17 minute read
Readings
Seeking sanctuary
The long road to postwar resettlement
WHEN THE DISPLACED UKRAINIANS Mykola and Stefani began their long road of migrating to Australia after World War II, starring in a movie was probably the last thing on their minds. Their journey was immortalised in the film Mike and Stefani, which was shot in the displaced persons camp of Leipheim, Germany, in 1949. The Australian Department of Immigration wanted to showcase the Australian displaced persons resettlement scheme.1 Supported by the International Refugee Organisation, more than one million displaced persons waited in camps until their application to migrate to a host nation was approved. Canada and America were the first choice for many, but more than 170,000 were resettled in Australia between 1947 and 1951.
That Australia participated in tackling one the most enduring legacies of World War II – 60 million people uprooted globally, 20 million displaced persons in Germany alone – necessitated a significant marketing campaign. Immigration was seen as key to postwar recovery, but had to be actively sold to a sceptical public. Destination Elsewhere follows displaced persons like Mykola and Stefani on their long journey to Australia. For the final cut of Mike and Stefani, an over-aggressive Australian immigration officer was omitted, because his behaviour seemed too authoritarian and antagonistic. The process was supposed to look effortless: shrewd immigration officials finding potential new Australians with ease and efficiency. The book tries to dispel such myths and show the process of becoming Australians as truthfully as it can be reconstructed. Many decision makers identified the family as the institution that had been most damaged by Nazi intervention
Destination Elsewhere: Displaced persons and their quest to leave postwar Europe By Ruth Balint. Published by Cornell University Press, New York, 2021. Hardcover, 228 pages, illustrations, index. ISBN 9781501760211. RRP $45.00 Vaughan Evans Library 940.53145 BAL
Most displaced persons knew Australia only as a continent on a world map. America or Canada were the preferred destinations for migration.
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01 The prospect of employment was used to attract new migrants to Australia, but in return the country demanded two years of hard labour, during which families were separated. 02 Convincing the Australian officials on the selection committee was key to being allowed to migrate to Australia.
Destination Elsewhere spends a long time on the elusive concept of truth, and looks at both sides of the immigration process. The book shows how changing identities, backgrounds and allegiances became an important tool for would-be immigrants to Australia in a challenging selection process. The country demanded two years of hard physical labour, during which families were separated. The ‘White Australia’ policy often excluded people on basic appearance, and the selection process included a health assessment that considered even minor injuries unacceptable. Who was eligible for migration and who was excluded could also change rapidly. Those who fought for Nazi Germany were automatically excluded at first, but as the Cold War grew more intense, anti-communist sentiment could easily override former loyalty to Hitler. The book uses many examples to lend a human face to the challenges that the displaced persons faced. Its greatest achievement is to identify the hidden, unspoken hierarchy among the prospective migrants. Many decision makers identified the family as the institution that had been most damaged by Nazi intervention. Because of this, all immigration procedures supported fathers first and foremost, while wives were seen as dependants and single mothers as undesirables. Women who fulfilled all necessary criteria for immigration were denied entry when their husbands did not, but the opposite was only rarely true. Nor was the protection for families unbiased. If a husband had left his family behind in a displaced persons camp and founded a new one in Australia, only his new family was seen as legitimate. It was not unusual for families in displaced person camps to wait for a message from their breadwinner (who had sailed ahead to Australia to establish himself) that never came. The process of finding relatives who had already migrated to Australia was similarly biased. If a family member wanted no longer to be found (because they had remarried or wanted to leave war-torn Europe behind), the searcher only received the message ‘person could not be traced’. Migration is often only told through success stories. Destination Elsewhere not only shows the many failures people had to endure on their way to Australia, it also depicts those that did not succeed, were abandoned or were categorised as unhealthy, too old or simply undesirable.
The book gives the reader deep insights into a time when the populations of whole countries were reshaped by assisted migration. Millions were transferred to places they knew only from newspapers, books, movies or hearsay. That these migrants lied, deceived and denounced other displaced persons is put into perspective by showing their situation and the complexities of their migration process. Destination Elsewhere is a book about the history of displaced persons in Europe and on their way to Australia, but it also grants copious insights into the very human struggles of those who had lost everything and were searching for something they lacked most: a new home.
1 For more information on the film, see trove.nla.gov.au/newspaper/ article/18393326
Reviewer Dr Roland Leikauf is a historian who recently joined the museum as Curator of Post-war Migration.
Even apparently benign items such as this sugar bowl can lead into contested histories – in this case, the issue of indentured labour in the sugar industry. ANMM Collection 00007216
In whose image?
Revealing the darker stories behind colonial collections
The Whole Picture: the colonial story of the art in our museums & why we need to talk about it By Alice Procter, published by Cassell, London, 2021. Paperback, 319 pages, illustrated, index. ISBN 9781788402453. RRP $25.00 Vaughan Evans Library 306.47 PRO
ONE OF THE BENEFITS of our museum’s relative newness is that we are rarely haunted by awkward legacies. Since collecting began for the Australian National Maritime Museum in the late 1980s, our registration system has captured information on provenance, intellectual property and cultural authority. We have acquired our materials in good faith and established clear title to more than 150,000 objects that now comprise the National Maritime Collection.
This modern approach means that the museum does not hold or display human remains. All of our Indigenous and First Nations items were purchased or donated in collaboration with the creators or their authorised agents. We do not knowingly acquire stolen artefacts or cultural materials torn from their historical or spiritual context. In this sense, the museum is more fortunate than many older institutions that have inherited disturbing relics of former practices. But does that comfortable assumption represent the whole picture? Alice Procter would suggest otherwise. Since 2017 she has led groups on ‘Uncomfortable Art Tours’ through museums and galleries in London. As an art historian and scholar of museums, her premise is simple. Procter fills out the larger – and often darker – colonial histories behind the images, sculptures, objects and collections on display. As The Whole Picture details, what she reveals is indeed often uncomfortable.
The book is structured into four ‘types’ of collecting institution: the Palace, the Classroom, the Memorial and the Playground. Each section comprises a series of essays focused on a specific object, including how it came to be in a museum or gallery and how it is currently represented. As with her tours, Procter’s essays unravel the threads of power, brutality, racism, exploitation and misrepresentation that are not addressed in each item’s minimally worded caption.
01 Dinner menu from the Messageries Maritimes steamship Australien, 1894. Beyond this obvious colonial image lie the complexities of French representations of African people and the generic use of the ‘orient’ on a liner named ‘Australia’. ANMM Collection 00036243
02 Fid for lace making carved from whale tooth. What does the clenched fist represent, and for whom? ANMM Collection 00006650
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Although her focus is on institutions in Britain – where Procter is based – several are highly relevant to Australia. One is often referred to as the ‘Gweagal shield’. It is generally believed to have been created by Gweagal ancestors who stood on the shore of Kamay Botany Bay when James Cook and his party came ashore in April 1770. This item is currently on display in the British Museum and was one of the artefacts featured in their highly influential book A History of the World in 100 Objects. Procter critiques the ‘Enlightenment’ gallery in which the shield appears, as well as its mounting and caption. The latter associates the shield with Cook’s time in Australia – including shots fired at Aboriginal people – but does not claim that it is the actual shield that warriors were recorded to have dropped during this moment of violence. In fact, she notes, the British Museum holds no clear records from before 1978 to date the item’s origins. Subsequent research suggests that in fact it was not created by Gweagal artisans, and that the shield was collected much further north and much later than 1770. Added to this mix are calls to repatriate the shield to Australia because of its associations with Aboriginal resistance – both to colonisation and to subsequent attempts to erase the multiple cultures that thrived before 1770. Yet in the British Museum, the shield remains as an almost generic marker of Indigeneity across the Pacific Ocean. The museum’s trustees, furthermore, remain reluctant to return the shield to where it was created.
This is just one of the discomfiting stories that populate The Whole Picture. Other chapters interrogate dried heads carved with Māori moko (tattoos), an Egyptian sarcophagus and Joshua Reynold’s painting of 18th-century Raiatean voyager Mai. All are connected with colonial conquest, unfree labour, enforced movement and exploitation – including the market forces that foster forgeries and lead to the looting of antiquities. What unites these objects is Procter’s assertion that they ‘are always going to be adrift, disconnected from a history that is too big to tell completely’. This dilemma is, of course, one faced by all museums. There are always multiple stories, perspectives, histories, ambiguities and truths around our objects. How do we do them justice – especially when the very concept of ‘justice’ constantly shifts beneath our feet? Indeed, as Procter suggests in her 2021 coda, ‘it feels as if we are in a moment, now, that might be a turning point’. But to what are we turning? This book is intended to be a provocation not to guilt, but to conversation. For this, I thank Procter. She doesn’t offer simple answers, but suggests many ways of acknowledging that every collection can be seen in different ways to redress past injustices. Each object in the National Maritime Collection offers such possibilities, down to the most humble seashell. As the museum rethinks what our audiences expect in the post-pandemic world, perhaps we can also respond to William Blake’s exhortation ‘to see a world in a grain of sand’. What Procter quite reasonably proposes is that we ask honestly whose world, and how the museum came by that grain of sand.
Reviewer Dr Peter Hobbins is the museum’s Head of Knowledge.
Look out for a new-look library
Treasures go on display
SOON THERE WILL BE EVEN MORE ENTICEMENT to return to the Vaughan Evans Library. We have just taken delivery of a series of display cases to share some old and new treasures in our extensive collection.
Rather than mounting traditional exhibitions, these cases will encourage library visitors to start their research journeys and explore new directions. Some of the stories already planned include finding families at sea, taking a healthy interest in maritime quarantine and unravelling historical handwriting. Each of the displays will highlight surprising connections and offer research tips from our specialist library staff. Regular readers will also notice that every issue of Signals now contains book reviews that feature new titles in the library’s collection. These books are available for browsing by visitors or via interlibrary loan requests. We also welcome suggestions for additional titles to add to the library – it’s your collection, too!
Can you help us fill some gaps? And speaking of collections, the library is always seeking to fill some important gaps. We would welcome donations or might potentially purchase some of the hard-to-find titles below. If you can assist, please email the library team on library@sea.museum or telephone 02 9298 3739 or 02 9298 3693.
Department of Shipping and Transport, Australian Shipping and Shipbuilding Statistics (Melbourne: The Department, 1950) John Hunter Farrell, Peacemakers: Interfet’s liberation of East Timor (Rocklea: Fullbore Magazines, 2000) Edwin Fox Society, Edwin Fox: Hard-won heritage (Picton: Edwin Fox Society, 2004) Ross Gillett, HMAS Vampire, 25 Years (Sydney: no publisher noted, 1984) Holbrook Submarine Museum, Holbrook & Submarines: The connection (Holbrook: Holbrook Submarine Museum, 2011) Martin Allan Hooper, The Scottish Connection: The Whitecrosses and the MacFarlanes (Belmont: Benmax Box, 2009) Stephen Linthouse, Alexander Stephens & Sons Limited 1939–1946 (Glasgow: Alexander Stephens & Sons Limited, no date) Felix Newbery, The Story of the Cutty Sark (London: Belgravia Publications, no date) Martin Orchard, The Homeward Trade: A brief history of the conference shipping service from Australia to Europe 1912 to 2006 (Sydney: Shipping Australia Limited, 2006) Warwick Outram, SS Cormorant: Protecting Bribie Island from ca 1958–1990 (Bongaree: Warwick Outram Publications, 2015) Lawrance Ryan, Holbrook: The submarine town (Holbrook: Greater Hume Shire Council, 2008) R T Sexton, Ships that Passed: A glimpse of South Australian maritime history (Port Adelaide: Friends of the South Australian Maritime Museum, 1997) John Tod and W C McGibbon, Marine Engineers’ Board of Trade Examinations: Containing all the latest elementary questions with answers, including notes on verbals, as used in Board of Trade examinations, 7th ed (Glasgow: James Munro, 1909) Beryl J Young, Immigrants to Queensland, Vol 1 (Stones Corner: The Genealogical Society of Queensland, no date)
Dr Peter Hobbins, Head of Knowledge
Acknowledgments The Australian National Maritime Museum acknowledges the support provided to the museum by all our Volunteers, Members, sponsors, donors and friends.
The museum particularly acknowledges the following people who have made a significant contribution to the museum in an enduring way or who have made or facilitated significant benefaction to it.
Honorary Fellows John Mullen AM Peter Dexter AM Valerie Taylor AM
Ambassadors Norman Banham Christine Sadler David and Jennie Sutherland
Major Donors – SY Ena Conservation Fund David and Jennie Sutherland Foundation
Honorary Research Associates Rear Admiral Peter Briggs AO John Dikkenberg Dr Nigel Erskine Paul Hundley Dr Ian MacLeod Jeffrey Mellefont David Payne Lindsey Shaw
Major Benefactors Margaret Cusack Basil Jenkins Dr Keith Jones RADM Andrew Robertson AO DSC RN Geoff and Beryl Winter
Honorary Life Members Yvonne Abadee Dr Kathy Abbass Robert Albert AO RFD RD Bob Allan Vivian Balmer Vice Admiral Tim Barrett AO CSC Lyndl Beard Maria Bentley Mark Bethwaite AM Paul Binsted Marcus Blackmore AM David Blackley John Blanchfield Alexander Books Ian Bowie Colin Boyd Ron Brown OAM Paul Bruce Anthony Buckley OAM Richard Bunting Capt Richard Burgess AM Kevin Byrne Sue Calwell RADM David Campbell AM Marion Carter Victor Chiang Robert Clifford AO Helen Clift Hon Peter Collins AM QC Kay Cottee AO Helen Coulson OAM Vice Admiral Russell Crane AO CSM Stephen Crane John Cunneen Laurie Dilks Dr Nigel Erskine John Farrell Dr Kevin Fewster CBE AM FRSA Bernard Flack Daina Fletcher Sally Fletcher Teresia Fors Derek Freeman CDR Geoff Geraghty AM John Gibbins Anthony Gibbs RADM Stephen Gilmore AM CSC RAN Paul Gorrick Lee Graham Macklan Gridley Sir James Hardy KBE OBE RADM Simon Harrington AM Jane Harris Christopher Harry Gaye Hart AM Peter Harvie Janita Hercus Robyn Holt William Hopkins OAM Julia Horne Kieran Hosty RADM Tony Hunt AO Marilyn Jenner John Jeremy AM Vice Admiral Peter Jones AO DSC Hon Dr Tricia Kavanagh John Keelty Richard Keyes Kris Klugman OAM Judy Lee Matt Lee David Leigh Keith Leleu OAM Andrew Lishmund James Litten Hugo Llorens Tim Lloyd Ian Mackinder Stephen Martin Will Mather Stuart Mayer Bruce McDonald AM Lyn McHale VADM Jonathan Mead AO Arthur Moss Patrick Moss Rob Mundle OAM Alwyn Murray Martin Nakata David O’Connor Gary Paquet David Payne Prof John Penrose AM Neville Perry Hon Justice Anthe Philippides Peter Pigott AM Len Price Eda Ritchie AM John Rothwell AO Kay Saunders AM Kevin Scarce AC CSC RAN David Scott-Smith Sergio Sergi Ann Sherry AO Ken Sherwell Shane Simpson AM Peter John Sinclair AM CSC Peter R Sinclair AC KStJ (RADM) John Singleton AM Brian Skingsley Eva Skira AM Bruce Stannard AM J J Stephens OAM Michael Stevens Neville Stevens AO Frank Talbot AM Mitchell Turner Adam Watson Jeanette Wheildon Hon Margaret White AO Mary-Louise Williams AM Nerolie Withnall Cecilia Woolford (nee Caffrey)
What’s in the shop?
WHEN YOU NEXT COME TO THE MUSEUM you will see an exciting new change in our foyer. We are proud to announce the new museum shop! The intention behind a redesigned shop was to create a space that is an essential destination during a visit to the museum – and one that seamlessly blends within the foyer. We want our shop to be famous for all things oceanic, and for it to echo the sea in colour, theme and finish. It includes seating and space to rest and read, as well as comfortable and discreet areas to try on clothing. Our buyers have carefully selected items that reflect the museum’s themes. We would love the shop to become a favourite source for thoughtful, interesting, high-quality gifts.
The category areas in the shop reflect favourite themes from the museum:
• Ships and shipwrecks (history, books, model boats, etc) • Marine life (ocean health, sustainability, books and games) • First Nations (books, homewares) • Aquatic gifts (nautical soaps, brassware, glass décor, ceramics) • Adventure (kids’ toys, clothing, educational games, books) • Jewellery, apparel and accessories (men’s, women’s, t-shirts, hats, caps, scarves, socks) • Temporary exhibition merchandise.
We have many new products in the shop, with more on the way in coming weeks. So come and say hello when you next visit and see all that is new. Our shop staff would love to see you.
Signals ISSN 1033-4688 Editor Janine Flew Staff Photographer Elizabeth Maloney Design & production Austen Kaupe Printed in Australia by Pegasus Print Group Material from Signals may be reproduced, but only with the editor’s permission. Editorial and advertising enquiries signals@sea.museum – deadline midJanuary, April, July, October for issues March, June, September, December Signals is online Search all issues at sea.museum/signals Signals back issues Back issues $4 each or 10 for $30 Extra copies of current issue $4.95 Email thestore@sea.museum
Australian National Maritime Museum Our opening hours are 10.30 am–4 pm 2 Murray Street Sydney NSW 2000 Australia. Phone 02 9298 3777
The Australian National Maritime Museum is a statutory authority of the Australian Government
Feed your imagination and explore Australia’s stories of the sea by becoming a museum Member. Options for individuals, families and people who live interstate or overseas offer a great range of benefits, including unlimited entry to our museum, vessels and exhibitions, as well as special discounts.
Visit sea.museum/members ANMM Council Chairman Mr John Mullen AM Interim Director Ms Tanya Bush Councillors Hon Ian Campbell Mr Stephen Coutts Hon Justice S C Derrington Rear Admiral Mark Hammond AM RAN Mr John Longley AM Mr Nyunggai Warren Mundine AO Ms Alison Page Ms Judy Potter Ms Arlene Tansey Dr Ian Watt AC
Australian National Maritime Museum Foundation Board Chairman Mr Daniel Janes Ex officio Chair Mr John Mullen AM Ex officio Director Mr Kevin Sumption PSM Mr David Blackley Mr Simon Chan Mr Peter Dexter AM Mr David Mathlin Mr Tom O’Donnell Dr Jeanne-Claude Strong Ms Arlene Tansey American Friends of the Australian National Maritime Museum Ms Sharon Hudson-Dean Mr Robert Moore II Mr John Mullen AM Mr Kevin Sumption PSM
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Major sponsors Commonwealth Superannuation Corporation Guilty Port Authority of New South Wales Sponsors Australian Maritime Museums Council Challis & Company Colin Biggers & Paisley Gage Roads Brewing Co Lloyds Nova Systems Panasonic Schmidt Ocean Institute Smit Lamnalco Tomra
Supporters Australian Antarctic Division Australian Government Commonwealth Scientific and Industrial Research Organisation Faroe Marine Research Institute Japan Agency for Marine-Earth Science and Technology Royal Wolf Settlement Services International Silentworld Foundation Sydney by Sail The Ocean Cleanup Tyrrell’s Vineyards
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