Benbibuta Creek

Day 6 (ie .26th May) was one of clear skies, a cool wind, and puffy clouds during the afternoon. The day temperature was around 18 degrees. This is pleasant walking weather in an arid country.

We walked across a plain to the east of the Wirrealpa Range crossing the various creek beds that flowed into the southern end of Lake Frome. I slipped on a rock crossing a creek and fell, jarring my back. I walked slowly behind the camels. We crossed the Arkaroola Blinman Rd for the second time and then rested whilst we picked up a food drop in a creek bed by the side of the road.

near Blinman/Arkaroola Rd

I was grateful for the food drop rest as the muscles in both my legs and back were starting to hurt and I was now walking with difficulty. I walked at the back of the camel train.

What was being reinforced as I walked was that what people call drought conditions (ie; lack of rain) was actually the new normal. The rain ie., the big monsoonal rain — is now the exception. The winter rains from the south consist of little more than light sprinkles. The monsoonal rains are the key to life in the northern Flinders Ranges.

Wirrealpa Range

This arid country had been drying for 50,000 years. The water in the creeks rarely make it to Lake Frome in the east, or to Lake Torrens in the west. Climate heating is speeding up the drying process. According to the latest UN’s Intergovernmental Panel on Climate Change’s (IPCC) Report Australia’s land area has warmed by about 1.4C since 1910 and are now above anything that could have been caused by natural variation with Australia on track for 2C of warming and its heating faster than the global average. That means that some of the extreme temperatures we are seeing now will be closer to the average by the mid-21st century. Fait accompli.

co-existence

On Day 5 there was a sprinkle of rain in the early morning, during breakfast and as we packed the camels. A sprinkle that just settled the dust and it cleared as we left Wirrealpa Creek. We were still on Wirrealpa Station, and Ryan and Kym spent some time in the mid-morning looking for a new way through the Wirrealpa Range. Whilst we waited for them to find a way that was suitable for the camels I started thinking about the human history of this region — and how colonial history with its sense of emptiness of nothern South Australia matters. It shapes the present, even if we are not aware of the region’s geological and the human history.

It slowly dawned on me that we were walking through the pastoral landscapes – a landscape where the physical transformation of the land into agriculture did not happen. The heroic pioneer narrative of turning wilderness into garden through the settlers taming nature did not make any sense of the pastoral landscapes in the northern Flinders Ranges. The pastoral landscape did not have to be created. It was already there. Pastoralists just used and extracted from the land and they badly damage it in the process of overgrazing. As they were, and are, unable to significantly transform it to their economic needs, they had to adapt the arid land, with its cycles of drought and flood just like the animals.

Wirrealpa Mine grave

Secondly, a cooler Australia was once a vibrant and living environment of people, plants, animals and rocks that had not yet been disseminated by colonial and industrial forces. After the 1850s Aboriginal people had worked on, and traveled between, the sheep stations scattered among their tribal lands through these various ranges. The principal pastoral stations had supplied rations, clothing and a small wage to station-hands and domestics, supporting a network of extended family groups. The Adynamathanha participated in the colonial economy and maintained their traditional activities until they moved to Nepabunna in the 1930s, which was initially run by the missionaries, (1931-73) then the SA state government. They’d survived and increasingly they gained greater autonomy as a people.

Camel Trek to Lake Frome: Wirrealpa Mine

I was able to do some hand held film photography with the Rolleiflex TLR in the early morning of Day 4 in the creek bed opposite our camp. (The film still needs to be processed). I was starting again after losing the previous roll of photos made during the previous three days.

This was Adnyamanthanha country, and I was a stranger walking through it with no knowledge of their history, the geography of the various watercourses and creeks that came down from the northern Flinders Ranges and flowed east towards Lake Frome or the historical geology of the country. I knew nothing about the frontier wars in the northern Flinders; nothing about the sites of significance for the Adnyamanthanha people; the stories for those sitesor the power of particular places in this country.

I presumed the pastoralists in the mid-nineteenth century regarded the country — including the waterholes and springs — as their land despite only having a lease. The Adnyamanthanha people were free to move across the pastoral leases which were for grazing purposes only. Both pastoralists and the Adnyamanthanha people shared the land according to the High Court’s 1996 Wik Judgement’s interpretation of the nature of the pastoral lease.

However, the pastoralists viewed the Adnyamanthanha people as invaders with no rights to the land, and they had no reservation about killing the Adnyamanthanha whilst taking their water and hunting grounds from them. The Adnyamanthanha people, especially during the drought in the mid-1860s, raided the stock and the colonists huts for food and killed the hut keepers. The pastoralists retaliated and the police would then be sent to hunt the Adnyamanthanha down to protect the pastoral industry.

This was the frontier. The logic was simple: –the border wars were about the ownership and control of the land, about taking it by force from those who had been in possession for 40-50,000 years.

The pastoralists kept expanding — by the 1860s they had moved beyond Mt Hopeless to Lake Blanche. The Lutheran mission (Bethesda) was established at Lake Killalpaninna in 1868, where the missionaries tried to create a German agrarian community based on sheep, goats and growing vegetables in Dieri country that was shaped by the extreme cycles of drought and flood. The Nepabunna mission in the northern Flinders was established in 1931.

So what happened to the Adnyamanthana people between the 1860s and 1931? They had survived the loss of their country. But how? What was the long, entwined colonial history between the Adnyamanthanha people, pastoralists and the state? Were the Adnyamanthanha people more than fringe or camp dwellers near the station’s homestead?

wall of Eregunda Creek

The historical  discourse of Australian history has been one of the displacement of Aboriginal people and the establishment of settlers as the natural occupants of the land. The historical narrative is one of a progressive embrace of modernity. So where were the memorials or monuments to the more than 20,000 indigenous people killed in the frontier or border wars in Australia?

We were still walking on Angoriachina Station walking in a north easterly direction from our starting point at Blinman. We walked close to Red Hill and the western boundary of Wirrealpa Station as we traversed various ridges and tablelands with their various water erosions. It was slow going for the camels as we made our way through various old pastoral fences that were in a rundown condition. Sometimes we found a gate, other times we looked for a fallen part of the fence lying flat on the ground. I didn’t understand why the fences were where they were. Were they to prove the pastoralist’s developing the unimproved land?

It was hot, dry and dusty walking across the clay and stony plains with their minimal salt and blue bush vegetation. Lots of flies. The country looked to be in a bad condition from excessive grazing –some of it looked too degraded to rehabilitate. Rehabilitation would need to be on a massive scale and very expensive.

We crossed the road from Blinman to Wirrealpa (which takes you to the Junta-Arkaroola Rd) and then walked along Eregunda Creek which discharges into Wirrealpa Creek. We made our camp adjacent to a creek bed near the ruins of the small Wirrealpa Silver-Lead Mine. The cliffs of the creek bed or water course were limestone. There was no water in the creek that came from the ranges in Wirrealpa station.

Camel Trek to Lake Frome: Day 2

It had been a warm night sleeping in the swag in the open air. Breakfast was around 6.30am in front of a fire. It was a cloudy morning and there was no wind. The aim of the 2nd day’s walk was to leave 2nd plain and reach 3rd plain, which also runs north south between the ranges. We were slowly making our way north east through a series of ranges to reach the eastern flank of the Flinders Ranges.

We walked all day along the rocky creekbeds that were the tributaries of Balcanacana Creek covering a distance of around 11 kilometres in sunny conditions. The temperature was mild, the sun bright and the sky was blue. It was slow going as one of the walkers from Sydney, who had a recent knee reconstruction, found the creek bed walking very hard going. He continually fell behind and we had to wait for him to catch up.

stones, creek bed

Greg was also overweight and he had signed up for more than his body was capable of. He had judged that he could walk at the pace of camels–which he could–but his preparation/training consisted of him walking on flat surfaces (ie., footpaths), and not on the rocky or sandy creek beds for several hours on end. The sand and stones in creek beds make for slow and difficult walking. It can be hard going, especially so for someone with a recent knee reconstruction.

E.C. Frome’s expedition to Lake Frome

Three years have passed since the 2018 camel trek from Umberatana to Mt Hopeless. In early 2021 we decided to undertake another camel trek, this time to go east from Blinman through the Flinders Ranges via Chambers Gorge then follow Chambers Creek to Lake Frome.

Early in 2021 I had come across some historical material about E. C. Frome, South Australia’s third Surveyor-General. Frome had succeeded Colonel William Light as Surveyor General of the newly established colony of South Australia, and in 1841 he surveyed large areas of the colony, including mapping and recording new territory around Orrorro, north of the newly established city of Adelaide. In 1843 he explored the eastern flank of the Flinders Ranges as far as Mt McKinley (which he mistook for Mt Serle that had been named by E. J Eyre in 1839-40) in the Vulkathunha-Gammon Ranges National Park.

Frome was mapping the country looking for permanent water that the pastoralists needed to establish their sheep runs. In doing so he saw the eastern plains up to Mt Hopeless and Lake Frome which he described: ‘a more barren sterile country could not be imagined.’ The land eastwards of the Flinders Ranges simply was not suitable for agriculture or pastoralism.

Frome made a water colour of these plains in 1843, which he entitled ‘First view of the salt desert–called Lake Torrens’:

The salt lake is now called Lake Frome. Lake Torrens is on the western side of the Flinders Ranges.

The reason for the misnaming is that three years earlier (1840-41) Edward Eyre had explored north and west of the Flinders Ranges, and after sighting several salt lakes concluded that a continuous horse-shaped Lake Torrens created a barrier to the north of the continent.

In his journal Eyre describes the extent of Lake Torrens as he sees it, stretching in an arc from the west around to the east and with the surface too soft and yielding for any attempt to cross. His expectations of a route to the north and the possible discoveries of pastoral land, flowing rivers and lakes of fresh water, were barred by the appearance of an enormous horseshoe shaped salt lake.

Mt Hopeless

Finally we made it to Mt Hopeless. It was just a morning walk across a gibber plain from the over night camp on the dusty clay plain. 12 days walking with the camels had come to an end.

The snapshot below is looking south across the camel train to where we had walked. It is from the top of Mt Hopeless and it was taken just after midday.

The light was bad at midday so I decided to return in the late afternoon. This picture is looking north to Lake Callabonne from the top of Mt Hopeless. Flinders and Beyond did offer another leg of the trek that started from Mt Hopeless and went north to Cooper Creek (I’m not quite sure of the end point), but there were too few takers to make it viable. It sounded pretty good to me:  the creek is the second longest inland river system in Australia. It is part of the Lake Eyre basin and the Channel Country.

the final leg

We are about to go on another 14 day camel trek. This one is from Blinman to Lake Frome in South Australia.

I need to complete the posts about the 2018 camel trek to Mt Hopeless before we leave early on Thursday morning (20th May 2021). This post refers back to this previous post about walking and the camel trek as we made our way to Mt Hopeless in 2018.

After crossing the dog fence we continued north, and camped the night on a dry, dusty clay plain before we walked to Mt Hopeless the following morning. There was not a hint of water anywhere–given the minimal rainfall and there was no permanent surface water The clay plain consisted of saltbush and Mitchell grass.

the last camp, 2018

Mt Hopeless was the end of the camel trek. It is also the northern most point of the Flinders Ranges. Beyond are the salt lakes (Lake Callabonna and Lake Gregory) that stumped and disheartened the early explorers such as Eyre and Sturt when they were exploring the interior of South Australia looking for the inland sea in 1840. Sturt even carried a boat on his 1844 expedition.

Captain Sweet, the Flinders + topographics

As the second camel trek draws near I ask myself did: Captain Sweet photograph in the Flinders Ranges? I have kept asking myself this, given my realization that there is a big gap in research on early South Australia photography and South Australia’s lack of visibility in Australian photographic discourse. Sydney and Melbourne continue to remain the focal points.

So I started doing some research into what art historians call views photography in the colonial period in South Australia When I came across this landscape of the Flinders Ranges between Beltana and Leigh Creek by Captain Sweet in 1885 I was intrigued. Were there more photographs of the Flinders Ranges by Sweet?

Captain Sweet, landscape, Puttappa Gap, 1885.

I was aware that Sweet is seen as part of the colonial views trade photographic tradition (1860-1890) by photographic historians (Gael Newton, Isobel Crombie and Helen Ennis); that he had created the most comprehensive documentation of colonial South Australia by any single nineteenth photographer; that his colonial eye represented a positive interpretation of the process of modernity in the colony and that he is part of the photographic canon (ie., included in Gael Newton’s Shades of Light and Helen Ennis’s Intersections).

His photographic approach to the land in the Flinders was different to the emphasis on the mountain ranges, waterfalls, caves, fern gullies and the bush favoured by photographers in Melbourne and Sydney (eg., J.W. Lindt + N.J. Caire) and from the romantic framework of nature and the poeticising of place (eg., Charles Bayliss). Sweet also seems to be different to the standard understanding of the metropolitan views trade photographs being author-less and taken by operators. This kind of photography was an industry, and Sweet was a commercial photographer producing images for a commercial market. He was also part of a culture that was aesthetically aware and he could employ a range of picturesque compositional and stylistic techniques when needed.

The obvious art historical place to start my research into the representaton of the Flinders Ranges is Arid Arcadia: Art in the Flinders (AGSA, 2002) by Alisa Bunbury. Alisa Bunbury, then a specialist curator of Prints and Drawings at Art Gallery South Australia (1999-2002), specialises in Australian colonial art. In this text she notes that there is much research to be done in the history of colonial photography in the nineteenth century in the Flinders Ranges region of South Australia. Bunbury, then a curator of Prints and Drawings at Art Gallery South Australia, goes on to mention Captain Sweet’s 1882 studio advertisement about his picturesque scenery on the Great Northern Railway line from Port Augusta to Farina.

Captain Sweet, Pichi Richi Pass,1882

Bunbury comments that this advertisement demonstrates images of visual interest at the time — of gainful employment of the land and of national progress. (p. 58). Surprisingly, there are no images by Sweet in the text, despite Bunbury saying that Sweet had a reputation for accomplished photographic landscapes and views of country towns and stations. Bunbury quickly moves on to consider H. H. Tilbrook’s 1894 photos of the Flinders Ranges that he made around Wilpena Pound, explores Heysen’s paintings of an arid landscape in depth, then mentions Frederick Joyner and Harold Cazneaux.

Bunbury’s thesis is that during the second half of the nineteenth century South Australia lacked a landscape tradition. The inference is that Captain Sweet as a topographical photographer was not considered to be a part of the landscape tradition in a way that Heysen or Cazneaux were. So he did not help to establish the landscape tradition in South Australia in the second half of the nineteen century.

Captain Sweet, Puttappa Gap, circa 1885

One possible reason for this is the widely recognised and long held distinction in the art institution between imaginative landscape and topography, or to put it another way, between landscape ‘proper’ – fine art landscape – and ‘mere’ topography or views. Topography is a mark of inferiority–obsolete and second rate. It is descriptive not imaginative and it is a kind of map-work. This is a hierarchy of genres in the representation of land that goes back to the 18th century (eg.,Henry Fuseli) premised on the distinction between imaginative and descriptive landscape painting. Art historians had been quick to expand this definition of topography as distinct from and inferior to landscape art with the distinction between evidence and art. The former in terms of picturing places has little aesthetic value or interest.

The art historians depiction of Sweet’s photography as views refers to the topographic as descriptive–the ‘faithful representation’ of particular scenes. This understanding of topographics as real views of particular places was then developed in the 19th century’ with a linking of the topographic to travel and geography. Topographic as a word in relation to picturing places is not intended to just identify a genre but to indicate its limitations.

Camels + walking

Walking with camels has a different history to the freedom of walking tradition in the UK and the US that began in the late eighteenth century and peaked in the mid-20th century; a history outlined in Rebecca Solnit’s Wanderlust: A History of Walking. Solnit says that this kind of walking culture, which was a reaction against the speed and alienation of the industrial revolution, declined with the emergence of suburbia. Suburbanization changed the scale and texture of everyday life, usually in ways inimical to getting about on foot (p. 249)

Ryan McMillan, the cameleer of Blinman, connected our camel walking in the northern Flinders Ranges to the history of the cameleers in nineteenth century South Australia. Philip Jones says that during the 1860s to the 1920s the (primarily Afghan):

cameleers pioneered a network of camel pads and tracks that later became roads across this region of South Australia. The homesteads, mines, missions, and townships linked by this network depended upon the cameleers for their viability during the course of 5 decades or more.

Philip Jones and Anna Kenny, Australia’s Muslim Cameleers: Pioneers of the Inland 1860s-1930s, Wakefield Press, Adelaide 2007, p. 9.

With the replacement of camels as a mode of transport in arid South Australia by the motor car in the 1920s this cameleer history and its material culture has largely been forgotten. Little remains of this heritage. We only have a fragmented history of an era that has almost slipped from view.

Timothy

Most people now travel along the tracks in this region in air-conditioned 4WDs viewing the scene at a distance through their windows. They would probably not connect the mosque in the south east corner of Adelaide with the 19th century cameleers.

The dog fence + photographic eye

Day 11 was a 15 kilometre walk on a mild, dry winters day through Murnpeowie Station, over stony plains, lunch at Mundawatana Creek, then across a gibber plain, through the dog fence to a camp on a clay plain. Most of the trees were confined to creek beds and run-off areas. As we walked through the territory, which was a long way from the benign, pristine and photogenic landscapes and iconic vistas of the tourist brochures — the Outback — I wondered about the absence of photographers in the explorer’s expeditions to Lake Eyre and the northern Flinders Ranges and Central Australia until Francis Gillen and Baldwin Spencer in the late 1890s. Maps, journals and sketches filled the space of photography’s absence in exploration to discover land of economic value was crucial to the well-being of colonial Australia.

Why was photography absent in colonial exploration? Did the interior of South Australia lack pictorial interest for photographers? Were the explorers more interested in their journey and not the landscape they were traveling through? Did the explorers hold that photography was not really needed? The abandoned Elder Scientific Exploration of 1891-2 under David Lindsay appears to be the first to successfully make use of photography. Dr Frederick John Elliot, the photographer on that expedition, does not rate a mention in A Century in Focus: South Australian Photography 1840’s-1940s. Nor is the expedition mentioned in this text.

firewood

The Pastoral Land Management and Conservation Act 1989 limits land uses on pastoral leaseholds almost solely to grazing specified stock on native pastures. The rangeland at Murnpeowie Station over which we walking was unsuitable for agriculture. How sustainable is pastoralism as a land use—sheep and cattle grazing on natural vegetation— in this arid zone? The leased land that I was walking over looked denuded, eroded and degraded from drought and over-stocking, and it had little protective plant cover.

This is a culturally encoded landscape. The pioneer legend is about the battle that the explorers fought and won over great natural difficulties and obstacles, whose triumph resulted in permanent occupation and settlement of a vast continent through subduing the land and battling the elements by those pastoralists who first “settled” the land. The legend celebrates the courage, enterprise, hard work and perseverance of the explorers pastoralists, and then the farmers. Settlement was held to be the necessary and benevolent introduction of British civilization.

The pioneer legend overlooks two significant aspect of the colonial history. Firstly, there is the long history of the environmental degradation of the land from 100 years of pastoralism’s bad management practices since European settlement. Habitat change and the introduction of feral predators and herbivores resulted in medium sized mammal species (bilbies) becoming either endangered or extinct.

polypipe, Murnpeowie Station

Secondly, the Aboriginal people’s presence in the legend is one of adversaries who had to be battled and put in their place in the process of subduing the land. The aboriginal perspective on the frontier violence had no place in the pioneer legend. The legend, which mythologized the violent frontier, indicates the then cultural supremacy of the pastoral industry in South Australia.

Presumably, as the Adnyamathanha people were dispossessed from their traditional land many were able to retreat to the ranges, sheltering there from the violence and disruptions of colonial contact and the beginnings of pastoralism in their traditional countries on the surrounding plains. Those who resisted were depicted as savage blacks by the pastoralists.

In naming places (Lake Eyre, Lake Torrens, Mt Babbage, Mt Hopeless etc) the white colonial history ignores both aboriginal names and that aboriginal peoples have a long-established and visually sophisticated culture; avoids the violence on the South Australian frontier in the Flinders Ranges; avoids any overt representation of armed conflict between the squatters and the aboriginal people; downplays the pastoralist’s campaigns against the Adnyamathanha people; idealizes the pastoralists whilst marginalizing the indigenous resistance to the invader taking their land and water. The European/Australian art of this period is also devoid of the history of this frontier struggle.