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On 26 August 1939 Queensland Premier William Forgan Smith officially opened Mackay’s new harbour. The construction had commenced in 1935 and was the largest infrastructure project undertaken in the region to date. But the journey to that point had been long and fraught with difficulty.
Mackay’s original port was situated in the Pioneer River and had been an official port since 1863. Aside from being the only means of importing goods and materials for the budding settlement, Mackay’s port quickly became vital for the rapidly developing sugar industry. The port had a problem, however. The river was shallow and had a large tidal range which restricted the entry of large vessels, and even small craft were left high and dry at low tide. This meant that bagged sugar had to be loaded on to small vessels in the river, which then had to wait for high tide to make their way out to larger ships moored off Flat Top Island (lying about 4 kilometers from the river mouth) and transfer the sugar across. Similarly, passengers would travel out to large steam ships waiting at Flat Top Island and be swung between vessels in canvas bags.
Over the years a number of solutions were proposed in order to provide deep water access to Mackay, but most were discounted due to impracticality or expense. In 1913 work was begun on the construction of a rail viaduct connecting Flat Top Island to the mainland, but after considerable expenditure in the preparation of infrastructure for the project, it was determined that the sandy bottom into which the foundations of the viaduct would be laid were too unstable and the project was abandoned in early 1914.
In 1927 James Love, a member of the Mackay Harbour Board, suggested the construction of two stone breakwalls leading out from the shore north of the river mouth to form a harbour. Love’s scheme had many points in its favour – by this time any improvements to the river were considered impractical, the harbour location was close to Mackay, rock for the walls could be easily obtained from nearby Mt Bassett, and it’s location allowed room for expansion in the future. But at over £800,000 it was extremely costly.
Love’s plan may have remained nothing more than that if Forgan Smith hadn’t been elected Premier of Queensland in 1932. Forgan Smith had served as Member for Mackay since 1915 and was committed to seeing a resolution to the city’s port woes and was a strong supporter of Love’s plan. In 1933 he negotiated a loan from the State Government of £1,000,000 plus an additional £250,000 grant in order to construct the harbour.
Work began in 1935 with the construction of road and rail links between Mt Bassett quarry and the harbour site. A Telpher crane was constructed for the project which was stabilized by two large sea anchors on either side and ran on rails to carry rock along the walls. A serious setback was encountered in early 1938 when wind and waves generated by a nearby cyclone breached the partially constructed walls causing the Telpher crane to collapse into the sea. Most of the crane was salvaged, repairs were made, and work continued. Then, weeks before the planned opening in July 1939, soundings revealed the harbour was still too shallow and extra time was required to allow additional dredging to take place.
On 26 August 1939 the Sydney Star of the Blue Star Line sailed into the new harbour, carrying dignitaries on board for the official opening ceremony. A few weeks later, the first shipment of sugar left the harbour.
As MDO for Central Queensland I recently collaborated with North Queensland Bulk Ports to create a display to celebrate the 80th anniversary of the opening of the harbour. NQBP’s archives hold a significant and beautiful collection of images detailing the construction of the harbour from 1935 to the opening in 1939, a selection of which I scanned for use in the final display. In their collection NQBP also have a number of significant items including souvenirs from the opening ceremony, an original programme from the day, contracts for the work and materials for the construction of the harbour, annual reports through the construction period, and artist’s impressions. Digitized images and text were displayed on a large fabric cube. This, together with some of the original items for the collection, formed part of the celebrations organised by NQBP over the weekend to mark the 80th anniversary of the harbour opening. Over 3000 people attended the event, demonstrating the important role the harbour has played in both the economic and social life of Mackay over the past 80 years.
It has been a long road for the volunteers at Pioneer Valley Museum since a leak during the rain event in February forced them to close and empty their museum (see Water damage at Pioneer Valley Museum). But they have tirelessly persisted, and today they will open their doors to the public for the first time.
The volunteers have approached their new display layout with a focus on telling significant regional stories. The result is a well-structured, informative, uncluttered and engaging display space. Every surface has been painstakingly cleaned, and each showcase has been relined using archival blue board and calico giving them a bright crisp look. New labels have been written and produced on foam core.
One of the challenges for the new display was to find a practical solution for the layout of the egg collection. Due to the fragile nature of the items we wanted to create a display that would minimise handling and allow the eggs to easily be transferred to storage if necessary without having to repack them. The solution – a box with two removable layers of foam to allow the eggs to sit clear of the box for display, then be recessed into the box by removing a layer of foam for storage. Each egg had its own foam nest cut for it. This design means the volunteers can also swap out different egg trays for display.
The volunteers at Pioneer Valley Museum have achieved a remarkable amount in a short space of time. They have packed down and stored their entire museum, negotiated cleaning and repairs to their damaged building, spent countless hours and elbow grease cleaning walls and relining showcases, and redesigned and redeveloped their displays. They are all probably too tired to enjoy their success at the moment, but I hope they have the opportunity to savour it as they welcome visitors to their wonderfully refreshed museum in the coming weeks.
While all eyes were on Townsville during the floods at the beginning of the year, the steady rain also occurring in the Mackay region was creating its own style of disaster at the Pioneer Valley Museum west of Mackay.
While the museum was closed over the Christmas/New Year period, the gutters were overwhelmed by the rain, which found its way down the inside of the walls and soaked across the carpet. Fortunately most objects escaped major damage but the volunteers came back to open their building in February to be greeted by a strong smell of mould and carpets that were somewhat furrier than usual.
At the time the damage was discovered, I was busy helping with flood recovery in Townsville, but on my return to Mackay I assisted the volunteers in setting up some damp textiles to dry and to liaise with Mackay Regional Council (who own the building) about what needed to be done. It was clear the entire carpet needed to be pulled up and replaced, as the water had spread over a large area and no amount of cleaning and drying would fully remedy the problem. Without complete replacement, mould and damp would become a recurring issue.
This left the volunteers with the mammoth task of packing down their entire display so that showcases could be moved around to allow removal of the damaged carpet and replacement with a new one. The small but dedicated group of volunteers accomplished this over a few very intense weeks, in time for the scheduled date for furniture removal and carpet replacement.
Last week Sue Valis from the Museum of Tropical Queensland and myself assisted the Pioneer Valley Museum volunteers with the next stage of their recovery. The volunteers have very wisely opted to turn their misfortune to advantage by taking the opportunity to reorganise and rethink their displays to allow some objects to be rested and new stories to be told. With the new carpet in place, I helped them plan a new layout, while Sue demonstrated how to cover archival blue board with calico to make attractive and safe bases for showcases. With many of the showcases previously lined with carpet, this is an effective way to not only enhance the appearance of the showcases but to improve the conditions in which the objects will be displayed.
While this was not a disaster on the scale of Townsville, the situation at the Pioneer Valley Museum is a timely reminder that a seemingly small incident can have long term effects on the operational capacity of museums, to say nothing of the strain they can place on volunteers and financial resources. Pioneer Valley Museum remains closed to visitors while they continue to put their museum back together, but they will open again before long with some beautifully refreshed displays of their significant collection.
Earlier this week, I was contacted by Don Lawie, one of the volunteers at Gordonvale’s Mulgrave Settlers Museum. His email contained a link to a newsletter he had recently prepared for the Society for Growing Australian Plants. Don drew my attention to the piece called “Beautiful Plants of the Tropics”, one that he had written following his visit to Cairns Museum for the opening of the latest temporary exhibition.
I first met Don in my capacity as MDO for FNQ and have always been aware of his knowledge and love of local history and the region, despite his struggles with Parkinson’s Disease. But I didn’t know about Don’s interest in Australian plants, and his article’s closing sentence stopped me in my tracks:
“I will never see D. fleckeri alive, but thanks to Cairns Museum I have seen a lasting specimen collected and mounted by one of my heroes.”Don Lawie, 2019
Here in a single sentence, Don captures the value of museums: the joy that a single artefact can bring to a visitor, the wonder of ‘the real thing’, the importance of preserving collections, the significance of local collections and the value of sharing knowledge across the community. As a museum worker, this shows me the different ways people access and read the items on display, and it validates my interest in interpreting our environment as part of a region’s social history, and the importance of national history collections and herbariums.
Don’s email inspired me to go back into the museum and seek out the display, and to see what it is that captured his imagination. I also got online to find out more about the specimen, dendrobium fleckeri and found that its common name is the apricot cane orchid. I hope to work with Don and use his memories of Babinda’s orchidologist, and former Babinda Mill worker, Jack Wilkie as part of a larger story as we develop Babinda’s new museum. For now, however, I’m just going to share Don’s article (with permission), and the delight of his discovery.
Beautiful plants of the tropics: Dendrobium fleckeri
Don Lawie, 2019
The refurbished Cairns Museum is filled with treasures that recall the past of our part of the world. On a recent visit I was excited to find a treasure that made my heart beat faster and my tremors go into overdrive. There, on the first floor, in an unremarkable corner, was a dried and mounted specimen of a Dendrobium orchid. I found this fascinating since the expertly mounted specimen comprised the entire plant – leaves, rooted stem and inflorescences. I have long understood that such a mounted specimen is impractical due to the general features of a Dendrobium orchid. This specimen was collected on Mount Bartle Frere in 1947 and is still in good condition – good enough for an I.D.
Why does this specimen excite me? The collector was Babinda’s Jack Wilkie. Jack was an indefatigable explorer of the mountains and rivers in the vicinity of Babinda; he found and named a number of orchid species previously unknown to Australia , and several were named in his honour (unfortunately, they had been previously described overseas and so the original name had to supercede the wilkiei name).
I knew Mr Wilkie when I was a boy and he was a loco driver for Babinda Mill. He used to give my brother and me a ride in the steam loco cab when he went down the spur line to our farm at Fig Tree Creek, letting us toss coal into the roaring maw of the fire box. Many years later Pauline and I had the honour of being present when Orchidologist Bill Lavarack presented the Australian Orchid Foundation’s Award of Honour to Jack Wilkie in acknowledgement of his immense contribution to the orchid world. And not many years later I was proud to be able to scatter some home-grown orchid flowers on his grave.
Dendrobium fleckeri occurs mostly on the higher mountains such as Bartle Frere, Bellenden Ker and Mount Lewis at altitudes above 900 metres. It prefers to grow on exposed rocks and can flower at any time of the year. The plant is small – the stems about 30 centimetres long – and the flowers are also small. Common name is Apricot Orchid and it is not found in cultivation since it will only grow in the weather conditions of our highest mountains. So, I will never see D. fleckeri alive, but thanks to Cairns Museum I have seen a lasting specimen collected and mounted by one of my heroes.
What do you get when you bring together a wedding gown, a ‘fashions on the field’ racing dress, a kaftan, a Chinese silk skirt panel, a debutante gown and a fancy dress costume on International Women’s Day? A window into the lives and creativity of local women from the far north, and a chance to explore their stories!
Following on from the textile training run by Dr Michael Marendy in Cairns last year, museums in the Cairns region have recently celebrated the opening of ‘Dressed to Impress’ at Cairns Museum, a collaborative exhibition that explored the wearers and makers of some of the region’s textile treasures. This is the first time the groups have worked in this way and, if the level of participation and the attendance at the opening are anything to go by, it won’t be the last!
Each organisation was asked to choose one garment for inclusion in the show, to undertake research into the history and provenance, and to consider how they want it to be displayed. Volunteers have contributed considerable time and work to prepare the displays. By combining their own sewing skills with the training from the workshops, they have adapted petticoats to fit the fuller dresses, made textile mounts, designed a full length slip to go under the wedding dress, padded mannequins and created supports for hats.
Mulgrave Settler’s Museum shortlisted two pieces – and each was so strong we ended up including both. Volunteers contacted both dress donors and arranged for me to meet with them in Gordonvale so that we could find out more. Owner of the wedding dress, Marlene Moss reminisced about her mother-in-law, renowned local seamstress, Kath Moss. We perused the photographic album that was part of the collection and looked at Kath’s notebooks that held the measurements of women from across the region.
Carol Lavelle, former owner and wearer of the Cairns Post costume, took the dress to the nursing home to show her mother who had made it in 1956. Although her mother’s memory is fading, seeing the dress briefly stirred some recognition, a treasured moment for Carol and her family. For me, this illustrates the power of objects and the important role museums can play in reminiscence programs and community well being.
Babinda contributed a dress worn by Joan Dickson, winner of the inaugural harvest queen competition in 1963. Behind this fairy tale dress, lies the story of a woman who grew up on a cane farm, trained to be a school teacher in Brisbane, made her own clothes and whose knowledge of the sugar industry was critical to her being selected the winner of the competition. Joan was part of a contingent of 14 from Babinda who traveled up to the opening by bus, turning heads when she entered with 2018 Harvest Queen, Demi Bettini.
The contribution from CADCAI, via member, Jenni Campbell, showcased a different era of clothing, and a vastly different style. Jenni’s family had kept a chest of garments belonging to her grandmother who moved to Cairns in 1906. The clothing inside is made from exquisite and ornate textiles, most likely imported from China and sewn here. The fragility of the items caused us to be cautious about which pieces to display. Jenni worked meticulously to craft her story and then attach the fabric to the textile support, a technique that Michael Marendy had demonstrated during the workshop.
The kaftan that Celeste Augur donated to Cairns Museum added a pop of colour and vibrancy to the display. She bought it off the rack from a local retailer and wore it to a Fun in the Sun party during the 1970s. Free flowing and light, it is an example of the changing fashion ‘loosening up’ – rather essential during Cairns’ warmer months!
Cairns designer, Grace Lillian Lee, also loaned a piece for the show, providing a contemporary example of tropical inspired textile ingenuity. Her Great Barrier Reef dress mixed hand printed textiles with metal spikes suggestive of the crown of thorns, and was paired with a woven coral hat that drew on traditional Torres Strait weaving techniques. Grace’s work is now recognised nationally, and she is now working on projects that seek to create opportunities to develop indigenous voices in the textile and fashion industries.
Last week, Jo Wills and Melanie Piddocke traveled to Townsville to assist groups affected by the recent severe flooding. Although most collections have emerged unscathed from days of torrential rain, the Family History Association of North Queensland and the Townsville RSL were both inundated, sustaining damage to their collections, assets and infrastructure.
Our first port of call was the RSL premises. Ewen McPhee met us on site with RSL Library Officer, Brenda Connolly, and we made our way through the damp, unlit ground floor to assess the damage. The collection is housed in three main locations but a collection storage room was particularly compromised – the door was so swollen that we had to get workmen to remove it from its hinges.
The salvage process involved removing all items and sorting them by type, condition and treatment required. We set up a bagging station for items that required freezing, a washing station for items that needed mud and debris washed from them, an area for drying textiles and leather, and an area for assessing all of the framed images that were damaged. We tried to focus on significant materials, particularly some of the First and Second World War items, and welcomed hands on advice from a Queensland Museum conservator for fragile items.
While Melanie, Ewen and Brenda continued to work on the RSL, Jo visited the Family History Association of North Queensland at their Hermit Park premises. Volunteers had been working on the mammoth task of cleaning since the previous weekend. They had been working with Annette Burns and Katie Pittock from Townsville City Libraries, who had been liaising with Jo and with Lydia Egunnike via phone for advice on how to manage items. After checking with MTQ staff, we managed to identify space in the MTQ freezer, which was a great relief to the organisation. In addition to the damage to the collection, the group also sustained damage to computers and equipment and had to start working through the process of insurance claims.
Jo also headed to Townsville CityLibraries local history collection where roof leaks from the unprecedented downpour, the excessively damp conditions and fluctuating climate had caused an outbreak of mould. Staff were involved in packing the collection items and finding temporary storage so that the space can be repaired.
Another MDO trip to Townsville will be organised later this year to work through the process of taking items out of the freezer with all groups. Material can stay in the freezers indefinitely so the trip can be made when volunteers and staff have had a chance to recover from the stressful salvage phase and get their own lives back to normal.
Preparing a response is always a hectic time for the MDOs, and a stressful time for the communities involved. This time it was rather hot as well! But it is always worth it. There is also a lot of behind the scenes work by staff and we are appreciative of Lydia Egunnike for her media performances, to Andrea Hughes for arranging them, and for the Queensland Museum conservator for working on site with us to support the RSL and find space in MTQ’s freezer.
Our thoughts and best wishes are with the people of Townsville and Western Queensland who are currently experiencing unprecedented rain and flooding.
The Museum Development Officer program is currently in the process of contacting heritage organisations in the flood affected areas to see how they have fared and if they require assistance. If your organisation needs help please contact Dr. Jo Wills on 0478 307 447 or firstname.lastname@example.org
We have also compiled a list of resources (see below) to help organisations deal with water and mould affected collections.
These resources will also be useful to anyone who is dealing with their own personal collections, so please share the information across your community.
If your collection has been damaged, please don’t risk your own safety for collection items. Stay safe and ensure everyone is wearing suitable safety equipment (see list of PPE below). Only enter flood-affected buildings when you have been given the all clear from the authorities.
Once you have entered the affected area, it is important to allow time to take stock and get over the initial shock and panic. Many people’s gut reaction is to throw everything in the skip. While sadly many objects may be beyond repair, it is very rare for everything to be unsalvageable. The sooner you are able to access objects, the better the chance of successful salvage.
Objects such as ceramics and glass may be covered in mud but otherwise undamaged. Many water and mould damaged paper and photographic material can be frozen indefinitely (see list below for the link to State Library’s instructions on safe freezing). Freezing allows you valuable time to recover from the immediate flood recovery phase. You can then treat frozen material when everything has calmed down and you have more resources, energy, and people available. Please see the links below from the AICCM and State Library for specific salvage guidelines.
And last but not least, ensure everyone involved in the many hours of recovery that lie ahead are well fed and take regular rest breaks. The volunteers who make the cakes and sandwiches are as vital to the recovery as those working directly with the objects.
Personal Protective Equipment:
- protective footwear (ideally safety boots or safety gumboots);
- disposable P2 respirator masks, the kind with the valve on the front is best and replace regularly as it gets dirty (N.B. For heavily mould affected collections, a full face mask with P2 or P3 filters would provide better protection)
- sturdy waterproof gloves for retrieving objects from the water and mud;
- nitrile gloves during salvage treatment work;
- safety glasses to protect your eyes from toxic particulate matter including mould (the type with wrap around sides provides the best protection);
- Tyvek overalls are recommended if mould is present or you are working in very muddy, contaminated conditions;
- Most hardware stores will stock the PPE listed above.
- N.B. For very serious mould outbreaks, it is recommended you seek advice from a mycologist prior to accessing the collections. People with respiratory conditions should not be involved in any mould clean up.
- Australian Institute for the Conservation of Cultural Materials (AICCM)
- Flood resources link: https://www.aiccm.org.au/disaster/flood
- List of websites with practical information on dealing with flood damaged collections
- Brochure: After a Flood https://aiccm.org.au/sites/default/files/docs/AICCM_Brochures/AfterAFlood_Ver5.PDF
- Flood resources link: https://www.aiccm.org.au/disaster/flood
- State Library of Queensland
- Dealing with disaster – Part one: how to recover a flood-damaged collection: https://www.youtube.com/watch?v=AfFke8fIOfw
- Salvaging damaged collections:
- Savaging flood damaged collections: http://www.slq.qld.gov.au/resources/preserving-collections/salvage_damaged_collections
- Freezing water damaged collections: http://www.slq.qld.gov.au/__data/assets/pdf_file/0004/128983/Caring-for-your-collections-Freezing-water-damaged-and-insect-infested-collections.pdf
- Dealing with mould: http://www.slq.qld.gov.au/__data/assets/pdf_file/0003/128982/Caring-for-your-collections-Dealing-with-mould.pdf
- Queensland Culture and Heritage Disaster Forum (Q-Dis)
- This Facebook page provides a disaster forum for Queensland heritage and cultural organisations: https://www.facebook.com/QDisForum
- Museums and Galleries Queensland
- M&G QLD have set up a disaster recovery fund: http://www.magsq.com.au/cms/page.asp?ID=5084
If you have trouble accessing any of the links above, please let us know and we will get the information to you in another format.
Mulgrave Settlers Museum, which is part of the Mulgrave Shire Historical Society, has been awarded the 2018 Gallery and Museum Achievement Awards (GAMAA) in the category of Engagement for Volunteer-run Organisations for its program “Visiting the Ancestors”. As MDO in Far North Queensland, it’s great to see this group recognised for all their hard work. Read on to find out about the three parts that made up this project:
Volunteers photographed all graves in the Gordonvale Cemetery and added basic information to “Find a Grave”. When searching for information the group realised many of the residents had interesting stories that formed the history of Gordonvale.
‘Streets Ahead’ newspaper column in the Pyramid Views
Many of Gordonvale’s streets had been named after early settlers and those now buried in the Gordonvale Cemetery. Locally produced magazine, Pyramid Views, approached the Mulgrave Shire Historical Society to write a regular column capturing this history of the family or person the street was named after. Each month one of the volunteers organised for the family members of several generations to be photographed at the street sign.
Since its inception, the project has grown. The paper now dedicated a whole page to the section due to the response from families wanting to share their heritages and the response from readers. Information is also available via their Facebook page.
Public programs: Ghosts of Gordonvale Cemetery & Ghosts of Babinda Cemetery
Inspired by similar cemetery tours developed both other organisations, volunteers at the Mulgrave Settlers Museum decided to conduct a similar program. They identified 12 individuals from the cemetery, researched their history using a range of local, reference and online resources.
Volunteers then approached Gordonvale State High School to see if any students were interested in portraying the chosen individuals. Students memorised the scripts and then, on the day of the performance, dressed in period costumes whilst standing next to the gave of their character.
Success at Gordonvale inspired a similar program in Babinda – the other cemetery in the original Mulgrave Shire. This time, 10 identified were chosen and students from Babinda State School and St Rita’s Catholic School participated in the project.
The Society also produced an associated booklet of for each cemetery that included the script, a photo of the student and an image of the person. Background information about the township and surrounding geography was also included.
For the last few months I’ve been working on a number of projects that represent the regions diverse geography, history and communities. Rather than present a series of finished stories, this time I thought I’d showcase work that is underway. For each of the projects, the groups or organisations are undertaking something they’ve not attempted previously. None of them would be possible without the energy and enthusiasm of the various volunteers and community advocates – it’s the lifeblood of our industry.
A museum for Babinda
When Babinda Mill closed down in 2011, many people thought this small town would struggle to survive. They were sorely mistaken. In August last year, I was approached to provide Babinda Taskforce with advice about how to set up a museum. Motivated by the redeveloped Cairns Museum, and a desire to stimulate tourism and preserve history, this group aimed to set up displays in one of the shops on the town’s main street. But we had to start from scratch.
After running some introductory training, I then developed a strategic plan to get the project underway. Meanwhile, the Taskforce sought support from interested locals and created a museum subcommittee which began identifying objects and stories they wished to include. Funding was received funding through local council to develop curatorial and design concepts. We began an Indigenous liaison process to make sure cultural issues are respected and considered during the projects development. And, we have recently secured some of Queensland Museum’s recycled showcases to help realize the project. (Now all we have to do is get them up here!)
As the curatorial and design work has been developing, the Taskforce has been applying for grants and funding to support the building and fit out work. Local builders have been approached to be involved in renovating the space. While it’s been busy, the energy and enthusiasm of those involved in this project is inspiring. All of this is mixed in with a lot of good humour and local ingenuity – essential ingredients for a project like this!
Queensland Rail Movable Cultural Heritage & Normanton Railway Station Museum
Located on the edge of Normanton in the north west gulf country, the heritage listed Normanton Railway Station has a long and somewhat unusual history. Now one of the jewels in the town’s tourism crown, most visitors enjoy the small railway museum located at the station before boarding the historic Gulflander and heading out to Critters Camp or going onto Croydon.
The museum collection is eclectic – it reflects the region’s pastoral and social history as well as the story of rail. Station’s Officer in Charge, Ken Fairbairn, has been keen to get assistance with the museum’s collection management for a number of years. Now, through the assistance of Queensland Rail, the MDO program is about to start a project that aims to provide cataloging and policy advice for Queensland Rails movable heritage collections, and that involves practical work and training at Normanton Railway Station Museum.
Developing a keeping place for Napranum
In September I traveled up to Napranum, Mapoon and Weipa with historian Geoff Wharton to get an insight into the cultural heritage of the Western Cape. The main purpose of our trip was to begin discussions about developing a keeping place at Napranum in conjunction with the Shire Council. Geoff, who has a long association with Weipa and Napranum, a thorough knowledge of the region’s culture and connections with relevant community representatives, was the perfect person with whom to travel to there for the first time.
Since my visit, Napranum Shire Council staff have visited a couple of different museums in the Cairns CBD with me to give them an understanding of the different types of infrastructure and displays that can be set up. We have also undertaken research into funding opportunities, and are investigating ways to integrate relevant training in community.
Whilst in Weipa, Geoff also took me to the Cape York Collection, held at the Hibberd Library where he works as honorary curator. What a treat! And, what an amazing collection of cultural, technical and scientific material that provides an insight into the region’s diversity and history.
“Dressed to Impress” – a collaborative exhibition for Cairns Museum
As noted in my previous post, Michael Marendy’s textile training in June inspired everyone and got us focused on fashion. Apart from groups having a better understanding of how to manage, store and display textiles , one of the outcomes from his visit will be a small textile display, due to go on display early 2019. Representatives of Cairns Museum, Cairns and District Chinese Association, Mulgrave Settlers Museum and Babinda Museum have come together to start discussing which items they want to include, undertake some research and create an interpretation approach.
Since opening in 2017, Cairns Museum has been working tirelessly to produce a suite of exhibitions for their temporary gallery. This textile display, with a working title of “Dressed to Impress”, will be the first time the small museums of the Cairns region come together to produce a group show. Cairns Museum Manager, Suzanne Gibson, and I are also seeking to include works of some contemporary local designers including Grace Lillian Lee and Vivienne Francine to ensure there is some contrast between old and new. Stay tuned for more details.
MDO life in FNQ has again been busy over the last three months. I’ve travelled what feels like 1000s of kilometres and been privileged to see north Queensland’s diverse landscapes and intriguing cultural history. Great, too, has been the opportunity to work closely for the first time with communities in Burketown, Babinda and Millaa Millaa, and reconnect with colleagues and friends in Cairns’ museums and Torres Strait. Here are just a few details of projects I have been lucky enough to work on recently:
The Wild Irish Girl Display, Cooktown History Centre
I’ve always been impressed at the self sufficiency of the volunteers at the Cooktown History Centre. So when they asked me to help out with cataloguing training for the John Hay/Sam Elliot collection, which was donated to them just before John died, I was only too pleased to assist. As we worked our way through we discovered a fabulous collection of material from the Palmer River Goldfields. Handmade tools, Chinese pots, gold scales and opium pipes… these are just a few of the items that tell the story of the Wild Irish Girl Mine, a unique place in FNQ’s mining and social history. Follow this Wild Irish Girl Mine link for more information.
We also discussed displaying the material in the available space and how the group might set up the new area. Six months later, I received pictures of the new display. After purchasing some new cases and developing panels using their in-house style, the group have produced a fabulous display that mirrors and succeeds their intentions. Congratulations to a very dedicated group of people.
Burketown Visitor Centre CHG project
At the end of May, Ewen McPhee and I drove out to Burketown on the Albert River in far northwest Queensland to help out the local Shire Council and the Carpentaria Land Council with their collection as part of a CHG grant. Designed to help understand the collection and make it more accessible, the grant enabled us to spend a week with the group and help redevelop their displays and get them ready for opening. Along the way we got to spend time getting to know the community in more depth, learn about the Aboriginal and settler history, and become acquainted with the cultural artefacts and paintings that make up their collection. We made sure to enjoy the surrounding landscape and evening skies as well.
Cairns’ Museums Textile Training with Dr Michael Marendy
Museum volunteers in Cairns attended a week long textile preservation workshop in June, thanks to funding from Cairns Regional Council. Run with great care and passion by Dr Michael Marendy, participants were treated to his wealth of knowledge, attention to detail and ready humour as he ran applied training sessions. I was amazed at the sewing skills out there among the community, and painfully aware of my own needlework limitations! But Michael’s enthusiasm is infectious and, by the end of the week, I could see how beneficial site visits Mulgrave Settler Museum and CADCAI had been, and how inspiring it is to have access to a material specialist. Michael also delivered a delightful public lecture, leaving guests crying out for more stories from his experiences with textile treasures. The groups in Cairns are now working towards developing a small textile exhibition in Cairns Museum’s temporary gallery.
Gab Titui Cultural Centre: Butal Inu Ngapa Boey and the 2018 Art Awards
Ewen and I travelled up to Thursday Island in July to help the team at Gab Titui install two new exhibitions. The 2018 art awards were opened on Thursday 26 of July and we were honoured to work with a vast array of wonderful pieces. The new cultural exhibition, Butal Inu Ngapa Boey translates as ‘our luggers’ and examines the familial connections to the Torres Strait’s pearling history. Ewen has been advising on this project for the past year. Important to this project was the video recordings with different island representatives. The display also included commissioned artworks that celebrated the region’s pearling traditions and history. As usual, an exhibition opening at Gab Titui is accompanied by extraordinary dancing, this time from the Badu Island Dancers who performed lugger dances.
The Kjellberg Story: Millaa Millaa Museum’s first temporary exhibition
Last, but by no means least, Eacham Historical Society’s Millaa Millaa Museum developed and opened a new temporary exhibition to commemorate 100 years of noted Swedish migrant Ernst Kjellberg’s arrival in the district. Initially, Kjellberg worked closely with Mamu men to clear their land, and run a dairy farm. Then, between 1930 and the 1945 he and his family ran a health clinic on their property Beachview on the outskirts of Millaa Millaa. As knowledge of his abilities grew, people flocked to his clinic and lived in tents while they received holistic and manipulative therapy.
The production of this exhibition was no mean feat for this group of volunteers who live in this small town on the Atherton Tablelands. At least two of them are over 90 and many have been experiencing health complications. Nonetheless they were keen to participate and were gently guided by new volunteer curator, Stacee Hillyard who did a fantastic job. I was very fortunate to be able to enjoy their support and goodwill as I came in and made changes, and believe the process was as important as the outcome. Community enthusiasm for this story was strong, and became increasingly evident as we worked toward the opening. We had people offering to lend small collections of material. Volunteers partially reassembled the electric light bath for the display – perhaps one of the most unusual items I’ve come across for a while.
The exhibition was officially opened on July 28th by Councillor Anthony Ball. For a small town, it was a big event. Am amazing morning tea was provided by the CWA, and more than 50 people took part in what was the museums first temporary exhibition. Among the guests I even happened to meet a man who had worked with the light bath we had on display! Congratulations to the Millaa Millaa Museum group for their hard work and enthusiasm.