Sydney Trade Fair, and a screen printing interactive based around a previously unseen work by Rosyln Serico (Kemp). The opening was a chance for owners and artists to reconnect.

A chance meeting Leads to ACQUISITION

I first came across the name ‘Reef Productions – Made in Cairns’ on a tea towel in 2015 when I was curating one of the galleries for Cairns Museum’s redevelopment. I can remember being curios but at the time was too busy to delve deeper.

Fast forward four years, however, and it’s a different story. Whilst viewing the Thancoupie “A Legacy of Cultural Power” exhibition at CIAF in 2019 I was introduced to Andy and Joan Csorba while standing in front of a large screen print on fabric. ‘Have you ever heard of a company called Reef Productions’, I asked? ‘Yes’, grinned Andy, ‘we used to own it.’ And so began my, and Cairns Museum’s, Reef Productions journey.

Jo with Andy Csorba in 2019.

After visiting the Csorba’s farm to view the material, I discussed the collection with Cairns Museum. Museum Manager, Suzanne Gibson, sought funds to undertake a significance assessment and I, along with Indigenous cultural worker, Nerelle Nicol, began a period of detailed research and analysis. As part of the project, I was required to mentor Nerelle and suppport and undertake research. Nerelle worked closely with the Indigenous artists and this was critical to building an understanding of the content, context and personal stories within the artworks and company history. At the same time, I met with former owners and the artists who had worked with them to create designs.

From its beginnings in the front room of a house in Cairns’ northern beaches, Reef Productions produced portable souvenirs that illustrated the tropical charm of Far North Queensland. It also worked on commission, creating items for organisations or special events and anniversaries. When the company changed hands in the mid-1980s, the designs evolved to include Indigenous culture and stories. Andy worked with a range of artists, including Thancoupie, Jenuarrie, Roslyn Serico (Kemp), Connie Rovina (Barker) Heather Walker, Ludij Peden and Joan Boissevain.

Our research uncovered a story and collection with multiple layers and threads. All participants had some sort of migration story to tell – they had all moved to Cairns, be it from areas within Queensland, Australia or from overseas. The Indigenous artists bought a cultural dimension to the business – through their design style, working for Queensland Aboriginal Creations or through their personal experience of mission life an search for identity. Embedded too, were stories of environmental change, tourism and lost heritage places. We found out about the different artists, their work and inspiration, and their relationship with Reef Productions.

Research into other collections showed that some of these works are held by Queensland Museum and many by the State Library of Queensland in the Glenn R. Cooke Souvenir Textiles Collection. Our work contributes detailed provenance knowledge to these collections, and to understandings of souvenir production at this time.

These findings, as well as the extraordinary aesthetics of the collection, are just some of the reasons Cairns Museum decided to acquire it. They then applied for funding to support Nerelle and I to co-curate the Reef Productions Exhibition.

Curating Reef Productions

From the outset we knew we did not have the space to do everything we wanted. We chose to focus on the evolution of the company, in particular the works produced by artists working during the Csorba ownership period. Community engagement continued throughout the production of the exhibition. Artists and owners reviewed all text, and choice of artwork – with the right of veto. 

Generous donations by former owner, Georgie Zeiger, and items by Charters Towers’ artist Jim Arena, and Daintree’s Betty Hinton, were included in the early section of the exhibition. Sadly, we had to leave out one of Jim’s original ‘pencil roughs’ created for his design of Freshwater Station. However, he has generously agree to donate it, and the tea towel, to Cairns Museum.

Staff and volunteers at Cairns Museum worked tirelessly behind the scenes to support the preparation of materials for display. This included doing framing workshops, sewing supports and creating backing boards for the textile works. The exhibition was installed by Michael Marzik.

Although only a small selection of pieces are on show, this project celebrates the work of these artists and entrepreneurs. From a museum perspective, it illustrates the value of contemporary collection, the importance of community engagement, the need for copyright vigilence and the joy of research and discovery. And, as a story, it represents the importance of relationships – for those who were part of Reef Productions and those involved in putting this research and exhibition together.

The exhibition is on at Cairns Museum for three months from 29 May 2021.

 

Djabugay: Nganydji bulmba maminga (we love and care for country)

Bama mara-nyiwul ngurral-na maying Queensland Museum MDO malim.(Six people from the Djabugay region have attended Queensland Museum MDO training in Kuranda to learn more about caring for cultural heritage collections).

“Gloved up” with rain forest sword: Russell Hobbler, Ezekiel Deshong, Jo Wills, Wilma Donahue, Dennis Hunter and Gavin Donahue at the end of the first workshop.
Image: Maria Grauner

Djabugay Aboriginal Corporations have a small collection of cultural objects. In 2019 they contacted the MDO program to find out how to catalogue and store them professionally. After successfully applying for a RADF grant from Mareeba Shire Council, the Corporation engaged Jo to run training sessions and purchase conservation materials.

Workshops were originally planned for March, but COVID 19 put everything on hold. In the interim, Jo undertook research into other collections to locate Djabugay cultural items. Thanks to Kate Wanchap from JCU and Sophie Price from MTQ for providing me with details. Cairns Museum holds a number of items, and Jo arranged for Djabugay Corporation CEO, Nicolas Mills, and Cultural Officer, Dennis Hunter, to meet Cairns Museum’s Collection Manager, Melanie Sorenson, and Manager, Suzanne Gibson. Melanie pulled out a range of artefacts and explained the process of caring for them in the museum, while Suzanne provided a brief overview of the museum displays.

As restrictions eased, workshop planning began. Two separate days of cataloguing and storage training were delivered at Nywarri Estate, just outside of Kuranda. For the first session, Jo created a cataloguing form, cataloguing kit and register to get started. Training involved object analysis and object identification, and ensuring that language names for objects were integrated into the work. The group also took digital images of objects and ensured items were numbered.

Participants practice cataloguing materials during the first workshop. Image: Jo Wills.

The second session continued with hands on cataloguing but also introduced preventative conservation and storage. The funding allowed us to purchase industry standard conservation materials and begin the process of housing the items appropriately. The group worked together to ensure they understood each of the steps required in cataloguing, including taking measurements and photographing the objects. Djabugay’s language dictionary has been included in the cataloguing kit as an essential reference for the cataloguing work. As they worked on objects, participants taught Jo the specific names and words for certain materials and items.

Cataloguing work will now continue for the rest of the collection. Plans to create a database for the information will also ensure it is accessible and preserved.

Thanks to Dennis Hunter for the Djabugay translation, and Nicolas Mills for the additional images.

“The Regional Arts Development Fund is a partnership between the Queensland Government and Mareeba Shire Council to support local arts and culture in regional Queensland.”

Reopening Atherton Chinatown

After four months of closure due to COVID 19, the National Trust of Queensland (NTQ) have been preparing to reopen the Hou Wang Temple and museum displays in the Tableland Regional Council’s Old Post Office Gallery in Atherton. Like other cultural venues across the state, reopening is not as simple as just unlocking the doors and welcoming visitors. Facilities need to be prepared in line with strict regulations and COVID plans, and thoroughly cleaned. An opening date is planned for early August.

For Atherton Chinatown, this has meant addressing the effects of an extended period of rain which had caused mould issues in the gallery and the collection area. To help out, MDOs Ewen McPhee and Dr Jo Wills spent four days helping NTQ workers and volunteers undertake a ‘deep clean’ and refresh of the site. In the process we learnt more about the collection, the temple and Chinese history. We also got to know some of the amazing volunteers who proudly share Atherton Chinatown’s history with visitors throughout the year.

Preparing the Gallery

NTQ representative and archaeologist, Gordon Grimwade, photographed each display section as a reference point for re installation. We then dismantled each display, making sure to link the case, perspex cover and contents by a temporary number. Objects were placed on calico lined trestle tables in their display groupings to avoid any confusion. They were checked for mould or other problems and cleaned with either a dry cloth, a solution of vinegar and water, or lightly vacuumed using a micro attachment. Volunteers removed and cleaned all of the large timber backed images that were mounted on the display (back and front) and the free standing interpretation panels. Ewen and I removed some multimedia items that were no longer working, and cleaned and relined drawers in the display that contained collection items. The empty gallery was then cleaned by professional cleaners.

The installation process involved Ewen rehanging all of the agricultural instruments making sure they were at once secure and accessible. Jo reset each of the display cases and, because of the poor condition of the labels, created new foam core labels for all items (thanks to Tablelands Regional Gallery and Council staff for their help with materials). We also sought opportunities to make the extraordinary portraits in the gallery more accessible for visitors by removing obstacles and creating a clear line of sight. The result is a gallery that looks refreshed and reinvigorated, and that is easy to manage for the volunteers into the future.

Refreshing the Temple

Volunteers cleaning the temple fence.

Atherton’s Hou Wang Temple is an extraordinary and beautiful building made from black bean, red cedar and tin. It is listed on the Queensland Heritage Register and is the only surviving timber and iron temple in Queensland One of the volunteers, Graham, has been taking visitors through it for the past 17 years, and it was a pleasure to listen to him share his knowledge of the history and of Chinese symbolism.

Despite its charms, the temple does present ongoing maintenance challenges, particularly regarding mould and pest control. Gordon, along with volunteers Neil and Graham, spent considerable time cleaning mould and residue from the fence. Ewen worked to bring the interior of the temple back to life – mostly with vacuuming and cleaning the floors. In an attempt to reduce vermin access, he and Graham placed steel wool in gaps that were identified – this will hopefully reduce the damage and mess within the temple this while pest control solutions are explored.

A new collection room

The project also gave Gordon and the volunteers a chance to plan how their collection room, located in one of the back rooms of the post office, would operate. Lucy and Terry spent two days painting boards for the new shelving system. The room will be a dedicated collection space for storage, cataloguing and other collection management activities. Items that had to be moved temporarily into the temple meeting room can now be stored more appropriately.

Our thanks and appreciation for the help and good humour to all the volunteers, and to Gordon and Christine Grimwade who coordinated the weeks work.

Back on the road – heading west to Croydon

On the road to Croydon.

Last week, after almost three months working from home, MDOs Jo Wills and Ewen McPhee traveled to Croydon in western Queensland. While it was great to be back on the road, the journey also gave us the chance to see how small towns have been impacted by the COVID 19 upheaval. Lots of hand-washing stations at shops and service stations, and closed businesses and roads. Empty caravan parks really struck a cord – it is unheard of at this time of year in FNQ.

This was the first field trip for MDOs following the COVID 19 travel restrictions. It was organised in accordance with both Council and Queensland Museum risk assessment protocols. Each morning, Ewen and I would meet at the council offices and have our temperatures monitored before we could start work. Social distancing was a given, and we self catered to avoid unnecessary community interaction. Although the caravan sites were empty, the onsite accommodation was full – Croydon relies on contractors coming through to keep things going.

We were in Croydon to continue some of the work I’ve been doing in ‘lockdown’ to help Tourism Officer, Sandrine Gloton. Council is developing new interpretation panels for three goldfields displays in their heritage precinct buildings and while Sandrine has been writing and researching, I have been helping her with the interpretation techniques. As well as improving my knowledge of Croydon’s history, the project gave me a chance to re-engage with images created by one of the town’s (and Queensland’s) notable late 19th century photographers: Alphonse Chargois.

Although I have seen many Chargois photographs from the Gulf region (sample above), I enjoyed discovering a bit more about his life in Croydon. His obituary stated “he resided at Croydon when mining operations were booming and he interested himself in all matters concerning the progress of the district.” (Cairns Post 24 November 1936). This is clearly evident in his images of mines that appeared in many of the Northern Register stories about Croydon’s goldfield.

In addition to running a studio, and undertaking photographic trips around the region, Chargois was also a director of a mining lease, and a prominent member of Croydon’s Salvation Army. The Morning Post from August 1901 listed him as one of four directors of the Golden Gate No.9 South Block Gold Mining Company – I haven’t found out much more about that yet. Tragically, his son Henry, drowned in the Gilbert River in 1906. However Chargois appears to have stayed in Croydon for sometime before moving on to other towns and eventually Cairns.

There are numerous Chargois photographs held at the State Library of Queensland, National Museum of Australia and Cairns Historical Society – no doubt there are many other repositories that hold some of his images.

Gilbert River today – looking towards the single lane bridge.

The mystery of the Quetta Tea Towel

Quetta Tea Towel for Reef Productions. Photograph: Dr Jo Wills, 2019.

“Rarely if ever before has so deep and so general a gloom been cast over the community of this colony as that which has been occasioned by the sad catastrophe which occurred in Torres Straits on the night of the 24th February. The wreck of the R.M.S. Quetta in the vicinity of Adolphus Island with a loss of 173 lives is one of those shocking disasters of the sea which strike nations with sorrow and distress, and leave their painful mark upon the annals of the world’s shipping.”

Source: The Queenslander Saturday 8 March 1890)

I first saw the R.M.S. Quetta tea towel while I was visiting Andy and Joan Csorba, owners of a former Cairns souvenir company in Cairns during the 1980s-1990s called Reef Productions. It was in among a host of other tea towels, napery and linen that I have been assessing for Cairns Museum. Having visited the Quetta Memorial Church on Thursday Island numerous times during my MDO travels, I am familiar with its story and was intrigued by the teatowel and the design.

Initially, I thought my ‘who drew it’ query would be easy to solve. Made from Polish linen, the object has ‘Handprinted by Reef Productions’ printed underneath the image. All I had to do, I reasoned, was ask Andy and Joan. But having had so many designs produced they couldn’t recall who had created the original drawing.

Reef Productions was a souvenir company which started in Cairns in 1970s and ran, under multiple owners, until the late 1990s. Initially, the company produced drawings of local industries, heritage buildings and tourism spots. But when Andy and Joan took over, they diversified and started to work with Indigenous artists and produced cultural designs for screen printing by artists like Thancoupie, Jenuarrie, Heather Walker, Roslyn Kemp and Enoch Tramby.

Given the subject of the tea towel, I wondered whether or not one of these artists had created the piece, or perhaps a Torres Strait Islander living in Cairns. Wrong on all counts. So I continued to research the history of the company, and liaise with other former owners and artists who produced artwork for the prints. Another artist, Jim Arena, shared pictures of all his designs with me so I have a catalogue of his creations. But there was no Quetta on his list.

Discussions with previous owners uncovered the stories behind some of the different commissions that Reef Productions asked the artists to produce. One of these was a line drawing of the new parliament house in Canberra by Dutch-born Ludij Peden. I was thrilled when I found her website and a small video which featured a photo of Ludij with Jenuarrie, Thancoupie, Roslyn and Joan Bouissevain (all of who created work with the Csorbas). It’s the only photograph I’ve ever seen of artists from Reef Productions together. There was also one of Ludij and Andy with the parliament tea towel. Naturally, I made contact. Like Jim, Ludij generously gave me a list of all of her work for Reef Productions. Bingo!

In a follow up email she wrote:
I was commissioned, via Andy, to do the tea towel design of the Quetta sinking for the ladies’ guild of the Anglican Church – for a fundraiser …  They wanted the tea towel to look like the stained glass window in the church – depicting the ship sinking in the storm.

With this mystery solved, I’m now working with staff at Cairns Museum to develop an exhibition of Reef Productions objects and about the people who were involved. Stay tuned for more information. There are examples of Reef Productions items held in both Queensland Museum and the State Library of Queensland. No doubt the information uncovered in this project will contribute additional knowledge to these collections into the future.

Stained glass window in the Quetta Memorial Anglican Church on Thursday Island.
Image: Queensland Historical Atlas.

Valuing shared learning at Herberton Mining Museum

Community collaboration has always been central to my work as a MDO. And, in our current climate, with the restrictions that COVID-19 is placing upon travel and gatherings, I thought I’d tell you about a recent training series I ran at Herberton Mining Museum,

Creating workshops for collection policies and collection management procedures aren’t the easiest topics to be creative with. Just how much fun can you have with a Deed of Gift or a Loans form?  And how do you convince volunteers wary of change that a bit more paperwork and process is a good thing? My challenge was to develop comprehensive AND accessible workshops that made sense to the participants.

Funded through a Community Heritage Grant from the National Library of Australia, the workshops bought together a total of 12 people from six different museum groups: Herberton Mining Museum, Loudoun House Museum, Tolga Museum, Millaa Millaa Museum, Malanda Dairy Centre and Ravenshoe Visitor Information Centre.

Participants in the CHG training at Herberton Mining Museum. (Two missing from Tolga).
Photo: Sherrie-Ann Cockell, Herberton Mining Museum.

Participants congregated (yes, face to face) at Herberton Mining Museum for three weeks of two day training sessions. The first day of each week involved an overview of the principles and examples from the industry. The second day was dedicated to practical reinforcement, and the challenge of adapting perfect museology principles into day to day reality.

The value of people being able to articulate their experience of managing the museum, and outline their successes and frustrations regarding donations, acquisitions and procedures in a collaborative environment is immeasurable. We heard stories about wayward items appearing on museum doorsteps, anonymous donations, lost databases, misplaced loans and cataloguing triumphs.  These helped create a sense of inclusion and camaraderie, and injected a bit of humour into the discussion. Some of the comments on the workshop evaluation forms highlighted the ‘priceless’ nature of shared learning experiences, and the opportunity of hearing from groups struggling with similar issues.

Jo Wills revving up one of the cataloging groups during the training.
Photo: Sherrie-Ann Cockell, Herberton Mining Museum.

Some said the chance to come together helped them ‘regain their mojo’ as they felt cataloguing and some of the processes had been overwhelming them until they heard from others. Benefits were also gleaned from spending time with people they don’t normally work with.

One of the most salient lessons from the training was the need for organisations to have clear volunteer induction procedures. It is reasonable, we decided as a group, that new volunteers understand that volunteering in a museum means you engage with objects and that this has certain responsibilities and requirements.

Groups are now working on developing up policies and procedures, adapting some of the templates I provided as part of the workshops, and reflecting on their induction processes. They are also enjoying the archival and collection management materials that were made possible as part of the grant.

Rob and Helen Fuller and Stacee Hillyard receive archival supplies as part of the training.
Photo: Sherrie-Ann Cockell.

Thanks to Herberton Mining Museum for hosting the training and making everyone feel welcome.

Pause, reflect, learn: FNQ MDO at the SLQ Heritage Leaders Workshop

To be honest I thought I was ‘done’ with First World War projects. But when I was asked to speak about the Anzac Treasures Program at the Heritage Leaders Workshop at State Library Queensland I felt it was recognition for the communities involved and the variety of other projects that happened along the way.

With only ten minutes to talk, there was no time to be expansive. So I chose to focus on the benefits of collaboration and the types of outcomes that emerged or which were connected to the project in some way:

  • collection items that were uncovered or discovered
  • projects that groups undertook either simultaneously or afterwards
  • follow up Anzac Trails projects by Cairns, Tablelands and Mareeba Shire Councils that utilised the graphic identity we created for the exhibition
  • the delivery of the Railways 1914-1918 temporary travelling and production of the Railway Ready: War Ready exhibition that went on display in the Atherton Post Office Gallery a few years later.

It is always good to speak, but sometimes it is even better to listen. And in doing so, I found that I wasn’t quite ‘done’ with the topic after all. I heard representatives from Cherbourg discuss their app and how students are using it, the story of researching nurses in Central Queensland and the importance of remembering and honoring Indigenous soldiers who fought in the war.

I was fascinated, too, to hear about some of the work undertaken internationally. The key note presentation by Jennifer Waldman, Director at the 14-18 Now program in the UK, highlighted innovation, creativity and participation. This program was driven by artist interpretation, clever marketing and, most critically, a very strong sense of identity and audience definition. While the scale of this sort of project is much bigger than some of the things we do in FNQ, there are still some critical take home messages. Planning for, understanding and identifying audiences is such an important part of what we do when we create programs. A great refresher for us all, I think, as we go about our work in the industry after this commemorative odyssey.

Below are some links to a couple of the 14-18 Now projects – I recommend you have a quick look as they were thought provoking and bold. Behind the works there is of course was a plethora of research and details that come from organisations like many of our museums and collecting groups who continue to preserve these stories:†

We’re here because we’re here: a poignant commemoration
of the beginning of the Battle of the Somme
Dazzle Ships
Recoloured/edited film footage by Sir Peter Jackson
Letter from an unknown soldier