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.
Sometimes I fall head over heels in love with the objects and collections I work with in far north Queensland. I remember them. I seek them out on site visits to make sure they are still there. I undertake research on them in my spare time, and try to understand their value and why they might be special to others.
So what triggers this attachment? At a recent workshop with the Tableland Heritage Network in Atherton I I returned to museum basics and linked provenance and research to a love of objects. We talked about what inspires us to learn more about particular objects and how this helps us to create engaging interpretation. We discussed the art of looking at objects and how this builds our understanding and commitment to them, and then listened to people talk about some of the items they had brought in to discuss.
I also decided to examine what triggers my own emotional engagement with particular items and found a number of recurring key themes. It’s not just the collections I work with that I admire, it’s those I encounter as a museum visitor myself as well.
Blood ties and birthplace: identity
Where you’re from, who you’re related to, who your mob are. For some, family and place trigger an immediate sense of connection. I was born in a small town called Poole in SW England, a seaside town with a strong tradition of ceramics. I found this 1930s ceramic tile panel depicting Poole High Street and Quay while visiting Poole Museum. I was mesmerized by it. The picture illustrates the high street and waterfront that formed part of my childhood, and shows the area where my family worked as fishermen and ran a local pub. The ceramic tiles were made at Carters Tiles, which went on to become a well known local business called Poole Pottery. You might have seen their tiles lining the walls of the London Underground.
Emotional reaction: compassion
Some objects leave a lasting impression on us. Menmuny Museum at Yarrabah has an embroidered cloth that was made during the 1930s by residents of the girls dormitory at Yarrabah Mission. Individual hand stitched pieces have been combined to create a kind of ‘memory cloth’ or quilt. The panels illustrate the impact of mission life and removals, of government policies and their impact on families.
For me, this object represents a learning point in my career – it is an item that I have thought about many times and which moves me profoundly. Who made it, how and when? Where did they come from and how did they get to be at Yarrabah? When were the pieces joined together and what sort of lives did the makers have living under the Act? It takes me outside of my lived experience and addresses the truth of First Nation’s history – one that was that was never discussed at school.
Physical attraction: aesthetics
Some objects sweep you off your feet through their good looks, material and textures. Two, in particular, vie for my attention. Popa Dabad, the award winning ghostnet piece by Erub Arts Centre’s Nancy Kiwat, was made in 2016. The colours, materials and inquiring angle of his head always make stop me in my tracks and spend an extra minute in contemplation.
Equally enchanting, for me, is a 1920s photograph album one of the volunteers uncovered while we were working on the Cairns Museum redevelopment. Each page is a visual delight. Some are decorated with line drawings, quotes and graphic titles, and many of the photos are hand coloured. I cannot resist a visit when I stop into the museum stop and gaze at the facsimile that is part of the museum’s display.
Intrigue and curiosity
How does that work? It is a question that people often ask when they see old equipment in museums. When I first visited Millaa Millaa Museum on the Tablelands I became intrigued by the story of migrant Swedish healer, Ernst Kjellberg, and the electric light bath he used that was stashed under the museum. How did it work? Where did the bulbs go? Where did you sit? Lots of questions that the individual pieces struggled to convey. But when the group arranged an exhibition to commemorate 100th anniversary of Kjellbergs arrival in the district, they reassembled the bath. It was fantastic to see it come back to life and to understand how it operated.
Becoming friends: understanding
Objects and collections can be like good friends – the more you get to know them, the more you admire them. When I started to work on the Reef Productions collection for Cairns Museum last year, I had no idea how much detail we would be able to uncover. Slowly, with the help of colleagues and community, we started to piece together a history of owners, an organization and a community through a collection of objects.
Attracted to the diversity and style of the artwork, I was inspired to get to know the different artists who created them, the different subjects they depicted and the motivations behind their work. In doing so, a whole new understanding about the tourism history and community Cairns emerged. I have learned about the burgeoning arts scene in Cairns during the 1970s and 1980s, and been able to explore the different works of art more deeply. And although my work on the collection and exhibition is now finished, I remain interested in the works and what they tell us.
In understanding my own motivation better, I feel I am better placed to help volunteers and museum workers in the region sustain their interest in their history and collections. That’s my hope, anyway.
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.
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.
For those of you haven’t heard, Cairns Museum and has reopened. And it is FABULOUS!
I’m not going to pepper this post with a hundred pictures (why not visit or check the website to see it in all it’s glory), but I can’t resist sharing just a few.
Cairns School of Arts building, built in 1907, has been refurbished and modernised. You can’t help but notice the refreshed façade that now graces the corners of Lake and Shield Streets. The new annex provides space for additional galleries and a significant collections storage room, while the veranda encourages visitors to gaze out over the town and enjoy the Coral Sea breeze. Researchers can now visit the Cairns Historical Society during the wet season without sweating, and enjoy contemporary research facilities!
Inside the museum you’ll find four permanent galleries and a temporary space filled with objects and stories about people and place and living in the tropics. Take the lift to the top floor and work your way down the stairs. Explore old and contemporary Cairns, or find out about the old School of Arts collection. Interactives and multimedia bring some of the displays to life. And the shop in the entrance foyer entices with clever merchandising inspired by the collection – perfect for tourists and locals alike.
That’s not all that’s new. During the redevelopment process, the historical society and museum rebranded and worked tirelessly to create a suite of add ons like education, websites, Facebook and a heritage walk. In a win for Cairns, there are now four paid jobs at the museum (some part time) – a major achievement for a town that previously had only one. New volunteers are welcome and there are a sea of new faces taking advantage of their well managed volunteer program.
I might be a little bit biased, of course… but it really is worth a visit to see how a labour of love (and sweat and tears) has evolved to become a contemporary, dynamic and thoughtful museum. Congratulations to all at the Cairns Museum and Historical Society team – it’s great to see you open again!
As many museum followers know, Cairns is home to a nationally significant collection of Chinese artefacts known as the Lit Sung Goong temple collection. Cared for by the Heritage Group at Cairns and District Chinese Association Inc. (CADCAI), this collection tells the story of early migration and settlement, of business connections and acumen, religious practices and artistic skill and craftsmanship.
What many do not know, however, is that CADCAI is seeking support to build a new Chinese Cultural Centre. A new facility would support CADCAI’s vast array of activities, and be a place to preserve and display the Lit Sung Goong collection and explore Chinese-Australian history. Development plans and concepts are already underway, but there is still much to do before their vision can be realised.
Over the past two months, CADCAI volunteers have been working with Dr Jo Wills, MDO in Cairns, to develop display panels and banners that can be used in both temporary exhibitions and to promote CADCAI’s activities throughout the year. Following a successful RADF application to Cairns Regional Council, the group has undertaken exhibition concept development training with the MDO, text writing activities and worked with a local graphic designer. They are grateful to Cairns Historical Society and Museum for lending them showcases to display some of the collection.
Using the history of the temple, the Chinese history of Cairns and the preservation of the collection as a starting point, the banners, panels and object cases illustrate the exquisite beauty of this collection, and highlight the role played by Chinese settlers to the region. They also highlight the work that has already gone into preserving these items, and the passion of those involved. This background research and work with the collection has been so important for developing these exhibition materials. Follow this link to see a few of CADCAI’s short videos that feature the collection and volunteers.
For those based in Cairns, make sure you visit the updated CADCAI display on Grafton Street this Saturday as part of the Chinese New Year street festival and visit the festival website to find out what else is on. 恭喜發財 – Gong Xi Fa Cai – Happy Chinese New Year. 2017 is the Year of the Rooster!
People’s desire to see beneath the surface of the sea has inspired a myriad of underwater viewing objects and inventions. From hollow reeds to Leonardo Da Vinci’s early diving apparatus, there has been a whole raft of weird and wonderful creations inspired by our fascination with coral and the reef.
I’ve been exploring the way people have viewed coral recreationally on the Great Barrier Reef and around Cairns as part of my research for Cairns Museum’s new exhibitions. Drawing on material culture and academic research, I’ve found we can make some interesting observations about north Queensland’s contribution to the evolution of coral viewing.
Early visitors to the reef used hand held viewing devises known as coralscopes, waterscopes or glass bottom floats. Made from aluminum and a clear Perspex or glass, these were either boxes or tubes that were held over the side of the boat and provided the user with a stable viewing lens.
“The exclusion of surface turbulence meant that the scene through a waterscope was sometimes in stark contrast to the surface of the water … The waterscope thus opened up, not only fear, but a delight in the other that constituted the underwater world.” (Celmara Pocock, (2003). Romancing the Reef: history, heritage and the hyper-real. PhD thesis, James Cook University, p. 231).
Queensland Museum holds one example in its collection (see below). Cairns Museum and the State Library of Queensland hold a range of photographs that illustrate people viewing coral over the side of the boat. Does anyone know of other examples in other collections around the state or country?
Glass bottom boats were another early form of coral viewing. In 1937, the Hayles family launched the worlds first glass bottom boat at Green Island. Accompanied by music, these boats were ‘allowed to drift over deep channels so that passengers can view the teeming waterlife through the glass in the bottom.'(Tourism Guide book) Adapted later in the 1940s, these vessels continue to be used on the reef today, providing access to the underwater world for those who prefer not to immerse themselves.
Local entrepreneurs Lloyd Grigg and Vince Vlassof, were involved in creating another underwater viewing first for the region. In 1954, they opened the Green Island Underwater Observatory, a 10m chamber with 22 port holes, situated at the end of the jetty. Bought for 400 pounds, it was converted from an underwater diving chamber used in WW2 to erect pylons, and taken out to the island and sunk into position. A shop and residence were erected above it and coral formations bought in from other reefs to attract fish. The underwater observatory remains on the jetty but is no longer open to the public.
New innovations, like the Scubadoo – an underwater scooter – and more advanced diving equipment have revolutionised the way we interact with and view the reef. But these three objects provide special insight into the innovations the region has used to make the Great Barrier Reef’s underwater gardens more accessible to visitors and enthusiasts.
Stay tuned – there are many more fascinating stories being uncovered as the research for Cairns Museum’s redevelopment continues.
It’s not often I get called to look at natural history or entomological collections. And, when I was contacted by staff at Meringa Research Station near Gordonvale to come and assess the condition of some old display cases, I must confess to being a little skeptical. Imagine my surprise, then, when a little bit of research into their creator, Dr Edmund Jarvis, revealed that these cases were going to contain more than your average cane beetle displays.
Dr Jarvis was an entomologist from the early 20th century. He ended his career as the Chief Entomologist to Queensland’s Bureau of Sugar Experiment Station, and specialised in cane beetle research. Prior to this, however, he had a museological career. After moving from Devon, England to Australia, his first job was a Acting Assistant Entomologist, National Museum, Melbourne in 1903 (now, Museum Victoria). In addition to his scientific training, he was well known for his skills in line drawings and water colours.
On site, it was immediately clear that the displays had been arranged by someone with a museological eye. Seven timber framed cases, which date between 1922-1932, had been ‘curated’ to ensure that information is conveyed in an educational manner. They contain a mixture of specimens, line drawings, photographs and labels – all laid out to make the subject matter as accessible as possible. The cases illustrate the research undertaken into pests impacting the sugar industry during the 1920s by the Bureau of Sugar Experiment Stations.
Bureau of Sugar Experiment Stations were, established under The Sugar Experiment Stations Act of 1900 and were initially administered by Queensland’s Department of Agriculture. Employees undertook research to assist growers and millers improve the breeding, planting, growing, harvesting and milling of sugar cane. The focus on the cane beetle, and other cane related pests, demonstrates the importance of the research stations, the work they were conducting, and of the value placed upon the cane industry in Queensland in general.
In valuing these cases, I have come to think of them as more than just the work of a scientist, but as the work of a fellow museum worker with a passion for conveying information to different audiences. I am hoping to secure funds to assist with the conservation of the cases, and a way to interpret them further – in consultation with staff at Meringa.
Cairns Historical Society’s photographs manager, Pauline O’Keeffe, has been working on a WWI exhibition called “In Times of War: FNQ Remembers WWI”. The goal of exhibition is to present stories about Far North Queensland, and the impact war had on the local community, rather than focus on battles in the international arena.
“In Times of War’ is based around the Cairns Historical Society’s significant photographic collection. It will showcase more than 150 images of enlisting men, enlistment posters, war based events like enlistment march, Kanowna expedition, Red Cross, community involvement and the region at that time together with explanatory documentation.
The exhibition opens on Friday April 4 in Tank 4 at the Tank Arts Centre in Cairns and runs until April 27. The opening will include a performance by the Tropical Brass Band and a theatrical presentation by local artist Sue Hayes based on the enlistment process. The theatrical presentation will be rerun on Thursday 10 April when the Society will also run a lecture night and present papers on FNQ related WW1 topics.
Pauline, a long term volunteer with the Society, has undertaken significant research to put this project together. Her findings, which include a gap in collections and knowledge about the impact of the war in regional communities, means she believes the Anzac centenary period offers communities a chance to build upon this research and leave a legacy of new knowledge for future generations.
For more information about the project, please contact the Cairns Historical Society on: firstname.lastname@example.org
This project is supported by funding from the Australian Government under the Anzac Centenary Local Grants Program and by the Regional Arts Development Fund through Arts Queensland and Cairns Regional Council partnering to support local arts and culture.
For those of you not familiar with Cairns’ Chinese heritage, here is a chance for a sneak peak into CADCAI’s (Cairns and District Chinese Association Inc) collection rooms and activities. Recently, four volunteers from CADCAI – Julie, Jackie, Ann and Emma – participated in a video making workshop run by ABC Open in Cairns. Over two days they scripted, filmed and produced a short promotional clip designed to entice visitors to their rooms in Cairns.
Their production showcases the region’s Chinese history and promotes the work they do to preserve the remarkable Lit Sung Goong Temple Collection. Salvaged by members of the Cairns Temple Society in 1964, this rare and beautiful collection comprises more than 250 individual objects. The Lit Sung Goong Temple Collection is representative of late 19th century Southern Chinse religious artefact production and is one of the most complete and virtually intact collections of Imperial Chinese temple fittings in Australia.
Follow the link to see the video CADCAI’s volunteers produced during the workshop: http://vimeo.com/71074565/