The History of Wattle Day
The first known use of wattle as a meaningful emblem dates back to the early days of Tasmania (1836).
Near the end of the nineteenth century, naturalistic imagery of Australian flora and fauna began to appear on utilitarian objects such as furniture. This was a refection of intensifying nationalism as the colonies considered their progress towards Federation.
1889 - "Wattle Blossom League" - social in the town hall - designed a flag.
1891 - article in Melbourne Herald In February 1891 there was as article on national symbols in the Melbourne Herald which in part was responding to Canada's choice of the maple leaf as national emblem. It was proposed that wattle should become the Australian emblem.
The first suggestion of a Wattle Day was made by Mr Campbell during a speech in September 1908.
An August 1909 public meeting held to form a Wattle Day League accepted a motion of his advocating the setting apart throughout the Commonwealth a day which the Australian national flower - the Wattle Blossom - might be worn, and its display encouraged. The meeting also agreed to encourage the coordination of all states in this endeavour.
There had been a debate as to whether Wattle or the Waratah should be Australia's national floral emblem. By around 1910, consensus finally favoured Wattle since it grows throughout the nation whereas the Waratah is limited in distribution.
was celebrated in Sydney, Melboune and Adelaide on the First of September 1910. Early Wattle Day activities included planting of wattle trees in school grounds, school lessons on botany, street decorations of wattle blossom, and wearing sprigs of wattle, often sold for charity.
Wider acceptance of national Wattle Day was achieved at a major Australian Wattle Day League Conference in Melbourne in January 1913. Branches were formed in a number of states, with the general aim of officially proclaiming wattle as the national floral emblem and extending Wattle Day celebrations throughout the nation.
About this time, (1913) wattle was officially introduced to representations of the Commonwealth coat-of-arms. And in December of the same year, the first wattle blossom stamp was issued.
Wattle took on a new significance in the war years as a potent symbol of home for military personnel serving overseas, and as a means of raising money for organisations such as the Red Cross. Beautifully designed Wattle Day badges as well as wattle sprigs were sold.
Wattle Day continued to be celebrated during the 1920s and 1930s, although apparently not in Western Australia or the Northern Territory. The day became largely associated with schools and tree planting, the aftermath of the War perhaps softening some of the patriotic fervour characteristics of the early days of Federation.
For some reason, World War II is not recorded as having greatly revived the tradition of Wattle Day; wattle does not seem to have been widely used as a symbol of Australia in that time of national crisis. At any rate, following the war, Wattle Day was allowed to slowly die as a tradition.
In 1916 the date of Wattle Day was changed in New South Wales to the First of August - from the original 1st September. This was done because wattle blooms profusely about this time in the surrounds of Sydney. However, the change led to some confusion which persists to this day.
Continuing confusion over the actual date a Wattle Day required a long-awaited agreement among the Commonwealth and States to unify Australia's Wattle Day as the First Day of Spring (1st September) in every State and Territory. This took place in 1992.
It was not until the 1980s that national pride and symbolism re-emerged (for example, the boxing kangaroo).
A significant milestone was the proclaimation in April 1984 of the wattle's green leaves and gold blossom as the national colours. This settled a long dispute as to weather the colours should be green or blue together with gold. While Green and Gold is widely used by Australian sporting teams, the national colours deserve even wider use and recognition.
The unfinished business of 1913, that is proclaimation of Wattle as the national floral emblem, was completed during the Bicentennial Year, on the First of September 1988. Golden Wattle, Acacia pycnantha, is the actual species chosen.
Waltzing Matilda
How to Play Two Up
The Ground: a smooth area of approximately 3 metres diameter, with any number of players (MATES or COBBERS)
The RINGER will call for a SPINNER who will place a bet with the BOXER.
When this is set, side bets may be made. Bets are either HEADS or TAILS.
The RINGER will then call "Come in spinner" and the SPINNER will walk into the centre of the RING and tosses the coins upwards.
If the coins land with two heads facing up, it is called HEADS.
Two tails is "TAILED THEM" and one each is ODDS.
When ODDS are tossed, there is no result and the coins are tossed again until either HEADS or TAILS results.
The game is for the SPINNER to spin as many HEADS as possible.
If TAILS are thrown, the SPINNER passes on the KIP.
The modern game is often played with three coins so a result is achieved on each throw - making the game quicker.
The Man From Snowy River
Andrew Barton 'Banjo' Paterson is Australia's most loved writer of bush ballads; his most famous being Waltzing Matilda, Clancy of the Overflow and the 104-line, The Man from Snowy River, part of which follows.
There was movement at the station, for the word had passed around
That the colt from old Regret had got away,
And had joined the wild bush horses - he was worth a thousand pound,
So all the cracks had gathered to the fray.
All the tired and noted riders from the stations near and far
Had mustered at the homestead overnight,
For the bushmen love hard riding where the wild bush horses are,
And the stock-horse snuffs the battle with delight.
When they reached the mountain's summit, even Clancy took a pull -
It well might make the boldest hold their breath;
The wild hop scrub grew thickly, and the hidden ground was full
Of wombat holes, and any slip was death.
But the man from Snowy River let the pony have his head,
And he swung his stockwhip round and gave a cheer,
And he raced him down the mountain like a torrent down its bed,
While the others stood and watched in very fear.
And down by Kosciusko, where the pine-clad ridges raise
Their torn and rugged battlements on high,
Where the air is clear as crystal, and the white stars fairly blaze,
At midnight in the cold and frosty sky,
And where around the Overflow the reed-beds sweep and sway
To the breezes, and the rolling plains are wide,
The Man from Snowy River is a household name today,
And the stockmen tell the story of his ride.
- A.B. ('Banjo') Paterson (1890).
Australian Opals
Black Opal |
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Black Opal is characterised by a dark body tone causing brightness of colour which is unmatched by lighter opals. Black Opals are usually mined in Lightning Ridge, New South Wales, and are the most famous, and sought-after type of opal. The term 'black opal' does not mean that the stone is completely black (a common mistake), it simply means the stone has a dark body tone in comparison to a white opal. |
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White OpalAlso known as 'milky opal', white opal features light white body tones, and is mined in South Australia. White opal is more common and because of its body tone, generally does not show the colour as well as black opal. Nevertheless, white opals can still be absolutely magnificent in colour if a good quality stone is found. |
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Boulder Opal |
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Boulder opal forms on ironstone boulders in Queensland. This type of opal is often cut with the ironstone left on the back, as the opal seam is usually quite thin. Leaving the ironstone on the back means that boulder opal can be very dark and beautiful in colour. The opal forms within the cavities of the boulders in both vertical and horizontal cracks. Boulders vary in shape and size, from as small as a pea, to as big as a family car. Boulder Opal has a tendency to cleave; when cleaved the "split" leaves two faces of opal, with a naturally polished face. |
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Doublets & Triplets |
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Doublets and triplets consist of a paper-thin slice of opal cemented to a black backing. Triplets have, in addition to this, a clear quartz or glass capping over the top to magnify the colour, protect the stone, and give it a cabochon (domed) appearance. The idea of doublets and triplets is to imitate valuable black opals at a fraction of the cost. |
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Solid Opal |
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Most cutters prefer to produce the opal as a solid cut 'en cabochon' if the gem is sufficiently thick. The opal is left in its natural state and simply shaped and polished on the cutter's wheel. |
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Doublet Opal |
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A thin veneer of opal may show enhanced colour with a dark backing of either black or grey silica material, or a thin slice of common opal cemented to the back of the opal with epoxy resin. |
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Triplet Opal |
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A slice of quartz may be used to cap the thin opal veneer to protect it from abrasion. This produces a three-tiered gemstone known as a triplet, which can often display brilliant colours. It is a cheaper method of presentation and can enhance the appearance of the opal. |
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Learn About The Didgeridoo
A didgeridoo (or didjeridu - the Macquarie dictionary shows both spellings) is essentially a pipe which, when blown through in a particular manner, produces a wonderful droning sound. Aborigines have perfected the art of playing this instrument to such a degree that they can play elaborate tunes and can produce amazing sound effects.
The didgeridoo is a sapling that has been hollowed out by white ants. After locating a suitable selection of saplings in the bush, they are cut down and sorted for suitability - they must be of reasonable length, and the ‘pipe' through the middle needs to be open enough to allow good airflow, without being too large. There can be no holes along its length.
Once selected, the didgeridoos are trimmed and sanded as needed, and then painted.
All our didgeridoos are hand painted by aborigines. The standard of artwork can affect the price. The length, shape and amount of work needed, can also affect the price.
Some didgeridoos have beeswax on the rim at the top. This is to help provide a good seal between the mouth and the didgeridoo. It is not essential, and many experienced players do not use it.
Apparently, some aboriginal tribes believe that women should not play the didgeridoo. It was, for them, a sacred instrument for corroborees and other private ‘men's business'. (In fact, we have been told that some believe that a woman may not even touch a didgeridoo.) Nowadays this is not a strong issue, and didgeridoos are often played by women just as well as men.
It is a special talent to be able to play a didgeridoo, but can be learnt with perseverance. We do stock a book which explains quite well how to play the didgeridoo.
Good players use a technique known as ‘circular breathing'. This involves holding air in the cheeks, then blowing it out through the didgeridoo while breathing in through the nose.
Clancy Of The Overflow
I had written him a letter which I had, for want of better Knowledge, sent to where I met him down the Lachlan, years ago; He was shearing when I knew him, so I sent the letter to him, Just on spec, addressed as follows, 'Clancy of the Overflow.' And an answer came directed in writing unexpected (And I think the same was written with a thumbnail dipped in tar); 'Twas his shearing mate who wrote it, and verbatim I will quote it: 'Clancy's gone to Queensland droving, and we don't know where he are.' In my wild erratic fancy visions come to me of Clancy Gone a-droving 'down the Cooper' where the western drovers go; As the stock are slowly stringing, Clancy rides them singing, For the drover's life has pleasures that the townsfolk never know. And the bush hath friends to meet him, and their kindly voices greet him In the murmur of the breezes and river on its bars, And he sees the vision splendid of the sunlit plains extended, And at night the wondrous glory of the everlasting stars. I am sitting in my dingy little office, where a stingy Ray of sunlight struggles feebly down between the houses tall, And the foetid air and gritty of the dusty, dirty city, Through the open window floating, spreads its foulness over all. And in place of lowing cattle, I can hear the fiendish rattle Of the tramways and the buses making hurry down the street; And the language uninviting of the gutter children fighting Comes fitfully and faintly through the ceaseless tramp of feet. And the hurrying people daunt me, and their pallid faces haunt me As they shoulder one another in their rush and nervous haste, With their eager eyes and greedy, and their stunted forms and weedy, For the townsfolk have no time to grow, they have no time to waste. And somehow rather fancy that I'd like to change with Clancy, Like to take a turn at droving where the seasons come and go, While he faced the round eternal of the cashbook and the journal - But I doubt he'd suit the office, Clancy, of the Overflow. - A.B. ('Banjo') Paterson (1889).
Learn To Throw A Boomerang
Boomerangs do come back and it is important that you take some precautions to protect yourself, others and your boomerang from unfortunate mishaps upon its return.
Remember that ideally you are the target!
In spite of these warnings, boomerang throwing is a relatively safe sport.
The special aerodynamic design of the boomerang is the key to its ability to return. You will notice different planes on the wing tips which each contribute to its flight and returning ability. One side is flat, except for one predominant bevel which has been cut into it. The other side of the boomerang is curved, forming airfoils. The arm of the boomerang with the bevel on it is the lifting arm, whilst the other end which is flat is called the dingle arm.
The boomerang is of strong construction, however it is not unbreakable. Risk of breakage will be almost nil if you follow the safety above. Too much layover is the single most common cause of breakage. If it gets chipped or broken we recommend that you repair it immediately with epoxy resin glue and clamp it so that it lies flat. To keep it in good order and water resistant it is a good idea to polish it with clear shoe polish regularly.
Select a large open field or beach where there is little or no wind. The boomerang flies in a circle approximately 30 metres in diameter, but allow more space than that. Make sure there are no rocks or hard obstacles around which could damage your boomerang.
Warn any spectators about the safety points mentioned above.
If there is a breeze, determine where it is coming from and aim 45 degrees to the right of it. Grasp the dingle arm in your hand and hold the flat side of the boomerang against the palm of your right hand. You should hold a comfortable two fingers depth of boomerang. To gain spin it is important to hold no more than 4cm in your hand. You should hold the boomerang at eye level and lean it over 30 degrees. (If it were the hand on a clock it would be pointing at one o'clock ). This is called layover. To obtain different effects the layover or lean may be varied from 0 degrees to 30 degrees ( 12 o'clock to 1 o'clock ). A near vertical or zero layover is used to compensate for a breeze and will make the boomerang fly low and tend to land in front of you.
The most important part of boomerang throwing is to spin the boomerang really fast. Bring the boomerang over the shoulder and sharply draw your arm forward to full extension like a whip cracker. The boomerang should spin out of your hand with its own inertia pivoting over the index finger, which is kept bent around the tip. Throw it straight outward, neither up nor down. If you are strong do not throw it too hard.
When thrown correctly the boomerang should circle around to the left and climb steadily, finally slowing to a hover in the vicinity of the thrower. With practice, experience and courage the boomerang can be caught at this stage of its flight. It is best to wear a glove on the left hand when learning. Catching is best achieved by clapping both hands together over the boomerang as one does a frisbee.
A boomerang can be readily thrown with the left hand - here is what you do. Hold 4 cm of the bevelled end in the left hand with the flat side toward your face.
The boomerang is then brought over the left shoulder and thrown in an arc over the head, like a tennis serve, so that it leaves the hand inclined at an angle of 30 degrees (the one o'clock position) with the flat side leaning to the right. As in the case of a right handed thrower it should be thrown straight outward and be spinning fast.
Advance Australia Fair
Australians let us all rejoice. For we are young and free. We've golden soil and wealth for toil. Our home is girt by sea.
Our land abounds in nature's gifts. Of beauty rich and rare. In history's page, let every stage Advance Australia Fair.
