My time in the early morning before breakfast at Balcanonna was spent wandering around and inside the old shearing shed. I didn’t have that much time in the morning to wander too far between sunrise and breakfast as we had to be ready to meetup for the daily walks between 8.30-9am.
The shearing shed was ideal. So I potted around exploring its various spaces inside and out with a hand held digital camera.
This central aspect of the pastoral world of yesteryear in the Vulkathunha-Gammon Ranges was now a kind of museum. You could wander around it trying to imagine what the life on this station was like with the Afghan camel trains passing through.
Both the surveyed hundreds in the arid lands in the 1870s and the development of the old central railway north in the 1880s were done in anticipation of the continuing northward advance of cropping. ‘Rain would follow the plough’. The droughts of the early 1900s saw the retreat of agricultural and today many of the sections of these far northern hundreds are parts of large grazing properties (stations).
We were to stay at the Shearers Quarters during our 6 days of walking in the Vulkathunha-Gammon Ranges National Park. The first walk the following day (31 July) would be in Weetootla Gorge and to Grindals Hut and return. In the early morning prior to this walk I wandered around an overcast Balcanoona taking a few photos.
I found the turnoff near a bend in Hookina Creek on the Five Ways road near the ruins of the Hookina township. Hookina Creek is a drainage creek to Lake Torrens — it drains water from the area south of Wilpena Pound to Warcowie, Willow Plains and Cradock. Adjacent to the Lake Torrens turnoff and by a sweeping bend of the Hookina Creek I came across some old river gum logs lying on the floodplains above the creek.
I could sense the presence of long history. This is in the Yappala Indigenous Protected Area and Adnyamathanha country. These logs have been lying there for a long time and that is a very old creek bed, as are the southern Flinders Ranges in the distance. There must have been huge floods to cut such a broad and deep creek bed into the floodplain.
As mentioned in an earlier post we stopped at Stokes Hill Lookout on our way to Hawker from Blinman the day after finishing the camel trek. The lookout offered a view of Wilpena Pound after the overnight rain. The deep past of the Flinders Ranges was historically defined as terra nullius: a land belonging to no one. Reading a landscape is an activity mediated through the viewer’s cultural lens.
Looking at the Flinders Ranges from this topographical perspective you could see that this was a very old landscape, geologically speaking. What you couldn’t see, and what the bronze tourist diorama at the lookout didn’t mention, was that this old landscape was also a peopled landscape. The Ikara-Flinders Ranges were glacial refugia for the aboriginal people during the Pleistocene, roughly 25-16 thousand years before the present. So we have a long pre-colonial history.
The morning (1/6/21) of our short walk away from Lake Frome to our pick up point for the return to Blinman was heavily overcast. We could see rain in the northern Flinders Ranges. Lake Frome at the south eastern end of the Lake Eyre Basin to be an intersection point between the winter rains from the south and the monsoonal summer rains from the north.
We were fortunate to have been able spend the night camped on the edge of Lake Frome floodplain. The next group of 12 who would be walking back to Blinman from the pickup point beyond the old dog fence would only be able to spend an hour in the afternoon there.
The overall impression from being at Lake Frome is one of a long history and a deep time. Deep history restores the historicity to the aboriginal people who, despite being here for 50,000-60,000 years, were deemed to be a people without history by the colonial white settler culture. The latter’s thin and shallow history of 240 years, which was what was dished up in Australia’s classrooms, ignored the story of a peopled landscape of long duration. That was pre-history, even though there is no such thing as a people without history.
I never made it to Lake Frome proper as we camped on a sand dune on the edge of Chambers Creek floodplain near the western shoreline of this ephemeral lake or salt pan. This stretches over a depression approximately 30 miles wide and 60 miles long It is the most southerly playa in an arc of ephemeral lake bodies that lie to the southeast of Lake Eyre in the Lake Eyre Basin. The smaller playa lakes including Lake Frome and Callabonna are sparse as they are fed only by the ephemeral creeks and rivers from the localised catchment areas of the northern Flinders Ranges.
In the dry season, Lake Frome exists as little more than a dry crust of salt and minerals. However, when rains fall in the northern Flinders Ranges, or the floodwaters creep in (usually the overflow from another saltpan to the north, Lake Callabonna), the depression becomes a lake again, providing habitat for a large number of animal and birds. However, significant runoff reaching Lake Frome is rare.
Finally, the day (31st May) that we would reach at Lake Frome dawned. If the south-westerly wind was chilling on the morning of day 11, the early morning light was stunning, whilst the colours of the plants on the 2 tree plain were overwhelming. It was a magic moment, albeit one that didn’t last very long.
Ryan informed us over our breakfast by the fire that we would reach Lake Frome around lunch time. I had no idea what the lake would look like. I imagined a salt lake where I could stand at the edge of lake and photograph a lake of glistening white salt in the late afternoon light. I had Lake Hart between Port Augusta and Coober Pedy on the Stuart Highway in mind.
We camped overnight on the plain between Chambers Gorge and Lake Frome after we walking over the low scrub of the flat plain with its Eremphila duttonii We had walked alongside Chambers Creek as it made its way east to Lake Frome. Chambers Creek started at the eastern mouth of the Chambers Gorge — for some reason it was called Rose Creek in Chambers Gorge.
The morning of Day 10 (30th May) dawned bright, cloudless with clear, bright light. It was cold with a bitter north easterly wind on what I called 2 Tree Plain. We have left behind the mountainous terrain of Hans Heysen’s water colour interpretations of the southern Flinders Ranges with the creek bed trees twisted and distorted from surviving in an arid land, or the ranges in a harsh, drought landscape.
We had a delay in leaving the camp that morning as the camels raced off after breakfast, just as the loading of the food and gear was beginning. The camels went racing back towards the mouth of Mt Chambers Gorge looking for some decent food. Whilst we waited for the cameleers to bring them back to the camp I noticed a wedgebill and a circling wedgetail eagle.
After leaving the side gorge with its rock drawings we continued walking through Mt Chambers Gorge (Marlawadinha Inbiri) with its high orange coloured limestone walls and big river gums during the afternoon of the 28th May. Ptilotus or mulla mulla with the purple, pink, silver, and yellow candlestick flowers were growing profusely in the creek bed that wound its way through the Wearing Range.
This is Hans Heysen country. It is arid, though not barren or bleak, and it has its own colours and textures. Associated with this visual tradition is a cultural formation about the Australian pastoral landscape representing a pastoral Acardia connected to Australian national identity, with its construct of Australia as a white Anglo-Saxon culture.
This cultural formation in a settler colonial society about a wilderness to be tamed into an Arcadia became a vehicle of national self-definition’ as well as a template for the construction of an idyllic settler colonial pastoral way of life highlights how the concept of the landscape as cultural construct is bound up with our national myths and visions.
There was a side gorge with open-air Adnyamathanha rock carvings or Yura malka by the Adnyamathanha people just past the western entrance to Mt Chambers Gorge. These rocks carvings (peroglyphs) were scratched grooves on rock surfaces on the gorge’s cliff faces and they consisted of simple geometric motifs or shapes (circles, concentric circles, lines). They have been interpreted by archaeologists as being part of the Panaramitee style or tradition, the core region of which lies in the geographical area between the Flinders Ranges and Broken Hill. These Yura malka are usually seen as both rock art and as archaeological relics of an ancient Australia: ie., as probably belonging to the late glacial Pleistocene or the early post-glacial Holocene (approx 10,000 years ago).
This was after the Ice Age which peaked around 20,000 years ago. Lakes had dried up, forests disappeared, deserts expanded, animals went extinct and vast swathes of the Australian land mass would have been simply uninhabitable ie., became too dry to live in. People contracted towards better-watered refuges around the coastline and in upland areas such as the Macdonell and Flinders Ranges in the interior. Sea levels fell more than 120 metres during the Last Glacial Maximum (LGM), exposing much of the continental shelf and connecting mainland Australia to Papua New Guinea and Tasmania. Then the weather warmed, the rains increased, the ice melted, the sea levels rose and Australia began to experience a a drier and more variable climate from around 5,000 years ago.
Some of the rock carvings were very weathered and worn and the circles had enclosed bars or lines within them. The rock of the gorge wall looked to be very hard. Was the rock metamorphosed quartzite? The petroglyphs are resistant to weathering processes especially on hard rock types in arid and semi-arid regions.
From what I can gather Leslie Maynard held that the older, non-figurative, geometric art was older than the figurative tradition (simple and complex). This interpretation looks at rock art through an evolutionary lens where simple motifs were used in the beginning, and they eventually became more complex. The Panaramitee style is best understood as a composite that includes Pleistocene components but also covers the entire Holocene; in fact petroglyphs of the non-figurative style were still produced in the 20th century.