The National Library (NLA Publishing) has recently released an anthology of poems for Australian children entitled “This is Home – Essential Australian Poems for Children.” I am very happy to report that two of my poems – ‘Dad Meets the Martians’ and ‘The Sash’ – are included in the collection, which is lavishly illustrated by Tania McCartney. The poems were selected by Jackie French, perhaps best known as the author of the classic children’s picture book ‘Diary of a Wombat.’
The book was launched at the National Library in Canberra last Sunday (7th April), and I received an invitation to attend and read one of my poems from the book. As I happened to be in the area with my friend Maggie Somerville, I decided to attend. My son, Thomas, and his girlfriend, Catherine, are also living in Canberra these days, so the four of us made our way to the library in the early afternoon.
It was a beautiful sunny day. I can’t remember if I have ever been to the National Library before or not, but I have to say the entrance looks quite magnificent.
Susan Hall, the publisher, welcomed the guests and introduced the afternoon’s proceedings…
Margaret Hamilton officially launched the book, but I do not have a photo of her speaking. The best I can offer is the following photo with, from left to right (in the comfy chairs) Margaret, Jackie French and Tania McCartney.
She was followed by Jackie French, who selected the poems…
and Tania McCartney, who provided the illustrations.
Both spoke with great passion about the book, and their contribution to it.
Next came the poets, a number of whom were in attendance, to read their poems.
Leo Barnard read ‘A Palace of a God’…
Jackie Hosking ‘A Dessert Sky’…
Christopher Cheng read ‘We Celebrate’…
Janeen Brian read ‘Looking’…
Libby Hathorn was the next to read, but I think I was distracted by my own imminent performance, and cannot be sure which of her three poems she read. I think it may have been ‘Cindric’s Trolley’, though.
Geoffrey Page also read ‘Silver Wind’, but unfortunately I do not have a picture of him, either.
Lastly, I performed my poem ‘Dad Meets the Martians.’ I am pleased to say it was well received.
Then it was time to say goodbye to Thomas and Catherine…
(thanks to Maggie Somerville for the photo) and skedaddle back to Melbourne in time for work at 9 am on Monday morning!
Book Review: “Waltzing Matilda – Australia’s Accidental Anthem” by W. Benjamin Lindner
(Published by Boolarong Press)
This is a book I have long been hoping somebody would write, but dared not believe anybody would.
There has been much written in recent years about the writing of Australia’s unofficial national anthem ‘Waltzing Matilda’. In particular, there has been a push to suggest that the words relate closely to the events surrounding the burning of the woolshed at Dagworth station in western Queensland in early September 1894, and the subsequent death of a shearer, Samuel Hoffmeister. (The two events may or may not have been related, but probably were.) Personally, I have never found this line of argument convincing.
Considerable uncertainty has also surrounded the timing of the writing of the song, with proponents of the Hoffmeister theory keen to believe, and therefore prove, that the song was written as soon as possible after these events. I have also never been convinced that this has been proven.
Part of the difficulty has been that Paterson’s travel arrangements during this time were never documented. A new book on the subject, “Waltzing Matilda – Australia’s Accidental Anthem”, by W. Benjamin Lindner, sets out to resolve this conundrum in a devastatingly simple way. It makes you wonder why nobody has ever thought of doing it before.
What is not disputed is that Paterson wrote “Waltzing Matilda” in collaberation with Christina McPherson, who provided the music (the tune ‘Thou Bonnie Wood of Craigielea’ that she had heard played at the Warrnambool races in April 1894), and that he was in the company of his fiancé, Sarah Riley, at the time. So, if Paterson’s travel movements cannot be nailed down, can the movements of McPherson and Riley? Turns out they can! They both travelled to Queensland from Melbourne, and both spent a large part of the journey on the ocean, travelling by steamer, First Class. These voyages are well documented, and prove beyond doubt that Waltzing Matilda could not have been written any earlier than August 1895, almost a year after the burning of the Dagworth woolshed. Furthermore, while Paterson’s travelling arrangements cannot be proven, his various sporting and social activities in Sydney most definitely can, and it turns out they line up perfectly with the movements of McPherson and Riley!
This is an extremely dense and well-researched book. There is a very large cast of characters. I read it quickly and in a somewhat feverish state of mind, as I quickly realised what a gem it was, and don’t pretend to have fully comprehended or integrated all the information it contains.
It is very clear to me, however, that Waltzing Matilda was written some months later than many would like to believe. I also think Lindner has done a very good job of demonstrating just how unlikely it is that Paterson based the words on the death of Hoffmeister. Importantly, a detailed analysis of the inquest into the death of Samuel Hoffmeister fails to make any link whatsoever with the squatter Bob McPherson, brother of Christina, and manager – with his three brothers – of Dagworth station. I can see that those events may well have fed into the lyrics, but only in a very general sense, and certainly not in the strictly literal sense that some would like to believe. (Lindner makes specific reference to Richard Magoffin and Dennis O’Keeffe in this respect.)
Lindner also makes it clear that Waltzing Matilda was almost certainly written at more than one location – possibly as many as three or four – with McPherson playing an autoharp initially, and then moving to a piano when one became available.
Lindner also points out that the evidence he has discovered means that the first public performance of the song could not have taken place in April 1895 at the North Gregory Hotel, as has been believed by many up until now, because it had not yet been written.
There are passages which could have benefitted from further editing. The text contains minor grammatical errors at times, and there is some repetition that could have been tidied up, but these are minor quibbles.
Lindner is a criminal lawyer, and calls his book a ‘forensic history’. It didn’t necessarily need a lawyer to write this book, but his methodical, persistent, extremely detailed, dispassionate approach is well suited to the task. He does concede that Trove, that invaluable National Library resource that contains so many early newspapers in digitised form, was not available to earlier researchers.
I would strongly recommend this book to anybody who is interested in the history of Australia’s unofficial national anthem, ‘Waltzing Matilda.’
The Toolangi C.J. Dennis Poetry Festival is over for another year, and what a festival it was this time!
It was undoubtedly the biggest and the best we have had yet, as indeed it should have been celebrating, as it was, the centenary of the publication in 1915 of “The Songs of a Sentimental Bloke”.
The festival got a great boost about a week out with the news that The C.J. Dennis Society’s Patron, Ted Egan, would be in attendance. Ted lives in Alice Springs, so it is a long journey for him to come to Victoria. Ted has only been to the festival once before, and that was back in 2013.
The weather was kind to us – as it always seems to be – and Ted opened the festival for us in fine style. What is more, he sang his tribute to Australia’s pioneering women to the assembled throng, as an added bonus. He had to get by without his famed beer carton, but a small book served almost as well to tap the rhythm out to.
David Hill from the Bendigo Community Bank (Healesville Branch) was also in attendance. The Bendigo Bank has been our chief sponsor over the years, and this year they agreed to double their commitment. Rather than present the prizes for “Adults Writing for Children” himself, David placed a small toy under one of the chairs, with the person who first found the toy to present the prizes. This led to the somewhat unexpected outcome of Jemima Hosking presenting a prize to her mother, Jackie! (Jackie’s father, John, also performed a poem later in the day, so we had three generations of the Hosking family involved in the festival!)
The local member of Parliament, Cindy McLeish MP (Member for Eildon), also kindly offered to attend the festival and award prizes. Cindy’s support of the festival is longstanding, and very much appreciated.
The number of entries was down a little on last year, which is a bit concerning, but everybody agreed nonetheless that the standard was very high. Not all the poems that received awards were heard this year, but all the winning poets who were in attendance performed their poems, and First Prize in each category was read out whether the poet was present or not.
Here is Ted Egan opening the festival. (Thank you to Nerys Evans for the photo.)
After a break for afternoon tea, we commenced an “Open Mike” session which proved extremely popular. Indeed, not all the poets who wished to perform were able to do so, as it would have left insufficient time for the showcase concert of C.J. Dennis poems and songs that was scheduled to follow. This also needed to be shortened a little because of time constraints.
The concert kicked off with actor John Flaus from Castlemaine. The other performers were Maggie Somerville, Jim Haynes, Jim Brown, Ruth Aldridge, David Campbell and Geoffrey W. Graham.
Here is Maggie Somerville singing a C.J. Dennis poem that she has put to music.
Towards the end of the afternoon, the sun went down and a chill crept over the proceedings. The original plan had been to hold the evening’s entertainment in the marquee also, but it was generally agreed that it made much more sense to retire to the tea rooms, where a lavish buffet dinner was now waiting.
The evening meal was truly delicious, with a large range of choices on offer.
We then commenced our special presentation of “The Songs of a Sentimental Bloke”, featuring Geoffrey Graham as performer of the poems, Jim Haynes as “slang interpreter”, and myself as narrator. I suddenly found my voice failing me, and Geoffrey was looking very much the worse for wear having been badly dumped by a wave while body surfing in Hawaii two days earlier, but the show went on nonetheless, and was very well received. (About half the audience gave us a standing ovation; Geoffrey assured me the other half would have done so also, if they had not been so tired!)
Here we are – from left to right, Jim, Geoffrey and me – looking relieved but happy after the show! (Thanks to Maggie Somerville for the photo.)
The Poets’ Breakfast kicked off right on schedule the following morning at 9.30.
Here is Ruth Aldridge reciting “Caravanning Bliss” by Bob Magor.
Shelley and Rod Hansen provided a great double act.
Jan Williams gave us a poem, but unfortunately I cannot show you a photo because my computer refuses to upload it!
The audience was large and appreciative.
We then moved back down to the marquee for the launch at 11am of the CD Maggie and I had put together, “The Two Bees”.
We were joined by three musicians – Hugh McDonald (ex-Redgum), who had recorded and produced the album for us, and Trevor Voake (mandolin) and Dieter Imberger (harmonica), friends from the Victorian Folk Music Club. (Trevor’s wife Margaret kindly acted as photographer for us.)
We performed “The Two Bees” in its entirety – eight songs and four poems, words by C.J. Dennis, music by Maggie. We did make lots of mistakes, but they were mostly small, and we all had great fun. The audience seemed to enjoy it all, too.
Here is the band line-up – from left to right, Trevor, Dieter, Maggie, me and Hugh.
Here is Maggie demonstrating the title of the poem “How to Hold a Husband”.
Hugh seemed to enjoy himself.
Then it was time for lunch. Jim Brown and David Campbell did a great job entertaining patrons in the tea rooms over the lunch break.
The traditional “moving theatre” followed, with some new faces this year – Geoffrey W. Graham as Banjo Paterson, Jim Haynes as Henry Lawson, and John Derum as the “one and only” C.J. Dennis.
A recent tradition during the moving theatre has been for some of the local children to perform a ballet to music inspired by the poetry of C.J. Dennis. (Local parent and retired dancer Cathy Phelan designs the costumes and choreographs the dancing.)
In past years, the children have danced to recorded music. This year was different. Maggie Somerville had written music to C.J. Dennis’ poem “The Satin Bower Bird” (from “The Singing Garden”), and recorded it on CD for the children to rehearse to.
Here is the audience enjoying Maggie and the children’s performance.
We next moved to the top of the gardens, where the poets were joined by Dorothea Mackellar (Ruth Aldridge).
It was then back down to the marquee to finish the show.
Afternoon tea was held in the tea rooms, then back again to the marquee for one last time to watch the festival end in the traditional way – with Jim Brown’s rendition of C.J. Dennis’ magical poem, “Dusk”.
Some festival attendees missed Jim’s performance, so he agreed to perform it a second time.
I made a video of Jim’s second performance, which can be found here:
So ended what had been a wonderful festival.
There are too many people to thank properly, but special gratitude and appreciation must be given to the Bendigo Community Bank (Healesville Branch) for their continued generous sponsorship, to Vic and Jan Williams, owners of “The Singing Gardens” (and their family), for their tireless work maintaining the gardens and helping to organise the festival, and to our illustrious Secretary Jim Brown for all his hard work.
We hope to see you at next year’s festival, when we will be celebrating the centenary of the publication in 1916 of “The Moods of Ginger Mick”!
I will add one last photo – C.J. Dennis (John Derum) addressing the throng, with the famed copper beech tree in the background and cloudless blue skies above. Could anything be better?
It is a little while now since I attended the National Folk Festival (NFF – Easter) and The Man From Snowy River Festival (MFSRF), the weekend after. Although I did not play a large role in either, I would like to record a few reflections of them both nonetheless.
I attended them both with Maggie Somerville. It was Maggie’s first National for many years, and her first MFSRF.
With all the build-up for Port Fairy, I had decided to take a very low key approach to both these festivals – simply sit back and let it wash over me, playing small roles now and then. Of course, it wasn’t quite that easy. Once you’ve had a taste of the limelight, it’s not so easy to slip back into the shadows again…
Nevertheless, I had a great time at both, and have no regrets.
The National is always fabulous – so much to see, and so many opportunities to be involved, even if only in a very minor way. It is very different to the country music festivals where bush poetry dominates. There is still a preponderance of rhyming verse, but there is still a fair bit of non-rhymed. (Is there a difference between non-rhymed and free verse? I don’t know.)
The Poets’ Breakfasts were well attended as always, though my feeling is that the audience numbers are a little down on, say, a decade ago. Certainly the merchandise table doesn’t seem to buzz as it once did.
Laurie McDonald, as Spoken Word Coordinator for the festival, has done a great job beefing up the programme for poetry and yarn spinning. There are now regular evening poetry shows as well as the Breakfasts, and the number of feature poets seems to increase every year. Five years ago things were definitely in the doldrums. My only criticism would be that all the shows are largely unthemed, and feel a bit aimless at times. I wonder if it is time to take the next step, and begin to build more ambitious, structured shows, with a clear sense of direction. Of course, this all takes time, and is difficult with a workforce (i.e. the poets) that is effectively volunteer.
The sign at the Stock Camp took my attention – very atmospheric. (Just don’t look too closely at the spelling.)
Of course, Andrew Pattison’s Troubadour has been replaced by the “Flute and Fiddle”, and is the new venue for the Poets’ Breakfasts. After a couple of years of resenting the change, I am gradually coming to accept the new arrangements.
The Man From Snowy River Festival at Corryong this year began on the Thursday after Easter. As this Thursday and Friday are not public holidays, one can only assume that the majority of those who attend are retired. Maggie and I both had work commitments, so were unable to leave Melbourne until Saturday morning. (Indeed, I was working until 11pm on the Friday night, so it was a bit of a scramble to get away even then.)
Corryong is a wonderful spot, tucked away as it in the Murray Valley in north east Victoria, with timbered hills rising all around. The drive to and from is a large part of the enjoyment of the weekend itself.
I must confess I have always been a little reluctant to attend this festival, as I feel fairly uncomfortable with the notion of perpetuating the myth of the mountain cattleman. I imagine they were heroic enough in their day, but I do feel it is time to remove cattle from the Alps. Mind you, a grizzled old mining surveyor very active in the Victorian Alps in the first half of the 20th century once said to me “There’s nowhere that the cattlemen went on a horse that I didn’t go on foot.” Perhaps that is even more heroic, yet we do not celebrate – we scarcely even remember – the rich heritage of gold mining in the Australian Alps.
Anyway, enough of that.
Corryong was the venue for the Australian Bush Poetry Championships this year. Jan Lewis and her army of volunteers did a great job of organising the festival, as always, and the shows were very well attended.
The format is a little awkward in that the shows are run as competitions, yet are also expected to be entertaining. It is a difficult line to tread. The biggest challenge is filling the dead time between acts, when the judges are writing down their comments. This is where the MC is truly tested. A good MC keeps the show rolling so that you are barely even aware that the judging is taking place. By and large the MCs this weekend did a great job, though you sensed a few times that their material ran out before the show did.
I also find it tough sometimes to listen to so much spoken word without any leavening of music. It doesn’t help that each poem is on a different subject, or telling a different story. There is just so much to take in. My trouble is that a good poem will fire my imagination, and I will find myself half way through the next poem before I remember that I should be paying attention to it, too. Some musical interludes would help to soften the intensity of it all. Having said that, though, it is difficult to imagine how that could be achieved within the current structure.
Here is the Saturday night crowd.
The Sunday Poets’ Breakfast was fun, and a great opportunity for Maggie and me to strut our stuff.
We left shortly after lunch on Sunday to face the long drive back to Melbourne and be back in time to be at work on Monday morning.
It was a great weekend.
Australian Bush Laureate Awards finalist: “Book of the Year”
I was thrilled to learn this morning that my collection of poetry for children, “’The Billy That Died With Its Boots On’ and Other Australian Verse”, has been selected as a finalist in the Australian Bush Laureate Awards in the category of “Book of the Year”.
“’The Billy That Died With Its Boots On’ and Other Australian Verse” is a collection of 65 poems spanning 150 pages, primarily directed at children aged 9+. It contains a number of elegant ‘paper cut-out’ illustrations by first-time illustrator Lauren Merrick, and was published by Walker Books Australia in May this year.
The “Book of the Year” award is not specifically an award for books for children, but they are eligible to enter.
The winner will be announced at an Awards ceremony commencing at 7pm on Tuesday, 20th January, 2015, at the Tamworth Town Hall.
Further information about “’The Billy That Died With Its Boots On’ and Other Australian Verse” can be found here:
2014 Bush Poetry fundraiser on Herring Island for Yarra Riverkeepers
The Yarra Riverkeepers held their second bush poetry fundraiser at Herring Island yesterday afternoon. The first was held in October last year. I was asked once again by Andrew Kelly, recently appointed as Riverkeeper, to rustle up the poets and MC the event.
I was again joined this year by reciters Dave Davies and Jim Smith, and poet Edel Wignell. Singer/songwriter Maggie Somerville provided some musical relief.
The weather was kind to us once again. There was bright sunshine for most of the afternoon, although the wind proved a bit of a challenge at times.
We had a capacity crowd, which was very exciting. Fortunately, unlike last year, the microphone behaved itself!
Here is Andrew introducing the afternoon.
A wide variety of material was on offer. The old masters – Henry Lawson, C. J. Dennis, etc. – were well represented, but there was also plenty of contemporary material, much of it original.
Dave Davies recited “The Grog and Grumble Steeplechase” by Henry Lawson.
Edel Wignell told us, amongst other things, about a dog on a trampoline, Harvey, “the bouncing, squat, Staffordshire bull terrier”.
Jim Smith recited a very moving piece – part poetry, part song – by the American writer Gordon Bok. It referred to the selkie legend – seals that change their form to become human. There is a very interesting link between Bok and the Riverkeepers. The Riverkeeper organisation began on the Hudson River in New York state, around the time that Pete Seeger was sailing up and down the Hudson in the Clearwater, also attempting to clean up the river. Jim told us that the captain of the Clearwater was none other than Gordon Bok!
The reason Jim was telling us about selkies was, as he explained, that it used to be very common for seals to be sighted in Australian waterways, including the Yarra, often many hundreds of miles from the coast. Indeed, seals are still occasionally sighted in the Yarra.
I had a chance to read some of the poems I have recently written based on the book “Ferries on the Yarra”, by Colin Jones – an absolute wealth of fascinating historic information.
Maggie sang four songs, some Yarra-related, others not. We sang “Muddy Old Yarra” by Clem Parkinson together, to round out the first half of the show. Maggie then finished the afternoon with “Our Sweet Yarra”, a song she had written based on a poem I had written for the show last year. She followed with “Waratah Bay”, a very popular song from her CD, dedicated to a beautiful part of Australia in South Gippsland. The afternoon finished with her song, “The Sash”, based on my poem of the same name, that tells the story of the child Ned Kelly receiving a green sash for saving the life of a drowning boy in the town of Avenel.
It was a very enjoyable afternoon. Thanks to the many – performers, audience, the Yarra Riverkeepers and their army of volunteers, and Parks Victoria – for making it all possible.
I have just returned from another wonderful weekend at the Maldon Folk Festival. The weather was its usual spring unpredictability. It was warm when we arrived, but turned cold and windy during the night. Rain followed, after which it became warm and sunny again.
The Poets’ Breakfasts were well attended, and very enjoyable, as always. My impression is that, after the low point of a few years ago, crowds are on the up again. The Breakfast audiences seemed larger this year than last.
A small but attentive crowd attended for the launch of my new book of poetry for children, “‘The Billy That Died With Its Boots On’ and Other Australian Verse”, published by Walker Books in May this year. Thanks to Geoffrey Graham for launching it for me, and to Maggie Somerville for singing “The Sash”, the song she has written based on my poem of the same name.
A festival highlight for me was the performance of my poem, “In Bed With My Bedsocks”, from the book, by ten year old Tahlia Heggie, during the Sunday Poets’ Breakfast. (Her mother had bought the book at the launch the previous day.) Tahlia also performed two other poems from the book – “Tidying My Room” and “When Eating Watermelon” – over the course of the weekend. It is the ultimate accolade for any poet who writes for children to have a child perform a poem he has written, so for me this was particularly gratifying. Congratulations, too, to Tahlia’s mother for inculcating in her a love of reading!
Here I am with Tahlia (and the book!) after the Breakfast.
(Thanks to Maggie Somerville for the photo.)
The Yarn Events this year were held in the Kangaroo Hotel – a first. Unfortunately, rain forced us indoors on the Saturday afternoon. We performed in the dining room, and performers at times struggled to make themselves heard above the waitresses taking lunch orders. The Sunday afternoon was much more successful. The day was bright and sunny, and the event took place in the hotel garden. As with the Poets’ Breakfasts, audiences were very sold, especially on the Sunday.
The Monday Poets’ Breakfast was very much a return to the past. When I first began attending Maldon in 2003, a poetry event was held on Sunday afternoon in the beautiful gardens of Tucci’s, then a pizza restaurant. After several years Tucci’s closed, and remained so for a number of years. It has now re-opened as the restaurant “Wicked Temptations” (with a very smart looking new back fence at the far end of the gardens), and the Monday Poets’ Breakfast was held there. Again, it was very well attended. A highlight for me was my performance with Maggie Somerville of “The Two Bees”, a poem by C. J. Dennis that Maggie has put to music.
Of course, there were many other wonderful events. To pick a few highlights – Geoffrey Graham’s one man ‘Banjo’ Paterson show at the Neighbourhood Centre on Saturday afternoon, Fred Smith at “The Troubadour” on Saturday night, followed by Martin Pearson, and Keith McKenry’s launch of his new biography of John Meredith at the Anglican Church on Sunday afternoon.
Once again, it was a fabulous Maldon Folk Festival, very much enjoyed by all!
The 7th Toolangi C. J. Dennis Poetry Festival, held last weekend (October 18th and 19th) was a great success, and very enjoyable.
As always, the weekend kicked off with the Awards Ceremony for the written poetry competition, held in the lead-up to the festival. Congratulations to all the winners, especially to David Campbell, who once again won the Adult Open category. (I will post a list of the winners separately on my blog.) Thanks again to the Bendigo Bank (Healesville Branch) for continuing to act as a festival sponsor.
Following the presentations, I was very excited to be able to pass around images of a new C. J. Dennis poem unearthed by a talkback caller during an interview I gave on ABC Radio 774 recently. The poem, “The Gentle Kangaroomour”, had been written especially for Eilie Ford, a young girl living in Toolangi at the time C. J. Dennis was there. The exact date of the poem remains a little uncertain, but it would appear to have most definitely been written prior to 1920.
The “open mic” session which followed was very enjoyable. Maggie Somerville and I finished the session with a duet we had put together based on the poem “The Two Bees” that Dennis had written for the Herald. It had subsequently been published posthumously by his wife, Margaret Herron, in the book “Random Verse”. The poem uses the strange weather effects prevailing at the time – frosty nights and bright sunny days – which impeded the blossoming of flowers and frustrated the usual feeding habits of bees as a metaphor for the unemployment and hunger of the Great Depression. We were commanded to perform it again on the following day, so it must have been well received!
The weather gods smiled on us once again for the whole weekend, and Jan and Vic’s new marquee proved a great success.
After a break for afternoon tea, our guest star for the festival, John Derum, then performed “The Singing Garden”, a show based on Dennis’ last book of the same name. The book primarily consists of a large number of poems, each devoted to a particular species of bird that frequently visited the gardens surrounding Dennis’ Toolangi home. Of course, it is this book that also inspired the current name of Dennis’ former home – “The Singing Gardens”.
John has done an enormous amount to popularise C. J. Dennis amongst contemporary readers. In 1976 he developed a one-man show, “More Than A Sentimental Bloke”, to celebrate the centenary of the birth of Dennis. It proved extremely popular, and many other performances have followed. (On a personal note, it was a recording based on this show, an LP published by Pumphandle Records, that first introduced me to the magic of C. J. Dennis.)
In what proved to be an inspired move, John moved the chairs out of the marquee and turned them around so that they were facing the gardens. The audience soon found themselves surrounded by the very birds – king parrots, kookaburras, etc. – upon which the poems are based. The show was pure magic.
As darkness fell, we retired into the tea rooms for dinner and the main show of the festival, “More Than A Sentimental Bloke”, by John Derum. John treated us to a fabulous exposition of the life and works of C. J. Dennis. What shone through, apart from John’s brilliant talent, was his great passion for the work.
Sunday morning began well with the “Poets’ Breakfast” (strictly speaking, a morning tea!). We held the first hour in the tea rooms, then moved back down to the marquee for another session.
It was wonderful to be able to welcome veteran reciter Jim Smith to Toolangi for the first time. Jim scored a bit hit with his performance of a classic poem by Rob Charlton, “Bloody Sheilas”.
After lunch, Banjo Paterson (aka Jim Brown), Henry Lawson (aka David Campbell) and C. J. Dennis (aka myself) took the guests once more on a tour (both geographic and historic) of the gardens.
We were once again treated to a ballet from the local school children, based on a C. J. Dennis poem. This year, it was the Firetail Finches from “The Singing Garden”.
For the second time during the history of the festival, we were treated to a surprise visit from Dorothea Mackellar (aka Maggie Somerville), who was keen to know whether her newly written poem “My Country” was good enough to submit to a publisher. (Henry suggested that the second verse would never catch on…)
We once again retired to the marquee for sponge cake, fruit juice, and more poetry and song, finally drawing the festival to a close at about 5pm.
There are so many people to thank for making the festival once again a great success. All of the performers and poets must be thanked, especially our wonderful guest star for this year, John Derum. Above all, however, our gratitude is greatest for Jan Williams and her family, together with her army of helpers, who provide vast quantities of delicious food throughout the weekend, and keep everybody relaxed and happy. (Also, of course, for maintaining the beautiful gardens throughout the year.)
Next year, we will be celebrating the centenary of the publication of “The Songs of a Sentimental Bloke”, and it promises to be the biggest and best Toolangi C. J. Dennis Poetry Festival ever!
(I must add a word of apology here. My phone is playing up at the moment, and I am very limited in the photos I can put up here. No photos of John Derum, the star of the show! Aarrgh!)
Last weekend the Victorian Bush Poets and Music Association held its annual Muster at the Benalla Bowls Club. I attended with my dear friend Maggie Somerville, and we had a wonderful time.
The event is a little smaller and less formal than it once was, when the event also hosted the Australian Bush Poetry Association Victorian Championships. There is still some fierce competition in various categories, though (notably the two song competitions – Original and Non Original – and the Novice Poetry competition). There is plenty of scope also for the enjoyment of poetry and song in a relaxed, non-competitive environment.
The highlight of the weekend for me was…drumroll, please…Maggie Somerville’s win in the Original Song competition, with her beautiful song “Waratah Bay”. She absolutely nailed it with her performance, and the icing on the cake was her whistling, which everybody seemed to love. (“Waratah Bay”, for those who don’t know, is a lovely long stretch of untouched beach in South Gippsland, near Wilsons Promontory. Maggie has been visiting there on her holidays for many years.)
Here she is with her trophy in her hands.
Maggie also came second to Ken Prato in the Novice Poetry with her poem, “Mozzed”, inspired by my book, “‘The Billy That Died With Its Boots On’ and Other Australian Verse”.
The weekend, as always, was a wonderful chance to catch up with many like-minded souls, and celebrate together our love of spoken word and music. We also celebrate, of course, our love of Australia and its history.
The weather was warm and sunny all weekend, and Maggie and I found time to visit the curious but extraordinary sculpture (what should it be called?) that sits on the northern bank of the Broken River, between the bridge and the museum.
The only chance to perform outside in the glorious weather came at the war tribute beside the statue of “Weary” Dunlop in the gardens.
All in all, I had a wonderful weekend, meeting old friends, and making new ones. I even sold a few books!
Thanks to Jan Lewis and her army of volunteers for making it happen once again.