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Australian History

AUSTRALIAN HISTORY: Fifty years ago today, one building taught us that culture for its own sake is sometimes reason enough

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AceHistoryDesk – Almost two decades in the building but adored and amazed by captivated visitors ever since, the Sydney Opera House today celebrates its 50th year.

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Ace Press News From Cutting Room Floor: Published: Dec.01: 2023: In QLD Culture News by Michelle Arrow is Professor of History, Macquarie University. This article first appeared in The Conversation and is republished here under Creative Commons Licence: Published: October 20, 2023: TELEGRAM Ace Daily News Link https://t.me/+PuI36tlDsM7GpOJe

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It has been an extraordinary journey, writes academic The Sydney Opera House represented a coming of age for a young, exuberant nation. (Image Sydney Opera House, Bennelong Point Sydney, 1965. City of Sydney Archives, CC BY-NC-ND

It is one of the most famous buildings in the world. It has an instantly recognisable silhouette that adorns tea towels, bottle openers and souvenir sweatshirts.

Miniature versions huddle in snow domes. You can build your own from Lego. Bidjigal artist and elder Esme Timbery constructed a replica in her trademark shell art. Ken Done put it on doona covers and bikinis. If you search the hashtag on Instagram, you will see over a million posts.

Fifty years ago today, after a prolonged and controversial period of construction, the Sydney Opera House was officially opened by Queen Elizabeth II in a lavish ceremony.

Spectators carrying flasks of coffee and cushions watched from the sidelines. More than 2,000 small boats viewed the ceremony from the water.

After the national anthem was played and nine F111 aircraft roared overhead, the crowd heard a didgeridoo and Aboriginal actor Ben Blakeney delivered a prologue β€œrepresenting the spirit of Bennelong”.

In her speech, the Queen remarked the Opera House had β€œcaptured the imagination of the world”.

Today, the Sydney Opera House reminds us Australia can value culture for its own sake. But what did the Opera House mean to Australians when it opened 50 years ago?

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The opening festivities gestured both to Australia’s deep Indigenous roots and white imperial origins. The building itself symbolised a new era of state investment in cultural infrastructure. This was a hallmark of the β€œnew nationalism” in the 1970s: the arts were regarded as essential to Australia’s newly confident sense of national identity.

The campaign for an Opera House in Sydney was initiated by Sir Eugene Goosens, who came to Australia as conductor of the Sydney Symphony Orchestra in 1947. He found a sympathetic ear in Joe Cahill, the Labor premier who committed Bennelong Point to the project and launched an international competition to design the building in 1955.

This part of the story is well-known (indeed, there was even an opera). Danish architect JΓΈrn Utzon’s bold, avant garde design won the competition and construction began in 1961, funded – in a democratic touch – by the NSW government’s Opera House lottery.

Construction was plagued by difficulties and expanding costs. Utzon famously resigned from the project in 1966; Australian architect Peter Hall oversaw the construction of the interior.

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In spite of the jokes and doubts, by the time the building was finished, Australians had embraced the Opera House as their own.

The Queen tactfully acknowledged the building’s construction delays in her speech at the opening ceremony, suggesting β€œevery great imaginative venture has had to be tempered by the fire of controversy”.

As historians Richard White and Sylvia Lawson note, while the Opera House was intended for all performing arts, the centrality of opera – with its expense and small audiences – made a symbolic statement a β€œnew, more sophisticated Australia” had arrived.

As Australia sought to find an identity independent of Britain, the Opera House became a symbol of this new nationalist turn.

Some fitted the Opera House into older narratives of Britishness: in his book Sydney Builds an Opera House, Oswald Zeigler remarked we needed to thank Captain Arthur Phillip β€œfor finding the site for this symbol of the Australian cultural revolution”.

Gough Whitlam declared it was β€œa magnificent building, Our civilisations are known by their buildings and future generations will honour the people of this generation […] by this building.”

In spite of this, there was still cultural cringe. The Canberra Times reported the British media believed the Opera House was a sign that β€œthe country had turned a corner artistically”. It was a telling sign of cultural cringe that their opinions were sought at all.

The Opera House was part of an Australian cultural renaissance in 1973. The ABC broadcast an adaptation of Ethel Turner’s beloved Seven Little Australians. The bawdy Alvin Purple was a box-office smash. Patrick White became the first (and so far, only) Australian to win the Nobel Prize for Literature. The new wave of Australian drama was in full swing, and the Opera House’s opening season included a play by new wave star David Williamson alongside Shakespeare’s Richard II.

Historians have nominated many emblems for the new nationalist mood (from the new national anthem to The Adventures of Barry McKenzie) but I would suggest the Opera House embodies it best: the soaring sails, the bold, rich colours of the interiors, and John Coburn’s glorious, confident curtains for the performance venues.

There were always objections on the grounds that government investment would be better focused elsewhere, rather than on a performance venue for β€œelites”. These arguments are wearyingly familiar today.

Premier Joe Cahill rejected this charge from the outset: in 1959 he declared β€œthe average working family will be able to afford to go there […] the Opera House will, in fact, be a monument to democratic nationhood in its fullest sense.”

Cahill’s insistence this was a building for everyone to enjoy and be proud of has been fulfilled by its creative use ever since. School children regularly perform; new audiences have been drawn by musicians of all genres, from punk to Prince. But the Opera House has also been a place for creative experimentation and innovative performance – as it should be.

Today, 50 years from its opening, the Sydney Opera House reminds us the state still has a role to play in supporting the performing and creative arts in Australia. This radiant, soaring building belongs to all of us: a great reason to celebrate its birthday.

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World History & Research Reports

HISTORY TODAY: How the Elgin Marbles scream injustice for most Greeks

Visitors look at the Elgin Marbles, at the British Museum in London
There has been a longstanding disagreement between Greece and the UK about whether the marbles should be returned to Athens

AceHistoryDesk – More than 200 years after they were torn from their country’s most sacred landmark and shipped unceremoniously to the UK, the Elgin Marbles still scream injustice for the vast majority of Greeks.

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Ace Press News From Cutting Room Floor: Published: Nov.29: 2023: By Nick Beake: Europe correspondent, in Athens: Additional reporting by Kostas Kallergis: TELEGRAM Ace Daily News Link https://t.me/+PuI36tlDsM7GpOJe

Visitors look at the Elgin Marbles, at the British Museum in London
There has been a longstanding disagreement between Greece and the UK about whether the marbles should be returned to Athens

Not that anyone around me would call them that: the Parthenon Sculptures being the name used time and again – in a rejection of the British claim of ownership of the ancient treasures perceived almost universally here to have been stolen by one Lord Elgin in a callous act of imperial theft.

In the bustle of central Athens there was the most predictable of consensus among those we spoke to, whether old or young. 

“I mean, the Parthenon, the sculptures – they belong to Greece. Let’s be fair, yeah?” said 21-year-old trainee pilot Melina Petrou. 

“What the prime minister said about the Mona Lisa was a great example. You’d have half of it in the Louvre and half in another country and that’s what the UK did in stealing the sculptures – so that’s not fair at all.” 

But wouldn’t the process of moving the friezes seriously endanger them, I ask? Aren’t they better off at the British Museum, as the British government argues? 

“I used to live in London and I remember one day I saw at the British Museum how the roof was leaking. And they say they need to stay in London because they’ll be in a better condition! They need to come home to Greece.” 

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At the foot of the Acropolis, you find a museum that was built specifically to house the missing marbles whenever their return may be. Fourteen years after it opened, they are still waiting for their centrepiece to be brought back.

Inside the building, the outline of missing parts of the Parthenon are highlighted – along with an explanation of where they currently reside. Other countries, including Italy, have said they are prepared to return some precious Greek antiquities but the British are yet to follow suit. 

UK Prime Minister Rishi Sunak’s cancellation of his meeting with Greek Prime Minster Kyriakos Mitsotakis has done nothing to boost affection for the UK.

If Mr Sunak thought calling off the talks at 10 Downing Street would be seen as just a diplomatic storm in a tea cup, he was mistaken.

“I felt offended and every Greek felt offended,” cabinet minister Adonis Georgiadis told me on Tuesday evening. 

A view of the Parthenon temple ruins in Athens

“I speak with respect to your prime minister but he made a mistake. This is a sad day for our relationship.” 

Mr Georgiadis is also the vice-president of New Democracy, which eventually secured a thumping victory in this year’s Greek national election.

On the central issue of returning the marbles, he said every citizen – irrespective of political allegiances – was united that they should be returned. 

“The Parthenon does not only belong to the Greek people but to all civilised people. It represents the classical ideas that gave birth to democracy, philosophy, poetry, art and human rights.”

He said it was a “disgrace” for the sculptures to remain far from their true home, and hoped the British Museum would find a “reasonable way out” of a predicament which was not its fault. 

Greek Prime Minister Kyriakos Mitsotakis likens having some Elgin Marbles in the UK to ‘cutting Mona Lisa in half’

Foreign Minister Giorgos Gerapetritis reinforced that message on Wednesday, describing Greece’s claim on the sculptures as based “not only on history and justice but also on ecumenical cultural value”. 

“Irrespective of this, we need to work with the UK and we are going to serve this purpose in the future in order to deepen this longstanding history we have – the two nations,” he told the BBC ahead of a Nato meeting in Brussels. 

Among late-night shoppers streaming through the streets of Athens – now decked out in Christmas decorations – there was less charity for the institution. 

“This is all about money” said 49-year-old Ilias. 

“The Museum thrives on presenting all these amazing pieces of history on display, and if they lose the marbles then the British Museum will not be the British Museum.”

But what if they were to return to Athens? What would be the national mood? 

“The Greeks would be very, very happy. British people are very reasonable and fair and I think they would be happy too,” Ilias said. “It would be good for the whole world.”

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World History & Research Reports

HISTORY TODAY: New evidence’ found in mystery of where Captain Cook’s HMB Endeavour shipwreck lies, National Maritime Museum says

A wide photo of a replica of the Endeavour - a on old ship with many sails - at sea.
A replica of the Endeavour is usually docked at the Australian National Maritime Museum in Sydney.(Australian National Maritime Museum via AAP)none

AceHistoryDesk – Australian maritime scientists have doubled down on claims a shipwreck off the US coast is Captain Cook’s Endeavour, which he famously sailed while exploring the South Pacific.

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Ace Press News From Cutting Room Floor: Published: Nov.28: 2023: AAP/ABC: TELEGRAM Ace Daily News Link https://t.me/+PuI36tlDsM7GpOJe

A wide photo of a replica of the Endeavour - a on old ship with many sails - at sea.
A replica of the Endeavour is usually docked at the Australian National Maritime Museum in Sydney.(Australian National Maritime Museum via AAP)none

A pump-well and section of the wreck’s bow further provide evidence as to the identity of the ship, the Australian National Maritime Museum said on Thursday.

The museum first declared the wreck located in Newport Harbour, Rhode Island, to be the Endeavour in February 2022 following decades of archaeological examination.

However, the claims were shot down by US experts also examining the ship, who said that despite finds “consistent with what might be expected of the Endeavour” there was not yet indisputable data to support the claim.

Rhode Island Marine Archaeology Project executive director Kathy Abbass said a “legitimate report” on the wreck’s identity would be released when the group’s study was complete.

But the museum said there had been no further dissenting responses to its claims that the vessel was the Endeavour in the past two years, and its final archaeological report would be released in 2024.

The remains of Endeavor under water
Part of what Australian authorities believe is James Cook’s famous vessel.(Supplied)

‘Two significant discoveries’

Most recently, the discovery of the vessel’s pump-well allowed museum maritime archaeologists Kieran Hosty and James Hunter to compare it to plans of the Endeavour generated during a British Admiralty survey of the vessel in 1768.

According to the museum, the positions of the surviving pump-shaft stump and pump-well partitions on the wreck aligned perfectly with those in the archival document.

Having compared the wreck site to the historical plans, archaeologists were also able to accurately predict the location of the ship’s bow, where they found another convincing piece of evidence.

A distinctive “scarph” joint in the surviving keel timber allowed the team to take further measurements of the wreck, providing another match to the historical British documents.

The design of the scarph itself, which was unusual for vessels of that era, was also an exact match for the form and size of the joint on the Endeavour’s plans, the museum said.

A survey of 40 18th-century ship plans showed just one other matched the Rhode Island wreck β€” that of the Marquis of Rockingham, built in 1770 by the same shipwright that produced the Endeavour.

Maritime Museum director and chief executive Daryl Karp said the finds further supported Australian researchers’ claims of the Endeavour’s identity.

“The additional research done by our maritime archaeologists that led to the identification of the pump well, which in turn enabled clarity on the final physical position of the wreck and the keel-stem scarph joint, provides further evidence as to the identity of the wreck,” she said.

“The museum of course also acknowledges the work of the team from the Rhode Island Marine Archaeology Project, and the Rhode Island Historical Preservation and Heritage Commission for their assistance and oversight over many years.”

In 1768, James Cook sailed the Endeavour, a re-fitted coal ship, to Tahiti and on to New Zealand before reaching the east coast of Australia in 1770.

The Endeavour was renamed Lord Sandwich and sunk by British forces during the American War of Independence in 1778, accounting for its possible final resting location.

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Australian History

AUSTRALIAN HISTORY: Manufacturing Icon Furphy Marks 150-year Milestone in Shepparton Victoria

An old black and white picture of the front the the Furphy Foundry in Shepparton
Furphy is celebrating 150 years of manufacturing in Shepparton, Victoria.(Supplied: Adam Furphy)none

AceHistoryDesk – Part of the Australian vernacular, the word “furphy” describes a story that may be untrue or an embellishment: Its origins date back to World War I, when troops in military camps would gather, swapping tales, around water carts manufactured by the company Furphy.

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Ace Press News From Cutting Room Floor: Published: Nov.27: 2023: ABC History News: TELEGRAM Ace Daily News Link https://t.me/+PuI36tlDsM7GpOJe

An old black and white picture of the front the the Furphy Foundry in Shepparton
Furphy is celebrating 150 years of manufacturing in Shepparton, Victoria.(Supplied: Adam Furphy)none

An inventor is born

This weekend, collectors, enthusiasts and community members alike will gather to celebrate Furphy’s 150-year anniversary of operating in Victoria’s Shepparton region.

Born at Moonee Ponds in 1842 to Irish Immigrants, John Furphy had little formal education and first began business as a blacksmith in 1864.

Originally setting up operations in Kyneton, Furphy moved his business to Shepparton in 1873, after hearing good reports of the area from a family member farming in Kialla.

Furphy went on to invent and produce a horse-drawn water cart with cast-iron ends, which was used for many things, including carting water for troops in the military camps prior to being transported to the Middle East and Europe in WWI.

The water carts have become highly collectable with one selling for more than $60,000 last year.

Soldiers milling around a Furphy water cart.
Soldiers would gather around the Furphy cart to share gossip.(Supplied: State Library of NSW)

Family business

The long partnership between the Shepparton region and the Furphy name still survives today, with fifth-generation descendants of John’s β€” Sam and Adam Furphy β€” running J Furphy and Sons and Furphy Foundry respectively.

Managing director of J Furphy and Sons Adam Furphy said the 150th anniversary was an exciting milestone.

“There is a lot of people internally in the organisation that are proud to work for a company that has been around for that long,” Mr Furphy said.

“It’s part of Shepparton’s DNA.”

Mr Furphy said he tried to not think too much about the legacy and history behind his family name.

A picture of a man standing outside in a suit next to a picture of a man in high vis standing in a factory .
Adam and Sam Furphy are fifth-generation descendants of John Furphy. (Supplied: Adam Furphy)

It is pretty unique, and I think speaking on behalf of my cousin Sam and I who are both running the businesses that old John kicked off all those years ago, our primary focus is on today and tomorrow, not so much looking back,” he said.

“It is a wonderful legacy and we are very proud of it and I think both of us think our job is just to try and do something that is worthy of what John started.

“John was a pretty interesting guy, I think he was ahead of his time.”

A collector’s item

The celebrations are being held at Shepparton’s Museum of Vehicle Evolution, which houses the Furphy Museum.

The museum’s curator Josh Powell said he hoped to put on a display of interesting and not often seen water carts from collectors around the country.

A wooden entrance to a museum exhibit withthe words "Furphy's Foundry".
The Furphy legacy is told at Shepparton’s Museum of Vehicle Evolution (MOVE).(ABC Shepparton: Georgina Carroll)

β€œ There are a lot of collectors out there, a lot that are very passionate about Furphy products,” Mr Powell said.

One of the collectors attending the festivities is Matthew McQualter from Shepparton, who has roughly 20 Furphy water carts from the 1920 and 30s, up to the 1970s.

Some of Mr McQualter’s earliest memories can be connected to a water cart set up as a sprayer on his family farm.

“I remember the jingle on the end, ‘Good, better, best, never let it rest, too good is better and the better best’.

“I can remember working out the words and reading that, around the time I was learning to read.”

a man in a blue checked shirt standing next to a re barrelled water tank.
Matthew McQualter with a Furphy water tank that he rebarrelled.(Supplied: Matthew McQualter)

‘Remarkable’ legacy

When Mr McQualter was 12 and on a family holiday to Western Australia, he spotted a water cart at a rally.

“I didn’t know the connection to Shepparton, we were on the other side of the country but I just liked them,” Mr McQualter said.

“I got intrigued by them, and turns out we had one back at the farm out under a tree, so when we got home I insisted we get it home and fix it up.

“My grandfather had experience in rebarreling one, we got it fixed up and took it to Shepparton for Furphy’s 125th birthday.

“That event really opened up to me how many different ones there were.”

From then on it became Mr McQualter’s mission to collect as many water carts as he could.

“The more you learn about them, the more intriguing it gets,” Mr McQualter said.

“Plenty of businesses come and go, there are not too many that stand the test of time for 150 years and to be in a regional area like Shepparton is pretty remarkable.”

Mr Powell said Furphy had made many different products over the years that were showcased in the museum.

a black and white photo of a horse towing about 7 furphy water cants behind it
The horse-drawn water cart invented by Furphy.(Supplied: Adam Furphy)

β€œ Most of the things in the Furphy museum are the Furphy family’s collection, we do have a few things on loan from time to time,” Mr Powell said.

“It is good that they have a significant interest in their own history.”

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An old black and white picture of the front the the Furphy Foundry in Shepparton
Furphy is celebrating 150 years of manufacturing in Shepparton, Victoria.(Supplied: Adam Furphy)none
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World History & Research Reports

HISTORY TODAY: β€˜Joyful’ art helps shine new light on colonial history

Artwork by Jasmine Violet showing three boys in the countryside
Stepping Stones depicts Jasmine Violet’s three younger brothers during visits to Wales as young boys

AceHistoryDesk – The picture is a pastoral scene – three young black boys heading out into the countryside, perhaps to find adventure.

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Ace Press News From Cutting Room Floor: Published: Nov.27: 2023: TELEGRAM Ace Daily News Link https://t.me/+PuI36tlDsM7GpOJe

Artwork by Jasmine Violet showing three boys in the countryside
Stepping Stones depicts Jasmine Violet’s three younger brothers during visits to Wales as young boys

It has something of the quality of a children’s story book from times gone by, like a scene from an Enid Blyton tale.

So it may come as something of a surprise to discover that the inspiration behind the picture came from a map showing the details of a much less idyllic place – a sugar plantation in 18th Century Jamaica, worked by slaves, who could conceivably be the distant ancestors of those happy children.

The piece is by west Wales artist Jasmine Sheckleford James, who works under the name Jasmine Violet.

It was the result of a commission by the National Library of Wales to examine items with links to colonialism from different perspectives, and broaden diversity in its collection and contributors.

Jasmine Violet studied at Carmarthen School of Art and is an inter-disciplinary artist

She is one of four artists, alongside Mfikela Jean SamuelDr Adeola Dewis and Joshua Donkor, who have created new pieces for the library, using something from the existing collection as an inspiration to shine a new light on the experience of colonialism.

Jasmine, 28, a graduate of Carmarthen School of Art who still lives in the town, chose to respond to the Jamaica map partly because of familial links with the island.

Her work and that of Mfikela Jean Samuel, who used a British Army map of west Africa from the 1940s for his inspiration, is being shown in the Wales to the World exhibition at the Riverside Gallery in Haverfordwest, Pembrokeshire, until February.

Jasmine spent her early years living in Maidenhead, Berkshire, and moved to rural Ceredigion as a teenager when a visit to her father in Pont-rhyd-y-groes near Aberystwyth turned into a permanent move.

The countryside around the River Ystwyth near Pont-rhyd-y-groes formed the backdrop to Jasmine’s youth

She said: “I just stayed because I loved Wales. It was only meant to be for a couple of weeks but I ended up loving it and never looking back really.

“It’s a little village which is just off the [river] Ystwyth. It’s really beautiful up there, completely in the sticks.

“It was very interesting going from suburban English life to moving to Wales into complete rural living but I ended up growing to love it.”

The countryside which surrounded her is celebrated in the two works produced so far for the project, with a third nearing completion.

Working on the project took her art in a different direction to usual.

“I’d rarely do commission pieces which involve more historical things, so it was completely out of my comfort zone, but that’s one of the reasons why I wanted to do it,” she said.

This map of a plantation in Jamaica from the 1700s, run by a Pembrokeshire estate owner, was part of Jasmine’s inspiration

Alongside her art, she works part-time as a diversity and inclusion officer for the National Library and the commission gave her the opportunity to put her day job into her work.

“I’m really interested in decolonisation… and having the opportunity to react to this was really important to me as an artist,” she said.

Having visited Jamaica and the Caribbean as a younger child, the work also gave her the chance to explore that side of her identity.

“I always say I’m too British to be Caribbean, but I’m too Caribbean to be British,” she explained.

“Having an opportunity to say, this is my heritage, but really and truly what my culture is and what I’ve been brought up around is Britishness and Welshness, and that aspect of being a person of colour.”

Looking at a colonial map of plantations in Jamaica made her ask herself what her experience of nature and agriculture was.

Jasmine drew on her own experiences of the Welsh countryside for her work

Her conclusion was “being in Wales, in the valleys, with my brothers, with my family and friends by choice” where she could appreciate “beauty and the nature, and the things we grew in the garden and going out into the woods”.

“It wasn’t something which was forced; it was part of my [and my brothers’] lived experience.”

She decided to celebrate these stories and “just living”.

“I think that’s part of the decolonisation journey which isn’t talked about enough, [which] is actually saying there is so much to be celebrated and there’s so many gaps in history of diverse groups which are celebrations rather than trauma.

“There are some amazing things which have happened in the present and in the past which we should highlight.

“So that’s why I went down the route of doing landscapes of myself and my brothers in Wales because it is saying this is now, there is no difference between myself and everyone else.

“We still go out to nature because we love Wales and that’s something that should be celebrated.”

In addition, she considered the contrast between the lives of the ordinary people in Jamaica now and tourists.

This map of west Africa from the 1940s focused on the resources of interest to colonial powers….

Mfikela Jean Samuel…….. but Mfikela Jean Samuel has put people back at the heart of the picture in his response to it, entitled Opening the Dialogue

“Something I always remember is the difference between the areas which have the hotels and the all-inclusives and stuff like that, and the just country village living, and people living their lives.

“That’s almost still a separation which is still on many of the Caribbean islands.”

And she was also conscious of many of the grimmer aspects of history which the collection invariably reflects.

“I think it’s great that we’re given the opportunity to show this and say this is some of the things which are negative, and to show a darker side of history.

“[To say these] are the people it affected and how they felt.”

Maps assistant curator Ellie King amongst the storage stacks at the National Library

Ellie King, assistant map curator at the library who organised the Wales and the World exhibition, says it is important to remember that maps are not neutral documents but reflect the people who create them and “can mislead us”.

“They can guide you to think of things in a certain way by what they show and they don’t show,” she said. “I’m really interested in that because… maps have a kind of veneer of scientific accuracy about them.

“You can have maps that are more or less geographically accurate. But the mapmaker is still deciding which things to show and which things not to show.

“A lot of the maps we have are military mapping so you get things that are of interest to armies and of interest to empire building, raw materials, resources, things like that.”

The work produced by the artists surprised Ellie, given the sources’ history.

Ellie King, Jasmine Violet and Mfikela Jean Samuel at a talk about the Riverside gallery exhibition

“They were both looking at maps with quite a difficult story behind them, especially Jasmine with the connections to the sugar plantations in Jamaica,” she said.

“But both the artists created something kind of joyful and celebratory out of it.

“That’s what we were hoping to get out of the project really, a perspective that we wouldn’t necessarily have come up with ourselves and a new and unexpected way of looking at this material.

“So it’s been fantastic from our point of view.”

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English History

ENGLISH HISTORY: β€˜ Remarkable’ 1,400-year-old possible temple found near Sutton Hoo’

Drone shot shows layout of possible temple dating back 1,400 years
The discovery of the temple has been described as “remarkable”

AceHistoryDesk – A 1,400-year-old “possible temple” has been discovered near Sutton Hoo & who was the Sutton Hoo archaeologist in The Dig?

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Ace Press News From Cutting Room Floor: Published: Nov.27: 2023: By Rachael McMenemy: BBC News, Suffolk: TELEGRAM Ace Daily News Link https://t.me/+PuI36tlDsM7GpOJe

Drone shot shows layout of possible temple dating back 1,400 years
The discovery of the temple has been described as “remarkable”

Suffolk County Council said the find was made at Rendlesham, in Suffolk as part of an archaeology project.

It is thought the temple could have been overseen by King Raedwald, who died in AD 625 and is believed to have been buried at Sutton Hoo.

Prof Christopher Scull, who is advising the project, said the find was “remarkable”.

The discovery comes a year after the remains of a large timber royal hallwere unearthed.

The Venerable Bede mentioned the “king’s village” at “Rendlaesham” in his 8th Century book An Ecclesiastical History of the English People.

The council said the scholar wrote that King Raedwald had a temple in which there were altars to pre-Christian gods alongside an altar to Christ, but did not specifically say that this was at Rendlesham. 

More than 200 volunteers took part in the excavation work this summer

Excavations this year have revealed the royal compound at Rendlesham was more than double the size previously estimated, with an area of 15 hectares – the equivalent of about 20 football pitches.

Evidence of fine metalworking associated with royal occupation, including a mould used for casting decorative horse harnesses similar to those known from nearby Sutton Hoo were also found during this year’s excavations.

The compound also had a 1.5km-long ditch around the perimeter and is thought to be part of a wider settlement covering 50 hectares, making it “unique in the archaeology of 5th to 8th Century England in its scale and complexity”, the council said.

Prof Scull added:

The results of excavations at Rendlesham speak vividly of the power and wealth of the East Anglian kings, and the sophistication of the society they ruled.

“The possible temple, or cult house, provides rare and remarkable evidence for the practice at a royal site of the pre-Christian beliefs that underpinned early English society.

“Its distinctive and substantial foundations indicate that one of the buildings, 10 metres long and five metres wide, was unusually high and robustly built for its size, so perhaps it was constructed for a special purpose.

“It is most similar to buildings elsewhere in England that are seen as temples or cult houses, therefore it may have been used for pre-Christian worship by the early Kings of the East Angles.”

Community dig

More than 200 volunteers, including primary school children, were involved in the dig this summer and more than 600 have taken part since it began three years ago. 

This summer’s excavations revealed the foundations of three new timber buildings, including the temple.

The Anglo-Saxon treasures unearthed at Sutton Hoo have been described as one of “greatest archaeological discoveries of all time”

They also identified evidence of 7th Century metal working, two graves of an unknown date and evidence of earlier settlement and activity from the Neolithic, Bronze Age, Iron Age and Roman periods.

The project was funded by The National Lottery Heritage Fund through a grant of Β£517,300.

Conservative councillor Melanie Vigo di Gallidoro, the authority’s deputy cabinet member for protected landscapes and archaeology, said: “This year’s findings round off three seasons of fieldwork which confirm the international significance of Rendlesham’s archaeology and its fundamental importance for our knowledge of early England.”

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Australian History

AUSTRALIAN HISTORY: Mount Burr Primary School discovers ABC film buried for 50 years in a time capsule and a surprise link to our news reporter

Man sitting at old film machine with film laced up on reels. He is gesturing towards film in mid-conversation.
Jon Steiner watching the old film on the Steenbeck machine.(ABC News)

AceHistoryDesk – Whitlam was in the Lodge, flares were in fashion, man had walked on the moon, and in the South Australian regional town of Mount Burr, children were walking into open space

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It was 1973 and that space was a prototype of what was still a fairly new concept β€” the “open area school”.

Black and white photo of children sitting at desks in a large, open classroom.
ABC News documented the opening of the school which pioneered open plan design.(ABC Archives)

There was so much excitement around the opening of the new school, the ABC sent a film crew to the tiny timber town to document the moment.

After that it was long forgotten, but the opening of a 50-year-old time capsule buried on school grounds has revealed a snapshot of life in 1970s regional Australia.

The time capsule, the teacher and the reporter β€” a surprise connection

When the time capsule was dug up, the film came as a surprise, but it had an ABC label so the school sent it to the broadcaster’s Sydney offices and asked if it could be digitised for them to view.

Its arrival sparked interest and, as a journalist based in South Australia, I was asked if I could take a look at it and turn it into a story.

As soon as I heard about the film, I had one main thought β€” I wonder if my mum is in it?

By pure coincidence, my mum, Ann MacLennan, had worked at the Mount Burr Primary School in the early 1970s.

Once it was processed and entered into the ABC’s digital archive there my mum was β€” almost a decade before I was born β€” a young teacher standing in the back row of a school assembly.

Black and white photo of children sitting on floor and two teachers standing at the back watching, some children stand also.
The old film captured Leah MacLennan’s mum, Ann, (in a black top) and her friend, Bettina Richie, (next to her) standing at the back of the assembly.(ABC Archives)

Teaching at Mount Burr was mum’s first job straight out of college, part of a program that sent newly-trained teachers to regional areas.

“I had never heard of Mount Burr and it was a big adjustment for a city girl,” she says.

Despite being in the vision, mum couldn’t recall being filmed β€” the memory was lost in the blur of dignitaries frequently visiting the school.

“Because it was such a new concept, we had visits from many politicians, principals and teachers wanting to observe how the idea of open space teaching worked in practice,” she says.

“It was certainly an exciting start to my teaching career.”

Mum wasn’t the only person I recognised in the vision.

Standing next to her was another long-haired young teacher, Bettina Ritchie, mum’s lifelong friend.

Ms Ritchie says she has many fond memories of her time in Mount Burr.

“The staff was wonderful, everyone got on well and they had a good sense of humour,” she recalls.

“I met many great parents and children and the school council was really good too.

“We had a staff barbecue one night and we finished off with all of us dancing to Credence Clearwater Revival.”

Group of men women, a child and a baby standing together for a family photo.
ABC journalist Leah MacLennan (second from left) and her mum, Ann, (far right) with the rest of the family.(Supplied: Leah MacLennan)

Mum and Ms Ritchie both travelled to Mount Burr for the opening of the time capsule, but said they didn’t remember where it was or what was in it.

“The capsule contained a lot of printed information about the forestry industry and how important it was for the area,” Ms Ritchie says.

“But there were no writings by teachers or students and no children’s artworks which surprised us.

“I would definitely be adding them if I was burying it today.”

Surviving five decades underground

ABC archivist Jon Steiner was the first to see what was on the film, lacing it up on an old Steenbeck film machine and transferring it into the ABC’s digital archive.

Man sitting at old film machine with film laced up on reels. He is gesturing towards film in mid-conversation.
Jon Steiner watching the old film on the Steenbeck machine.(ABC News)

Running just over a minute in duration, the silent, black and white film appears to have been recorded to mark the opening of the school and shows children in the playground and inside the new open-plan classrooms and a local MP, Des Corcoran, speaking to students.

“The film is in pretty amazingly good condition which I think is a testament to the robustness of film as a format because I don’t think a video tape or a digital file would have lasted 50 years underground in South Australia,” Mr Steiner says.

Jon Steiner standing on a ladder looking at a can of film in between shelves packed full of cans.
The ABC has a vast film collection that is being digitised to preserve it.(ABC News: Nathaniel Harding)

Steiner and his colleagues are in a process of transferring the ABC’s video and film records to a digital database, preserving and making them more accessible to staff across the country.

“For me it’s always that connection,” he says.

“You look at archival vision and think this is a different world but then you realise those are actually people and they are still around and it isn’t just some abstract history.

“It’s a crucial role because the ABC has been there to document all of these very significant events in the nation’s history both culturally, artistically, politically, socially and the ABC’s been there recording it.”

The more things change…

In the 50 years since it opened, the school has added a few partitions, but it still largely adheres to its original open air philosophy.Mount Burr Primary School today.

Exterior, aerial view of a school building surrounded by green grass.
The town is located in south-east South Australia, about 400 kilometres from Adelaide. (ABC News)

Current principal Anne-Marie Fitzgerald says it works for their small school.

“Certainly there are not doors that close anywhere and fortunately we’ve always had staff who are happy to work together in those spaces and we have a lot of collaboration between staff,” she says.

Group of children sitting on the floor with paper in front of them, adults sitting at back watch on.
“There’s never any yelling.”Staff and students at Mount Burr Primary were intrigued to know what was on the ABC film.(ABC News)

And while smart boards have replaced chalk boards, Ms Fitzgerald says what students care about the most hasn’t changed much.

“When we ask the children what they like about the school, they talk about they like the teachers,” she says.

“A lot about relationships which is probably no different to what it was 50 years ago.”

While mum and Bettina spent a few years at Mount Burr before moving on, former teacher Julia Whennen has a lifelong connection to the school and says things have changed for the better.

“I think the school’s a much happier place now,” she says.

“It’s a beautiful school, smaller numbers in classes, more variety in the curriculum definitely probably due to technology these days.

Woman sitting between two girls in green school uniforms at small desk in a classroom.
There’s just no comparison.”Julia Whennen still volunteers at the school.(ABC News)

Ms Whennen was a teacher at Mount Burr when the time capsule was buried, and still volunteers there now.

“I didn’t think I’d [still] be here when I was younger,” she says.

“I thought I would be here on a walking stick.

“I’m privileged to work right across the school now when I come and this school’s amazing.

“It’s my whole life, it always will be, this school and the people of Mount Burr and the children.”

Ms Whennen said she’d been looking forward to seeing the film.

“I loved it, absolutely loved it,” she says.

“It brought back many memories.

“Probably some I didn’t like, like the milk delivery and kids having to drink this revolting milk, things like that.”

Black and white image of shoes on a shelf.
Mount Burr Primary School discovers ABC film buried for 50 years in a time capsule and a surprise link to our news reporter – ABC News

Current Mount Burr year three student Eloise Teagle says the school has changed a lot since the film was made.

“I thought [the film] was cool and it was weird how they took their shoes off in the classroom,” she says.

“You don’t need to take your shoes off and there used to be different things in different places.”

Year two student Michael Williams says his grandfather also went to the school, and it was interesting to see what life was like when he was young.

“[It was] really different from young to old,” he says.

ABC BACKSTORY Mount Burr Primary School discovers ABC film buried for 50 years in a time capsule and a surprise link to our news reporter

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World History & Research Reports

HISTORY TODAY: Ancient Amazon River rock carvings exposed by drought

A carving that looks like a face on a rock.
Ancient stone carvings on a rocky point of the Amazon River.(Reuters: Suamy Beydoun)

AceHistoryDesk – Human faces sculpted into stone up to 2,000 years ago have appeared on a rocky outcropping along the Amazon River since water levels dropped to record lows in the region’s worst drought in more than a century.

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A carving in stone that looks like a face.
It is believed rock carvings discovered on the Amazon River are between 1,000 to 2,000 years old.(Reuters: Suamy Beydoun)none

National Historic and Artistic Heritage Institute archaeologist Jaime de Santana Oliveira said some rock carvings had been sighted before, but now there was a greater variety that would help researchers establish their origins.

A man squats down on top of rocks.
Institute for Public Health and Medicine archaeologist Jaime de Santana Oliveira squats near tool sharpening marks carved into stone.(Reuters: Suamy Beydoun)

One area shows smooth grooves in the rock, thought to be where Indigenous inhabitants once sharpened their arrows and spears long before Europeans arrived.

“The engravings are prehistoric, or precolonial. We cannot date them exactly, but based on evidence of human occupation of the area, we believe they are about 1,000 to 2,000 years old,” Mr Oliveira said.

A carving that looks like a face on a rock.
Ancient stone carvings on a rocky point of the Amazon River.(Reuters: Suamy Beydoun)

The rocky point is called Ponto das Lajes on the north shore of the Amazon near where the Rio Negro and Solimoes rivers join.

Mr Oliveira said the carvings were first seen there in 2010, but this year’s drought has been more severe, with the Rio Negro dropping 15 metres since July, exposing vast expanses of rocks and sand where there had been no beaches.

An ancient carving in rock.
Water levels dropped to record lows during a drought in Manaus.(Reuters: Suamy Beydoun)

β€œ This time we found not just more carvings but the sculpture of a human face cut into the rock,” Mr Oliveira said.

A view from above showing a large section of rock surrounded by water and trees.
The area where ancient stone carvings on a rocky point of the Amazon River.(Reuters: Suamy Beydoun)

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A carving that looks like a face on a rock.
Ancient stone carvings on a rocky point of the Amazon River.(Reuters: Suamy Beydoun)
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