JIG DOLLS IN AUSTRALIA AND BEYOND

Musician and jig doller, Tony Smith, writes about the intriguing folk objects known as ‘jig dolls’, limberjacks’ or ‘marionettes a la planchette’. These are found around the world, but Tony is one of a small band of Australian jig dollers who busks with his own doll, ‘Henry’ (‘Henery’) in support of  Leukemia research and support.

 

Tony provides links to online performances by jig dollers in Australia and elsewhere, as well as an informative account of this folk art form, enlivened by his own experiences playing and jigging on the streets.  Read here.

AN AUSTRALIAN HUNTING SONG - 1867

 

Kangaroo hunting. No. 3, The death by S.T Gill in 1858. Picture: National Library of Australia

 

 

Here’s a little ditty from 1867 that reflects the settler fascination with shooting everything on sight. Not a great piece of literature, but an amusing sidelight on attitudes and also an indication that the bush ballad was nt the only way to write about the bush.

 

 

AN AUSTRALIAN HUNTING SONG.

[BY ONE WHO PADDLES HIS OWN CANOE.]

 

I've travelled about a bit In my time, of amusements I've seen a few.

But found all tame compared with the game of hunting the kangaroo.

Your wants are small, and you care not at all, so your dogs are but swift and true;

On your plg-skln across, you may shout till you're hoarse, as you follow the kangaroo.

 

If fond of sport of any sort, I'll try to prove to you

That there's no sort of fun can come up to a run

with an old-man kangaroo.

 

I like no strife, but enjoy this life as much as a man can do,

And don't think It wrong to spend all day long in chasing the kangaroo.

I lie down at dark, and ' rise with the lark,' and seek out a friend or two,

Who delight in the fun of a rattling good run with an old-man kangaroo.

 

Some talk of the Play, which is good in its way— that is, if it's something new,

But I think it folly, and not half so jolly, as hunting the kangaroo 

As on horse, with your dogs, over fences and logs, and swamps you go slushing through,

You care not for wet il you only can get a good run with a kangaroo.

 

If far from your home you should happen to roam, and your tucker is quite done, too ;

What need you desire but a good roasting fire, and steaks from a kangaroo?

For though hunted for pleasure, 'tis thought quite a treasure, by those who are fond of a stew,

And gourmands will stoop to a basin of soup from the tall of a kangaroo.

 

This parody's fair as far as it goes, but, better than that, 'tis true

That many men aim at less Innocent game than hunting the kangaroo.

And stories are told of those who have sold themselves and their fortunes too.

For the head of a woman— but give me the tail of a plump young kangaroo.

 

I'm fond of tales of any sort, but this is the tale that's true,

No tale you can tell will go down half so well as the tail of a kangaroo—

 

FOR SOUP.

 

 Hamilton Spectator and Grange District Advertiser (Vic. : 1860 - 1870)  Wed 17 Jul 1867  Page 3 

 

THE FIRST BUSH BALLAD – WHAT WAS IT?

Tom Roberts, Bailed Up!, 1895. Art gallery of NSW.

Can we track down the earliest bush ballad?

 

This characteristic genre of Australian folksong evolved alongside the colonial pastoral industries of New South Wales, southern Queensland and Victoria. Basically, these are songs about white blokes in the bush with sheep, horses and bullocks, often set to American popular tunes of the times, in four-line stanzas, mostly with a chorus. They quickly became established as characteristic expressions of the Australian pioneering experience.

 

But which was the first? ‘

 

The pastoral industry didn’t get underway until after the Blue Mountains were crossed and the western plains opened up and as settlers began moving north to what is now Queensland and south to what is now Victoria. So, the earliest isn’t likely to be until the 1830s, allowing a decade or two for the lifestyle, values and attitudes implicit in the bush ballad to evolve. Around this time we have a possible precursor in the form of ‘Bold Jack Donohoe’, the convict bushranger killed in 1830. It is not a bush ballad itself but is based on the British broadside ballad model, a form which also fed into the bush ballad. 

 

Russel Ward, a historian and so having an occupational imperative for establishing dates, implied (though that’s all) that ‘The Old Bullock Dray’ is from the 1840s (in his Penguin Book of Australian Ballads).

 

The classic ‘Click Go the shears’ is set to an American Civil War tune, suggesting the mid-1860s as a date, though it could  be later. By this time the bush ballad was in full flower. 

 

But by the late 1880s-early 1890s, ‘Banjo’ Paterson was collecting them, fearing they were in danger of disappearing. He eventually published his Old Bush Songs, by which time the bush ballad, at least as a song, was a bit of an artefact (though the style lived on in the reams of verse published by squadrons of bush rhymesters in local newspapers and some reciters, etc. up to World War 2 and even a little after).

 

So, I’m going for the 1840s as the rough date of the first sung bush ballad. Any advance on that?

 

GS

 

 

 

MYTHS, MEMES AND MUCH, MUCH MORE

This time in the Yarns of Oz we’re talking about urban legends, memes, factoids and conspiracy theories – all true, of course.

 

Remember – unless you heard it here - don‘t believe a thing you hear!

CONVICTS CAPERING, CLOGGERS CLOGGING ...

 

Get your clogs on! Here are some fascinating productions and resources from Heather Blasdale-Clarke and  the Early Colonial Dance folk:

 

WEB RESOURCE Dancing on convict ships

 

On a number of convict ships the surgeons actively encouraged the convicts in their care to dance. This regime was noted in their Medical Journals. 

 

"As I consider that tranquility of mind is most essential to bodily health…I therefore caused [the convicts] to be let on deck from an early time of the morning until the close of the day…They were allowed to amuse themselves by running about, dancing, or in any innocent way whenever the duty of the ship would admit of it." 

From the Medical Journal of William Leyson, Surgeon on the convict ship Henry Wellesley 1837.

 

Explore this exciting new addition to the website here 

 

PODCAST Heather Clarke is interviewed by Jennifer Twemlow about life onboard convict ships.

 

Life onboard the early convict transportation ships could be brutal. The mortality rate was often high. Dr Heather Clarke describes the conditions of these early voyages and the turning point that brought about better conditions for convicts. She also discusses a much-loved form of exercise on the ships - dancing and music. Listen now 

 

RESOURCE Traditional Australian clog dance.

 

Two of our recent performances at Samford and Cedar Creek have included displays of  English clog dancing.  This was an extremely popular pastime in colonial Australia.  Some of our dancers have asked to learn more.  Here's the story. 

 

And there’s even more at Australian Colonial Dance

MORE ITALIAN POW VERANDAH MUSIC

 

Readers will recall our post on the work of Joanne Tapiolis about Italian prisoners of war in Australia during World War 2. Here are some more images from her research into music making at the Cowra, NSW, camp.

 

Joanne’s work has now been featured in Italy’s leading newspaper and you can follow it at  

https://italianprisonersofwar.com

Homemade banjo mandolin, Cowra camp

COLLECTING LIFE STORIES AND TRADITIONS OF AUSTRALIA

 Interviewing Cathy Hutchinson, Tasmania, 2018

Rob and Olya Willis have been collecting oral history and folklore around the country for many years. Their collection is held in various archives, libraries and other scattered locations. 

 

We have prepared a brief guide to the collection and points of access to it in a new page on the blog titled ‘The Willis Collection of Life Stories and Traditions’. From here, you can access much of the collection online and/or onsite at various institutions and locations.

VERANDAH MUSIC AT TOBRUK

One of the ‘Rats of Tobruk’, Walter ‘Jack’ Darnley, cheered himself and his mates up during the battle of Tobruk with this trench-made masterpiece. A toothbrush, a dixie and few other bits and bobs became  the ‘Darnley Dixaline’, a classic hybrid of banjo and mandolin.

 

Read all about it here on your ABC (use it or lose it) …

The Man, the Woman and the Edison Phonograph: Race, History, Technology and Song — Zoom presentation

 

Sunday 21 February at 2pm by Zoom. Bruce Watson will give a presentation about the 1903 recordings of Fanny Cochrane Smith. These are among the earliest Australian sound recordings, the only audio recordings of Tasmanian Language. The story behind them encapsulates significant themes in Australia’s history.

The event is free, but you will need to register by clicking this link:  https://www.trybooking.com/BOHOF. You will receive the Zoom link by email from TryBooking when you have booked.

The Man, the Woman and the Edison Phonograph: Race, History, Technology and Song  —  Bruce Watson

Fanny Cochrane Smith was born in 1834 in the Flinders Island ‘exile’ settlement for Aboriginal Tasmanians. She suffered neglect and abuse, but learnt culture and language. Following Truganini’s death, she was the last person to hold this traditional knowledge. Her 1899 and 1903 wax cylinder recordings are the only recordings of Tasmanian Language made and have been pivotal in reconstructing palawa kani, the revived Tasmanian language. The recordings were added to the NFSA’s Sounds of Australia in its foundation year and added to the UNESCO Australian Memory of the World Register in 2017. This multi-media presentation will tell the story behind the photo of Horace Watson recording Fanny Cochrane Smith with surprising twists and turns and reverberations through history. It is a story of history, genocide, technology and the power of song.

VERANDAH MUSIC ZAMBIAN STYLE

Zambian kids playing up a storm on their homemade instruments at

https://www.themusicman.uk/category/location/africa/

Plus lots of other improvised African music.

 

Also, lots of other world music at The Music Man, including a woman who rips out rock riffs on her hurdy gurdy, as you do.